Tag Archives: roleplaying

Light – Cantrip or First Level Spell?

In the good old days, the Light spell was a first level spell, that could be used to blind a foe. Then it became a cantrip and lost it teeth, and dungeoneering changed forever.

From first level spell to cantrip changes a lot of the dungeon exploring game play. Minor changes in spells can change the structure of the game, and it removes some of the challenges of exploring the dark depths.

I have with interest read DMDavid’s posts on how spells can ruin adventures (Spell can ruin adventures, Spells that ruin adventures, revisited and Spells that ruin mystery and treachery), and there is no doubt that Detect Lie, Zone of Truth and Etherealness can spoil the fun of exploring a dungeon – and yet something as simple as a cantrip can, perhaps not ruin, but still limit a part of the fun of exploring a dungeon.

When exploring dungeons limited resources are a part of the challenge, and every time an effect such as a spell replaces a limited resource something is lost. Recently I have begun playing the DCC module The People of the Pit with a Dungeon Crawl Classics party and with a D&D 5th edition party, and their progress and challenges are in some places quite different.

For the DCC group carrying torches and lanterns, they have to be careful, when solving challenges spending resources – for instance they wanted to burn the bones of the physical remnants of a group of ghosts, and they had to consider how many flasks of oil, they dared spend, as they also needed the oil for their lantern. For the other party, they simply had all the light they wanted, and flasks of oil and torches could be freely spent against foes. Likewise, there was not much worry about lights going out, finding ways to cross basins, while keeping a flame burning, and into every pit is thrown a stone with a light spell in order to determine its depth.

Back in the day, when I played AD&D or D&D becmi, light was a resource, and the group’s spellcaster had to choose between using the Light spell as an offense blinding a foe or a limited light source.

I am not interested in the players tracking each and every torch, as it becomes tedious and adds no fun to the game, but using torches or lanterns, the PCs risks losing their light and being trapped in darkness, and it forces the wizard to choose and use their spells carefully (The role of light becomes obvious, when taking a look at RPGs such as Torchbearer, where light is a central part of the economy for how much can be explored).

The structural change in the game is also visible in other areas, where the simple cantrips changes the game considerably even though they have no or little use during combat.

I had the same issue when I recently ran Tomb of Horrors with a 5th edition party. Light was not an issue (but then again high-level parties do have the benefit of avoiding a lot of the usual challenges. It is a part of being a high-level character), but here another cantrip began causing problems. The spellcasters kept examining, pulling, twisting and turning everything using the Mage Hand cantrip, which being evocative of the wizard, also spared the thief for investigating a lot of objects. Gygax never wrote Tomb of Horrors to handle the new and almost limitless resources of a spellcaster with cantrips ad ritual spells

A minor change in D&D 3rd edition back in the day also took the teeth out of a wilderness campaign, I was running. The players discovered that they had easy access to a Resistance spell that lasted 24 hours and that protected them against heat and cold. This minor spell was of little use against magical fire and cold attacks, but it made traveling through a desert harmless, and the challenges of surviving the harsh climate disappeared from the game.

Next time I am starting a D&D-campaign up, I will be changing a series of spells. Light will once more be a first level spell, but also one that can be used offensively. If dungeoneering is central to the game, Mage Hand will likewise also change.

Sound and Noise in RPGs – When magic and monsters can hear you

Sometimes they hear you. Then they come for you.

This is an article on how sound and noise can play a role in your game. Below are presented three magic items, that one way or another encourages players to talk or stay silent. Likewise are below three phenomena or techniques that are tied to the words and the sound the players use. These ideas are based on materials from the Hinterlands Adventures (which you can find at RPG Drivethru and at DMs Guild). The descriptions below are kept somewhat D&D agnostic, so that you can easily use them in your D&D 5th, Labyrinth Lord or AD&D game.

Magic Items

  • Potion of Roaring Strength
  • Powder of Silent Wandering
  • Whispering Skull

Potion of Roaring Strength

The potion comes in an iron flask with a depiction of a roaring lion. The liquid is golden, sweet and strong, and it gives of a musky smell.

This potion grants the imbiber +4 bonus to strength tests, +2 to melee attack and damage rolls, and doubles the changes of opening doors, lifting gates etc.

While under the influence of the potion the imbiber cannot whisper, and the imbiber must speak yell, when speaking, otherwise the effects of the potion disappears immediately. The player must speak loudly, when speaking for his or her character, or the effects of the potion ends. Otherwise the effects of the potion lasts 2 hours.

The potion can be found in The Flooded Temple.

Powder of Silent Invisibility

This fine, glittering white powder usually comes in a cloth bag containing 1d3 potions. When thrown in the air it turns all creatures in 10ft diameter circle invisible for as long, as they are silent, or until they attack. Once turned invisible the creatures do not need to stay together to remain invisible.

Any creature who speaks, immediately become visible, and this applies to the players too! Any player who does not merely neutrally describe their character’s actions will see their character turn visible again (in some instances you might even want to have the players write down their actions, as they may difficulty coordinating their actions, when unable to speak).

The Powder appears in the adventure Tomb of the Dragon’s Heart.

The Whispering Skull

Wondrous Item, rare

A gold plated human skull with a cruel smile. Imbedded in gold plating are tiny swirls hiding enchanted symbols, that any arcane spellcaster can identify as arcane symbols related to arcane spells.

If you listen to the skull, you can hear it whisper secrets. If you attune to this item, you can use its two powers.

The secret of wizards: Each whispering skull recites one particular arcane spell, and if you spent 15 minutes listening to the skull, when preparing spells, a wizard can memorize the spell from the skull as if the wizard was studying his or her own spellbook. The skull’s spell cannot be transcribed.

The spell the skull recites is 70% of the time anecromancy spell of level 4-9, and the remainder 30% a divination spell.

The secret of adventurers: If you listen to the skull for 15 minutes before entering a dungeon, the skull will tell you a secret about the dungeon – but only if you whisper a valuable secret to the skull, that you have not told it before.

DM rolls hidden on the table:

1-25 The skull reveals the whereabouts of a treasure in the dungeon
26-70 The skull tells about a mystical danger or a hidden trap in the dungeon
71-85 The skull reveals the whereabouts of a hidden treasure in the dungeon
86-00 The skull lies

The Whispering Skull appears in the adventure Tower of the Star Watcher.

Techniques and Mechanics

  • Wandering Monsters
  • Song Lock
  • Curse of the Faeries

Be silent – or the troll comes for you

Whenever the players are noisy, they risk attracting monsters that may attack their characters. If they do not act and play quietly as their characters would do when moving through caves and grottoes, they will allow the GM to use wandering monsters against them.

Place a cup or glass on the table and have a collection of counters, dice or crystals ready.

Tell the players that their noises are reflective of the noise their characters make.

Whenever a player is noisy or makes a noisy activity (dice clattering, a chair creaking, a bag of chips rustles), you grab one of the counters and put it into the cup. Make sure the PCs see it. Allow the players to whisper loudly without being penalized (unless they overdo it), so that you still can hear them, when they are planning things or talking to you.

Whenever a certain number of objects are in the cup, a roll on the Wandering Monster table is triggered. Then empty the cup and begin collecting again. A fitting amount might for at start be 5 counters, and then you can increase or reduce the amount as needed.

Certain actions are pure and simply noisy. Combat with weapons and armor banging against each other, people yell in anger and fear, and magic roars through the area. Whenever combat begins, just add a single counter to the cup and allow the players to speak freely.

Sing Friend and Enter

The magical stone door is hardened through enchantments to resist most attempts to break it or force it open, and yet, there is a simple way to open the door, that may confound most adventurers. It is known as a Song Lock.

Etched into the surface with silver runes is an ancient song, and merely singing the text is what is needed to open the door, however the players must sing the text. For each being wanting to pass through the door, it must sing the text written on the door. Give the players a simple text to sing, and have them sing it together to open the door. Until it is sung, the door does not open.

A variant of the Song Lock appears in the adventure Tomb of the Dragon’s Heart.

Faerie Curse: Bound Tongue

The Knights of the Flower are champions of the faeries, and they master both the art of combat and magic. Their task is to challenge mortals, and to do that, they must master many different arenas, not merely combat using sword and lance, but also riddles, puzzles and magic.

The Knights of the Flower are encountered in the Hinterlandet woodland adventures – to be translated and published later – and among their abilities is the curse Bound Tongue, they often use when they challenge mortals to solve riddles.

The curse is tied to a specific word, and every time the player uses this word, their character suffers a bloody slash on their tongue, as if an invisible knife had cut it in punishment. The DM keeps an eye out for the words, the player uses, and every time the player speaks the chosen word (which might be ‘sword’, ‘initiative’, ‘but’ etc.), the character suffers 1 point of damage or 1d4 points (dependent on which version of D&D, you are playing. Up to AD&D 2nd edition it is suitable with 1 point of damage, and from 3rd edition 1d4 points of damage is typically suitable).

The curse is lifted, once the puzzle is solved, or if the Knight of the Flower is satisfied with the adventurers’ actions.

Hinterlandet (The Hinterlands) adventures contains more of these meta-play elements using sounds and voices, and more examples will appear in later adventures.

It calls from The Tomb of the Dragon’s Heart

Scouts report, that they have seen a hill standing on burning pillars. What lies behind this mystery, why is an army of kobolds on the march, and what strange force is calling you from the dark depths of its forgotten tomb?

Welcome to the fifth adventure translated from Danish to English in the line of Hinterlandet (The Hinterlands) adventures. This time the module has been adapted to Labyrinth Lord, and is thus compatible with D&D becmi and various retro clones as well. It is oldschool adventure rich with opportunities for roleplaying.

The adventure is part of the Seven Swords of the Dwarves storyline, and it is the adventure that sparked the storyline for the next two years, where the players in Hinterlandet Living Campaign fought against The Dragon and its cult while searching for weapons to defeat the Dragon with. This is an adventure, that allows you to set loose a great villain on your campaign and let the players be in the center of it all, as they are the ones to (accidentally) unleash the foe. The adventure is followed by the adventure, The Flooded Temple, as it is from the first storyline about the Dragon – The Dragon Awakens – where the adventurers go searching for weapons against the Dragon, and the Cult of the Dragon is trying to stop them.

A large part of the fun with this adventure was seeing the players interact with the residents of the dungeon, especially when they discover, they are under siege, and hostile humanoids wants to enter the ruins. Another great moment was when the players figured out how the tomb worked (no spoilers here), and that this moment allowed a player to let her character become a central villain in the Living Campaign as she became a Herald of the Dragon.

You can find The Tomb of the Dragon’s Heart at RPG Drivethru: The Tomb of the Dragon’s Heart.

Waiting for Death’s Herald at The Flooded Temple

It is an ancient and forgotten temple hidden at the bottom of canyon only accessible by boat. Here wait’s death for curious travelers, but also an ancient relic and several factions struggling to claim the ruin as theirs. Meanwhile the kobolds just wait for Death to carry them away, and careless explorers may find, that they too will be carried off.

This is the fourth Hinterlandet adventure to be translated into English, and where the previous three were converted to D&D 5th edition (Palace of Sweet Dreams, One Night Amongst the Necromancers, Tower of the Star Watcher), this one was kept system agnostic or perhaps more precisely D&D agnostic. It is a sandbox dungeon, that invites the players to explore the caves from several different angles, and encourages roleplaying and problem solving over outright fights, and combat will mainly be at the instigation of the players.

The adventure is a part of The Dragon Awakens storyline – The Hinterlandet Living Campaign – where adventurers are seeking out the Grave of the Dragon Slayer in order to find a mighty sword to battle The Dragon with (this was a consequence of the “Seven Swords of the Dwarves” storyline, where other adventurers accidentally woke the Dragon). This means that a recurring foe, The Cult of the Dragon, appears in the adventure and intrudes in the dungeon, while the PCs are exploring the place (when adapting the adventure for your campaign, you can either use the cult or replace it with a recurring foe of your own campaign).

A part of the fun with the adventure was seeing the players deal with the different factions of the temple, and many found the kobolds to be the saddest humanoids ever encountered, and their beliefs strange and unsettling. The factions, the many paths through the adventure and the open structure is all part of the design principles of a Hinterlandet dungeon.

Recently The Flooded Temple received a positive review, which I wrote about here.

You can find The Flooded Temple at Drivethru here: The Flooded Temple.

I got reviewed: The Flooded Temple

The Flooded Temple is the fourth adventure in the Hinterlandet (The Hinterland) series to be translated, and it is one of my favorites. Recently I was notified, that it had been reviewed at RPG Geek by Bryce Lynch, who wrote a solid critique, and it contains some good pointers, that I need to take into consideration (mainly that I need to spend more time on the language, but English is my second language, and it does not flow as easily as Danish does, especially when it comes to eloquence and evocative language).

However, a lot of nice things were written as well.

Bryce writes:

This is a seventeen page adventure in a three level abandoned temple with about 25 rooms. There are multiple factions, puzzle-like things, weird monsters, an evocative environment, a moderately interesting map and MOSTLY terse text, at least for the DM notes. This is a good adventure. As I told The Pretty Girl yesterday: if all adventures were at least this good then I probably wouldn’t be reviewing adventures.

and also

The faction monsters all allow for roleplay … that can then potentially end in combat, usually with the party instigating for some reason. In addition they all have a little detail, tersely communicated, and then some extra bits which are GREAT. It’s not just kobolds. They are dying/near death. And not just near death but from from plague. And not just plague but with bubos full of pus. Likewise the bugbears. Who are are on a adulthood rite. Who have ritually painted faces described. Who tell ghost stories at night around their fire. It’s just an extra sentence but it add SO much to the adventure. It’s what I’m referring to when I say things lie “plant an evocative seed in the DM’s head.” That’s the sort of content I want to pay for. Not reams and reams of text. Not railroady or dictatorial. One extra sentence that brings the adventure alive.

This is the kind of reviewing, that makes an adventure designer happy. I strived to create these things in the adventure, and Bryce caught up on it. It also inspires one to write more. I think I will do that.

You can read the whole review here: The Flooded Temple at RPG Geek.

The adventure can be found at Drivethru: The Flooded Temple.

More adventures can be found at DMs Guild.

Strange Tales for Roleplayers: The Player Who Didn’t Book the Monsters

crossshotsetup-copyOnce there was this roleplayer. He was a bit of a smart type, who didn’t quite respect the rules, men instead did what he could to keep his character alive. The way he did it would often benefit his fellow players, so usually they would not be too loud about it.

The way he did was typically that he would offer the game master his assistance in moving minis and setting up terrain for combats. When he then was moving the models around, a goblin would be placed just out of range, so its attack failed, or a troll would disappear from the horde of monsters. With a bit of trickery the mini was removed from the table.

“Didn’t I have another orc?” or “Wasn’t my goblin archer just within range?” the GM would wonder, but always the player being charming and convincing told the GM, that the monster was gone or somewhere else. When it wasn’t around miniatures the distraction was being created, it was with the GM’s numbers and calculations the player created confusion. Hit Points and Health Levels were being miscalculated, initiative values displaced and so forth.

His success with manipulating his game masters game went to his head, and he began seeing himself as the superior player of the two. That he would be far better as both a player and a game master than his regular GM was.

To prove this he decided, that he would run one of his GM’s adventures for himself. So one day he stole one of the GM’s adventures and sat down to play it by himself.

What he wasn’t aware of was, that all the monsters, he had cheated his game master for, were still around. Hidden in rooms and cellars, in the deep woods and in dark alleys. Monsters that had never been killed or driven off, but instead lay in wait for a vulnerable adventurer to pass by.

So when he sat down to play, one monster after the other came out of the shadows. The orc he had hidden from GM, the troll he had stolen off the battlefield, the goblins hidden behind an elven regimen was still present in GM’s notes, and now they came rushing out, as the player sat down to play. What should have been a harmless journey to the local dungeon became a nightmare, and he ended up watching his character defeated.

To the surprise of the other players and the game master the next time they played, they found his character’s head on a pike outside the local dungeon.


These stories are chosen and translated from a Danish Advent Calender (“julekalender”) for roleplayers. They are small, independent stories from the major Advent Calender story arc. In Denmark there is a long running tradition for Advent Calender stories (in the shape of radio plays, tv-series, written stories, candles – but also as blogs with 24 daily blog posts counting down to Christmas) in 24 episodes running from the 1st of December til Christmas on the 24th of December (yes, Danes celebrates Christmas on the 24th).

Strange Tales for Roleplayers: Haunted Games

R. Kahn

R. Kahn

“No one plays Whispering Vault any longer. It has become a ghost town. Last time I visited it, it was empty. Completely empty. It was actually rather scary. Everywhere we went, we could feel the silence.”

Those were the words, that had led her to study the roleplaying game Whispering Vault in order to find out, what it was, that had happened. Now she is sitting in front of him, and on the table between them lies a recorder.

“That was the last time, Charlotte played with us. She has never been able since”. He stops. Stays a bit with the words, and then continues:

“I have never tried anything like it before. We created our characters and immersed into them, and when we started playing, we could that the setting was just empty landscapes. You could hear the echo of emptiness reverberate between the buildings, where ever we went. The silence wasn’t the worst thing, though. Our game master could still bring the setting fairly well to live, even if there was cobwebs and dust in most of the scenes we played. What was worse, was the Hunter or the Shadow which we at first called him … or it. At first we thought it was one of GM’s NPCs, some deadly villain following us from scene to scene, until the final confrontation at the end, but it always just hiding in the shadows. No matter what scene, we were playing, if you just paused a little, you could sense it. What was worse was, when Charlotte decided, that she would confront it. She starred out towards it in all the scenes, we had, and I could sense her character growing ever colder and more distant. Even our GM sensed it, and it was then, that I realized, that it wasn’t one of GM’s NPCs!

The Shadow was also present, when we were playing interparty scenes, for instance at one time we were sitting and planning out next move in the game and studying our clues. Our game master said, he would go brew some more coffee, while we were talking. That was when I saw it for the first time. Saw it for real. Just on the outskirts of the scene, between the shadows, was there something moving about. It was a living darkness with two empty spaces, where the eyes ought to be, and when I starred in its direction, it felt as if my character was being pulled into the abyss, down through its eyes. They drew everything towards them.”

He stops. His voice has become heavy with emotion, and tears are forming around his eyes.

“That wasn’t even the worst. That came later. It was, when our party had split up. Our GM had decided to split us into two different rooms, so we couldn’t hear what was happening with the others. Lars and Charlotte was in the living room, and the rest of us was in the kitchen, and GM was gamemastering for us, when Lars comes by. He is just going for the loo, he explained, and then went there. Shortly after came the scream. Cold and empty.”

She can see, that he is shivering, while recalling the events. His body trembles involuntarily, as if the scream is still echoing in his mind. She notices that, he has to stop himself from instinctively covering his ears. “She sat in the room screaming, just screaming. We went in there all of us. There was nothing to see. We search the room, but it was first afterwards, that she managed to explain, that she had been immersed into her character even after Lars left the room – and then it had come up of the shadows. It had sucked her character into itself just leaving an empty shell. The rest of the night her character wasn’t present in any of the scenes. It was just an empty shell every time she tried to play her character.”

She is about to stop the recording, when he continues:

“That is why I never play alone. I can feel, that it has followed me. Every time we play, no matter the RPG, I can feel its empty eyes staring at me from the dark. My greatest fear is that, we at one time will split up the party, and when that happens, it will come for my character. I not certain, that even the GM can hold it back.”


These stories are chosen and translated from a Danish Advent Calender (“julekalender”) for roleplayers. They are small, independent stories from the major Advent Calender story arc. In Denmark there is a long running tradition for Advent Calender stories (in the shape of radio plays, tv-series, written stories, candles – but also as blogs with 24 daily blog posts counting down to Christmas) in 24 episodes running from the 1st of December til Christmas on the 24th of December (yes, Danes celebrates Christmas on the 24th).

Strange Tales for Roleplayers: Time Passes


Close view of sand flowing through an hourglass. 3D render with HDRI lighting and raytraced textures.Excerpt from the Forbidden RPGforum

Have you noticed, that it can be difficult to return to events, i.e. a combat, in a roleplaying game, if it has been a few weeks since last game session? The cause is simple: Time passes. Not the time, that has passed from the last time, you and I sat and played at the table, for there has obviously passed the aforementioned weeks, but time also passes in the game.

Only a few knows this, but time actually passes during the combat rounds. It passes extremely slow, so it easily gives a sense of time standing still during a combat round, while you choose a form of attack, rolls dice and establishes the result, men minuscule parts of seconds passes none the less.

Since time passes so extremely slow, no one notices. Not even if it is a combat it takes three or fours hours to play through. However when a few weeks passes, and the party has stood in the midst of a fight with a group of orcs and trolls, then time has passed, just a little bit, but now it has come to a part, where you can sense it. That is why, it is difficult to get back into the situation and immerse into it again. There has occurred a timelag, that requires some game time to catch up with. That is why it is better to end the game with the characters going to bed or in some other way leave them with a situation with a longer duration ahead of them. The synchronization becomes less noticeable.


These stories are chosen and translated from a Danish Advent Calender (“julekalender”) for roleplayers. They are small, independent stories from the major Advent Calender story arc. In Denmark there is a long running tradition for Advent Calender stories (in the shape of radio plays, tv-series, written stories, candles – but also as blogs with 24 daily blog posts counting down to Christmas) in 24 episodes running from the 1st of December til Christmas on the 24th of December (yes, Danes celebrates Christmas on the 24th).

Strange Tales for Roleplayers: The Story of Lars

roleplaying1Report from a Regional Game Master

The probably most embarrassing episode, that I can think of, is the one with Lars. He played any roleplaying game, that had occult over- or undertones, whether it was about ghosts, vampires or werewolves, about angels or demons, or conjurers and witches. There hardly wasn’t the system, Lars hadn’t tried, and I do believe that he for a period played any and all rpg campaigns about the occult. He even started dabbling with tarot cards, not because he believed in the cards, but because he wanted to immerse deeper into the roleplaying and to create a more authentic experience. Oh, there it is again, the ‘authentic’ experience. That’s the strange thing about roleplaying, it is always fiction, we are working with, yet one is always tempted by unattainable realism. Anyway, where was I? Right, Lars and his tarot cards. Anyway for better or worse, after a while Lars found a new group to play with. One by one he dropped his vampires, werewolves, and ghosts, and began to spend more and more time with the new group.

I started receiving complaints. Not from Lars, but from the groups, he usually played with. Those of them, that he still was playing with, mind you. They said he was unfocused and lethargic. That he didn’t write summaries or immersed properly in the game. As regional game master I was called in to have conversation with Lars and assess, what was happening. So … I had a meeting with him. He took the standard tests, he scored mediocre on rules knowledge, miserably on campaign lore and so forth. There was no doubt, that he was loosing it, and I therefore needed to have a talk with him.

So one afternoon he comes into my office. He is smiling all over his face, and when I asked why, he tells me, he is out gaming tonight. It is his new group, the one he is so happy about – and the one from which I had received no complaints at all nor heard about, well actually I wasn’t even sure, whether or not it was a sanctioned group at all – but happy he was. I therefore asked him as the most natural about the group, and what they were playing, and what he thought about it. He told me, it was a pretty new group, they played freeform, fairly much semi-live, and they usually played every fortnight. He was their game master. It was a rather unusual group, he told me. He had met them at the bookstore, when he was looking for inspiration for his character, and they had begun talking. One thing led to another, and soon he had an invitation for a game night at their place. He had been invited directly into their campaign having had a fantastic game night, not much later they invited him to participate again, but they wanted him in the role as their GM. He had asked for rules and systems, but had been told, that they didn’t use that, and that he should just continue in the style, that he had brought, when he participated the first time. He accepted that, and soon he was their regular game master.

“But what were they playing?” I asked him. At first Lars hesitated. It was freeform, he said, but none the less they had a terminology for most things, and with many of these games, that uses their own terms – as you know every system its own title for game master: Dungeon Master, Storyteller, Animator, Game Master, Referee, Keeper of Lore etc. Here he had the title of Medium, and they called their game nights for seances. The campaign, I was told, was centered around their characters trying to contact various NPC’s, who resided on the Astral plane – it sounded a lot like Dungeons & Dragons Planescape but without factions etc. – and Lars’ assignment was to play the various NPC’s, that the other players wanted to talk to. He loved it, for he could use his tarot cards to create NPC’s more or less spontaneously, and he didn’t have to worry much about plot, but just focus on immersing into the characters and deliver the answers, the players’ characters wanted.

I had not the heart to tell him, what was meant by seances and medium, but on the other hand, Lars have never gotten to this much roleplaying before nor immersing this much into so many different NPCs, since he became GM for the spiritists. I have at least never received any complaints from them about his abilities as a GM.

These stories are chosen and translated from a Danish Advent Calender (“julekalender”) for roleplayers. They are small, independent stories from the major Advent Calender story arc. In Denmark there is a long running tradition for Advent Calender stories (in the shape of radio plays, tv-serieroleplaying1s, written stories – but also as blogs with 24 daily blog posts counting down to Christmas) in 24 episodes running from the 1st of December til Christmas on the 24th of December (yes, Danes celebrates Christmas on the 24th).

#RPGaDay2015 – Day 30: Favorite RPG Playing Celebrity

rpg-a-day-2015The question today for #RPGaDay2015 is not of much interest to me. I don’t care much about celebrities, though I can see the advantage for my hobby, when famous people come out in favor or roleplaying games, and I do remember seeing a listicle or two about famous people or celebrities playing D&D or some other roleplaying game.

So who to pick? Who do I remember being a roleplayer and a celebrity?

Day 30 – Favorite RPG Playing Celebrity

One of the few people, that I do remember being a roleplayer i Vin Diesel – who I think is the first actor, that I heard of being a roleplayer – and since he has starred a few movies, that I like (Pitchblack for instance), and in a sense made the sequel to Conan the Barbarian and Conan The Destroyer namely The Chronicles of Riddick which is to me the best attempt at a third Conan-movie (I am serious, try watching it as if it was Conan The Conquerer).

However there two other other celebrities, that I want to emphasize. One is Dan Hammond for his D&D-episodes in the tv-series Community, and the other and more important one is Wil Wheaton for his Tabletop Show and Ashes of Valkarna, where he has brought RPGs like Fiasco, Dread and Dragon AGE and Fantasy AGE to live. From his position in Tabletop, where he has popularised board games at a whole new level (and I know this, he really has), he has also brought attention to roleplaying games at a greater level than earlier producing a good visual representation of what roleplying is, though I may not favor his style of playing storyline heavy games in Ashes of Valkarna, it still is a good visual representation.