Wandering DMs

Dan and Paul do a deep dive on the "Magic Jar" spell that's been in every edition of D&D to date. First edition said, "Magic jar is a very unusual spell" and gave it a completely unique school of magic. Put your soul in an object and you can possess any other creature's body you desire. Total safety from destruction, right? But detail vary wildly by edition: Should it be eternal duration, or more limited? Infinite range, or something less? And how will it reshape the tone of your whole campaign? Read Dan's blog on Spells Through the Ages: Magic Jar

Paul and Dan get to chat with father of the OSR Matt Finch, about the 20th anniversary of OSRIC, his ground-breaking retroclone of 1st Edition Advanced D&D. Plus: the new 3.0 version of OSRIC, currently crowdfunding on Backerkit. What's prompted a new version? What's new and good for new players? How can GMs write official adventures for OSRIC? Plus a whole lot more! Back Matt's OSRIC 3.0 on Backerkit

Dan and Paul return from the Rising Phoenix Game Con with tales from the front lines of fast-paced dungeon creation! In this episode, they break down their latest Dungeon Design Dash, crafted live in front of a seminar audience and then playtested at the convention just two days later. What worked? What didn't? And what did the players do that nobody expected? Whether you're a dungeon designer looking to sharpen your tools or just love a behind-the-scenes look at live convention play, you won't want to miss this one! Want to join us next year? Check out the convention here!

Dan & Paul get to chat with R. Alex Murray, one of the cast members of Twenty-Sided Tavern, a live theatrical D&D stage production! TST has had a smash year off-Broadway in New York City, and now they're about to take the show across the country. What's the difference between playing D&D at home with friends, versus entertaining hundreds of audience members every night? What elements of D&D cut across those lines and what needs to be cut or changed? Check out D&D Twenty-Sided Tavern on your favorite social media https://thetwentysidedtavern.com/ https://www.youtube.com/@twentysidedtavern https://www.tiktok.com/@twentysidedtavern https://www.instagram.com/twentysidedtavern/

Paul & Dan chat with the legendary Bill Webb, founder of Necromancer Games and Frog God Games. Bill's back with a new, even-more-old-school TTRPG ruleset -- the Necromancer's Game, naturally! We find out how "wild man" Bill Webb runs his own regular home games, and what "First Edition Feel" means in 2025. Plus more surprises! Join the Kickstarter for Bill's Necromancer's Game here

Should the DM keep their D&D adventure map hidden, or reveal it to the players at the outset? Dan & Paul discuss the sometimes-surprising benefits of giving your players more information instead of less. From partial dungeon maps as treasure, to visualizing the layout of the wilderness, to games where the map's the thing, we'll share everything we know.

After a packed weekend at their annual house convention, Dan and Paul return with fresh insights into the mechanics behind the games they played. From the moves-based mechanics of Powered by the Apocalypse titles, to Quest's streamlined abilities, D&D's shifting focus across editions (from old-school attribute checks to modern skill lists), and the freeform chaos of Fiasco, they examine how different systems shape the player experience. Do tightly defined moves encourage bold choices—or just narrow options? When does a skill list feel empowering, and when does it just get in the way? And what happens when you throw out mechanics entirely, like in Fiasco? Join the Wandering DMs for a lively discussion on how systems guide creativity at the table—or sometimes, hold it back.

Dan & Paul chat about Elementals in D&D. Where do they come from, and how often do they get used? Are they really a good option for high-level wizards to conjure? And how have they evolved into the newest Monster Manual for D&D 5E 2024? Read Dan's blog on Conjure Elemental Through the Ages And more on the problem of the Air Elemental Whirlwind

Hasbro/WOTC announced this week that their long-anticipated virtual tabletop tool (VTT), Sigil, is suddenly end-of-life. How did they come to spend so many resources into a project like this, only to cancel it? Does it disrupt their overall strategy for the brand-new 2024 edition of Dungeons & Dragons? What's the landscape of VTT's for D&D look like today. And… is anyone really surprised?

Dan and Paul are joined by Tom McGrenery, game designer and co-host of the podcast Fear of a Black Dragon, to discuss the surprising common ground between OSR and story games. Do they have more in common with each other than either has with modern traditional RPGs? Find out what they discover in this thought-provoking episode of Wandering DMs!

Can an AI truly run a game of Dungeons & Dragons? In this episode, Paul & Dan review Paul's recent live-streamed experiment, Martha the AI DM, where he played a session of Basic B/X D&D with an AI as his Dungeon Master. How well did Martha craft adventures, roleplay NPCs, and adapt to unexpected player choices? Did she bring the magic of tabletop storytelling — or did she fall into mechanical pitfalls? Join us as we break down the session, discuss the strengths and limitations of AI-driven RPGs, and explore what this means for the future of roleplaying games. Here's some links to the articles mentioned in this show: Creating dungeon maps using D2 (Declarative Diagraming) Academic paper on running The Sunless Citadel

As a DM, should you offer different subject matter to your players when the real world looks grim?

Paul & Dan dive into the art of running a game with absolutely no materials on hand. Whether it's an impromptu one-shot, a lost character sheet crisis, or a full-on “I forgot my dice bag at home” scenario, we'll explore how to keep the adventure rolling with just your wits and a table full of eager players.

Paul & Dan review the first add-on to Original D&D in 1975: Supplement I, Greyhawk! Presenting content and rules changes stemming from Gygax's home campaign, we get new classes (the Thief and Paladin), spells, monsters, and magic items. But how much of it was a boon to D&D in general, and how many were mistakes?

Dan & Paul follow up on our chat about mysteries in D&D: Turning things around, how is the average Thieves' Guild member meant to ply their trade in the world? Given all the magic detection, location, ESP, and other powers, what steps will the average assassin-for-hire take to complete their mission and not get caught?

In this episode of Wandering DMs, Dan and Paul explore the art of running mysteries in Dungeons & Dragons and other TTRPGs. From crafting compelling clues and red herrings to balancing player agency with narrative tension, they share tips and tricks to keep your players engaged and invested in unraveling the plot. Whether you're running a murder investigation, solving ancient riddles, or diving into a missing persons case, this episode has everything you need to craft a memorable mystery adventure.

Dan & Paul chat about the role of critical failure and fumble systems in TTRPG systems. Do they add appropriate surprise, unpredictability, realism, and danger to the adventure? Are they more punishing to the players or their opponents? Or are they just more trouble than they're worth?

Paul & Dan are back for Season 7, this time diving into the age-old debate: splitting the party. When is it a clever strategy? When is it a recipe for disaster? And what can DMs do to keep the game running smoothly when the group goes their separate ways?

Paul & Dan look back on the year 2024 for the Wandering DMs. It's been a momentous year: The 50th anniversary of Dungeons & Dragons, a new version of the D&D game, the Chinese Year of the Dragon, in-depth looks at Original vs. Basic D&D, and special guests like Michael Moorcock, Luke Gygax, Jon Peterson, an Matt Finch. Share your high and low points, and we'll share ours! A year-in-review is any sort of publication which is traditionally released on an annual basis to cover the events of the past year from the perspective of the contributors to the publication. Years-in-review are often intended to highlight the highs and lows of the events which occurred throughout the year, and often include select works published during the year which are considered by the editors of the year-in-review to be the most memorable works of the year. Years-in-review are often used to list "Top Ten" lists voted upon by hired critics and reviewers of other media. So let's commemorate the last time we'll do this added bit of text! This description uses material from the Wikipedia article "Year-in-review", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan and Paul discuss ways to create satisfying recurring villains in your D&D campaign. How do you balance the desire for epic, climactic showdowns with the unpredictable, open-ended nature of a TTRPG campaign? Should your villain be the untouchable mastermind pulling strings from the shadows, or someone your players can engage with directly throughout the story? Join us as we share tips, pitfalls, and our favorite examples of how to keep your players on the edge of their seats with antagonists they'll love to hate.

Dan & Paul revisit the Original vs. Basic Dungeon & Dragons collision. This time: As similar as the early editions are, a fundamental place where they differ is the combat turn sequence. Moldvay's B/X rules have a unique turn sequence not seen in other versions of D&D. And for Original D&D (1974), can you even find the turn sequence, anyway? Plus other acts of critical violence. The original Dungeons & Dragons (commonly abbreviated D&D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons & Dragons fantasy role-playing game. The original Dungeons & Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&D but instead further away from that ruleset, and thus the basic D&D game became a separate and distinct product line from AD&D. The former was promoted as a continuation of the tone of original D&D, while AD&D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles "Dungeons & Dragons (1974)" and "Dungeons & Dragons Basic Set", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan and Paul return to complete the dungeon design dash for the "Infested Perch of the Mammoth Egg". Unfortunately one hour was just not enough this time around, so they're coming back to complete the adventure, and reveal some of the extra editing passes that go into publishing these adventures. Once complete, this adventure will be posted for sale on DriveThruRPG, and a free copy sent to every active patron. Now is a great time to become a patron - get all the benefits PLUS a free adventure!

Dan and Paul are back at it again, creating an entire D&D adventure in just one hour! Armed with only their D&D source books, Matt Finch's excellent Tome of Adventure Design, and the input from live viewers, they'll create a fully stocked and playable D&D dungeon adventure right in front of your eyes. Once it's complete, adventure WDM05 will be posted on DriveThruRPG and free copies distributed to all our faithful patrons!

Dan and Paul reflect on the many changing faces of ghouls in D&D and fantasy literature. How did they become one of the most feared monster types? What flavor is best: the one from Lovecraft, Howard, Leiber, Gygax, or Romero? Should they be unthinking undead, or a sentient organized race? What's the best way to skin (or unskin) them in your D&D game? In Arabic folklore, the ghul is said to dwell in cemeteries and other uninhabited places. A male ghoul is referred to as ghul while the female is called ghulah. A source identified the Arabic ghoul as a female creature who is sometimes called Mother Ghoul (ʾUmm Ghulah) or a relational term such as Aunt Ghoul. She is portrayed in many tales luring hapless characters, who are usually men, into her home where she can eat them. Some state[who?] that a ghoul is a desert-dwelling, shapeshifting demon that can assume the guise of an animal, especially a hyena. It lures unwary people into the desert wastes or abandoned places to slay and devour them. The creature also preys on young children, drinks blood, steals coins, and eats the dead, then taking the form of the person most recently eaten. One of the narratives identified a ghoul named Ghul-e Biyaban, a particularly monstrous character believed to be inhabiting the wilderness of Afghanistan and Iran. In "Pickman's Model", a short story by H. P. Lovecraft, ghouls are members of a subterranean race. Their diet of dead human flesh mutated them into bestial humanoids able to carry on intelligent conversations with the living. The story has ghouls set underground with ghoul tunnels that connect ancient human ruins with deep underworlds. Lovecraft hints that the ghouls emerge in subway tunnels to feed on train wreck victims. Lovecraft's vision of the ghoul, shared by associated authors Clark Ashton-Smith and Robert E. Howard, has heavily influenced the collective idea of the ghoul in American culture. Ghouls as described by Lovecraft are dog-faced and hideous creatures but not necessarily malicious. Though their primary (perhaps only) food source is human flesh, they do not seek out or hunt living people. They are able to travel back and forth through the wall of sleep. This is demonstrated in Lovecraft's "The Dream Quest of Unknown Kadath" in which Randolph Carter encounters Pickman in the dream world after his complete transition into a mature ghoul. Read Dan's blog on Ghouls Through the Ages of D&D And then read up on the Literature of Ghouls This description uses material from the Wikipedia article "Ghoul", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

This week on Wandering DMs, Paul Siegel and Dan “Delta” Collins dive into one of the most common challenges DMs face: scaling D&D adventures when the number of players doesn't match what the adventure was designed for. Whether you're running a session for fewer players than expected or you suddenly have a larger group to accommodate, adjusting on the fly can be tricky. Paul and Dan will break down strategies for tweaking encounters, managing balance, and ensuring every player stays engaged, even when the group size shifts unexpectedly. Without time to prepare in advance, making adjustments on the fly requires quick thinking and flexibility. How do you rebalance combat encounters without losing the tension or excitement of the adventure? What do you do when a critical puzzle or social encounter suddenly becomes too easy or too hard because of the group size? Paul and Dan will explore these challenges and offer real-world examples from their years of experience running games, helping DMs make smart adjustments in the heat of the moment. They'll also discuss how to write adventures that are easier to adjust to variable group sizes and what kind of guidance adventure authors can include to help DMs handle these situations. Whether you're a seasoned Dungeon Master or new to running games, join the conversation and get tips you can apply right away! As always, they'll be live and taking your questions and comments in real time. Don't miss it — Sunday at 1 PM Eastern on YouTube and Twitch!

Dan and Paul chat with Matt Finch, the ENNIE-award winning designer of the Swords & Wizardry game, and who also created OSRIC, and the Quick Primer for Old School Gaming. Plus he made our favorite Tome of Adventure Design, as seen in use in the Wandering DMs Dungeon Design Dashes. Next up on Kickstarter is Matt's Tome of Wordbuilding Design. Is this just in time for all our fantasy worldbuilding needs? The Tome of World Building is written by ENNIE-award winning author Matt Finch, author of the critically-acclaimed Tome of Adventure Design. Using the Tome of World Building, you can create fantasy worlds quickly and fill them out with a wealth of detail from the random-generation tables in this book. This Kickstarter offers two high quality hardcover books to create a trilogy of creative power with the Tome of Adventure Design. The first is the Tome of World Building, allowing you to create maps, cultures, countries, wilderness regions, and all the history and backstabbing politics of a fantasy world. The second is the Nomicon, with tables to invent fantasy names for everything you'll generate using the Tome of World Building. Back Matt Finch's Tome of Worldbuilding on Kickstarter here

Paul and Dan chat with Luke Gygax on the 50th anniversary of D&D and his new old-school mega-adventure, Wrath of the Sea Lich! Wrath of the Sea Lich is a reimagining of his hit series, "Oculus of Senrahbah" originally created for 5e. Luke and Matt enlisted the help of notable designer Sersa Victory to reengineer the scenario for the critically acclaimed Shadowdark system. Together, they have remastered the entire series, the encounters are rebalanced, and the entire work is reformatted to fit the Old School aesthetic of Shadowdark. n "Wrath of the Sea Lich", the party sets out to recover the Eye of Chentoufi, an ancient artifact sought by a local treasure hunter. Unknown to all, the artifact is sought by the ancient Ydrissid lich, Ireshkigal, who has been dormant for thousands of years in her watery fortress. As the characters venture across the city, they eventually find their way to a submerged ruins and encounter remnants of a forgotten age. As they begin to understand the implications of Ireshkigal's return, the sense of urgency to find the artifact mounts. The lich's revival could bring serious consequences to the world, and the party must decide whether to use the power of the Oculus or find a way to destroy it. Shadowdark RPG is a modern fantasy role-playing game that seamlessly blends classic tabletop RPG elements with innovative mechanics, creating a new experience for players who have grown up with modern role-playing games. Designed to evoke the nostalgia of early dungeon crawlers while introducing streamlined gameplay, Shadowdark encourages exploration, tactical combat, and rich storytelling. Its flexible system accommodates various play styles, making it accessible for both newcomers and experienced adventurers. The game emphasizes fast-paced action, player agency, and a dark atmosphere that challenges players throughout each game session. It won the 2024 Three Castles Award for best game design, as well as four gold ENNIEs: Product of the Year, Best Game, Best Rules, and Best Layout & Design. Back Luke Gygax's Wrath of the Sea Lich on Kickstarter here Get the Shadowdark RPG system here

Dan and Paul, the Wandering DMs, discuss the right number of players for D&D and other TTRPGs. How many is too many? How few is too few? What factors play into choosing the right range of party size for your adventure design? Team size and team composition affect team processes and team outcomes. The optimal size (and composition) of teams is debated and will vary depending on the task at hand. At least one study of problem-solving in groups showed an optimal size of groups at four members. Other works estimate the optimal size between 5–12 members or a number of members that can consume two pizzas. Writers such as Belbin (1981, 1993), Woodcock (1989), Margerison and McCann (1990), Davis et al. (1992), Parker (1990), and Spencer and Pruss (1992) focused on team roles and how these affected team performance. These studies suggested that team performance was a function of the number and type of roles team members played. The number of roles for optimal performance varied from 15 (Davis et al., 1992) to four (Parker, 1990). This variation has been attributed to how roles were defined. Regarding composition, all teams will have an element of homogeneity and heterogeneity. The more homogeneous the group, the more cohesive it will be. The more heterogeneous the group, the greater the differences in perspective and increased potential for creativity, but also the greater potential for conflict. This description uses material from the Wikipedia article "Team", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Paul and Dan do a deep dive on the state of travel encounters in classic D&D and other games. Should they be based on random wandering tables, or fine-tuned by the DM for the given adventure session? Is the goal to simulate a living world, or to challenge the PCs at the table? Should the DM know in advance what will happen, or share in the surprise? Travel in the Middle Ages offered hardships and challenges, though it was important to the economy and to society. The wholesale sector depended (for example) on merchants dealing with/through caravans or sea-voyagers, end-user retailing often demanded the services of many itinerant peddlers wandering from village to hamlet, gyrovagues (wandering monks) and wandering friars brought theology and pastoral support to neglected areas, traveling minstrels toured, and armies ranged far and wide in various crusades and in sundry other wars. Pilgrimages were common in both the European and Islamic world and involved streams of travelers both locally and internationally. In the late 16th century, it became fashionable for young European aristocrats and wealthy upper-class men to travel to significant European cities as part of their education in the arts and literature. This was known as the Grand Tour, and included cities such as London, Paris, Venice, Florence, and Rome. However, the French Revolution brought with it the end of the Grand Tour. This description uses material from the Wikipedia article "Travel", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan and Paul are joined by special guest Adam "Rutskarn" DeCamp, author of the blog Chocolate Hammer. Rutskarn will share his experience running a highly political campaign using the original TSR Western RPG Boot Hill, first published in 1975. How can a game with zero rules for social interactions and a highly deadly combat system actually encourage play focused on politics, deception, and intrigue? Boot Hill is a western-themed role-playing game designed by Brian Blume, Gary Gygax, and Don Kaye (although Kaye unexpectedly died before the game was published), and first published in 1975. Boot Hill was TSR's third role-playing game, appearing not long after Dungeons & Dragons (D&D) and Empire of the Petal Throne. Boot Hill focused on gunfighting rather than role-playing. The first edition and second editions were specifically marketed as a miniatures combat game, but even in the third edition, most of the rules concerned combat resolution, with relatively little information about settings and few rules for social interaction. Combat could be short and deadly, with death often coming from the first gunshot. This lethality did not change over time since, unlike D&D characters, Boot Hill characters did not advance in levels to develop better defenses or advantages over non-player characters; they remained just as likely to die in their hundredth combat as they had been in their first. As a result, most characters had a very short life span, and players generally had little chance to identify with their player character over the long term, as they could with a player character in D&D. Read Rutskarn's "Boot Hill and the Fear of Dice" on his Blog Chocoloate Hammer Check Out Rutskarn's Patreon Follow Rutskarn on Twitter This description uses material from the Wikipedia article "Boot Hill (role-playing game)", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan and Paul wrap up the most recent Wizards D&D Beyond fumble -- a decision to retract all the items, magic, and spells from the 2014 version of D&D 5th Edition, and replace all content globally with the 2024 revised D&D content (whether players wanted it or not!). After public outcry, WOTC flip-flopped on their decision, but was it a preventable mistake? How hard is it for a game company to make old & new customers both equally happy? There are several incentives for a company to implement backward compatibility. Backward compatibility can be used to preserve older software that would have otherwise been lost when a manufacturer decides to stop supporting older hardware. Classic video games are a common example used when discussing the value of supporting older software. The cultural impact of video games is a large part of their continued success, and some believe ignoring backward compatibility would cause these titles to disappear. Backward compatibility also acts as a selling point for new hardware, as an existing player base can more affordably upgrade to subsequent generations of a console. This also helps to make up for lack of content at the launch of new systems, as users can pull from the previous console's library of games while developers transition to the new hardware. Moreover, studies in the mid-1990s found that even consumers who never play older games after purchasing a new system consider backward compatibility a highly desirable feature, valuing the mere ability to continue to play an existing collection of games even if they choose never to do so. Backward compatibility with the original PlayStation (PS) software discs and peripherals is considered to have been a key selling point for the PlayStation 2 (PS2) during its early months on the market. The monetary costs of supporting old software is considered a large drawback to the usage of backward compatibility. The associated costs of backward compatibility are a larger bill of materials if hardware is required to support the legacy systems; increased complexity of the product that may lead to longer time to market, technological hindrances, and slowing innovation; and increased expectations from users in terms of compatibility. Because of this, several console manufacturers phased out backward compatibility toward the end of the console generation in order to reduce cost and briefly reinvigorate sales before the arrival of newer hardware. Backward compatibility introduces the risk that developers will favor developing games that are compatible with both the old and new systems, since this gives them a larger base of potential buyers, resulting in a dearth of software which uses the advanced features of the new system. This description uses material from the Wikipedia article "Backward compatibility", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Paul and Dan discuss creation of pre-generated characters for one-shot roleplaying games. From the fastest and easiest ways to quickly generate stats, to crafting unique back-stories that fit (or fight) with the plot. How does it differ between styles of game, and when, if ever, to let the players create their own characters for one-off and convention style games. In both tabletop role playing games such as Dungeons & Dragons and role-playing video games such as Final Fantasy, a player typically creates or takes on the identity of a character that may have nothing in common with the player. The character is often of a certain (usually fictional) race and class (such as zombie, berserker, rifleman, elf, or cleric), each with strengths and weaknesses. The attributes of the characters (such as magic and fighting ability) are given as numerical values which can be increased as the gamer progresses and gains rank and experience points through accomplishing goals or fighting enemies. Character creation (also character generation / character design) is the process of defining a player character in a role-playing game. The result of character creation is a direct characterization that is recorded on a character sheet. This may include a representation of the character's physical, mental, psychological, and social attributes and skills in terms of the specific game's mechanics. It may also include informal descriptions of the character's physical appearance, personality, personal back-story ("background"), and possessions. Games with a fantasy setting may include traits such as race, class, or species. Character creation is the first step typically taken by the players (as opposed to the gamemaster) in preparation for a game. This description uses material from the Wikipedia articles "Player Character" and "Character Creation", which are released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan & Paul scope out principles for statting out real people in D&D and other role-playing games. What do the standard ability scores really mean, anyway? How have they varied over editions of D&D across the years? And how can we compare and model real people in other games like Call of Cthulhu, Star Frontiers, and Fearful Ends? Kinanthropometry is defined as the study of human size, shape, proportion, composition, maturation, and gross function, in order to understand growth, exercise, performance, and nutrition. It is a scientific discipline that is concerned with the measurement of individuals in a variety of morphological perspectives, its application to movement and those factors which influence movement, including: components of body build, body measurements, proportions, composition, shape and maturation; motor abilities and cardiorespiratory capacities; physical activity including recreational activity as well as highly specialized sports performance. The predominant focus is upon obtaining detailed measurements upon the body composition of a given person. Kinanthropometry is the interface between human anatomy and movement. It is the application of a series of measurements made on the body and from these we can use the data that we gather directly or perform calculations using the data to produce various indices and body composition predictions and to measure and describe physique. Read Dan's article on D&D Intelligence and IQ This description uses material from the Wikipedia article "Kinanthropometry", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan & Paul give a postmortem on running their fourth Dungeon Design Dash product, Creeping Doom of the Pumpkin King, in a co-DM fashion. It's their first DDD wilderness adventure, and surprises abound! What happens when the party pursues mostly social encounters with a dedicated Adversary DM? Can two DMs swap out musical-chairs NPCs without going crazy? Does D&D always revert back to its horror roots? A playtest is the process by which a game designer tests a new game for bugs and design flaws before releasing it to market. Playtests can be run "open", "closed", "beta", or otherwise, and are very common with board games, collectible card games, puzzle hunts, role-playing games, and video games, for which they have become an established part of the quality control process. An individual involved in testing a game is referred to as a playtester. An open playtest could be considered open to anyone who wishes to join, or it may refer to game designers recruiting testers from outside the design group. Prospective testers usually must complete a survey or provide their contact information in order to be considered for participation. A closed playtest is an internal testing process not available to the public. Beta testing normally refers to the final stages of testing just before going to market with a product, and is often run semi-open with a limited form of the game in order to find any last-minute problems. With all forms of playtesting it is not unusual for participants to be required to sign a non-disclosure agreement, in order to protect the game designer's copyrights. Watch the livestream creation of Creeping Doom of the Pumpkin King here This description uses material from the Wikipedia articles "Playtest", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

In Part 1 Dan and Paul barely scratched the surface on the differences between Original D&D (1974) and Basic D&D (1981)! Due to popular demand they're back for more. Hopefully this time they'll escape the character creation section and get into combat, monsters, and spells, but who knows? There's the whole sweep attack issue to hammer out first. The original Dungeons & Dragons (commonly abbreviated D&D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons & Dragons fantasy role-playing game. The original Dungeons & Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&D but instead further away from that ruleset, and thus the basic D&D game became a separate and distinct product line from AD&D. The former was promoted as a continuation of the tone of original D&D, while AD&D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles "Dungeons & Dragons (1974)" and "Dungeons & Dragons Basic Set", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Let's chat about two of our favorite editions of early D&D -- Original D&D (1974) and Basic D&D (1981)! Dan & Paul run most of D&D in similar ways, but their instincts sometimes differ in which of these traditions they're coming from. What changes were made by the brilliant Tom Moldvay in Basic D&D? Were they for the better, or worse? What should new players start with today for that classic D&D experience? The original Dungeons & Dragons (commonly abbreviated D&D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons & Dragons fantasy role-playing game. The original Dungeons & Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&D but instead further away from that ruleset, and thus the basic D&D game became a separate and distinct product line from AD&D. The former was promoted as a continuation of the tone of original D&D, while AD&D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles "Dungeons & Dragons (1974)" and "Dungeons & Dragons Basic Set", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

In this last-minute, condensed episdoe of Wandering DMs, Dan and Paul discuss using real world time elements in games. From timers in D&D adventures to board games that include a ticking clock, they'll cover everything in under 45 minutes. They even manage to fit in an actual play of 5 Minute Dungeon!

One of our all-time favorite guests, Jon Peterson, D&D historian extraordinaire, returns to talk all things about the 50th anniversary of D&D. From his official "Making of Original Dungeons & Dragons 1970-1977", participation in Gen Con 50th anniversary celebrations, inclusion in the MIT Press "Fifty Years of Dungeons & Dragons" book, and the hotly-anticipated re-release of his seminal "Playing at the World", he's been super busy this year! Dan & Paul will catch up with him and find out what the highlights and new discoveries have been. The original Dungeons & Dragons (commonly abbreviated D&D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons & Dragons fantasy role-playing game. The original Dungeons & Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. The set also presents rules for travelling through the wilderness by land and sea, hiring specialists as well as men-at-arms, constructing fortifications and establishing baronies. The set defines movement rates and areas are using inches, like that of the miniatures rules from which the system descended. Check out The Making of Original Dungeons & Dragons 1970-1977 Find the Second Edition of Playing at the World Here This description uses material from the Wikipedia article "Dungeons & Dragons (1974)", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan and Paul discuss the presence of drugs and alcohol in D&D and other tabletop roleplaying games. They'll touch on how state alterning substandces are represented in the fiction, rules for handling characters under the influence, and even what happens when the players themselves partake! According to addiction researcher Martin A. Plant, some people go through a period of self-redefinition before initiating recreational drug use. They tend to view using drugs as part of a general lifestyle that involves belonging to a subculture that they associate with heightened status and the challenging of social norms. Plant states: "From the user's point of view there are many positive reasons to become part of the milieu of drug taking. The reasons for drug use appear to have as much to do with needs for friendship, pleasure and status as they do with unhappiness or poverty. Becoming a drug taker, to many people, is a positive affirmation rather than a negative experience". The prevalence of recreational drugs in human societies is widely reflected in fiction, entertainment, and the arts, subject to prevailing laws and social conventions. In video games, for example, drugs are portrayed in a variety of ways: including power-ups (cocaine gum replenishes stamina in Red Dead Redemption 2), obstacles to be avoided (such as the Fuzzies in Super Mario World 2: Yoshi's Island that distort the player's view when accidentally consumed), items to be bought and sold for in-game currency (coke dealing is a big part of Scarface: The World Is Yours). In the Fallout video game franchise, drugs ("chems" in the game) can fill the role of any above mentioned. Drug trafficking, gang rivalries, and their related criminal underworld also play a big part in the Grand Theft Auto video game franchise. This description uses material from the Wikipedia article "Recreational drug use", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan & Paul discuss experiences in TRPGs when players don't know the rules. Is it fundamentally fair or unfair? Does it add to the immersion of the roleplay? What added flexibility dos it give to the GM? Is exploring the rules of a new world an essential part of roleplaying games, that we've lost along the way? Games with concealed rules are games where the rules are intentionally concealed from new players, either because their discovery is part of the game itself, or because the game is a hoax and the rules do not exist. In fiction, the counterpart of the first category are games that supposedly do have a rule set, but that rule set is not disclosed. For example: Paranoia is a tabletop role-playing game in which the rules are considered "classified". Only the Gamemaster has full knowledge of the rules, while other players must deduce them by trial and error as they proceed through the game. The game acknowledges that players may read the gamemaster section, but demonstrating knowledge of the rules is considered treasonous, and the gamemaster may also make arbitrary changes. This description uses material from the Wikipedia article "List of games with concealed rules", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

The Wandering DMs tackle employment in D&D. Do adventurers need day jobs? Does starting a business or pursuing a craft undermine the motiviation to go out treasure hunting? What of systems that define prior careers as part of characgter creation? It's time for Dan and Paul to get to work! Employment is a relationship between two parties regulating the provision of paid labour services. Usually based on a contract, one party, the employer, which might be a corporation, a not-for-profit organization, a co-operative, or any other entity, pays the other, the employee, in return for carrying out assigned work. Employees work in return for wages, which can be paid on the basis of an hourly rate, by piecework or an annual salary, depending on the type of work an employee does, the prevailing conditions of the sector and the bargaining power between the parties. Researchers have also explored the relationship between employment and illicit activities. Using evidence from Africa, a research team found that a program for Liberian ex-fighters reduced work hours on illicit activities. The employment program also reduced interest in mercenary work in nearby wars. The study concludes that while the use of capital inputs or cash payments for peaceful work created a reduction in illicit activities, the impact of training alone is rather low. This description uses material from the Wikipedia article "Employment", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan & Paul discuss the role of skill systems in D&D and other tabletop RPGs. Not part of the initial Original D&D ruleset, they give PCs an opportunity to master individual skills in a fine-grained manner. Have they been beneficial to D&D, or a distraction? Do they work better in other games, like sci-fi or horror? A skill represents the learned knowledge and abilities of a character. Skills are known by various names, including proficiencies, abilities, powers, talents and knacks. During character creation, a player character's skills are generally chosen from a long list. A character may have a fixed number of starting skills, or they may be paid for using character points. In contrast to attributes, very few games fix a player's skills at the start of the game, instead allowing players to increase them by spending experience points or during "levelling up". Since some skills are likely to be more useful than others, different skills often have different costs. Skills usually influence a character's chance to succeed by adding to the relevant attribute. In some games (such as GURPS), each skill has a specific base attribute to which it is always added; in others (such as Ars Magica), a skill can be added to different attributes depending on how the skill is being used. Some games (such as Feng Shui) add the base attribute to the skill at character creation time; after that, it is independent of the attribute and is used instead of the attribute rather than adding to it. Most games have a fixed penalty for attempting a task without a relevant skill; older editions of Shadowrun gave a complex network of penalties for using similar skills (such as attempting to pick an electronic lock by using the Computer skill instead of the Electronics skill). The text-based roleplaying game Avalon: The Legend Lives is noted for being the first text based multi user role-playing game to offer a developed profession and skills system. This description uses material from the Wikipedia article "Statistic (role-playing games)", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

The Wandering DMs take on rats and other vermin in D&D. From swarm enemies to wizard's familiars, Dan and Paul will explore every way to delight and torment your players with everyday pests. The term "vermin" is used to refer to a wide scope of organisms, including rodents (such as rats), cockroaches, termites, bed bugs, ferrets, stoats, sables. Disease-carrying rodents and insects are the usual case, but the term is also applied to larger animals—especially small predators—typically because they consume resources which humans consider theirs, such as livestock and crops. Any species can develop into vermin if introduced into a region where there are favorable living conditions and few natural predators. In such cases, they are seen as an invasive species and humans often choose to fill the role of the predator to limit the danger to the environment. This description uses material from the Wikipedia article "Vermin", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

This Mother's Day, Paul and Dan discuss the role of mothers in D&D and mythology. From troll wives to Grendel's mother to the spawn of all monsters, Tiamat herself, moms make an impact in our lives! Throughout history, mothers have been depicted in a variety of art works, including paintings, sculptures and written texts, that have helped define the cultural meaning of 'mother', as well as ideals and taboos of motherhood. The institution of motherhood in western art is often depicted through "the myth of the all-loving, all-forgiving and all-sacrificing mother" and related ideals. Examples include works featuring the Virgin Mary, an archetypal mother and a key historical basis for depictions of mothers in western art from the European Renaissance onwards. Mothers depicted in dominant art works are also primarily white, heterosexual, middle class and young or attractive. These ideals of motherhood have been challenged by artists with lived experience as mothers. An example in western contemporary art is Mary Kelly's Post-Partum Document. Bypassing typical themes of tenderness or nostalgia, this work documents in extensive detail the challenges, complexities and day-to-day realities of the mother-child relationship. Other artists have addressed similar aspects of motherhood that fall outside dominant ideals, including maternal ambivalence, desire, and the pursuit of self-fulfillment. This description uses material from the Wikipedia article "Mother", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan and Paul discuss how to play a character in an RPG with a dramatic secret. How can we include the rest of the players in the fun without giving away too much? When do we reveal the secret to create the most satisfying dramatic moment? Humans attempt to consciously conceal aspects of themselves from others due to shame, or from fear of violence, rejection, harassment, loss of acceptance, or loss of employment. Humans may also attempt to conceal aspects of their own self which they are not capable of incorporating psychologically into their conscious being. Excessive secrecy is often cited as a source of much human conflict. One may have to lie in order to hold a secret, which might lead to psychological repercussions. The alternative, declining to answer when asked something, may suggest the answer and may therefore not always be suitable for keeping a secret. Anagnorisis is a moment in a play or other work when a character makes a critical discovery. Aristotle was the first writer to discuss the uses of anagnorisis, with peripeteia caused by it. He considered it the mark of a superior tragedy, as when Oedipus killed his father and married his mother in ignorance, and later learned the truth, or when Iphigeneia in Tauris realizes in time that the strangers she is to sacrifice are her brother and his friend, and refrains from sacrificing them. Aristotle considered these complex plots superior to simple plots without anagnorisis or peripeteia, such as when Medea resolves to kill her children, knowing they are her children, and does so. This description uses material from the Wikipedia articles "Secrecy" and "Anagnorisis", which are released under the Creative Commons Attribution-Share-Alike License 3.0.

Paul and Dan get to bring back OSR guru Matt Finch to talk about his new Swords & Wizardry: Expansions, Monsters, and More!, currently on Kickstarter. What new things has Matt cooked up? And what updates has he finally made to the revered Quick Primer for Old School Gaming? Swords & Wizardry is the longest-standing retro-clone of Original D&D, first published in 2008, and now there's a whole set of expansions to make your game wilder, weirder, and more flexible! The Book of Options gives you 11 new optional character classes, new spells, new magic items, and much more. Now you can play a wily demon-hunter, a bard, a troubadour, an illusionist, and many others. Gnomes and Stygians are now playable ancestries in Swords & Wizardry for the first time in a 16 years! Fiends and Foes offers more than 300 monsters (and doesn't repeat the ones from the Complete Revised Rulebook). Encounter the bizarre plant-animal Ultharians on their plane-shifting flamingoes, the giant, foul-mouthed fey cats known as Bulgrimalkins, along with many old favorites from Monstrosities such as the Artificers of Yothri. All are updated with morale numbers and revisions to the Swords & Wizardry Complete Revised rules. Back the Swords & Wizardry Expanded Kickstarter

Dan and Paul are thrilled to chat live with the master of fantasy, Michael Moorcock. What are his current thoughts on the legacy of his writing Elric, the Eternal Champion, critiques of Tolkien, and so much more? Michael John Moorcock (born 18 December 1939) is an English–American writer, particularly of science fiction and fantasy, who has published a number of well-received literary novels as well as comic thrillers, graphic novels and non-fiction. He has worked as an editor and is also a successful musician. He is best known for his novels about the character Elric of Melniboné, which were a seminal influence on the field of fantasy in the 1960s and 1970s. As editor of the British science fiction magazine New Worlds, from May 1964 until March 1971 and then again from 1976 to 1996, Moorcock fostered the development of the science fiction "New Wave" in the UK and indirectly in the United States, leading to the advent of cyberpunk. His publication of Bug Jack Barron (1969) by Norman Spinrad as a serial novel was notorious; in Parliament, some British MPs condemned the Arts Council of Great Britain for funding the magazine. He is also a recording musician; he has contributed to the music acts Hawkwind, Blue Öyster Cult, Robert Calvert and Spirits Burning, and to his own project, Michael Moorcock & The Deep Fix. In 2008, The Times named Moorcock in its list of "The 50 greatest British writers since 1945". This description uses material from the Wikipedia article "Michael Moorcock", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Dan and Paul reflect on what we think are the biggest mistakes and errors in the first publication of original D&D in 1974. What are the biggest blemishes that troubled the game for decades afterward? What are some of our top house rules to correct the largest problems? The original Dungeons & Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. The set also presents rules for travelling through the wilderness by land and sea, hiring specialists as well as men-at-arms, constructing fortifications and establishing baronies. The set defines movement rates and areas are using inches, like that of the miniatures rules from which the system descended. This description uses material from the Wikipedia article "Dungeons & Dragons (1974)", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

Paul and Dan check in on their annual D&D mini-convention with friends in a house on the Massachusetts shore, now in its 15th year. What went well, what could go better, what lessons will feed into our future gaming? Find WDM 01 - Asymmetric Monastery of the Deranged Berserkers on DriveThru RPG here!

This St. Patrick's Day, Paul and Dan discuss the rich history of Irish myths, legends, and stories in the D&D game. From Druids and Bards to the Banshees and Firbolg, what are some of the best ways to spice up your game with inspirations from the Emerald Isle? Irish mythology is the body of myths indigenous to the island of Ireland. It was originally passed down orally in the prehistoric era. In the early medieval era, some myths were transcribed by Christian monks, who heavily altered and Christianised the myths. Irish mythology is the best-preserved branch of Celtic mythology. The main supernatural beings in Irish mythology are the Túatha Dé Danann ("the folk of the goddess Danu"), also known by the earlier name Túath Dé ("god folk" or "tribe of the gods"). Early medieval Irish writers also called them the fir dé (god-men) and cenéla dé (god-kindreds), possibly to avoid calling them simply 'gods'. They are often depicted as kings, queens, bards, warriors, heroes, healers and craftsmen who have supernatural powers and are immortal. Prominent members include The Dagda ("the great god"); The Morrígan ("the great queen" or "phantom queen"); Lugh; Nuada; Aengus; Brigid; Manannán; Dian Cécht the healer; and Goibniu the smith. They are also said to control the fertility of the land; the tale De Gabáil in t-Sída says the first Gaels had to establish friendship with the Túath Dé before they could raise crops and herds. They dwell in the Otherworld but interact with humans and the human world. Many are associated with specific places in the landscape, especially the sídhe: prominent ancient burial mounds such as Brú na Bóinne, which are entrances to Otherworld realms. The Túath Dé can hide themselves with a féth fíada ('magic mist'). They are said to have travelled from the north of the world, but then were forced to live underground in the sídhe after the coming of the Irish. This description uses material from the Wikipedia article "Irish mythology", which is released under the Creative Commons Attribution-Share-Alike License 3.0.

How does one run a successful dungeons and dragons one shot game? Dan and Paul discuss how to condense the D&D experience to a single night of fun. They'll share techniques they've developed over the years behind the DM screen, discuss which scenarios fit the one-shot format best, and advise would-be DMs on the best road to one-shot success.