I’m launching my new Youtube channel today. The first video is Advanced Gamemastery: Mysteries in RPGs, looking at the Three Clue Rule.

The original Three Clue Rule essay was written in 2008. Revisiting the material today in this new format was interesting, allowing me a chance to incorporate some new thinking on the topic and also clarify some of my older ideas.

Going forward, the plan for the Youtube channel is to do more video essays while also beginning to explore unique content that’s only possible in a video format (including a project known as Short Shots™). The Alexandrian you know and love isn’t going anywhere, either: While videos will allow me to reach out to a new audience and do new things, there are still lots of big ideas and tools that are best suited for the essays we all know and love here on the site.

If all goes according to plan, I’ll have a new video for you next week about the Goblin Ampersand. If you want to know what that’s all about, make sure to subscribe!

… okay, I know it’s a cliche, but in all seriousness: Particularly for a brand new channel, it would make a HUGE difference if you take the time to like, comment, and subscribe. That engagement will help push the video out to a wider audience.

Good gaming! And I’ll see you at the table!

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Four factions. Two cabals. One 600-pound head.

In 2003, the universe got rewritten and the Comte de Saint-Germain — arguably the most important human to ever exist, the Once and Future Eschaton of the Invisible Clergy — got his brain scrambled. Now the race is on to retrieve the huge stone religious bust in which some of his memories are locked up.

That head was dug up and stuck in a museum in Québec, but now there are at least two different groups looking to steal it, another looking to steal it from whoever steals it first, and a fourth that would rather the head stay right where it is.

Can the players steal it? Defend it? Steal it back again? It’s all up to them.

Bring Me the Head of the Comte de Saint-Germain is a three-part mini-campaign for Unknown Armies by Greg Stolze. It reveals (and revels in) some of the deepest secrets of the setting and has several really cool features:

• It’s designed to be either seamlessly slipped into an ongoing campaign or picked up and run with zero prep using the deliciously well-developed pregenerated characters.
• The players actually swap roles between the protagonists and antagonists.
• There’s a really fantastic, full-featured heist scenario that kicks everything off.
• Multiple, flexible finales give the GM support no matter which way the players torque the adventure.

As the producer, I basically had nothing to do with any of this. It was a pleasure to just step back and let Stolze work his magic, while I focused on facilitating the presentation and design of the final book to maximize its utility and present Stolze’s work in the best light possible.

But if you take a peek at the credits page, you will notice that I do have an “Additional Writing” credit. This is for one very specific addition to the text, and like the extra in a Broadway play who walks through the background of a rainy scene and tells his parents the show is about a man with an umbrella, that’s what I’m going to be talking about today.

ON EXHIBIT

As I mentioned above, the opening hook and adventure for Bring Me the Head is a heist. Specifically, the PCs are stealing a huge stone head from Le Museé de la Civilisation Américaine in Québec. This was fully developed by Stolze:

• Blueprints (including a diagram of security cameras)
• Fully detailed security measures
• Detailed breakdown of entrances, locations, etc.
• Guidelines for handling likely methods of moving a 600-pound stone head

And so forth.

This is where my one addition comes in: I wrote up exhibit lists for each of the exhibit halls in the museum.

For example, here’s the one from the Autochtones des Plaines (First Peoples of Canada) exhibit:

• A stuffed bison
• Rifles used by Ojibwe and Dakota hunters
• TV playing videos of Ojibwe, Dakota, and Cree people, both contemporary scholars and interviews from the early 20^th century
• A child’s jacket with embroidered Dakota floral patterns
• Beaded bandolier bags
• Nooshkaachi-naagan (Ojibwe winnowing tray) for separating grain from chaff
• A turtle-style cekpa ozuha (umbilical cord pouch) which served as a child’s first toy and a lifetime charm against death

I even ended up doing one for the souvenir shop (with some tie-ins to the various exhibit lists):

• Tiny replicas of Augusta Savage’s busts
• Plastic Mixtec jewelry
• A poster facsimile of the Canadian constitution
• Commemorative coffee cups
• Stuffed bison and caribou toys
• T-shirt that reads “Je suis venu au Québec et je n’ai reçu que ce t-shirt français”

Unknown Armies uses a sidebar reference system, so these lists are positioned in the sidebars where they won’t clutter up the primary text, but are readily available to the GM while running the scenario.

I felt having these lists in the book was important because, based on playtests, it seemed that these specific details were:

1. Difficult for GMs to improvise on the spot (often resulting in generic responses like “there’s a lot of modern art in this gallery” instead of specific details); and
2. High-value in terms of improving play.

First, the specific details tended to make the museum feel more “real” to the players. It also provided some meaningful color to flesh out onsite surveillance ops and some well-defined, “Oh shit! The exhibits!” moments if/when fighting broke out during the heist.

Second, this kind of specificity can serve as a launchpad for player improvisation. I don’t know exactly what the players might cook up with the hodge-podge of stuff in the souvenir shop, for example, but it will be interesting find out.

Third, expensive items can provide temptation to PCs who might want to snag something extra during the heist. This actually pivots off a suggestion that Stolze had already made in the adventure:

How honest are your PCs? If the answer is “not very,” they might take the opportunity to steal secondary stuff, either to distract from the stone head, or to resell, or just because it seems nice. Anything of great value escalates the pursuit considerably. Stat up a private detective with no occult knowledge but lots of resources to dog the PCs’ tail.

(The text is in bold there because guidance for the private detective is also given as a sidebar reference.)

Having specific potential targets in the various exhibits makes it more likely that one of them will catch the eye of a PC (or otherwise become featured in their plans).

Ultimately, this adheres to the Principles of Smart Prep: Identifying high-value material that’s difficult or impossible to duplicate through improvisation.

And that’s basically it. It’s a small detail, but particularly when multiplied across the hundreds or thousands of GMs who will run these adventures, I think it can make a big difference.

PDF – Print

DISCUSSING
In the Shadow of the Spire – Session 25A: The Second End of Ghul’s Labyrinth

They stepped forward into Elestra’s sanctuary. The wall closed behind them, transforming itself into a fireplace with a crackling fire already lit. Directly above the fire, a mirror was hung.

“What is this place?” Tee asked.

“A secret,” Elestra said, looking around with a sense of vague familiarity overwhelming her. “I think I’ll be able to open a doorway to this place no matter where we might be. We should be safe here. No one can see the entrance from the outside.”

Elestra is an urban druid.

The seed of this custom class came from an article in Dragon Magazine #317, but although the original packet of photocopied pages are still nestled away in the player’s folder, we’ve made any number of alterations to it over the years.

The original impetus was that Elestra’s player was interested in playing a druid, but it didn’t seem like a good fit for an all-urban campaign. She proposed playing the urban equivalent of a druid instead and I was able to pull the Dragon Magazine article from my archives.

Which, I suppose, is the first lesson when you’re looking to customize the game: See if somebody else has already done the work for you.

Actually, as we’ve continued customizing the class — modifying it to reflect both her vision and my vision of what an “urban druid” should be — most of what we’ve done is basically the same thing, with the only twist being that I’m frequently re-skinning material to achieve the desired effect.

“Re-skinning” something in an RPG system just means that you’re taking a mechanical element designed to model one thing in the game world and instead using it to model something else. For example, in this session you can see an example of how we’ve re-skinned a rope trick spell with a flavor conducive to the urban druid (i.e., opening the walls of a city and literally crawling inside them).

I’m a big fan of re-skinning. In fact, the very first RPG article I ever published was about re-skinning magical spells. (It appeared in an electronic fanzine distributed through the old Prodigy online service.)

Until recently I had a vague memory that I’d been introduced to the concept via an entire article discussing it in Dragon #162 (which was my first issue of the magazine). But upon going back to verify that, I discovered it was actually just one sentence in an article about roleplaying intelligent undead by Nigel D. Findley:

Finally, a lich fascinated with the aesthetics and nuances of magic, rather than its eventual outcome, might have eccentric versions of familiar spells: magic missiles that look like multicolored sparks, or fireballs that explode accompanied by a musical tone, for example.

I think I may have been conflating memories of the fanzine article that I wrote with Findley’s off-hand suggestion, but this is still a great re-skinning technique. And I’ll actually employ it on-the-fly when running NPCs: I’ll see that they have some vanilla spell in their spell list, but then describe it with radically different special effects in actual play. (In some cases, the players have then made a point of seeking out the enemy spellcaster’s spellbook so that they can learn the intriguing variant.)

The versatility of re-skinning becomes even more apparent when you realize you can also make small changes while re-skinning: Grab a goblin stat block and give it +2 armor to model a humanoid ant. Or a fly speed and stinger attack to model a humanoid bee.

At a certain point while doing this sort of work, you’ll probably realize that the difference between re-skinning and homebrewing something from scratch is much more of a spectrum than it is a sharp distinction: Using existing elements of a system as a touchstone for how the new thing you’re designing should work is more of a necessity than an option. The nice thing about straight-up reskinning is that it essentially lets you homebrew in the middle of a session without missing a beat.

As a final note, for some reason when I talk about re-skinning mechanics, some people become confused and think that this somehow means that the mechanic is dissociated. The argument seems to be that if a mechanic can model two different things in the game world, it must mean that it’s not associated with either of them. But this is not true: Just because we resolve an attack with a sword and an attack with a mace using the same rules for attack rolls, it doesn’t follow that your character doesn’t understand what a sword or a mace is.

I mention this mostly because I think the sword/mace distinction can be useful for grokking re-skinning: There are some RPGs in which there may be some slight mechanical distinction between a sword and a mace, but even the most detailed RPG is still an incredibly abstract model of the “reality” of the game world. One should not be surprised to discover, for example, that a tree, a crumbling wall, and a cliff face might all be described as a DC 15 Athletics check to climb.

PUTTING THE MYSTERY IN THE MAGIC

The other thing you might note here is that I use the re-skinning of Elestra’s rope trick to further deepen the meta-mystery scenario of the PCs’ amnesia: Her spell creates a place that they both remember and do not remember.

This technique is consistent with Putting the “Magic” in Magic Items, in which I wrote:

All of this advice can really be boiled down to a simple maxim: Life is in the details.

The difference between a cold, lifeless stat block and a memorable myth is all about the living details that you imbue your game world with.

If you let something like a rope trick spell exist in your campaign as a purely mechanical construct, then it will generally have only the blandest of utilitarian function. But when a spell truly lives in your campaign world, it can become an expression of personality, a clue to a deeper mystery, possess any multitude of meanings, and form any number of vivid memories.

And re-skinning can help unlock all of that potential.

NEXT:
Campaign Journal: Session 25B – Running the Campaign: Player-Initiated Vectors
In the Shadow of the Spire: Index

SESSION 25A: THE SECOND END OF GHUL’S LABYRINTH

June 21st, 2008
The 12th Day of Kadal in the 790th Year of the Seyrunian Dynasty

They stepped forward into Elestra’s sanctuary. The wall closed behind them, transforming itself into a fireplace with a crackling fire already lit. Directly above the fire, a mirror was hung.

“What is this place?” Tee asked.

“A secret,” Elestra said, looking around with a sense of vague familiarity overwhelming her. “I think I’ll be able to open a doorway to this place no matter where we might be. We should be safe here. No one can see the entrance from the outside.”

Ranthir, too, was struck by the familiarity of the place. Following some instinct he turned suddenly towards the mirror above the fire. Touching it, he was surprised to see the mirror’s surface suddenly frost over. When it cleared a moment later, it was a transparent window looking out into the hallway they had just left. They could see the ghulworg skeleton crouched there, waiting patiently for their return.

“What did you do?” Dominic asked, looking slightly alarmed.

“I don’t know…” Ranthir said contemplatively. “It just seemed like the right thing to do…”

“Well, at least this way we don’t have to worry about getting ambushed when we decide to leave,” Agnarr said.

Dominic started poking at random things around the room. “If it worked for Ranthir it might work for me…”

Tee smiled and took over where Dominic left off, giving the room a quick and cursory search without turning up anything of particular interest.

Tor, meanwhile, had counted the beds. There were just enough. “Well, at least I won’t have to bunk with Agnarr again.”

EXPLORING EVERY CORNER

(09/13/790)

The next morning they returned to the stairs and headed down to the second level. There was still one small section of the complex that they had not yet explored: The hallway beyond the torture chamber from which the undead horror with long, blood-sucking claws had come.

There they found a long hall containing a table of black stone and massive, yet elegant, high-backed chairs. There was also a large aubrey of preserved oak containing a large number of silver goblets and three bottles of ancient orcish bloodwine – all perfectly preserved by one of the many preservation spells which had been laid on these halls.

Unfortunately, these preservation spells had turned the next chamber – an office of some sort – into a rather gruesome scene: The large desk on the far side of the room had been smashed into two pieces, which lay upon a once-luxurious carpet which had been horribly stained and soiled… and so laden with blood that it squished beneath their feet.

Fresh blood made them nervous, so Agnarr was nominated to check it out. He found the desk to be nothing but splintered wood, but has he backed away cautiously he suddenly gasped in pain as a sharp blade lacerated his ribs from behind.

A black centurion had silently entered through the far door and taken them all by surprise as it lunged out of the flickering shadows cast by the flames of Agnarr’s sword. There was a moment of fear at the sight of such a deadly opponent… but then they realized that they were still being followed diligently by the ghulworg.

Agnarr backed away from the centurion, carefully parrying its blows. And then the ghulworg leapt in, smashing it to bits in mere moments.

Pushing through the door the centurion had come from, they discovered a small complex essentially identical to the one in which they had fought the other centurions. In fact, several more centurions were already in the process of activating. But their numbers made little difference: The ghulworg made short work of them.

In fact, the group showed such little concern over the matter that Tee was already searching the blood-soaked office before the last centurion fell. In the floor, under the oozing carpet, she found a hidden safe.

A safe meant there might be something particularly valuable. So, with a fair degree of excitement, Tee quickly broke the combination and spun the door of the safe open.

She was somewhat disappointed to discover that the safe was almost entirely empty. The only thing it contained, in fact, was a heavy roll of parchment. Unrolling it she discovered a text of thick, reddish-black Orcish characters. Despite being written in Orcish, the entire document appeared to be elegantly scribed. Near the bottom of the page an immense black seal had been set and impressed in the wax was a familiar skull-shaped sigil. A piece of black-and-gold ribbon had also been attached to the wax.

Tee handed the scroll to Ranthir, who quickly deciphered it using a quick bit of legerdemain:

By the divine hand of Ghul – Skull King, Banelord’s Heir, Sorcerer’s Get, and Blue Lord of the Arathian Stock – Ulthorek tal Yattaren is thus set down as the Chieftain of the Laboratory of the Beast. Within such domain, he shall rule by the Hand of Ghul.

Ghul the Skull King

“Interesting,” Elestra said. “Is it worth anything?”

“If that’s actually Ghul’s signature and seal, it might be worth quite a lot, actually,” Tee said… although she was doubtful that Ranthir would be willing to part with it. (In fact, he had already slipped it into one of his many pouches.)

They were now confident that they had mapped out every corner of the complex (with the exception of whatever might be inaccessible behind the various bluesteel doors they had discovered), which meant that there were only a few loose ends left for them to investigate.

They started with the vault they had unsuccessfully attempted to break into before. The four iron rods, each topped by a ball of brass, still stood in the corners of the room – menacing only because of their vivid memory of the electrical bolts which Agnarr had triggered twice before.

While the others kept to a safe distance, Tee tried to access the vault door using the magical properties of her new ring… but this failed spectacularly, and she only narrowly managed to dodge the worst of the electrical bolts she triggered in the attempt.

With a shrug, Tee got to her feet and left the room. A few moments later, the ghulworg had smashed down the vault doors (although many of its bones were visibly blackened from the electrical storm it suffered in the process).

They were very disappointed, however, to discover that their painful efforts had been in vain. The walls of the iron-shod vault were lined with numerous shelves both large and small, covered with small, carefully-crafted niches which were each clearly designed to hold some unique item. But all of the niches were now empty.

BACK TO THE CLAN CAVES

Which left only the seemingly bottomless pit at the center of the massive, silvery-grey pool.

Using her boots of levitation, Tee “walked” her way across the ceiling above the pool and then dropped down to the walkway circling the pit. Behind her she could hear Elestra trying to convince the others that they should start prying out the glowgems on the ceiling, She shook her head in exasperation and made her way around the edge of the pit, carefully keeping her distance from the familiar brass-tipped rods of iron positioned around the walkway.

Halfway around the perimeter she noticed that a line of pitons had been driven ladder-like into the wall of the pit. Even with her keen elven vision, Tee couldn’t see how far down they might go.

She called out to the others, telling them what she had seen. They decided to see where the pitons might lead. Elestra transformed into a hawk and flew the boots of levitation back and forth, allowing the others to safely cross the pool one at a time.

They climbed down the pitons. After more than a hundred feet, they ended at a narrow fissure that cracked the otherwise smooth sides of the pit.

There was still no bottom in sight below them. Tee, who had taken back her boots of levitation, used them to descend another 500 feet and still couldn’t see any end to the sheer shaft.

She returned to the others and they decided to pursue the path of the pitons. Squeezing through the fissure they worked their way through a series of tight caves that gradually widened as they delved deeper. For awhile they were able to walk in a rather cramped fashion, but then the caves narrowed again and they found themselves crawling for a long while.

At last, they crawled their way out into a larger passage that – as they stood up, brushed themselves off, and stretched – looked rather familiar. Turning to the right, they quickly confirmed their suspicions as they entered a cave with a familiar message written in Goblin upon the wall: “These caves belong to the Clan of the Torn Ear.”

They were surprised, however, to find that the holy symbols of Vehthyl and Itor had been written on the wall directly beneath the familiar greeting.

They were still discussing what this might mean when a goblin entered the cave. They didn’t recognize her, but she certainly recognized them. She told them that she had just come from the fungal farms, but she would be more than happy to take them to Crashekka and Itarek.

Passing through the siege gate, they entered the Great Hall of the clan. Crashekka sat in her place of honor at the far end of the hall, and Itarek stood beside her. They greeted the heroes with wide, toothy grins.

“Welcome, heroes of the world above!” Crashekka said. And then Itarek strode forward and shook their hands, a custom that they had inadvertently taught to him.

Tee carefully asked them about the holy symbols they had seen, not certain of what their reaction might be. But Itarek seemed more than happy to explain. “Our tribe has been touched by the gods of the holy man,” he said, gesturing towards to Dominic (who fidgeted nervously). “I was the first to receive their visions, but many have dreamed their words. And there are greater wonders, too.”

He took them to the maiden’s chambers where Dominic had saved the lives of the tribe’s woman. There he showed them newborn goblins, each bearing a sigil of one of the Nine Gods.

Dominic’s brow furrowed. “Does this mean I need to stay and teach them?”

“I don’t think so,” Tee said, but she couldn’t really keep the concern out of her voice. She wasn’t sure what any of this might mean.

When the question was put to Itarek, he shook his head. “No. I know you have your own path to follow in the world above. And we shall have to find our own path to the Gods’ Truth.”

NEXT:
Running the Campaign: Re-Skinning – Campaign Journal: Session 25B
In the Shadow of the Spire: Index

You’re running a scenario. The PCs have a fistful of leads telling them where they’re supposed to go next. (If you’re using node-based scenario design, they might have a fistful of clues pointing them towards multiple places they could choose to go next.) But instead of doing that, they head off in a completely different direction.

And there’s nothing there.

Maybe they’ve made a mistake. Maybe they’ve made a brilliant leap of deduction which turns out not to be so brilliant after all. Maybe they have good reason to look for more information in the local library or the newspaper morgue or the records of the local school district, but there’s nothing to be found there.

It’s a dead end.

And dead ends like this can be quite problematic because, once they have the bit in their teeth, players can be relentless: Convinced that there must be something there, they will try every angle they can think of to find the thing that doesn’t exist. In fact, I’ve seen any number of groups convince themselves that the fact they can’t find anything is proof that they must be on the right track!

Not only can this self-inflicted quagmire chew up huge quantities of time at the table to little effect, but once the players have invested all of this mental effort into unraveling an illusory puzzle, their ultimate “failure” can be a demoralizing blow to the entire session. The effort can also blot out the group’s collective memory of all the other leads they had before the wild goose chase began, completely derailing the scenario.

Fortunately, there are some simple techniques for quickly working past this challenge.

IS IT REALLY A DEAD END?

First things first: Is it really a dead end?

Just because they’re doing something you didn’t explicitly prep, that doesn’t mean there’s nothing there. In fact, the principle of permissive clue-finding means that you should actually assume that there is something to be found there.

So, start by checking yourself. Is it really a dead end, or is it just a path you didn’t know was there?

Maybe the players thought of some aspect of the scenario that you didn’t while you were prepping it. (That can be very exciting!) And even if something is a wild goose chase, there can be interesting things to be found there even if they don’t immediately tie into the scenario the PCs are currently engaged with.

(This is also why I’ll tend to give my players more rope in exploring these “dead ends” during campaigns than I will during one-shots: The consequences of doing something completely unexpected can develop in really interesting ways in the long-term play of the campaign, but don’t really have time to go anywhere in a one-shot, and are therefore usually better pruned. Also, if the scenario runs long because you had a really cool roleplaying interaction with Old Ma Ferguson that everyone enjoyed — even though she has nothing to do with the current scenario — it’s fine to hang out the To Be Continued shingle in a campaign and wrap things up in the next session, which is, once again, not an option in a one-shot.)

If it’s not really a dead end, then you should obviously roll with it and see where it takes you. If you don’t feel confident in your ability to improvise the unexpected curveball, that’s okay: Call for a ten minute break and spend the time throwing together some quick prep notes.

Although you don’t need to announce the reason for the break, it’s generally okay for the players to know that they’ve gone diving off the edge of your prep. Most players, in fact, love it. The fact you’re rolling with it shows that you creatively trust them, and they will return that trust. It also deepens the sense of the game world as a “real” place that the players are free to explore however they choose to, and that’s exciting.

FRAME PAST IT

But what if it really is a dead end? There’s nothing interesting where the PCs are heading and, therefore, nothing to be gained by playing through those events.

Well, if there’s nothing there, there’s nothing there.

At its root, this is a problem of pacing. And, therefore, we’re going to turn to The Art of Pacing for our solution. In short, you’re going to frame hard into abstract time, quickly sum up the nothing that they find, and then move on.

For example:

• “You spend the afternoon asking around the Docks for anyone who’s seen Jessica, but you can’t find anyone who saw her down here.”
• “You roll up on Jefferson Sienna, haul him down the precinct, and grill him for four hours. But you come up dry: He doesn’t know anything.”
• “You drive over to Mayfair to see if the library has the book you’re looking for, but their selection of occult books is pretty sparse.”

The most straightforward, all-purpose version of this is to simply tell the players, “You’re barking up the wrong tree. This isn’t the solution, there’s nothing to be found here, and the scenario is in a different direction.” But this direct approach is usually a bad idea: You know all that stuff I said about how much the players love knowing the game world exists beyond the boundaries of your prep and that they’re truly free to do anything and go anywhere? Well, this is basically the opposite of that. Even if you don’t strictly mean it that way, the players are going to interpret this as, “You can only go where you’re allowed to go.”

The distinction between “this isn’t the right way, try something else” and “you did it and didn’t find anything, now what?” might seem rather small. But in my experience the difference in actual play is very large.

(I suspect the difference is partly diegetic: One is a statement about the game world, the other is a directive from the GM to the players. But I think it’s also because the formulation of “you did it” still inherently values the players’ contribution: I didn’t tell you that you couldn’t do the thing you wanted to do; I was open to trying it, you did it, and it just didn’t pan out. It’s a fine line to walk, but an important one.)

The key here, once again, is to quickly sum up the totality of their intended course of action, rapidly resolve it, and then prompt them for the next action: “What do you do next?”

A good transition here can be, “What are you trying to do here?”

This pops the players out of action-by-action declarations and prompts them to sum up the totality of their intention. You then take their statement, rephrase it as a description of them doing exactly that, and then move on.

Player: Okay, I’m going to drive over to Mayfair.

GM: What are you planning to do?

Player: I want to check out the library there, see if they have a copy of My Name is Dirk A that hasn’t been stolen yet.

GM: Okay, you drive over to the Mayfair library to see if they have a copy of the book. But their selection of occult books is pretty sparse. It doesn’t look like they ever had a copy for circulation. It’s about 6 p.m. by the time you pull out. The sun’s getting low. Now what?

It’s a little like judo: You just take what they give you and redirect it straight back at them.

ADVANCED TECHNIQUES

Where appropriate, further empower the players’ intention by calling for an appropriate skill check: Streetwise to ask questions around the Docks. Detective to interrogate Jefferson Sienna. Library Use to scour the stacks at Mayfair Library.

The check can’t succeed, obviously, since you already know that there’s nothing to find here: Jessica wasn’t at the Docks. Jefferson Sienna isn’t involved in this. Mayfair Library doesn’t own the book.

Calling for the check, however, is part and parcel of allowing the player to truly pursue the action they want to pursue and resolving it truthfully within the context of the game world, while also letting the player know that this is what you’re doing.

If the group is currently split up, you can also “disguise” the simple judo of this interaction by cutting away once they’ve declared their intention and then cutting back for the resolution.

GM: Bruce, you find Jefferson Sienna smoking outside of his club. What are you planning to do here, exactly?

Player: I want to haul him down to the precinct and grill him about the missing diamonds.

GM: Great. Give me a Detective check. Tammy, what are you doing?

[run stuff with Tammy for a bit]

GM: Okay, Bruce, you spent the afternoon grilling Jefferson Sienna in Interrogation Room #1. What did you get on your Detective check?

Player: 18.

GM: Hmm. Okay. Unfortunately, you come up dry: He really doesn’t know anything. What are you doing after you cut him loose?

SCENES THAT DRIVE INTO A DEAD END

Sometimes it’s not the whole scene that’s a dead end (whether you planned it ahead of time or not): Jefferson Sienna wasn’t involved in the heist, but he’s heard word on the street that Joe O’Connell was the one fencing the diamonds. That’s an important clue!

… but then the PCs just keep asking questions. They’re convinced Sienna must know something else, or they’re just paranoid that they’ll miss some essential clue if they don’t squeeze blood from this stone. The scene has turned into a dead end.

Now what?

First, you can give yourself permission to just do a sharp cut: If the scene is over, the scene is over. Frame up the next scene and move on.

However, if the PCs are actively engaged with the scene and trying to accomplish something (even if it’s impossible because, for example, Sienna doesn’t actually know anything else), this can end up being very disruptive and feel very frustrating for the players.

You can soften the blow using some of the techniques we discussed above. (For example, you might cut to a different PC during a lull in the interrogation and then cut back to the PCs who were doing the interrogation while framing them into a new scene. You can also just ask, “What’s your goal here?” And when they say something like, “I want to make sure we know everything Sienna has to tell us,” you can judo straight off of that to wrap up the scene.)

But we can also borrow a technique that Kenneth Hite uses for investigative games: When the characters have gained all the information they’re going to get from a scene, hold up a sign that says “SCENE OVER” or “DONE” or something like that. The statement cues the players to let them know that there’s no reward to be gained by continuing to question the prisoner or ransack the apartment or whatever, while using a sign is less intrusive on the natural flow of the scene (so if there’s something they still want to accomplish of a non-investigative nature, the scene can continue without the GM unduly harshing the vibe).

You can adapt this pretty easily to other types of scenes, too. You’re basically signaling that the essential question the scene was framed around has, in fact, been answered, and you’re inviting the players to collaborate with you to quickly bring the scene to a satisfactory conclusion and wrap things up.

Then you can all drive out of the dead end together.