If an NPC is telling the truth, what's the Insight DC to know they're telling the truth?

Bawylie

A very OK person
I'll try to answer this example.

The primary problem here is that we don't have enough information. This is set up as a traditional "Checking for random traps" kind of trap, which just inherently doesn't work well with goal & approach. Is there any reason the players would suspect a trap here? Why? What clue or signal were they given that this door is dangerous?

So let's just assume that, for whatever reason, they have been led to believe that there's a trap here that can be discovered if they just look really closely. (As an aside, I would hope they got that information in an interesting way, or they had to figure out that the hint applied to this door, otherwise the resolution is just as mechanical & uninteresting as just "rolling for traps" in every 5' square.) If that's the case, and a trained rogue looks really closely, shouldn't he succeed? Why do you still want to roll to see if he succeeds or fails? To me, that's like making somebody roll Athletics for climbing a ladder. (EDIT: Actually, that's like having some interesting roleplaying/puzzle-solving in order to find the secret ladder going up the cliff, and then requiring them to make the same Athletics check to climb the ladder that they would have had to make to just climb the cliff.)

Now let's look at another variant: the heroes have gotten a clue that there's a magical trap here involving writing, and if they [insert some task to accomplish] they can disarm it. They haven't yet accomplished the task, but the rogue is impatient and wants to see if he can disarm it without going through all that trouble. So he says, "I'll examine the door carefully using a magnifying glass, but if I see any writing I'll stop before I read the whole thing." Now, I have no idea if this approach would work "in real life" (for obvious reasons) so this isn't a matter of player expertise trumping character expertise. But as the DM I might think, "Hey, that sounds pretty cool. I'll accept that as a valid, if risky, approach." So I say to the rogue, "Let's roll some dice to see if it works, but if you fail...or maybe if you fail by more than 5...it's going to trigger the trap. As the expert rogue you know that's a risk, so you can back out now if you want."

How about if I offer a real life example, which I used just last night. My players had recently acquired an old house, which they had been led to believe contained some clue that would further their mission. In their inspection of the basement I had included a description of a wine storage room, filled with those diamond-shaped bins that each hold multiple bottles of wine, and also one shelf designed to cradle 10 bottles, slightly angled so the labels would be on display, as if meant to hold the "good stuff".

In going through the piles of ledgers and paperwork and receipts trying to learn who lived here and why it was abandoned, one of the (many) clues they came across was a sort of bar-code like diagram: 10 skinny rectangles in a row, some filled in neatly, some empty. At this point I was actually nervous they would make the connection too soon, but hey that's part of the game.

Ok, meanwhile they had gotten to know some of the neighbors, including a mysterious lady with her household that included a spooky little girl who had a penchant for cryptic prophecy. When they rescued the lady, as part of the thank-you scene the little girl said, "Have you found yet what you're looking for under your house?"

The players go running back to the house, and start searching all kinds of stuff. Not a single die rolled, though. Somebody specifically mentions the chimneys (and in fact specifically the chimney in the kitchen on the first floor, although I wouldn't have required that) so I described how the flue seemed like a strange design. They poked around in it, and I revealed that it looks like the flue joins another flue coming up from below.

They pull out their floorplans for the house, look where the fireplace is in relation to the basement, and realize that if there's a secret room below, it must be on one particular side of the basement, so they go down to carefully search all the walls facing in that direction. Which just happens to include the wall of the wine room that contains the display rack. This time when I describe that shelf, with its 10 spots, one of the players sits up and says, "I get that case of wine we received as a gift and put bottles in the (he looks at his notes) first, third, sixth, and seventh positions."

Click.

The table cheered, big smiles on their faces. Not a single die rolled. No out-of-game expertise needed (although there would have been some required to figure out what 1010011000 is when converted from binary to decimal, which nobody thought to use, despite having that expertise. Which is fine because it was an easter egg, not a necessary part of the plot.)

Now maybe you don't agree, but we thought this was way more fun...and WAY more rewarding/gratifying...than taking turns rolling Perception ("Can I roll, too?") in every 5' square until somebody "succeeded" by randomly getting a high enough number on a d20. I know because I asked them, specifically with this thread on my mind. And I didn't even phrase the question that derisively.

Gosh-darn awesome example. Love it.
 

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ClaytonCross

Kinder reader Inflection wanted
I've been setting it as their 'Passive Deception' DC. What do you do?

I see no problem with passive deception for lies and persuasion skill being a bonus to the player check if they are being honest. Then if the player rolls low, they just can't tell. However, I am also okay with a character with proficiency in insight having passive insight against any NPC deception attempts.

I track passive perception, passive insight, and passive stealth(-5, for just being discreet and unnoticed in towns the -5 is for the disadvantage of not knowing who is watching them or where they are. This just means if a player is trying not to draw attention but not actively hiding I don't have to call for a roll if someone is looking for them or they are being followed. That would tip off the player. Instead they might get a perception roll to notice if one or more of them is being followed.)

So passive insight is something I do and Passive deception I would do for an NPC, but players are going to have to role as and active action do deceive an NPC. Which is against players, but a deceptive NPC is likely a story point I am okay with them spotting but don't want to auto fail. If the NPC is obvious or the player have sufficient reason to suspect they are lying, they will get a -5 to that DC for disadvantage. If the story calls for this as a plot point I would give the NPC +5 for advantage, but that means there is still a game set standard and it I am not ignoring player investment into incite. This also a method of saving time because I don't have to make rolls for every attempt to deceive by an NPC or worry about different players getting different rolls or anything. I have not used passive deception for an NPC, I am just indorsing the idea.

Let me also add, that know an NPC is lying or holding back the truth does not tell players what part of what was said was a lie or if it is a lie of omission. I say, the NPC does seem to be completely honest with you. The don't get anything else and that covers the whole of a conversation not a line by line break down.
 
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G

Guest 6801328

Guest
Let me also add, that know an NPC is lying or holding back the truth does not tell players what part of what was said was a lie or if it is a lie of omission. I say, the NPC does seem to be completely honest with you. The don't get anything else and that covers the whole of a conversation not a line by line break down.

I suspect some participants in this thread would respond by blurting out "I use Insight!" (and "Can I use Insight, too?") every time the NPC finishes a sentence.
 

G

Guest 6801328

Guest
How about if I offer a real life example, which I used just last night. My players had recently acquired an old house, which they had been led to believe contained some clue that would further their mission. In their inspection of the basement I had included a description of a wine storage room, filled with those diamond-shaped bins that each hold multiple bottles of wine, and also one shelf designed to cradle 10 bottles, slightly angled so the labels would be on display, as if meant to hold the "good stuff".

In going through the piles of ledgers and paperwork and receipts trying to learn who lived here and why it was abandoned, one of the (many) clues they came across was a sort of bar-code like diagram: 10 skinny rectangles in a row, some filled in neatly, some empty. At this point I was actually nervous they would make the connection too soon, but hey that's part of the game.

Ok, meanwhile they had gotten to know some of the neighbors, including a mysterious lady with her household that included a spooky little girl who had a penchant for cryptic prophecy. When they rescued the lady, as part of the thank-you scene the little girl said, "Have you found yet what you're looking for under your house?"

The players go running back to the house, and start searching all kinds of stuff. Not a single die rolled, though. Somebody specifically mentions the chimneys (and in fact specifically the chimney in the kitchen on the first floor, although I wouldn't have required that) so I described how the flue seemed like a strange design. They poked around in it, and I revealed that it looks like the flue joins another flue coming up from below.

They pull out their floorplans for the house, look where the fireplace is in relation to the basement, and realize that if there's a secret room below, it must be on one particular side of the basement, so they go down to carefully search all the walls facing in that direction. Which just happens to include the wall of the wine room that contains the display rack. This time when I describe that shelf, with its 10 spots, one of the players sits up and says, "I get that case of wine we received as a gift and put bottles in the (he looks at his notes) first, third, sixth, and seventh positions."

Click.

For any followers of this thread who genuinely are interested in how "goal and approach" differs from generic "there is a secret door" or "there is a trap", and not just looking ways to argue, here are some usage notes from the above scenario:

1. It takes some work to put all these pieces and place, and it took me a while to come up with all of these components. I sketch some ideas, noodle on it, and the plan evolves slowly. I can't just plop a secret door in a map and be good to go. It takes preparation, in this case I probably thought about it over 6 weeks or so. Consequently this was the only secret door in this part of the adventure.

2. As an example of that preparation, there was a perfectly good, perfectly sensible reason why somebody would have sent them a gift of a case of wine. I wanted to make sure they had wine bottles on hand when they figured out the puzzle*, but there was nothing at the time to make them think it was part of the puzzle.

*Confession: when they first explored this room in a previous session I made the mistake of describing it as empty of any bottles, so I had to fix that.

3. The bar code was "hidden" among a whole bunch of clues, so they wouldn't overly fixate on that one thing and solve it too quickly. (Some of the other clues they still haven't made sense of yet, and aren't really clues to achieving goals as much as clues to making sense of the whole story, and to give them the satisfaction of figuring them out.)

4. The little girl was my backup plan in case they needed more prodding in the right direction, which they eventually did. If that failed I had yet another, even more explicit, backup plan, but in both cases the hint comes as a reward for achieving side-objectives, rather than just given out for free. So basically you can keep giving stronger and stronger hints until they get it, but the hints should always feel earned.
 
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Ok, meanwhile they had gotten to know some of the neighbors, including a mysterious lady with her household that included a spooky little girl who had a penchant for cryptic prophecy. When they rescued the lady, as part of the thank-you scene the little girl said, "Have you found yet what you're looking for under your house?"

4. The little girl was my backup plan in case they needed more prodding in the right direction, which they eventually did. If that failed I had yet another, even more explicit, backup plan, but in both cases the hint comes as a reward for achieving side-objectives, rather than just given out for free. So basically you can keep giving stronger and stronger hints until they get it, but the hints should always feel earned.


I dunno. This is about as literally close to Mother-May-I as you can get. I mean, they had to save the mom-figure to get the clue.

Otherwise, very nice!
 

G

Guest 6801328

Guest
I dunno. This is about as literally close to Mother-May-I as you can get. I mean, they had to save the mom-figure to get the clue.

No, that's just how they happened to get the clue. (Although knowing how they were roleplaying their characters, I figured they would.)

I think one of the communication problems we've had in this thread is that every time one of the goal-and-method proponents describes one possible resolution to a challenge, others think it's the only resolution, which does make it seem like "mother may I" or "pixel-bitching". What we've tried to emphasize is that you first set up the challenge, and then respond to what the players try.

Even the barcode was optional: they were on the verge of physically destroying the wine rack (which would have been unfortunate, and less satisfying, but would have worked) when the one player had the key insight.
 

No, that's just how they happened to get the clue. (Although knowing how they were roleplaying their characters, I figured they would.)

I think one of the communication problems we've had in this thread is that every time one of the goal-and-method proponents describes one possible resolution to a challenge, others think it's the only resolution, which does make it seem like "mother may I" or "pixel-bitching". What we've tried to emphasize is that you first set up the challenge, and then respond to what the players try.

Even the barcode was optional: they were on the verge of physically destroying the wine rack (which would have been unfortunate, and less satisfying, but would have worked) when the one player had the key insight.

Sorry - that was just a joke that apparently fizzled (read it again with an emphasis on "mom-figure").

Although, it did bring about your helpful assessment here which I'm fully on board with. :)
 

5ekyu

Hero
For any followers of this thread who genuinely are interested in how "goal and approach" differs from generic "there is a secret door" or "there is a trap", and not just looking ways to argue, here are some usage notes from the above scenario:

1. It takes some work to put all these pieces and place, and it took me a while to come up with all of these components. I sketch some ideas, noodle on it, and the plan evolves slowly. I can't just plop a secret door in a map and be good to go. It takes preparation, in this case I probably thought about it over 6 weeks or so. Consequently this was the only secret door in this part of the adventure.

2. As an example of that preparation, there was a perfectly good, perfectly sensible reason why somebody would have sent them a gift of a case of wine. I wanted to make sure they had wine bottles on hand when they figured out the puzzle*, but there was nothing at the time to make them think it was part of the puzzle.

*Confession: when they first explored this room in a previous session I made the mistake of describing it as empty of any bottles, so I had to fix that.

3. The bar code was "hidden" among a whole bunch of clues, so they wouldn't overly fixate on that one thing and solve it too quickly. (Some of the other clues they still haven't made sense of yet, and aren't really clues to achieving goals as much as clues to making sense of the whole story, and to give them the satisfaction of figuring them out.)

4. The little girl was my backup plan in case they needed more prodding in the right direction, which they eventually did. If that failed I had yet another, even more explicit, backup plan, but in both cases the hint comes as a reward for achieving side-objectives, rather than just given out for free. So basically you can keep giving stronger and stronger hints until they get it, but the hints should always feel earned.
"For any followers of this thread who genuinely are interested in how "goal and approach" differs from generic "there is a secret door" or "there is a trap", and not just looking ways to argue, here are some usage notes from the above scenario:"

Just to be clear, were you " not just looking for ways to argue" with the by your own admission derisive roll for every 5' post comment in that post where you put out this example? Or when even now you frame it as against a "generic" scene?

I mean they seem basically more contentious add-ons that just attempts to spotlight differences.

But about your scene.

It sound an awful lot like the escape room we did a few weeks ago. We, people, find piles of clues. Some have distinct sizes - three numbers on a vase bottom and a three number combo lock -(10 bottle slot shelf, 10 element bar code) - others may be color coded etc.

In that same escape room, we had a number of clues or hints we could ask for and I swear that first room clue was about as on point as your girl safety net was. It was basically pointing us to a place to try to get what we need, much like your girl sent them back to the underhouse.


That escape room we did at the con was fun. It was fun even for me, and I cannot see well so a good chunk of it was not gonna be much for me.

But, the thing that strikes me about your example and now the usage notes bring home (I was wondering) is that *like our escape room** there is no bringing into the mix anything about the characters being played, the game system, be it diceless, be it RPS larping, be it a pamphlet sized character- on- post-card or HERO system 400+ pages of non-setting rules.

So, it really does not spotlight "goal and approach" vs "character-centered" play in an RPG at all. It seems to be the epitome of "playing me or challenging me, the player" as opposed to "playing Hans or challenging Hans the dwarf".

Honestly, like the escape room, it has a lot more in common to a board game than an RPG.

That's fine, I love them. Have loads of fun with board games, with chess where no dice are needed either and we just move our pieces around.

Or Go, my stone never once is a "person" just a game piece and it's about how well I as a player choose my moves etc. But, every stone is the same. One stone has the same chance as any other st whatever task it is set to do. No reference cards bring up the dwarf stone's masonry or the very perceptive elf'stone.

I recommend every GM of diced games take a turn or two at running diceless systems. It imo really helps refine some techniques.

I am glad your players enjoyed the sample setup you gave them. But if that is your flagship case for what defines and sets apart "approach -and goal" I gotta say it sorta spotlight all that stuff about how it "devalues" all those chargen choices the system being discussed requires (and that by extension a GM using that system required) even tho it seems like the "approach and goal" advocates seem to keep saying they are not devaluing those choices. I mean, how many times have we seen the kind of "oh no, character stats matter... with frequent "we used them passively or..." insert other.

Yet in your whole example and your explicstive usage notes to your your case even more, not one reference to a trait of the PC that I can see. No point where it was important that it was a halfling or a gnome or a wizard or a rogue or... well... anything "character".

It seems 100% play and GM puzzle and you did not se fit to show any point where character mattered to the outcome.

That's very very informative about your presentation of what separates "approach and goal" from the rest **in actual play** and I thank you for that.

By the way, in my non "approach and goal" gameplay, I dont throw random or generic secret doors in either. They require time too. So, it's good that those are not the only alternatives.


As for this last part...

"So basically you can keep giving stronger and stronger hints until they get it, but the hints should always feel earned."

I am sure you know but in some games, the idea that "they might not get it" is also an option and the scenes and follow-ups and bigger campaign proceeds on... rather than just keeping piling on more and more stronger hints until they "get it."
 
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Satyrn

First Post
Sorry - that was just a joke that apparently fizzled

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