OSH: Scrolls and Potions

Scrolls and potions! I’ve drafted up some possibilities for how they work in Old School Hack, to take greatest advantage of the unique flavor of the system.

Labled scrolls or potions are worth 200-300 gold pieces. Unlabeled (and unidentified) are worth about 100-150 gold pieces. As always, it depends on what the market will support, in a world with no magic shops. (If you have magic shops in your world, feel free to retool the generic mystic economy to fit.)

Scrolls. A scroll can contain a single spell from any school of magic.

• Learning the Spell. When a wizard finds a scroll, the wizard can spend 3 Awesome Points that do not count towards leveling, to learn the spell after at least 12 hours of study, as a talent when the wizard levels. This does not damage the scroll.
• Casting From the Scroll. A wizard can drain all magic from the scroll once and spend 3 Awesome Points, casting the spell as though it was an unlearned talent from the wizard’s base template. The spell works normally, but the scroll then disintegrates.

Potions. A potion takes a focus action to drink. Most also take a focus action to go into effect. Some potent potions fit in a smaller space, and can be downed like a shot glass as a Defend action. The effects can be adjusted by the DM for specific potions as desired—these are general categories.

•  Awesome Sauce. This potion grants 2d5 Awesome Points to the drinker.
• Cosmic Insight. Gain a level immediately. Take 1 wound for every 2 Awesome Points you would have had to spend.
• Healing Potions. Drinking this potion either restores 1d5 wounds, or 1 wound if down to 0-2. This healing does not count against the daily total.
• Liquid Rest. These popular potions count as “rest” and recharge all rested talents. Each one reduces the drinker by 1 wound until the drinker sleeps for 6 hours.
• Liquid Training. Gain its talent immediately, replacing the talent you’ll get when you next level. It can be common or restricted—rumors of a few that teach exclusive talents excite drinkers.
• Reverse Potions. They do the opposite of what they were meant to do; drain all rested talents, inflict 1d5 wounds, suck out 2d5 Awesome Points, yank 1 level away, “forget” a talent, and other horrors.

Old School Hack Wants a More Fun Sheet

Dyson Logos posted this back in June before I knew who the heck Kirin Robinson was, or anything about Old School Hack. But I remembered a post about pocket mod character sheets, and went back to look, because we could really use a more fun sheet for Old School Hack.

First, we could have something pretty on a single page, like this but with more appropriate information.

What would make me really happy would be a well-thought-out and attractive pocket mod sheet like this one. I mean, the first page could have the base template and the 6 stats, then have a place to sketch out talents, adventuring goals, current weapons and armor (and AC), inherent ability…

To really please me, this sheet would have room for two inherent abilities, and languages, and musical instruments known, and scars; incorporate some of the Fictive additions to the base OSH information. Everything on my sheet.

Barsoomcore is featured on my Old School Hack resource page with several pocket mods, and every time I’ve handed out pocket mods with the player’s handbook they have brought smiles to my players’ faces. How much more so, then, a pocket mod character sheet?

Who’s up to the challenge?

Maptacular Monday: Donjon d20 Random Dungeon Generator

When I first got into the OSR community of blogs and thinking about how I wanted to do dungeons of my own, I needed a place to start. I didn’t want to build my own balance and monsters from scratch, and I enjoy the challenge of rendering the random sensible.

This site was great for that. Detail on doors, construction, loot, monsters (with stats) and already keyed. A map for players and one for the DM. I mean, this is a great resource. You can pick the level and theme, and customize many elements of the dungeon.

Ultimately it is likely the hard core crawler will find this too limiting. However, it is a great place to start. And it spurs creativity in wonderful ways. For example, it was because of this site that I started thinking about necromatic dwarves.

I randomly generated a dungeon with long, twisting passages. One of the random wandering monsters was a pack of 12 dwarves with eldritch powers. There were also bugbears and orcs in there. So I came up with a story about how the dwarves were a death cult, the lore they sought was written on the walls (spaced out so you are less likely to go mad), and they had hired muscle to deal with intruders while they studied.

I named it the “Necroparietal Lexicomplex” because it’s got death, walls, language, and a dungeon. I haven’t run it yet. But that’s not the point.

The point is, when you don’t have a firmly established setting and you want to make something unique, you can use a random generator like this, then fold and twist your world to fit the random setting instead of folding the random setting to fit into your world. It will take you in directions you never would have explored on your own.

Like the one where giants herded ankhegs into a stone area for breeding season so they could collect and protect the young. I would not have come up with that by myself. But…it’s a cool idea, right?

Try it out. Have fun with it. Tell ‘em I sent you.

Here’s a spectum of play to consider.

Here is a quote from Andrew D. posted here on a very interesting thread:

To look at it another way, there’s two different kinds of D&D:

Old school: a game where we use characters to solve problems we imagine, and if we fail at a problem, it takes just moments to create a new character and try again, approaching the problem from a different direction. The most fun is found in solving dilemmas presented by the adventure/rules.

New school: a game where we take the time to create the character that exactly fits what we imagine, then use it to solve a problem. We don’t really ever fail to solve a problem, because the problem is designed in such a way as to make sure our characters succeed. The most fun is found in creating a character with exactly the strengths and weaknesses we want him/her to have.

Contrary to what both sides of the edition wars say, these are both good ways to play D&D – they’re just different.

I think he’s got a really solid point–but I would suggest there is a continuum here, not two different and alien play styles.

For my superpowered game, my players can build characters that can do amazing things, at generation. They can choose their power sets, and really narrow in or be generalists, creating a character that will be fun to play. Then I come up for stuff for them to do.

The reason I suggest this is a spectrum is because those characters DO sometimes fail. If there is no risk of failure, then they can’t really be heroic, and much of the spice of victory becomes stale. If a trained monkey would succeed, then why should you get all worked up about your success? Easy conquest is boring.

I think the main point made here is that the focus is either on the problem to be solved using characters as tools, or on the characters to be developed using the problems in the game as tools.

One of the main draws of an RPG to me is that you don’t make such clear-cut either/or determinations. If I want to develop characters, show off my twisty plot skills, and control the outcome, I write a novel. I use RPGs to draw the best from my players so they can add flavor and excitement to the setting and the story (and because I want them to think I’m cool, and I want to entertain them.)

Therefore, I think the three tools that Telecanter refers to earlier in the post are spot-on for describing the interconnection that makes RPGs so great for me.

Let’s hear from Telecanter himself, from his post:

Now, we’re all familiar with random encounters and certainly with static location based encounters, but I stumbled into that third, when-I-thought-it-best-to-happen mechanic on my own.  And I like what it allows me to do…It seems to me that a DM will want to use all three of these tools for determining what players experience– the static, the random, and the DM orchestrated– at the same time.  The first makes locations and choices about exploration real, the second is what story emerges from– surprising even me and making the world seem alive, the third allows me to do something a computer game could never do– make things happen based on what I’m observing players are feeling.  I think a good DMing “how to” would talk about how to get these three methods working together.

Good stuff.

Thanksgiving

I can’t begin to list everything I have to be thankful for.

Since this is a game blog, I will express my thanks for a few relevant advantages I enjoy.

• I am married to a woman who not only understands role playing games, but actively enjoys them.
• What’s more, she gravitates to the darker and more complex morally gray games that are very satisfying to me but have traditionally been a turn-off for many in each of my past game groups (including my current one).
• She loves her characters, her characters tend to fall in love with NPCs I play, and she digs the hobby.
• I don’t take that for granted. It gives me more space to work on this hobby, and it is something we can do together and something we can share.
• I have a regular game group.
• They are willing to show up for games, consistently scheduling them in and prioritizing them. And they show up over time, over the course of years, to build the back stories and allow me stability in my games.
• They respect my time boundaries; we have a deal. They show up so we can get started at or near the start time, and I wrap things up so they can leave before, at, or worst case scenario, a little after the published end time.
• I have an open table and a “master class” table; a ridiculous luxury for a game master/designer.
• At varying levels, they contribute their anticipation, enthusiasm, and occasionally, joy. This is at the foundation of my reward for services rendered.
• I do game design.
• I am grateful to be gifted with the ability to design systems and keep within my field of vision three factors:  playability, mechanical balance, and fun.
• I am grateful I have been able to make time to work on my system and also work on Old School Hack.
• I am grateful to have playtesters.
• I am grateful for Lulu.com.
• I am grateful to WordPress, so I can share with all of you and have an online place to put these things.
• I am grateful to Kirin Robinson for putting together Old School Hack, an inspirational game I am proud to support with additional depth and supplemental stuff.
• I am grateful for other blogs.
• Top of the list are those to the left, my blogroll of muses who continue to do thoughtful and entertaining work that inspires and motivates echoing effort on my part.
• I appreciate being mentioned in other places, encouraging people to come check out what I’m doing in this corner of the web.

From a rocky house-ruled start in gaming in junior high through sparse games in high school and intensive gaming through college and beyond, followed by a couple years off with a job change, and then back into it in 2008… I’ve had a long, glorious history with this hobby.

I’ve played Basic D&D and 3E, Chill (Pacesetter and Mayfair), Aberrant, Beyond the Supernatural, Rifts, TMNT and Other Strangeness, Robotech, Star Wars with WEG all editions and d20, Warhammer with Hogshead Games and Green Ronin edition, a friend’s home brew “Gamers” system, all versions of  Vampire before the Gehenna reboot, tangentially including other World of Darkness elements (also Dark Ages and Werewolf Wild West), Call of Cthulu (Chaosium), Men in Black… That’s all I can think of at the moment.

I have designed a game system designed to build and play “movie” game sessions and franchises, expandable to tv series style, called Tryptich. I have designed an intricate game system designed to do Western style with fantasy elements called “The Reaches.” I have built Masks, another system, from the bones of an original system and expanded it greatly, transforming it, and designing it to handle fantasy, science fiction, super hero games–whatever. The core is built on doing normal people, and then there are modular systems so you can use that base and point it at many genres. And I have built a small mountain of material designed for Old School Hack: the Fictive Way.

Today, celebrate what you have. For a moment, allow the flaws and vexations to surrender your gaze, and instead focus on the advantages that surround you. Your vexations will be there tomorrow. For today? This hobby is great, and you are fortunate to be involved in playing.

 

Cannon + Magic = Win!

Let’s not let this opportunity slip by! Yesterday I showed how I plan to make a player’s wish come true and give his character a truly distinctive load-out, with a cannon and a war-donkey. But if he’s willing to shell out the coin for a cool weapon like that, and he’s got more coin to be stripped from him… let’s look into how we can make this idea even cooler.

Magic!

So, what can we do to make the cannon cooler? Here is some brainstorming. I figure any of these additional effects would cost 600 gold pieces each. I’ll whip up 5 here so you could randomize which one is available, perhaps.

• Ammo Pocket. Give the cannon an interdimensional pocket with up to 5 cannonballs loaded into it, and the cannon drops the cannonball in all by itself at the appropriate stage of the process. Saves carrying ammo (the advantage is mainly encumbrance), but does not shorten load time.
• Carve the cannon surface with weird constellations and astrogation charts, as it is connected to the outer void; the cannon is always chilling to the touch.
• Vampiric Explosives. Allow the cannon to hold up to 5 wounds bled on it, and it can use each wound as a charge, instead of gunpowder. Pouring blood down the barrel counts as a focus action, and the blood must be from a living creature just wounded.
• Make it a fanged cannon of shiny black chitinous metal, with a carved pattern like wing leather. When the wind blows across the mouth, it growls.
• Transformer. The cannon can change shape twice per day, between a cannon and very heavy armor! The transformation takes a focus action. Must shout the command word to transform: “Ahtobaht-rolhout!”
• When it serves as armor, whether it covers the face or not, it makes the wearer sound like a mechanical voice filter is in place. It is shiny red and blue.
• Airgun. The cannon only counts as a heavy weapon and 1 heavy load, and if it is empty it can be turned so the mouth points down, and it can levitate for up to 1 minute per Awesome Point, able to carry up to 4 loads and move vertically and horizontally 1 arena each per round. Activating takes a focus action, deactivating is free.
• Sky blue steel, always reflects moonlight even if underground in the dark; glows faintly, just enough to supply low-light vision.
• Roaring Fire. Every time it shoots, it sounds like a mighty shout of some monster; all minions in a 90 degree arc in front of the gun for 2 arenas must flee or surrender, and tougher foes must test Commitment difficulty 9 or they will flee or surrender.
• The gun is intricately carved as the open mouth of a terrifying dragon, with a coppery hue.

Concerned about giving something so delicious to a player character, even for a metric ton of cash? Well, it could be complicated up a bit, at maybe a 200 gold piece discount (so 400 gold for the enchantment.) These can be randomized too!

• Shoot At Joe’s! The echo after each fire is a distinct name of the manufacturer, and perhaps a tag-line if the echo rolls on far enough. Each shot is an advertisement.
• Stars Without Number. Each time the weapon fires, a star winks out in the sky. Who will notice? I mean, there’s LOTS of stars. The manufacturers have no idea why this happens, or what it means; it was a surprise to them too. Probably no big deal.
• Itch Powder. The gun wants to be loaded all the time, and it wants to fire as often as possible. Any time the DM wants to toss 2 Awesome Points in the bowl, the gun opposes its Commitment (+1) against the bearer’s Commitment; if it ties or wins, it gets to shoot in the next round possible!
• Clingy. Any time the DM wants to put 2 Awesome Points in the bowl, the gun’s chain melds itself to the one nearest it (in reach). The gun wants to be with its bearer all the time, and it gets… anxious when it is left alone. It starts by rocking, then keening, then the bowl is fed 3 Awesome Points and the gun is somehow loaded, then 3 more and it shoots…
• Frail Ego. The gun requires petting and soothing, encouraging talking to it from its master, at least once a day for at least ten minutes. It gets jealous of other weapons, especially firearms. If it does not get enough emotional maintenance, it will only fire if the user beats its Commitment with a Charm roll (as a focus action.)

This could go on and on, but I figured five cool enchantments and five hilarious drawbacks would be a good start.

The long and the short of it is, if your players are going after something cool, give them room to work! Sweeten the deal! Make this character the very best gaming story they have in their repertoire to impress their buddies with how cool your game table is.

War Donkey and Cannon

Timothy the Tulip is a gladiator character in my Old School Hack game. His player wants to get into the gonzo spirit of the game, so he decided since he’s a buff pile of rippling muscle, he wants to carry a cannon. (Plus, he’ll be at sea soon, in the process of hunting…well, a dragon.)

Because this is Old School Hack, the request warrants a finger tapping the chin and a thoughtful look, rather than the flat refusal appropriate in most games.

First we had some back and forth.

• Firing Position. I told him if he wanted to carry the cannon and fire it, he’d take 2 wounds per shot, but he could get one that would have a back spike to be grounded, and a chain attached to the muzzle to control elevation.
• Hand to Hand. His compliment of cannon gear will serve every niche.
• The Cannon. (Very Heavy) The cannon counts as a weapon and 2 heavy loads. It is too heavy to swing around by the chain, so it is just a very heavy weapon.
  
• Cannonball. (Light and Ranged) A softball sized cannonball can be used as a light weapon in hand to hand, or be thrown as a ranged weapon. Because, you know, ow.
• If dubious, consider the relative damage of a cannonball and a dagger or rapier used in hand to hand. I think it’s close enough.
  
• Ramrod.  (Reach) The reach weapon.
• Sack of Cannonballs. (Heavy) If he has at least 2 cannonballs in a reinforced sack, that counts as a heavy weapon.

• Ammo Encumbrance. I decided three cannonballs  would count as 1 heavy object. Also, a small keg with 5 shots (each shot being equal to 5 shots for a pistol or musket) would count as 1 heavy object (2 encumbrance loads).
• Armor Needs. He wondered if he could get a shoulder pad and half helmet or something to reduce the damage if firing from his shoulder, and I said no; the system is not granular enough for that, and I was more focused on the general concussive force.

To take stock, if he carries the cannon (1 weapon and 2 heavy loads) and 6 cannonballs (2 heavy loads) and the keg (1 heavy load) and the ramrod (1 reach weapon) that’s 5 loads; what he can manage with his enormous strength and his Heft talent.

But–then he can’t carry his goblin friend and weapon caddy Tibbers (2 heavy loads). Some further questions revealed other down sides to his plan.

• Reload Time. I told him it would take 2 people 1 focus action each to load the weapon, or 1 person 2 focus actions.
• Very Heavy Weapon Blues. They don’t get arena bonus for anything, and that hurts his desire to use it, since as a gladiator he gets great advantage from arena bonuses.
• The Unexpected. If he loses track of his ramrod, or wants to put things besides cannonballs in the gun, or has trouble finding a way to ground it, or whatever, I’ll fall back on charging him Awesome Points and we’ll make it work.

I did brighten his day when I told him that I figured a very small cannon like that would do base 4 damage, and if hitting by 5 or more, 8 damage; and also that it could be split among everything in its path as appropriate.

Also, I figure each shot obscures vision in half an arena, adding +2 difficulty to see through it.

Reload time is not such a big issue when you plan to heft the cannon up and use its back spike to stab someone, then swing the body of it to mash someone else…

I also suggested if he got a war donkey that would help. If he didn’t want to use the cannon all the time, he could get a sturdy, expensive, top-of-the-line donkey that could carry 6 loads; give it the 5 loads he could carry, then for the last load, heavy armor!

I couldn't find donkey barding on the internet...

I am picturing steel fangs on the helm with a fierce crest , over the weary mild eyes of the donkey hefting the heavy gear.

Anyway, then he’d have all he needed on the war donkey, and he could carry his normal gear. It would be an expensive donkey, with all its stuff, so he’d need guards for it–like his two loyal goblin friends.

And, for the coup de grace, he asked if he could have the cannon fire yellow smoke in honor of its warmaster the Tulip–of course! I figure a little extra sulfur would do the trick.

I’m not sure he’ll go for it, but if he does decide to carry a cannon around, but if he does… Let’s ring up this possible outfitting:

• 200 gold. Small cannon (very heavy weapon)
• 200 gold. Modifications for spike, chain, handles
• 50 gold. War donkey
• 50 gold. War donkey barding
• 40 gold. 5 charges of gunpowder, each worth 5 regular charges, plus the keg and a little extra for the yellow tinge to the smoke
• 20 gold. 4 cannonballs (can be ranged or light weapons)
• 5 gold. 1 chained pair of cannonballs (could be a reach weapon)
• 5 gold. 1 ramrod fortified to be a reach weapon
• 570 gold

The expression on their faces when gunned down by a one-man cannon with a war donkey looking on:

Priceless.

Maptacular Monday: Dyson’s Delve Mini-Map Reference

Click on this to check out the mini-mega dungeon.

In case I haven’t mentioned it lately, I love Dyson Logos map sensibilities; the aesthetics of the maps, the layouts, and his addition of occupants.

I am running Dyson’s Delve for my open table. His Delve is 11 very small levels stacked on one another; a “mini-mega dungeon.” I think the idea and the execution are great fun.

However, I had significant difficulty sorting out which staircases went where. He has an “Entrances and Exits” section on each page (each level is a 1 page dungeon in his system–when I converted it, it doesn’t stay so tight.) To help me, I added a convention I use on my maps.

Every entrance, exit, or point of connection gets a letter (to separate it from the numbered descriptions.) Then, for each letter, I decided to put the higher entry first and the lower entry second.

Since there are 11 levels, and I could fit 6 to a page, I took the last box and made a key to the vertical movements in the complex, as well as points of outside contact. Now, with that 2 page sheet handy while running the game, I should be able to pretty quickly figure both vertical and horizontal movement through the dangers of Dyson’s Delve.

I’m posting it here because it’s Maptacular Monday, and because I miss Dyson’s posts (though I remain grateful for his blog), and because this is what I ran for my group this weekend.

Dyson’s Delve Mini-Maps Reference

OSH: Using Two Weapons

 The basic Old School Hack rules have shields used as damage-stoppers, cashing them in once or twice and they’re done. They are ablative emergency measures. I have a higher opinion of shields than that–so here are my shield rules for Old School Hack. (They also function as damage-stopping emergency measures, but now characters can do more with the shields before they shatter.)

Also, rules for using a weapon in each hand. That’s awesome, so it belongs in the game. I’ve kept it simple but flexible, hopefully matching the system seamlessly.

Shield Attack. A shield can be used as a weapon by itself, or with a light weapon, a heavy weapon, or a reach weapon.

• A light shield used offensively allows you to roll an extra 1d10 to hit.
  • Used with a light weapon, roll 4d10 and keep the highest two results.
  • Used with other weapons, roll 3d10 and keep the highest two results.

  A heavy shield used offensively does +1 wound if you roll 5 or more above the target’s AC.

Shield Cover. Using “Protect or Defend” the shield grants an additional +2 to AC (stacking with the +2 AC for protecting or defending, total +4), but no offensive advantage on a counterattack. This works against ranged attacks.

Parrying Weapons. A parrying weapon must be light, and it can be used with a light or heavy weapon in the other hand.

• Used offensively, the parrying weapon can grant +2 to hit or +1 wound damage. You decide after you roll.
• Used defensively, the parrying weapon can grant +2 AC or grant a counter-attack with 1d10 to hit. Neither works against ranged attacks.
  • If you are using the “Defend” action and get a counter-attack with 2d10 to hit, the parrying weapon is used offensively with that attack instead of granting a second attack.

Converting Modules to Old School Hack

Today we will talk about converting all your old modules to Old School Hack! It’s easy once you get started. Here is my suggested guidance.

Step One. The “Wow” Button.

West End Games’ version of the Star Wars RPG talks about the “wow” button. Remember when the star destroyer was flying overhead? When the Millennium Falcon flew at the closing jaws of the space slug? When Vader appeared in the carbon freezing chamber on Bespin? Those punch the “wow” button.

So comb through the scenario and find a handful of “wow” moments to build the game around. Revelations, gorgeous scenery, epic clashes, and so on. These are things you want your players to talk about years later–images that will stay with them.

Don’t hit it so often it becomes the new baseline. But if you have no “wow” button moments in the scenario, you don’t have something worth adapting.

Step Two. Cinematic Backdrops.

As you work on the “movie trailer” for your adventure, what parts would make the cut? Cool battles over a dizzying drop on a slick bridge in front of a waterfall! Flanked by displacer beasts on rough stone at dusk! Combat at the foot of a giant standing stone, or better yet, giant statue! A horde of minions rushing through shattered ruins at a determined last stand!

These aren’t as big as the “wow” button moments, but they are far more plentiful. You should have at least one per scene; a moment where the director of cinematography gets nominated for an award.

Most of your adventure should have cinematic backdrops. Either go back and add them, or drop the boring parts.

If your adventure takes place in a dungeon of worked stone and 10′ by 10′ stone hallways, that’s dull. Make the mortar luminescent, stamp each stone with a sigil noting one of the carver’s ancestors, make the stones translucent, or the teeth of giants–something.

If it’s a 10′ x 10′ x 10′ room with an orc guarding a chest, then the orc might have horns and a tail and a double-bitted axe, and the chest could be a nut bound shut with iron, and the room could be luminescent with the orc-monster’s condensed breath–yeah, the orc thing breathes luminescent smoke.

Go big or go home.

Step Three: Cool (but focused) Foes.

Look at your monsters. Pick 1-3 things about each that make them cool. Attach a talent, or make up a game effect to cover it. If it is magical or unusual, give it an Awesome Point cost–the DM must feed the bowl that many Awesome Points to activate the monster’s ability.

You do not have to attach numbers to cosmetic changes. The orc in the previous example might have the normal properties of an orc, but look different and be played differently. The numbers don’t define your foes, they just try to keep up.

Don’t try to convert everything about your monsters. Just pick out what makes them cool and focus on that; you can add other stuff during the fight if you want to, after all.

Here are some sample monsters. OSH Monsters

Step Four: The Plot is a Safety Net.

Plan two things in the adventure: what the bad guys want and how they’re going after it, and some points where that plan could be in serious trouble if the characters mess with it.

Your plot is not something that you put together that the group must follow. Instead, prepare the bad guy effort (or the site and its defenses, or the journey and its hazards, etc.) and let those things react normally when the characters challenge them.

When the players do something unexpected, pull at your prep to wrap adventure around their course of action. Do not try to pull their course of action over to wrap around your plot. In that tug of war, you shouldn’t win. Not in this game.

If they don’t want to get involved in what you planned, see what elements they could tangle with independently. Improvise an adventure around that. Maybe in the next adventure, the bad guys from last time got what they were after, and now are tougher challenges for the characters to face. Or maybe they just go away.

Step Five: Give Your Players Entertainment.

If it is a mystery, liberally sprinkle clues. If it is a battle, make sure they’ve got meaningful tactical choices and weapons and support (if needed.) Still, in spite of all that preparation, sometimes your plot blows up.

As part of your safety net, consider; if things go desperately wrong, some characters die, or get hopelessly lost, what are you going to do to make sure the players still have every chance to have fun? If your plot blows up, that shouldn’t spoil their evening! (Even if they blew it up.)

Maybe that means preparing contingencies around your main plot. Or maybe that means having other plots bits on hand you can drop in and elaborate on that have little or nothing to do with the main plot.

This is enlightened self interest. If they are not having a good time, you will not be enjoying yourself nearly as much as if you are the gateway to a game that has lots of awesome moments and delighted players. That’s at the heart of Old School Hack; if you don’t like that philosophy, play a different game.

Closing Thought.

Each game has its strengths and weaknesses. Imagine the OSR games are like journal entries, 3E is like a novel, 4E is like a video game–Old School Hack is like a gonzo summer blockbuster movie.

Your special effects budget is limited by your imagination and description. What happens at the table is your Director’s Cut. Like any director, you want to coax the best performance from your ensemble of actors. They will give their best if they feel like they are part of what’s going on, they care about the outcome, and they think they have awesome characters.