Lore the Hermy Dermy

My Adventures in Dungeons and Dragons

[candyhysteria]

[sailorsenshigifs]

[galacticgoldfishart]

~Arin's Magical Girl Transformation~

[shionaster]

Blue screen of death

[dawnhorse]

Some sort of post apocalyptic magical girl woman

[dummy-dot-exe]

by アボガド6@avogado6

[brewerssupplies]

So I’ve been kind of obsessed with the concept of a druid circle around making tea and have been scratching my head since around October last year I believe just trying to figure it out and I finally did! So here it is! Hope y'all enjoy!

[PDF]

[Ko-Fi]

[funnymemes-and-kinkydreams]

[yourplayersaidwhat]

So I’m fitting a carpet and look outside and theres a really cool stick in the garden, so I take a picture and send it to the discord, my DM proceeds to make gold from it.

[susiephone]

i love how dnd, a game that involves a truly ridiculous amount of math, always seems to attract whole parties of players where only one (1) person can do basic arithmetic at maximum

[inkwell-attitude]

all the tips I found for drawing a fantasy map are like :) “here’s a strategy to draw the land masses! here’s how to plot islands!” :) and that’s wonderful and I love them all but ??? how? do y'all decide where to put cities/mountains/forests/towns I have my map and my land but I’m throwing darts to decide where the Main Citadel where the Action Takes Place is

[fatal-blow]

okay so i know i said most of this in the replies but it might be easier to actually reblog and say stuff instead lmao

Cities - go near water!  freshwater lakes and rivers (rivers especially) are the best places for cities because A) source of water and B) travel and trade is much easier cus you can put your boats like right there.  Basically ever relevant city ever was built on a lake or a river.

for rivers in general - because gravity, rivers run from mountains (forming from melting snow and ice (this is why they get fat in spring–more stuff melting)) to lakes/ocean where they can empty out (and even lakes will have rivers leading out that eventually get to the ocean), which can help when mapping out where those start and end.  rivers are also much thinner and faster in steeper elevations and very slow and wide when the land is flat

mountains - i like to think of what the tectonic plates look like because that’s what makes mountains!  mountains are also never standalone they’re always in mountain ranges (archipelagos are really just underwater mountain ranges babey).  a cool trick I like to do is occasionally separate mountain ranges across continents, because over time the tectonic plates shifted and literally split the range in half.  These mountains are really old tho so they’ve eroded and therefore it makes them smaller and rounder (like the appalachians) as opposed to relatively young mountain ranges like the rocky mountains which have taller and sharper peaks

Another mountain trick: if your mountains run along the ocean, the ocean side of the mountains will get a LOT of rain while the other side will be very dry–almost desert-like, in fact.  think of temperate rainforests in British Columbia vs the drier conditions in the canadian prairies

forests - depends on how warm the area might be.  coniferous forests are found further north (before you hit the tree line, and then it’s only tundra onwards) but as you head south you get leafier trees, and the leaves tend to get larger too

If you think about general elevation too, you’ll have places that might be swampy (wet + lower).  if your world has an ice age like we did, then glaciers may have carved the land, leaving piles of soil in the south that was left when the ice receded and places where the bedrock has been bared north of that (like the Canadian Shield in Canada–the reason we see that is because of the glaciers)

You might also have a land that’s dotted in a shitton of freshwater lakes as well because the meltwater filled the holes that the glaciers scraped out (this is why canada has so many goddamn lakes)

and if the ice age was more recent than it was in our world, then you might not even have the forest re-growth and it could be a lot of open plains

tl;dr i like to think of major climate events that might have also shaped the land on top of some basic rules

[possiblypedanticrpgideas]

The Artifexian has an entire series on building your world from literally the stars down and then the ground up.

Worldbuilding Videos - YouTube

All my worldbuilding videos

Though, for fantasy, you can make the world operate on entirely different principles:

With that done, the actual topic of city placement can be covered by videos like this:

Or

Once you have your places, if you want help naming them in realistic ways, this video can help:

This one is on architecture, which is definitely a subset of cities:

But for a more relevant practical guide on making settlements realistic:

Here’s a quick guide for making demographics:

[inkwell-attitude]

holy shit?

[jennaflare]

This is amaaaaazing advice

[gburanddragons]

Well, guess I have a new trick for my bag (of tricks).

[dare-to-dm]

Also, I can’t guarantee that having a degree in psychology will help make you a better DM, but I’m also not saying it won’t help.  I’ve used what I learned to improve player engagement at my table.

One of my favorite DMs has also had a BA in Psych, and my very favorite DM ever was studying psychology before they dropped out (though their drama classes may have more to do with why I love them so much).

[dare-to-dm]

To those asking “How?” the answer is mainly through my knowledge of behaviorism.  You can use behaviorist techniques to reinforce behaviors you like, and to dis-incentivize behaviors you don’t want.  In the context of table top roleplaying games, I like to reward my players for behaviors such as displaying creativity, team work, roleplaying in character, contributing to world building, being a good sport about failure, and bringing me food.  I try to discourage players from being rude, hogging the spot light, being too loud, interrupting, and being murder hobos.  I very rarely have to tell my players this is how I want them to act, but I pay attention to the circumstances and environments in which behaviors (both good and bad) unfold and strive to create an environment that fosters and rewards the behaviors I want to see. I tend to use positive reinforcement (aka rewards) for good behaviors and negative reinforcement (preventative measures) or light punishment (mainly ignoring, sometimes chastizement) for bad behaviors. 

I also learned behavior management as part of my training in education, so there you go.  Obviously anyone can apply these principles, and a lot of it is common sense, but I guess I would say I do it with more intentionality? 

[sanguinera]

How do you reward? Punish?

[dare-to-dm]

Rewards

D&D has an extensively developed reward system built right in!  XP, gold, loot, inspiration points, you name it!  These rewards may have mainly been intended for in-game actions, but I also use them to influence my players out-of-game behavior.  The trick is in the timing.  You want to pair rewards as close to good behaviors as possible.  Doing so conditions your players to associate the positive feeling from those rewards with their good behaviors.  So for example, if your players have an exemplary combat encounter, displaying creativity and teamwork, tell them they level up right afterwards, instead of at the end of the session.  If a player does something cool, give them an inspiration point right away.  Waiting too long diminishes the training value of the reward.

Of course, there are a lot of more subtle and//or creative ways you can reward your players within the game.  Other in game rewards include things like:

formal titles

property

custom designed loot

pets

relationship advancement with NPCs

access to better resources/intel

However, all of these rewards pale in comparison to the number one tool you have at your disposal as a trainer of behavior: attention.  Seriously, giving someone positive attention is one of the single most motivating things you can do.  This includes basic things, like actively listening to your player, smiling at them, laughing when they say or do something funny, acting really enthusiastically, praising them when they do well, and basically acting like you are their biggest fan.  There are more elaborate ways to give someone attention as well, such as:

Giving their character more time in the spotlight

Creating plot arcs that focus on their character development

Incorporating their backstory in your world-building

Lavishly narrating their actions/scenes in order to make them look as cool as possible

Creating fanart of their OCs

Having NPCs react in response to what they do, highlighting the effects of their decisions/actions on the world

On the flip side to this, denying someone attention can be a really effective way of getting them to stop negative behaviors.  So for example, I tend to ignore players when they shout at me, and wait to respond to them until they try talking at a more reasonable volume.  I also usually ignore players when they are being rude in general, when they talk over each other, when they suggest disruptively stupid ideas or when they say something somewhat offensive.  Often, players will stop these things when they realize they aren’t going to get anything out of it.

Punishments

When ignoring a behavior isn’t enough to stop it, my next course of action is generally to chat with that player one-on-one and make it clear that I want them to change whatever it is they are doing.  Communication is the solution to 95% of your problems! 

But even so, occasional prompts and light punishments may be required.  This generally involves either chastising the player (directly but briefly is usually most effective) or letting them suffer the natural consequences of their poor behavior.  Remember, this is most effective when done as closely timed to the poor behavior as possible.  Examples include:

Skipping a player’s turn when they aren’t sure what to do because they weren’t paying attention

Having their character suffer a negative consequence as a result of doing something stupid

Not letting the player “take back” something that they did because they were being intentionally obnoxious or not paying attention

“Mike, please stop interrupting Lisa”

“I heard you the first time, it just wasn’t funny”

“Chandler, please play video games on your own time”

“I tried telling you now would not be a good time to split the party.  You’re just going to have to be patient until we get through this scene with the rest of the group” (if the player is purposely ignoring plot hooks or what the rest of the group wants to do, give their PCs scant attention and focus your time on those who are playing in good faith)

This post got long!  But I hope it gives you some ideas of how you can “train” your players to act the way you want.

[dungeons-and-danis]

On structuring your campaign’s main plot line... (Part 2)

Now we move on to actually writing our plot! This will be laid out in a three act system, with various steps along the way. If you haven’t read part 1, I highly recommend you do so before starting on this guide! There’s some preliminary questions you should have answered before beginning your plot. I’ll try to keep this short and sweet where it’s needed. But without further adieu, we begin!

ACT I

PROLOGUE

This is the introduction to the plot, the PC’s, the NPC’s, and the general theme of the campaign. Essentially, this is our session zero where everyone get’s to know each other before things truly take off.

HOOK

This is where the main idea and possibly the main goal is introduced, and what gets your players hooked on the plot. It could be your party’s first mission. Whatever happens here and wherever you plan to place the hook, just be sure it introduces the common goal and foreshadows the main conflict at hand.

SETUP

This is the bulk of Act I, wherein the party learns about their characters, each other, their goals, and the stakes at hand through a series of team building quests and adventures. This should be the course by which the party hashes out their differences and becomes a true team.

INCITING EVENT

The legendary Call to Adventure for the party– the point of no return in which the players cannot easily turn back anymore once they abandon the normal world for their common goal and need for adventure. This should be the first glimpse into the main conflict.

BUILD UP

This is the point in which the final puzzle pieces necessary to pull the curtain on the main conflict at hand are moved into place, while also ramping up the tension.

FIRST PLOT POINT

The key event to the main conflict of the campaign being introduced. The party should know what is at stake by this point, and have a decent resolve to dedicate themselves to the common goal by now.

ACT II

REACTION

After the main conflict is revealed, the party must dodge and understand obstacles put in their way by the antagonist(s). This could be anything, so get creative with your antagonists’ antics and focus on things that can both bring your party together and tear them apart.

FIRST PINCH POINT

This is the point by which the party is reminded of the antagonists’ power. It could be a major loss, or a big win. Either way, this should reveal new clues about the nature of the main conflict.

REALIZATION

A major realization or discovery of some sort will hit the party, making their actions and reactions more informed… or cause them to go into a dark moment out of fear. Either way, they now know more than they once did about the conflict and the antagonist(s).

MIDPOINT (SECOND PLOT POINT)

The moment of truth where the party realizes the central truth about the nature of the main conflict. This could be the turning point, a major revelation that clearly lays out what the antagonist’s goals are now.

ACTION

The party makes headway against the antagonist thanks to new information or a new understanding. Of course, this doesn’t always mean they win. They just have more help and understanding at their disposal. What your players do with it is up to them. But the cards should at least appear to be in their favor at this point.

SECOND PINCH POINT

This foreshadows the third plot point and serves to remind the part what is at stake. This could also be a major loss, or a major win. But bring home what the stakes are currently and remind your party what they’re fighting for.

RENEWED PUSH

The party renews their attack against the antagonist and appears to gain some ground in their trials against them. How this inevitably ends up going, though, is always up to the dice and your players’ choices. There should be a give and take here, however. A tough choice, one could say.

ACT III

THIRD PLOT POINT

The third plot point usually involves a dark moment for the party. After the complicated events at the end of Act II, they usually will experience a reversal or a setback of some kind here, be that internally or externally.

RECOVERY

The party reels as they question their choices, their commitment to their goals, and their own worth and abilities. This is the defining moment for your players, and what they choose to make of it could make or break their characters and the campaign. This is their lowest point.

RISING ACTION

This is where the party begins preparation for the end. They set up their defenses for the final battle and begin preparing for the point of no return and facing the antagonist.

CONFRONTATION/CLIMAX

This is the final battle. A duel to the (literal or metaphoric) death. What occurs here ensures the party and the antagonist(s) cannot both walk away here.

RESOLUTION

This is the moment the party’s goal is met, usually resulting in the defeat of the antagonist. It becomes a physical impossibility for the conflict to continue.

EPILOGUE

Use this last step to ease the players out of the excitement of the climax and into the final moments of the campaign, including any epilogue narratives you may want to explore. I usually don’t even write this aspect out until the very end, because it’s so dependent on the climax and final choices of the players.

PART 1…

[theworldbrewery]

some inns at the edge of the world:

Bed, Bask, and Beyond: made entirely of thick frosted glass; it’s damp and muggy inside, full of tropical plants, with heat lamps hanging from the ceiling. staffed entirely by lizardfolk and yuan-ti. you swear you hear live mice skittering around but the bartender hisses and you mind your own business. 

Emerald Bay Inn and Resort: a stereotypical tropical hotel with spa, hiking tours, a private (nude?) beach, drinks served in a coconut husk, etc. located in the frozen tundra. penguins huddle for warmth near the sauna.

The Thrifty Shifter: a rickety-looking tavern run by three doppelgangers: Joe, Moe, and Bobo. Joe is eager to please, offering all the inn’s amenities and discounts–but he seems sleazy. Moe is a buffoonish fellow, endearing if a little exasperating. Bobo is clearly running the inn as a front for the Fantasy Mafia.

Briggs, Briggs, and Bridger: run by a polyamorous triad: Briggs and Briggs are an orc and a dwarf, respectively, while Bridger is an elf. their bed and breakfast hosts drag shows every other Friday night and their crepes are to die for.

The Nestled Trollhouse: tucked under a woodland bridge, the Nestled Trollhouse is run by one exhausted, overworked troll named Greg. His true passion is baking, and he is always trying out new chocolate-chip cookie recipes. Tastings are free of charge. They’re usually burnt. 

Inn & Out: has a Fantasy Yelp page, everyone is talking about it, and the food is incredible–like, five Fantasy Michelin Stars–but it’s so popular it’s always booked solid. they have an open reservation for the honeymoon suite in eight months.

Wyrd Sisters Hotel and Casino: founded by a trio of witches five centuries ago, but you’re pretty sure no one with magical power actually runs the place anymore. the desk clerk offers to read your palm while you wait for the bellhop but she always predicts “big winnings in your future.” Each room is decorated with a different Major Arcana card motif. 

(as always you can steal any of these and modify them however you like for your own campaign!)

[creativerogues]

My Strange Mini-Rules For Prices & Treasure...

Prices For Spell Scrolls

Cantrip: 10 gp - 60 gp

1st Level: 60 gp - 120 gp

2nd Level: 120 gp - 240 gp

3rd Level: 240 gp - 400 gp

4th Level: 400 gp - 640 gp

5th Level: 640 gp - 1,280 gp

6th Level: 1,280 gp - 2,560 gp

7th Level: 2,560 gp - 5,120 gp

8th Level: 5,120 gp - 10,300 gp

9th Level: 10,300 gp - 20,500 gp

Exceptions to the Rule…

Scroll of True Resurrection: 113,000 gp Scroll of Wish: 318,000 gp

Prices For Potions of Healing

Potion of Regular Healing: 50 gp

Potion of Greater Healing: 150 gp

Potion of Superior Healing: 450 gp

Potion of Supreme Healing: 1,350 gp

What Should You Find In A Treasure Hoard?

CR 0-4 125 gp - 300 gp in Total Treasure

CR 5-10 3,250 gp - 5,000 gp in Total Treasure

CR 11-16 20,000 gp - 45,000 gp in Total Treasure

CR 17+ 195,000 gp - 415,000 gp in Total Treasure

“Total Treasure” meaning the worth (in Gold Pieces) of everything the Party loots, including the Price of Magical Items, Potions, Spell Scrolls, Trinkets, Adventuring Gear, Weapons, Armor, Books & Tomes and Spell Components.

For Example, a Party loots a Adult Dragon’s Hoard and finds the following: 26,000 Gold Pieces, 9 Blue Sapphires each worth 1,000 Gold Pieces, a Bag of Gold Dust worth 25 Gold Pieces and finally a bejeweled drinking horn worth 100 Gold Pieces.

That comes to a Total of 35,125 Gold Pieces, putting it almost square in the middle range for a Treasure Hoard of a Creature of that CR.

[tartts]

me, with a vague plot idea, 1 (one) character name, and an outline that consists of mostly question marks: