Traps 103 with Dr. Henry Jones, Jr.

Paramount Pictures

Welcome back, class! I know it's been a while since our last two sessions, so I hope you took good notes.

Today I'll be talking about how a GM can make detecting and disarming traps more interesting in-game.  I won't be using so many examples from the Indiana Jones movies this time around, because I can only think of one time Indy makes a Disable Device check.  When he is approaching the Breath of God trap in Last Crusade, he ducks, grabs a rope, and hooks it onto a spinning wheel, causing the trap to grind to a halt.

Paramount Pictures

Last time around, I closed by talking about making complex death traps that seem more like puzzles in how the players interact with them.  So why don't we expand that principle to all traps?

I've noticed that in my games, both as a player and as a GM, traps are not always well integrated into the play experience.  A typical trap encounter might go something like this:

Rogue: I open the chest!  Wait, first I should check for traps.

GM: Roll for it. 

Rogue: *rolling* 13... so that's a... 27 all together. 

GM: Alright, you're pretty sure that if you open the chest it will stick you with a poisoned needle. 

Rogue: *rolling* I got a... 31 to disarm. 

GM: Wow.  Okay, you stick your thieves' tools in there and disarm it.  

That's a pretty boring interaction.  Most of it is just calling out numbers, which is not something the in-game character would even be aware of.  This is a failing on my (the GM's) part.  When I include a trap encounter, I need to set it up through description.  To do that, we'll need to delve deeper:

GotWK Campaign Part 7: Cold Iron and Hot Lead

This is an account of part 7 of my ongoing campaign set in my homebrewed wild west setting, Guns of the Western Kings.  Get caught up with the previous parts here.

Previously, in Guns of the Western Kings, our heroes were trying to make their way back to Fort Crawdon and the Sunbeam Silver Mine after an unusual subterranean steamboat ride took them far off course.  They fought off a bandit gang of coyote-folk who were trying to rob their train, only to arrive in Fort Crawdon and find they were wanted by the Deuclair Mining Company for failing to carry out their end of a bargain they had made earlier.  They fled into the woods and encountered a group of elves that they had also tried and failed to help, but were interrupted by a patrol of Deuclair Co. soldiers.  They fled deeper into the woods and were surprised to meet Heather's mom, a dryad, who told them that Heather's daughter was in grave danger.

And now:

Before Heather can absorb the fact that her mother is a dryad and her daughter is in the fey realm, the dryad has everyone link arms and pulls Heather, Theodore, Gudguníis, Face, and Rusty (and their horses) through her oak tree into the land of the fey.  They emerge, slightly dizzy from the experience, in a majestic wood.  The dryad introduces herself as Dervenn and explains that Heather's child, Annabelle (whose disappearance was Heather's reason for adventuring) has been living with her in the fey realm.  Because time passes differently in the land of the fey than it does in the mortal realm, Annabelle is no longer a child of eight, but a girl of seventeen, and quite the favorite at the Seelie court.  Unfortunately, her popularity has also made her a target; the goblin king Hizendis kidnapped her and took her to his lair - an ancient tower in the Forest of Twilight.  The tower, built by the ancient Dark Elves long ago, is reputed to have a corrupting influence on the fey, so none from the Seelie court have dared try to rescue her.  Hence why Dervenn had to reach out to the mortal realm.

Still reeling from the news that she is a changeling and her daughter has aged nine years since she last saw her, Heather heads off with the others across the fey realm.  After trekking for some time, they come to a patch of woods where the sky is dim and a foul yellow mist hangs in the air.  Above the treetops they can make out two towers.  They advance, but are distracted by a commotion to the right - two unicorns have wandered into a nearby swamp and become trapped in the sucking mire.  Suspicious of the trapped beasts, Face the pigtailed paladin detects their evil intent and the party simply walks away.  The evil unicorns, loathe to let their prey slip from them so easily, teleport out of the swamp and gore Face and Rusty.  They manage to fend them off, Face smiting them with her twin sawed-off shotguns and Rusty blasting them with fiery bombs, until the nefarious beasts are nothing but crispy, perforated corpses.  Rusty seems to recall that shadhavar horns can be very valuable evil spell components, and Theodore is all for taking them, but Face and Heather overrule Theodore's business plans and have the black unicorns burnt, horns and all.  Face makes camp there, unable to go further before she fully recovers from the shadhavars' poison.

Traps 102 with Dr. Henry Jones, Jr.

Paramount Pictures

Last week, in Traps 101, I used Raiders of the Lost Ark to demonstrate a few basic things that traps can do in a dungeon.  I mean, besides maiming and killing.  This week, I'm also bringing in examples from Temple of Doom and Last Crusade, the only other Indiana Jones movies I recognize as canon (not that Crystal Skulls had any traps in it anyways).

Indiana Jones is an adventurer's adventurer, so it really makes sense that the temples and ruins he navigates are dungeons any GM would be happy to have created.  They have a cinematic quality to them (naturally) that boils the elements of a good dungeon down to a few tightly-implemented set-pieces.  For that reason, the Indiana Jones movies ring true as great D&D-style adventures despite the fact that there are no fantastical monsters and Indy himself doesn't wear armour or wield a sword.

"You're strangely dressed for a knight..."                 Paramount Pictures

So what else can we learn about traps from the adventures of Professor Henry Jones, Jr.?

Traps 101 with Dr. Henry Jones, Jr.

Traps are an integral part of nearly every dungeon, but they are very easy to do wrong.  There are some GMs who seem to think that the goal of a trap is to kill your party in as devious and clever a way as possible.  If your goal as a GM is just to kill your players, kindly refrain from GMing.

From Grimtooth's Traps

Others decide to put traps on everything, turning the exploration of a dungeon into a never-ending paranoid sequence of skill checks.  Putting traps in a dungeon is like putting spice in a dish: the right spices in the right amounts can add flavour, but using too much or too overpowering of a spice can render it unpleasant or inedible.

So naturally, to illustrate how to do traps correctly, I am turning to the Indiana Jones film trilogy.  Not just because they are perfect movies, but because they use traps incredibly well.  In a well-put-together movie, every element should contribute to the whole.  If you just throw things in there for the heck of it, your movie will be an incoherent, tone-deaf mess.  But the three Indiana Jones films are well-constructed (the first and third admittedly more-so than the second), and each trap Indy encounters serves to move the plot along or tell us something more about the story or the characters.

When you are designing a dungeon, you are like the director of a movie that your players are about to watch/star in.  If you want it to be a good movie, keep the following tips in mind:

Trials of the Mad Mage: A Beginners' Adventure for Level 5 Characters

Okay, I'm a day late, but there was a lot to write this week:

As part two of my ongoing mission to introduce new players to D&D, I'm posting here a complete adventure of my own device, intended to introduce new (or lapsed) players to Dungeons & Dragons.  I tried to give it a very 'old school' feel, with plenty of traps, puzzles, and strange things you would only find in... well, in the lair of a mad mage.  I also tried to inject some humour in there to help more reluctant players stay engaged with the group.  I made the adventure for level 5 characters because I wanted to give the players a sense of power.  Although I am a big fan of starting off at a low power level, it can be quite discouraging for a new player to come into this incredible world of fantasy and magic, only to realize that he or she can be easily killed by a kobold with a sling.  Starting at a higher level gives players - especially spellcasters - more exciting powers to play with (hopefully without overwhelming them), and can thereby get them more invested in the game and their characters.  For the same reason, many of the combat encounters will be quite easy by the standards of regular D&D players, but I want to take into account the lack of experience of the new players, and I do not want combats to drag on.

Well, enough stalling.  Without further ado, here is the adventure: Trials of the Mad Mage!

The following text (even though it isn't yellow) is available as Open Game Content under the OGL.  (c) 2013 Jonah Bomgaars.

Sandbox Campaign Part 6: "This is no mine. It's a tomb"

This is part 6 of my ongoing account of the sandbox campaign I am currently running.  Updates are frequent, if irregular, and at the end of each post I talk about one or more subjects pertaining to the adventure but more broadly applicable to all campaigns.  You can find the previous parts here.

After resting up from their encounter with the flail snail, the party crossed the stone bridge over the chasm and found a chamber abutting a stone wall, featuring a door flanked by two dwarven statues.  After dispatching a trio of cave scorpions, they were able to make out a dwarfish inscription above the door that read:

Into this place let no enemy creep 
douse all lamps and into darkness leap