Friday, October 23, 2026

Player Skill vs Character Skill - Managing Expectations

There is a discussion in the TTRPG hobby called Player Skill versus Character Skill.

Player Skill describes a playstyle where players solve problems in the game using their own creativity and problem-solving skills. Examples:
  • 1. Players using their own persuasiveness to convince NPCs to help them. The player makes an argument in character, and the GM evaluates it in character, then responds.
  • 2. A player describes how they interact with a feature of a room or scene. If their description would reasonably allow them to find something hidden, then they just find it. For example, if they describe pouring water onto the floor and the game master describes that it drains through a crack of a pressure plate in the floor. They player has revealed a trap automatically!
  • 3. If a player wants to sneak, they describe how they use their environment effectively to avoid line of sight, how they minimize sounds like taking off their noisy armor or jangling weapons, etc.

Character Skill describes a playstyle where players solve problems in the game primarily using powers and abilities on their character sheet.
  • 1. A player declares an intent to persuade an NPC, then rolls some dice and invokes a game mechanic, such as a speech skill.
  • 2. The player declares an intent to search the floor for traps, invokes a search or perception mechanic, and rolls a die.
  • 3. A player declares an intent to be sneaky and invokes a game mechanic by rolling a die.

Player Skill and Character Skill describe two completely different kinds of games. They feel different.

The feel of games with player skill
  • 1. Gives more value to game master descriptions of the room or scene.
  • 2. Incentivizes good player narration, creativity and improv in the moment.
  • 3. Rolling dice is a fail-state for poor creativity, planning, or decision making!
  • 4. Deemphasizes the need for rules knowledge and systems mastery.
  • 5. Solve problems with your wits and know that the dice won't arbitrarily spoil a perfectly good idea!
  • 6. More freeform, rules-lite game.
  • 7. The game becomes simpler and more intuitive. You don't need to know the rules; instead, just understand that anything that can reasonably happen in real life is allowed in the game.
The feel of games with character skill:
  • 1. Players make decisions based on knowledge of game mechanics rather than imagining and describing clear actions.
  • 2. Players are incentivized to master the rules and systems of the game, and even exploit weaknesses in the game design.
  • 3. A greater emphasis is placed on rolling dice, and the game master's interpretations of the dice can feel arbitrary or contrived. Actions that have no business succeeding can succeed, and actions that have no business failing can fail. This can cause ludo narrative dissonance and loss of suspension of disbelief.
  • 4. Creative actions and good planning can grant bonuses, but some players are most creative outside the game when creating their character.
  • 5. Players refer to or rely on their character sheet for answers to problems.
  • 6. Character options get classified as either optimal or sub-optimal, and all decisions eventually become a matter of doing the optimal thing over and over ad nauseum.
  • 7. Good ideas get questioned because there isn't a clear rule for it, and we look for the rulebook to tell us if it's allowed or if it will be helpful, even if it reasonably would or be.

So, if we're playing a game that emphasizes player skill, why do we have game mechanics? Mechanics are not for solving problems, and they're not for resolving uncertainty. They give structure to the game, and they're for simulating actions that need to be simulated. If you want to strike a stationary object, you can just do it because there's no chance of failure. If you want to strike an opponent who's actively fighting back, then we use the mechanics and dice to simulate the outcome. We need to simulate combat because we can't hit each other with swords at the game table, but we don't need to simulate lying and haggling because we can actually do that!

Further, you don't need a mechanic for everything. Mechanics are only needed for things that absolutely need simulation, nothing more. Everything that can reasonably be solved through the logic of the world or narrative should be. This is what the game master (aka the referee) is for! If your opponent is no longer able to defend themself, you don't need to roll a die to hit them! You don't need a rule to tell you that if you take off your heavy metal armor and heavy backpack full of treasure, you can sneak, climb, swim, run and jump better.

What Does My Character Know?
Sometimes, players ask the GM something like "would my character know anything about X?" Either the player is knowledgeable about the game and the setting and wants to confirm what of their player knowledge they may use, or the player has no knowledge about the game and setting, and they want the GM to tell them what their character would reasonably know.

The Character Skill approach to the game is to allow the player to roll an Intellect or Knowledge check or test, or to invoke some feature of their character that lets them automatically possess and recall that knowledge.

The Player Skill approach to the game is to instead tell the player "why don't you explore the world and find someone who does know?"

Consider that this situation is a regular part of that game and liken it to a puzzle. It's a puzzle that can be solved in different ways. With the Character Skill approach, the player merely has to think to use a game mechanic. The solution is then either presented to them or it isn't. If it's presented, the players can then move onto the next challenge. The pacing of the game or major points in the narrative is fast.

With the Player Skill approach, the player has to rely on their own creativity and work out their own solution within the setting and narrative to solve the problem. They can think to research at a library, gather rumors and news from a tavern, or to search for an NPC expert within the setting and ask for knowledge. Access to that expert may have some prerequisites, like gold or a positive reputation. The player may first have to learn about the expert by asking around town. This is a type of discovery and is fun and rewarding to some players. Earning access to an expert NPC can also feel rewarding to some players. It gives more value to the setting by placing more need on the players to learn and understand the setting and the people in it.

The differences between the two styles also means that the player characters are either self-sufficient with non-material resources, or they are a group who occasionally have to make time to gather non-material resources.

Which approach to play is preferrable? Depends on you! How do you have fun? Do you want to solve the puzzles by flexing your own mental muscles, or do you want to solve puzzles by rolling dice? I'm sure there's pros and cons, and there might even be times when one approach is preferrable, and times when the other approach is preferrable.

Mapping
While exploring, either a wilderness or dungeon, how do your characters know when they're lost?

A Character Skill approach would say that players can use a game mechanic and know that they're lost, and then potentially use the game mechanics to figure out where they are. The players may also have access to a map or other visual aid to show the world and their process in it.

The Player Skill approach might say that your characters will know when they're lost in-game the same way that you would know you're lost in real life. You walk or drive around for long enough asking "how far is it? How long have we been traveling? Are you sure we're going the right way? Did we pass it? Does anyone recognize where we're at?" In my experience, recognizing that I'm lost in real life is a process rather than a eureka moment.

Getting lost in the wilderness or dungeon can be dangerous. You can run out of resources, get sick, die to exposure, or be attacked by some dangerous wild animal, monster, or human. Being lost is the obstacle and a source of tension. Being able to find your own way out of it is the solution, and to improve at navigation to avoid getting lost in the future is another solution.

Imagine the roleplay prompt: "you're lost in the dangerous wilderness with limited supplies and a deadline to save the victim of the monster. What do you do?" Some people want to work this out scene by scene, and they want to un-stuck themselves using their player skills. There's potential for team building and learning skills. One solution is to find higher ground, like climbing a hill or a tall tree, then you can see further. The game master will describe what you can see, and then you can work out landmarks and navigate your way back. The adventure was unexpected. There's also a chance to discover something you weren't looking for while you're lost.

Player Skill Over Character Stats
Your player skill is your character's luck, wisdom, intelligence, and charisma. Think. Be careful. If you the player get a funny feeling that something is not right, it's OK to use that feeling in play to keep your character safe. Don't hold back just because your character has low stats!

Game Balance
Do not assume the obstacles and challenges are balanced to match your character's abilities. Rely on your own creativity and ingenuity. There is no right way to overcome a challenge. Not all obstacles need to be overcome; some can be circumvented. Fleeing is always valid. Make sure you always have a way out.

Conclusion
At the end of the day, Player Skill vs Character Skill isn’t just a mechanical distinction, it’s a question of what kind of game you actually want to play. Some tables thrive on dice-driven certainty and character sheets full of buttons to press; others want a grounded, intuitive world where clever ideas matter more than modifiers. Neither approach is universally better, but they create completely different experiences, and mismatched expectations will ruin a game faster than any bad die roll. So decide what kind of play you enjoy, communicate it clearly, and build a table that buys into the same style. When everyone understands the expectations, the game becomes smoother, more immersive, and a lot more fun.

Related: Game Design Sins - Character-Skill over Player-Skill is a post about D&D 4e skill challenges and why they stink.

Wednesday, October 21, 2026

Chapter Showcase - Adventures in Midland, Jo the Blue vs Hunk

This chapter from a novel (unpublished) in my Adventures in Midland series; it captures the tone and style I aim for in my fiction: grounded fantasy, sharp dialogue, and high tension. It’s one of my favorite sequences featuring Jo the Blue. Reading it now, I can tell you I have improved a lot at prose.


CHAPTER 8 Hunk

Why the brig was a thought that repeated in my mind. After the trap door closed on us and closed us into a smelly room that only let in light through gaps in the floorboards, I squatted down and reached two fingers into my left boot and withdrew a small folding knife. 

“Jo or Iosefina, or whatever your name is,” Captain Atelier started.

I fumbled it open with my hands as they were and made a loud clicking sound.

“What was that?”

I worked the point under a rope and started sawing and pulling. I cut through portions of the rope and it started to unwind. It loosened and fell off my hands with a few vigorous shakes. I then grabbed the cloth over my mouth and yanked it over my head and took a breath.

“Oh, I don’t like the smell in here!” I said.

In a distant part of the room came a sniffing sound. I froze in place.

“I don’t like that sound either,” I said. “Identify yourself at once!”

“Nonsense!” The captain said. “What could be…”

From across the room a deep guttural voice spoke, “does something speak to I?”

My stomach clenched. If only I could see the captain’s face down here and express my frustration to him non-verbally.

“It does,” I said, and sang “Custos parvus,” and with a whip of my hand from my side to my face I conjured a small orb of light just behind my head.

A bright area of light appeared on the floor for about five feet in all directions and a dim circle of light extended beyond that by about ten feet and blended into the darkness.

Captain Atelier whipped his head. “Ah! What?”

I searched the darkness. “Calm down, Captain. It’s just a light.”

“Oh, that’s a splendid trick!” said the deep voice.

“Why don’t you show yourself,” I called out sternly. “And just know that I have more splendid tricks in me.”

There was a sound like a very bulky man getting to his feet. I listened intently, but couldn’t hone in on exactly where it came from.

“You say, you say,” the voice said.

The Captain furrowed his eyes and gave me a confused look.

“I think he means ‘so you say,’” I said to the captain.

The captain’s face flashed with a perplexed look, then he became impatient. “Enough!” He snapped. “I am Captain Louis Atelier. I captain an Odegrad vessel called The Hull. Who am I addressing?”

“Who I?” the deep voice asked.

Heavy, lumbering footsteps sounded. The captain and I took uncomfortable steps back, but I was still floating and so my boots made no sound. A large man-shaped figure formed at the edge of the light, and portions of the beast’s thick, leathery skin showed green as it stepped through the perimeter. He was very broad; his jaw, his shoulders, his torso, his muscular arms, his hips.

“My God,” the captain said.

“I is called many things.” He pontificated, “some call I monster, some call I man-eater. That man Gilcrest call I Hunk. I is troll, I eat the women and the children.”

“Son of a bitch!” Captain Atelier said.

Hunk smiled wide showing a mouthful of jagged teeth and snickered. I stepped into the light fully. He was so tall, he couldn’t quite stand up straight in this space and was hunched over. His skin was covered in flat lumps that might have just been thick patches of skin, and he had marks that looked like they might have been scars, but they would have described major wounds.

He had a scar that ringed his right wrist, and a large scar across his pectorals and abdomen. He had many, many smaller scars on the outside of his arms where he might have blocked dozens of swords or spears.

He seemed perfectly at ease. He took a deep breath through his nose. “Bargain with I,” he said and smiled. “I will one of you spare. I will one of you not. You choose.” His eyes swiveled lazily from the captain to me.

“You can eat me,” I said sternly. “If you think you can.”

Hunk laughed and took one step forward with his left foot. “You make I laugh.” He reached an arm out, presented a massive palm, and curled and uncurled his fingers in sequence. “I is much larger.” He made a fist and turned his arm to me, showing me all the scars criss crossing his forearm. “I is not stopped by any wound.” He sounded amused, taunting even. “You is puny child. I eat many like you. You cannot stop I. Much bigger men than this one have tried many times.”

“I’ve seen your kind before. Your kind doesn’t get back up after having their head cut off.”

Captain Atelier looked at me curiously.

Hunk chuckled. “Is plain to see.” He turned his head and a bone cracking sound came from his neck. “Ahh,” he said relieved.

I looked directly at the captain. “Move.”

Captain Atelier furrowed his brow at me. “No, that’s not gentlemanly.”

“Move,” I said again.

Hunk laughed.

“What’s to stop him from eating the both of us?” the captain asked.

“Me. Now move.”

Hunk laughed a little. Then he bent at the knees and arched his back and laughed slightly harder. “I, I, I, says she.”

I looked directly at the captain and I said sternly “my name is Jo the Blue, and I am the greatest swordsman in the world. Now move. You’re in my way, and you’ll get it my way, and you’ll get hurt.” I pointed a finger at him and I started to sneer a little as I finished speaking.

Captain Atelier looked skeptically at me. After a moment, he seemed to conclude that I wasn’t suicidal and his face softened. “Just one question.”

“Yes?” I asked, impatiently.

“No questions!” Hunk said, and he lunged.

In a flash I whipped my cloak out of the way and reached across my body for my sword. I tried to draw it, but the curve of the handle made me draw the sword at the wrong angle, and it only came out an inch. In as much time, Hunk had stomped loudly across the deck and swung a massive, discolored arm out and swatted Captain Atelier out of the light and into the dark. The captain’s face twisted in pain as he came up off of his feet. Hunk smiled in satisfaction. He wound his fist back and looked down at me like I was food.

And with a single stride backwards, I cleared ten feet. Hunk held his punch and watched me, awestruck. Then his awe turned to disappointment, then to outrage. 

“You cheat!” he said and raced for me again. His stomps echoed in the room. 

I drew my sword fully and scratched Hunks’s fist with the tip at the apex of the draw. His fist came down hard and hit the deck, but I stepped out of the way and cut twice at the back of his arm as I did.

In my light, I saw that the cuts I made were small, and Hunk grinned at me. “I has tough skin!”

He lunged for me and threw several punches, all of which I dodged like a cloth fluttering in the breeze. Hunk grit his teeth in frustration.

“Be still!” he said.

“No,” I said bluntly.

He wound his right arm back, then reached for me with his left. In a single sideways stride, I moved towards the center of the room and put ten feet in between us. He raced after me with loud, heavy stomps and threw a haymaker, which I avoided with a much larger stride and cleared another fifteen feet. I willed my light to follow after me, and it lit a dark portion of the room where Captain Atelier was climbing to his knees and looking dazed.

I shouted at him “I said move!”

The captain looked stupefied at me.

Loud stomps followed after me, and the captain didn’t look like he was able to dodge.

I pointed my sword at Hunk and lunged for him. The sword pierced his abdomen, and I pushed it in up to the hilt.

And his momentum didn’t stop. He kept moving towards the captain, though now his face seemed mildly annoyed by this new wound.

He skidded to a halt.

I heard the captain roll out of the way.

I planted a foot in Hunk and kicked off him, taking my sword with me. Blood issued from the wound with a single squirt.

Hunk’s arms closed on the space where I was, then his eyes tracked me like an animal honing in on its prey. He ran for me again and threw a punch.

I dodged his punch and ran past him, pressing the edge of my sword across his side as I did. I turned and watched as Hunk twisted at the waist and found me with his eyes. He was still bent over awkwardly, unable to stand fully. He looked down at the bleeding cut at his side and flared his nostrils at his wound.

He growled. “Is too small a space.” He turned casually and started walking across the room. Each foot step broke the silence. He stood under the trap door, pressed a hand to it, straightened up and stretched his arm into it. The trap door sprung open and he reached into the sunlight. He grabbed the deck above and pulled himself up and out of the brig.

Captain Atelier and I met each other's gaze.

“What are you going to do?” he asked.

“Wait and see?”

I looked back at the trap door. Much lighter footsteps pounded the deck above us. I heard muffled shouts.

“You, monster! You are not supposed to be above deck!”

“Get back down below!”

There was a moment of silence, and it was broken by a deep, guttural shout “girl come out! Fight I where there is space!”

I looked at Captain Atelier and complained “he’s going to be more vigorous now, isn’t he?”

Captain Atelier looked stupefied again, then he laughed.

“Are you alright, captain? He hit you pretty good.”

“I’m fine,” he groaned. “I’m fine.” He sucked in a breath. “You might not be. You ran him clean through and he’s still standing. That’s madness.”

“How come you don’t seem surprised by him?” I asked.

Hunk shouted again. “Girl fight here!”

There were more shouts from the men above I couldn’t make out. I waited for them to quiet down.

“We merchants already knew about them,” Captain Atelier said. “If you survive, I’ll tell you more if you like.”

Oh? I turned and started walking towards the trap door. “I want to hear everything. And I want a promotion.”

Captain chuckled. “Did I hear you say… No, nevermind.”

I looked over my shoulder at him. “Yes, you did.” Then I leapt straight up.

I dodged a wild green punch as I cleared the trapdoor and another fifteen or twenty feet of air. I looked down at the bright deck of musketeers with wild and furious faces. I looked at the upper decks and saw the amazed faces of a couple of officers and more sailors. 

I looked back down at Hunk’s green, grinning face. In the light of day, I could see that his forearms and legs had an appearance of very calloused skin. It was darker and thicker and covered in more of those wide, flat lumps like scales of thick flesh.

The wounds on his abdomen and his flank didn’t appear to bleed anymore.

I floated down and landed gently on my toes. I cocked an eyebrow and Hunk, and I pointed my sword at him again.

“Girl,” he said. “You fly?”

“Yep.”

Hunk chuckled. He reached down for his muscular abdomen and rubbed it with a large finger tip. “I no can die.”

“I disagree.” I gave my sword a flick and some blood splashed the deck.

Hunk laughed.

“Why fight me?” I asked. “Why not escape?”

Hunk looked and sounded satisfied. “I here to eat.”

“Understood!”

“Sailors!” An officer shouted. “Shoot her! Shoot the witch!”

“You!” I started to say, and nearly cursed. The musketeers aimed their muskets for me and I moved.

Bangs went off all around me. Flashes of fire and clouds of smoke erupted from a dozen barrels.

I strode, and was ten feet from where I was standing when the shots went off, flying directly for Hunk with the point of my sword first. I pierced his chest to the hilt, and his body jerked. I planted a foot in him and kicked off him. A green hand flailed wildly for my ankle as I went up. I came down on his shoulder and buried the sword into the gap between his neck and shoulder. He twisted wildly at waist and spun a half circle. I twisted my sword and pressed the edge into him, and I kicked up off his shoulders straight up into the air. I looked down at him grasping for his sputtering shoulder with both hands. I cut downwards as I floated to the deck. I caught him in the side of the neck and opened a gash, and I dragged the edge of my sword down his arms. His face twisted with pain, and his head turned hard. His knee hit the deck with a loud bang.

I took a single stride backwards and put a distance for charging in between us.

He shook his head and scowled at me.

I did a flourish with my sword, presented the edge at him, and I took a single stride. As I passed him, I caught him under the chin with the edge.

He gargled, then there was another loud bang as he hit the deck behind me.

I waited and didn’t hear him move.

I looked around at all the silent, stunned crew of Count Gilcrest's ship.

“Witch Iosefina!” called an officer from the upper deck.

I turned and looked up at him.

“You will surrender, now!”

I didn’t feel like raising my voice. I leapt up. Some of the crew flinched.

I landed on the upper deck. I rubbed the railing gently with my offhand once, and pointed my sword at the faltering stoic face of the officer.

“My answer,” I said.

The officer tilted his chin up at me. I pressed the bloody tip of my sword to his collar and I stepped in really close. With my offhand, I presented a single finger at him.

“You, officer, what’s your name?”

“I am Captain Frank Osborne,” he said with a firm voice.

“Captain Frank Osborne,” I repeated and thought for a beat. “How would you like for that name to be known as the captain who sank Midland’s foremost ship?”

He narrowed his eyebrows at me. “Do your worst.”

“I will,” I said sternly. “I absolutely will. You can bet your fool arse.”

Captain Osborne just looked back at me. Then his eyes swiveled away.

“Sorry about your uniform,” I said sternly. I kept the point of my sword in between myself and Captain Osborne and I walked past him. “I’m going up stairs. I’m going to have a word with the count. This ship will burn and sink into the Middle Sea if anyone follows me. You can share a watery grave with that green monster.”

Captain Osborne gulped.

Sunday, October 18, 2026

One-Page Campaign Form - Managing Expectations

Today, I want to show you some GM aids that reveal two completely different philosophies about running TTRPGs. We're going to talk about them, then we're going to talk about why using a GM aid like this important. First thing to note is that both of these documents are created by the GM / DM and are made available to the players.

Below is a link to a one-page Campaign Planning Form that is standard in GURPS. Open it up and read. Then come back.

What did you notice? What does it emphasize?

Below is a link to a one-page My Campaign form by Matthew Coleville (of MCDM). Read it and come back.
https://drive.google.com/file/d/1ZK5E4Qg3AnfZLj68v6_3sioGrPmrw4Be/view

What did you notice? What does it emphasize?

Comparison: Contract vs Syllabus
Let's compare and contrast these campaign forms as they are both the same tool, but they show different approaches to TTRPGs.

The GURPS campaign form is about defining the limitations of the game and the setting. It starts broadly with genre, realism vs cinematic, and theme. It defines the level of technologic development (stone/bronze/iron age, medieval, steam, modern, futuristic, etc.) and tells you what kind of political powers are in charge and how much control they use. Then it tells you what is allowed at character creation and what isn't, and what the setting thinks about some characters. Finally, it tells you which supplemental books are permitted because GURPS has a lot of them.

Meanwhile, the MCDM campaign form tells players what's in the setting. It's more of a checklist of cool and useful stuff. I'm not sure if its author intended it to be a GM only document, but it can definitely be a player aid. It helps you structure your setting by establishing the pieces of it so that players can do cool stuff and have fun adventures.

The GURPS form is a contract. The MCDM form is a syllabus.

Analysis
The GURPS form defines the scope of the game. It is the GM telling the players "here's the kind of game I'm running, and you need to create a character who fits." It's a constraint document that intentionally narrows the scope of the game. It prevents mismatched expectations. If you join the campaign, you agree to these terms.

The MCDM form, if used as a player aid, orients the players. It gives context. It assumes (high) fantasy genre already and it does only a little to modify the genre or tone. It tells you about one small location, it hints at the greater political system and cosmology, shows a few geographical features, and a few small enemy factions responsible for conflict. Here's what you know, here's who you talk to if you want to learn more. The "Here's what locals think about dwarves, hobbits, elves" section softly tells the players how these fantasy races are in this setting, framed as how they are perceived.

Both forms are useful. Both are smart. But one campaign form solves more problems than the other.

The GURPS form is better suited for managing expectations than the MCDM form. The MCDM form, while it has a space for you to detail how different fantasy races are like in his world, it does not restrict their use by players. The from does not detail what is allowed or disallowed: classes, races, backgrounds, race-class-background combinations, languages, feats, multi-classing, equipment, magic. It doesn't explicitly state what kind of style or tone to expect. It is still a kitchen-sink. Meanwhile, the GURPS form can directly, explicitly say it's a fantasy-sci-fi genre, elves and magic are not in this game, and here's what happens in this setting if you use Psi abilities.

Use the GURPS form if you want to tell your players what nonsense isn’t allowed. Use the MCDM form if you’re fine with whatever nonsense is allowed.

One of the problems with a social contract is that it's unspoken. This sort of campaign document is a snapshot of your specific game, and it should be standard in TTRPGs. Seriously. It's not just "oh, we're playing an Eberron campaign, and the big bad is a tarrasque". This also lets players know all the little particularities of your presentation of the Eberron setting. Your particularities are the highlight of the form because you're the GM and you need to let the players know what kind of game you can handle running, and what kind of game you can't. This should be completed and available when you pitch your game to prospective players.

My Form
After reading these two forms, I decided I wanted one that suited my game, Bright-Dark 3d6 Role-Playing Game. Below, I have provided a link to a one-page campaign document with the items that I think are valuable right now. Your needs / tastes may vary.

Leave a comment on this post. I would appreciate come feedback on this concept and on my form.

Optional / Add-Ons:
What else could be added that's valuable?
  • Related Media: What books, movies, etc. that are similar to your game. This helps orient players fast. If you list Nausicaä of the Valley of the Wind or Firefly, that might stop them from thinking about making a character who would suit The Fifth Element or Breaking Bad.
  • Recommended Reading: Supplemental RPG books, documents, etc. Maybe you wrote a short story about characters in your world, or maybe you have a detailed setting document.
  • Homebrew: Are you big on homebrew? What's your homebrew stuff, or what play-brew stuff is allowed?
  • House Rules / Optional Rules: Every table has this. Make yours clear.
  • All that Lovely, Lovely Session Zero stuff: You know, violence, gore, and whatever other weird no-go zone types of stuff. Player vs Player? Play-styles focus / emphasis, heavy roleplay or heavy bookkeeping, PC death, game balance, game fouls, etc., etc.
  • Miscellaneous. More things in life need a misc. section than you think. 
Related
Hyper-Gratuitousness in Fiction and TTRPGs is an excellent post that you might find valuable for your TTRPGs if you want to include darker subject matter with care.