Lil tip if you ever need a good early game villain for your low level d&d adventures: Today's landlords are directly analogous to barons and other petty fief holding nobles....
extracting value from a small handful to a few dozen families in exchange for seldom delivered "services",
letting their lands fall into disrepair while living in fleeting luxury and toadying up to those with actual power,
constantly coveting the holdings of their neighbors and contriving schemes to increase what they own,
fully willing to ruin people's lives (incluidng hiring mercenaries/the authority of the state) if they think the land you live on would be more valuable used some other way.
Then just slap a fantasy filter over your own worst landlord stories and let your party deliver catharsis on your behalf.
In my own example, there was the time that I and my fellow broke college students humble villagers were living in a cramped apartment with too many stairs fronteir logging settlement high up in the mountain valleys, which was probably illegal given that it wasn't up to code in any way left off the royal tax register so the lord could pocket all the money. When we had moved in settled there, it had been owned by one of the most widely known landlords in town most prestigious noble houses in the realm, but after a year or two few generations it got handed off to his shitass "handyman" brother who never fixed anything without explination an idolent second son who was denied his larger inheritence. The land lord never awnsered complatins about the mice monsters, the total lack of heating or cooling harsh seasons, or the mold problem creeping sickness and would only show up without warning every couple of months years to make changes no one had asked for. Things got very bad near the end when he alternated between not collecting the rents for months years at a time and trying to intimidate us into moving out for playing him... all because as he turned out he had forgotten how logging into his bank/email worked under the infuence of a minor demon of sloth.
Which is a pretty satisfying lvl 1-4 adventure arc if I do say so myself.
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I find it important for DMs to note that an Insight check is not a lie detector test where you get automatically yes or no. If a player successfully meets the DC requirement when detecting if someone is lying, there are better ways to word it. "What they're saying sounds overly rehearsed," "Their body language does not match what they're expressing," or "You notice they can't seem to make eye contact as they speak."
If you’ve ever tried to run a “murder mystery” in D&D5e, you know how it goes. There’s not much that can be rolled, the PCs’ abilities barely help them, they get stuck, the DM has to walk them through, etc.
If only there was an better way to do mystery adventures in a TTRPG!
When the players are about to visit a new town, pre-generate several NPCs who fit the demographics of the town, but don't give them jobs. Your town is Mostly human, with a number of halflings and gnomes? Make a list that's mostly humans with some halflings and gnomes mixed in, with names that match the vibe you're going for and maybe the barest description + a quirk of some sort.
So the list would look something like this:
Ophelia Bracegurdle, older Halfling woman who laughs a lot
Norabecka Johnson, a young human woman who seems tired
Geraldofinio Babblecock Nimsy, gnome gentleman who takes pains to maintain a fabulous mustache
Etc.
Then, when the players are like, "Can I go to the blacksmith?" You look at your list of NPCs and the one at the top is Ophelia Bracegurdle. She's your blacksmith now. Then they want to go to the tavern, where Norabecka is the innkeeper and Geraldofinio is a patron having a drink at the bar. He's using a straw so he doesn't mess up his mustache.
If they had gone to the inn first, Ophelia would have been the innkeeper with Norabecka as the patron, and then Geraldofinio should have been a blacksmith with some sort of mustache guard to keep the sparks off.
Making the list ahead of time doesn't take much time, and you can often re-use the people you never got to at the next town.
Your world will seem vibrant and interesting and like you have everything planned out.
Wanna distract your players for an hour whole you frantically search for that monster stat block you lost?
Introducing - Fabulous Fuablo's Fantastical Pets
A travelling pet store that appears right when it needs to, full of tiny adorable animals that will tempt your players and force them to come together to count gold for how much that fuckin bespectacled baby bat is.
Works every time. The more ridiculous the animals, the better.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
âś“ Live Streamingâś“ Interactive Chatâś“ Private Showsâś“ HD Qualityâś“ Free Actions
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“The sweeping hills of Faerun unfold before you as your epic adventure begins. Your companions beside you and a sword at your back, you walk.” We’ve all heard these words before. They’re the flowery language that Dungeon masters try to employ when they want to immerse their players in the game. As every player knows, these kinds of descriptions don’t always do the trick. While you can’t force your players to be perfectly immersed, there are some tactics that can help.
1. Music
Music is used in almost every piece of media it can be to immerse viewers into the story. Having some kind of background music can change the tone of a scene drastically. Although, just playing any kind of background music isn’t going to work.
1a. Playlists for Vibes
Doing a bit of deep diving into the themes that you want to explore in your campaign is integral to this step. For example, if you’re doing a typical DnD adventure, you will definitely want a “Travel” or “Happy” playlist. On the other hand, if you’re doing a dark, spooky campaign, you may want to have a “Suspense” or “Eerie” playlist on hand.
Here are a few ideas for playlist vibes to help you get started!
Travel
Calm
Battle
Happy
Suspense
Danger
1b. Playlists for Places
Discovering the tone of the locations in your world is a whole other blog post entirely, but once you have them in mind, you can start making your playlists. Having playlists for a location can help give players an idea of what that area might be like and they will act accordingly. These places can be as broad as “Forested Area” or as specific as “The Mischief Inn”.Â
When deciding, try to think about how you want your players to behave in these areas. How cautious do you want them to be with their actions? How do you want them to act around NPCs? How should they treat problems that they face? Combine these answers, and then find music that evokes the right mood to prompt those behaviors.Â
1c. Playlists for Characters/NPCs
Presentation is always key when it comes to introducing a character. Havinig certain songs that go along with NPCs greatly improves presentation! Assigning one song or in particular to a character can once again set the tone, but also make for some fun moments.Â
Picture this: your players have had a long fight through a dungeon, they’re on the way to rescue a beloved NPC, but haven’t found them yet, then suddenly there are those familiar beginning notes to the NPC’s song! The table erupts in excitement and your player’s gusto is once again restored. These fun moments can be absolutely pivotal for campaigns when your players are beginning to feel a bit worn down.Â
2. Address the Characters, Not the People
(Peep the Dropout reference)
Players getting to feel like they are their character in the world fighting monsters is the fun of DnD. So, you should address your players as such. If you want them to feel like they are their characters, you should also view them as their characters. Instead of “What does Alvera do?” ask “Alvera, what do you do?”Â
You can also remind players to have discussions in character. If players are talking about their plans for a heist, but they’re doing it all out of character, encourage them to have that talk in character instead! Putting your players into the position of their character making decisions on the fly is the perfect immersive tool.
3. Actions Before Rolls
Describing complicated maneuvers and convoluted plans is the heart of DnD. The plan is often far more important than the roll itself, and that is why I always ask my players to describe their action before they roll. This tip is something that I include in my set of “rules” that I’ve created over my years of being a DM.Â
This may look something like a player usually saying “Can I roll perception?” While this is okay, it doesn’t give much context as to what they’re trying to do or learn from this roll. A better sentence would be “While I’m walking into the tavern, I want to look around and see if I spot anyone who matches the description of the person we’re looking for.” That way, I as the DM know 1) What the player is looking for, and 2) How to give them an answer that will set them properly in the scene.Â
4. Let Your Players Do Cool Things
“The Rule of Cool” is the idea that a DM will abide by this rule and allow players to do certain things, even if it doesn’t completely follow the game rules. I do this quite often in my games since I tend to be a roleplay heavy DM and don’t often care as much for sticking to the rules.Â
Although, you don’t have to throw away the rules to let your players do cool things. Doing things like providing inspiration in a dire moment, having an NPC help a player on a roll, or even helping your players make new mechanics for their characters can make the game so much more fun. Creating a game where your players feel comfortable to ask you to do the “cool” things is the most important part.
Conclusion
Faerun doesn’t always materialize in your players minds how you think it will when using flowery language. It takes time, effort, and communication on both ends to work. Thankfully, just a few adjustments can go a long way to bringing your players into the world. Stay tuned for next time when I share the house rules I use in DnD and why they work!
Let's try something different, something I don't usually do, and I hope it won't cause me any problems. I'm republishing an old answer I gave to an Ask.fm user who asked for advice on the process of having intimate chats via instant messaging (DM). It was better to repost it than reblog it to edit the words used and offer it in my own language as well, but I didn't want to expand on the information it contains so that the basics are clearer. I could write a whole manual, not because I'm particularly good at it, but because I've made so many mistakes…
I'll try to give you some general advice that can be applied across a wide range of situations. First and foremost, CONSENSUS. Trust isn't easily built, nor is it simply given by asking or requesting interaction. Sometimes (I think more often than by asking) it arises after a gradual escalation of flirting and mutual attraction. So, don't just appear out of nowhere on someone's social media asking for or suggesting sex when you introduce yourself (it feels aggressive and almost guarantees a NO), and remember that things can always be misinterpreted, or the other person might not realize what's happening. If at any point someone tells you to stop, respect their decision without complaining.
Let's continue. As with any interaction, it's a give and take, so try to respond quickly. If you find it difficult because you're using your phone or typing with one hand, keep your responses brief. That's better than making them wait two minutes or more for a long and/or more witty reply. A good pace keeps people engaged.
Sigamos. Como en cualquier interacciĂłn, es un toma y daca, asĂ que intenta responder rápidamente. Si te resulta difĂcil por usar el mĂłvil o escribir con una sola mano, haz intervenciones breves. Eso es mejor que hacer esperar dos minutos o más para una respuesta larga y/o más ocurrente. El ritmo permite que la gente no se enfrĂe.
Whether you use your own images or images from the internet, that doesn't matter. Think of them like illustrations in a book: they should show something related to the text. Your words need to be present between each image. If it's more about looking at pictures than feeling like you're interacting with another person, it will become impersonal and competitive—just searching for pictures and that's it. There are plenty of images online, but this is about connecting with (and building a connection with) a human being; you need to make them feel a connection, or at least that you're there.
If your approach involves narrating a mutual encounter (future or pure fiction, a fantasy to enjoy together during the conversation), keep in mind that you're not the only one describing it, and you have to consider the material you receive: if it's about kissing behind the dunes of a beach, don't mention sheets. Consider what's possible and the sequence; if someone is tied up at the wrists, don't ask them to caress you. You have to maintain the continuity of the scene to contribute something coherent and not pull the other person out of the shared imagined fantasy.
Si tu forma de jugar implica narrar un encuentro mutuo (futuro o pura ficciĂłn como fantasĂa para disfrutar juntos de la conversaciĂłn), ten en cuenta que no solo describes tĂş y que debes tener en cuenta el material que recibes: si habla de besarse tras las dunas de una playa, no menciones sábanas. Ten en cuenta lo posible y la secuencia; si alguien está atado por las muñecas, no le pidas que te acaricie. Hay que tener en cuenta la continuidad de la escena para aportar algo coherente y no sacar a la otra parte de la fantasĂa comĂşn imaginada.
There's something I think isn't considered as much as it should be, and that's that the massive expansion of audiovisual media has atrophied our imagination and resources for creating written content (remember that I used to write erotic stories; I notice this point a lot). Don't limit yourself to what's perceptible, like sight and sound; try describing smells, temperature, and texture. Try to include a little of this in your sharing or narration. I think it will enhance the overall experience (you know what I mean).
Always be polite. Be mindful of whether certain practices or types of rough or humiliating treatment might be acceptable to the other person. Proceed with caution; you can break the mental connection with the imagined situation and even the desire to continue if you make a leap without ensuring, as I mentioned before, that you break the coherent flow. If you use harsh words, confirm that you can handle them and build up the intensity gradually. Also, be polite and don't abruptly end the conversation when you're finished. It's like getting out of bed and walking out the door in real life: you make the other person (who may not have finished and wants to) feel selfishly used for your own relief. All communication and personal exchange, whether in person or virtual (perhaps more so in the latter case), requires you to make them feel that you care about their well-being. Furthermore, they benefit from repeated interactions, learning about each other's priorities, so try to please them in every way.
This is all very basic, but I hope it's a general overview and that I haven't left anything out. With time and experience, you'll learn to read the other person better without them saying a word, and you'll develop your own style and techniques for creating mental images and escalating passion. Repeating interactions with the same people teaches you to connect better, although you can always discuss the game afterward or another day, and offer mutual suggestions of all kinds that will help you both be more satisfying. Remember that no one is born knowing or good at something; it depends on the other person and the connection. What one person would forbid you from doing might be what another person wants. Try to figure out what that is and keep it in mind.
🧠The D&D Prep Method That Is Actually GENIUS (And Why It Works)
Have you ever felt trapped in the DM paradox? You either over-prep and railroad your players, or you under-prep and your sessions feel hollow.
Well, Dungeon Master Brennan Lee Mulligan (of Dimension 20 fame) cracked the code, and it all comes down to his philosophy of "making toys."
This isn't just "prep less." It's optimized prep that works with how your brain is actually built.
🧱 The "Toymaker" Approach
Most DMs prep like architects—trying to draw detailed, rigid blueprints for every scene and conversation.
Brennan preps like a toymaker.
Instead of scripting scenes, he creates modular, reusable components (his "toys") that can be dumped into the game regardless of where the players go.
* The Toy: A reusable NPC, location, or monster.
* The Goal: Define its core properties (motivation, personality, immediate goal), but never its scripted dialogue or predetermined outcomes.
Think of a toy fire truck: the designer had no idea what story the kid would invent, but because it has core characteristics (it's red, it has a ladder), it works in any scenario.
đź’ˇ Why Your Brain Loves Modular Prep
Trying to improvise everything on the fly makes your games shallow. It's not a lack of creativity—it's cognitive overload.
Your brain's working memory (where real-time thinking happens) is severely limited (4–7 chunks of info). A DM is already maxed out just tracking initiative, player actions, NPC knowledge, and the current mood!
🧠The Cognitive Cheat Code
* Stop Extraneous Load: Writing detailed dialogue and scene descriptions creates extraneous load—unnecessary information your brain has to dig through and discard when players inevitably go off-script.
* Internalize the Pattern: When you focus only on an NPC's core motivation, you move that information from messy notes into your long-term memory as a pattern.
* Automatic Generation: When the players talk to that NPC, you're not searching for the right line you wrote; you're generating a response based on an internalized understanding of who that person is. This is largely automatic, freeing up your working memory for real-time creativity!
✨ Unlock the Flow State
By freeing up working memory, you make space for the truly magical part of DMing: Flow State.
Flow is that moment when DMing feels effortless, ideas flow naturally, and descriptions are perfect.
Brennan's method facilitates Flow because it ensures you have:
* Clear Goals: The modular toys (NPCs/Scenarios) have clear, active goals.
* Immediate Feedback: Player reactions tell you instantly what's working.
* Balanced Challenge: You have your tools ready ("toys") so unexpected player actions feel manageable, not overwhelming.
đź“ť How to Make Your Own "Toy" NPC
Stop asking "How much should I prepare?" and start asking "What kind of preparation will allow me to improvise?"
Here is a simple template to create a modular NPC:
1. The Two Core Questions (The Engine)
* What do they want? (e.g., To be recognized as the ultimate expert.)
* How do they pursue it? (e.g., By obsessively verifying every single detail, which makes them incredibly slow to publish anything.)
2. Performance Hooks (To make them easy to roleplay)
* Physical Detail: (e.g., Their hands are always stained with ink; they write notes on anything nearby—napkins, walls, the dirt.)
* Speech Pattern: (e.g., They constantly correct themselves mid-sentence, even over tiny details: "I was there 3 weeks ago... no, wait, 17 days.")
3. An Active Problem (The Immediate Tension)
* What is happening right now? (e.g., A rival just published a decent, but flawed, map of the region they've been working on for three years. Their life's work is about to be made obsolete.)
And voilĂ ! Your toy is ready. Need a guide? They can guide you. Need a quest giver? They need help solving their Active Problem. They'll react to any situation based on their internalized Core Motivation.
