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."
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Overhauling Exploration with the Illuminated Room System
Artsource
Despite playing D&D for over 20 years, every so often I'll encounter a bit of DM advice that completely changes the way I run my games. When it happens, it often feels like I've discovered a way we were always SUPPOSED to be playing, solving a problem that I'd had for years and sending me into a rage spiral about why no one seemed to figure this out back when I was first learning the game.
Lo and behold, two of my favourite online DM channels happen to hit upon the same idea mere months apart.
TLDR: To improve the efficiency and clarity of our exploration based gameplay, we should borrow from videogame UI design which makes it easy for players to know what to do by highlighting things players can interact with. From there, escape room design takes over, as interaction reveals new information, challenges, and puzzles.
More ideas about how to use this system (and my own ideas about spicing it up) under the cut.
Again, I cannot overstate how much this technique has overhauled my games, improving everything from dungeoncrawls to mystery investigations. It’s succinct, it’s direct, it’s easy to both design around and run at the table. It helps focus the party on what’s been prepped without restricting their options, and it’s even communicable to other games like MOTW.
One of the things I like most about it is that it’s scalable: while the system works to describe individual rooms, you can also use it to describe entire floors in larger structures, or even regions of wilderness for far ranging adventures. You can even mix and match, detailing the exterior region around the dungeon as the party searches for an entrance before zooming in to smaller and smaller areas.
Tips and tricks:
Since this system is all about revealing information, it’s important you know what that information is pointing to. What’s your party’s goal in the dungeon? Are they exploring ? Give them information about the background of the area? Are they looking for something specific? Hints and clues towards its actual location (though they may need to connect the dots). You can also use this hidden information to forecast future threats, or tempt them onto exploration sidetracks.
On that same topic, you can give your dungeons a sense of life and history by connecting a few of these points of interest into their own narrative threads. Escalate the threat of a haunted tomb by leaving clues about a group of thieves who tried to delve it beforehand. Play up the chaos and comedy of an absentminded mage by leaving his research notes scattered about. Players are completionist by nature, and humanizing the lore will only make them want to know the endings even more.
MIx minor hazards into your investigation to keep things interesting. A chance for minor damage or afflictions every couple of “rooms” will keep the party on edge without punishing them for their curiosity. You can also through a more major threat in there (room level trap, lurking combat encounter, debilitating curse), but in this instance the “highlighting” should give the party a chance of not getting ambushed.
I like to pair the illuminated room system with my framework for random encounters, having every “round” of exploration adding a unit of time. I also let my players spend time to “brute force” any of the failed rolls they might have suffered, (fully tossing a room looking for a single journal, trying every combination on a safe etc.)
You can even have illuminated room exploration in the aftermath of the battle, mixing clues dropped by the party’s foes with things that were already in the area. This is a great way to double up during the dungeon design process, designing a setpiece combat arena as a place of investigation and viceversa.
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.
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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”.
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.
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.
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.
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?”
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.
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.
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.
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…
Eros via DM: some tips
Eros via DM: unos consejos
Vamos con algo distinto que no suelo hacer y que espero que no me de problemas. Recupero una vieja respuesta dada a un Ask que me pedía consejo para el proceso de charlas íntimas por mensajería instantánea o DM. Era mejor republicarlo que hacer reblog para editar palabras usadas y ofrecerlo también en mi idioma, pero no he querido ampliar la información que trae para que quede más claro lo básico. Podría escribir un manual, y no porque sea muy buena, sino porque he vivido muchos errores…
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.
Intentaré darte consejos generales que se puedan aplicar en un amplio espectro. Antes de nada, CONSENSO. La confianza no se desarrolla fácil, ni se da solo por preguntar o pedir esa interacción. Otras veces (creo que más habitualmente que pidiéndolo) surge tras una escalada de coqueteo y calor mutuo. Así que no aparezcas de la nada en las redes sociales de nadie pidiendo o sugiriendo tener sexo al presentarte (se siente violento y casi garantiza un NO), y recuerda que siempre puedes malinterpretar las cosas o la otra persona no darse cuenta de lo que está pasando. Si en algún momento se te dice que pares, respeta su decisión sin quejarte.
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 interacción, es un toma y daca, así que intenta responder rápidamente. Si te resulta difícil por usar el móvil 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 enfríe.
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.
Si usas imágenes tuyas o de la red, no eso no importa, considéralas como ilustraciones en un libro: deben mostrar algo relacionado con el texto. Tiene que haber tus palabras entre una y otra Si se trata más de mirar imágenes que de sentir que interactúas con otra persona, se volverá impersonal en competitivo buscarse imágenes y ya. En Internet hay muchas, pero esto va de tratar (y calentar) a un ser humano; debes hacerte sentir conexión o al menos que estás ahí.
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 ficción como fantasía para disfrutar juntos de la conversación), ten en cuenta que no solo describes tú 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 fantasía común imaginada.
Personally, I think that to avoid this, it's best to frame the situation: "I imagine you're meeting me at a roadside motel," and accompany it with unnecessary and completely impractical details, like mentioning something on the nightstand and the motel's Bible in a drawer. This helps the other person think of clichés they've learned from fiction. Sometimes, these details can inspire ideas. For example, if you mention champagne in an ice bucket, the idea of an ice cube to caress the skin might come to mind. Details like a television that neither of you pays attention to don't, in my opinion, provide usable elements in the sense described earlier, but making them imagine the sound in the room creates atmosphere, and that always helps. God (and the devil) are in the details.
Personalmente, creo que para evitar esto, conviene plantear la situación: «Me imagino que te encuentras conmigo en un motel de carretera», y acompañarla con detalles innecesarios y totalmente imprácticos, como mencionar algo en la mesita de noche y la Biblia del motel en un cajón. Esto ayuda a la otra persona a pensar en clichés que ha aprendido de la ficción. A veces, estos detalles pueden inspirar ideas. Por ejemplo, si mencionas champán en una cubitera con hielo, puede salir la idea de un cubito de hielo para acariciar la piel. Detalles como un televisor al que ninguno de los dos presta atención no creo que den elementos usables en el sentido de antes, pero que les hagas imaginar el sonido en la habitación es crear atmósfera y eso siempre suma. Dios (y el diablo caliente) están en los detalles.
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).
Hay algo que creo que no se sopesa tanto como debería, y es que la expansión masiva del audiovisual ha atrofiado nuestra imaginación y recursos para crear contenido de forma escrita (recuerden que yo solía escribir relatos eróticos, noto mucho esto que señalo). No te limites a lo apreciable como imagen y sonido; intenta describir olores, temperatura y tacto. Intenta introducir un poco de esto al menos en tu compartir o narrar. Creo que mejorará el nivel de satisfacción de la experiencia (ya sabes a qué me refiero).
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.
Sé siempre educado. Ten cuidado de saber si ciertas prácticas o tipo de trato duro o humillante pueda valer a la otra persona. Ve con cuidado, puedes romper la conexión mental con la situación imaginada e incluso las ganas de continuar si das un salto sin asegurarte como dije antes de romper la continuad coherente. Si usas palabras duras, confirma que puedes y haz que suban en escalada. Se también educado para no abandonar la conversación bruscamente cuando termines fisiológicamente. Es como si en la vida real te levantaras de la cama y salieras por la puerta: haces sentir a la otra persona (que quizá no haya terminado y quiera terminar) como si la hubieran usado egoístamente para tu alivio. Toda comunicación e intercambio personal, ya sea en persona o virtual (quizás más en este último caso), requiere que le hagas sentir que te preocupas un poco por su bienestar. Y además, gana con las repeticiones conociendo prioridades del otro, así que procura contentar en todos los aspectos.
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.
Todo esto es muy básico, pero espero que sea general y no dejarme nada. Con el tiempo, con la experiencia aprenderás a leer más a la otra persona sin que diga, y desarrollarás tu propio estilo y técnicas para poner imágenes mentales e inducir escalada de pasión. Y repetir con las mismas personas enseña a conectar mejor con el otro, aunque siempre se puede comentar el partido después u otro día, y hacerse sugerencias mutuas de todo tipo que te ayudarán a satisfacer mejor. Recuerda que nadie nace sabiendo o es bueno en algo que depende de otra parte y conectar. Lo que te prohibiría alguien puede ser lo que demande otro. Intenta averiguar qué y tenlo en cuenta.
🧠 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.
💡 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.
📝 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 voilà! 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.