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Tips, strategies, and hard-won wisdom for DMs and players who want to run better games and have more fun doing it.

D&D Impostor Syndrome Sucks!

Impostor Syndrome sucks. It’s a pattern of thinking that you’re a fraud, and your incompetence is about to be discovered at any moment. It’s like you have this assumption that you’re in over your head, or that your skills are completely inadequate for the task at hand.

Table-top role-playing gamers and dungeon masters experience Impostor Syndrome. This may be a bit more common among dungeon masters, especially ones new to the game, but players feel it, too. Even though D&D and other RPGs like it are recreational hobbies that don’t keep score, and there’s no winners or losers, it’s surprising when you talk to someone who confesses their anxiety that their ability to play the game is woefully inadequate.

During a recent poll on my YouTube channel, https://www.youtube.com/@Ruckerworks/, I asked “How often do you personally experience Impostor Syndrome during table-top role-playing games?”

25% selected “Never. I’m awesome!”. 40% said they sometimes experience Impostor Syndrome, and 35% said they always experience it. So that means 75% of us experience Impostor syndrome at least sometimes while playing our games.

If you’re one of the 25% who are always confident in your D&D dungeon mastering or playing abilities, this article is not for you.

But, if you’re one of the rest of us mortals who feel moments or even years of doubt, where we assume our inability to play the game fails to meet some arbitrary standard, then keep reading.

Impostor Syndrome Is Common

I recently watched a video from Ginny Di where she poured herself a Mimosa and then answered a series of questions from her followers. She addressed some interesting topics, and one of them sparked the question in my mind, “Do D&D gamers feel Impostor syndrome?”

The answer, at least in my head, was an immediate, Yes, definitely yes. I say this because I feel it, too.

I did some research and learned that it’s estimated between 60-70% of people experience Impostor Syndrome at some point. So we’re not alone.

For context, I’ve been playing D&D since 1980, most of that time as a dungeon master. You’d think with over four decades of gaming experience, I wouldn’t have any irrational worries about my ability to run the game. I’m still making mistakes and learning from them, but that’s the objective stuff. But subjectively speaking, even to this day, I have these little moments of doubt and nervousness before a game where I question my ability to show my players a good time.

Will the night’s adventure be engaging enough? Are my NPCs boring? Are the tricks and traps or combat encounters too easy or too hard?

Those are more anxiety-type doubts, but what I’m talking about is that kind of feeling where you think you’re incapable or inadequate for the job. It’s that fear the players are going to have a lightbulb moment where they realize you’re just not that good at it.

Can you relate to this experience?

Impostor Syndrome Is Irrational

Here’s the thing. Impostor Syndrome is by definition irrational. It’s an assumption of failure before the attempt has even begun, or an assumption of inadequacy even in the middle of a totally adequate performance, and maybe even in the middle of an objectively successful one.

But we don’t see it that way, do we?

If you’re a player, the initiative order comes around to you and because you spent 5 seconds thinking about what spell to cast or where to move, you make this immediate assumption that the other players are sitting there looking at you, thinking, “This idiot shouldn’t be at the table.”

If you’re the DM, you act out what an NPC says, and the players have this sort of “meh” expression on their faces. You sit there thinking, “I should have used an accent like that famous voice actor who plays D&D on YouTube and everyone knows their name and they have a million followers and and and…”

But you know what? Your brain is lying to you. It’s like a voice only you can hear and it’s talking smack and throwing insults left and right, yet none of them are true.

Don’t Take the Game Too Seriously

What I find most annoying about having gamer’s Impostor syndrome is the pointlessness of it all. Not only is it false, but this is a game where we don’t even keep score. Everyone at the table is a volunteer. It’s a hobby. Nobody’s life is at stake, there are no gold medals to strive for, and if something doesn’t go as you’d like, your name will not be in the papers tomorrow.

Newspapers barely even exist anymore.

It’s like that line from Ferris Bueller’s Day Off: I do have a test today. That wasn’t bullshit. It’s on European Socialism. I mean, really, what’s the point? I’m not European. I don’t plan on being European. So who gives a crap if they’re socialists? They could be fascist anarchists and it still wouldn’t change the fact that I can’t kill that orc.

Evidence Of Fraud

If you feel like you’re an Impostor in your gaming group, take a look at the evidence and ask yourself “What conclusion does it support?” Here’s a hint by way of a key question to answer: Do you keep getting invited back?

Maybe you’re the DM and you’re feeling a lot of self-doubt about your ability to prep or run the game. Let’s look at the evidence. Do the players keep showing up? Okay, here’s another one. Do the players keep showing up? Oh, and another bit of evidence, do the players keep showing up?

You’re probably getting the point I’m trying to make.

Some Gamers and DMs Are Bad

Let’s look at the opposite situation.

I made one video where I talk about some genuinely bad players and one genuinely bad DM, but those are isolated, specific situations. Watch the video and ask yourself this question, “Am I like those people?” I bet you’re not. I bet you watch that video and think, “I could probably improve a few things, sure, but at least I’m not as bad as them!”

When the Table Votes You Out: 3 D&D Stories

And even if you are, you’ve already accomplished the first step toward recovery: acknowledging that you have a problem.

I kid, but the bottom line is, we all can be better players or better DMs, but is that level of scrutiny really that important?

This Game is For Fun

This is a game. It’s for fun. There are no winners or losers. 99% of the time, if there’s something not as ideal as you’d prefer, it’s most likely a personality clash. And you know what? That kind of thing happens to everybody. You don’t have to be sitting across a gaming table to not really like someone or for them to not really like you.

But it’s not about you. Some people just clash. We try to honor one of the primary rules in the game of “Don’t be a dick” but when it comes to actually being a better player or being a better DM, try to lower the bar a bit inside your brain. Give yourself some slack. Don’t hold yourself to a needlessly high standard.

It’s only a game. We’re doing this for fun. So be yourself, and remember the person sitting next to you is probably way more concerned about their own performance than they are about yours.

Maybe you should recommend they read this article.

D&D Player Questions: Navigating “Can I?” Moments

Vampire: Can I come into your house?

Homeowner: I don’t know, can you?

Vampire: Doh!

I run a D&D group for teens and one of the most common question the players ask is, “Can I…?” fill in the blanks.

By the way, the hoodie worn in this article's featured image is available for sale in our shop.

As someone who has been a dungeon master since the early 1980s, I suffer from the curse of knowledge. I already have a pretty good idea of what’s possible, what’s allowed, and what’s verboten for players to do in a D&D game.

Teen players who have never played D&D until they joined my table don’t know what’s possible.

A big part of the reason why these teenagers ask so many “Can I?” questions is because they don’t know what’s possible in the game.

I suspect that many of their preconceived notions of what can be done in the game of D&D are shaped by what they see in the movies. If they see Iron Man or Spiderman do something wild and crazy in the movies, why can’t their 1st level dwarven fighter do the same thing in a dungeon filled with goblins and the occasional skeleton?

I’ll admit that these “Can I?” questions get a wee bit irritating after a while, but that’s 100% because of my own expectations — my Curse of Knowledge — not because of the players or their cognitive abilities. These kiddos are bright and exhibit insane levels of creativity at times, but ignorance of the rules and ignorance of the laws of physics within the game is not their fault. It’s inconvenient and somewhat limiting at times, but it’s not a blame sort of thing.

Instead of the predictable, “I don’t know, can you?” or “You can try” responses, I’m working to address these “Can I?” questions from the players in a different way.

Some worthwhile responses might be, “What are you trying to accomplish?” followed by, “Here are some suggestions that might work,” or “You could try that but the odds of success are very, very small and the results probably wouldn’t help.”

One time a player asked to beseech their god for divine intervention. I gave them a standard 1% chance (rolling d100) for their god to answer (1e AD&D DMG), and guess what happened? The player rolled 01 on percentile dice. So I ran with it and gave the party a boon from the player’s god. It was an “epic” moment (their word and mine) and has been an oft repeated story ever since.

Finally, as a DM suffering from the curse of knowledge, I recommend reminding yourself that players new to D&D of any age aren’t familiar with the typical tactics and actions they can take in the game. That can be a good thing sometimes as they might suggest a course of action that is truly outside the box yet surprisingly effective.

Present to the player what some common approaches might be in the situation but remind them that those are just examples, not the complete list. Don’t take away their sense of agency but let them know what the odds likely are before they act, then let them make the decision. If you rule something as simply impossible (the 2nd level druid asking if they can wild-shape into Tiamat, for example), be kind in your explanation. If something is unlikely but possible, assign some odds and let the dice decide. Just be prepared to improvise if they succeed and let the fun take shape organically.

On second thought, it might be worthwhile to let that fledgling druid wild-shape into the God of all Good Dragons.

How to Write a D&D Adventure From Scratch (Step-by-Step)

Free Basic Adventure

Want to see how a complete D&D adventure comes together from start to finish? In this video, I walk you through my 7-step process for writing an adventure and you’ll watch it unfold in near-real time.

Download the adventure here. ZIP file, contains printable PDF, editable .docx file, and maps. It’s completely free.

Referenced Links and Tools

Worlds:

Anna Meyer’s Greyhawk: https://greyhawkonline.com/ghmaps/
Original Greyhawk map: https://greyhawk-map.com
Faerun Interactive map: https://www.aidedd.org/atlas/

Character and NPC Generators:

Fast Character Generator: https://fastcharacter.com
OSE Character generator: https://dndcharacter.com
Donjon Generator (many generator types): https://donjon.bin.sh/fantasy/name/

Map Generators and Drawing Utilities:

One Page Dungeon Generator: https://watabou.github.io/one-page-dungeon/
Village Generator: https://watabou.itch.io/village-generator
Dungeon Scrawl: https://www.dungeonscrawl.com/
Hextml: https://hextml.playest.net/


Want a complete adventure?

If you’re interested in a more complete adventure, check out Graduation Day. It’s a complete first-level 5e D&D adventure that begins where every hero’s story starts — at graduation. Your party of new adventurers must rescue their mentor from an orc stronghold, uncover a deeper plot, and confront a dark secret buried beneath the hills. Perfect for new players. It’s also a great D&D module for beginning Dungeon Masters because it has a sensible layout, walks the DM through the process, and is a complete adventure with maps and even pre-rolled characters.

Graduation Day (5e) D&D adventure for 1-4th level characters.
Graduation Day (5e) D&D adventure for 1-4th level characters.

3 Ways to Make NPCs Stand Out

After DMing a D&D game recently, I reflected on how the players reacted throughout the session and what they talked about the most afterward. I had a realization. Throughout my career as a DM, players seemed to talk about one aspect of the game more than any other: memorable NPCs.

In this article, I give three reasons why players remember interesting NPCs, and how to make the NPCs in your game something your players will talk about for a long time afterward.

Why are NPCs so Memorable?

Why are NPCs so memorable to your players? This will depend on several factors, some of which are attributed to NPCs in general, while others are going to be unique to their role in the game. And, let’s not ignore the dramatic elephant in the room, an NPC’s wow-factor will also be determined to some extent by the way you portray them in the game session itself.

Let’s break this down.

→ Be sure to check out a related article, Preparing vs Planning Your D&D Campaign

Relatability

I think part of the reason why players can become so engaged with NPCs is because they can relate to them on some level. It’s hard to have a conversation with a gelatinous cube, so the odds of the players connecting with one on an emotional level is pretty low.

On the other hand, if an NPC is able to converse with an adequate level of intelligence and with a certain amount of personality, the players have the potential to connect with that NPC on a personal and emotional level.

Note that this applies to evil or antagonistic NPCs as well as those who are friendly or helpful.

Impact

Another part of why players will glom onto NPCs is the role those NPCs play in the story. There’s always the mysterious quest giver, of course, but there can be other NPCs who provide some sort of pivotal or impactful element to the party’s experience.

An example might be a creepy vagabond that whispers a mysterious clue to the party as they are leaving the tavern at closing time. That by itself won’t be overly memorable, but if that vagabond engages with the party with some unusual dialogue and maybe even reveals their name along with that crucial clue, the players will be more likely to remember the experience long afterward.

Pay attention to the hint I gave about the vagabond giving their name during the interaction with the party.

Putting a name with the face, so to speak, really helps make that encounter all the more memorable. It also helps if the circumstances of the interaction are unique or unusual, and the value or weight of what the party gains from the experience contributes as well.

Quick Ideas

Need some quick ways to make your NPCs more memorable? Here are five easy ways to do that:

  • Accents
  • Quirky personalities
  • Phobias or compulsions
  • Tragic backstories
  • Mysterious actions or recent history

Portrayal

The third element of how to make your NPCs stand out is how you portray them. I know that there are a lot of Dungeon Masters who are great at prep and can run the table with the best of them, but they cringe or shy away from any of the improv or dramatic-arts aspect of getting into the character or role of NPCs.

This is something that’s not required to make memorable NPCs, but it goes a long way. It’s also something that can be learned over time.

Here are some tips and tricks I’ve used to make my NPCs stand out.

First, accents. This is probably the most straightforward way to make your NPCs real in the eyes of your players. Here’s an example.

Showing vs. Telling

“Your party emerges from the tavern at closing time, one last celebration before you set off on your quest to find an ancient hag. A strange vagabond emerges from the adjacent alley and extends his hand, holding a small leather bag. You can see a faint green glow coming from within. The vagabond tells you in a raspy voice that the magical gem inside will be required as payment to the hag. He then disappears into the shadows.”

That’s one version, where you tell the players what happens but don’t directly engage as the NPC. Here’s the other way to handle it. See if you think this will be more memorable for your players:

“Your party emerges from the tavern at closing time, one last celebration before you set off on your quest to find an ancient hag. A strange vagabond emerges from the adjacent alley and extends his hand, holding a small leather bag. You can see a faint green glow coming from within. In a raspy voice, the vagabond says, ‘The hag has a price, adventurers. Take this jewel and use it pay her fee, compliments of Kerrin Dalmor.’ With that, the vagabond steps back into the shadows and disappears.”

Speech Patterns and Quirky Behavior

Even if you can’t do accents, per se, you can use different speech patterns to make your NPCs unique. In one campaign of mine, I have a 3,000 year old elf, a former mage who owns a magic and curiosities shop. To make him unique, I have him speak with random pauses. The story behind it is he became possessed by a powerful demon, and during the exorcism, he lost the ability to speak in a standard pattern, and thus could no longer cast spells.

He’s a bit of a curmudgeon and is rather curt with most people, but for some reason he has found a reluctant liking of the adventurers. Because of this, he shares tidbits of lore with the party that gives me a way to keep the campaign moving forward.

This NPC has become quite memorable to the players, but not because of how he talks. The players reference what he went through and why he can’t cast spells any longer, and have developed a strong sense of sympathy for him, not just because he tells them cool things.

Parallels to Real-Life Interactions

In general, what makes an NPC memorable to your players are the same reasons why anyone we interact with in real life becomes memorable. We start by connecting with them on some level, even if that relationship is antagonistic or hostile. Next, we remember those who do or say something that is very impactful to us, especially if that impact is situationally relevant. Finally, we remember people and NPCs who stand out in some unique or special way, whether that’s because of how they speak, how they dress, their mannerisms, or their quirks.

When coming up with NPCs in your campaign, think about these three ways to make your NPCs stand out. Then if you feel up to it, get in front of a mirror and practice your accents.

Best Dungeon Master’s Guide for Creating Adventures: AD&D to 2024 Compared

A complete comparison of five Dungeon Master’s Guides — from the classic AD&D 1e to the brand-new 2024 DMG — to help you find the best resource for your next D&D adventure.

It’s common for most dungeon masters to own many different books for their D&D hobby. These books can span multiple editions and be from different publishers. It’s like that joke, “How many books does a Dungeon Master need? N+1.”

When we create adventures, we rely on material and creative inspiration from many sources. But what about going directly to the source itself, the officially published dungeon master’s guides, first produced by TSR, the company that founded D&D and now Wizards of the Coast, the current publisher?

Which edition of DMGs are best at teaching how to create adventures for those who are new to the game, and which are best for DMs who’ve got some experience under their belt and need to get over a creative hump?

Why Choosing the Right Dungeon Master’s Guide Matters

Throughout the years, ever since Advanced Dungeons & Dragons came out in the late 1970s, in each iteration of Dungeon Masters Guide the publishers of D&D have included resources to help the dungeon master create adventures from scratch.

In this article, I describe how four editions of official dungeon master’s guides, and one 3rd-party edition, stack up as resources for the new DM, the experienced old hand, or the harried DM needing to create an adventure in a hurry. Each has something to offer.

The five DMG’s I review are:

  1. AD&D 1st Edition Dungeon Master’s Guide (1979)
  2. Basic D&D Rulebook (1981 Moldvay Edition)
  3. 5th Edition Dungeon Master’s Guide (2014)
  4. Old-School Essentials Advanced Fantasy Referee’s Tome
  5. 5th Edition Dungeon Master’s Guide (2024)

I’m going to review them in the chronological order of their publication, then summarize my findings at the end, so be sure to watch through to the end. To get you started, though, here’s an at-a-glance summary:

a. AD&D 1e: Best for random generation tables

b. Basic (1981): Easiest, self-contained on-ramp

c. 2014 DMG: Biggest prompt toolbox

d. OSE Referee’s Tome: Most concise yet complete source

e. 2024 DMG: Best overall teaching for beginners


AD&D 1st Edition Dungeon Master’s Guide (1979)

AD&D 1st Edition Dungeon Master’s Guide (1979)Now, for the detail. We start with 1979’s AD&D Dungeon Master’s Guide.

Reading the first edition DMG feels like sitting with a brilliant, opinionated mentor who hands you a bottomless bag of procedures. Its strengths are obvious: deep random dungeon and wilderness generation tables, practical stocking advice, and a referee-first mindset that expects you to place meaningful treasure on purpose with the assumption that you already have some experience with it. The weakness is organization. The “how to build an adventure” material is scattered across essays, appendices, and sidebars, so a newcomer can feel lost trying to stitch it together. If you already know what you want and enjoy tinkering with procedural engines, it is gold. If you want a tidy, linear recipe, it can feel like homework.

If IKEA made a DM’s adventure creating toolkit, this would be it.

Key Features and Highlights

  1. Mostly errata that already assume you know how to play the game.
  2. “The Campaign” section reads like a professor’s lecture and lacks actionable steps.
  3. Describes climate, economics, social structure, monster ecology & placement, treasure placement, etc. in the tone of advice rather than specific step-by-step guidance.
  4. Includes a decent walk-through of a sample dungeon.
  5. Pages 169-223, in the Appendix no less, of random dungeon, wilderness and monster generation.

Strengths

  • Rich random-generation for dungeons and wilderness
  • Practical stocking and treasure placement advice
  • Strong referee ethos for running a living world

Weaknesses

  • “How-to” guidance is scattered across essays and appendices
  • Minimal modern story structure or pacing advice

Basic D&D Rulebook (1981 Moldvay Edition)

Basic D&D Rulebook (1981 Moldvay Edition)Next, we go to the 1981 Basic D&D Rulebook that was included in the Moldvay edition of the Basic boxed set. The rulebook included everything you need to know how to play the game, whether you were a player or a dungeon master.

This is the best teacher for a brand-new DM who wants to get into the old-school renaissance. It says “draw a map, stock it, run it,” then shows you exactly what that looks like with a sample dungeon. The strengths are clarity and immediacy. You can copy the cadence and be playing tonight. The tradeoff is scope. It is laser focused on a simple dungeon crawl. If you are chasing intrigue, mysteries, or wilderness play, you will supply those muscles yourself. For a first dive into old-school DMing, though, it is hard to beat and still a joy to emulate for low-prep nights.

Key Features and Highlights

  1. Monsters & treasure are listed before the “Dungeon Master Information” (how to create an adventure) section.
  2. It has 11 pages of actionable, step-by-step content.
  3. It has a longer description of dungeon creation than is in Old-School Essentials (which is derivative of AD&D and the Basic boxed set and is intended to be concise)
  4. It includes the standard 10 adventure scenario types.
  5. There is no No wilderness design information or guidance; it’s all about the dungeon crawl.
  6. It defines the 6 stages of the process you go through to create an adventure.
  7. And finally, its example dungeon creation process (“The Haunted Keep”) with key and sample walk-through, is the best of the five DMGs reviewed.

Strengths

  • It has clear, beginner-friendly steps that are easy to emulate.
  • It includes a complete sample dungeon you can reskin immediately.
  • And it is fast to get on the table and learn quickly.

Weaknesses

  • It has a narrow focus on simple dungeon crawls only.
  • It has Limited support for intrigue or social-forward play.

5th Edition Dungeon Master’s Guide (2014)

5th Edition Dungeon Master’s Guide (2014)We’re now entering the WotC era of D&D as we review the 2014 release of the 5th edition Dungeon Master’s Guide.

The 2014 DMG is a big toolbox. It classifies adventures, gives you prompts for villains and goals, sprinkles in framing events, and supports it all with encounter guidelines and a random-dungeon appendix. The strength is range. You get ingredients for crawls, intrigue, mysteries, and more, which is great when you need sparks fast. The weakness is that it hands you parts rather than a clear assembly guide. When I am comfortable turning prompts into structure, it sings. When I want a straight recipe, I find myself paging around to connect the dots.

If you already know how to structure an adventure, this is a great place to get inspiration for the individual components.

Key Features and Highlights

  1. The book starts right off in campaign and adventure design and spans a lot of content, pages 9-123.
  2. It is very thorough, from multiverse to adventure types to encounters to NPCs.
  3. It covers dungeon, wilderness and urban adventure types and includes random tables for Traps.
  4. It’s Random dungeon charts span pages 290-301.
  5. It has a few sample starter maps that full-color, but lack old-school feel, which is purely a subjective difference).
  6. And, it reads like a complete course that covers everything, but lacks the concise nature of OSE or the brevity of AD&D’s tables.

Strengths

  • It has a wide range of rollable prompts: goals, villains, framing events, and NPC traits.
  • It has coverage of location-based and event-based adventures, mysteries, and intrigue.
  • It has solid encounter-building guidance and random-dungeon support.

Weaknesses

  • It give you ingredients more than a clear assembly guide.
  • It can feel like rummaging until you impose your own structure.

Old-School Essentials Advanced Fantasy Referee’s Tome

Old-School Essentials Advanced Fantasy Referee’s TomeThis next entry is the only 3rd party publication I’ve included. There are many but this is the one I’m most familiar with and feel it represents a unique offering because it is concise and to the point, unlike the others in this review.

OSE is the cleanest expression of classic, exploratory prep that I have used. The procedures tell you exactly how to stock and restock, when to check for encounters, how to handle reaction and morale, and how to track time and light. It does all this without a lot of fluff. I can sketch a map, follow the procedures, and be ready to run in short order, and the incentives line up with player-led exploration. The weakness is narrative scaffolding, which as I mentioned is also its strength if concise material is your thing. It does not try to teach modern plot beats or scene framing, which means you add that layer yourself if you want it. For pure, confident refereeing, OSE is a joy.

If you want the quickest way to grasp how a D&D adventure is structured, and what the process is to create one, this is the book for you.

In fact, if I was going to recommend a single volume for today’s old-school rules aficionado, this would be it.

Key Features and Highlights

  1. It starts right off at the beginning of the book. It’s succinct and to the point.
  2. It has 10 classic adventure scenarios.
  3. The creation is broken into three types: dungeon adventures, wilderness adventures, and how to create a base town.
  4. All of this is in just 6 pages.
  5. There is no sample dungeon provided.

Strengths

  • It has crisp, low-friction procedures that translate directly to the table.
  • It’s encounters, reaction, morale, time, and light rules are handled with clarity.
  • It is excellent for player-led, location-driven exploration.

Weaknesses

  • It is light on narrative scaffolding and modern plot beats.
  • It assumes emergent play instead of pre-scripted story arcs.

5th Edition Dungeon Master’s Guide (2024)

5th Edition Dungeon Master’s Guide (2024)I’m going to end my reviews with the current DMG produced by WotC, the 5th edition Dungeon Master’s Guide, 2024 edition.

This is the first DMG that truly reads like a coach standing at your elbow. The adventure creation section walks you through a clear sequence: premise, hooks, encounters across the three pillars, and a climax with rewards and follow-through. The strengths are structure and examples, which make scope and pacing easy to copy. The weakness is depth in procedural generation. If you love heavy tables and vast generators, older books still earn shelf space. If I need to get from idea to table-ready in one sitting, though, this is the smoothest ride.

If you aren’t interested in old-school D&D play, or if you’re brand new to the game and want something that’s currently published, this is your go-to volume, even if you don’t read anything else in the book.

Key Features and Highlights

  1. It opens with DM fundamentals and session prep before scaling up to running games, building adventures, and then campaigns—reorganized to be more accessible and to replace the 2014 DMG’s rules.
  2. It has five ready-to-run short adventures embedded in the “Creating Adventures” chapter to show the book’s guidance in action.
  3. It contains a “DM’s Toolbox” that consolidates nuts-and-bolts options: traps, dungeons, hazards, variant subsystems), and creation rules for backgrounds, creatures, spells, and magic items.
  4. This DMG features a full Greyhawk primer inside the “Creating Campaigns” chapter plus a double-sided poster map.
  5. The treasure chapter expands guidance and random tables, with hundreds of magic items.
  6. It adds the new Bastions system, which are essentially player-owned strongholds with facilities, turns, orders, events, and base-building between sessions.
  7. The Cosmology chapter tours the planes with practical travel and adventuring notes.
  8. Finally, The Appendices include a Lore Glossary, a Maps appendix with 15 reusable maps, and Tracking Sheets for table use.

Strengths

  • It has a straightforward step-by-step workflow that is easy under time pressure.
  • The examples that model scale, pacing, and encounter variety are useful.
  • It feels most like you’re being coached by an experienced Dungeon Master.

Weaknesses

  • It has less depth in heavy random generation.
  • Tables junkies may still reach for older books for giant generators.

Which Dungeon Master’s Guide Is Best?

This review was not meant to be comprehensive. There are many outstanding 3rd party publications out there to choose from, and there are even official editions in between AD&D and 5e that I didn’t include. The simple reason for these omissions is that I don’t have access to those resources or have never played them to be familiar with them.

I’m not going to provide a review of game material I’ve never played or used.

So the answer to the ultimate question of life, the universe, and which Dungeon Master’s Guide should you is…

  • If you want the fastest path from blank page to playable session, reach for the Old-School Editions referee’s tome.
  • If you love a buffet of prompts you can assemble your own way, the 2014 release of the 5e DMG delivers.
  • If you want confident, low-friction procedures for exploratory play, OSE is again a great choice.
  • If you’re teaching yourself the basics and want something current, go with the 2024 DMG.
  • The 1980 booklet remains the smart choice for beginning DMs who want to get into old-school play.
  • And if you enjoy procedural tinkering and a living-world referee ethos, the 1979 DMG is still a treasure trove.

My Go-To Dungeon Master’s Guides

Which DMG do I reach for most often when I’m creating adventures? I’ve been a DM since the early 80s, but on those days when I need some inspiration, I probably reach for the Old-School Essentials referee’s tome the most, with the 2014 5e DMG in second place.

Ultimately, they all provide inspiration to keep my DM’s creative juices flowing.

Can you turn a D&D game into a novel?

“Against the Giants” (G1-3, TSR) is one of the best-rated and most-beloved modules from the AD&D era. In fact, it was written before the release of the original three core rule books. It is challenging yet rewarding and requires players to be at the top of their game (pun intended) to survive.

Then TSR allowed it to be turned into a novel and it was a miserable flop.

I have met several dungeon masters who shared a desire to turn one of their D&D campaigns into a fantasy novel. None ever got that far (writing a book is hard) and based on the track record of others who have, it’s probably a good thing they never took their effort far enough to be published.

“Just because each of them tastes good doesn’t mean you should put Hershey Kisses on a pepperoni pizza.”

The premise seems sound on the surface. A D&D game plays out similar to a fantasy novel. It can have all the necessary ingredients: risk and reward, character development, amazing scenery, dangerous villains, and heroic main characters. Even the side characters (NPCs) can lend some appreciated depth and flair to the story as it unfolds.

Why can’t you take the transcript of a D&D campaign and turn that into a fantasy novel?

Like putting chocolate on pizza, it’s a good idea in theory but rarely (if ever) a good idea in practice.

This is because what happens in a D&D game isn’t planned nor will it likely follow the standard kind of flow and plot points most people implicitly expect to find in a well-crafted fantasy novel.

Writing a novel is a different skill and craft than running or playing in a fantasy role-playing game.

There is one caveat to all this. What happens around a D&D gaming table can provide a treasure trove of inspiration for memorable action and even dialogue. Character names and personalities can come out from players who really get into their role. Even NPCs can provide inspiration for side characters that appear in a fantasy novel.

Ensuring the characters have the desired (and implicitly expected) struggles and development throughout the story requires understanding how to write far more than understanding how to game.

There is an integration or connection of sorts between my fourth novel, A Riddle of Scars, and my D&D game. Back in 2019, I came up with the story idea for my book, then decided to play-test it within the game of Dungeons & Dragons.

I converted my book’s plot into a campaign and ran it with a half dozen experienced players. These players knew that I was play-testing my book idea but were warned that what stayed in the book’s plot was still to be determined solely by me.

You’ll note that I already had the book idea first before introducing it to the D&D game. Doing it the other way around is what this article is all about — and is where my warning comes in. Don’t do it.

In the end, what ended up in the book was essentially the same as the original plot idea I created. Play testing it within the game of D&D didn’t change anything substantial. However, I did introduce a new character to the book based on one of the player characters (with the player’s full permission, of course). Other than that, the book’s plot survived being run as a D&D campaign, and according to the players, the campaign itself was immensely enjoyable.

Having gone through that experience and given it a lot of thought, I think it’s a fun source of inspiration to take a book’s plot and base a D&D campaign around it. Conversely, I’ve run many campaigns throughout my career as a dungeon master and none of them would make for a good fantasy novel. I’ve gotten tidbits of inspiration from the game, and as mentioned a great character idea, but the plot and sequence of what happens doesn’t translate very well from game to book.

Death and the CON Save

Bring out your dead!

The party I run uses Old-School Essentials Advanced Fantasy rules, modified slightly to adhere more toward AD&D/1e rules rather than Basic/Expert/BECMI rules. Having said that, we started off following the “death is at 0 hit points” rule but the players quickly came to the conclusion that this made death for 1st level characters too likely.

So we engineered a solution that lies somewhere between death at -10 (AD&D) and death at 0 (BECMI). We call it a “CON save.“

Unconsciousness

Characters who reach 0 hit points are unconscious and cannot be revived until they receive healing, such as a full and uninterrupted night’s sleep (8 hours) or magical healing such as from a Cure Light Wounds spell or healing potion.

A full night’s uninterrupted sleep will bring the character to 1 hit point and they will regain consciousness.

Magical healing will restore hit points according to the rules based on the type of magic used.

CON Save

If a character is between -1 and -9 hit points, they are not only unconscious but are also in shock and have a high likelihood of eminent death. If a character reaches -10 or lower hit points for any reason or for any duration, they die.

The player must roll a Constitution check for their character. To do so, they subtract their negative hit points from their CON score and roll d20. If they roll equal to or less than their modified CON score, their character goes up to 0 hit points and are unconscious (see “Unconsciousness’ rule above).

If they roll above their modified CON score, the character is dead.

For example: Farkle the Fighter (1st level) has a CON of 18 (born lucky). He is struck by the tail of a dragon (maybe not so lucky) and slammed into a wall, taking him to -4 hit points. This means his modified CON Save score is 14 (18 minus 4). He rolls a d20 and must get 14 or lower to survive. Anything above that and he dies.

He rolls a 13, which means he is now at 0 hit points and unconscious (lucky after all), and if he can get healing from the rest of the party, he’ll survive (with an interesting story to tell; “Don’t go into the light!”)

NOTE: It may be mathematically impossible for characters with some low CON scores to make a CON Save. For example, a character with a CON of 6 cannot survive being brought to -6 or lower hit points; at -5 hit points, they must roll a 1 on a d20 to survive.

D&D Edition Review: 2020 Old-School Essentials Advanced Fantasy

D&D Edition Review: 2020 Old-School Essentials Advanced Fantasy
D&D Edition Review: 2020 Old-School Essentials Advanced Fantasy

This review covers Old-School Essentials Advanced Fantasy, published by Necrotic Gnome as a third-party retroclone built in the OSR tradition rather than an attempt to modernize or compete with 5e. Because of that lineage, comparisons here lean primarily on AD&D and Basic D&D rather than the two 5e reviews in this series. The game comes as two companion hardcovers, the Player’s Tome and the Referee’s Tome, both required for a complete game: the Player’s Tome alone is enough to join a game run by someone else, but the Referee’s Tome is required to run one.

History of Old-School Essentials

Old-School Essentials was designed by Gavin Norman and first published by Necrotic Gnome in 2019 as Classic Fantasy, a faithful restatement of the 1981 Moldvay/Cook Basic and Expert D&D rules. Advanced Fantasy followed as an expansion, adding character options and systems inspired by 1979 AD&D. The Player’s Tome and Referee’s Tome were first printed in November 2020, following a successful Kickstarter campaign.

Necrotic Gnome hasn’t released official sales figures, but demand has been strong. A 2021 restock of Advanced Fantasy stock reportedly sold out within days of going live, prompting a second print run.

As of this review, Necrotic Gnome has announced a 2026 update that will consolidate the separate Classic Fantasy and Advanced Fantasy lines into two definitive volumes, a Player’s Book and a Referee’s Book, planned for mid to late 2026. That update hadn’t released at the time of this review, so the Advanced Fantasy Player’s Tome and Referee’s Tome remain the current purchasable version, sold in print through Exalted Funeral and as PDF through DriveThruRPG, though physical stock has periodically sold out between print runs (further hinting at growing demand and popularity).

Playing the Game

Armor class is descending by default, the same convention used in AD&D and Basic D&D, paired with a THAC0-based attack system. Ascending armor class is offered as an optional rule for groups who prefer it.

Initiative is side-based, one d6 roll per side, matching Basic D&D exactly. There’s no individual initiative option in the core rules, unlike AD&D’s optional detailed system.

Player character death happens at 0 hit points by default, the same harsh standard as Basic D&D, with no negative hit point buffer built into the core rules the way AD&D offers as an option.

There’s no advantage or disadvantage mechanic. Bonuses and penalties are handled case by case, the same general approach used in both AD&D and Basic D&D.

Experience uses separate tables per class, the same structure found in both AD&D and Basic D&D.

OSE Player Characters

Advanced Fantasy supports two methods of character creation side by side. The default method follows Basic D&D’s race-as-class approach, where dwarf, elf, gnome, halfling, half-elf, half-orc, drow, duergar, and svirfneblin each function as their own class. An alternate method separates race and class entirely, closer to AD&D, letting a demi-human character choose freely from the available classes, with maximum level limits by race and class combination working much the way AD&D handles it.

Old-School Essentials Advanced Fantasy Character Sheet
Old-School Essentials Advanced Fantasy Character Sheet

Thirteen true classes are available:

  • Acrobat
  • Assassin
  • Barbarian
  • Bard
  • Cleric
  • Druid
  • Fighter
  • Illusionist
  • Knight
  • Magic-user
  • Paladin
  • Ranger
  • Thief

Nine demi-human races round out the option list:

  • Dwarf
  • Elf
  • Gnome
  • Halfling
  • Half-elf
  • Half-orc
  • Drow
  • Duergar
  • Svirfneblin

As in both AD&D and Basic, only humans face no restriction and can take any of the thirteen classes freely.

Human classes cap out at 14th level in the core rules, with an optional extension allowing advancement to 36th level. Demi-human race-classes cap out lower and don’t benefit from that extension unless a referee specifically allows it.

Demi-humans can multiclass across up to three classes at once, dividing experience among them, with no restriction on which classes can be combined, a simplification compared to AD&D’s specific approved combinations.

The Player’s Tome contains over 200 spells across the cleric, druid, illusionist, and magic-user lists, more than either AD&D’s roughly 150 or Basic D&D’s 44. Advanced Fantasy’s spell lists run the character’s full playable level range rather than being capped to the first few levels the way Moldvay’s Basic booklet was.

Character creation time is slightly faster than AD&D, in large part due to the more concise and logically organized presentation in OSE’s Player’s Tome. It provides two available creation methods and the multiclassing option, taking a first-time player roughly 30-40 minutes to generate a first-level character.

On the character sheet complexity scale, this sits at a 3. The presentation is cleaner than AD&D thanks to consolidated tables and better cross-referencing, but the number of race and class combinations, saving throw categories, and optional systems keeps it well above Basic D&D’s 2.

Advanced Fantasy Readability and Playability

Both tomes are known in the OSR community for clean, modern layout, addressing a specific, often-cited complaint about the original 1981 Basic/Expert rules: that building something as simple as an elf character required flipping between four different pages of the original booklet just to gather the basic rules for that character. Old-School Essentials was designed from the ground up to fix that kind of organizational sprawl, with useful tables, cross-references, and indexing throughout both tomes.

Neither the Player’s or Referee’s tome includes a narrative example-of-play walkthrough in the style of Moldvay’s Basic Set. Instead, both rely on clear reference formatting and worked rules examples rather than a story-driven sample session.

No free legal PDF of either tome is available. Necrotic Gnome does host a free official System Reference Document online, covering core B/X-derived rules such as combat, spellcasting, and character advancement, though it reflects the core Classic Fantasy ruleset rather than the full Advanced Fantasy race and class expansions.

Summary

Old-School Essentials Advanced Fantasy sits mechanically between Basic D&D and AD&D. It’s built on B/X’s cleaner underlying chassis but imports AD&D’s larger race and class roster, its demi-human level limits, and its two-book player and referee split, rather than Basic D&D’s single all-in-one booklet.

For a group that wants AD&D’s breadth of character options in a logically structured format but without AD&D’s discursive and long-winded writing style, this is a strong fit. The two available character creation methods also let a table choose how much of AD&D’s added complexity it actually wants, race-as-class for something closer to Basic D&D’s simplicity, or separate race and class for something closer to AD&D’s depth.

As an entry point, this is more organized than either 1970s or 1980s-era book it draws from, but the sheer number of race and class combinations and optional systems still asks more of a new player than Basic D&D’s tight four-class scope.

Gaming Guide: Great Players

Fantasy adventurers

Making choices and engaging in behavior that is counter to your character’s alignment can have serious consequences, especially for certain classes like clerics, druids, and paladins.

You can give advice or your opinion to other players, but every player has the right to make their own decisions.

How to Make Your D&D World Feel Alive Between Sessions

One of the coolest things you can do as a Dungeon Master is make your players feel like they exist inside a living, breathing world. When you pull that off, your players stop treating the game like a series of static encounters and start treating it like a life their characters are actually living.

The goal is to get your players thinking about your world and what’s going on inside it even when they’re away from the gaming table. Here’s how.

The “Static Syndrome”

Let’s name the problem first, because I think most DMs instinctively know when their world feels flat, even if they can’t quite put a finger on why.

When a party leaves a town and comes back three sessions later, what do they find? In a lot of campaigns, the answer is: exactly what was there when they left. The innkeeper is standing in the same spot. The merchant’s prices haven’t changed. The quest board has the same three notices pinned to it. The farmer whose chickens were eaten by kobolds is still panicked about the same chickens.

Players pick up on this, even if they don’t say it out loud. The world starts to feel like a theme park, where every ride resets the moment you walk away. That kind of world is fine for a one-shot, but for a long-running campaign, it slowly drains the sense of investment and reality.

This ‘static syndrome’ also doesn’t do anything to keep your players motivated to show up to the next session.

The fix is to make your world keep moving, even when the players aren’t there.

Real-world Inspiration

Think about how the real world functions. While you’re at work, things are happening at home. While you’re on vacation, stuff keeps occurring back in your home town. Life keeps going, and we don’t have to check the news feed to be reminded of this.

Your game world can operate the same way. When the party heads into the wilderness for two weeks to find a dungeon, life in the town they left doesn’t freeze. It can be little things like bandits attacking a supply caravan that was bringing in stock for the local merchant, or big things like the thieve’s guild negotiating a territorial dispute with a rival faction.

None of that requires the party to be present. It just requires you, as the DM, to let it happen in the background.

Keeping your in-game world feeling like it’s alive between sessions isn’t as hard as it seems. You don’t need to keep detailed notes of what’s happening, and it doesn’t require some complex system or database or anything like that.

I suggest three simple steps that are super easy to implement.

Step 1: In-game Notes

First, take notes during the game. They don’t have to be elaborate or long-winded, just quick bits of info about key events that take place. I write down names of NPCs the party meets, key monsters fought or encountered, and major items or treasure obtained. It’s just enough to jog your memory when you get into step two. That’s it.

Step 2: Session Notes

The second step is to take those notes you jotted down during the game and write up a session summary. I suggest doing this within 24 hours of the game session so things are still fresh in your brain. Most of my session notes are a single typed page.

These session notes are valuable because they give you a way to find out where you left off before you start your next session. We have busy lives and it’s easy to forget details between games.

Step 3: What Changed?

The third and final step is to review your session notes from the previous game, and figure out what changed in the interim. Did the merchant find out who attacked their supplies caravan? Did the local lord change something about how treasure is taxed? Did the thieves’ guild finalize their negotiation with a rival faction, either through back-room diplomacy or through more aggressive action?

The final part of that third step is to decide how those updates are going to be conveyed to the players at your next session. Think about it from their characters’ point of view … how would they learn about these changes? Do they hear rumors at the tavern? Was a new sign-post put up at the town’s edge? Is everybody talking about it, so it’s essentially impossible to miss?

Simple Decisions, Simple Process

Taking quick notes during the game, summarizing them afterward, and reviewing your session write-up before the next session is a good idea anyway, and one I highly recommend to DMs.

The only difference here is you’re making some simple decisions about what changed between sessions and then finding a way for the characters to discover those updates in-game. That’s all there is to it.

The benefit of this is the players start paying attention to things they’d previously ignored, because they understand now that things can change. They ask more questions and take a quicker interest in the state of things. They might even try to influence outcomes before they leave a place, because they’ve learned that the situation might look different when they get back.

Start Small

Start small. Pick two or three things in your current adventure location that feel like they have momentum. For each one, ask yourself a simple question: if the party comes back, what would happen there while they’re gone? Write down one or two sentences. That’s your background trajectory. Then, when time passes in the game, move that situation one step down its natural path.

You don’t need to plan everything and you don’t need to know every twist. You just need to know enough to answer the question, “What happened while the players were gone?”

The World Reacts to Player Actions

There’s another layer to this that’s worth mentioning. The world shouldn’t just change randomly. Not only should the changes make sense, but it should also react to the players actions and choices.

If the party helped a local lord reclaim their stolen taxes, that lord now has money and influence they didn’t have before and the party will be on their good side. Maybe the lord starts a road improvement project that makes travel easier in the region. Maybe they start hiring mercenaries, which means there are more armed strangers in town when the party returns … who might actually be competition for new adventure gigs. Maybe they become a bit arrogant with their newly restored power, and the people who liked them before are starting to grumble.

No Static Dungeons

If the party cleared out a dungeon that had been terrorizing a village for years, the village is going to change in response to that security. People will move in or a merchant might set up shop.

In that dungeon the party cleared out during the previous session, scavengers might consume the bodies. Weaker factions might come in and clear out the remaining monsters, now that their odds have improved. Even dungeons have a life of sorts, so don’t hesitate to represent that if the party returns.

This feedback loop is enormously satisfying. Players feel like they matter, because they actually do. Their actions have consequences that play out over time, and sometimes those consequences are things they didn’t anticipate. That’s storytelling at its best, and the beauty of it is that a lot of it writes itself once you’ve set up the right conditions.

The Big Reveal? Not So Fast

Here’s one thing I want to be clear about: you don’t need to reveal all of this to your players the moment they walk back into town. In fact, the most effective way to use background changes is to roll them out organically through play.

And sometimes, of course, one of your background developments becomes something much bigger. When your living world produces organic and natural-seeming hooks, you know it’s working.

However, it’s still the DM’s discretion to summarize at the beginning of a session all that happened while the party was gone. This can be like your introduction to a new campaign, except you’re orienting the players to what transpired in an area they’ve already visited. That’s your call.

Smart Work, Not Hard Work

I want to close with something that took me a while to fully appreciate. A living world isn’t about doing more work. It’s about doing the right kind of work.

Instead of spending all your prep time on encounter maps and monster stat blocks, spend a little of it on the human and political and environmental texture of the world your players are moving through. Give your major factions goals and timelines. Give your notable NPCs lives that don’t revolve around the party. Let your world have weather and seasons and economics and rumors that have nothing to do with the current quest.

I’m especially fond of using weather and other natural events to give the campaign the sense that it’s a living world.

Your players will feel the difference. They won’t necessarily be able to explain why the campaign feels more immersive than others they’ve played in, but they’ll definitely appreciate it. They’ll show that appreciation by coming back, session after session, because they’re genuinely curious about what’s changed.

Did You Miss Me?

That’s the goal, in the end, a game that the players think about even when they’re not at the gaming table. You can create a world your players are invested in because it feels like it exists on its own terms, not just as a backdrop for their adventures.