Sunday, August 16, 2026

If D&D Classes Made Sense - Managing Expectation

One complaint I have about modern D&D (5th ed) is the culture around this edition; The people who play this game think that it's fiction, therefore anything goes. It's the Smash Bros of TTRPGs. There's no cohesion, consistency, or curation. It feels like playing make believe with every toy in the toy box, even toys that don't go together. I don't like it. Some people don't care, and good for them. I mean that. I don't like it, and I recognize that my point of view might make me that picky kid who doesn't like it when their mashed potatoes touches their corn. I get it.

Here's my take on the D&D classes. It's going to sound like a guy on the internet telling you your fun is wrong, but that's not the intention! The intention is to share my perspective and find people who agree with it. Hypothetically, I could finally find the people I really want to game with. I don't count on changing people's minds, but maybe they could appreciate my perspective.

Artificer
I don't like crafting class because if your character could make anything of market quality, why would you choose to crawl into holes and fight monsters for gold? The premise already doesn't make any sense, but that's not all! For purposes of game balance, there are very arbitrary crafting restrictions built into this class that make no sense in a believable make-believe setting. Those being that you can make only X number of items at a time, and if you want to make a new item, you have to break an old one. Yeah, OK. That doesn't sound conspicuously like a game-y design idea. If your character was asked "how come you can only make three magic items?" what answer does your character have? The answer describes the way that character class fits into the setting and the world. Seriously, how come you can only make three magic items? And do they only work for you or can you pass them out? Do their bonuses stack? Do their bonuses disappear if you die? How does that make sense? Seriously, it makes me ask too many questions.

And then there's the idea that you can craft things during a short or long rest (OK, so I have never read the rules for this class, but I think that's how it goes). Listen, I've watched videos on the internet about blacksmithing. That is not light activity. It's labor. Also, imagine you're on the road and your friend pulls out a little baby anvil and starts hammering out a suit of armor while you're trying to nap? There's no way you're going to be able to get a wink. It's a built-in absurdity of the class that no one thinks about until they start making jokes, and jokes lead to spoiling the tone of the game. I don't like it.

Final, any crafting class needs to break the crafting rules of the game to be viable. The crafting rules of the D&D game are trying to describe a world where crafting is a time-consuming endeavor. If a standard craftsman in the setting wants to make a sword or anything valuable, it's going to take a week or longer. Based on the rules, it's going to take a blacksmith a year to make a suit of plate armor. That doesn't just describe the crafting rules, it describes the logic of the world. It might also be realistic which helps make the world intuitive, which is a benefit to your game and your fiction. Then the artificer can just beat one out during a rest. Sorry guys, that's immersion breaking. This class doesn't make sense because it forces us to make concessions to the logic of the setting to make the class work.

I will circle back around to the concept of crafting classes at the end.

Barbarian
The Romans used the word Barbarian to describe either a foreigner or someone who was non-Roman, and specifically a foreigner who is uncivilized. The Roman's didn't know everything about their non-Roman neighbors, and they didn't care. The word Barbarian could be used to describe many other cultures all at once. It didn't matter to the Roman. In other words, a barbarian is a person who comes from another culture that was assumed to be less culturally or technologically developed than Rome. In D&D, a barbarian is some kind of warrior that gets more powerful when they're angry. It's stupid, and it's stupid how we went from one thing to the other thing.

To me, barbarian is either a culture within the setting (so a background rather than a class), a character flavor, or a subclass of fighter. Maybe all three. I don't think we need it as a class.

I think raging is flavor, not an action. I think it's a good idea to look at other TTRPGs and see how they design something because the reality is every design is a solution to a problem or an answer to a question. Let's talk about GURPS for a second. GURPS is a game that tries to create rules that describe reality. This allows the system to be setting and genre neutral. In GURPS, anyone can make an All-Out Attack as an action. When you make an all-out attack, you choose either to hit harder or you make a multi-attack (with a penalty to accuracy?). Now, as a mechanical trade-off to making an all-out attack, you take a temporary penalty to your defenses. The logic here is that you are fully committing to an attack and so you don't focus of defense as much. It makes sense. I think this is how D&D rage should work, but in D&D, it's the opposite. I think D&D rage is stupid, but GURPS all-out attack is smart.

Bard
I really like the D&D bard, I really do, but I also think "magical musical talky-guy" is a really stupid concept for an adventuring class, and I think most D&D players who pick bard also use it as an excuse to make a joke character, and I think that sucks.

Have you ever wondered where the word bard come from? A bard is a type of druid-in-training, not its own separate concept. Bard is an intermediate level that takes on the role of storyteller. See, Druidism is believed to be an oral tradition; that means they didn't write anything down! Instead, the druids memorized everything, and they passed knowledge down exclusively verbally. The druid's training involved a lot of developing a strong memory and memorizing a ton of stories. The bard was therefore the level for a druid-in-training that focused on the memory and memorization. Storytelling was their role as this allowed them to exercise all this memory training. I am of course talking completely out of my ass because everything we know about druids comes from secondary sources because the druids themselves didn't leave a record behind due to being an oral tradition. I have no idea what Gary Gygax was thinking when he created the bard class. Can you imagine how D&D might be different if Gary had the internet when he created D&D?

Do you know what a skald is? It's a warrior poet. For clarification, the warrior poet was not warrior who was artsy. He was a proper warrior. His job on the side was to take the accomplishments of himself and his allies in battle and record it in the form of a song or poem so. That's it. Maybe he could help with the prestige of his companions. You can't fear or admire someone if you've never heard about them. What better way to hear about someone than to hear a fantastic story or poem or song about their bravery and triumphs? The skald probably got a bigger share of the spoils for taking on this responsibility too. To clarify, the skald was not some goofy looking MFer in the back wearing pantaloons and a plumed hat playing a lute in the middle of a skirmish and making allies slightly more effective one by one. That's goofy. It makes the fiction of the game hard to take seriously.

As an exercise, ask what if a wandering poet, traveling-musician or adventuring performer was its own social class or culture within the setting. In my eyes, you might be able to justify the D&D bard if you came up with something that makes sense. I'm imagining gypsies from Disney's Hunchback movie.

At the end of the day, if you want to be a musical or poetic character, you don't need a class to realize this concept. Anyone can be a musician or a poet. The game does not need to come up with rules for being artistic and balance this against other skills or powers.

Cleric
What does cleric mean? It means "of the clergy". Historically, the clergy is a social class. You know, social classes in a class system like peasanty, merchants, nobility, etc. In a society where religion is important, the clergy is the religious class. The priests are their own class distinct from peasants and nobility. So, in summary, a cleric describes anyone who is a part of organized religion. What place or role within organized religion? It depends on the religion. By some stretches, a cleric could mean a random worshipper who got powers from God because you're particularly devout (think Joan of Arc). A cleric would be assumed to be a priest or a priest-in-training. A cleric adventurer is a little different. A cleric adventurer is assumed to be a missionary, a traveling monk or friar, a templar knight, a war-priest, something like that.

All that being said, I don't like how 5e says that Clerics can get their powers from an ideal. I think that sucks. If you're a cleric, you are a religious character! Pick a religion or god, and follow the rules of that religion or god.

Druid
I don't like the concept of the fantasy druid because I don't know what the heck it a fantasy druid is supposed be. I think people think it's some kind of nature wizard. If you want to be a nature wizard, just be a wizard who likes nature. Historically, and for clarity I mean historically in real life on planet earth, Druids were just the priest class of another religion (see my rant above about clerics describing a social class). Therefore, in my opinion, Druids are just clerics.

And no wildshape. I don't need you people turning my game into a Hannah Barbara cartoon with goofy talking animals. You play your characters like Scooby-Doo; You know 90% of druid players do that. It's goofy, stop it.

Fighter
What is a fighter? It's kind of an abstract label. It means someone who fights, right? Let me put it like this, if fighter describes a social class in your setting, it describes the military class. A fighter can therefore be any sort of soldier or warrior from pikeman to legionnaire to knight to samurai. Your flavor of fighter therefore should suit the setting.

I'd believe that mechanically, barbarian, ranger, and Paladin, even bard if you only consider of the warrior poet variety (see my rant about bards), should be variations or subclasses of fighter, not their own distinct classes. Let me try to convince you. Barbarian warriors are just fighters from another culture. Rangers have traded heavy armor for wilderness survival skills. Paladins are religious fighters. Read my sections about these specific classes for more. I also have thoughts about the monk as a fighter, but I won't discuss that here. 

The fighter should be the strongest martial class. There should not be a stronger martial class unless they're a prestige class. By prestige class, I mean a class that must be earned through merit and a class that has additional training, tools, powers, skills, or etc., that the average fighter does not have.

Monk
I don't think the monk belongs in D&D because the monk comes from another genre. I know there are people who disagree with D&D being strictly fantasy genre, but I like D&D as being strictly of the fantasy genre, and Monks come from kung-fu (or Wu Xia) genre. Here's why they don't go together. The martial artists of the kung-fu have a mystic power that comes from chi or ki. It gives them superhuman powers like a low-level superhero. They can do things like take hits from sticks without feeling it, take hits from blades without being cut, snatch live arrows out of the air, leap great heights, and fall great heights without harm. It's cool! It really is! But, in the words of Branden Sanderson, it's a soft magic system. It's a separate magic system from the D&D or a fantasy magic system. In my mind, it does not belong, like a square peg in a round hole or like macaroni art on the Mona Lisa. Further, I think it's valid to argue that your setting doesn't have a mystic life force or vitality (chi or ki) that one can train to become superhuman or have extraordinary abilities; and also that magic cannot be harnessed by a fighter to the same effect. I think that's completely valid! In D&D, a monk can punch ghosts - ethereal, intangible beings. I think that is at odds with the logic of the world that I would like to create (right now).

I would substitute a pugilist for the monk. Pugilist means barehanded fighter. Think boxer plus wrestler. It's a pit-fighter. I would make it a subclass or a variety of fighter. Maybe it's just a flavor of fighter and not necessarily its own class. If you look at my definition of what a fighter is in the Fighter, it's anyone who is trained in the art of war (essentially). And so in some cultures, the martial artists pugilist would be the fighter. I personally don't think it's even a stretch. Any monk feature or feat that is plausible for a human adventurer in a fantasy setting is fair game for a fighter-only feat.

Paladin
A paladin is something Gary Gygax made up. I can't say what he was thinking, but Paladin is a word that is derived from the Latin palatinus which means "of the palace". Do you see the connection? Palace. Paladin. Both words contain pala. Anyway, Paladins historically are the soldiers who are of the palace. They are essentially equivalent to the presidential security or secret service. You only put your best and most loyal guys in charge of the personal residence and protection of the royalty. In addition, since they're going to be the presence of the foreign delegates and other political guests, you want your security force to make you look good and reflect well on you. They are therefore going to be expected to have good etiquette meaning manners; not just manners, but they need to be able to speak properly to the noble class. Does any of this make sense yet? Elite soldiers who are very loyal to the laws, look presentable, and speak well. That's a paladin.

OK, so what about the weird fantasy powers of the paladin? You know, the healing touch, the summoning a majestic steed, divine sense, divine aura, divine spellcasting, immunity to disease, spellcasting, and the smiting evil? They do not get it from an oath! I wave my hand dismissively at your nerdy fantasy crap. The only power that's cool is the healing touch, but only for a religious paladin. Here's the logic for that. Some kings have divine right to rule. That means their right to the land over which they rule comes from divinity, id est God. So, if the king's authority comes from God, then it logically follows that their most devout followers should get a splash of that divinity. Not all of it, just a hint of it that validates their king's divine right. The paladin is therefore a religious character and a variety or subclass or prestige class of fighter - not its own separate class.

Ranger
I think I'm halfway through the classes. Phew. Geeze. I'm such a nerd. Anyway, what is a ranger? Well, what is a range? In American English (the best English), the open range describes an area of land without boundaries. A range-er is therefore someone who lives or works on the range. But that's not entirely what a ranger is.

Imagine a frontiersman. What is a frontier? It's an unexplored area of wilderness where various dangers might live; typically, other cultures and specifically underdeveloped cultures. Apologies if you're sensitive to rhetoric that is not culturally sensitive, but the historic reality of the American settlers and the American natives are bloody, and it's not one-sided. Frontier life for settlers was dangerous, and this sort of conflict is what early D&D resembled with remote villages and fort towns on the edge of society where adventurers would start their adventures and push deeper and deeper into hostile, monster infested wilderness.

Or imagine a borderland. A border between kingdoms is not always distinct like a line on a map. Sometimes historically, a border was very unclear spatially; it might be unclear where one kingdom and its laws ends and the law of another kingdom begins. Therefore, the people who lived on a border might have neighbors with allegiances to the other kingdom. The borderlands were a place where the jurisdiction was unclear, and so the enforcement of the law might be messy.

What I'm trying to describe with these concepts of a range, a frontier, and a borderland is a place where people can more easily get away with crime and lawless behavior. Outlaws can hide out. Other threats to civilization lurk miles away and can attack randomly. A ranger is therefore a subclass or variation of fighter who specializes in fighting in the wilderness. They trade armor for outdoor survival skills.

Rogue
When most people think about the rogue, they think about the dexterity class. I don't. The rogue is derived from the thief class of classic D&D. The thief class was basically the normal dude of the group, but they had skills. They were (and are) the skill class. They couldn't hit as well as a fighter, and they couldn't avoid hits as well as a fighter. Instead, they could sneak, hide, listen for noises, disarm traps, pick locks, climb ropes, pick pockets, and backstab. That's what they did. They were a skill class, not a combat class.

Skills are based on intelligence. I'm not describing how D&D works, I'm describing how skills work in real life. Skills are something you learn through study and improve through practice. Mechanically, thieves benefitted from being dexterous, but in reality, learning and mastering skills is benefited by having high intelligence. In 3e D&D, you got skill points to invest in skills, and your skill points were based on a combination of class and intelligence. In GURPS, intelligence is the basis for about half the skills in the catalog.

Sorcerer
A sorcerer is someone who has magic through an innate ability rather than book-learning like a wizard. Their innate ability comes from a magical bloodline, like having a dragon or some other magical creature somewhere in your ancestry. For clarity, you are not part dragon or part devil or part fey or whatever, you have a trace of that magical bloodline. Your pool of spells is therefore shallower than a wizard. I don't think this should be its own class; See wizard.

Warlock
A warlock is someone who has made a pact with an extraplanar entity, like a demon or devil for example, in exchange for magic. For clarity, your magic is granted by this bargain. I don't think this should be its own class; See wizard.

Wizard
The wizard in modern D&D is derived from the Magic-User in classic D&D. Mechanically, they can learn almost any arcane spell with research and by recording it in their spellbook. Thus, we have the tradeoff.

What's a magic-user? It's anyone who uses arcane magic. The idea was that we don't care what kind of magic you used, or what kind of magic-user you were because if you used magic, you were a magic-user. The wizard is a concept that, like druids, I don't know if I fully understand. It's a kind of magician - someone who uses magic. What kind? I don't know. I don't care either. There's no real-world equivalent. Similarly, what is a sorcerer or a warlock? I don't care. They're all magic-user and I don't care!

Therefore, I want magic-user or mage to be the class, and I want Sorcerer, Warlock, and Wizard (maybe bard or druid) to be flavors or subclasses or variations, not distinct, separate classes. What is the origin of your magic? How does it work? I don't care. You're a magician. No one cares. The kind of magician is not special, just like how the kind of fighter someone might be is not special. Calm down.

Crafting Class(es)
As I said earlier, if you can make quality goods for a living, why would you crawl into holes and fight monsters for gold? Let me rephrase the question like this: If you could make and sell Rolex watches for a living, why would you instead earn a living by fighting wild bears? Why wouldn't you just work for a living? Craftsman as adventuring classes are therefore a bit nonsensical.

I think modern D&D came up with a pretty good solution to crafting skills. 3e D&D had a single crafting skill for mundane goods, and a single crafting skill for magical goods, but 5e divided crafting into tool sets. You can get proficiency with a tool set through a background (or a feat?). Each tool set describes a single discipline or trade. Proficiency with a tool set allows you to create goods of that trade. The game doesn't use the term tool check and that is its first weakness! Its second weakness is that the catalog of crafting formulas and recipes and etc. weren't included or viable until they released one of the supplemental books, and it comes across like a patch or a fix.

So, if you want to be an alchemist in D&D, get proficiency with alchemy tools, and bang, you're an alchemist. It's not an adventuring class, it's a thing you can do now as an adventurer mostly during downtime. It requires a bit of investment at character creation or improvement, and it requires a bit of fenagling with downtime to make it work for you. It works; Not sure if it works for D&D 5e style play, but as a subsystem, it works. Not sure how I like it for describing crafting as a part of the setting either because it suggests to me that crafting magic potions is kind of easy or common.

So yeah, you don't need an artificer class or an alchemist class, you just need sensible restrictions on access to crafting skills and on what you can craft, when you can craft it, and what it costs to craft it. I would make sure there's a tradeoff.

Summary
There are only four classes: Cleric, Fighter, Thief, and Mage. Druids do not need to be their own class because they can be their own subclass or variation of either cleric or mage depending on your setting. You don't need Barbarians, Paladins, or Rangers because they can be a subclass or variation of fighter. You don't need Sorcerers, Warlocks, and Wizards because they can all be variations or subclasses of Mage. Bards are nonsense because the concept that you're trying to describe is a musical character. Anyone can be a musical. You don't need a class to be musical. Pick any class and flavor it as a musician or poet. Finally, Monks have their own soft magic system that describes are different type of fantasy. They could be a variation or subclass of fighter.

More classes and subclasses do not give you more options, they give you more definition. Definitions means restrictions. Pick a class. Flavor it. Move on.

Tuesday, August 4, 2026

Myth & Measure - A Simple TTRPG for Beginners

This game is intended to suit brand new players and can work for fantasy or sci-fi.

How to Play
The medium of the game is conversation. Follow this pattern:
  • First, the Game Master (GM) describes a scene or situation.
  • Second, players describe what their characters say or do.
  • Third, the GM determines and describes what happens.
  • Repeat until the scene or situation is resolved. Then, establish a new one.
Grounded Fiction
Fiction doesn't mean anything goes! Try anything if it makes sense in a believable make-believe world. Use the stock of your crossbow for an improvised weapon strike or flip a table and fling its contents at a foe.

Rolling Dice
Roll your dice pool (1 to 3) and compare it to a difficulty (2 to 12). If actions are contested by an opponent, the highest roll wins. Ties go to the defender.

Die size is based on skill:
  • d4 = average
  • d6 = trained
  • d8 = skilled
  • d10 = expert
  • d12 = master

Difficulty
2 to 12, and it should feel intuitive. No roll if something can reasonably succeed. 1 is bad - the GM can ascribe a narratively appropriate consequence.
  • 2 = Trivial
  • 4 = Novice
  • 6 = Intermediate
  • 8 = Expert
  • 10+ = Master
Push Fate
If the difficulty is out of reach, increase your base die by one step (ex: d4 to d6). Must be emotional, environmental, or resource driven. Maybe a personal goal or loved one is at stake, or features of the environment can give you an edge such as a storm wind that diverts arrows.

Dice Pool
Your base roll is one die. Add additional die based on situations (one to three dice). Roll and keep the highest die.

Player Characters (PCs)
Create an ordinary person who becomes an adventure. You start out as a nobody, but you have a chance at greatness.

Attributes
Characters have five attributes. Begin with one d8 and two d6s. The rest are d4s. At character creation, you may upgrade one by one die size.
  • Strength measures brute force, lifting, carrying, melee, and brawling
  • Agility measures reflexes, throwing, sneaking, tumbling, ranged weapons, hand-eye-coordination
  • Knowledge measures lore, knowledge, technology, crafting, tool use
  • Vitality measures your resistance to poison, fatigue, disease, enduring harsh weather, going without sleep, to avoid stagger and stun
  • Willpower measures magic, resistance to stress and effects against the mind
Player Skill Over Character Skill
Statistics don't describe your character's personality or mind! Players portray their character. Rely on your own charisma, wisdom, intelligence, and luck!

Below is a list of actions or reactions associated with each attribute.

Strength
Melee for attacking and parrying with melee weapons
Brawling for barehanded attacks and grappling, to avoid being shoved
Athletics for climbing and swimming

Agility
Projectile & Throwing Weapons
Tumbling to balance and land after a fall
Defending against attacks
Sneaking to move silently or hide in shadows
Pickpocket to pick pockets, plant items, or cut purses without notice

Knowledge
Tools is your ability to use tools such as lockpicks or to use mechanical devices
Crafting is your knowledge of creating quality goods such as alchemy
Lore is your knowledge of history, nature, religion, society, and obscure things
Medicine to diagnose and treat people or animals
Tracking for finding and following tracks
Games for card games, board games

Vitality
Resisting fatigue, disease, poison, etc.

Willpower
Sense to detect magic or divine the unseen
Channeling to commune with entities and command them or their powers
Weaving to manifest effects, conjure, mend, ruin

Talents
Choose one talent. Your talent lets your roll a bonus die when you make specific actions, or gives you special abilities. 

Attractive: Add a bonus +2 to reaction rolls
Bushcraft: Add a bonus die to tracking rolls and wilderness survival
Elemental Affinity: Once per day, ignore harm from one elemental (choose)
Gambler: Add a bonus die to a game of skill or chance
Healing Hands: Restore 1 health with a touch per character per day
Magic Bloodline: Roll a bonus die to resist magic that causes sleep or charm
Thievery: Add a bonus die to picking locks or pockets
Weapon Specialist: Chose one weapon. Roll a bonus die to attack.

Resources
Divide 5 points among three resources. Recover completely each day. GMs should feel free to make recovery rate slower or faster, or require specific rest or treatment.

Health: Subtract 1 if hit. KO'ed at 0.
Stamina: Spend 1 to exert yourself and add a die to your pool or push fate. Subtract 1 if you fail a roll to resist fatigue.
Magic: Subtract 1 to cast a spell.

Gear
Adventurers and explorers need gear. Gear is managed with "slots" as shown below. Slots describe your carrying capacity. There is no catalog of gear. If you want something at character creation, write it down.

Character Slots
Weapon
Armor
Shield
Ring
Ring
Pocket or Pouch
Pocket or Pouch

Backpack Slots
Rations
Water Canteen
Torches
Rope
Ammunition Container
Currency
Tools
Personal Item (a memento or trinket)
Other

Magic and Extraordinary Powers
Character creation is when you choose if your character can use magic or other extraordinary powers. Refer to the Magic Section.

Character Improvement
Milestone based. Complete an adventure or train under an NPC instructor. Improve one attribute by 1 die size, increase a resource by 1 (cap 5), add a new talent, or add another gear slot. To earn a d12 attribute, complete an extraordinary milestone. Characters should not fulfill multiple milestones per adventure.


Combat Section
Combat should feel intuitive, fast and fluid. Transition in and out of combat seamlessly. Measure space with your pencil or hand rather than count spaces.

Time
One combat round represents a few seconds. 

Turn Structure
Whoever acts first in the scene goes first. Then, turns go clockwise around the table.

Turns
Move without acting, act without moving, or move as part of your action, but acting ends your turn. No double moves or double actions.

Movement and Range
Precision and tracking literal space is not the intended way to play. Use abstract space. A pen, pencil, or your thumb and first finger is about 6".
  • 1" or less is melee range (eyeball it)
  • 6" or less is short or throwing range, and is also normal movement
  • 12" or less is medium range (no penalty for ranged weapons, -1 die for throwing)
  • 18" or less is long range (-1 die)
  • Cannot attack beyond 18"
Opposed Rolls
Any time your action is opposed by another character. Example: Attacking an opponent. Each character rolls the applicable attribute. Ties result with nothing substantial.

Character Death
No complex countdown. At 0 or less hp, you're KO'ed for the length of a scene or encounter. Subsequent hits are automatic deathblows. No resurrection.

Attacking
Choose an opponent within range. Attacker and opponent roll their appropriate die pool. Highest roll wins. Ties mean nothing happens. On a hit, opponent subtracts 1 health.

Defending
Spend your action to Defend, add a die to your pool to oppose attacks.

Brawling and Grappling
Unarmed strikes don't subtract health unless the opponent rolls a 1 or is unable to roll. While grappling, unable to move or act based on the logic of the pin, hold, shove, etc. To escape a grapple, use an action and make a successful roll. If you're on your feet, you can move on the same turn you escape. Attacking barehanded or with small weapons like daggers is effective in a grapple if arms are reasonably unrestrained.

Hit Locations / Disarming / Other Maneuvers 
The attacker subtracts one die from their pool (minimum pool 1). If already at minimum pool, opponent gets a bonus die to oppose.


Magic Section
The availability of magic depends on the genre and setting of the game. In a sci-fi game, it may be PK or ESP instead.

Theme
Choose a theme for your character's magic that suits the setting and tone of the game, and discuss its limitations with the GM.

Casting
No catalog of spells! Magic is freeform. Describe the effects of the spell you want to cast that suits your theme. Then roll against either a difficulty or an opposed roll. All spells cost 1 magic to cast regardless of success.

Difficulty
Magic should be mystical but not super heroic of physics breaking. A difficulty scale is below.
  • 1 Something unintended happens! This is up to the GM.
  • 2-3 spells that effect one character or object, have one trivial effect, a short range, short duration. Manipulate an object remotely, conjure a small illusion, or detect if an object has magic.
  • 4-5 spells that effect one character or object, have one minor effect including damage or a condition, a medium range, short duration
  • 6-7 effect one character or object and up to three adjacent or nearby characters or objects, one minor effect, a medium range, short duration
  • 8-9 effects an area, one major effect or multiple minor effects, a medium range, a short or medium duration
  • 10+ multiple or powerful effects, multiple characters, a long duration, great range

Game Master (GM) Section
Rules are not intended cover everything, that's why there's a GM!

Rulings
The GM determines the outcomes of actions. Base your rulings on the established logic of the setting and the fiction. Rulings should make sense for a believable make-believe world.

Preparing and Running Games
Keep it simple. Less is more. Rely on improv.
Design problems, not solutions. Allow the players to find their own solutions.
Prep the setting and the characters who live there, not the story.
Prepare obstacles and opportunities. Let the players find these themselves.

Dice and Rules
Dice and rules are not in charge of the game. Dice are for simulating things we can't do at the table. Rules are for structure.

Reaction Rolls
When the player characters (PCs) meet new non-player characters (NPCs), roll two six-sided dice (2d6) to determine the NPCs starting attitude towards the PCs. High is favorable, low is unfavorable. Middle numbers are neutral.

Morale Checks
Thinking, feeling people and beasts do not want to fight to the death. They act on a sense of self-preservation when reasonable. When in doubt, roll to determine if they continue to fight or if they attempt to parley, surrender, or retreat.

Fate Die
When you want to be surprised by what happens next, roll a d6. Low numbers mean something unfavorable to the players, high numbers mean something favorable happens to the players.

Sample Setting
Adventures take us from a settlement to a dungeon, and across the wilderness in between. Settlements are any town or hub with non-player characters (NPCs) who offer resources and quests. The dungeon is any place where the player characters (PCs) overcome dangerous challenges and obstacles for a reward, even a derelict ship or the ruins of a colonny. Wildernesses are untamed, wild, and un-explored lands, seas, or space routes.

Settlement: Haven
Society: small frontier town with a lot of simple rugged folk
Politics: Good Sheriff Reed enforces the law. Honest Mayor Baker runs the town.
Economy: Haven is self-sufficient with many trades. Includes a Traveler's Lodge, Smithy, Bowman, and general trader.
Religion: Church of Lucius run by Father Maxwell.
Military: sheriff and militia only, no military
Local Experts: Jeff, an old huntsman with failing eyes; Mack, a retired veteran with a bad sword arm; Les, a surgeon with an addiction.
Local Conflicts: infrequent confrontations with raiders. Reward for their leader Red Samuel AKA Samuel the Manslayer.
A Wild Maneater: an injured cougar is forced to hunt men, women, and children for food.
Goblins: people who go to far west off the edges of the map don't always come back. Some people claim to have escaped goblins out there.

Wilderness
Terrain: mix of plains, hills, forrests, occasional rocky outcropping
Climate: Mediterranean. Hot, dry summers but cold wet winters. 
Local Landmarks
Nina River. Shallow but wide. Non-navigable
Gregory's Pale. Wide, deep. Occasional floods during the winter.
Pagan Shrine: A stone monument to some nature deity hidden in the woods. Occasionally littered with empty alcohol bottles sold in town.
Animals: Crows, rabbits, elk, occasional bears, cougars, venomous snakes
Plants: Oak Trees, Fruit-bearing trees (apple), Devil's Thorn, Mako Leaf, Vigor Root, Elder Berry

Dungeon: Old Lionheart Fortress
History: This fortress was intended to be the springboard for expansion into the frontier, but the alchemist loosed something he couldn't control and the fortress was abandoned.
Goal: vault filled with gold deep inside
Challenges: traps, monsters
Factions: black tooth goblins lead by Snake Biter; Raiders lead by Red Samuel
Notable Rooms: alchemists' workshop; prison; kitchen; grand banquet hall; art gallery; servants' quarters; lord's quarters; old barracks.
Other Inhabitants: a slime; a half-troll hiding from society; a speechless wooden man animated by a mysterious alchemic source; a mad homunculus with a fatal flaw trapped in a coffin.

Thursday, July 16, 2026

Sample Dungeon - Design

I made a (an unfinished) dungeon.
This is by no means a finished product. It is an example. And this is a lesson about what you need, and what you don't!

First, scale. What is the scale? Scale means how big it is. I don't have a grid, and that's fine. In its absences, we can say the smaller rooms are about 30 ft x 20 ft and the bigger rooms are about 60 ft x 40 ft. Don't like those dimensions? Change them. Precision is extraneous. Keep it simple. This is economic prep and GMing.

Second, cardinal directions. I have no compass rose. Which way is north? You're the GM. You pick.

Third, what's the name and story of this dungeon (the context)? Call it a fill in the blank dungeon. It looks like a cave network right. Or maybe it's an old mine. Doesn't need to be special. Write a short list of three to five things about it. Who, what, when, where, why, how. It's your setting - you know best.

Context
Now that the obvious questions about the map are answered, and I assume not everyone is happy, we can talk about why scale, markings, and deep lore aren't important. Ahem. Your players don't care. OK, they might care. Nerds. The context, why they're here and why this place is or was important, is helpful. Let's brainstorm three explanations.
  1. This is an old coal mine. Because of the plague, all the minors got sick and many died. While it was vacant and inactive, monsters moved in and now they're interfering with the mine restarting.
  2. A small, private silver mine. The deed holder died of old age, and the heirs are fighting over how to split it. One of them wants to hire diggers and continue to operate it, one of them wants to sell it to a noble and earn some favor. A gang of bandits have arrived to sabotage it for one of the parties.
  3. This iron mine operated during the war, was stripped of all the iron deposits, and has been boarded up to prevent outlaws and wild animals from moving in. Someone dangerous opened it up and is hiding out.
Nothing special, right. Simple, one to two sentence backgrounds. There's room for you to improv, speculate, extrapolate, and embellish on, but there's not an overwhelming amount of information for you to learn. It's not limiting, restrictive or cumbersome.

Design
This is where I tell you what makes a good dungeon, obviously.

Room key
The rooms are keyed, but keys are always flexible and subject to change. Note how simple they are. It does not need to be paragraphs. Don't have read aloud text. Use bullet points and keep it to a small list of essentials. Monsters and their stats should be one line. Treasure should be one line.

Exploration
Exploration means that there are choices to make and things to discover or miss. The fun of exploration is discovery, so learn from Starfield by Bethesda and put monsters, traps, hazards, and treasure, and notice that there are optional paths! In fact, there is an optional entrance that plops the PCs in room 8a near room 11 where the 5-room dungeon begins.

5-Room Dungeon
Believe it or not, rooms 11 through 15 are a 5-room dungeon. You've heard about these right? Each room resembles a significant beat in three-act story structure. There's an intro, a minor obstacle, a major obstacle, a climax, and a reward. It's not perfect, whatever. The point is that it's in the back of the dungeon. This means you have a structured, linear ending after a dungeon with choices.

Multiple Entrances 
The dungeon has two entrances (room 1 and 8a). The reason being is because this means that the PCs have something to discover, and they have a choice about how to access the dungeon. Room 1 is the main entrance, but room 8a goes up. Maybe it was a natural opening that was used an old emergency exit or, maybe above it they build a separate structure and used it for worker housing or for a depo. There are multiple factions in this dungeon, and each gets their own entrance.

Annotated Maps
The edges of this drawing are filled in and the rooms are small. Were I to use the entire piece of paper, I would put notes and symbols all over the map. Anything to simplify the map and make it more intuitive is helpful.

Loops
I've got loops in my map. Loops make it interesting and each loop can be treated as its own zone.

Volume
15 to 24 rooms sounds like a perfectly good size dungeon to me. I have rooms numbered 1 to 15, plus 8a.

Flow Charts
Maps are overrated. Flow charts are simpler. Use a flow chart like this one instead. It's the same as the map above. The shapes of the rooms are all pretty square, but their shapes here are not intended to be literal. 

Map Key
1. Main Entrance. The entrance to the mind shaft has a sign bearing the name of the mine and the notifies trespassers "private property". Roll a 1d6; There is a 1-2 chance of encountering 1d6 bandits on watch for potential trespassers.
2. Rubble path. Recently collapsed, but narrow paths have been haphazardly cleared by its new temporary occupants.
3. Mine and pit. The outer perimeter ramps down into a pit in the center. This is where most of the mining was done.
4. Tool storage. Only old, worn, damaged tools left.
5. Bandit leader's room. His treasure is hidden here in a locked box. A bound prisoner is kept here.
6. Bandit's common room / barracks. They are occupying the mine. Bedrolls, food and drinks, and some possessions are stored here. They keep one watch dog here to protect against traffic coming from the direction of room 7 and beyond.
7. Empty room. 
8. Trap - The trip wire spans the hall, and goes up to a concealed bottle of alchemist fire and is suspended from the ceiling. If kicked or stepped on, the bottle is yanked and falls to the ground. Poof!
8a. Broken Ladder 15 ft up and out of dungeon through a hole among tall grass! It is prone to break under the weight of a human-sized creature (roll 1-2 on a d6). Two people on the ladder at the same time means the ladder automatically breaks. Anyone who falls, or who has someone fall on them, takes 1d6 damage.
9. Seemingly empty. Stash of silver ore hidden by one of the bandits.
10. Three large watchdogs are placed here by bandits who occupy rooms 5 + 6. They are roped in place to a stake in the ground, but each has 50 ft of slack.
11. Stick topped with severed human head. Goblin foot tracks below. Improv ropes has been made from strips of cloth (old shirts) and suspended from the ceiling like a curtain. Bones have been tied in them. They clatter when you pass through them. This is an alarm.
12. Goblin guard post. 1-3 goblins are on watch at any time.
13. Goblin barracks. 4 to 6 goblins, either resting or rough housing.
14. Goblin common room (12 to 18 goblins resting)
15. Goblin chief's room + his 3 goblin concubines and their treasure hoard - a pile of two-hundred forty (240) impure silver nuggets worth about 24 gp.

Wandering Encounters
Yes, you need these. They make your dungeon feel like a living, believable place, and they encourage PCs to treat the dungeon that way. Each round of exploration or movement, roll a 1d6. On a roll of a 1, roll for an encounter based on the room (see below). If you roll an encounter, place it logically. The NPCs do not simply appear without logic. They are either in the room before the PCs arrived, or they are approaching this room from another room.

The NPCs are aware that they share the dungeon with another faction, but they are relatively familiar with their presence, and they tentatively respect each other's boundaries. They are suspicious and untrusting of the other faction, thought they don't tend to engage in violence or theft. Therefore, both factions are generally cautious when wandering the dungeon. If the PCs have not encountered the NPCs, then the NPCs are cautious but not alert; otherwise, the NPCs are cautious of possible intruders and are actively keeping an eye out for them. 

  • Rooms 1-6, and 10, encounter 1d6 wandering bandits. They are either on their way to mine, or they're checking on the dogs, or they're going to relieve guards at room 1, or they're preparing to leave the mine to commit various crimes on the road or in town.
  • Rooms 11-15, encounter 1d6 goblins.
  • Rooms 7-9, you may encounter either 1d6 bandits (1-3 chance) or 1d6 goblins (4-6 chance). The goblins use room 8a to leave the dungeon to raid farms for livestock, pets, or small children.
Annotated Map (Flow Chart)
You can add more notes, but I got lazy. The contents of the room could be added. This is the apex of the dungeon map. Honestly, I don't know why maps aren't done more like this.