Dungeons & Dragons : Meetings & Retreats

Image result for awful meeting

In part because my last post was about suicide, and I kind of want to push that baby down the feed a step, I’m breaking from my usual pattern of uploading posts on Fridays to post about something that has become more and more clear to me: being a good DM, or GM or ST or whatever, is an incredibly useful skill. (I’ll use GM from here, as it is the term in widest use)

My sister goes to a lot of meetings. She’s been in higher education for a long time now, and is now in higher education administration, which means meetings galore. Her complaints about these meetings make frequent appearances on her Facebook feed, and then comes the chorus of agreement from others, in academia or related white-collar fields, who have similarly bad experiences in meetings.

I’ll say it – I give good meeting. I don’t love meetings and I understand why no one else loves them either, and in part because of this knowledge, I run pretty damn good meetings. In fact, I have realized that running good meetings (or good discussion groups or similar things) is one of my few features. I am currently the President of the Phoenixville Area Clergy Association and the leader of the Phoenixville Area Refugee Initiative solely because I am good at running meetings. (I have literally no other leadership qualities anyone can detect) As a pastor, I also run a lot of meetings – our board, and multiple committees, as well as Bible studies and other classes, planning meetings for weddings and funerals, annual retreats and training events; on and on. If I was bad at running meetings, or even just average, many innocents would suffer.

Where does this skill come from? It comes from running games for the last 25 years of my life. Think about it.

Taking Turns

In a discussion, making sure that everyone has a turn is exactly like running a combat encounter. Making sure everyone has approximately equal time and spotlight, that everyone gets to try to move their agenda forward a step, etc., is part and parcel of the GM skill-set. As a bonus, you’d no more skip a POC or a woman in a meeting than you would skip the rogue or the fighter. You know everyone gets to have a turn each round, and you keep going in rounds until you are done.

Keeping Up Momentum

As a GM you have learned when to talk to move things along, and when to sit back and let people roleplay with each other. You know when things begin to lag and you need to step in and move the story forward. You know how to creatively interrupt people who are stuck in a cycle that isn’t going anywhere. This skill is immediately applicable to any meeting or event you are running – you can read when people are just spinning their wheels and when they’re getting things done.

Rules and Rulings

When GMing a game, you always have to keep the rules in mind, and not only understand them, but also know when to apply them and when not to. In theory, most meetings are run according to Robert’s Rules of Order – where we get motions, and tabling, and calling the question, and all that procedural stuff that makes C-Span so action-packed. But not only is there widely variable knowledge of Robert’s actual Rules, but there are plenty of times when it is best to just set them aside. And who knows better when to set rules aside for the greater good than a skilled GM?


As an experienced GM, prepping even for a complex or difficult meeting is made relatively easy. If there is a curriculum or an agenda already, that’s kind of like having an adventure module to run. You have to read through, plan for the possible pit-falls, sketch out a few ideas for improvising, and you’re ready to go.

I tend to create things like retreats or classes form scratch, though. It can be a bit of a challenge, but honestly it’s usually nothing compared to prepping for a four-hour game session every week, where I have to keep five adults entertained while also telling a story, keeping rules in mind, adjudicating questions and debates, and juggling the agendas of every member of the supporting cast.

Go Run Awesome Games (and Meetings)

Compared to GMing a good game, running a good meeting is easy. I’m sometimes shocked at how bad some people are at it, but then I remember that they have not spent hours a week for 25 years prepping for, or playing in, RPGs. I have a feeling my 10,000 hours is long past, actually.

So everyone in every white-collar industry that features frequent meetings should start playing RPGs, is what I’m saying. Those of you who want to run good meetings should learn to be good GMs. As a bonus, you’ll be starting in on literally the best hobby there is, period.

You’re even welcome at my games – Friday and Sunday nights. I’ll show you how it’s done.


I do not like telling stories about myself. It isn’t that I think people should not tell stories about themselves generally (though memoir is one of my least favorite genres of writing) – if you have a story to tell, more power to you. I just feel like…the stories I have to tell are about other people. Mostly made up people, if you get down to it. Make of that what you will.

I don’t think my life is particularly interesting, and I also have a really bad memory. I don’t remember whole swathes of my life, for reasons I can only guess at and don’t want to get into. Suffice to say, in the rare event that someone tells a story of something they remember me saying or doing, especially years ago, there’s a good chance I’ll have no idea what they’re talking about. They say that people with depression have smaller hippocampuses, and maybe that has something to do with it, I don’t know.

But I listened to Mike Perna’s episode of Bard and Bible a few days ago, and I decided, OK, I’ll tell a few brief Doug stories. These stories are about suicide, so if you don’t want that, now you know to skip this post. (These are not all of my stories about suicide, but they are the ones I’m telling today) I respect your time, so I’ll keep them as brief as I can while still maybe making sense.

First, I’m perpetually the New Guy, and before that, was perpetually the New Kid. I counted, and I’ve moved 24 times in my 37 years of life. No, I’m not a military brat or anything like that. I’ve just moved a lot – with my family as a kid, then as an adolescent, then as an adult.

As the perpetual New (Fat, Nerdy, Short) Kid, I had to sharpen my natural defenses. The key was always humor. After being pretty steadily beaten up and bullied and made fun of up through elementary school, I put together that if I was able to be consistently funny I would generally be safe. Not all the time, but most of the time. Being my dad’s fifth child and my mom’s third child meant lax parenting, so I watched a lot of late-night TV even as a kid. I watched a lot of comedy specials, and as much as I could, I’d absorb them, and then replay them at school with my own spin in order to shield myself with laughter. By Middle School I had a pretty solid repertoire of Robin Williams and Richard Pryor, among others, and was always someone who was trying to be funny. All this to say, Robin Williams in particular saved me from a lot of ass-kickings. Beyond that, he always seemed like an amazing person. He’s a lifelong hero, the kind of rare, wild genius that I feel privileged to have shared the world with.

Next, I’m a teenager and I have a crush on this girl. She and I are really close friends, actually. We hang out a lot; when I sneak out, it is to go hang out with her. She knows I have this boundless teenage love for her, and she does not feel the same way, and we’re both aware of all of that. It was what it was. But I’d take what I could get, so we spent a lot of time together.

One night, I’m dropping her off at home (I had an early birthday and was an early driver among my friends), and she tells me that she’s going to commit suicide. I beg her not to, but she has made up her mind, tells me goodbye, gets out of the car and goes inside. I’m just sobbing in this Chevy Blazer for I don’t know how long. Eventually she comes back out, gets back in, and tells me that she won’t. If I’ll stop crying, and go home and go to sleep, she promises she won’t.

Then she does.

Next, a year or two later, I’m in my dad’s office. It’s very late, and I’m so depressed and upset and angry and sick of the shitshow of being alive that I have taken down the case where he keeps a revolver. Six bullets shine in little shaped holes like board game pieces. (Not a simile I thought of at the time) With shaking hands I open the mechanism that lets the cylinder fall to the side and I start putting a bullet in each chamber. Why more than the one bullet I’d be using? I have no idea. Symmetry, maybe.

I remember the nauseating weight of it in my hand.

I hold the gun, hands still shaking, feeling like I’m going to throw up a clot of darkness out of the pit of my insides; thinking about whether I’ll feel the impact of the bullet to the side of my head, or just feel a hot dry shove and then nothing, or what. Will I go to Hell, or just fall and never hit the bottom?

I would love to say that Jesus came to me then, or that I thought about the people who loved me and how I’d hurt them, or what it would be like for my dad to wake up to a bang and find my brains all over his shelves. I thought of those things, but I had already thought of those things, and yet there I was in that room, in that moment, weighing whether to end everything because that would also end the pain of being. I knew I would hurt people, but I thought they were misguided. They didn’t understand, would be better off without me.

What happened was, I hit bottom. Whatever step there was before the very last step – that’s where I stopped. I felt like I had fallen a long way, but had slammed into a cold concrete floor, and would not fall any further. I would hurt horribly, would be miserable, but I would not fall farther than that. Not now, anyway.

Feeling like I was going to pass out, I put the gun and bullets back exactly as I found them, went back to my room, told no one. I’d continue to fantasize about killing myself for the next fifteen or so years, but never did it. Obviously.

Next, I’m working as a barista in San Anselmo, California, while going to seminary. I’m at Marin Coffee Roasters and in walks Robin Williams. My hero. The shimmering barrier of humor between me and innumerable ass-kickings. The guy who, for all intents and purposes, is the person I want to be. Yes, he suffers from depression, I’ve read all about that and his marriage troubles and his drug abuse and so on – but he does all of these things and is also world-famous for being hilarious and wonderful. Meanwhile, I’m a broke, depressed Seminary student. He did things in the world – I was just a fan. Yeah, I’d trade lives with the guy, no question.

He was a big bike-rider at the time, and Marin Coffee Roasters was kind of a bike hangout, so he comes in and orders a small mocha. I make him his small mocha, and he says thanks; shares a small smile. I am literally clamping down on all of the things I want to tell him, just boiling up inside of me, because honestly he looks exhausted and I don’t want to impose on the guy. Well, I want to follow him home like a whimpering puppy and hope he takes me in, but the mocha is all I give him.

Last, Robin Williams commits suicide on August 11th, 2014 – three years ago today. Three years later I’m still basically without words. He got to that moment, and bottom for him was just one step farther down than it was for me. He fell past where I stopped, and that was that. The person I desperately wanted to be for years was dead, and I was alive.

And then Prince, and then Chris Cornell, and then Chester Bennington, about whom Mike Perna spoke so eloquently on the Bard and Bible podcast, which set this post in motion.

If you want someone to talk to, I am always available, for this, for anyone, any time. I don’t advertise that, but maybe I should. I have talked to other people who have been in that place, and I have been there, or somewhere like it.

You can also talk to other people who want to help, and who want you to live.

I don’t have a conclusion for this. No summation, no lesson to walk away with. Just what I wrote. Just that and no more.

Mage the Ascension: Resonance and Hubris

Super Massive Power Surge by stylage.jpg

Image credit: http://wiki.wodgotham.com/index.php?title=Mage_101

Recently I hosted Session 0 of my first Mage the Ascension chronicle in…years. Maybe 10 years? Mage is a game that I played a lot in college and with my college group in the couple of years after, but since we’ve all moved away from each other Mage has fallen by the wayside.

There’s something about Mage that fits really well with undergraduates. It’s all about ideas, and focused on the self, and changing one’s beliefs. It was a blast, and when I was talking with gamer friends now it turns out some of them were interested in a Mage game. So here we are again.

I’ve already written out my my opinion that M20, the recently released 20th Anniversary Edition of Mage, is inferior to the Revised edition of Mage released 17 years ago. Basically, it takes twice as many pages to accomplish less clarity, and mashes together multiple sets of sub-rules without putting as much effort as I’d like in streamlining them and making them consistent with each other. In addition, they cut out a rule that I really liked, that was the center of an important house rule I’ve had for Mage: Resonance.

In the Revised version of Mage, Resonance is a way that your magic is expressed to the outside world. It is like a smell, or taste, or color that marks your magic as yours as opposed to anyone else’s. It might be Dynamic, Entropic, or Pattern Resonance, and the Resonance is kind of like a fingerprint. The more Resonance you have, the stronger and more obvious your fingerprint. At a certain point, it’s probably like a calling card that anyone, magical or otherwise, can sense.

In the RAW, the downside of Resonance is that the more you accrue, through things like Paradox backlash, the more obvious your magic becomes, making it easier for enemies to find you. It can also have an effect on places where you use magic a lot. For example, if you have a lot of Entropic Resonance, plants might start dying around you when you use your magic.

Now, Mage the Ascension has always dealt with the theme of hubris, a particularly powerful temptation for Mages. There have also, from the beginning with 1st Edition, been particular Mages known as Marauders, who have fallen into a madness which not only corrupts all of their magic, but even their minds, bodies and surroundings.

In my Mage the Ascension games, a house rule developed which connected this idea of hubris, which didn’t have mechanical teeth so to speak, with Marauders, who were interesting but who seemed somewhat disconnected from the system. Any time a player rolls Arete, she can also roll Resonance along with it. If she does so, her character takes an automatic point of Paradox, and her Resonance is considered to be more powerful and noticeable.

For me, this house rule solved two problems. One was to make hubris, the “quick and easy path” in Jedi terms, truly tempting. Extra dice! The other was to connect this to the fall into Marauder-hood – you draw on this power again and again, accruing more and more Paradox (in addition to what you’d normally accrue), which results in more Resonance, which further twists your magic, which also tempts you with more dice for your effects, etc.

The end result is that arrogant, reckless mages are incredibly powerful, and also on a swift slippery slope towards madness and self-destruction. This simple house rule seemed to connect themes of Mage, to add teeth to some of its core ideas, and gave players an interesting choice to make every time they rolled their few, precious Arete dice.

I recommend it in your own games.

Mage Revised > M20

Image result for mage the ascension 20th anniversary edition

I had really high hopes for the 20th Anniversary edition of Mage the Ascension. Mage is one of my three favorite OWoD games, the other two being Vampire and Changeling. For me, Mage was the core game – a setting that could account for all of the other game lines and settings within it’s expansive, flexible worldview. I got a kick out of PC mages in my games encountering other supernaturals who functioned according to rules they could understand, with some study. Mage was, and is, the game line that lets you peel back the curtain on the World of Darkness and not only learn about its inner workings, but have an impact on what the WoD is and what it means.

Running the Revised, essentially 3rd edition of Mage the Ascension always required pages of house rules. This is honestly true of World of Darkness games in general, at least in my experience, but Mage is definitely a game that drifted a lot as we played it for about a five-year span from 2000 when it was released until around 2005 (we in this case being my college gaming group). But Mage begged for this kind of drift, I think, with a flexible magic system that was, at best, evocative but ill-defined.

The 20th Anniversary edition of Mage clocks in at well over 600 pages, or twice as long as Revised. Including the How Do You Do That expansion, it approaches 800 pages. But in those 800 pages, there is less clarity than in the Revised edition’s 300 or so. Poor rules were kept and expanded upon (I’m looking at you, Martial Arts/Do), interesting rules (like Resonance) were dropped (though left in as a sidebar and a very optional rule). How Do You Do That, in particular, is a hot mess. For some reason telekinesis requires dots in Mind, and periodically magical effects arbitrarily require the expenditure of Willpower because…they seem hard. As if enlightened magick was not, as a rule, hard.

I like some of the updating for the setting that M20 provides, though that is hardly worth the price of the book (or the time spent reading it). For some players, the grim reality of Revised was too much, and with a more multicultural viewpoint the Ascension War seems far less over than it did in 2000. White Wolf always had a problem with representing non-Western cultures well in their books, and Revised was no exception, fascilating between some real research into Hinduism on the one hand and on the other the hi-ya antics of the orientalist Akashic Brotherhood.

The truth is, thought, that M20 is simply not worth the price of admission. In stark contrast to the overall success of Changeling 20th Anniversary, M20 adds to the noise and the mess rather than refining and clarifying. It does gather up a lot of material from the various Revised splatbooks, but it just kind of crams them together next to each other rather than working to make them more consistent with one another or simpler, which is what I’d hoped for. If you are a Mage the Ascension fan, I think you can stick to Revised and just update the setting as you like. Say the Ascension War was declared over before it truly was, the Technocracy’s victory was premature, and get on with saving the world.

Dystopian Gods in RPG Settings

Related image

Who Accumulates Power?

What kind of person accumulates power, generally speaking? A good person or an evil person? In the current context of rising inequality as well as the resurgence of vile ideologies from the recent past, we see demagogues holding onto power despite movements like the Arab Spring and rising to greater power in Europe and the United States. And while inspiring to many, movements like Occupy have done little to slow the accumulation of wealth among fewer and fewer oligarchs; similarly Black Lives Matter has yet to see significant victories as they continue the fight for Civil Rights.

It’s been said that the last person who should have power is the kind of person who seeks power out, and we can see how our political systems reward wrongdoing and make doing what’s right all the more costly and difficult. How much more so might this be true of gods, and how they gather power to themselves?

I think that in many ‘standard’ D&D campaign settings like the Forgotten Realms and Eberron, the good-aligned gods are too powerful. There is this sense that there should be a balance of alignments in the world, most explicitly in a setting like Krynn, and so you often have good gods facing off against their opposite number while neutral gods move back and forth in allegiance, or go off and seek their own ends.

The problem is that the balance offers too much hope. I understand, it is fantasy after all, but for me a more compelling story can often be found when the protagonists are underdogs, fighting against overwhelming odds. Add that to what seems to be true about the nature of power in the world we know, and I think that our game settings should feature more overwhelmingly powerful evil deities.

Example: Midnight

In the Midnight setting, published in a first and second edition by Fantasy Flight Games, first for D&D 3E and then for D&D 3.5, there is only one god – the Dark Lord Izrador. All other deities have been shunted out of the material plane entirely, leaving only the occasional nature spirit and no good-aligned outsiders at all. The only deity available for clerics (or their Midnight equivalent, Wisdom-oriented channelers) is a god of evil, and it is a genuinely scary thing in a game to have what is usually the most over-powered class, the cleric (especially in D&D 3.x), as exclusively antagonists. Your enemies will have supernatural healing available to them, and waves of undead at their command.

Midnight is a superb setting to explore issues of resistance against a dystopia that is not only political but metaphysical as well. Is there any hope at all against overwhelming odds? If not, what meaning can you find? Where are the places for heroism? Midnight forces these questions on players precisely because the power of the evil deity is overwhelming.

Idea to steal: the setting is monotheistic, and that deity is evil. 

Example: Call of Cthulhu

The obvious flagship setting for overpowering, terrifying deities is clearly the Cthulhu Mythos. (Even though in the original story, Cthulhu is taken out by being rammed by a ship) For the most part, there are no gods of good – they are illusions, or impotent when compared to the seething cosmic horrors gazing hungrily at Earth and its inhabitants.

The Mythos can be an example of this idea taken too far, however, because so often one of the core themes of a Mythos-based setting is helplessness. And I don’t want to go that far. I don’t think movements for justice in our world are hopeless – it’s just that they are perpetually outgunned.

Idea to steal: there are gods, but they are overwhelmed by all-powerful cosmic horrors. 

Classic Example: Middle-Earth

For almost all of Middle-Earth’s history, including its mythic history, the Valar, equivalent to the benevolent gods of a pantheon, are at worst balanced out by Melkor in influence, and if anything, Melkor has a far greater influence on how history unfolds. Similarly in the Third Age, Sauron has a much greater influence than any of the Valar, and those who resist him are always doing so as underdogs, or in secret, or as part of a desperate ploy.

Unlike the other Valar, Melkor takes up residence in Middle-Earth itself in Utumno, guarded by Angband, the Hell of Iron. The same is true of Sauron in Mordor of course (well Mordor, then Dol Guldur, then Mordor again). The caricature of Middle-Earth is that it coddles its protagonists (to which we get responses like Moorcock and Martin), but it is hard to describe a setting where the deity of evil has a physical address anything but frightening.

Idea to steal: the most powerful of the various deities is an evil deity, and s/he rules a physical realm in the world while the deities of good are distant and can only intervene indirectly. 

Un-Balance Your Gods

I think that the gods of good in a fantasy setting should be overwhelmed, limited, and in a word, scrappy. They should face overwhelming odds, always feel like they are outclassed and fighting from behind, and sometimes have to fall back on luck to survive.

Just like the heroes.

There, I Fixed It: The Wish Spell

Image result for wish aladdin

Something that the System Mastery guys love to harp on, all the way back to their very first episode: Dungeons & Dragons’ wish spell (and similar spells in the wish tradition from other RPGs as well). As written, wish spells, or wishes in general in TRPGs, are almost always explicitly ways to disrupt players’ expectations and, in a word, screw them. GMs and DMs are often encouraged to find any possible loophole, any interpretation in the player-character’s wish that might justify screwing with them.

In 5th Edition and 3.5 as well, other than that, a wish spell is for the most part just a catch-all for replicating an 8th level spell. There is otherwise a list of possible effects that are clearly defined and limited in scope. Part of the problem is that wishes in the folkloric sense should not be spells – the simple solution here is to excise wish from the list of arcane spells entirely. But if you want to keep it, or if your game is going to feature a significant number of genies, then there must be something better than punishing players with it. (If you want to punish a character, hand them a Deck of Many Things and stand back).

The potential problems with wishes should be obvious, and there are plenty of folkloric stories about well-intentioned wishes going wrong, or at the very least not having the effect that the wisher intended. On the other hand, these problems are usually ways of moving the story forward so that the protagonist can learn something or change in some way. All too often in TRPGs, wishes are simply opportunities for the DM to punish a player for trying to be creative, when it’s the DM’s decision whether to allow wishes in the first place. For those DMs whose players are not masochists, I have some other thoughts.

The first is that a wish should be fun. Here I’m thinking of Aladdin’s first (official) wish in the Disney animated adaptation of his story regarding a certain lamp. He basically gets what he wishes for, and if anything, Genie goes overboard (as Robin Williams invariably did) in embellishing the whole scene. Rather than being a stingy saboteur, one pictures Aladdin’s DM just throwing cool things at the player-character until the player’s head spins. There are complication, of course, as “Prince Ali” draws the attention of a sinister visier and is suddenly plunged into court life having been a fruit-stealing street kid not long ago, but the story moves forward with the wish fulfilled at face value, plus interest.

Wishes should be fun. D&D should be fun. It should never be a DM power trip, or about ‘punishing’ players.

Second, a wish should indeed have a cost or an unforeseen complication, but this cost or complication should be something that is part of the story moving forward and continuing to be fun. The street rat suddenly lifted to Princedom has no actual idea how to be a Prince. No history, no family, no connections, no homeland, nothing. And as mentioned, he draws the attention of the sinister vizier. I would even recommend discussing possible complications with the player who is making the wish. I know this is not everyone’s play style, but in my experience this doesn’t diminish the fun – you kind of trade surprise for a higher guarantee that you’ll all enjoy the twist.

Third, a wish should take context into account. I still think that DMs should just eliminate wish from all spell lists where it might appear, and keep wishes as a story element. Obvious options are powerful fey or genies whom the PCs have worked to befriend. Maybe the goal of a whole campaign could be to earn a wish from a powerful entity, and then to use that wish to restore the kingdom, or end a curse, or cure a plague. But remember that the wish is interpreted in context. If a PC makes a wish granted by the genie, that genie will interpret the wish, and a wish granted by an ifrit will be very different from one granted by a marid, or a djinni. Rather than a chance to punish players, this is a chance for a DM to show off her creativity. To use this example again, a wish granted by a genie voiced by Robin Williams will be one thing – one granted by a stingy cantankerous fey quite another.

Remember that a wish’s fulfillment does not need to be immediate (unless maybe the PC adds that to the request – in which case, it could rain gold pieces or cause other upheaval). Feel free to take a moment in game when the wish is finally made (which again should be a huge story moment) to go think through what it will look like when it is fulfilled.

Discourage players from gaming the wish. A player might be tempted to go off and write out a page-long run-on sentence as her wish, full of legalese and dependent clauses. Depict the wish-granter getting bored and starting to wander off. Understandably, players will anticipate the DM trying to twist their wish against them, and will try to avoid that eventuality. Maybe reassure them, if necessary, that this is a big story moment and you’re not going to sabotage it.

So, to summarize the wish spell – don’t make it a spell at all. Make it a story element. Make it fun. Have a cost or unforeseen complication, but make it one that moves the story forward in an interesting way. Take the context of the wish, and the wish-granter, into account. And push the players not to lawyer the wish, even if you just have to reassure them.

Do you have any stories of wishes going well, or poorly, in your campaigns? If so, share in the comments. 

Making “Failure” Interesting in RPGs

Image credit: https://www.fantasyflightgames.com/en/news/2012/11/19/at-the-core/

I had an idea come to me as I was listening to a review of the Fantasy Flight Star Wars RPG. This particular review was from someone (Dan Repperger of Fear the Boot) who was enjoying the game he was playing in but was simply baffled by the game’s mechanics – specifically, the custom dice mechanic.

I feel like I have an OK handle on it, having run the intro adventure for friends and read through the Edge of the Empire book. The dice system is complex, giving six different interacting results: Success, Triumph, Advantage, Failure, Despair, Threat). Basically, when you roll dice, the result of the roll gives you a lot of information:

  • Do you succeed or fail in your intended purpose? (Success and Triumph versus Failure and Despair)
  • Does your success or failure cost you any stress, or allow you to recover stress? (a use for Triumph and Despair when there isn’t something else to do with it)
  • Does the situation overall get better or worse? That is, you could succeed but the situation could worsen for you overall, or you could ‘fail forward’ where you don’t succeed but your situation improves through some unforeseen windfall. (Advantage and Threat)
  • Does your success or failure trigger some kind of special effect, like the equivalent of a critical success or failure perhaps, or a special ability. (Triumph and Despair)

But this post isn’t primarily about the dice mechanic in Fantasy Flight’s Star Wars RPG. Rather, it is about failure, and how to make failure more interesting, which is a challenge in any RPG that features a success/failure mechanic.

The thought is a simple one, derived from the complexity of Fantasy Flight’s dice system – that a failed roll can either mean 1. you don’t get what you want, or 2. you succeed and get what you want, but the situation worsens for you. This is a variation on the “succeed with a cost” mechanic, but it is rooted in the narrative, in the player’s decision to accept greater overall peril in exchange for succeeding on a key roll. In the FF dice system, this is kind of like rolling Success and Triumph paired with Threat, but without all of the complexity of six different colors of dice with multiple custom symbols on them.

For example: your fighter is surrounded by a gang of goblins. She activates her special ability that lets her attack a group of lesser targets with one roll – you roll, and miss. So, instead of just whiffing on your cool ability, your ability succeeds, but just as you mow down the fourth goblin, you look up to see that the fighting has drawn the attention of the Goblin King…and he looks angry. 

What do you do in your game to make sure that failure is still an interesting part of the story?