A cap system is a mechanic or sub-system that’s designed to be used with many different roleplaying systems — either supplementing them or perhaps modifying them. (Not necessarily every RPG, though: It’s not unusual for a cap system to end up being fundamentally incompatible with some systems.) Dice of Destiny, a system for getting rich, non-binary information from dice pool resolution systems, is one example. The downtime system presented in the upcoming So You Want To Be a Game Master? is another.

This is a micro-cap system I’ve been experimenting with called miss-initiative, which is designed to replace the initiative system in your RPG of choice.

MISS-INITIATIVE

By default, at the beginning of combat, the PCs get to take their actions first. They can take their turns in whatever order they choose, but no PC can take a second turn until all of the PCs have taken their first turn.

If one of the PCs misses, however, this allows the GM to trigger one of the NPCs. Once the PCs’ turn is finished, one of the NPCs will take their turn for the round. (If all NPCs have already taken their turn for the current round, a miss has no effect.)  This is referred to as seizing initiative.

A miss is generally considered to be any missed attack roll or failed action check. This can generally be characterized as the character’s failure or screw-up offering an opportunity for the enemy.

SURPRISE

If surprise is achieved at the beginning of a fight, this overrides normal miss-initiative:

• If the PCs surprise the NPCs, then they do NOT lose initiative on their first miss. Only on the second miss are the NPCs able to seize initiative.
• If the NPCs surprise the PCs, then the NPCs have seized initiative. They take their actions until one of them misses, which allows the players to trigger one of the PCs.

After the end of the surprise round, combat continues normally (with the PCs going first, followed by NPCs, and with misses triggering NPCs).

VARIANT: SIDE-BASED MISS-INITIATIVE

Miss-initiative can be used with side-based initiative (in which a single initiative check is made for each side in the fight; e.g., using the highest initiative modifier on each side or a group initiative check or some similar method).

If the PCs win the initiative check, miss-initiative continues normally.

If the NPCs win the initiative check, however, then they have initiative and take their actions first, triggering PC turns when they miss.

An initiative check might be made once at the beginning or the fight or repeated for each round, representing the ebb and flow of the battle. (The GM might grant advantage, penalties, and so forth for each round’s initiative check based on the outcome of the previous round.)

VARIANT: THE MISS CASCADE

As a variant, when the NPCs seize initiative from the PCs, they retain initiative. In other words, NPCs continue taking actions, in whatever order the GM chooses, until one of the NPCs misses, which allows the PCs to seize initiative (and continue taking actions until they miss and allow the NPCs to seize initiative).

Remember that, regardless of which side currently holds initiative, everyone in the fight must take their turn before any character gets their next turn.

I have an article printed in Bayt Al Azif #5: “The Three Clue Rule!”

“Now wait a minute,” you say. “I’m familiar with the Three Clue Rule. In fact, I can read that article right here on the Alexandrian!”

That’s true!

But this particular version of “The Three Clue Rule” has been revised and rewritten. The original version of the essay was written in 2008. In fact, today is the 15th Anniversary of the Three Clue Rule! There are people reading this today who weren’t even born when the Three Clue Rule was published.  I’ve learned a lot in the last fifteen years and I wanted to bring the “Three Clue Rule” into accord with that. (For example, the terms “node-based scenario design” and “scenario structure” didn’t even exist yet in 2008.)

Now, to be perfectly honest, if you’re already a long-time fan of the Alexandrian, this new-and-improved version of “The Three Clue Rule” probably isn’t a good enough reason to grab a copy of Bayt Al Azif #5 all by itself. The new tools I’ve incorporated into the article are things you can also find lurking around on the site.

But Bayt Al Azif is just a fantastic magazine for Cthulhu roleplaying, so it’s worth checking out regardless! Issue #5, for example, includes:

• Interviews with John Tynes, Shanna Germain, and Sean K. Reynolds
• “Die Not Gloriously,” a Trojan War scenario by Rina Haenze
• “The Human Element,” a look at good starter scenarios by Lisa Padol
• “Dead Man’s Chest,” a Golden Age of Piracy scenario by Stefan Droste
• Shannon Appelcline’s “Designs & Dragons Next: Arc Dream Publishing 2007-Present”

And more!

FROM MACMILLAN & PAGE STREET PUBLISHING

COMING TO A BOOKSTORE NEAR YOU
OCTOBER 31st, 2023!

Long-time fans of the Alexandrian who have been asking to have the site’s incredible trove of GMing lore collected into a book: This is what you’ve been waiting for. It’s your complete guide to:

• Dungeons
• Megadungeons
• Mysteries
• Node-based adventures
• Raids
• Heists
• Factions
• Urbancrawls
• Social events
• Routes
• Hexcrawls
• Pointcrawls

Plus a huge selection of extra credit, including:

• Creating Your Campaign
• Campaign Status Documents
• Learning a New RPG
• The Open Table
• Quick-and-Dirty Worldbuilding
• Rumor Tables
• Running Combat
• Scenario Hooks
• Supporting Cast
• Splitting the Party

But these aren’t just your familiar favorites. The book is chock full of brand new material, too! And everything has been freshly updated into a comprehensive and cohesive volume — the most authoritative book ever written about being a Game Master.

FROM THE BACK COVER

Have you ever wanted to step into your favorite movie or book or television series? Do you want to take your friends on impossible adventures? Do you want to play a cunning elf, a daring spy, a brilliant detective, or a dastardly villain? Do you want to create new worlds?

Do you want to be a Game Master?

Millions of people have discovered the amazing opportunities for creativity, problem-solving, and — most importantly! — fun offered by tabletop roleplaying games. Do you have what it takes to join them? Whether you’re thinking about playing Dungeons & Dragons, Pathfinder, Vampire: The Masquerade, Cyberpunk RED, Star Wars, The Witcher, or any one of the countless other roleplaying games that let you go on adventures with your friends while playing characters of your own creation, this book is the key to unlocking the limitless vistas of your imagination.

ENnie Award-winning game designer Justin Alexander offers you the only true step-by-step guide to becoming a Game Master. In less than an hour, you’ll have all the tools you need to run your first adventure (including the adventure itself!). From there, Alexander guides you one step at a time, showing you how to create your own adventures along with the practical, actionable tips and tricks you’ll need to share them with confidence. With your friends you’ll explore dungeons, solve mysteries, steal priceless artifacts, unravel strange conspiracies, and venture forth on epic journeys!

And even if you’ve been playing for decades, So You Want to Be a Game Master? will level your game up with never-before-revealed secret techniques and a huge selection of extra credit lessons that will blow your players away.

PREORDER NOW!

Also available in France, Germany, Spain, Japan, Brazil, Australia, and worldwide! Search your regional sites online or check with your favorite local bookstore!

Roy Batty from Blade Runner. Hannibal Lecter. Marlon Brando in Apocalypse Now. Jack Nicholson in A Few Good Men. You can’t handle the truth! I’m having an old friend for dinner! Greed is good! Nobody panics when things go according to plan!

This is it! The villain’s denouement!

But the players don’t want to hear it. They just want to shoot the bad guy in the head.

Find the big, dramatic moments with ENnie Award-winning RPG designer Justin Alexander.

Subscribe Now!

Go to Part 1

TO WAR!

Shadow of the Dragon Queen takes place during the Siege of Kalaman.

No, not the Siege of Kalaman in 352 AC where Laurana is the general and the Dragon Armies deployed their flying citadels for the first time. This is an earlier Siege of Kalaman that takes place in 3-mumble-mumble AC, when a completely different flying citadel showed up for the first time, shredding absolutely everything we know about this continuity.

Ironically, I think Kalaman was chosen for this campaign because so little was established in the Dragonlance Saga about what happened there during the War of the Lance. Across all fourteen of the original modules, there’s only like a dozen paragraphs you would have to keep track of to keep things consistent, so it’s almost impressive in a way that they nevertheless managed to screw it up.

(I’ll stop calling out rotten continuity at this point, for that way lies madness.)

The other reason to set a campaign here is that Kalaman is basically the point closest to the Dragon Armies at the beginning of the War of the Lance which is NOT conquered by them. Go any closer to the draconian homelands and the PCs can’t save the day. Go any farther away and you can’t get away with telling a story of the early days of the war where people are still coming to grips with the true nature of the Dragon Queen’s threat.

The point is that Shadow of the Dragon Queen is set in the heart of a war, and the PCs will be no strangers to the battlefield. Over the course of the campaign, there will be twelve major battles that the PCs will be part of, and you’ll have two options for handling them.

First, as I mentioned, there’s the Warriors of Krynn boardgame, which contains each of those battles as individual scenarios. I’m likely going to do a separate review of the board game and will take a closer look at how it integrates with Shadow of the Dragon Queen there.

But you don’t need to buy Warriors of Krynn to run Shadow of the Dragon Queen. The book includes a system of battlefield encounters which can be run as standard D&D combats. These consist of four parts:

The battlemap. These are gorgeously rendered and are roughly the dimensions you’d expect in any other D&D battlemap.

Notably, however, the battlemaps have a 15-foot rim on all sides referred to as the fray. This is the first way in which these battlefield encounters represent the chaotic melee swirling around the PCs: Each fray has unique properties, generally being difficult terrain and requiring a saving throw to avoid damage if a character enters the area.

There are also the battlefield events, which occur randomly whenever a character enters the fray or at initiative count 0 on each round. These include things like:

• A volley of arrows falls on a random character’s position.
• Low-flying dragonnels flee across the battlefield.
• A draconian dragon rider falls from their mount, plummeting out of the sky and landing on the battlefield.
• An injured member of the PCs’ army crawls onto the battlefield, begging for aid.

Finally, of course, there’s the encounter itself. Sometimes this is a single group of bad guys; in other cases there’ll be a scripted sequence with additional bad guys showing up over time. Either way, when the bad guys are all defeated, the encounter (and the wider battle) come to an end.

This seems like a really simple structure, but conceptually it packs a big punch. There’s a lot you can do with just these few simple tools to bring radically different battlefields to vivid life in your campaign.

The one thing I would like to be able to say is that the outcome of these battlefield encounters have an effect on the outcome of the wider battle. Unfortunately, that’s not the case. Which is perhaps unsurprising, because…

ALL ABOARD, FOLKS!

… the campaign is horrendously railroaded.

By which I mean both that the railroading is relentless and all-encompassing, but also that the methods they use to force the railroad down your throat are just hopelessly awful.

Phrases such as “encourage the characters to” and “it’s up to the characters to…” and the like seem to be the book’s favorite ways to signal the DM that the time has come to take the character sheets away from the irresponsible players.

Different people will have different reactions to this kind of stuff, but for me the absolute worst type of railroading is when the DM takes control (directly or indirectly) of what your character says. (Because, honestly, what’s left at that point? We’re literally just sitting at the table watching someone awkwardly talk to themselves.) And Shadow of the Dragon Queen absolutely loves this.

For example, the PCs have been railroaded into a debate with NPC military commanders about what the next logical course of action should be. The NPCs make their arguments, and then the DM is instructed to:

…encourage the characters to make the case that Lord Soth is a threat and the Dragon Army’s plans to the north shouldn’t be taken lightly.

But then the writers think to themselves, “Maybe the players won’t take the hint from the clue-by-four we’ve smashed into their faces. Or maybe the Dungeon Master won’t have the guts to put the gun to their heads and keep them in line.”

The answer, of course, is to cue up a GMPC. So, for example, even after you’ve “encouraged” the players to say their scripted lines, it’s an NPC who swoops in and gets to be the hero of the scene:

Darrett then asks Vendri to let him take the characters and a contingent of troops into the Northern Wastes to investigate whatever the Dragon Army wants there. [Vendri] asks the PCs to leave while she and Darrett discuss details…

I cannot emphasize enough that this is not one or two isolated incidents: It is the entire campaign. Just an endless, mind-numbing litany of blow-by-blow descriptions of how the authors anticipate/demand each scene be played out.

“The NPCs will say. Then the PCs will say. Then the NPC will say. Then the PCs will say.”

This is interspersed liberally with “the PCs can roleplay or they can make a Persuasion/Intimidation/whatever check,” which (a) is just bad praxis (rolls and roleplaying work together; it’s not either-or) and (b) is completely pointless anyway, because the check result never seems to vary how the conversation plays out!

And I just want to take a moment to say something truly from the bottom of my heart:

Fuck Darrett.

This prick gets attached to the PCs like a cancerous mole early in the campaign. He tags along as a sidekick squire, but then, suddenly, he’s the main character: It’s him, not the PCs, who gets promoted based on their adventures together. It’s him, not the PCs, who’s scripted to save Lord Bakaris’ life. Before you know it, he’s the PCs’ boss, ordering them around, making all the important decisions, and continuing to scoop up all the accolades.

So, again: Fuck Darrett.

And there’s basically an endless parade of these jackasses through the entire campaign.

About midway through the book, for example, Darrett says, “See that huge hexmap over there? I’m going to stay here on the boat. Y’all go and explore for a while!” For one glorious moment, the players will rejoice! The fetters have come off! Not only do the PCs finally get to ditch Darrett, they’ll be in control of their own destiny! They’ll get to make their own choices!

Except no. Because the authors are so terrified of the players having the slightest bit of agency that literally eight paragraphs later a brand new GMPC pops up with detailed instructions on EXACTLY THE ORDER IN WHICH YOU WILL CONDUCT YOUR “EXPLORATION!”

There’s even a little scene so that, if the PCs are confused about who their new master is, Darrett will helpfully explain it to them.

The whole thing is so grotesquely pointless that it almost feels as if the authors are being deliberately petty. As if they have some personal grudge against the players.

THE BORING BITS

As I look over my notes for Shadow of the Dragon Queen and flip through the book to refresh my memory, I can see that it’s studded with big, impressive set pieces:

• huge battles,
• dragonriding duels,
• flying cities,
• gnomish siege weapons,
• ruined cities,

and more!

Just looking through this list, it seems as if this campaign should be a thrill-fest from one end to the other.

So why did I find the book so utterly stultifying to read?

Largely because the medium is the message. When I read an adventure book like this, what I’m thinking about is the experience of running it at the table. And the picture Shadow of the Dragon Queen paints of the actual play experience isn’t a pretty one.

Yeah, the set pieces are shiny and cool in an abstract sense. But when I’m reduced to a mute audience either watching somebody else do all the cool stuff or stuck as a helpless puppet unable to have any effect on what’s happening, they lose their luster.

For example, consider the big finale of the campaign:

First, the PCs fight and fight and fight and fight to prevent the bad guys from taking control of the flying citadel!

And it doesn’t matter, because an unskippable cutscene is triggered and they’re forced to just watch while the bad guy activates the flying citadel helm.

But that doesn’t matter, either, because it doesn’t work and the citadel is falling apart all around them!

But that ALSO doesn’t matter, because after the PCs escape from the collapsing citadel, they turn around and see a different bad guy flying off in a completely different citadel!

Whoopsie-doopsie!

You can almost be impressed by the skill it takes to build up so many levels of irrelevancy. (Almost.) But they aren’t even done!

See, the PCs might think to themselves, “We’ve gotta stop the other citadel!” and rush to do that. That’s not the plot, though, so the DM is instructed to use endlessly respawning death dragons “that attack until the characters retreat.” The defenses are too strong! All you can do is watch helplessly while dragonnels ferry troops from the ground into the citadel!

Three pages later, though, after the entire dragon army has transferred itself into the flying citadel and its defenses are even more impregnable? Now it’s time to attack, and so a gaggle of GMPCs show up and give the PCs their marching orders.

Sure, after all that, the dragon-riding duel with Dragon Highmaster Kansaldi Fire-Eyes (complete with pre-scripted conclusion) has a cool illustration, but I honestly find it impossible to get legitimately enthused about it.

When the book goes to such elaborate lengths to scream, “THIS IS ALL POINTLESS AND NOTHING YOU DO MATTERS!” eventually you believe it, no matter how pretty the two-dimensional set painting is.

Grade: D-

Project Lead: F. Wesley Schneider
Writers: Justice Arman, Brian Cortijo, Kelly Digges, Dan Dillon, Ari Levitch, Renee Knipe, Ben Petrisor, Mario Ortegon, Erin Roberts, James L. Sutter

Publisher: Wizards of the Coast
Cost: $49.95
Page Count: 224

A guide to grades here at the Alexandrian.