Page 71 - Dungeon Master's Guide

CHAPTER 3: CREATING A DV ENTURES

~ rhe world's history be evident in the present situation.
REATI G ADVENTURES IS ONE OF THE GREATEST
rewards of being a Dungeon Master. It's a Instead of dealing with what happened in the past,
way to express yourself, designing fantastic an adventure should focus on describing the present
locations and encounters with monsters, situation, what the bad guys are up to, and how the
traps, puzzles, and conflicts. When you adventurers become involved in the story.
design an adventure, you call the shots. You
o things exactly the way you want to. HEROES WHO MATTER
Fundamentally, adventures are stories. An adventure An adventure should allow the adventurers' actions and
shares many of the features of a novel, a movie, an decisions to matter. Though it might resemble a novel
:ssue of a comic, or an episode of a TV show. Comic or a TV episode, an adventure needs to allow for more
series and serialized TV dramas are particularly good than one outcome. Otherwise, players can feel as if
comparisons, because of the way individual adventures they've been railroaded- set onto a course that has only
are limited in scope but blend together to create a larger one destination, no matter how hard they try to change
narrative. If an adventure is a single issue or episode, a it. For example, if a major villain shows up before the
campaign is the series as a whole. end of the adventure, the adventure should allow for the
Whether you're creating your own adventures or using possibility that the heroes might defeat that villain.
;JUblished adventures, you'll find advice in this chapter
SoMETHING FOR ALL PLAYER TYPES
~o help you create a fun and memorable experience for
As outlined in the book's introduction, players come
:.·our players.
to the gaming table with different expectations. An
Creating an adventure involves blending scenes of
adventure needs to account for the different players and
exploration, social interaction, and combat into a unified
whole that meets the needs of your players and your characters in your group, drawing them into the story as
effectively as possible.
campaign. But it's more than that. The basic elements
As a starting point, think about your adventure in
of good storytelling should guide you throughout this
terms of the three basic types of activity in the game:
;Jrocess, so your players experience the adventure as a
exploration, social interaction, and combat. If your
- ory and not a disjointed series of encounters.
adventure includes a balance of all three, it's likely to
appeal to all types of players.
ELEMENTS OF A
An adventure you create for your home campaign
GREAT ADVENTURE doesn't have to appeal to every abstract player type-
only to the players sitting down at your own table. If you
-=-he best adventures have several things in common.
don't have any players who like fighting above all else,
then don't feel you have to provide a maximum amount
_-\_ C REDIBLE THREAT
of combat to keep the adventure moving.
_-\n adventure needs a threat worthy of the heroes'
c. rention. The threat might be a single villain or
SURPRISES
;:nonster, a villain with lackeys, an assortment of
Look for opportunities to surprise and delight your
::::wnsters, or an evil organization. Whatever their
players. For example, the exploration of a ruined castle
arure, the antagonists should have goals that the
on a hill might lead to the discovery of a dragon's tomb
:-:eroes can uncover and thwart.
hidden underneath. A trek through the wilderness
might lead to the discovery of a tower that appears only
?.-\MILlAR TROPES WITH CLEVER TWISTS
on nights of the full moon. Players remember such
:-might seem stereotypical to build an adventure
locations.
;;sound dragons, orcs, and insane wizards in towers,
Too many surprises can be off-putting to players, but
"Jut these are staples of fantasy storytelling. It might
adding the occasional twist gets players to adjust their
also seem trite to begin an adventure in a tavern, but
tactics and think creatively. For example, you could
~hat's an idea that remains true to D&D. Familiar
spruce up a goblin lair by including goblin sappers
srory elements are fine, as long as you and the players
with kegs of oil strapped to their backs. An attack on a
occasionally put a spin on them. For example, the
villain's estate might be complicated by the unexpected
:-nysterious figure who presents adventurers with
arrival of a special guest.
a quest on behalf of the king might be the king in
When preparing for possible combat encounters,
d.isguise. The crazy wizard in the tower might be a
think about odd pairings of monsters, such as a
;Jrojected illusion created by a band of greedy gnome
hobgoblin warlord and his pet manticore, or will-
dlieves to guard their loot.
o'-wisps in league with a young black dragon. Have
_\ C LEAR Focus oN THE PRESENT surprise reinforcements show up, or give the monsters
unusual tactics. Throw in the occasional red herring,
.-ill adventure is about the here and now. A little bit
deception, and plot twist to keep players on their toes,
of history might be needed to set the story in motion,
and the adventurers might discover interesting lore of but try not to go overboard. Sometimes a simple,
:.1e past in the course of the adventure. In general, let straightforward encounter with an ore guard is just as
fun for your players.
CHAPTER 3 I CREATING ADVENTURES