Tuesday, May 27, 2025

Treat Lists of Deities Like Roll Tables to Create a Scrambled Pantheon

Mythological pantheons in the real world are fascinating. They raise all kinds of fascinating questions about how the people who worshipped those gods thought about the world and understood their place in it. Pantheons in fantasy worlds are often a lot less interesting. 

Look at those tables in Appendix B of the 2014 5E players handbook. We have gods like “Leira, goddess of illusion; CN; Trickery; Point-down triangle containing a swirl of mist” or “Rao, god of peace and reason; LG; Knowledge; White heart.” These are… easy to remember, I guess? They are tropey and linear. Not very evocative, though. Most of these gods lack implicit internal tension. Some of them have obvious roles vis-a-vis their believers, but others only make sense as a flavor hook for a possible cleric character’s desired domain selection.

What if we treat these tables as roll tables? If you count from the first entry in Appendix B, on the Forgotten Realms table, and then number it up through 100, you get most of the way through Greyhawk, Dragonlance, and Eberron. Roll five d100 – once for each column, plus twice on the first column, splitting the name and honorific. I re-rolled entries that came up more than once. Here’s what I got.


Name: Gond
Honorific: Goddess of the Moon
Alignment: LG
Domain: Death, Knowledge
Symbol: Oak Leaf

I just rolled this up outta nowhere. A few details jump out right away. Note that in Appendix B, all the gods with the death domain are either neutral or evil. What does it mean to have a lawful good death goddess? How important is death to the order and well-being of the world? And what’s with the moon and the oak leaf? Are these pure symbology? Or do they mean something more? Is the moon the world of the dead? Are oak trees mystical gates to the moon?


Name: Mystra
Honorific: Goddess of Wrath and Madness
Alignment: N
Domain: Knowledge
Symbol: Feather

I love the idea that the goddess of madness also has the knowledge domain. Very evocative to think of madness as a contingent risk to seeking more knowledge.


Name: Hiddukel
Honorific: God of Meditation and Order
Alignment: NE
Domain: Knowledge
Symbol: Flame drawn on silver or molded from silver

This is what I love. Why is the god of order NE? There’s a story there. My first thought is that he is an usurper. But it could be even weirder. What if the former god of meditation and order trapped him in this role, forcing a NE deity to rule over an order-inducing pantheon? Is he meditating to gather knowledge? Perhaps his parishioners are split between those who venerate him in his captivity, versus those who want to set it free. That’s an interesting deity.


A 19th-century illustration of giant Egyptian statues

Real-world mythologies are more interesting. In fantasy creators' defense, ancient Egypt has a 5000-year head start. Colossal figures in front of the Great temple of Abu Simbel, via Old Book Illustrations


Name: Milil
Honorific: God of Fire and Change
Alignment: LN
Domain: no clerics
Symbol: Upright flaming sword

Right away we have a “god of change” who is LN. How do we even square that? Some kind of dynamic change that is part of a larger rebalancing of the world? The domain is “no clerics,” an entry specific to Dragonlance, which raises further questions. Perhaps this god considers divine magic to be an impermissible exception to the LN “change” they allow? Perhaps in this god’s view, it is clerics themselves who unbalance the world, and they seek to apply their power in ways that punish or curtail divine casters.


Name: Kelemvor
Honorific: God of Storms
Alignment: LG
Domain: Life, Light
Symbol: Blank Scroll

Again, we get more interesting results from random rolls. Storms are typically chaotic, but what if we associate them with law instead? And the domain of life? And the symbol of a blank scroll? Perhaps a world where lighting strikes spawn new demigods and monsters who serve to maintain the divine order? 


Name: Lunitari
Honorific: God of Thieves
Alignment: NG
Domain: Death, Life
Symbol: Bundle of five sharpened bones

What do you even make of a NG death/life god of thieves? I’m thinking of a mythology where Lunitari steals souls from competing law and chaos factions to balance the scales.


The basic idea of all these ordinary-pantheons-turned-weird-by-roll-tables is this – the incongruities and contradictions that the rolls produce are features, not bugs. The world does not need more chaotic-weather-god-versus-good-light-god-versus-evil-death-god pantheons. Rolling forces the DM/worldbuilder to grapple with weird contradictions. That’s what produces strange, distinct, actionable worlds. Go for that energy when worldbuilding. 

Tuesday, May 20, 2025

Exploring the Implied Worldbuilding of Random Spell-School-Swapping

This post was inspired by a spell description that the players discussed in the 3d6 Down the Line podcast (I can’t recall which episode). The spell provided a haste-style effect, but instead of transmutation or similar, it was actually illusion magic – it fooled the recipient into thinking that they weren’t actually tired and had more energy available to go fast.

What if we pick spells and schools randomly, and then try to work backward to explain how that would possibly make sense? These could create some interesting forms of magic, or imply unusual worldbuilding choices. We’ll also list more sensible alternatives.  

Telepathy

Current school: Evocation
Random conversion prompt: Conjuration
The sensible alternative: Divination

Well, I suppose you’re "conjuring" thoughts in someone’s head… but generally conjuration is distinguished from other magic by “creating a tangible thing.” So perhaps a conjuration-themed form of telepathy actually externalizes the thoughts sent in either direction, making them externalize as literal manifestations of the transmitted thought.

Spells like Detect Thoughts are divination spells, so it would make sense if another spell meant to connect to another mind would land in the divination school as well. Looking through the other communication spells, it’s interesting how they differ. Note that Sending, like Telepathy, is evocation, but Message is… transmutation? Weird.


A gif showing telepathy, I guess. It's kinda just a vibe but I liked the look of it.


Web

Current school: Conjuration
Random conversion prompt: Necromancy
The sensible alternative: Transmutation 

We can make this one work, but you’re not going to like it. Spider silk is made of protein, like human hair. A necromantic web spell manifests the lingering hair of the dead to form its binding strands. Gross.

Transmutation would be the more obvious choice, as many transmutation spells mimic animal and monster abilities, and this would bring it into line with Spider Climb. In moving from conjuration to transmutation, the webs should not appear out of thin air but rather be a transformed spell component, or the caster briefly gaining Tobey Maguire-style spinnerets.

Awaken

Current school: Transmutation
Random conversion prompt: Enchantment
The sensible alternative: Necromancy

Awaken is a spell that grants average intelligence to a beast or plant. It also charms them, so Enchantment is the next most-obvious choice. But it suggests an interesting worldbuilding difference. If you transmute a creature to make it more intelligent, you are creating intelligence where none was before. Whereas if you enchant a creature to make it intelligent, it suggests that the intelligence was inherent within the creature, and you are merely coaxing it out. 

None of the other schools make much sense for what Awaken does. But Necromancy could work if we assume that the intelligence actually comes from a deceased spirit that is bound to the animal or plant. That would explain the human-level intelligence.

Tuesday, May 13, 2025

d100 Questions to Design A More Memorable Dragon

A dragon is the single most evocative visual element of fantasy games. That same universal familiarity makes it difficult to describe to players in fresh, evocative ways. 

Below is a series of questions and prompts for mixing up the appearance of a dragon. Some of these will suggest novel monster designs or adventure hooks. But many of them will have no concrete gameplay application. The point is that when you tell your players to “picture a dragon” their brains should be lighting up in a way that is measurably different from telling them to “picture a Toyota Camry.”

Much credit to this Wikipedia list of dragons in mythology and folklore as a source of dragons that break conventional mass-media informed conceptions of dragons. You could run dragons based on these mythologies for a lifetime and never run out of interesting ideas. And it is funny to note how many non-dragon creatures (by Monster Manual taxonomy) are listed here as types of dragons – behirs, tarasques, hydras, many such cases.


An unusual and visually striking dragon by Iguanadon't



d100 Ask Yourself, What Does This Dragon Look Like?

Roll as many times as needed, until the dragon is clear in your mind's eye.

  1. How many colors are the scales? If it's a chromatic dragon, is it consistent coloration across the body, or does it vary (e.g., darker on top, lighter on the bottom?)
  2. Are the scales reflective or matte? 
  3. Do their scales camouflage the dragon in its environment? Or are they bright and distracting colors?
  4. What do the scales feel like to the touch? Warm or cool? Rough or smooth?
  5. Do they have patterns? Banded scales, like a coral snake, are a personal favorite aesthetic for me.
  6. If they’re bright and distracting, is it a warning to other creatures? A mating display? A form of dazzle camouflage to make it harder for the few things that can threaten them (mainly other dragons) to hit them?
  7. What are the scales made of? Keratin? Something else? 
  8. Are they perhaps scaleless, like a sphynx cat? Natural, or lost to disease?
  9. Do metallic dragon scales make a sound like metal when they strike against something? Or are they metallic in appearance only?
  10. How big are the scales anyway? Small and countless? Human-shield-sized? Really big like an armored dinosaur?
  11. Bones. Light and thin like birds, or strong like steel?
  12. Does it have externalized bones, like a carapace? Scales could be absent or just in a supporting role.
  13. Shedding skin, for more-explicitly reptilian dragons. What do they do with the shed skin? Hugely valuable to alchemists and treasure hunters, but obviously dangerous to get ahold of.
  14. If dragons are not related to reptiles, what characteristics most differentiate them from reptiles?
  15. Accretion of treasure. Superheated gold tracing the seams of the red dragon’s scales. A gold dragon whose scales are actually melted gold that they basked in.
  16. Do they have feathers? For flying, heat regulation, mating rituals, or something else?
  17. Is the dragon sleek and impossibly clean, or scarred and marked by age?
  18. Does it have a shell?
  19. Frills or a crest, like some lizards? 
  20. Does any part of the dragon change color depending on its mood, level of activity, or age?
  21. What about its spine? Is there a mane, ridges, or even a sail-like protrudence?
  22. Are shed scales and egg fragments left in the lair? Destroyed? Bartered to alchemists? 
  23. Quills or spines? For defense, offense, presentation, something else?
  24. How many limbs? Two arms and two legs?
  25. Does it even distinguish between arms and legs? Does it have claws capable of manipulating objects on each limb, and use them as the situation dictates?
  26. Are the wings unusual? Feathered? Bat-like? Manta-like? Jellyfish-like? Don’t worry too much about the physics of how the dragon stays aloft, just think about an evocative way to describe how they fly.
  27. When it flies, does it cruise like a raptor? Or flap constantly? Can it bank tightly or does it have a wide turning radius?
  28. Is the skin of its wings translucent? Same color as the scales, or contrasting?
  29. Does it shed talons?
  30. Any vestigial wings or legs?
  31. No legs at all, like a lindworm? 
  32. Weirder limbs? Tentacles? Ew.
  33. Can they regrow lost limbs? Maybe even other parts of their bodies, like salamanders?
  34. Artificial limb(s)? Don’t get too steampunk with it. Or do, I’m not your boss.
  35. How soon can the dragon fly? Right out of the egg? If not, how long? Does a parent protect it or is it immediately on its own after leaving the egg?
  36. Does it walk on all fours, or slither, and only use its feet to climb or hurdle obstacles?
  37. How finely can its claws manipulate things? Is it characterized by broad monstrous movement, or delicate manipulation that belies its size?
  38. Are they rough and indiscriminate with their claws, or are they capable of fine digital manipulation? For example, could they pluck a single coin out of their hoard? What does it look like if they can?
  39. Are there parts of their bodies they can’t reach?
  40. Does the dragon have a flat or peaked head? A flared hood?
  41. Dragons in most versions of D&D have enhanced sight (blindsight in 5E). How does that work? Is it through their eyes, or some other organ (e.g., pit organs, like in some snakes)? What combination of senses gives it that heightened awareness of its surroundings? 
  42. What’s the tongue like? Smooth? Ridged? Sticky? Prehensile? Eww.
  43. What organs power its breath weapon? Are they located in the mouth, throat, or abdomen?
  44. Can you see the breath weapon charging from the outside? Smell it? Feel it?
  45. Horns and antlers? Think about what purpose they serve. Do they shed them?
  46. What are its teeth like? When it closes its mouth are they all hidden, or do they stick out?
  47. Are its teeth like teeth (they stop growing when mature) or like tusks (they grow continuously)?
  48. Are any teeth missing? What does that look like? Does the dragon care?
  49. How does it digest prey? What does it look like if the dragon vomits? Especially a black or green dragon?
  50. How long is the neck? Does it have a discernable shoulders to its body (like most quadriped-style dragons) or does it continue into the body without an obvious break (like a Chinese-style dragon)?
  51. What does the inside of the mouth look like? Do the jaws distend like a snake?
  52. Internal or external ears? Do they have good hearing, or do they favor other senses?
  53. Can they hear high or low frequencies, beyond what is typical of most creatures?
  54. Is their breath weapon apparent when they are not actively using it? Do they seep acid from their mouth while talking? Leave trails of fire through the sky?
  55. What about its eyes? Like a snake? Like a bird? Something else?
  56. Does it have binocular vision or monocular vision? If the latter, why, given that they are apex predators? Don’t worry about making it evolutionarily logical, but do think about it.
  57. Can it see parts of the visible light spectrum that humans can’t? If so, would it use that to leave messages for other dragons?
  58. What smells does it emit? Do they differ when the dragon is active versus slumbering?
  59. If they can transform into other forms, do they reflect their natural physical traits while transformed? Will a red dragon polymorphed into a human have reddish hair or ruddy skin? Or can they hide their form completely?
  60. Altered by magic. What spells left their mark on the dragon? Were they cast by the dragon? It’s allies? It’s enemies? 
  61. Does it have runes or sigils on its body, representing protective spells or other enchantments?
  62. If it can cast spells, what does that look like? What are the somatic components like?
  63. Is the dragon a tyrant? Does it have heraldry, markings, symbols to denote this? If it sleeps for hundreds of years, does it want humans to recognize it from stories when it awakes again?
  64. Decorations? Tattoos, pigmentation, jewelry?
  65. Are they marked by a mate? Do they wear an equivalent of a ring? Or show scars from aggressive mating behavior?
  66. Cold-blooded? We don’t need to get too scientific about it, but does the dragon like or dislike heat?
  67. Symbiotic organisms. What do they provide to the dragon that the dragon can't or won't do on its own? 
  68. Scars and discoloration. Sickness? Battles? If this old dragon fought in that ancient war, can it point to the part of its body that bears the mark?
  69. Any embedded weapons? There’s a story there. 
  70. Prey adaptations. What does it eat, and can you see the signs? How are its teeth shaped accordingly?
  71. Does it consume anything really unusual? Gold? Moonlight? Does a red dragon drink lava?
  72. Does it ingest stones like a bird to grind up food? Perhaps only special stones like diamonds?
  73. How long do the remains of digested adventurers stay in its body? LINK Dungeon Meshi
  74. Where does it defecate? A designated place in its lair?
  75. Does it hork up pellets like an owl?
  76. What kind of spoor does it leave?
  77. What happens when they hibernate? Will mushrooms and moss grow on their sleeping forms? Or do they cover themselves in anti-fungal treasure while dreaming through the centuries?
  78. What kind of ridges or protrusions do they have?
  79. Does it have an relationship with other creatures that comes across in its appearance or the trappings of its lair? What kind of guests, if any, are allowed in the lair?
  80. Are the teeth like huge tusks? Or tiny rows of thousands of daggers? One row of teeth, or many?
  81. If the dragon was hungry or even starving, could you tell? What does it look like shortly after it wakes from a centuries-long hibernation? 
  82. What fluids, if any, are present? Can it cry? Sweat? Drool?
  83. Can the dragon be suffocated or die from exposure to a vacuum? Or does it merely go into a hibernation state?
  84. Does the dragon have any predators at all? What does it taste like? 
  85. Does it’s body reflect its preferred mode of locomotion? Will it always fly unless constrained? Or does flying take great effort, and it only does it while hunting?
  86. Does their appearance change during mating season?
  87. How do they regulate heat? Similar to a reptile, or different? Are they slow to get moving when in torpor, or can they wake up fast like a cat?
  88. If the dragon is a type that spends part of its time underwater, what does that look like? Does it have gills? Or just hold its breath for a phenomenally long time, like a whale or dolphin?
  89. How much does it drink? What does it look like while drinking? Does it lap up water like a beast, or drink out of vessels like a civilized creature?
  90. How high into the sky can they fly?
  91. How does it sleep? Spread out or coiled up? Out in the open or wormed into a burrow?
  92. Does it display sexual dimorphism? Is its sex obvious on sight? 
  93. Does it even have a binary sex? Do dragons experience sequential hermaphroditism? 
  94. Are they producing eggs? Can an expert tell? If yes, how?
  95. Do they lay unfertilized eggs, like some birds and reptiles? What happens to unfertilized eggs?
  96. Are they capable of parthenogenesis?
  97. What parts of their body decompose? How quickly? 
  98. What does the skeleton look like? Regular yellow-white bones, or colored by their environment, symbiosis, diet?
  99. Do they go somewhere special to die? Do they dig graves? Incinerate themselves when it is time?
  100. Can it die from old age? Or does it just kinda keep going forever, like a Greenland shark?


Tuesday, May 6, 2025

Campaign Pitch: Revealing the Secrets of the Mystery in the Most Literal Way

You’re planning a game that revolves around a central mystery. It could be the location of the lost treasure, or the motives of the supernatural creatures hidden from mundane society, or the agenda of the aliens in first contact. Try approaching it like this. 

Create a document that lays out the answer to the whole mystery. It may be similar to your own GM notes, but more elaborate. It can include pictures and diagrams. Think of it like a spoiler-filled after-action report. It can be written in-voice, in diegetic language, but that’s not mandatory. It’s particularly easy to do diegeticly in a modern game like Delta Green, where solving a mystery could be expected to create a paper trail, but it could work in any setting.

Give the players access to the document… but hide literally everything with black redaction bars. This is obviously easiest to do electronically, although you could print out copies for at-the-table reference. When the game starts, the players can tell how long the document is, where the headers are, and how many images and diagrams there are, but that’s about it. They can’t see any of the actual text. Be sure to give them view-and-comment privileges, but not the ability to edit.

As the game proceeds, remove the redaction bars from anything that has been discovered in-game. This serves a few purposes. It formally acknowledges that they have found an undisputed truth of the mystery. It provides a common reference for important information that has already been established. And (for players who care about the distinction) it provides fixed information that was established before the GM knew what the players were going to do; in other words, it “proves” that the answer to the mystery is a fixed target, and not something that the GM is making up in response to player action.



But this particular application of redaction does something else. It lets the players see the shape and size of what they don't know. If the entire section under the “Abandoned Mine” heading is revealed, the players can reasonably assume there’s nothing else they need to know about the Abandoned Mine. But if there’s a single sentence still blacked out… well, that should make the players curious. If the players find a map or a photograph, and the GM un-redacts the map in the document, but not the text around it, that raises some interesting questions, right?

They could infer a lot from the organization and the “known unknowns” of what they cannot yet see. Imagine if a section of the revealed text included a hyperlink to an as-yet unrevealed section. Or if one section said “DANGER: Do not engage with [person/entity/object/location] without reviewing [other section that is still redacted]. 

This is probably enough to center the game’s mystery, but there’s room to make it more complex. The GM could tie revealing text to a mechanic, like experience and leveling up. Or give the players an in-game currency to “pay” to reveal certain parts of the text. It could even be a minigame where the players could choose a word and reveal every instance of that word throughout the document, creating a kind of game show word puzzle where they are rewarded for predicting what words might show up a lot, or in particularly important places.

Depending on the desired level of diegesis, it’s up to the group to determine if the characters literally have the document in question or not. At its most literal, it could be classified files or deciphered lore. For a less direct treatment, one could imagine the document as a historical account of the information associated with the adventure. But it’s also OK if it is purely a meta construct. As long as it piques the characters interest in the mystery, it’s doing its job. 

Tuesday, April 29, 2025

Can AI Turn an Arden Vul Room Key Into Table-Ready Notes?

Last week: Use AI for Routine TTRPG Prep, Not for Creative Work

For this experiment, I’m going to use room Arden Vul’s room 4-47 (“Overseer”) as an example. You can find this entry on page 272 of volume 1. The following description includes minor spoilers about an NPC and their faction, but I wanted to use it because it is such a good example of the issues described in the previous post. I don’t think this gives away too much in the grand scheme of Arden Vul; but if you have plans to play in this campaign in the future, and are sensitive to spoilers, you can skip down to the Conclusions heading for the summary.

Here’s the text as it appears in the Arden Vul book:

4-47: Overseer

Belisarius the Overseer, the second most powerful figure in the cult of Set, lives and works in this large room. The overseer is the ranking ‘secular’ figure of the cult, and is in charge of all guardsmen, military expeditions, security, patrols, and so forth. For all that, Belisarius is a devout, even fanatical, follower of Set, and an adept politician. He is also a misogynist and dislikes High Priestess Stephania intensely. As a result he is constantly plotting her demise, and hopes to replace her with the third priest, Lacedaion. Stephania is aware of these machinations and has taken precautions; she has not acted against Belisarius yet solely because he is so good at what he does. Despite his prejudices, Belisarius would never act to undermine the cult as a whole; only if he were convinced of the motives of outsiders would he consider employing them against Stephania.

The chamber is divided into a public and private area; the latter is to the east, and is shielded by some painted wooden screens. The public area has a large tactical table on which lie (incomplete) maps of the northern and southern caves of Level 4 as well as one ancient map detailing portions of the lower levels (GM’s choice). Also in the public area are several writing desks and chairs containing roster lists, personnel reports, logistical reports, and so forth. Two aides-de-camp (from the Alpha Sept) are always present here. At the north wall, next to the door to the caves, stands a large cabinet in which may be found a sizable number of curios looted from the halls as well as 12 bound codices (on theological, military, and motivational subjects). The private area contains a simple bed, an armoire, another writing desk, a weapon and armor rack, a practice dummy, two cots for the aides, a set of four easy chairs around a coffee table, and a cabinet containing 22 bottles of excellent brandy. In addition to his administrative skills, Belisarius is a formidable warrior.

The north door leads to a narrow tunnel that provides Belisarius with private access to the cavern at 4-66 via a one-way door. He doesn’t use this door very often, and the corridor is thus thick with dust.

There is a 50% chance that Belisarius is present in his quarters. The rest of the time he is elsewhere in the complex, typically in 4-2, 4-3, 4-7, 4-43, 4-51, 4-53, or 4-61. He has a 25% chance to be in 4-48 whenever the second mystery is performed [sic]

Secret Door (east): This door is normal to find and locked, and leads to a set of secret  interrogation chambers. Only the overseer and his aides-de-camp know of the existence of the door and the interrogation chambers. The key to the door is hidden in Belisarius’s liquor cabinet.

Inhabitants:

 1. Belisarius the Overseer, 7th-level male Archontean fighter: SZ M; AL LE; AC 2; MV 120’; HD 7; HP 70; #AT 3/2; Dmg 3-8 (javelin +2) or 4-11 (long sword +2). Abilities: STR 17, INT 13, WIS 16, DEX 11, CON 16, CHA 15. Possessions: chain mail +3; returning javelin +2 (see new magic items), long sword +2; potion of extra healing (x2); potion of fly; and a key-ring with keys to SL8-1 and 4-106. 

2. 2 aides-de-camp, 3rd-level female Archontean fighters: SZ M; AL NE; AC 5; MV 120’; HD 3; HP 25, 22; #AT 1; Dmg 1-8 (mace), 1-6 (spear) or 1-4 (light crossbow). Possessions: Set armor (see Arden Vul items); spear; mace, and light crossbow.

Stop and think for a moment about how this information is organized. It’s not random. The most important information is up top (who Belisarius is and what his motivations are). It is followed by the physical contents of the room, then more conditionally relevant information, like how the room connects to other spaces. It ends with the stats for the potential occupants. For purposes of the DM reading the text in advance of running the dungeon, this is basically fine.

But for use at the table? This could be much better.

The first paragraph is all about Belisarius’s motives and (implicitly) how he will act and react if the PCs become involved in the politics of the cult of Set. This is the most important information in a narrative sense, but the least important information in the context of dungeon exploration. This paragraph is actively hampering the product’s usefulness at the table, where speed of adjudication would be the DM’s priority. If the PCs are engaging diplomatically with members of the cult of Set, the DM will probably need this information long before the characters wander into Belisarius’s bedroom.

The second paragraph begins to lay out the practical details of the room. Halfway through this paragraph, we learn that “two aides-de-camp are always present here.” It’s easy to imagine a DM describing this room, with its tables and maps, and then suddenly, in a surprised voice, saying “Oh! Uh, and… there are two fighters here?” At minimum, some kind of bolding should indicate the presence of monsters and NPCs. The paragraph goes on to list more contents of the room, and the final sentence states that “In addition to his administrative skills, Belisarius is a formidable warrior.” This would be more at home in the first paragraph explaining who he is, or omitted entirely (his formidability in combat is clearly telegraphed by his stat block).

The third paragraph addresses the northern exit and is almost entirely redundant with information that can be intuited from looking at the map (another common point of complaint in Ten Foot Pole reviews). The fourth paragraph provides context for the secret door in the east wall. The key that unlocks this secret door is first mentioned here, not earlier, when its actual hiding place is described. So a DM could easily adjudicate the PCs searching the liquor cabinet without realizing they should find the key that is hidden there.


An image of the intrigues of the Pyramid of Thoth from the DrivethruRPG page for Arden Vul


So, how good of a job can AI do unpacking this information? Let’s find out.

Here’s the prompt I gave ChatGPT: “Can you improve the organization and formatting of the following text? This is a room description for a roleplaying game, but the text needs to be reformatted so the person running the game can more quickly find the most important information. Details about people, creatures, or other things adventurers might interact with when exploring this space are most important and should be emphasized. Use bolding, bullets, and any other formatting tools you want to make the text easier to reference on the fly.”

The output was as follows: 


Key NPCs and Creatures

1. Belisarius the Overseer

  • Role: Second most powerful figure in the cult of Set; Overseer of guardsmen, military expeditions, and security.
  • Personality: Devout, fanatical follower of Set; adept politician; misogynist; intensely dislikes High Priestess Stephania and plots her demise but remains loyal to the cult as a whole.
  • Combat Stats:
    • Class/Level: 7th-level male Archontean fighter
    • Alignment: Lawful Evil (LE)
    • Armor Class (AC): 2
    • Movement (MV): 120’
    • Hit Dice (HD): 7
    • Hit Points (HP): 70
    • Attacks (#AT): 3/2
    • Damage (Dmg): 3-8 (javelin +2) or 4-11 (long sword +2)
    • Abilities: STR 17, INT 13, WIS 16, DEX 11, CON 16, CHA 15
    • Possessions: Chain mail +3, returning javelin +2, long sword +2, two potions of extra healing, potion of fly, key-ring (keys to SL8-1 and 4-106).

2. Aides-de-Camp (2)

  • Role: Assist Belisarius with administrative tasks; always present in the public area.
  • Combat Stats:
    • Class/Level: 3rd-level female Archontean fighters
    • Alignment: Neutral Evil (NE)
    • Armor Class (AC): 5
    • Movement (MV): 120’
    • Hit Dice (HD): 3
    • Hit Points (HP): 25, 22
    • Attacks (#AT): 1
    • Damage (Dmg): 1-8 (mace), 1-6 (spear), or 1-4 (light crossbow)
    • Possessions: Set armor (unique to Arden Vul), spear, mace, light crossbow.

 

Room Layout and Features

Public Area

  • Tactical Table:
    • Contains incomplete maps of the northern and southern caves of Level 4.
    • Includes an ancient map detailing portions of the lower levels (GM’s choice).
  • Writing Desks:
    • Hold roster lists, personnel reports, logistical data, and similar documents.
  • Cabinet (North Wall):
    • Contains curios looted from the halls and 12 bound codices (topics: theological, military, motivational).

Private Area

  • Sleeping Quarters:
    • Simple bed, armoire, writing desk, and cots for the aides.
  • Recreational Area:
    • Four easy chairs, coffee table, and a cabinet with 22 bottles of excellent brandy.
  • Training Equipment:
    • Weapon and armor rack, practice dummy.

Secret Features:

  • Secret Door (East):
    • Leads to interrogation chambers.
    • Lock Details: Normal to find and locked.
    • Key Location: Hidden in Belisarius’s liquor cabinet.
    • Knowledge of this door’s existence is limited to Belisarius and his aides.

Exits

  • North Door:
    • Leads to a dusty, narrow tunnel providing private access to cavern 4-66 (via one-way door).
    • Rarely used; thick with dust.

NPC Presence and Movement

Belisarius:

  • Chance of Presence: 50% in his quarters.
  • Typical Locations: 4-2, 4-3, 4-7, 4-43, 4-51, 4-53, or 4-61.
  • Special Event: 25% chance to be in 4-48 during the second mystery.

GM Notes

  • Belisarius's Plotting: Actively plots against High Priestess Stephania, intending to replace her with Lacedaion.
  • Stephania’s Awareness: Aware of his schemes but tolerates him due to his efficiency.
  • Interrogation Chambers: These are secret and only accessible through the locked door in the private area.
  • Maps and Codices: Could provide adventurers with valuable intelligence if accessed.


This is already significantly improved. It’s overkill on the bullets, particularly in giving many bullets only a single sub-bullet (from an information design perspective, a single sub-bullet should never  rarely appear alone, as it defeats the whole purpose of bullets, i.e., parsing out a list in a scannable format). But everything is much more clear than the original text, and the machine didn’t even need much coaching to reorganize the information in order of occupants → features → exits → miscellaneous.

I asked it to make a few changes, moving the NPCs presence to the top; merging the secret door info with the exit info; and condensing some of the bullets to shorten the overall vertical “height” of the entry. It produced this:


Key NPCs and Creatures

1. Belisarius the Overseer

  • Role: Second most powerful figure in the cult of Set; Overseer of guardsmen, military expeditions, and security.
  • Personality: Devout, fanatical follower of Set; adept politician; misogynist; intensely dislikes High Priestess Stephania and plots her demise but remains loyal to the cult as a whole.
  • Chance of Presence: 50% in his quarters. Otherwise, typically in 4-2, 4-3, 4-7, 4-43, 4-51, 4-53, or 4-61. Special Event: 25% chance to be in 4-48 during the second mystery.
  • Combat Stats:
    • Class/Level: 7th-level male Archontean fighter; Alignment: Lawful Evil (LE); Armor Class (AC): 2
    • Movement (MV): 120’; Hit Dice (HD): 7; Hit Points (HP): 70
    • Attacks (#AT): 3/2; Damage (Dmg): 3-8 (javelin +2) or 4-11 (long sword +2)
    • Abilities: STR 17, INT 13, WIS 16, DEX 11, CON 16, CHA 15
    • Possessions: Chain mail +3, returning javelin +2, long sword +2, two potions of extra healing, potion of fly, key-ring (keys to SL8-1 and 4-106).

2. Aides-de-Camp (2)

  • Role: Assist Belisarius with administrative tasks; always present in the public area.
  • Combat Stats:
    • Class/Level: 3rd-level female Archontean fighters; Alignment: Neutral Evil (NE)
    • Armor Class (AC): 5; Movement (MV): 120’; Hit Dice (HD): 3; Hit Points (HP): 25, 22
    • Attacks (#AT): 1; Damage (Dmg): 1-8 (mace), 1-6 (spear), or 1-4 (light crossbow)
    • Possessions: Set armor (unique to Arden Vul), spear, mace, light crossbow.

Room Layout and Features

  • Public Area:
    • Tactical Table: Incomplete maps of the northern/southern caves of Level 4; ancient map detailing portions of lower levels (GM’s choice).
    • Writing Desks: Roster lists, personnel reports, logistical data.
    • Cabinet (North Wall): Contains curios looted from the halls and 12 bound codices (topics: theological, military, motivational).
  • Private Area:
    • Sleeping Quarters: Simple bed, armoire, writing desk, and cots for the aides.
    • Recreational Area: Four easy chairs, coffee table, and a cabinet with 22 bottles of excellent brandy.
    • Training Equipment: Weapon and armor rack, practice dummy.

Exits

  • North Door:
    • Leads to a dusty, narrow tunnel providing private access to cavern 4-66 (via one-way door). Rarely used; thick with dust.
  • Secret Door (East):
    • Leads to interrogation chambers. Lock is normal to find and locked.
    • Key Location: Hidden in Belisarius’s liquor cabinet.
    • Only Belisarius and his aides know of its existence

GM Notes

  • Belisarius's Plotting: Actively plots against High Priestess Stephania, intending to replace her with Lacedaion.
  • Stephania’s Awareness: Aware of his schemes but tolerates him due to his efficiency.
  • Interrogation Chambers: These are secret and only accessible through the locked door in the private area.
  • Maps and Codices: Could provide adventurers with valuable intelligence if accessed.


This is pretty close to how I would organize this information if I had converted this room key into table notes by hand.

Finally, I asked it to add a table of contents at the top with a hyperlink to each section, and it provided blue-colored text that looked right… but didn’t appear to form an actual hyperlink, and didn’t work when I copied it into other programs. So there are limits to what it can do, but I think some combination of better prompting and using a more advanced AI could get there.

Conclusions

This is really only scratching the surface. If you gave an AI the entire text of an adventure you were going to run, you could ask it to create cross-references and summaries. It could generate random encounter tables based on dungeon denizens. It could provide a treasure index. 

Yes, all of these tasks are things the GM can do themselves. But they are time-consuming. AI helps in the same way that conventional word processing software saves time, which can be reallocated to the more creative parts of session prep.

There are some issues to navigate before using this more broadly. Some AIs might introduce external information, hallucinate, or garble details (although this is less of an issue when asking it to rearrange or summarize content, versus creating new content). And we should be mindful of any stipulations that creators put on the use of their work vis-a-vis AI, particularly concerns over training data. ChatGPT does not use submitted content to train its model, but other AIs might. If a creator includes stipulations about using their content in this way, err on the side of caution and keep it away from the AI.

But GMs should absolutely continue to explore AI as a prep assistant. The world has a finite number of highlighters, and your wrist is probably going to give out before you get halfway through marking up a beast like Arden Vul. Don't let something as simple as organization and formatting stand between you and running an epic megadungeon like this.

Tuesday, April 22, 2025

Use AI for Routine TTRPG Prep, Not for Creative Work

The Halls of Arden Vul by Richard Barton is a truly massive megadungeon. It’s a love letter to AD&D and the classic megadungeons of the 1980s.

The good part of the classic feel is obvious. Listening to the 3d6 DTL podcast’s long-running Arden Vul campaign, it’s impressive to see the density of factions, the depth of the dungeon’s history, and the opportunities for interactivity. I would love to run it someday. 

The bad part comes down to formatting and at-the-table ease of use. I wouldn’t say it doesn't do anything to incorporate the advances TTRPG usability over the last 40 years; it includes expansive overviews and aggressive cross-referencing, an improvement from the “figure it out yourself” opacity of a lot of ‘80s D&D products. 

But it doesn’t go nearly far enough. The text is dense, written for casual reading rather than for quick reference. Ancient history is intermingled with recent events. There’s little use of bullets, bolding, or sidebars. Even little things reflect a retrograde formatting mentality; listing damage as “2-7” rather than “1d6+1” is a small detail, but it is a pointlessly archaic Gygaxism that can trip people up; particularly new DMs, or those who don’t easily intuit die increments from numerical ranges. Compare this to a modern product, like Necrotic Gnome’s OSE releases, with their signature house style, carefully calibrated for use at the table. Arden Vul is old school not just in play culture, but also in formatting and presentation.

Don’t take my word for it. Read Bryce’s review on Tenfootpole. He obviously has high praise for the amount of evocative detail and interactivity on display in Arden Vul. But his reviews also place a premium on ease of use at the table, and many of his criticisms of Arden Vul land here. See the “Jhentis the Ghoul” section of the linked review for an apt summary of the problem.

Browsing my own copy of Arden Vul, I have to agree with him. It is frustrating that such a massive, fascinating work should be held back by mere formatting and organization issues. Implicitly, the DM running this is expected to make up the difference. As Bryce puts it in the review: “Highlighters out! Actually, better buy a gross of them, you’ve got 1122 pages to read, absorb, and highlight.”

But it’s 2025. We aren’t limited to highlighters, right? Can’t we use… technology? Can we get the AI to do it for us?

On the Use and Misuse of Generative AI in TTRPGs

Generative AI is a hot topic in many spaces, including indie creative scenes like TTRPGs. While some indie and OSR creators have dabbled in using generative AI, there's a lot of ire directed at these tools as well, particularly from artists who object to Midjourney and similar image-generation software.

I’m sympathetic to concerns about AI content replacing human-made content. In the past, I used AI images on this blog, just to add some color to my posts. But recently, I’ve been losing interest in those image-generation tools. While my use of them did not displace any work that would have been commissioned to a human artist, I’ve nonetheless found that as AI-generated images have gotten “better,” they’ve lost some of the weirdness they had just a few years ago, and are turning into professional-but-bland tools, better suited for workplace PowerPoint presentations than TTRPG content. There’s much more to say on this topic, but that’s a whole post of its own, for another time.


A Functional but Crappy AI-Generated Image of a Robot Rearranging a Dungeon Room

AI image generation in action. Technically, yes, this delivers on the prompt request of "robot rearranging things in a dungeon room." But everything in it is either sharp-but-derivative (the very generic robot); blurred to the point of abstraction (the figures, the chest (?) on the left); or failing on a basic level to model a coherent 3D space (the archway, the candles, the stairs, the robot's lower body). Image generation like this is not a good replacement for human-made creative work. 


But this skepticism of generative AI as a replacement for creative work shouldn’t blind us to the usefulness of AI as an assistant for routine tasks. AI tools in their current form are best at handling the least-interesting and dullest parts of the process, freeing up creators to focus on the really creative stuff. And one of the places AI can help the most is in session prep.

Next Week: Can AI Turn an Arden Vul Room Key Into Table-Ready Notes?

Tuesday, April 15, 2025

TTRPGs Can Make Even Tic-Tac-Toe Interesting

I’ve written previously about how puzzles should be incorporated in RPGs and why tension and escalation makes them interesting. Let’s approach it from another angle and see how far a dead-simple system can go in powering a TTRPG scenario. 

Take, for example, tic-tac-toe*. Tic-tac-toe is a game many children learn to play. But they do not play it for long. They learn the rules, optimize their play, reach an equilibrium where no one can win, and then stop playing the game. You would not ask anyone (besides a young child who has not yet learned the rules) to play tic-tac-toe with you. It would not be a fun experience for either player. In a way, tic-tac-toe is like a very simple lesson in how to enjoy games, and by extension, how to design them.


An animated gif depicting thrilling tic-tac-toe action


Now think about Hollywood Squares**, the game show that has been on and off television for nearly 60 years (revived once again this year, Wikipedia tells me). It's a quiz show where players win by connecting a line on a three-by-three grid of celebrity panelists. 

Nobody is watching Hollywood Squares for that hot tic-tac-toe action. But everyone watching brings their understanding of tic-tac-toe to the experience. It provides a framework for the real entertainment. Tic-tac-toe is not in itself fun, but the show wouldn’t have lasted as long as it has without the structure tic-tac-toe provides.

Apply this idea to TTRPGs. You could play a “game” where both players roll a d20, and whoever gets the highest result wins, and there are no other mechanics. This would obviously be a boring game. But a lot of action in a TTRPG session basically boils down to “two people roll, and the better result prevails.” It’s interesting because we care about the fictional events the roll is resolving.

So a mechanic can be too flimsy to stand on its own, but can still serve as a tool in a larger game.


An animated gif of Hollywood Squares, probably from the mid-1980s, as it features Alf

Imagine the following scenario (set aside for a moment the artificial premise and how or why this puzzle would exist in-fiction; this is an example only). A room is divided into nine sectors. Two opposing sides are in conflict to control it – say the adventuring party and an antagonistic faction. Creating a tic-tac-toe streak “wins,” allowing one side to prevail over the other. What constitutes marking a square is up to the DM; maybe just physically controlling a space, maybe overcoming an opponent in one-on-one battle, maybe something else. 

The players will quickly recognize that they’re playing tic-tac-toe, but the scenario is obviously more interesting than “regular” tic-tac-toe. For one, as described above, tic-tac-toe is facilitating something larger than itself, rather than carrying the entire weight of being fun through its rules and mechanics alone. And two, the open-ended nature of TTRPGs means that tic-tac-toe is only a loose framework, not a rigid structure. 

Can a marked square be returned to its blank state, or flipped by another team? Can PCs mark more than one square at a time, or otherwise break the turn order? Can they stop the opposition from marking a square? How can their characters’ abilities and equipment and knowledge be adapted to this unexpected scenario? 

Remember that many games and game systems can be combined in unexpected ways to create something that is more than the sum of its parts.


*AKA Noughts and Crosses

**AKA Celebrity Squares

How Could TSR Have Made a Better Card-Based Product in 1992?

Last time: Making Sense of TSR's 1992 Collector Cards Let’s go back to that question I posed at the start of the last post, regarding w...