Showing posts with label Jeff Easley. Show all posts
Showing posts with label Jeff Easley. Show all posts

Saturday, January 21, 2017

Using Morale in Dungeons & Dragons Without Bringing Dice Into It.

Since I first began running Dungeons & Dragons back in '04 I've had this notion that I like Morale rules in my games. I say notion because I've never actually read what the real Morale rules were in AD&D 2e but my beloved Monster Compendium showed what the morale for monsters were and so I wanted to use the damned thing. Only thing was I didn't have access to an AD&D 2e Dungeon Master Guide so I never actually read a solid explanation for the rule so playing with it was a bit of a hit or miss affair. After a while it simply went missing from my games altogether.

Last night, though, I was reading through a copy of the Sword Lords of the Eastern Regions that was given to me when I read this passage:

". . . USING THE UNIT MORALE CHART: Use this chart when a unit's morale is called for, such as facing up to a Demon. If the roll is missed on one die, the unit must withdraw from the action for one turn at half movement, and then check again. The facing of the unit is up to the player whose unit is affected. If the morale save is made, the unit will obey battle orders . . ." (Becker, 27)

It struck a cord and got me to thinking again about using a Morale Rule in my Dungeons & Dragons game - only this time I'm going to actually look up what the rule meant in AD&D 2e instead of just making it all up on the fly. So let's look at the explanation that David "Zeb" Cook wrote in 1993 edition.

". . . Monsters and NPCs are an entirely different matter . . . The DM makes their decisions, trying to think like each creature or non-player character, in turn. 
In combat, thinking like a creature mainly means deciding what actions it takes and how badly it wants to fight - the morale of the creature. 
As a general rule, monsters and NPCs are no more eager to die than player characters. Most withdraw when a fight starts to go badly. Some panic and flee, even casting their weapons aside. If they think they can get mercy, brighter foes might fall to their knees and surrender. A few bloodthirsty or brainless types might fight to the death - but this doesn't happen too often. These are the things that make up morale, things the DM must decide, either through role-playing or dice rolling . . ." (Cook, 69)

I really wish that I had read this passage from the AD&D 2e Dungeon Master Guide years ago because the line ". . . most withdraw when a fight starts to go badly . . ." is something that I could have used earlier to dramatically improve my games. Even with my bastardized morale rule too often I found myself pushing the monsters to stay in the fight until every last one of them had fought to the death. While that can be interesting on occasion having monsters run from the players can create its own sort of drama as the players can gain a real reputation in the world that feels more authentic.

Jeff Easley title unkown
It's also interesting that with the morale rule it seems that there are degrees of failure for the monsters and non-player characters that your players encounter in the world. Are there degrees of success as well?

Zeb continues:
". . . The first (and best) way to handle morale is to determine it without rolling any dice or consulting any tables. This gives the biggest range of choices an prevents illogical things from happening . . . To decide what a creature does, think about its goals and reasons for fighting . . ." (Cook, 69)

As I've been reading more of AD&D 2e in recent weeks I've noticed that there is a decided trend among the writers that as a Dungeon Master you should think about your monsters' and non-player characters' motivations behind what they're doing. This aspect of the game wasn't missing from my beloved D&D 3.5e but it wasn't as pronounced and as a result for a long time I didn't consider such things. Instead I tended to look at the Challenge Rating chart and pick monsters to throw at my players based on what lined up with their level. That was a mistake and it made my game less interesting as a result.

With that in mind let's talk about unintelligent creatures for a minute. Zeb writes:
". . . Unintelligent and animal intelligence creatures attack, most often for food or to protect their lairs. Few ever attack for the sheer joy of killing . . . A mountain lion, for example, doesn't hunt humans (as a rule) and doesn't stalk and attack humans as it would a deer . . . Such creatures normally allow a party of adventurers to pass by unhindered, without even revealing themselves. Only when the creature is close to the lair does the chance of attack increase . . . When they do become involved in combat, animals and other creatures rarely fight to the death . . . Their interest is in food . . ." (Cook, 69)
I find it interesting that while I have often had trouble remembering to get monsters to flee I almost never experience the same issue with wild animals. The difference tends to be that I am around animals both wild and domestic regularly so I've internalized their habits; while monsters, to my mind, tend to be nothing more than imaginary creatures bent on destroying the civilized world of man and demi-human alike. Even though I know what the monsters are doing in my game world and why they're doing it, it's rare that I've treated my monstrous encounters with the sort of complicated motivations that they deserve. Reading Cook's discussion of morale I can't help but feel he would be slightly disappointed in my handling of the monsters.
". . . Intelligent Creatures have more complicated motivations than the need for food and shelter . . . Greed, hatred, fear, self-defense, and hunger are all motivations, but they are not all worth dying for . . . As a guideline for intelligent creature and NPC motivation, consider the actions of the player characters. How often do they fight to the death? Why would they? At what point do they usually retreat . . ." (Cook, 69)
And here comes a point where I begin to understand why I might have simplified monsters' motivations. My players almost never retreat. Not once in the 13 years that I've been running have I had a group that fell back (though I have been a part of two groups who fell back as a player). Typically my players fight to the death every time the enter into an encounter. This begs the question, though: do they determine their notion on how to handle a fight from the way that my monsters interact with them, or do I take my lead from them?

I think that I will have to put Zeb's ideas into action to tell.

More later.


Works Cited
Becker, Michael, Keith Elliott an Wilfredo Aguilar. Sword Lords of the Eastern Regions. Archive Miniatures & Game Systems. 1981. Print. pg 27

Cook, David "Zeb." Advanced Dungeons & Dragons 2nd Edition Dungeon Master Guide. Random House. USA, 1993. pg 69 - 72,


Monday, March 3, 2014

The Lost Caverns of Tsjoconth, Conclusion


In the center lies the gate 
But opening is sure to vex 
Many are the guards who wait 
As you go to the middle hex 

Randomly sent to find a way 
Back to a different iron door 
A seventh time and you may stay 
And seek the prize no more 

You have won my choicest prize 
My warded cache of magic 
And freed the one with yearning eyes 
Whose lot was hunger tragic. (original, pg. 7) 

Entering into the second levels of the Lost Caverns players are greeted with the above poem in the original version of this module. This three stanza poem spells out everything there is about the level in an elegant way. In the sequel, however, players have to find this information in room 17 of the Lesser Caverns (Upper left corner of the map). Otherwise the players will be left wandering about the Greater Caverns hoping to run across the following clues: 

Going south takes you southwest 
Going north takes you southeast 
Travel southeast and you are south 
Northwest brings you north 
Travel southwest reverses that 
From northeast you go northwest (sequel, pg. 20) 

 It’s clear that given the truncated time scale and nature of tournament play that Gary did not want to encumber the game with the steady plodding and high frustration levels that would occur later in S4: the Lost Caverns of Tsjocanth – a feature Gary warned about.
 . . . When confronted with the teleportation corridors in area 19, players may become disheartened if they have not had considerable experience in similar situations. If the players are unable to deal with the situation, the DM may place certain clues, to be found with monsters that have other treasure. Each clue will be one of the following lines, written on a piece of parchment and found in a scroll tube of little or no value . . . 

 Nothing else should be said when the clues are read. After being teleported a time or two, the players should realize the meaning of the clues, yet still be challenged by the situation . . . (sequel, pg. 20) 
Without spoiling the adventure there are a lot of differences between the two versions of the module. Many locations have a greater and more wondrous feel in the sequel and there way more monsters present. Not only that, but unlike the original which confines play within the Greater Caverns the sequel has no compunction about sending players careening off into alternate dimensions and deadly pocket dimensions where they’re left to fend for themselves. As an adventure you could easily lose yourself within the traps and tricks of the Greater Caverns for the entirety of your adventuring career without ever beating the damn thing. 

 A thoroughly impressive feat. 

A Word on Dungeon Master Prep

Of the two versions of the game the sequel require a substantially greater effort on the part of any would be Dungeon Master. Without the time spent designing several of the offshoot dimensions play will grind to a halt and it will ruin the adventure. 

S4 should not be attempted unless you're willing to expend the effort to make it something special - but it should be noted that if you do, your rewards will be great.

The Slumbering Warrior Queen Awaits by Jeff Easley pg. 28

Works Cited
Gygax, Gary  The Lost Caverns of Tsojconth. MDG, USA: 1976. pg. 7.

Gygax, Gary S4: The Lost Caverns of Tsjocanth. TSR Hobbies, Inc. USA: 1982. pg. 20, 28.


Read the Complete Series
Part 6: Conclusion

Sunday, February 16, 2014

February Artfest: Untitled by Jeff Easley

Untitled by Jeff Easley
If this image above doesn't make you want to pick up your dice and start playing Dungeons and Dragons then what I have nothing for you, son. everything about this image screams out the best Dungeons and Dragons game I could imagine. Overwhelming odds, dragons, and a last stand that would make Don Quixote stand up and applaud.

Thank god for Jeff Easley!


Tuesday, February 11, 2014

February Artfest: Dungeoneer's Survival Guide Cover by Jeff Easley

Untitled by Jeff Easley
When I first ran across the Dungeoneer's Survival Guide I bought it based on the Easley cover alone. Not only did the book introduce me to Douglas Niles but that cover by Easley has kept my mind racing through the underground chambers of this world and wondering what's waiting for me down there. 

What about you guys?

Monday, February 3, 2014

February Artfest: Magical Defense by Jeff Easley

Magical Defense by Jeff Easley
Like Earl Otus, Jeff Easley is one of the most beloved artists to be associated with Dungeons and Dragons - and it's a love that is well deserved as he spent the majority of his career cranking out amazing works of art for a medium that thrived, in part, because of his beautiful illustrations.

For my first look into Jeff's art I wanted to choose a piece that exemplified why he's such a beloved figure and this picture has it all. The colors are amazing and the unflappable confidence of the wizard pushes forward the narrative. Then you look at the lycanthropes who have surrounded him and you realize that it's a false confidence he's projecting becasue while many of them are running away the one next to his exposed flank is primed to eat his heart out. 

Great place to start a love affair with an artist who can inspire your games to ever greater heights.


Closing Comments.

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