You don’t have to be a map maker to make adequate maps for gaming. A map can be as simple as showing the relative relationship between distance and location of the important elements. Even putting a few words on a page can be a map.
Take the word map of the Six Kingdoms. It shows the relative locations and rough distances between the various kingdoms, their major cities and the other lands that interact in the World of the Everflow.
Word maps can also represent a homestead, village or neighborhoods of a city.
Any player can take a quick glance and know what each location is and what they connect to within the compound. More thorough descriptions in a blog post and in the character’s notes, but these quick notecards reminds us of Spinebloom Farms at the table.
Fort Ooshar is a bridge-town that turned into a fortress when Sheljar fell to the Necromancer. This quick sketch lays out the neighborhoods of the bridge-town, the gates, the fields and the nearby hills.
Yes, a better mapmaker would be better. My favorites are Deven Rue and Dyson Logos. I support both via Patreon and use their works in my games.
But sometimes I want something that is unique to my world. That leaves me with my lack of art. I then build a word map.
Keys to making a quick word map.
Decide on the central space
Build outward using relative distance to represent a unit of time
Include evocative names, especially when in tight focus
If building a dungeon, point crawl or town having connective tissue — this can be a road, river, or other path
Leave yourself space to build details and add discoveries
Doing this as a player
Old school D&D involved at least one player making highly detailed maps. But a word map may be all that’s necessary to prevent your party from getting lost. Using a room-and-halls word map by the player helps represent how the characters think.
In essence you are channeling the concept of ‘turn left after the big red barn, go over Herringbone Bridge, take the third path’ into a simplistic drawing.
These are quick, simple and can be done on a 3-by-5 card or as a sketch in something as simple as Paint, Slides, Canva or even in a Spreadsheet (the Six Kingdoms started as a spreadsheet).
One of the special powers of the word map is that they’re quick. You don’t need to search for anything. It’s a sketch that can be done in a few seconds.
Whether as a player or a DM this tool can help you understand your fantasy world better than without a map at all.
Professionals fail all the time — in roleplaying games, in elite athletics, in special operations, in life.
The idea that they shouldn’t miss in a game is built on a foundation of water, not even sand.
There are still some valid reasons that one wouldn’t roll to hit, but they have nothing to do with professionalism.
Matt Colville on Mastering Dungeons
In a recent edition of Mastering Dungeons Matt Colville talked extensively about the business of RPGs. It’s a wonderful listen.
Something stood out to me though.
“You’re professionals; you shouldn’t roll to hit.”
Now, the idea of not rolling to hit is part of Colville’s quite intentional design. I’m certain he’s said it before and will say it again. There are reasons in games to not roll to hit.
Let’s break down the idea of professionals not needing to roll to hit.
Elite Failure
Elites fail regularly. They fail when contested. They fail when on their own. Failure at elite levels may not be as common as for us normal people, but it happens.
This is true for the real, actual elites, not those mere professionals. My personal history is blessed to experience a few elites in fashions that many do not.
Special operations
Assigned to 5th Special Forces as a peacetime soldier my Army days were defined by the Quiet Professionals — the Green Berets. Working alongside these masters in warfare I saw failure every single day.
On the range those trained to be snipers, an uncontested contest in gaming terms, missed. There are reasons for each miss, but missing happened.
When soldiers, even in highly trained units such as the Special Forces, go to war they miss even more. The human brain does not like to kill things, plus there is chaos all around you. Errors happen. They always will.
Elite failure isn’t limited to elite warfare.
High-level sports
Leaving 5th Group I decided I wanted nothing to do with my high school dreams or hard journalism. I turned to sports. During that era I worked as a producer for the Sonics broadcasting network, baseball’s best postgame show, as an on-air analyst for soccer and founded Sounder at Heart.
At the field and court level I’ve watched Ichiro, Ken Griffey Jr., Gary Payton, Michael Jordan, Megan Rapinoe, Kasey Keller and many others.
The list of these Hall of Fame talents failing would be immense.
But let’s use hard numbers.
Ichiro is the best contact hitter of the modern era. The ten-time All Star and MVP had a batting average on balls in play forty points higher than his contemporaries, but it was still only .338.
Failure among the elite is regular and normal. They roll to hit and fail.
Business
Pick your favorite business leader and their success rate is higher than average, but whether its Howard Schultz launching a magazine, or Steve Jobs launching NeXT, or Warren Buffet investing in a shoe company, they fail too.
Gaming reasons to not roll to hit
So professionals do miss. Elites miss.
Are there good reasons to not roll to hit? Yes, absolutely, as part of intentional design choices for a style of play that has nothing to do with professionalism of the character
Hit points vs meat points
The long standing D&D debate about hit points being more than meat points can be ignored here. Games developing to-hit rolling or direct-to-damage techniques do not need to burden them with Gygax’s decisions.
Direct-to-damage rolling is excellent when hit points are, as in D&D, a symbol of morale, luck, fortitude, energy and more than merely meat. Since every attempt to physically damage an opponent wears away at those elements you don’t necessarily need to roll to hit. Missing still costs luck, energy, mental health and morale.
The meat of the opponent can be damaged eventually, even without rolling to hit.
Speed of play
Colville did this in MCDM monster design for his 5e books — minions and the like can be hit easily. And then eliminated easily. This speeds up the action at the table and mimics narratives from movies, TV, video games within role playing games. Slicing and dicing through waves of small threats feels great. Having that take only a few moments rather than many minutes is good.
Additionally in games like Draw Steel, with extensive tactical choices being a goal, eliminating a set of rolling helps speed gameplay up. This is a wise and intentional design choice that amplifies the other intent of bundling morale with meat.
This supports the designer’s desires for their game — and need not be connected to reality or even lore.
A wrong justification, with the right idea
Professionalism in the real-world elite activities includes failure. Even the arts that inspire our gaming include failure. Black Widow misses. Skywalkers miss. Robin Hood misses.
Designers should embrace failure when missing, because Ichiro, Rapinoe, every special forces soldier, every business leader, every legendary hero misses.
And when they do design away the miss they should do so with intent that supports their game, no matter what reality and lore suggest. Just as Colville’s done in Draw Steel.
They’re different from novels, short stories, comics, theater, movies, and most other forms of storytelling. That does not remove the tale being told nor the concept of story.
If anything they are most similar to communal storytelling around a campfire and improv dramas. For the most part roleplaying games are communal events with a group.
How did I bump into this well-worn debate? Via a recent thread on EN World, the rare bright spot in RPG discourse.
My response there focused mostly on the story and plot aspects, and the power of having more voices (something rare in written fiction, but common in other forms of storytelling).
There are people who are not good authors, nor good directors, nor good actors who are good roleplayers/gamemasters/etc. By leaning into the ways that community, plot and play-to-find-out work the creation displays, maybe even demands, story emerges.
Sometimes conventional Western storytelling formats can lean into the things that make the emergent and divergent story that happens in RPGs. This can be magical — because it shows how all story is really a reflection of point of view, or in our hobby — spotlight.
RPGs-as-story feel messy when considered through a lens of a literature class or mainstream television.
But, stories are quite messy
Two people can read the same story, watch the same film, listen to the same podcast and come away with different meanings, see different main plots even.
To me, RPGs are stories in the way that campfire tales are. They involve a lot of wandering, forgotten threads, lack firm outlines and are at their best when the tale is woven through multiple voices providing input.
Can they be a traditional novel after the campaign? Absolutely! But during the telling of the tale they are similar to writers who don’t edit as they go or a director who over films alternative concepts that aren’t on the script.
One of the more thrilling things about RPGs is that it is an ensemble cast of both PCs and recurring NPCs. Together they’re important, but the tale and spotlight as to who is most important can easily shift. Use any of them as the point of view to change the story as you understand it. Each can be vital.
The messiness is the fun part of RPGs as story.
The messiness is what helps me discover tales I cannot tell on my own. That’s part of the power of the table and broad casts in ensemble stories.
You think you’ve seen stories like this before, so you can guess what’s going to happen. Who’s important and who isn’t, but that’s because you’re trapped in your POV. – later – When you file people away as sidekicks you don’t realize their importance to the story, and this story belongs to a lot more people than you think. Where to shelve a book, it’s not a little thing. You’re telling the world what to value. Who to value.
From The Magicians, Side Effect (S4, E7).
RPGs are very much like that.
They remove your assumptions. You don’t know what’s going to happen. The POV constantly shifts and the importance of the broader cast shifts constantly.
From RPGs-as-Story we learn what and who to value by including others.
It’s incredibly difficult to capture what D&D can be in 30 or 60 seconds. That may be part of why the latest advert for the Starter Set, Heroes of the Borderlands is 75 seconds.
That’s also a short amount of time.
My sessions are typically three hours. We’ve played nearly a dozen campaigns in 5th edition from 2014 to the present averaging a game session every other week for the past 11 years.
Critical Role plays closer to four hours on average with the main campaign playing about 40 sessions a year over that same stretch.
How do you introduce the layers of play, the layers of friendship and the depth of potential in a minute?
Wizards of the Coast did that by showing a generation of players who said yes to adventure in the 90s and now play with their kids.
Saying that first “yes” to playing D&D
The people who introduced me to Dungeons & Dragons way back in the 80s introduced me to science fiction, to creative writing, to journalism and debate.
Later the second group I played with introduced to the concept of joining the Army, anime/comic books, writing my own game, and British comedy because we played Twilight:2000, Albedo, TMNT, Synnibarr, MERPS and of course D&D.
Saying yes to Vampire: The Masquerade helped me during language school, when the stresses of required success were overwhelming and I needed an escape from the combination Army-university life.
A year later saying yes to D&D with another nerd in 5th Special Forces Group helped me be myself while being all I could be and more. Those duet sessions created an escape and creative outlet.
Then I stopped.
Saying yes later
As my soccer blog matured and jobs came-and-went 5th edition D&D came out. I didn’t have a group. I hadn’t played in two decades except for those dozen or so sessions with a combat medic.
But, I was intrigued.
I asked my friends who wrote with me, who edited, who advised a small soccer blog as we grew.
Those first sessions of 5e included grand friends who helped each other learn the new system, remember our pasts and tell tales of glory through fellowship.
Those campaigns tuckered out and then ceased due to a wonderful job opportunity and then the pandemic.
Yes during covid
My last yes to adventure was when one of those friends asked me to DM again. During the pandemic I’d stopped running sessions. I still played, but online play and my DMing style don’t get along. I tried it once, in an actual play.
This yes meant getting a new group together. The old groups had scattered. Unlike the characters in that D&D advert I’ve never managed to maintain a group across decades. Not even my brother who was part of that first yes still plays.
This yes has our group playing in public, right in front of other people who don’t know what D&D is. We played with strangers who became friends. We introduced others to the game.
Marketing D&D
Saying yes to playing role playing games took me a lot of places.
And in 75 seconds the marketing team behind D&D reminded me of all of that. Taking us backwards on a journey of glory, of watching a child grow up, of a pregnant woman playing the game and a group of friends who stick together from 1995 to the present is brilliant.
Where will yes take you?
To the Caves of Chaos and The Ferments. To rolling d20s at a brewery and getting on stage at a security event. To Krynn, to Theros, to Sigil, to Exandria, to Trinyvale, to The Strix, to Wagadu, to al-Qadim, to Grim Hollow, to Drakenheim, to Midgard, to Obojima, to Eberron, to the darkest crypts and the glorious eternal afterlife, from dragons to halflings.
But mostly it will take you on a journey of friendship and discovery of the stories that you are unable to tell yourself.
That’s what saying yes does — it opens you up to things beyond what is contained within your own being.
