Moving on to our first gamer interview, let's take a look at Mr. Tim Moore and how he likes to run things.

What's your favorite RPG system and why?
 
My favorite rpg system is one of the many d20 based games. I'm a fan of Star Wars, Pathfinder and DnD 3.5. I currently run a game that's a mixture of 3.5 and pathfinder. I try to make the game as in depth as possible, so we tend to have more skills and more home brewed rules and magic items. These are most likely my favorites because I grew up on them and have the most experience playing d20 based games.
 
What made you want to become a DM/GM?
 
What made me want to be a DM/GM? lol, well, to be honest I prefer to play, sadly, it rarely happens. Nobody wants to run the game. I have years of experience so it's easy for me to just rattle off numbers and rules off the top of my head and I have a pretty good imagination and idea of battlefield tactics which helps me play monsters and npc in their respective mindsets. I first got exposed around the age of 9 with AD&D with older siblings. I loved it and wanted to expose my friends to this newfound world. I spent hours copying stats, rules and items by hand onto notebook paper. I still have that old folder of aged papers! 
 
How much prep time do you conduct before a gaming session?
 
How much prep time do I spend before a session? Quite a bit. I keep notes on my phone when a thought randomly comes to me. I have various colored composition notebooks designated to various quest or topics. I've currently started making terrain pieces which is very time consuming haha. For low level games I can spend less prep time by just making up simple encounters on the spot. Yet I'm running a higher level campaign that's very time consuming. I go in depth with knowledge of spells cast in anticipation, fortifications, hit points and hardness of walls, doors and locks. At high levels there's countless variables to try to anticipate for. How will the characters react? I try to cover the most likely choices so that when it's game time there's little pause due to looking up rules and such.
 
What is one of your most memorable moments running a game?
 
Some of my most memorable moment....hmmmm so many. The best ones are when characters have critical fails or critical successes. If you roll a natural 1 or 20 I have you reroll again to determine how bad or how great you did. Multiple rolls of 1 or 20 can be epic game changers. A couple recent ones that come to mind would be my girlfriend's first character, a druid/ranger. I had a velociraptor charge her. She said I'm going to hug it. A roll for wild empathy was a nat 20. Charisma check; nat 20. I rolled a will save...nat 1. It became her new animal companion named Jasper.  At level 18 it's large size and she rides it into battle. Another character in my new low level game was attacked by stirges, big mosquito-like creature. He got bit. Rolled for random chance of disease, yes. Type: blinding sickness. Fortitude save: failed. He lived but the last 3 sessions or so he has been permanently blind. This new world has low money and magic so he hasn't found anyone to cure him yet, maybe next session. Until then it's just plain amusing as his character stumbles around. Balance checks, reflex saves and such. Plus we have a mischievous bard that keeps using ghost sound to fool him into stumbling into other people and causing scenes.
 
Do you do anything to set the mood or atmosphere?
 
Setting the mood for the game! I try to cook up a hearty meal. We mostly play in the winter time when our work loads have slowed down so lots of chili or stews and such. We outfitted my buddy's basement into our game room. So we have Halloween decoration skulls and we light scented candles. It makes it feel like we are in a tavern or dungeon at times.
 
What's one tip you would give to other DM/GM's out there?
 
One tip for fellow GM/DMs. Organization! I've learned to have a notebook for each thing so I spend less time rummaging around. Also research your skills, feats, spells, combat and rules. The faster you can come up with the answers the smoother the story and game will flow. Nothing kills a session like a long drawn out round of combat that takes an hour researching in multiple books.
 
Any last thoughts for our readers?
 
The biggest thing I'd like to address is that it's a game,  have fun. Enjoy the time socializing and have some laughs. Also, let loose. Get into character and just have fun with it. Speak like a pirate or in some silly accent or create a personality that is atypical of your nature. It can be an escape from reality, just remember have fun! 
 

I wanted to take a step back and get away from marketing and promotion for just a minute. Speaking of which, I am not a fan of marketing or self-promotion at all, but it's a necessary evil I suppose. Anyway, I wanted to talk about the remastered version of Skyrim for PS4. I picked it up a few weeks ago and it only took about 10 minutes and I was hooked. I had a copy of Skyrim for the PC back in the day and played the living snot out of it, so I wasn't sure what was going to happen when I started this version. One, I didn't know since I logged so many hours back in the day if I would be bored trying to play it again. Two, I'd never played Skyrim on a console before, so I didn't know how it was going to go. Needless to say, neither one of those concerns turned out to be a big deal because I jumped in with both feet.

I've played both the Fallout franchise as well as the Elder Scrolls franchise and while I love both of them, I like the Elder Scrolls a bit better. I think it hearkens back to my days of paper and pencil RPGs and feeds some deep desire for sword and sorcery, which is exactly how I play my characters in the Elder Scrolls world: one-handed weapon in my right hand, destruction spell (usually fireball) in my left hand. The play is smooth on the controller and looks great on the PS4 (I'm betting the new PS4 4k upgrade makes it look even better).  Another nice bonus, is that the remastered edition comes with all the DLC which I never played. It was almost immediately apparent when I was getting attacked left and right by master vampires (damn bloodsuckers). 

What I like most about the Elder Scrolls, as well as Fallout, is how open the game really is. I could ignore the main quest line and just go be-bopping around doing my own thing for hours upon hours and be content. There's enough content packed into these games to last months and I generally find myself getting side-tracked with my own quests and goals that have nothing to do with the official quest tracks. I've played every Elder Scrolls game out there with the exception of Arena and Battlespire. I remember playing Daggerfall on my old 486 computer and being amazed at how immersive it was (not to mention getting lost in the massive dungeons...I'm glad they scaled those back a bit or started designing them a little better). 

Anyway, long story short, Skyrim is awesome. That is all.

I recently completed a small indie game on my PS4 by the name of The Vanishing of Ethan Carter. It released in 2014 and was dubbed a horror/adventure game. I took my time with it, exploring everything I could and I think it only took me about four or five hours to complete. It's an open world game; however, the world it places you in is fairly small. What I liked about it, was that it didn't hold your hand. You play a private detective name Paul Prospero and your goal is to find Ethan Carter. You start the game at the edge of town near some rail road tracks. There's no HUD, no prompts from the game, nothing. You simply have to explore and figure it out on your own. The game itself is fairly simple with only a couple of mechanics to wrap your head around. You'll investigate objects and areas and the game does a pretty good job at letting you know what you need to do in order to advance the plot without flat-out smacking you over the head with it.

Okay, now into the spoilers...the twist at the end of the game caught me by surprise. Basically, you are one of Ethan's stories. Bam, it caught me off guard like the ending of Sixth Sense the first time I watched it. Turns out, none of that really happened. Seems like Ethan lived a troubled life and liked to write stories to escape reality. His family comes looking for him in an abandoned house he likes to hang out in, and accidentally starts a fire. He gets trapped in the basement and is dying of smoke inhalation. You were one of his stories and got trapped in his "world." All in all, I enjoyed this game and it's worth playing, even if you just read the ending here. There's a lot more than I can pack in to a small blog post. Check it out. I'd like to know your thoughts on the game if you've played it. Leave me your review in the comments section.

Now, on to the spoilers...stop now if you haven't played the game. Or don't. You have free will.

The story is very intriguing; the main arc has you tracking down Ethan by reliving memories or snapshots in time, an ability the protagonist seems to have. Apparently Ethan found a hidden room in an old house and accidentally woke up an ancient being known only as the Sleeper. The Sleeper's influence corrupts Ethan's family and they all try to kill him in order to keep the Sleeper from fully waking up. A side arc in the story revolves around Ethan's stories coming to life around you in a kind of Twilight Zone the Movie sort of way.

While the game is short, the story is worth it and the graphics are stunning. Overall, I'd give this game 3 1/2 spirit memories out of five. If you find it on sale or want to enjoy a visually fulfilling game, get it and play it.

I recently ran a session of the Mayhem RPG for my gaming group. It's a game I picked up at the Salt Lake Comic Con a couple years back. It's whole thing is centered around balance: light vs. dark, chaos vs. order, good vs. evil, etc... Overall, I think this is a pretty fun game and it's a unique system. For one, there is a combat clock mechanism for fighting that makes the combat interesting. The clock is used for initiative, or in other words, who gets to go when. Actions you take during combat are tagged with a speed that puts you so many spaces down the clock, and you don't get to go again until the clock comes around to your spot. So if you do quick actions, you can go sooner; however, if you choose to do slow actions, it may take longer, but the payoff might have been with the amount of damage you inflicted on your enemy.

Other things I liked, were the amount of races and/or talents/curses that come with the core book, allowing you to make crazy and unique characters. There aren't classes per se, because everything is based off of the skills you choose during character creation. The mechanic of play is pretty simple, your attribute (i.e. strength, agility, intelligence, etc) determines which die you roll, then you add any skill modifiers and try to beat a target number.

There are some drawbacks to the game. First, the layout isn't the most user friendly in my opinion. For example, not everything is presented in a logical order, and sometimes one important piece of information is buried in a paragraph of text in odd places. Also, they give conversion rules for D20 systems allowing you to convert monsters from other RPGs without "too" much trouble, but I would have liked some pre-made monsters in the book to make things easier because at the heart of this game is combat techniques which really add flavor to the battles.

Overall, I'd give this game 7/10. It's face-paced in that the combat scenarios did bog down and seemed to move quickly. Character creation wasn't very difficult either, even with the amount of combinations to be had. Just be prepared to annotate the book or make your own index.

You can get the book here: http://midnightcampaign.com/midnightcampaig_nsite/mayhemsplashpage.html  

While I was at Gamercon last month, I came across a booth that was looking for people to help out with some charity fundraising. It sounded cool because basically you pledge to game on a certain day and look for people to help raise funds for children with bad diseases. Long story short, I decided to help out. If you want to learn more about the organization, click here. If you would like to support me in my efforts to support the sick children, click here. I'll have a page up on my website dedicated to the charity until the actual day of gaming which is Nov 7th I believe. Thank you!

Well guess who's going to be a panelist...this guy. That's right; hide your sanity, leave your common sense at home, and bring some sort of recording device, because I'm going to be sitting on some panels (and not nice wooden ones).

This year I'll be attending the Life, the Universe, & Everything Symposium in Provo, Utah. While there, I'll be on the panel for "So You Want to Write Horror?" on Friday, Feb 13 (fitting, right?), as well as the panel for "The Magic of Minis" on Saturday, Feb 14 (hopefully it's about the use of miniature figurines in role-playing games and not the magic of mini candy bars. Because, let's face it... mini candy bars are not magical). So if you are going to the symposium, come stop by and learn some mystical knowledge (or at least be entertained for an hour or two).

I asked my good friend and peer, Joe Borrelli to give us his perspective on horror and role playing games. Listen to what he has to say, because he knows what he's talking about.

           
Hi folks. My name is Joe Borrelli and I'm here to talk to you about horror in Role Playing Games.

            While RPGs have been solidly ensconced in the fantasy genre since its inception, horror role-playing showcases gaming at its finest. It's the most difficult genre to do; it requires a mix of atmosphere, cooperation, and a willingness to engage in the material. A single disruptive player can ruin the experience for everyone, yet if the game comes together, it can represent the absolute high point of collaborative storytelling experience. Bawdy tales of heroes and battles amuse when shared around a lusty campfire, but tales of terror whispered around dying embers thrill the soul.

            I've been running RPGs for almost 20 years, both casually and in convention scenarios. Narrative games have been an important part of my development. They taught me how to tell stories, how to command an audience, how to perform, and how to think on my feet. C.R. Langille, my friend and classmate, asked me a few questions about my experiences running horror RPGs. I'm grateful to have an opportunity to advocate for them.

            So, without further ado, the questions.

1) What horror RPG systems have you run, and which is your favorite? Why do you like that system so much?

            I want to extend this question to include gaming universes, which are different from systems. I'll forgive an ineffective system if the story is engaging. I'm very fond of the World of Darkness, but the game's mechanics are very cumbersome.

            I have run quite a few RPG systems in my time, but the ones I keep circling back to are Call of Cthulhu, World of Darkness, and the Sword & Sorcery edition of Ravenloft.

            Call of Cthulhu is, to put it bluntly, the most elegantly designed system created for role-playing games. The system is simple to teach and utilize, while being comprehensive enough to cover practically any situation a PC can encounter.

            I'm emphatically not a rules guy. There are people who like the dozens of tweaks and modifiers that more complex systems provide, but I find that systems like that turn games into small unit tactical combat games, with a bit of flavor text to separate the fights. I'm a storytelling guy. I like narrative, interaction, characters, mysteries, discoveries, imagination, and immersion. The less the rules interfere, the happier I am.

            Call of Cthulhu lives up to my standards. Mythos games are intrinsically investigative; they're mysteries with a monster behind the parlor door. Some structure is required, and Cthulhu creates that structure without being invasive.

            The other perk of the system is permanent vulnerability. Your character can become stronger, smarter, and more dangerous, but a sentry getting off a lucky shot can still take you out. Unlike other systems, which usually end up with the players becoming omnipotent superheroes, combat is always dangerous. Because of this, the game rewards smart thinking; you can't simply waddle in as a meat shield, soak up attacks, and mega-blast your opponents into red mist. Most of the things you face in Cthulhu can wipe you out without much effort, so the system preserves the vulnerability required for effective horror storytelling.

            As the title suggests, Call of Cthulhu takes place in the null-cosmology of famed horror writer H.P. Lovecraft. You play as investigators who have unfortunately discovered the true nature of the universe and fight an ineffective battle to keep the darkness at bay a little longer. The pop nihilism of the game is an intriguing antithesis of most RPGs, which work as power fantasies, and make the tiny victories your players win hold that much more meaning. In addition, I'm certain that the Cthulhu RPG has been the most effective at introducing new readers to Lovecraft's work since August Derleth.

                                                                                    *****

            After Call of Cthulhu, my favorite horror games are the combined World of Darkness in general and Vampire: the Masquerade in particular.

            My first attempt to get into RPGs were met with dismal failure. I was given an Advanced Dungeons and Dragons starter set as a child and couldn't make heads or tails of it. I'm not a fantasy fan and trying to learn the game on my own was horrible. It was like trying to read a math textbook for fun. I made up my own game, played it for a while, looted the box for nifty figures, and stuffed it in a closet.

            Fast forward to me at fifteen. I'd gone from metal to punk to goth, and some of my friends were talking about a game where you went to public parks and pretended to be vampires. Friggin' vampires, man!

            My allowance came from weekend shifts working at my Dad's pawn shop. A day's worth of sweeping floors and talking to junkies got me the money for the LARP rules. I picked them up, bypassed the rules section, and read the game's mythology section.

            The hook of the game is that vampires existed in the world, but they kept themselves secret to keep safe from an unsuspecting humanity. They loved, they lusted, they mourned, they made war. And the different vampire bloodlines fit every type of vampire I'd ever seen in movies or read in books, from brutes to rulers to moody artists.

            What worked so well with Vampire was how effectively it built off of all the vampire canon that came before it. You went to the game already knowing something about the world from your exposure to horror media, which made the game universe easy to connect to.

            I've run Vampire for decades now and I can authoritatively say that the system has a lot of problems. There's a very narrow chance that your character can fail at anything they attempt to do, but there are too many gradients of success. Combat is cumbersome, often requiring multiple rolls with handfuls of dice. Characters can quickly become overpowered as they start stacking up abilities. Finally, the core mechanic for making your character more powerful requires committing the most heinous crime in vampire society.       

            All White Wolf games have a massive disconnect between the ideal game they want you to run and the way people actually play it. The game titles itself as "A Storytelling Game of Personal Horror", but to create the pathos required to run the game the way the system wants you to play it would require tremendous one-on-one time between each player and the GM.

            There's also the sturm und drang angsty Grand Guignol melancholy that often comes off as laughable. The writers of Vampire: the Masquerade are often guilty of trying too hard to hit the pathos button. My favorite example comes from one of the core rule books; the party is on the tail of a recently-turned Catholic priest. They find him in his cathedral over the bodies of some drained altar boys (I know, I know, shut up.) He begs the players to kill him, but that would be wroooong. Oh that poor priest! What would you do?

            So that kind of corny shit seems more laughable the farther away I get from it, and I can only imagine the sad boys and sad girls that wrote the material in the first place, but there's no question that they captured the zeitgeist of the 90s goth aesthetic in the game. The world is compelling, the stories stick with you, and I can still meet up with veteran White Wolf players and discuss the World of Darkness for hours on end.

            My style of running Vampire: the Masquerade was to treat it like a supernatural mafia story. Vampire life is fundamentally illegal, there are great consequences for discovery, and the factions are all vying for power. It's fertile ground for stories about subterfuge, manipulation, power dynamics, and predatory instinct.

                                                                             *****

            As I mentioned earlier, I'm not much of a fantasy fan. I lack the imagination.

            Science fiction and fantasy are as much about the setting as they are about the story. You have to know the rules, the lingo, the factions, and all the other minutia required to get into the narrative. Horror is often set in our world, with intrusions. I can understand it, I don't have to memorize tons of tedious world-building information.

            One of the only fantasy settings that ever pulled me in was Ravenloft, one of the campaign settings for Dungeons and Dragons. In particular, the setting as written by Sword & Sorcery, White Wolf's fantasy line.

            The gist of Ravenloft is that it's a horror-tinged fantasy setting, set in an aesthetic that recalls classic Universal and Hammer gothic horror films. A mysterious force known as the Dark Powers, usually represented as a relentless, implacable fog, has created a hellscape of interlocking fiefdoms. The rulers of each fiefdom is under some unresolvable curse, based off the sins in their lives. For example, the Dracula-like vampire Strahd Von Zarovich was cursed for the crime of killing his brother in order to seduce his brother's bride. The bride threw herself off the castle parapets and Strahd was cursed with immortality. Once a generation the bride is reborn somewhere in the kingdom and Strahd tries to possess her, only to have her taken from him.

            Ravenloft subverted a lot of the things that drove me nuts about Dungeons and Dragons. Gods are coldly distant, spells that impart knowledge are ineffective, and moral questions can no longer be determined by alignment spells. More than any other setting in D&D, your characters are fully in charge of their own fate.

            It's also an intensely personal game. Every major villain has been doomed by their own actions, and it's very easy for the players to condemn themselves. White Wolf's creative team seemed to have stripped away the bathos of their more melodramatic worlds and created a game where characters are fully empowered to damn themselves. Even if you and your players don't want to play an intricate story about a fall from grace, stomping through graveyards and staking vampires is always good for a laugh.

            I'm currently running a werewolf campaign in the wolf-haunted land of Kartakass. The players have taken refuge in a small town with odd rituals of hospitality, the wolves are creeping the streets at night, and a great culling has drawn the hunters into the fog-shrouded wolves. I get to bust out my creaky Eastern European accent, describe strange rituals, and game with the lights off. It makes up for the times that the clunky rules interrupt, the battle map comes out, and everyone has to roll for initiative.

2) It can be difficult to get players in the right frame of mind for playing a horror RPG, how do you set the tone/mood?

            First off, most of the things gamers think of as horror isn't actually horror.

            Having a monster in a game doesn't actually mean that the game is horror. Buffy the Vampire Slayer had all kinds of traditional horror monsters, but was almost never actually scary. It was an action show, with vampires taking the place of gangsters, ninjas, or whatever other goons action stars typically beat up. Horror is primarily about mood, not violence.

            To that end, the most important rule to running horror RPGs is don't run games for players who don't care for atmospheric gaming.

            Most gamers are socialized in playful gaming. There's lots of shit talking, clowning around, Monty Python references, and musical interludes. While that's fine in casual games, any of these things can instantly shut down the ambiance required for horror gaming to work.

            Pretend you're around a campfire, telling a story about a maniac that stalked the woods in the years prior to your visit. The fire is dimming, your voice drops to a low menacing growl, and your audience leans forward, getting into it. Suddenly, one guy's cell phone rings some ridiculous ringtone. Everyone laughs, they tease each other, and the spell is broken. You've lost them, and you have to work twice as hard to get them back.

            Now imagine you're in a place with a lot more distractions, with an audience acclimated to interrupting each other. And there's always one player who just can't help themselves.

            So, lesson one, some people should be excluded from your group.

            You don't have to be tyrannical about it. Sit down with your group, explain to them that you're trying to create an atmosphere of horror, and it requires them to participate in it by not undermining the mood. That means minimal jokes and crosstalk, with an eye toward preserving the experience for everyone else. Doing this lays out the expectations for the game, and I've found that players rise to those expectations accordingly.

            Once you've earned their trust and support, you've got to abide by rule number two: you cannot be a shitty GM.

            That means you have to know the material, you have to be evocative without being ponderous, you can't steamroll the players with your plot, and you have to speak with confidence and authority. Horror GMing, more than any other type of gaming, is all about the cult of personality. You are the storyteller. Win them over and keep them on your side.

            This is where the performative aspect of game mastering kicks in. You have to be an actor. In general, I go broad with the NPC performances (Ravenloft is particularly good at this, where every NPC is either "peasant" or "peasant who's up to something") and I go very quiet doing descriptions of scary scenes. Voice modulation is key: scenes of violence get described with a slowly growing hysteria, ominous or supernatural sections get described very slowly in a distant voice, and I seldom directly engage with any player unless they ask for my attention. The goal is to present my descriptions in a way where the tone of my voice does half the work for me.   

            As far as game construction goes, you have to use a lighter touch for horror gaming. Intensely graphic descriptions of violence comes off as more farcical than scary. A zillion severed heads turns your game into a heavy metal album cover. The gentle creaking of a hanged man's rope, heard through the echoes of an abandoned house, is infinitely more effective. The game should be less focused on combat and more focused on mystery. Mystery and horror are siblings, and combat has a tendency to steamroll over atmosphere with game mechanics. Finally, all your scenes should be short in duration, so that nothing has a chance to go stale. A permanent sense of dread and disquiet should be a part of every scene, so your big payoff scenes have more impact. 

            Rule number three is, of course, atmosphere.

            You can't do horror gaming in the day. You can't do horror gaming in well-lit place. You can't do horror gaming in a place where non-players traipse through and constantly interrupt.

            I'm lucky. I play my Ravenloft campaign in my former office. It's big and empty, with quiet conference rooms. There's a dim light we drag over to the table, and the players carry tiny utility flashlights in case they need to look at their character sheets.

            The other perk is the pitch-black meeting rooms. I like pulling individual players inside, turning off all the lights, and imparting particularly creepy information to them in the dark. This technique works better on some players than others, but the ones that get really creeped out brings that unease back to the table. Never allow these interlude to last more than a minute, though. Part of keeping their attention is never allowing your players to lay idle for too long. The old rule about boredom being a GM's primary opponent is especially true in horror gaming.

            One of my favorite tricks as a GM is that I wear a bone-white mask that I picked up from NYC's Sleep No More show when I'm running the most tense scenes. The white mask stands in contrast to the darkness of the room, and it dehumanizes me enough to give my words a little extra oomph.         

            Finally, ambient sound helps. I'm a big fan of the website Tabletop Audio, where a Hollywood sound engineer created tons of background music. Some of his tunes, especially "Catacombs", have an eerie Eraserhead vibe to them. For bigger setpieces, the first few songs to the Bram Stoker's Dracula score work equally well.

3) Do you have any personal experiences that you'd like to share from running a horror themed RPG?

            Most of my style and technique works for me, so I can't say I have a lot of stand-out memories. The most rewarding thing for me is when my players totally immerse themselves in the story and engage with it on their own terms. Setting the mood takes a lot of effort, but my players speak highly of the game afterward.

            My most effective scene is from one of my Call of Cthulhu convention game. The players are investigating an artist who drowned his daughter in the bathtub and hung himself after nightmarish visions of Cthulhu drove him to madness. Visions of the daughter's death haunt the players and eventually they find themselves at his house.

            After finding the bathtub where the drowning happens and witnessing thrashing water and sounds of violence, I usually slam a book on the table to simulate the bathroom slamming shut in their face. Once the players recover from the jump scare, I tell them that they hear the sound of a creaking rope coming from the bedroom at the rear of the house. The bathroom scare has them on edge and they know what's waiting for them, so they often proceed cautiously.

            By the time they see the ghost, I carefully describe the horror of the scene. Before he disappears, the players hear "I still dream."

            The idea that death has given the man no escape sends a chill down my player's spine. It's the bit I've been complimented about the most.

4) What are some tricks or tips for people who may be running their first horror RPG?

            I feel like I answered the question at length in the other section, but I've just described the stuff that works for me.

            My tricks are my own, and I feel like they're very effective for my style. Ultimately they're a static solution to a dynamic problem. You have to develop your own techniques that fit your own play group. 

            Ultimately, you're trying to create the performative version of a Haunt. The golden rule is atmosphere, atmosphere, atmosphere. You want to use whatever trick in the book to isolate the players, make them feel vulnerable, and make them wary to open the next door.

            Dungeons are the most effective setting for fear, but they're seldom used that way. It's scary to crawl into some forgotten crypt full of monsters and curses. The only thing missing is the atmosphere. Mine every scene for horror, keep the tension high, and find your own way to freak out your players.

            As I was reviewing this questionnaire, I realized that I was missing the most important part of horror GMing, the one aspect that will kill your game if it's not fulfilled:

            Commitment.

            You have to commit fully to scaring the crap out of your players. They are playing to be afraid. If you break that tension, crack a joke, or defuse the scene in any way, you're betraying that trust.

            I remember an interview Anna Faris once gave where she said the best advice that Keenan Ivory Wayans ever gave her was that there is no vanity in comedy. You have to commit fully, even if it means being broad and buffoonish. I believe that horror is often the inversion of comedy, which is why the two work so well together. The more you commit to the performance, the more you will impress your players.

Epilogue

            Well, I think I've laid out everything I know about running horror RPGs. I hope this has been helpful to people. I've certainly enjoyed writing it, especially in light of my current Ravenloft campaign.

            I've covered a lot of this stuff in my blog (creaturecast.blogspot.com), specifically in my How To Run A Horror RPG post (http://creaturecast.blogspot.com/2013/04/how-to-run-horror-role-playing-scenario.html). In addition, I discuss gaming topics at length on my podcast (creaturecast.net), including White Wolf games (http://www.creaturecast.net/white-wolf-role-playing-games/) Vampire: the Masquerade (http://www.creaturecast.net/vampire-the-masquerade/) and the works of H.P. Lovecraft (http://www.creaturecast.net/h-p-lovecraft-and-the-cthulhu-mythos/).

            Thanks to C.R. for this opportunity. Read his stuff, it's awesome.

            Enjoy your games, everyone.  

Salt Lake City had it's first ever comic-con last weekend. I went all three days. I'm glad I did too, because on the last day, there were so many people that the fire marshal had to deny access because our convention center was filled to capacity. They estimate that there were close to 70,000 people there.

There were a lot of great panels, and even better costumes. I felt out of place just wearing regular clothes. I can't wait until next year's con, it should be even bigger! Here are some pictures.

Ever ran a table-top game and rolled the dice in combat only to see a natural critical show up? Generally that's a good thing, not for the players of course, but it can provide some entertainment nonetheless. However, there have been many times that I've had that roll show up, a roll that would have killed the player, and I lied or reduced the number of damage taken.

I'm not above killing my players, in fact I think it's part of a healthy game and helps bring focus back. Nothing gets a player's attention like the words, "You're dead." Disbelief always follows and it takes me a couple times of explaining what just happened before the reality sinks in. Yet, in my games, I seek to provide entertainment above all else. There's a time for killing, and there's a time for story. Generally, story takes charge and the players get a few miracles tossed their way.

Just like with writing, I think running a table-top game is entertainment. As the DM/GM, it's my job to make things fun. If I had players dropping like flies, it wouldn't be fun for anyone and I'd lose people wanting to play. So I see no problem fudging the dice-roll to make things move the way I want to.

Yet on the flip-side, I have never, nor will I ever fudge or lie about a roll that would cause a player to die. It all goes back to the entertainment and fun aspect. Oh there's been plenty of times that I've sat in disbelief that nobody died, but it just adds to the fun.

Remember, if it isn't fun, do something else. This applies to almost everything.

I originally considered writing a blog post about writing this time; however, after my last post about horror and gaming, the follow-on discussion brought on some great ideas. First off, I want to thank Matt O’Dwyer for fueling this flame. Second, I want to give props to 2 GMs 1 Mic for having a kick ass podcast and for talking about this subject. I highly recommend you check out both Matt and 2 GMs 1 Mic.

What I want to talk about this week, is play styles when it comes to table-top gaming. 2 GMs 1 Mic talked about the difference between immersive games and meta-gaming. What’s the difference you may say? Immersive gaming is when your players assume the role of their characters and make their decisions based off what their characters know, or what they would do in that situation. Meta-gaming, the players will make decisions based on each other’s actions and information that they know as a player. Both styles are fine, it just depends on
what you are shooting for.

I am currently running a lengthy Pathfinder campaign and I’ve found that both styles make an appearance during gameplay. In fact, I try to incorporate story and character/Non-player character (NPC) interaction for my
wife. She really digs interacting with people and doing fun things. The meta-gaming aspect really takes hold during combat. We use an online mapping system to show position and terrain, and my players are constantly scheming and maneuvering with one another to gain the highest advantage, sometimes even when they wouldn’t be able to plan like that if it were actually happening.

So with that information in mind, let’s talk about things you can do to help one style or the other. If you don’t mind meta-gaming, and your players like the tactics, then by all means use maps, grids, miniatures, rulers, etc. There’s no problem what so ever with this style and it can be lots of fun. It’s kind of like playing a miniatures wargame with heavy role-play elements.

If that’s not your style, then take the emphasis off of tactics, remove the maps and minis, and just tell the story. The more mechanics you use, the less immersive it will be. Use story to drive the game. Games that have fate
chips or things of the sort help promote this style, because it rewards your players for getting into the game. If your system doesn’t have something like that, it’s easy enough to incorporate. 

Bottom line – it’s about having fun. If you’re having fun, and your players are having fun, then it works and good on you. If you’re not having fun, change it up, or change games. Simple enough. Now go play!