When you meet someone for the first time, make a Reputation Check : roll 1d100 equal/under your High Score. On a success , they've heard of you. On a failure , they've never heard of you. On a critical success , they've heard of you—and they feel positively towards you. On a critical failure , they've never heard of you—and they feel negatively towards you. For example: Han Solo (High Score 35) walks into a cantina on the outer rim. He approaches the barman and rolls 1d100: 33. A critical success. "The Han Solo? Aren't you the madman who made the Kessel Run in 12 parsecs? I've got something special for you..." *** I think it's pretty delightful that High Score, as written, is totally non-mechanical. It's this wonderful, open socket waiting for you to plug something in. It also reinforces the entire tone of the game. When I Warden, I've started ending every session with this line: "And that's where we'll end for tonight. Everyon...
This is an OSR Pattern. If you haven't read one before, scroll to the bottom for some context! One, Two, or Three Exits A room with one exit is a dead-end; with two exits: a waypoint; with three exits: an interesting choice. Four or more exits is fatiguing, yet may have its place. Sometimes, you'll see a dungeon room that has way too many doors: The Temple of Elemental Evil (1985) This is uncomfortable for both the Referee and Players. The Referee has to communicate too much information at once. The Players have to comprehend too much information at once; they will ask for clarification now or later. People can hold 1-3 pieces of information in their mind at once. This is true for NPCs . It is true for quest hooks. And it is true for dungeon rooms. When placing exits, do so deliberately to manage cognitive load and pacing. A room with one exit is a dead-end . This is... A cognitive break, as the Players have reached a terminus. A tactical nightmare (no escape) or a fortifiable...