April 15, 2024 • 30 mins
In this episode of Hello Adventurers, hosts Jason Portizo, Joe McCall, and Jim Crocker discuss strategies for running mystery campaigns in Dungeons and Dragons. They tackle the challenges posed by D&D's pass-fail system for whodunits and explore three main approaches for game masters to construct engaging mysteries: 'The Pool of Clues' method, involving a fixed set of suspects and clues without pre-determining the culprit; 'The Emergent Solution', which encourages players to come up with their own solutions based on clues given, making the game highly interactive and player-driven; and 'Core Clues, Fixed Solution', a more traditional approach where the DM decides on the outcome but allows the players to discover it through gathering clues.
The episode also touches on considerations for magic and divination in mystery settings, the importance of balancing clue distribution and engaging players in the investigative process, and navigating the challenges of high-level play where characters have access to complex problem-solving resources. The hosts share resources and pre-made games that incorporate mystery elements effectively, inviting listeners to engage further by sharing their mystery game experiences.
Tell us about your favorite mysteries helloadventurerspodcast@gmail.com or send us a voicemail to helloadventurerspodcast.com/voice
The episode also touches on considerations for magic and divination in mystery settings, the importance of balancing clue distribution and engaging players in the investigative process, and navigating the challenges of high-level play where characters have access to complex problem-solving resources. The hosts share resources and pre-made games that incorporate mystery elements effectively, inviting listeners to engage further by sharing their mystery game experiences.
Tell us about your favorite mysteries helloadventurerspodcast@gmail.com or send us a voicemail to helloadventurerspodcast.com/voice
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:20):
Hello, Adventures, the podcast forrole players and game masters to help level
of your game. We are youraventuremasters. Jason Platina, I'm Joe McCall
and Jim Crocker. So today,Jim, you left me a cryptic message
on what we're going to do today, and I think we should all band
together and figure out what it isyou want to talk about. Yes,
(00:41):
yeah, yeah, I when youwere asking for topics here, when you're
asking for topics, I wanted totalk about a thing that there's different approaches
for, but that I see alot of new dms asking about, and
even some experience dms, and that'show to run mysteries in their D and
D games. Because of the wayD and d's past fail resolution system works,
(01:03):
it's not necessarily great at running whodone It's and you've got to kind
of tweak things a little bit tomake them work. I have got a
couple of questions that you can askabout the kinds of mysteries that you can
run, and then three different approachesfor how you might put together an interesting
mystery over a session or a coupleof sessions. That's great. All the
all the advice I've seen on runningmysteries in D and D as can be
(01:32):
summed up in one word, don'tyeah, or at least at least band
zone of truth. Yeah. Andthat's the thing that we're going to talk
about, is is diven and inparticular divination and how you handle some of
those things that that that you canthat might feel like ways around that you
(01:53):
know, you're like you're flying andyour dimension, doors and all this kind
of stuff that that that might posebarriers to that. And I've got some
approaches to that, and you know, ways that we can think about how
we might use those or you know, put some boundaries around them and make
them interesting, make them tools thathelp you solve the mystery, as opposed
(02:14):
to you know, shortcuts that allowyou to skip the mystery entirely and get
straight to the solution. Awesome,let's let's get straight to the solution then,
all right. So I think thefirst thing that we want to do
is decide if in this mystery,when we watch mystery shows on TV,
when we watch procedurals. There aretwo kinds of procedurals, and one is
(02:36):
what we might think of as asa who done it right, as an
Agatha Christie, where we're not surewho committed the murder, and we're trying
to figure it out and piece thattogether and gather clues and stuff like that.
And that's you know, where youget your like your knives out,
your glass onions and stuff like that. Murder, she wrote, murder,
she wrote maybe murder, she wroteyeah. Yeah. But the other kind
(02:58):
of show that we get is somethinglike the sent Natasha Leone, the one
from Natasha Leon series poker Face,where at the beginning of the show you
see the crime happen. You knowwhat the crime is, you know who
did it, but the challenge isto prove that they did it right.
So we might call something like thatlike a how done it right? Or
(03:19):
you know or but but the challengethere is not that we have no idea
who committed the crime. It's puttingtogether the evidence to prove who did it
and get them put away or youknow, arrested, or essentially you know
that the you know, maybe thatthe mayor of the city or the head
of the thieves guild gives you thego ahead to go after that person,
(03:44):
right, and you can do eitherof those. And I think the advice
I'm going to give for these threedifferent approaches that you can take. And
it's not to say that these threeapproaches are exhaustive, but they are the
ones that I tend to use ifI want to get this kind of story
across. It's what I look to. You can kind of use that for
either of those approaches. So let'sstart. I've got three methods here,
(04:04):
and I've kind of given them names, but well we'll talk about what the
what that looks like. The firstone is what I call the pool of
clues, the pool of suspects,where the solution is confined to a certain
number of suspects, but as theDM, you don't decide in advance who's
(04:26):
guilty right or what their method was. So maybe you put together you have
half a dozen possible suspects that youpresent to the party, and you say,
you know it can be this guywho is you know, we've got
a victim here. So this islike your knives out approach, right where
(04:46):
you've got these this group of suspectsand you know that one of them did
it, but you're not sure whichone, and the goal is to go
around and figure out together enough evidenceto prove that it was one of those
people that did it, So inthis case, you might introduce four,
five, six subjects. One ofthe things that's really good with this is
(05:06):
you introduce enough suspects to match thenumber of party members that you've got,
right, So if they want tosplit up, you can have each one
go investigate one of these suspects,if you want to do that. And
then you put together a pool ofclues, and you want to make that
like maybe three times the number ofsuspects you've got, right, if you've
(05:29):
got five suspects, maybe come upwith fifteen clues or something like that.
And you make these clues fairly general, but that point to something to do
with the victim. You know,if the victim is like a wealthy smuggler,
right, maybe one of the cluesis a list of contraband deliveries.
Maybe one of the clues is acounterfeit custom stamp, right. Another one
(05:53):
might be if you've decided he's poisoned, then you know a mortar and pestle
with a deadly night shade crushed init or something like that. But what
you want to do is make surethat you kind of distribute these clues around.
You encourage the players to interact withthe locations of the mystery, places
where you know, the actual sceneof the crime and other places where people
(06:15):
might have been, and with thesesuspects, and you want to make sure
they create a situation like you wouldin a good mystery novel, where all
of these suspects have reason to beguilty, all of them have means,
motive and opportunity, and then it'ssorting out who was responsible and what you
(06:38):
did. And so then what youdo is you kind of put the players
in contact with these suspects in theselocations and have them make appropriate skill checks
to gather information. If they areroughing somebody up, you can roll intimidate,
if you know, I mean literally, you could have the good cop
roll persuasion and the bad cop rollintimidate, right, and success in that
(07:03):
produces one of those clues. Andyou can also have clues that say something
like a suspect admits to being therethe night of the murder or something like
that, right, And then youcan attach that to whichever those suspects you
want, And then you decide onthe number of clues that they have to
gather. You know, maybe it'stwo per player character, right, that
(07:26):
gives them the opportunity to go aroundand do different stuff. And once they've
collected that, you know, thatnumber of clues, then you say,
okay, you guys, put yourheads together and do the detective thing where
you go, well, this cluemeans that, and that means that,
and that points to him and thisthis was a red herring. You know,
that doesn't mean anything. And thenonce you've gathered that number of clues,
(07:48):
you tell me who you've decided thesuspect is based on this information,
and you're correct, that's who didit? Is murder on the Orient Express.
It was all of them, yes, spoilers well or yeah, but
but I mean and and like youknow, I have heard objections to the
idea that, like you know,this is just the quantum ogre thing where
(08:09):
you don't know what's going on.But it's what you've done is it's not
like it could be anybody, right, you know, it's this defined group
of suspects and you're narrowing down.You know, this is like actual police
work, right, But all you'redoing is you're imposing this you know,
this structure, this framework on it. And Jason, you know, when
(08:31):
you start asking about like zona truthor divination or something like that. What
you're going to say is, look, you can get information using those spells,
but what that will do is thatwill produce a clue. There's no
single action you can take that willshortcut this process, right, you know?
But yeah, you know, andyou know, all zona truth tells
(08:54):
you is that someone is lying,not what they're lying about. And that's
why I go back to that atthat Poker Face show where the fun thing
about that and if you get thechance to watch this show's amazing. But
Natasha Leone's character has a like,basically a bullshit detector. And we'll see
a crime play out at the beginningof the show and she'll be somehow kind
(09:15):
of on the periphery of it.You know, somebody gets murdered in a
bar. She's working there as acocktail waitress, right, and she'll you
know, and then we'll see howshe's connected to that character, and she'll
kind of move around through the peoplethat might be responsible and someone will say
something she'll go bullshit and she goeslike, he's lying about that, but
(09:35):
I don't know why, right,but he's lying, right, And then
the show is about her figuring thatout and making those connections and things like
that, and you could do thatsame thing in your D and D game.
That was a common thing in theIf you've played the Phoenix Right games,
if you have Fantastic games, theywere originally on the Attendo ds.
They were remastered on the Switch.It's like twenty or thirty bucks for the
(09:58):
whole trilogy and the If you likelike mystery games, it's it's it's hard
to sell a game where you're playinga lawyer as the hero, which is
just feels weird. But you know, in a game in a genre where
you're you can play as like,you know, fantasy creatures and you can
blow things up. You get thebiggest guns in the world. I'm gonna
play a lawyer today. But theyare amazing games. The stories are fantastic.
(10:20):
Even if you just like watch aplaythrough on YouTube. I'm a big
game Grumps fan. They have anexcellent play through with that at the time
of this recording, and they're inthe middle of and it's just hysterical to
watch them play it. But thereis there's something to like interviewing someone and
long story short, there's a mechanicin the game where you can tell if
somebody has like a secret to hideand you have to drag that out of
(10:41):
them, and it's not always forguilt, In fact, very rarely is
a for guilt, but they havethey just have their reasons to not be
telling the full truth about this thingat that time, whether it implicates them
as being somewhere they shouldn't be.Yeah, my wife didn't know that I
was there, and they're putting somethingas simple as that, or it's like
someone's just embarrassment. I'm trying tothink of a really good I feel like
(11:03):
modern but modern mysteries do that alot, right. It made you think
somebody is really guilty, and thenyou find out, well, they just
cheated on their test or or theywere right their wife didn't know where they
were. It's called a red herring, right, And it is one of
the oldest tricks in the book literarydevices, the same thing literal device is
(11:24):
literally a trick in the book.Cannot be any more literal with the trick
in the book. Oh god,I hate that it made that joke.
So but yeah, the the lyingfor for a reason that is not because
you're guilty is going to be keyhere. Yeah, the other game that
that used to play big the theI think underrated rock Star game La Noir.
(11:48):
I love that game. I wasjust thinking about l A Noir the
other day and a lot of thatthing. We have PlayStation now and I
can't doubt. Yeah, Hello Adventurers, just stepping in here to remind you
guys that we're actively looking for submissionsfor our Hello DMS episode that gets reported
(12:11):
every month. Send us your burningD and D questions to Helloadventurers podcast at
gmail dot com, or send usa voicemail by visiting helloadventurers podcast dot com
slash voice. Don't forget to beginyour message with Hello DMS. You can't
wait to get your questions and talkabout them on the show. Send us
your questions today. That's Helloadventurers podcastat gmail dot com, poorly the voice
(12:33):
at helloadventurers podcast dot com slash voice. Now let's get back to the show.
So the second approach that I havehere is kind of a variant on
the first, but I'm going toit's what I call the emergent solution.
And in that case, you don'thave to have a pool of suspects.
(12:54):
You can just present it to theplayers and give them a number of clues
they got to figure out and leaveit in the hands of the players.
Right, you just say to them, who do you suspect of this?
Give me, give me the threepeople you suspect of this, the three
NPCs, or we can make upsomebody new that you know that you want
to do this. And when theyfind those clues, rather than having like
(13:18):
a pool of specific clues they pullfrom, you can say, okay,
what's a clue that points at thesuspect you think did it? And you
know, just put that bit ofthe world building and the mystery construction in
their hands and again decide how manyclues they have to collect before they can
then prove that the person that theywant to pin it on actually did it.
(13:41):
Now, this requires a lot oftrust right at the table. It
requires that, as the DM,you trust that the players are going to
be reasonable about it. They're goingto do something interesting narratively, and this
is a lot closer to the kindof thing you might do and some of
those like indie sty games that I'mfond of. Right, you know,
(14:01):
then then the much more kind ofprocedural things of D and D that you're
used to, and the other thingthat you can do with the with the
emergent solution is you can decide,regardless of what you do, you get
a clue. And this is goingto kind of kind of go into my
third approach, which borrows something froma system called the gum shoe that some
(14:24):
of you may be familiar with.You can decide that you know, if
you go somewhere or you talk tosomebody, you're going to get a clue.
But the dice, the role thatyou make for your skill check determines
what's the cost of getting the clue, not necessarily do you get the clue
or not, because at some atsome point it might be you know,
it might just be not interesting tojust fail to find something. But certainly,
(14:48):
you know, if failing to findsomething means you know, if you
find it but then you get inbut then that triggers a fight, or
you know, you find it butthen that closes that area off to you
or something. You can decide whetherthat's going to work there. But you
can make it completely open ended ifyou want to, Like I said,
if you trust the players and they'recreative and they're sufficiently interested in that,
(15:11):
this is definitely a thing where youknow, if you have the kind of
players that are like, we don'twant to do that much work, why
are you laying this on us?You're the dungeon master. You're supposed to
come up with this stuff. Thisapproach is not going to work, and
that's okay. It's not going towork at every table, sure, but
that absolutely is a way that youcan do a really interesting mystery that if
you have the right kind of players, they'll be super engaged and involved because
(15:37):
they're coming up with it as yougo and as you play through. So
the third approach that I've got hereis what I call core clues fixed solution,
Right, So this is where youdecide, you know exactly who you
want to be responsible for it,where as the DM you need it to
be, you know, the comptrollerfor the city that's been embezzling. But
(16:00):
the interesting thing is how are theygoing to figure this out? And in
this case, essentially what the Andthis is true of any RPG mystery,
which is the clue gathering the investigativeprocess is acting as a timer and a
narrative device that leads to the climaxof that story. Right of confronting whomever
(16:22):
is responsible of sicking the cops onthem whatever it is that you're going to
be doing in the story. Butit's always a timer that leads to that.
And in this case, the cluesare there. You know what the
clues are. You don't necessarily haveto have them in specific places. But
again, whenever they go somewhere,they're going to find a clue. And
when you put all those clues together, they conclusively point to this person that
(16:47):
you want. But again you're imposingthis structure that says you have to have
at least x number of clues beforeyou can go to the magistrate and say
this person did it, We canprove it, and so we're going to
go after them. And again thatrequires a little bit of, you know,
willingness on the part of the playersto have this system imposed on them.
(17:07):
But if you're going to do amystery and you want it to be
interesting and give everybody a chance touse their different skills, you've got to
set up a thing where you imposeon the structure the idea that they can't
just shortcut it by using speak withdead, by talking to the corpse to
say, you know who killed you? And they go, is that guy
(17:30):
there there we go. Mystery solved. And you definitely want to make sure
that if you know that your playershave access to those abilities, that you've
got like a reasonable way that theycan use it and get something effective but
not shortcut the adventure. And thebest way to do that, of course,
(17:51):
is to you know, you canwrite in your notes if they you
speak with dead on the corpse,the corpse will tell them, well,
I got stabbed eighteen times in theback, and so you know that it's
somebody that you know, or orit was a single expert, you know,
stab between the ribs and and andI barely felt it before I was
dead, So you know that clueis that you know they were shanked by
(18:12):
an expert or something like that.I was going to suggest something a little
more cryptic, whereas like, youknow, they could use a nickname that
could apply to several people. There'sa lot of there's a lot of there's
a lot of room for messing withany of these structures, I think.
And yeah, like I always likedthe idea of almost like you're giving clues
to who it's going to be,but you haven't necessarily introduced that character yet.
(18:34):
Yeah, but so so funny enoughthough, in just us talking about
mysteries and probably the last the third, the third way to do a mystery
that that Jim you were talking aboutbrought up something that I remember one from
Sly Flourish that we talked about Ithink a week ago, a couple of
(18:56):
episodes ago. Yeah, we talkedabout a couple of episodes ago. I'm
gonna try to think that was thelast episode that we had talked about Slide
Flourished. One of the things Iknow he talks about a lot is mysteries.
And I remember an article that Iactually just pulled up from the Alexandrian
dot net that I'd found when researchingfor a different way to do a Baldersgate
Avernus adventure from from Watson to sendto Aurness the other then I had found
(19:21):
the three clue rule. So yeah, you know about this, Jim,
Like, essentially, for any cluethat you want to give a player,
you have to have three that leadto that clue that leads you to the
next clue essentially, And like thethree is like the minimum. Really you
might even want to have four orfive sure, because every time, like
(19:41):
if you leave a clue then you'relike, my players are going to get
this, They're not. They needlike three times the reinforcement essentially. Yeah,
And this is also one of thoseplaces where if you're running a mystery,
one of the challenges and one ofthe things, like you said that
that can stemy DMS is what itmeans to give the players, like and
(20:03):
I'm gonna use scarequ's here a clue, right, And people's brains don't work
the same way. And if andyou know, and certainly one of the
other things you can do is ifyou want a structure that leads players from
one location to another location, toanother location to another location, and you
just want to structure it that way, where it's you start at the docks,
(20:29):
you go to the you know,you you start at the docks,
you go to the merchant quarter,you go to the you know, the
nobles townhouse, and you end upat the magistrate. Then the clue can
be, you know, you finda perfumed letter which tells you the next
place you need to go is themerchant's quarter. You know, rather than
(20:51):
like being subtle about it and havingthem figured out, just go ahead and
give them that information, tell themwhere they're going next step out of care
you know, you know whatever,meta game a little bit. And that's
totally fine because that's you know,that keeps the game moving. That's the
process. Tell them. Don't justtell them what the clue is. Tell
them what the clue means, becauseas experienced adventures, they would be able
(21:15):
to figure that out. My wizardhas a twenty intelligence, I do not
sure. So you know, himseeing you know whatever, like like some
kind of alchemical code written on ayou know, on a piece of parchment,
is going to tell him exactly whereto go. That is a player
I might be going, Yeah,I don't remember eight sessions ago when you
(21:37):
described me seeing a paper like thaton the wall in the potion shop.
Right. So so that's where there'sa couple of things with that, right.
So One is when I'm recapping asession, I am not. Sometimes
what I'll do is I'll make sureto mention those important pieces of information.
Yeah, lipshade right on it.Not unlike you know when you're watching a
(22:02):
show and like something like three episodesago, like it's like three right right
previously now, and you're like thathappened a while ago. Oh, we're
going to get something about that,like a classic classic cartoon cartoon TV.
Yeah, especially mysteries. I feellike that, like if it's if it's
like a season long payoff for something, they are going to show you something
(22:22):
from the first or second episode ofthat season. If there's going to be
a payoff for this episode, Yeah, exactly. And I feel like I've
seen it, especially in like Gameof Thrones, where they like they previously
on, they show you and you'relike, oh, they're going to talk
about this now, sure, Okay, they're going to catch us back up
with with this person or that thing. One two is essentially when I give
(22:45):
clues to my players ear Muff Jason, I give cluse somebody players, I'll
escalate them, right, So thefirst one might be like a real clue,
the second one's like a little cluewith like a little nudge to it,
and then the third one is whatyou're saying, like, and this
one is a perfumed letter, likeaddressed from there's a return dress. Somewhere
(23:07):
around clue seven or eight, we'llstart figuring out. Yeah. I was
like, yeah, no you won't, but yeah, you kind of you.
And I think that's where you haveto kind of gauge things as a
d M and just say, Okay, they're never going to get for your
(23:27):
knife. For your knife, clueyou find a paper in your back in
their back pocket that says, goto the bath house. Guys, what
could this guys? What could thismean? One of the other things that
we want to keep in mind hereis that the higher level the characters get,
the more resources they have and themore ability they have to get around
(23:51):
traditional methods of investigation. Right,So this is something that I think is
typically you're going to want to dothis in the you know, mostly in
the lower lene levels. Once theystart you know, fighting demons and stuff
like that, they've got more interestingthings to do than solve murders. So
this is going to be relatively lowlevel, like kind of load to mid
level that you're going to be engagingthis sort of stuff. But one of
(24:12):
the things that this that this cando is it can get into talking about
because for the most part, ifyou're going to have these kinds of investigations,
typically they're going to happen in somekind of an urban setting. This
is where you can start to getinto if you have players that are interested
in this kind of thing, ifyou as a DM or interested in this
(24:33):
kind of thing. How does thelaw work regarding stuff like this? Regarding
divination spells? You know, ifyou go into you know, do they
use zone of truth in the courtsor are the gods like no, that's
reserved for like we're not going todo that in service to the state.
But that's nonsense, you know,is divination Like do you have to be
(24:57):
a licensed diviner of something? Find? You have almost for a court to
accept what you found as evidence likethat, Yeah, I was gonna say
something being illegal has never stopped anyof my party. But it won't be
Essentially, it won't be admissible becauseexactly you didn't. You didn't you didn't
follow protocol in using that you hadto have not unlike you know our laws
(25:22):
here that like just because you findsomething like well, did you have probable
cause? Did you have a warrantor anything else? Because if you didn't,
then it's inadmissible. You cannot useit, and they're they're free to
go. And that's now you're youjust let a murderer off the hook and
now you can And one of thewonderful things about the fact that you're designing
a fantasy legal system is you canpeeback you know, the way that fantasy
(25:48):
legal system works on the mechanics thatyou're imposing on that. So if you're
like, okay, you need tofind seven clues before you can definitively point
to a suspect, and then wemoved to the part where you take them
down. You know, the lawof that city is you must present seven
pieces of evidence before you know,we will you know, sign the writ
(26:08):
that authorizes you to, you know, pursue this this important citizen for whatever
crime. The rule of seven exactlythere. That sounds like at quest,
he said, those are the approachesthat I typically use. I'm a big
fan of that first one of thatthat pool of clues, pool of suspects,
(26:29):
but kind of constrains the field ofplay. It gives them specific directions
to look at, but means everybodygets a chance to do something interesting.
You get to introduce some NPCs,and those NPCs that you introduce the suspects,
the ones that turn out not tobe guilty, they can become part
of the campaign as well. AndI really like two that like there's a
(26:51):
time limit on that that can thatdoesn't like it doesn't have to be a
set time limit either, because there'sno saying that. Essentially, if your
player go down a rabbit hole andthey're really focused on that one person,
like like you know, you gotto get going home, like yeah,
no, you got it, let'sgo yep. And it's a thing that
also allows you to sidetrack in themiddle of it, right. So,
(27:15):
so you know, if if youfind four out of the seven clues,
but then you realize that there's thiswhole smuggling ring that you want to break
up, you can take a coupleof adventures, you know, a couple
of sessions, go off the side, have them bust up that smuggling ring,
and when they come back, they'vestill got four out of seven clues,
right, and they can just pickright back up and you know,
and proceed with it from there.Yeah. So I guess the first question
(27:38):
that you ask is this a whodone it? Where you're trying to figure
out who's responsible for it? Oris it what we might call a what
done it? Where you know,maybe is the DM you know, you
do a scene where everybody says whatit is? Maybe the villain even sends
you a letter saying wah, Idid this, but you'll never prove it,
fools, Oh like Professor Moore,Yes, yeah, exactly that kind
(28:02):
of thing. You can totally dothat. So I know, I love
I love all of Jim's big bats, and they're just selling eighties cartoon villains.
Just the guy from Bullwinkle at thetop, slightly relash. I'm a
dude of a certain age, myfriend. So absolutely, But determine whether
it's a who done it or whatdone it? That's the first thing you
do. You know, what isit that the players are trying to figure
(28:22):
out? And then put one ofthose structures over it to make sure that
you get a compelling story, acompelling narrative that gives everybody a chance to
use their various different skills to getat the true And we've got our our
pool of suspects approach, we've gotour emergent solution approach, where you just
put it all in the hands ofthe players. They but they just need
(28:44):
to, you know, come upwith a certain number of successful tests in
order to do that, something likeyou know, a version of sort of
the old fourth Edition Skill Challenge,right, we kind of kind of make
that into our mystery and the thirdapproach is something similar to what we might
have in the gumshoe system. You'vegot core clues, and those clues are
always going to get found, andthey're always going to lead to your you
(29:07):
know, your preferred solution that you'vesaid in advance, but they just need
to find a certain number of thembefore they can actually act on that solution.
But it will always lead them towhere you want to go. And
those are three approaches to mysteries.And I would love to hear if anybody
else has had success with trying todo it differently, love to hear about
that. You can tell us aboutyour attempts in a mystery, hopefully successful
attempts if you've gathered enough clues.Tell us about your mystery games. That's
(29:30):
Hello Adventurers podcast at gmail dot comor tell us yourself helloadventures podcast dot com,
slash Voice. There's a couple ofcool pre made games that that I've
used that or that that are greatmysteries. I've brought up d M.
Dave a lot. He has onecalled Doppelganger City that is very much a
a who Done It? That usesthey use the doppelgangers in shape Shifters and
(29:52):
like, it's a pretty cool approachto not even knowing who the characters even
really are yet, which as awhole in different way or two is that's
a very fun one. And ofcourse this cant keep mysteries, which is
a compilation of one shots that dointernect with each other, and there is
an overarching mystery to that. Cool. So if you want to see how
it's how someone else already did it, start there and see how it goes.
(30:14):
But I think that's all we got. Anything else, no, great,
thank you, yeah, so,thank you so much for listening to
Hello Adventurers. We're your hosts JasonPortiso, Jim Crocker, Andrew McCall,
Produser editor Engineer Jason Portiso. Musicby Nixt Starrier, artwork by Kristen Broderick.
You can reach out to us withany feedback for suggestions by emailing Hello
Adventurers podcast at gmail dot com.Hello Adventures is a JTP audio production.
(30:37):
Goodbye Adventurers always is it Crue
Hello, Adventures, the podcast forrole players and game masters to help level
of your game. We are youraventuremasters. Jason Platina, I'm Joe McCall
and Jim Crocker. So today,Jim, you left me a cryptic message
on what we're going to do today, and I think we should all band
together and figure out what it isyou want to talk about. Yes,
(00:41):
yeah, yeah, I when youwere asking for topics here, when you're
asking for topics, I wanted totalk about a thing that there's different approaches
for, but that I see alot of new dms asking about, and
even some experience dms, and that'show to run mysteries in their D and
D games. Because of the wayD and d's past fail resolution system works,
(01:03):
it's not necessarily great at running whodone It's and you've got to kind
of tweak things a little bit tomake them work. I have got a
couple of questions that you can askabout the kinds of mysteries that you can
run, and then three different approachesfor how you might put together an interesting
mystery over a session or a coupleof sessions. That's great. All the
all the advice I've seen on runningmysteries in D and D as can be
(01:32):
summed up in one word, don'tyeah, or at least at least band
zone of truth. Yeah. Andthat's the thing that we're going to talk
about, is is diven and inparticular divination and how you handle some of
those things that that that you canthat might feel like ways around that you
(01:53):
know, you're like you're flying andyour dimension, doors and all this kind
of stuff that that that might posebarriers to that. And I've got some
approaches to that, and you know, ways that we can think about how
we might use those or you know, put some boundaries around them and make
them interesting, make them tools thathelp you solve the mystery, as opposed
(02:14):
to you know, shortcuts that allowyou to skip the mystery entirely and get
straight to the solution. Awesome,let's let's get straight to the solution then,
all right. So I think thefirst thing that we want to do
is decide if in this mystery,when we watch mystery shows on TV,
when we watch procedurals. There aretwo kinds of procedurals, and one is
(02:36):
what we might think of as asa who done it right, as an
Agatha Christie, where we're not surewho committed the murder, and we're trying
to figure it out and piece thattogether and gather clues and stuff like that.
And that's you know, where youget your like your knives out,
your glass onions and stuff like that. Murder, she wrote, murder,
she wrote maybe murder, she wroteyeah. Yeah. But the other kind
(02:58):
of show that we get is somethinglike the sent Natasha Leone, the one
from Natasha Leon series poker Face,where at the beginning of the show you
see the crime happen. You knowwhat the crime is, you know who
did it, but the challenge isto prove that they did it right.
So we might call something like thatlike a how done it right? Or
(03:19):
you know or but but the challengethere is not that we have no idea
who committed the crime. It's puttingtogether the evidence to prove who did it
and get them put away or youknow, arrested, or essentially you know
that the you know, maybe thatthe mayor of the city or the head
of the thieves guild gives you thego ahead to go after that person,
(03:44):
right, and you can do eitherof those. And I think the advice
I'm going to give for these threedifferent approaches that you can take. And
it's not to say that these threeapproaches are exhaustive, but they are the
ones that I tend to use ifI want to get this kind of story
across. It's what I look to. You can kind of use that for
either of those approaches. So let'sstart. I've got three methods here,
(04:04):
and I've kind of given them names, but well we'll talk about what the
what that looks like. The firstone is what I call the pool of
clues, the pool of suspects,where the solution is confined to a certain
number of suspects, but as theDM, you don't decide in advance who's
(04:26):
guilty right or what their method was. So maybe you put together you have
half a dozen possible suspects that youpresent to the party, and you say,
you know it can be this guywho is you know, we've got
a victim here. So this islike your knives out approach, right where
(04:46):
you've got these this group of suspectsand you know that one of them did
it, but you're not sure whichone, and the goal is to go
around and figure out together enough evidenceto prove that it was one of those
people that did it, So inthis case, you might introduce four,
five, six subjects. One ofthe things that's really good with this is
(05:06):
you introduce enough suspects to match thenumber of party members that you've got,
right, So if they want tosplit up, you can have each one
go investigate one of these suspects,if you want to do that. And
then you put together a pool ofclues, and you want to make that
like maybe three times the number ofsuspects you've got, right, if you've
(05:29):
got five suspects, maybe come upwith fifteen clues or something like that.
And you make these clues fairly general, but that point to something to do
with the victim. You know,if the victim is like a wealthy smuggler,
right, maybe one of the cluesis a list of contraband deliveries.
Maybe one of the clues is acounterfeit custom stamp, right. Another one
(05:53):
might be if you've decided he's poisoned, then you know a mortar and pestle
with a deadly night shade crushed init or something like that. But what
you want to do is make surethat you kind of distribute these clues around.
You encourage the players to interact withthe locations of the mystery, places
where you know, the actual sceneof the crime and other places where people
(06:15):
might have been, and with thesesuspects, and you want to make sure
they create a situation like you wouldin a good mystery novel, where all
of these suspects have reason to beguilty, all of them have means,
motive and opportunity, and then it'ssorting out who was responsible and what you
(06:38):
did. And so then what youdo is you kind of put the players
in contact with these suspects in theselocations and have them make appropriate skill checks
to gather information. If they areroughing somebody up, you can roll intimidate,
if you know, I mean literally, you could have the good cop
roll persuasion and the bad cop rollintimidate, right, and success in that
(07:03):
produces one of those clues. Andyou can also have clues that say something
like a suspect admits to being therethe night of the murder or something like
that, right, And then youcan attach that to whichever those suspects you
want, And then you decide onthe number of clues that they have to
gather. You know, maybe it'stwo per player character, right, that
(07:26):
gives them the opportunity to go aroundand do different stuff. And once they've
collected that, you know, thatnumber of clues, then you say,
okay, you guys, put yourheads together and do the detective thing where
you go, well, this cluemeans that, and that means that,
and that points to him and thisthis was a red herring. You know,
that doesn't mean anything. And thenonce you've gathered that number of clues,
(07:48):
you tell me who you've decided thesuspect is based on this information,
and you're correct, that's who didit? Is murder on the Orient Express.
It was all of them, yes, spoilers well or yeah, but
but I mean and and like youknow, I have heard objections to the
idea that, like you know,this is just the quantum ogre thing where
(08:09):
you don't know what's going on.But it's what you've done is it's not
like it could be anybody, right, you know, it's this defined group
of suspects and you're narrowing down.You know, this is like actual police
work, right, But all you'redoing is you're imposing this you know,
this structure, this framework on it. And Jason, you know, when
(08:31):
you start asking about like zona truthor divination or something like that. What
you're going to say is, look, you can get information using those spells,
but what that will do is thatwill produce a clue. There's no
single action you can take that willshortcut this process, right, you know?
But yeah, you know, andyou know, all zona truth tells
(08:54):
you is that someone is lying,not what they're lying about. And that's
why I go back to that atthat Poker Face show where the fun thing
about that and if you get thechance to watch this show's amazing. But
Natasha Leone's character has a like,basically a bullshit detector. And we'll see
a crime play out at the beginningof the show and she'll be somehow kind
(09:15):
of on the periphery of it.You know, somebody gets murdered in a
bar. She's working there as acocktail waitress, right, and she'll you
know, and then we'll see howshe's connected to that character, and she'll
kind of move around through the peoplethat might be responsible and someone will say
something she'll go bullshit and she goeslike, he's lying about that, but
(09:35):
I don't know why, right,but he's lying, right, And then
the show is about her figuring thatout and making those connections and things like
that, and you could do thatsame thing in your D and D game.
That was a common thing in theIf you've played the Phoenix Right games,
if you have Fantastic games, theywere originally on the Attendo ds.
They were remastered on the Switch.It's like twenty or thirty bucks for the
(09:58):
whole trilogy and the If you likelike mystery games, it's it's it's hard
to sell a game where you're playinga lawyer as the hero, which is
just feels weird. But you know, in a game in a genre where
you're you can play as like,you know, fantasy creatures and you can
blow things up. You get thebiggest guns in the world. I'm gonna
play a lawyer today. But theyare amazing games. The stories are fantastic.
(10:20):
Even if you just like watch aplaythrough on YouTube. I'm a big
game Grumps fan. They have anexcellent play through with that at the time
of this recording, and they're inthe middle of and it's just hysterical to
watch them play it. But thereis there's something to like interviewing someone and
long story short, there's a mechanicin the game where you can tell if
somebody has like a secret to hideand you have to drag that out of
(10:41):
them, and it's not always forguilt, In fact, very rarely is
a for guilt, but they havethey just have their reasons to not be
telling the full truth about this thingat that time, whether it implicates them
as being somewhere they shouldn't be.Yeah, my wife didn't know that I
was there, and they're putting somethingas simple as that, or it's like
someone's just embarrassment. I'm trying tothink of a really good I feel like
(11:03):
modern but modern mysteries do that alot, right. It made you think
somebody is really guilty, and thenyou find out, well, they just
cheated on their test or or theywere right their wife didn't know where they
were. It's called a red herring, right, And it is one of
the oldest tricks in the book literarydevices, the same thing literal device is
(11:24):
literally a trick in the book.Cannot be any more literal with the trick
in the book. Oh god,I hate that it made that joke.
So but yeah, the the lyingfor for a reason that is not because
you're guilty is going to be keyhere. Yeah, the other game that
that used to play big the theI think underrated rock Star game La Noir.
(11:48):
I love that game. I wasjust thinking about l A Noir the
other day and a lot of thatthing. We have PlayStation now and I
can't doubt. Yeah, Hello Adventurers, just stepping in here to remind you
guys that we're actively looking for submissionsfor our Hello DMS episode that gets reported
(12:11):
every month. Send us your burningD and D questions to Helloadventurers podcast at
gmail dot com, or send usa voicemail by visiting helloadventurers podcast dot com
slash voice. Don't forget to beginyour message with Hello DMS. You can't
wait to get your questions and talkabout them on the show. Send us
your questions today. That's Helloadventurers podcastat gmail dot com, poorly the voice
(12:33):
at helloadventurers podcast dot com slash voice. Now let's get back to the show.
So the second approach that I havehere is kind of a variant on
the first, but I'm going toit's what I call the emergent solution.
And in that case, you don'thave to have a pool of suspects.
(12:54):
You can just present it to theplayers and give them a number of clues
they got to figure out and leaveit in the hands of the players.
Right, you just say to them, who do you suspect of this?
Give me, give me the threepeople you suspect of this, the three
NPCs, or we can make upsomebody new that you know that you want
to do this. And when theyfind those clues, rather than having like
(13:18):
a pool of specific clues they pullfrom, you can say, okay,
what's a clue that points at thesuspect you think did it? And you
know, just put that bit ofthe world building and the mystery construction in
their hands and again decide how manyclues they have to collect before they can
then prove that the person that theywant to pin it on actually did it.
(13:41):
Now, this requires a lot oftrust right at the table. It
requires that, as the DM,you trust that the players are going to
be reasonable about it. They're goingto do something interesting narratively, and this
is a lot closer to the kindof thing you might do and some of
those like indie sty games that I'mfond of. Right, you know,
(14:01):
then then the much more kind ofprocedural things of D and D that you're
used to, and the other thingthat you can do with the with the
emergent solution is you can decide,regardless of what you do, you get
a clue. And this is goingto kind of kind of go into my
third approach, which borrows something froma system called the gum shoe that some
(14:24):
of you may be familiar with.You can decide that you know, if
you go somewhere or you talk tosomebody, you're going to get a clue.
But the dice, the role thatyou make for your skill check determines
what's the cost of getting the clue, not necessarily do you get the clue
or not, because at some atsome point it might be you know,
it might just be not interesting tojust fail to find something. But certainly,
(14:48):
you know, if failing to findsomething means you know, if you
find it but then you get inbut then that triggers a fight, or
you know, you find it butthen that closes that area off to you
or something. You can decide whetherthat's going to work there. But you
can make it completely open ended ifyou want to, Like I said,
if you trust the players and they'recreative and they're sufficiently interested in that,
(15:11):
this is definitely a thing where youknow, if you have the kind of
players that are like, we don'twant to do that much work, why
are you laying this on us?You're the dungeon master. You're supposed to
come up with this stuff. Thisapproach is not going to work, and
that's okay. It's not going towork at every table, sure, but
that absolutely is a way that youcan do a really interesting mystery that if
you have the right kind of players, they'll be super engaged and involved because
(15:37):
they're coming up with it as yougo and as you play through. So
the third approach that I've got hereis what I call core clues fixed solution,
Right, So this is where youdecide, you know exactly who you
want to be responsible for it,where as the DM you need it to
be, you know, the comptrollerfor the city that's been embezzling. But
(16:00):
the interesting thing is how are theygoing to figure this out? And in
this case, essentially what the Andthis is true of any RPG mystery,
which is the clue gathering the investigativeprocess is acting as a timer and a
narrative device that leads to the climaxof that story. Right of confronting whomever
(16:22):
is responsible of sicking the cops onthem whatever it is that you're going to
be doing in the story. Butit's always a timer that leads to that.
And in this case, the cluesare there. You know what the
clues are. You don't necessarily haveto have them in specific places. But
again, whenever they go somewhere,they're going to find a clue. And
when you put all those clues together, they conclusively point to this person that
(16:47):
you want. But again you're imposingthis structure that says you have to have
at least x number of clues beforeyou can go to the magistrate and say
this person did it, We canprove it, and so we're going to
go after them. And again thatrequires a little bit of, you know,
willingness on the part of the playersto have this system imposed on them.
(17:07):
But if you're going to do amystery and you want it to be
interesting and give everybody a chance touse their different skills, you've got to
set up a thing where you imposeon the structure the idea that they can't
just shortcut it by using speak withdead, by talking to the corpse to
say, you know who killed you? And they go, is that guy
(17:30):
there there we go. Mystery solved. And you definitely want to make sure
that if you know that your playershave access to those abilities, that you've
got like a reasonable way that theycan use it and get something effective but
not shortcut the adventure. And thebest way to do that, of course,
(17:51):
is to you know, you canwrite in your notes if they you
speak with dead on the corpse,the corpse will tell them, well,
I got stabbed eighteen times in theback, and so you know that it's
somebody that you know, or orit was a single expert, you know,
stab between the ribs and and andI barely felt it before I was
dead, So you know that clueis that you know they were shanked by
(18:12):
an expert or something like that.I was going to suggest something a little
more cryptic, whereas like, youknow, they could use a nickname that
could apply to several people. There'sa lot of there's a lot of there's
a lot of room for messing withany of these structures, I think.
And yeah, like I always likedthe idea of almost like you're giving clues
to who it's going to be,but you haven't necessarily introduced that character yet.
(18:34):
Yeah, but so so funny enoughthough, in just us talking about
mysteries and probably the last the third, the third way to do a mystery
that that Jim you were talking aboutbrought up something that I remember one from
Sly Flourish that we talked about Ithink a week ago, a couple of
(18:56):
episodes ago. Yeah, we talkedabout a couple of episodes ago. I'm
gonna try to think that was thelast episode that we had talked about Slide
Flourished. One of the things Iknow he talks about a lot is mysteries.
And I remember an article that Iactually just pulled up from the Alexandrian
dot net that I'd found when researchingfor a different way to do a Baldersgate
Avernus adventure from from Watson to sendto Aurness the other then I had found
(19:21):
the three clue rule. So yeah, you know about this, Jim,
Like, essentially, for any cluethat you want to give a player,
you have to have three that leadto that clue that leads you to the
next clue essentially, And like thethree is like the minimum. Really you
might even want to have four orfive sure, because every time, like
(19:41):
if you leave a clue then you'relike, my players are going to get
this, They're not. They needlike three times the reinforcement essentially. Yeah,
And this is also one of thoseplaces where if you're running a mystery,
one of the challenges and one ofthe things, like you said that
that can stemy DMS is what itmeans to give the players, like and
(20:03):
I'm gonna use scarequ's here a clue, right, And people's brains don't work
the same way. And if andyou know, and certainly one of the
other things you can do is ifyou want a structure that leads players from
one location to another location, toanother location to another location, and you
just want to structure it that way, where it's you start at the docks,
(20:29):
you go to the you know,you you start at the docks,
you go to the merchant quarter,you go to the you know, the
nobles townhouse, and you end upat the magistrate. Then the clue can
be, you know, you finda perfumed letter which tells you the next
place you need to go is themerchant's quarter. You know, rather than
(20:51):
like being subtle about it and havingthem figured out, just go ahead and
give them that information, tell themwhere they're going next step out of care
you know, you know whatever,meta game a little bit. And that's
totally fine because that's you know,that keeps the game moving. That's the
process. Tell them. Don't justtell them what the clue is. Tell
them what the clue means, becauseas experienced adventures, they would be able
(21:15):
to figure that out. My wizardhas a twenty intelligence, I do not
sure. So you know, himseeing you know whatever, like like some
kind of alchemical code written on ayou know, on a piece of parchment,
is going to tell him exactly whereto go. That is a player
I might be going, Yeah,I don't remember eight sessions ago when you
(21:37):
described me seeing a paper like thaton the wall in the potion shop.
Right. So so that's where there'sa couple of things with that, right.
So One is when I'm recapping asession, I am not. Sometimes
what I'll do is I'll make sureto mention those important pieces of information.
Yeah, lipshade right on it.Not unlike you know when you're watching a
(22:02):
show and like something like three episodesago, like it's like three right right
previously now, and you're like thathappened a while ago. Oh, we're
going to get something about that,like a classic classic cartoon cartoon TV.
Yeah, especially mysteries. I feellike that, like if it's if it's
like a season long payoff for something, they are going to show you something
(22:22):
from the first or second episode ofthat season. If there's going to be
a payoff for this episode, Yeah, exactly. And I feel like I've
seen it, especially in like Gameof Thrones, where they like they previously
on, they show you and you'relike, oh, they're going to talk
about this now, sure, Okay, they're going to catch us back up
with with this person or that thing. One two is essentially when I give
(22:45):
clues to my players ear Muff Jason, I give cluse somebody players, I'll
escalate them, right, So thefirst one might be like a real clue,
the second one's like a little cluewith like a little nudge to it,
and then the third one is whatyou're saying, like, and this
one is a perfumed letter, likeaddressed from there's a return dress. Somewhere
(23:07):
around clue seven or eight, we'llstart figuring out. Yeah. I was
like, yeah, no you won't, but yeah, you kind of you.
And I think that's where you haveto kind of gauge things as a
d M and just say, Okay, they're never going to get for your
(23:27):
knife. For your knife, clueyou find a paper in your back in
their back pocket that says, goto the bath house. Guys, what
could this guys? What could thismean? One of the other things that
we want to keep in mind hereis that the higher level the characters get,
the more resources they have and themore ability they have to get around
(23:51):
traditional methods of investigation. Right,So this is something that I think is
typically you're going to want to dothis in the you know, mostly in
the lower lene levels. Once theystart you know, fighting demons and stuff
like that, they've got more interestingthings to do than solve murders. So
this is going to be relatively lowlevel, like kind of load to mid
level that you're going to be engagingthis sort of stuff. But one of
(24:12):
the things that this that this cando is it can get into talking about
because for the most part, ifyou're going to have these kinds of investigations,
typically they're going to happen in somekind of an urban setting. This
is where you can start to getinto if you have players that are interested
in this kind of thing, ifyou as a DM or interested in this
(24:33):
kind of thing. How does thelaw work regarding stuff like this? Regarding
divination spells? You know, ifyou go into you know, do they
use zone of truth in the courtsor are the gods like no, that's
reserved for like we're not going todo that in service to the state.
But that's nonsense, you know,is divination Like do you have to be
(24:57):
a licensed diviner of something? Find? You have almost for a court to
accept what you found as evidence likethat, Yeah, I was gonna say
something being illegal has never stopped anyof my party. But it won't be
Essentially, it won't be admissible becauseexactly you didn't. You didn't you didn't
follow protocol in using that you hadto have not unlike you know our laws
(25:22):
here that like just because you findsomething like well, did you have probable
cause? Did you have a warrantor anything else? Because if you didn't,
then it's inadmissible. You cannot useit, and they're they're free to
go. And that's now you're youjust let a murderer off the hook and
now you can And one of thewonderful things about the fact that you're designing
a fantasy legal system is you canpeeback you know, the way that fantasy
(25:48):
legal system works on the mechanics thatyou're imposing on that. So if you're
like, okay, you need tofind seven clues before you can definitively point
to a suspect, and then wemoved to the part where you take them
down. You know, the lawof that city is you must present seven
pieces of evidence before you know,we will you know, sign the writ
(26:08):
that authorizes you to, you know, pursue this this important citizen for whatever
crime. The rule of seven exactlythere. That sounds like at quest,
he said, those are the approachesthat I typically use. I'm a big
fan of that first one of thatthat pool of clues, pool of suspects,
(26:29):
but kind of constrains the field ofplay. It gives them specific directions
to look at, but means everybodygets a chance to do something interesting.
You get to introduce some NPCs,and those NPCs that you introduce the suspects,
the ones that turn out not tobe guilty, they can become part
of the campaign as well. AndI really like two that like there's a
(26:51):
time limit on that that can thatdoesn't like it doesn't have to be a
set time limit either, because there'sno saying that. Essentially, if your
player go down a rabbit hole andthey're really focused on that one person,
like like you know, you gotto get going home, like yeah,
no, you got it, let'sgo yep. And it's a thing that
also allows you to sidetrack in themiddle of it, right. So,
(27:15):
so you know, if if youfind four out of the seven clues,
but then you realize that there's thiswhole smuggling ring that you want to break
up, you can take a coupleof adventures, you know, a couple
of sessions, go off the side, have them bust up that smuggling ring,
and when they come back, they'vestill got four out of seven clues,
right, and they can just pickright back up and you know,
and proceed with it from there.Yeah. So I guess the first question
(27:38):
that you ask is this a whodone it? Where you're trying to figure
out who's responsible for it? Oris it what we might call a what
done it? Where you know,maybe is the DM you know, you
do a scene where everybody says whatit is? Maybe the villain even sends
you a letter saying wah, Idid this, but you'll never prove it,
fools, Oh like Professor Moore,Yes, yeah, exactly that kind
(28:02):
of thing. You can totally dothat. So I know, I love
I love all of Jim's big bats, and they're just selling eighties cartoon villains.
Just the guy from Bullwinkle at thetop, slightly relash. I'm a
dude of a certain age, myfriend. So absolutely, But determine whether
it's a who done it or whatdone it? That's the first thing you
do. You know, what isit that the players are trying to figure
(28:22):
out? And then put one ofthose structures over it to make sure that
you get a compelling story, acompelling narrative that gives everybody a chance to
use their various different skills to getat the true And we've got our our
pool of suspects approach, we've gotour emergent solution approach, where you just
put it all in the hands ofthe players. They but they just need
(28:44):
to, you know, come upwith a certain number of successful tests in
order to do that, something likeyou know, a version of sort of
the old fourth Edition Skill Challenge,right, we kind of kind of make
that into our mystery and the thirdapproach is something similar to what we might
have in the gumshoe system. You'vegot core clues, and those clues are
always going to get found, andthey're always going to lead to your you
(29:07):
know, your preferred solution that you'vesaid in advance, but they just need
to find a certain number of thembefore they can actually act on that solution.
But it will always lead them towhere you want to go. And
those are three approaches to mysteries.And I would love to hear if anybody
else has had success with trying todo it differently, love to hear about
that. You can tell us aboutyour attempts in a mystery, hopefully successful
attempts if you've gathered enough clues.Tell us about your mystery games. That's
(29:30):
Hello Adventurers podcast at gmail dot comor tell us yourself helloadventures podcast dot com,
slash Voice. There's a couple ofcool pre made games that that I've
used that or that that are greatmysteries. I've brought up d M.
Dave a lot. He has onecalled Doppelganger City that is very much a
a who Done It? That usesthey use the doppelgangers in shape Shifters and
(29:52):
like, it's a pretty cool approachto not even knowing who the characters even
really are yet, which as awhole in different way or two is that's
a very fun one. And ofcourse this cant keep mysteries, which is
a compilation of one shots that dointernect with each other, and there is
an overarching mystery to that. Cool. So if you want to see how
it's how someone else already did it, start there and see how it goes.
(30:14):
But I think that's all we got. Anything else, no, great,
thank you, yeah, so,thank you so much for listening to
Hello Adventurers. We're your hosts JasonPortiso, Jim Crocker, Andrew McCall,
Produser editor Engineer Jason Portiso. Musicby Nixt Starrier, artwork by Kristen Broderick.
You can reach out to us withany feedback for suggestions by emailing Hello
Adventurers podcast at gmail dot com.Hello Adventures is a JTP audio production.
(30:37):
Goodbye Adventurers always is it Crue
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