#dm tips

[dnd-homebrew5e]

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."

Hope this helps anyone that struggles with this!

[inbabylontheywept]

Babylon's 6 D&D Tips

I DM’d D&D for ten years. I started in middle school, and I kept it up until my sophomore year of college. This is my mini-guide for what the game is, what it isn’t, and how to play it well. So. From the top.

Tip 1: Don't make your main storyline time dependent. 

D&D is an amazing open-world experience. You can pick at any detail. Nothing is a non-interactable part of the scenery. If there’s a sewer manhole, you can lift it up and climb down. If there’s a house, you can look inside and rob it. If there’s an NPC that you meet at the market, you can follow them home and see their whole life. Their parents, or their partner, their trade - all of it. It will be made up on the fly by some sort of reasonably skilled improv speaker, but it will also exist after that. That’s how the world is built. That’s the secret sauce that makes D&D beautiful.

If your plotline is too urgent, it kills those opportunities. The worst example of this that I have isn’t even from D&D, but FO4. The game is clearly built around exploration and adventure. The plot is built around rescuing your kidnapped baby. There’s a lot of tension between those goals. The plot does not work with the game mechanics, and it's really, really, jarring.

Be wary of doing that. It's surprisingly easy.

Tip 2: Don't set up giant, epic, fantasy battles between multiple armies. 

D&D is not a very good epic-battle simulator. There are games that have streamlined combat mechanics to allow for whole armies to fight, but D&D is very detail oriented, and trying to control too many people at once makes combat slow to a crawl. That very creative DM who can tell you every detail of an NPC’s life is also just not very good at multitasking. 

If you really, really want to - fine. But you should be ignoring standard mechanics when you do so. Move to a “cinematic mode” and just go by vibes. And generally, take a moment to “get” the game before modifying it. If the kind of plot you really want is urgent, and involves epic scale armies, maybe look into different RPG systems. D&D specializes in exploration and small, focused parties. Using it for things outside of that is kind of like hitting nails with a wrench. 

Tip 3: Don't prepare your plot like it's a book. Kill your lore codex. 

D&D is a collaborative storytelling adventure. That's the secret sauce. Writing out codexes and trying to crystallize the world before you start playing ruins the collaborative element. It’s genuinely better if you build as you go. It lets your players give input. And it saves you a lot of time. Why bother trying to write up who the Mayor of Snoresville is if there’s a good chance your party never even talks to him?  

(I would also apply this to writing in general. If you want to write all of your world's lore before starting your book, you'll never start your book. And you'll go crazy. Fear the lore codex.)

Tip 4: Prepare your combats and your NPCS rigorously, but generically. 

This ties in to Tip 3. If you spend a lot of time preparing the lore of the Bandit Leader of Redgrove, things like his family history, or his trauma, or his deep-down character motivations, and then the party never goes to Redgrove, it all goes to waste. D&D evolves rapidly and chaotically, so building things in a modular, reusable way really pays off. 

So. I tend to have two big pools for my NPC work. One is a character sheet pool. I keep it small and focused. I can generalize most melee classes ahead of time, so I can have an Archer, a Brawler, a Tank, and some Generalist Infantry. That’s like, 80% of your martial enemies, done. Spellcasters are a bigger pain in the ass, but a few pre-mades thrown into a campaign pays off if you know your themes. If you’re dealing with a death cult, make some death clerics. A dragon will probably have sorcerer acolytes. 

My second pool is a pool of character mannerisms. Some should absolutely be practiced ahead of time. Figure out what mannerisms make your villain really pop. And if the party skips that villain, just move those mannerisms to some new guy down the line and you’ll still be fine. Nothing wasted. A lot of the mannerisms are going to be picked with no heads up when the party does something weird, like following a random merchant around for a few days just to see how they live. You can get through almost all of those extremely well with just variations on the 4 humors, the 3 socioeconomic classes, and regional dialects.

Tip 5: Give your players permission to inject themselves into the world. 

It is common for people to over-formalize the rules and responsibilities of “being a player” vs. “being a DM.” I think the most common way to phrase it is something like “The Players are in charge of their characters and their backstories, the DM is responsible for the worlds and its NPCs, and both need to stay in their lanes.”

It’s isn't just better to mix it, it's necessary.

Failing to share these roles forces the world to exist in a crystallized state before the campaign even starts - at least if you want to integrate backstories into the plot. Groups that fail to do this can often feel like the characters were born the day the campaign began, and did nothing interesting beforehand. 

So, for DMs: Don’t be afraid of trying to inject NPCs and details of this world into your player's past. Imagine that your party rogue goes into a town and finds a fence for selling some stolen trinkets. Maybe, have the fence recognize the rogue. “Gods of fire, it’s McClellan. I haven’t thought about you since the candy-rat incident. You took a real beating making sure I got away that day. Glad to finally have a chance to pay you back!” 

Now, the rogue still has a choice here. They can say something like “Ah, this guy is mistaking me for someone else, but I can roll with it to get a better deal.” It’s their character, and their choice. But they can also go, hey, I do know this guy. I was apparently part of something called “The candy-rat incident.” I can decide how I know this guy, and where, and for how long, and what that incident was. That’s not less control - that’s more! 

And for players: Don’t be afraid of injecting your past into the world. Maybe you’re a fighter in a wartorn setting and you run into a group of deserters robbing refugees by the roadside. The DM has clearly planned this as some vindication, some enemies you get to thrash without feeling bad. But you have different plans. You take your helmet off, and you look the deserter’s leader in the face, and you say “Jack, you saved my life back on Stone Ridge. You were a good man once. You could be one again. Ride with us.” 

Now that's powerful stuff. Do you even know what Stone Ridge is? Hell no. Are you gonna? Hell yeah. And what you just did was way better than the DMs plan of bonking bad guys to feel good. You changed the writing of the world, commandeered an NPC, and made the whole encounter far more interesting.  

Tip 6: Ignore all portrayals of D&D in the media. 

The best players that I get are people with no experience with D&D of any kind. The second best are those that are willing to drop their preconceptions at the door and just play. The worst are people that have seen D&D portrayed somewhere and are insistent on imitating the portrayal. The exact nature of the failure varies - at worst, they’ve seen some kind of tongue-in-cheek parody, like order of the stick, and then hyperfocused on all the worst parodied aspects as the whole point of the game. D&D is not about outsmarting the mechanics (which is trivially easy, and largely pointless - it just makes your own storytelling less fun), nor is about turning everything into shallow tropes about Horny Bards and Dumb Fighters and Insufferable Paladins. At best, they’ll have seen some kind of ultra-cinematic example of D&D played on a podcast, where the DM has a theatre degree and ever party member is a professional actor. Those people are nice, but they often have unrealistic expectations.

[dailyadventureprompts]

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. 

[anim-ttrpgs]

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!

[swordshapedleaves]

This is I think, my best prep tip as a DM:

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.

Have fun!

[quinnyyyleft]

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.

[andynthestars]

4 DM Tips That Are Proven to Improve Immersion

“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!

[cebra-gris]

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.