Keith Ammann is the author of the ENnie Award–winning blog and book The Monsters Know What They’re Doing. He’s been a role-playing gamer for more than thirty years.
I ended up going radio silent for longer than I intended to, but I think my reason is a pretty good one: I’ve just finished my first draft of a revision of The Monsters Know What They’re Doing for the 2025 Monster Manual. I began what I initially
Last week, organizers announced on social media that Big Bad Con (an annual game convention held in Burlingame, Calif., in the fall) and Big Bad Online (a TTRPG-related panel discussion series streamed on Twitch in the spring) would not be held in 2025. They left unanswered the question of whether
(Read part 1 here.) In the early 1980s, a college-age programmer named Richard Garriott—who’d written and sold his first computer game, Akalabeth, as a teenager—had established a successful series of roleplaying games for the Apple II computer, but as he looked back on Ultima I: The First
This “death curse” you speak of … you say it prevents people from being brought back from the dead. Who gets brought back from the dead? People with connections. Influence. Money. If a man is loved by his neighbors, respected in his community, but poor, and he has an accident, does
(Read part 1 here. Read part 2 here.) So the Hero System was a bust. What about some of the other genreless roleplaying game systems that social media readers suggested to me? Genesys is a universalization of the Star Wars Roleplaying Game published by Fantasy Flight Games in 2012 (not
(Read part 1 here.) After the Cypher System and Savage Worlds, the universal roleplaying game systems suggested most often to me are Fate Core and Cortex Prime. I’m glossing past Cortex Prime because I’m not sure whether to think of it as an RPG per se or as
I drifted away from Advanced Dungeons & Dragons in 1989, just before TSR released D&D’s second edition. I was lured away by Shadowrun, FASA’s “punk elves” science fiction–fantasy mashup. Part of the appeal lay in certain aspects of D&D that I was starting
(Read part 1 here.) In my post “Fitting Through the Door,” I posited that porting a player character from one system to another requires being able to answer “yes” to three questions: * Does the character’s “one main thing” make sense within this system and setting? * Does the system faithfully
It’s an opinion so widely shared that the degree of consensus practically elevates it to the status of fact: Curse of Strahd is the best campaign-length adventure for fifth edition Dungeons & Dragons published by Wizards of the Coast. And out of all the games I’ve run since
You’ve seen Dungeons & Dragons: Honor Among Thieves, right? So you remember Xenk. How could you not remember Xenk? Xenk is there to make an impression, a very particular impression. Xenk is pure. Xenk is powerful. Xenk is beloved. Xenk is beautiful. Xenk is a paladin in the tradition
(Read part 1 here. Read part 2 here.) So far, I’ve looked at Garregwen, my wood elf Battle Master, strictly as a high fantasy character. What if we jump genres? Let’s start with a smaller jump, to Court of Blades, a low fantasy, Renaissance-intrigue hack of Blades in
(Read part 1 here.) Before I dig into the hearty stew of Pathfinder, I’m going to enjoy an amuse-bouche of Shadowdark. Let’s say Garregwen, my wood elf Battle Master, is a level 4 crawler, just out of the novice stage. I’ll assign her stats in proportion to