This page lists the most recent journal entries related to role-playing games (RPG). There are some more pages on the related German page (Rollenspiele).

Free web apps I wrote:

Free games I wrote:

Looking for gamers here in Switzerland? → SpielerZentrale, NearbyGamers, Pen & Paper Schweiz Facebook Group, Dungeons & Dragons Meetup Zürich. Networking is important so that people moving here can find D&D games in Zürich, Switzerland.

2019-10-13 Theatre of the mind

I don't use battlemaps. It’s all theatre of the mind.

Actually, it’s worse: it’s so abstracted that we don’t really need to imagine where people are standing, or which of the orcs has been hurt. The rules I use support this:

  • You can move anywhere on the battlefield and attack: you don’t know how to move from here to there on the battlefield
  • Anybody can take one attack to a buddy by interposing themselves; your armour and your shield and your body can protect your friend without you knowing where they are on the battlefield
  • You can’t take two attacks aimed at other people because you can only be in one place at a time, of course.
  • You usually cannot aim at particular monsters. Just as players can protect each other, the enemies do the same thing. I order to make it easier for me to run the game, I just array enemies in a particular order and every round they get attacked in turn, no matter what players say. When the ask how this is possible, I’ll just say that they cover each other as well (but not optimally so).
  • Anybody can fire ranged weapons at anybody else without needing to establish line of sight and without wondering whether the enemy is currently engaged in melee. There is no friendly fire. It’s simply quicker and easier that way. If you really don’t like that, then I’d suggest you simply disallow the use of ranged weapons once the surprise round is over. Given those two options, however, it’s simply easier to just allow people to fire at will.
  • When there are area effects, we negotiate the number of targets affected. Usually that’s not a problem. I love negotiating at the table, but only if negotiations are short. 😅

I’ve seen something similar in Ryuutama and at the time I wrote a blog post about combat using two rows per side.


Add Comment

2019-10-13 Small dungeons used at the table

Recently I wrote about randomly generating dungeons using Hex Describe and yesterday J. Alan Henning () posted a comment on Diaspora talking about how it went when he used one of them. I’m reposting it here with permission, slightly edited. 🙂

Here is the dungeon I used and a recap. I basically ran Hex Describe and read over all the dungeons, looking for a religious-themed one. I then lightly reskinned it to fit my campaign.

0409: Ziggurat of Stoijwerd

Visible from a great distance is a half-buried ziggurat of Stoijwerd. Sandy hole in the south leads to catacombs underneath the ziggurat:

  1. Catacombs: In one wall of the entrance are many deep niches, each containing a goblin skeleton.
  2. Vestry: A chest with a broken lock holds vestments in many sizes, including albas with symbols of Neccelio. (They are threadbare but still wearable.) On one wall is a roughly hewn slate slab, flecked with dark vermilion stains. [My pantheon has 12 gods. Neccelio is the lawbreaker archetype. “The god of the trinity, he rebelled and created animals and night and death. Sometimes called “The Devourer.””]
  3. Altar: Decades of melted wax form a frozen dribble and cover a wide brick pedestal. A chest-high wooden table is draped in a cloth whose imagery has been lost to mold and mildew. 348 staters under table but invisible to anyone not wearing a robe. Trap: Rope Trap, each PC rolls d20 under Dexterity or ends up hanging from the ceiling. [Converted to a dexterity check against a DC 15 for 5e.]
  4. Shrine: A tall bright brown flame rises from the floor in the middle of this room. Three frescoes each display a hellscape ruled by a devil: a devil with eagle wings and a human head on the body of a bull, a devil with bat wings and the tail of a rat, and a devil with a human head on the body of a bear. Trap: Trapdoor Spider Pit, triggered on 1 in 6 per PC to fall in pit with a giant spider (HD 4 AC 6 1d6 + paralysis F2 MV 15 ML 7 XP 400; climb).
  5. Temple: The room is dominated by a central dais, two brick steps above the floor. A candle holder holds only melted wax, but the room still smells of incense and patchouli. Monster: 13 ghouls, who can be bought off with treasure if any PC is faithful to Neccelio or will destroy their religious emblem and follow Neccellio (HD 2 AC 6 1d4/1d4/1d4 + paralysis F2 MV 9 ML 9 XP 200; aura of fear (save vs. spells or flee for two rounds); when bitten, save vs. paralysis or be paralysed for 1h; shape shift into a hyena) Monster: 1 hellhound (HD 5 AC 4 1d6 F5 MV 12 ML 9 XP 500; 2 in 6 chance that instead of biting, it breathes fire (5d6); see invisible; hellhound embers burning inside them are worth 500 staters to an alchemist) Treasure: bricked into the dais, 266 staters. Gems.

Here’s noteworthy things my players did.

One PC had been arrested by city guards and beaten in an earlier adventure, so he was wearing makeshift clothes. He put on one of the robes. As a result, he was the only one who could see the staters (electrum pieces). The other players had removed the cloth but no one had noticed the staters until he did; they still couldn’t see them. He took his robe off and found that they were invisible again. This was meant just to be an unusual way to hide treasure, but now he’s obsessed with figuring out how to make the staters permanently visible. He convinced a few but not all of the PCs to put on robes so that they could see the coins.

Oh, when the halforc ran into room 3 without checking it first, she got caught in the rope trap and swung around upside down from it saying “Adventure!”

The party then listened at the secret door and heard the hellhound snoring and the familiar reconnoitered room 5 (accessible from room 3) – they cast silence and then used mold earth to block it off, so they wouldn’t be disturbed by the ghouls.

They went to room 4, where 1 fell into the trapdoor spider pit. The spider bit him and also clambered up and spit web at the cleric, plastering him against the wall. (I was using the Giant Spider from 5e.) The halforc dove into the pit with her sword out, missed the spider and struck her friend instead. The other party members failed to free the cleric (the web had AC 10 and 5 hp), but the wizard took careful aim and killed the spider with a ray.

After the two in the pit were rescued, they become obsessed with the brown flame. The halforc burnt stuff on it; the elf used a wind spell to extinguish it. Halforc: “What does the room look like now?” DM: “It’s dark.”

The halforc then became obsessed with the frescoes of the devils. She touched the one with the bear, and the druid turned into a bear. The druid touched it and transformed back to a human. The halforc then touched another fresco, and the flame began burning again. The players became convinced this was a puzzle of some sort, where I had just been improvising, but I told them the hellhound had begun howling and they heard scrabbling at the earth they had filled the ghoul’s tunnel with.

Before fleeing, they had been on the search for desert pocket mice for a potion, and they found signs of mice in the bottom of the chest with robes (improv again), then found burrows and flooded three of them so the mice would escape from the unflooded one. The wizard then put them to sleep.

All in all I think the mini dungeon format is a success, and as you can see players add their own context and mysteries.

As a further example, the third of the ingredients they need for their potion quest is scorpion tales. They had heard rumors of raiders riding giant scorpions (for my hex map descriptions I ran my map through all three rule sets; this is from Peter Seckler’s). After leaving the ziggurat, they followed clues to come across the giant scorpions at night; the druid carefully approached them and found one of the giant scorpions was tired of being a mount and wanted to be a goddess to the regular sized scorpions. The druid persuaded her to lead them to a scorpions nest, where the PCs became enforcers for the goddess scorpion, killing any that tried to flee. (Not at all how I had expected them to find scorpions! I had a probability table for searches created and everything.)

I love this! 😀


Add Comment

2019-10-12 Fantasy Map Generator

Azgaar's Fantasy Map Generator procedurally creates a map with countries, cool names, coastlines, and it allows you to edit it. No hexes!


Add Comment

2019-10-11 Designing games for emotional impact

This is a continuation of the discussion I had yesterday with @invisivel and @hardcorenarrativist about non-adventure games.

Hardcorenarrativist said he wanted to know where “the coming-of-age stories, the ones about falling in love, about self-discovery, about coming to terms with death, about forgiveness, about despair, about betrayal, etc.” were.

Personally, I’m not so surprised to see so few of them. As I wrote in that other post, adversity and overcoming it is a big part of how we tell stories. But more than that: I also think games designed to tell particular stories feel hollow to me.

I’m often sceptical of designed emotions. If I can agree to a game of despair in Warsaw we can use any rules. Having to agree to Grey Ranks simply turns the discussion of theme into a discussion of the rules to use, and it prevents a deviation later. And that can also be drawback.

We picked a game, and thereby we picked a designed experience and there is not a lot of leeway. You can never leave Warsaw. You can never leave the Soviet army. You can never abandon the Heist. This limitation makes it a very blunt instrument for my entertainment, I fear. If you want to change the story, you’re going to change the game. The only way to not pay the price is to play one-shots or very short campaigns, it would seem to me. You get to switch between sessions.

I also feel the lack of authenticity in games that I know are set up for a particular experience. I go through the motions but it just hits closer to home if I’m playing Burning Wheel and my love is betrayed even though there are no rules about romance. It hits closer to home if the fighter picks a 1:1 fight with the evil pirate dwarf when we’re playing classic D&D and there are no duelling rules. It cuts deeper, somehow. I feel it’s more poignant. I don’t know.

I wonder whether a game designed for coming-of-age stories, for falling in love, for self-discovery, and so on… I wonder if such a game would work for me. I guess I’m both curious and skeptical.

I feel reminded of a discussion I once had regarding heroic scenes. These don’t require any particular rules, for me. They require the willingness to risk your character to an extraordinary degree to save another person.

In other words: all that this requires is perma-death.

Let me pick another example: all a game requires to be about falling in love is for the world to have people my characters can fall in love in, and for a table of friends that are interested in this. If there are rules involving falling in love, then it’s not about falling in love. The finger pointing at the moon is not the moon. A game about a thing does not necessarily require rules about the thing. It requires agreement at the table.

Maybe there is the rub: if the argument is that we want to be “telling a compelling story” then I feel Grey Ranks might do that – but what I want is something different: I want an authentic experience. I feel that many of the rules people sometimes provide in order to allow the telling of a compelling story make the authentic experience impossible, for me. Remember, I don't like Bennies. 🙂

Well, I guess I did feel despair as we played Grey Ranks. And we could not leave Warsaw. Perhaps it did work, after all? Perhaps I just didn’t like what I had signed up to experience. I’d say both things are possible: an authentic experience of despair and me being unhappy about it. I’m not sure how well this would generalize, however. Perhaps despair is an easier emotion to design for? I remember that at the end of Montsegur 1244 I felt for my character because I had explored their inner life, and I was given a choice at the end and so I somehow “owned” the experience. Hm. Food for thought in any case.

If I had to define what an authentic experience is, I’d say something like the following: An authentic experience is when my buddy dies in a fight and I am shocked and decide to bring his body back to town and hold funeral rites. We didn’t agree to let my buddy die and we didn’t know that he was going to die. Letting him die did not give me any bonus, no fate point, no narrative rights, it wasn’t a painful decision made light because of some goodie I got in exchange. Those are ways to design a game where people let their buddy die – a designed experience.

Anyway, we’re getting into bigger thoughts about game design and if you like story games I’m not sure we’re going to find agreement, here. Let me turn it around and ask you: how do you do it? Post some examples, some anecdotes from your games where it worked, that you enjoyed. What’s best in your gaming life?

I want to know about “the coming-of-age stories, the ones about falling in love, about self-discovery, about coming to terms with death, about forgiveness, about despair, about betrayal, etc.”


Comments on 2019-10-11 Designing games for emotional impact

Have you looked at Beyond the Wall for an osr take on Coming of age gaming?

I haven’t actually gamed it myself to see how it delivers on that aspect but it is a fascinating game.

Anders H 2019-10-12 09:19 UTC

I completely agree with you regarding “designed emotions”. The best gaming moments in my life were all outcomes that occurred organically, due to a combination of unknown information and the strange will of the dice.

Ynas Midgard 2019-10-12 09:35 UTC

I haven’t looked at Beyond the Wall, sadly.

– Alex Schroeder 2019-10-12 21:41 UTC

Add Comment

2019-10-10 Non-adventure games?

Yesterday, @hardcorenarrativist asked about traditional games with some sort of referee that “aren’t about adventuring and/or investigation.”

An interesting question! I was reminded about the old blog post about the name Adventure Game and Heroic Scenes, and of course Patrick Stuart’s musings on his blog False Machine in Fewmets, (& UK OSR Meeting Report):

Adventure is a better word than story. It contains within it a necessary, and rather complex, duality which is easy to understand once experienced but difficult to explain.

Anyway, @invisivel got involved in the discussion on Mastodon that drew me into the conversation.

The first thought to come to mind: “Golden Golden Sky Stories is a heartwarming, non-violent role-playing game from Japan, by Ryo Kamiya. ... players take on the role of ... animals that have just a little bit of magical power, including the ability to temporarily take on human form. ... each kind has their own special magical powers. Players will then attempt to solve problems around a small enchanted town with ingenuity, co-operation and friendship.”

Then I wondered: what about travel? “Ryuutama … by designer Atsuhiro Okada … is set in a world where the “NPCs” of the village--the bakers, farmers, shopkeepers and healers--set off on a wonderful adventure exploring a fantasy world together. Some people colloquially call it “Hayao Miyazaki’s Oregon Trail”, because of its heartwarming (in Japanese “honobono”) feel of family anime, and its focus on traveling and wonder over combat and treasure.”

Then I remembered my own “game” which I didn’t even play once, it’s more of a thought experiment. “This is a game about finding strength in numbers: friends, family,lovers, children.” It’s called Best Friends. I wrote it in response to a blog post by Brian Murphy on his blog Trollsmyth, Romantic Fantasy and the Heroine's Journey. I also wrote a blog post about it, Romantic Fantasy.

I guess I was trying to go for a Suikoden kind of experience. A ton of friends and allies waiting for you in your base camp. Meeting more and more people, helping them out, befriending them. I’m not sure this really works without opposition, though. I guess it’s an adventure game after all.

I still like the idea, though. All it needs is another 99 cool ideas for stuff to happen on a castle. If you’d like to contribute any, I’d love to hear it! 😀

Anway, my thoughts turned to the meaning of adventure. If it is indeed about the adversity regarding a venture, an undertaking, then a non-adventure would be what? You don’t try to do anything? No venture? Or there is no opposition? But then, do you automatically succeed? A game about zen meditation?

Does player vs. player count? Or it could be boring stuff, like work. Or mindless games, where all you care is doing anything like rolling a die and moving a piece, an old-school board game.

I’m reminded of idle games on IRC.

Or it could be about making something beautiful, collaboratively?

I think what I’m getting at is that no opposition basically takes you out of all the usual story structures. And that’s for a reason: we don’t recount the hours of boring work, the hours of painting, the hours of singing in the choir. It’s stuff we do, but it’s not stuff we talk about. If you want to go down this road you’re signing up for a very difficult task indeed.

Continued here: 2019-10-11 Designing games for emotional impact.


Add Comment

2019-10-10 BX Mars

I like the visual style of B/X Mars.

And apparently it’s out now!

I’m just not sure whether I need to buy another PDF or book.

👈 On the one hand, I probably won’t use it at the table and life is too short for all the stuff I have.

👉 On the other hand, I like to support the people whose blogs have enjoyed in the past. I mean, 2012-05-15 The Forgotten Depths!

Also To Have or to Be (Erich Fromm) might be overrated, haha. Who knows?

Posting it here as displacement activity. Gaahk! 🐓​


Add Comment

2019-10-09 Ten random dungeons generated

With the random tables of J. Alan Henning and ktrey parker and Text Mapper with the Gridmapper algorithm (which knows how to create five room and seven room dungeons), and Face Generator, we have a funny little thing, now:

There are probably a gazillion things we could still add, but it’s already interesting. 🙂

Talk to us on Diaspora!

If you’re reading this in the future, check my profile for the latest thread called “Hex Describe, Face Generator, Text Mapper, and more” (see this old post for context).


Comments on 2019-10-09 Ten random dungeons generated

I like it! Looks very usable, especially with the yellow highlighting.

Jensan 2019-10-09 12:09 UTC

Thanks! Now that I look at the maps a bit closer I see that many of them are repeats. I need to think about the random number seed a bit more. I fear it’s simply taking the current time and passing it off to the mapp generator, which thus gets the same seed for every map. That’s not cool.

– Alex Schroeder 2019-10-09 13:50 UTC

This is killer Alex

froth 2019-10-15 18:54 UTC

Heh, all thanks to ktrey parker and J. Alan Henning who pushed me towards it because I was quite skeptical, and they wrote the random tables for it. Beautiful!

– Alex Schroeder 2019-10-15 20:36 UTC

Add Comment

2019-10-08 How to run away

I was reading @attercap’s blog post Run on his blog Attercap.net. It’s about running away – why this is good, when it is appropriate, and so on. Not a lot of time is spent on how to telegraph this to players:

Once the group is aware and in agreement that the game they want to play is a deadly game where the best way to fight is run and out-think the monsters, allow characters to die if they put themselves in the wrong place at the wrong time. Not only might characters fall by trying to stand their ground some might perish simply by following the wrong lead. This is the nature of that type of game.

Sure, the blog post also talks about the ongoing conversation that leads up to this, but in my experience this is not enough. Back in the days I would simply announce: “this is dangerous, you will have to run from strong encounters” – but it didn’t change the player’s mindset. They were still proud. They didn’t see the danger until it was too late. There was frustration at the table.

That’s why these days I’m convinced that there is more to it, simple signals that you have to broadcast for running away to be a likely outcome.

How do you surprise players and still say: you are taking a beating and you should run? Also, you really should run and not stop to turn around and use missile weapons because perhaps the dragon can still kill you all...

Here are some elements to a solution of this conundrum:

  • have ominous warnings of dire consequences before players commit to an action: petriefied people in front of the cave, a soul-sucking cold emanating from the burial mound, that kind of thing (players must know what they are getting into)
  • have a clear and visible exit that tells players: this is where we are going to be safe (if they feel that the dragon is going to find them always then they might decide that standing their ground is the most promising option)
  • make it clear that they will not be pursued at all or with a much reduced ferocity (for the same reasons as given above); communicate this by emphasizing that the main danger is much slower, can’t follow them, that forces will have to split, that they have other things on their mind
  • establish through previous experience that the party can come back later; no need to promise that the challenge is unchanged, but don’t scale challenges as the party grows in power so that they know leaving and growing in power is actually an option
  • have non-player characters suggest flight: retainers, onlookers, legends the bard remembers just now, any channel is a legit source of information

I think the most important thing for a campaign to work on the premise that characters die “if they put themselves in the wrong place at the wrong time” is that the players must put their characters in the wrong place at the wrong time. Only if they gnash their teeth and know that they risked it and they lost, only if they know that it was their own fault, only then can the referee continue to run such a game without turning it into an adversarial setup. You don’t want your players to dislike you on a personal level because you’re treating them unfairly. You want their characters to dislike their opposition. You want the players to love taking real risks for their characters. And you want them to know that – at least for a while – they can always back out. They can run away.

How do you handle this? Did your players simply adapt, or did the old players leave and new players took their place until it worked out for you all?


Comments on 2019-10-08 How to run away

I had an NPC with the party who suggested ’this room with the narrow door, stairs, etc, would be a nice redoubt if we get into trouble’. They got the hint and after that mostly looked for advantageous terrain to fall back to if necessary (it was rarely necessary but I like that they are thinking tactically).

– Ruprecht 2019-10-08 14:17 UTC

Yeah! And sometimes I think we can these preparations pay off by having foes fall for the traps.

– Alex Schroeder 2019-10-08 14:28 UTC

Running away is underrated. Not as a survival strategy but as a fun activity. Some of the most enjoyable encounters we had in our last campaign was trying to get away from something.

Like when we our low-level characters broke into a mafia-nobleman’s house and found ourselves hopelessly outmatched. Jumping through windows, hoping to make the DX rolls to not fall prone, as every foot counted. The Barbarian aced it by being able to knock the high level fighter prone (thus slowing him down) and rolling real high to swoop up the fallen PC and jump out the window and land on his feet in one turn. The rogue obviously had no trouble scaling garden the wall, but could then help the rest with rope, with arrows heckling our diminishing HP. But we made it over before they caught up.

It was a great scene. Running for your life can be dead exciting when executed well.

Anders H 2019-10-09 13:07 UTC

It looks super exciting! So what you did was an improvised number of skill or attribute checks, with failures decreasing the distance and thus effectively a certain number of failures allowed before the opposition caught up with you?

– Alex Schroeder 2019-10-09 13:55 UTC

on the fly ability checks for jumping and landing. Another, easier one, for running in darkness to the wall without stumbling (arrows hitting making it tougher).

It was not a long enough distance for there to be more rolls. The key really was getting up the wall before they closed to melee distance.

Or that other time when we took shelter in a villa fleeing from a murderous village horde (don’t ask). Ended up in a being cornered on the first floor, having set fire to the stairs to keep them out and were now trying to work out how to escape a surrounded building on fire. Two players got the job of doing nothing but frantically trying to work out a plan whilst the other two were doing regular combat rounds to keep the horde at bay (doors, narrow hallways and a burning staircase help a lot to hold your ground).

I don’t remember exactly how they got out of that villa. They somehow found a way to blow stuff up even more, and jumped out of a resultant hole in the wall, before finding shelter in a basement in a narrow street further down.

Let’s just say caltrops are a favored item in the group now.

Anders H 2019-10-10 13:40 UTC

Hilarious! 🤣

– Alex Schroeder 2019-10-10 14:48 UTC

Add Comment

2019-10-07 Old School Reading

I recently wrote about role-playing game books, and now I just found an excellent blog posts from 2016 by Joseph Manola on his blog, Against the Wicked City: OSR aesthetics of ruin. I must have read it before? I don’t remember. But it still speaks to me.

It talks about aesthetics: ruined buildings, ruined people, ruined societies, and the flora and fauna of decay and vermin. Back in 2013, Andy Bartlett wrote The Old School is Pathetic – A Rant on his blog Known World, Old World. From there we get the term pathetic aesthetic. This aesthetic of suffering is then picked up and combined with the idea of the sublime:

the immense mismatch between their fragile, mortal lives and their huge and ancient surroundings also inspires feelings of awe and grandeur: the aesthetic which used to be known as ’the sublime’

The blog post then goes on to talk about the juxtaposition of the two, calling it the pathetic sublime. And then we get to the meat of it: There is a reason for this aesthetic. It grows on you naturally, without you thinking about it, but if you want powerful machines that are unguarded, then you have it all:

  1. an ancient past that has come to ruins, leaving behind artefacts that can be toyed with
  2. weak characters that are prone to suffer, both player characters and non-player characters
  3. an environment characterised by the absence of authority

Or, as it gets put in the blog post:

Well-maintained social order is the enemy of free-wheeling adventure, and so the more ruined everything is, the more freedom PCs will have to run around inside it.

Now we’re talking about the Sandbox. This lack of control, the instability, these sources of chaos in the environment make planning impossible. In a sandbox, you’re playing to find out and if the referee plans to far ahead, they automatically constrain the freedom of their players, and if players plan to far ahead, the referee is simply going to roll some dice and adventure happens – or the referee is going to simply nod and say: “your plan succeeds.”

I find myself doing that quite often. Players are planning, and I am talking with them, at the table, offering counter arguments and asking them how they prepare for this and that eventuality. And when we’ve talked it through, then that was the game. There’s no point in replaying it. The plan succeeds. I think this is an extension of my approach to Rulings, in other words: the game is a negotiation.

These are not heist games where planning is a thing.

The blog post also goes into another effect that I’ve noticed:

Sane and organised beings are going to react rationally, efficiently, and collectively to an intrusion into their territory, which tends to short-circuit adventures; but if they’re weird and superstitious and crazy then they can react in much more varied and interesting ways

Indeed I have run into this problem: the players travel up and down the wilderness and I play the people they encounter as reasonable as I can. These are people that listen when you talk to them, that weigh benefits and drawbacks, make rational decisions, and sometimes I feel that these encounters end up being boring. Where are the clowns, the assassins, the power hungry kings, the bloodthirsty knights, the raving lunatics, the immortal meddlers? That’s exactly where the fun is!


Comments on 2019-10-07 Old School Reading

That’s where reaction rolls come in. Can also be used as a personality generator with a few tweaks.

Anders H 2019-10-09 13:11 UTC

I agree! On my screen I have a more elaborate reaction roll table, which I use for just that. 2014-08-21 No Dice has more info. I guess I’d love a little more variety so it’s by no means perfect. But it’s at least better than “yes” or “no”. 🙂

– Alex Schroeder 2019-10-09 13:58 UTC

Add Comment

2019-10-06 How to Prep

I just found this example of how I often prepare for my games, apparently from 2013. 🙂

Picture from my notebook

What do we see?

  • an annotated map
  • the map is very simple
  • monster stats
  • the encounters have minimal notes
  • an elaborate trap protecting a spell book (the main treasure)
  • some notes on other NPCs that might show up

I’d say that sometimes the proportions are different. In this case I started with the map of the tower, then the trap, and then the spellbook. These days I often start with the random encounters, which gives me ideas for the lairs, which leads to the map, and maybe to tricks and traps.


Add Comment



Please make sure you contribute only your own work, or work licensed under the GNU Free Documentation License. Note: in order to facilitate peer review and fight vandalism, we will store your IP number for a number of days. See Privacy Policy for more information. See Info for text formatting rules. You can edit the comment page if you need to fix typos. You can subscribe to new comments by email without leaving a comment.

To save this page you must answer this question:

Please say HELLO.

Referrers: Alex Schroeder 🧞‍♂️ (@kensanata@tabletop.social) - Tabletop Social osr The 2019 Great Blog Roll Call! osr Community Resources