A few weeks ago, I talked about being the DM, with tips, hints and suggestions on how to approach being the DM (or GM). Today I’m going to be covering some more topics related to the atmosphere of your game; how to set it up physically and how to get the mood and tone right to really ensnare your players into your game.
Most of the advice found herein stems from developing attention and emotional investment by suspending a players belief to allow them to magically slip into the game world.
Let’s get started.
It really depends on your situation as to where you can play your games. If you don’t have your own place it can be tricky to find somewhere quiet to set up and play. If you’re in school or college, try and get a room organised (heck, you could even start your own club if you need to!) Lunchtime adventures can be a great escape in the workplace too (it’s possible in some places).
Whether you have your own place or not, try to be somewhere quiet without the chance of interruption. Why? Well if it’s quiet and there’s no distractions your party of players will likely be focused and give the game, and you, their full attention, which helps keep the session flowing and doesn’t break the growing tension as the story develops.
Furniture & Props
When I talk about furniture I’m talking about where you sit and play. Ideally, a table and chairs are great to start a gaming session – everyone is facing into the same space, you can see the other players from the table and you can get eye contact, which is important in a game that relies on communication.
I’ve found that having benches instead of chairs really brings people together and can be more comfortable than sitting in a small chair for several hours. Give people a break now and again – stretching your legs and hooking up to reddit or Facebook should help refresh your players and the DM.
And as for Props: I’m not talking suits of armour and wizards’ hats, but they’re cool if you or a player can afford costume. Go for it, whatever helps you get into your character mindset. On a simpler scale though, I am suggesting candles to really set the atmosphere. If you’re in the part of the world where it gets dark early, candle light can really get the mood going. Candle light is not dissimilar to firelight, which our ancestors sat around and told tales as a source of entertainment. You could argue that natural light sources are kindling to our imaginations and shouldn’t be underestimated. It’s in our blood.
A note on candles however – you’re dealing with fire and likely lots of paper and other flammable objects. Keep it simple if your table is small. Tealights are a simple way of creating candle light, but if you can afford pillar candles or votive style candles, then that’s helpful. Be careful!
Too dark? Small desk lamps aimed low and down can help those with poor night vision.
As the DM, your descriptions are the vital source of information in the D&D, or any role-play game for that matter. Without your descriptions you are losing the element of the story and likely your game will feel flat. This isn’t a bad thing for some groups where the game is more about tactical dice rolling, but for any other style of play, it’s vital.
So where do you start?
Here’s a few simple things to consider. Mix them up a bit to keep them fresh.
- Sight – this is the obvious one. You walk into any room with a light source and you take in your surroundings. Commonly overlooked in descriptions is the level of light in an area. For Dungeons & Dragons, some races can see in the dark much better than other races so you’ll need to describe the surroundings in a way that gives low-light and dark-vision some weight to the game. For characters who are effectively blind in the dark, give them snippets of information based on their sense of smell and hearing.
- Sound – Sound is something you can experience before you enter an area or place. Often it can be as simple as silence, but even silence can be described in different ways: is the silence oppressive, does it instill a sense of danger? Could the silence be pregnant with anxiety or tension, perhaps it is not total silence and echoes or rumbles with sound from other areas, giving clues to future encounters.
- Smell – Much like sound, our olfactive sense can give clues as to the nature of a contents of a room or place before we get close. Even on a subconscious level, our sense of smell is constantly working to warn us of dangers. Unlike the other senses however, smell can be overridden; a dairy farmer will quickly get used to the smell of cow manure to the point where they can no longer perceive it, allowing them to pick up smells that others would struggle to notice. Don’t overdo the sense of smell, it can give a lot away about the contents of a room or place… or it can mask the rotting undead waiting around the corner – there’s a reason wizards and necromancers use incense in their rituals.
- Touch – Our sense of touch may never be from direct contact, but it can help build a sense of growing horror in dark places like a dungeon. The primary sense of touch your players will need to know regards the temperature of the room. Is it cold? Did the temperature suddenly change from one room to another? Our sense of ambient temperature can instill a sense of fear, or it can be overridden by wonder and curiosity.
So how do you verbalise this information and how can we describe the contents of the room?
My personal rule about describing a location is to avoid specific dimensions right away; you can say it’s a large room or a small room, but the moment you start describing in feet and inches you can lose some interest – the prize of specifics immediately comes at the cost of interest and immersion.
So, I find the best places to start is to hit the players with whatever is most noticeable first; the things that move. Our eyes are programmed to follow movement, especially in situations that we consider dangerous. Ecologists develop an unfortunate knack of focusing on movement because they can spend days grabbing small mammals and putting them in safe places (can confirm).
The exception to this rule is when you’re trying to create tension. Let’s say the characters fall into a room in their attempt to escape and you want them to see a creature holding a blade to an innocent person’s throat; which sounds better:
“As you fall into the room you see a large red skinned creature with horns holding a young farmer with a knife to his throat.”
“You spill into the room and find yourself in a richly decorated chamber of silks and cushions, lit with a roaring hearth. In the centre of the room, with the fire dancing in his eyes, a young farmer stands, stiff and pale. One arm is held tightly behind his back, the other is stretched out as if to keep you at bay. From over his shoulder a wicked slashed smile filled with glistening fangs taunts you. A demon has a knife to the young man’s throat…”
One is basic and to the point, and even though the other doesn’t give you all the information we’ve discussed previously, it builds the tension up. Your players know that there is something special in the room even as you start to describe it, and it sets the scene one piece at a time, culminating with the priority of the encounter.
No one is expecting a theatrical overture all the time, but getting your opening descriptions perfect really brings the focus and attention of your players right up and into the game. I touched on this previously, so I’ll repeat it here:
Hit them with your first line like it means something. Start this bad boy up likes it’s a chromed Harley Davidson signed by Meatloaf, discovered by a post-apocalyptic tribe 200 years from now. Go full throttle on those natives and let them have it! But how do you do this?
I’ll tell you how!
Have your first or opening lines practiced. Get everyone settled in; all rules checked up with no more questions left to be asked. Depending on the type of story you’ve gone for, the players will determine your first line, to a degree. For me, I sometimes start my party in peril so they have to pay attention or they die.
But for first-time adventures you may want to set the tone like any good author would. There are tonnes of this information on the net, but I’ll give you my opinion.
Which sounds better?
“OK, so you’re sat in a busy tavern when someone walks up to your table and says they need to talk to you in private…”
“It is night time in autumnal Ostogar, the town of bones. The Black Boar tavern is in full swing and the patrons, a colourful plethora of cultures and races sing and drink together, enjoying the sanctuary of warmth from the bitter cold outside. In the midst of the crowd, two cloaked figures catch your eye. They seem to be trying to get your attention without raising their voice over the merry din. What do you do?”
OK so maybe I’ve embellished a little bit here and there. But the idea is pretty obvious. Even if you don’t maintain this level of detail all the way through your game session, you still got everyone drawn in from the very start. The players will already be thinking along the same lines and wondering what is going to happen.
My example is pretty vanilla here, but that’s OK for an example.
Music & Soundscapes
This final portion of advice is more of a luxury but can seriously add some depth and immersion to your gaming session. It can also go horribly wrong, so fair warning.
Music in gaming sessions can be very hit or miss, with the tone of the music required to be just right for the moment of the story. Music can really bring things to life if the right tracks are played at the right time. I use a mixture of Spotify and YouTube to create playlists which cover most moods I am trying to portray in a game.
But it essentially comes down to taste.
Here are a few examples which may give you ideas:
I have created a playlist in YouTube for an adventure into some ancient elven ruins. For me, the ideal type of music is something haunting, which creates vistas of crumbling stone and a forlorn hope of regaining a golden age, whilst also feeling lonely. The music I use for this; Warhammer 2 Total War, the High Elf campaign tracks. It fits perfectly with the images I want to portray.
To build a gritty and expanding / progressive battle I collected music on Spotify from the Viking TV series but Trevor Morris. The combination of natural instruments with male and female vocalists brings a very personal note to a violent situation, and aren’t necessarily full of ‘epic’ music (which I personally find distracting and a little bit too good guys fight bad guys, black and white vanilla, ‘my first adventure’ kind of vibe – yeah it was a ramble).
Where can it go wrong?
Well if you bring music into your game it may give players the wrong impression, or it may be from a film or game which they didn’t like. This probably won’t be an issue to most gaming groups but it’s possible.
And what if you don’t want music?
Well there’s some interesting ‘soundscapes’ available on YouTube. Soundscapes are collections of sounds stitched together seamlessly to create ambient or atmospheric sounds. Need to hear a busy market place for an encounter; sure, there’s loads. Want something gothic and creepy for your Curse of Strahd campaign; there’s even specific tracks for that.
YouTube is a wealth of resources for this sort of thing. I can recommend Sword Coast Soundscapes for this, they have an extensive list of tracks to choose from.
So how is the atmosphere made?
Drawing all of this together, I will give you an example of a recent gaming session I ran. I realise not everyone is as lucky to have a similar setup, but here goes…
The game was meant to be dark, wintery and take place mostly in a small town, Ostogar. The setup of the adventure was to take place in a tavern call the Black Boar – the only place open at this time of the month due to local superstition. The Black Boar inn is full of traders of all cultures and races, the only place they could all stay warm in the winter. For this tavern I played a rowdy tavern soundtrack, which I increased the volume of as they approached the building and then cranked up more as they entered.
I have a wooden table, with a slatted surface and a slightly rough texture, just like a tavern table. I set out some homemade candles (beeswax) and placed them around the gaming table. I made sure there was enough light and turned off all artificial light.
Before I knew what was happening, my players were whispering conspiratorially under the crowd of the soundscape, huddling in to listen to each other to plan and discuss the other patrons. I could hear them talk from the other side of the table, so I know it wasn’t too loud, it was the atmosphere made them drawn in together.
The game was a huge success as a single session adventure and some of the old-time players have asked to be invited back for more. My adventure was mediocre at best (I lie, I loved it), but the game really took off because of the immersion.
I hope this has given you some ideas, and I’d love to hear and discuss any suggestions you might have!
J.D Ferris, CC