This is an interesting topic, though the fires burn a bit hot. I think there is an interesting theoretical discussion in here somewhere: how much control over a story should the DM take?
I've been known to fudge die-rolls once in a while. I've even been caught once or twice. My group has a bad habit of second-guessing me, which is sort of a pain sometimes.
However, I believe in maintaining a loose grip on the story. For dramatic flair, I might have a BBEG last another round or two to push the party a little bit more. Also, if the party is in significant danger, I might cut them a break.
One time I did save my wife's character from being thrown into a pit (she made the mistake of putting her character on the edge of a 100' deep pit with a green dragon right there able to shove). She failed the save but one of our other characters had not yet gone, I gave him an immediate chance to go save her by burning an action point and rolling some skill checks. It worked but people knew I cheated - I should have rolled behind the screen for it.
On the other hand, it's the die-rolls and the unexpected that make D&D a shared story rather than the DM's story. You never know what the players will come up with and often it moves the story around in surprising and entertaining ways. We should embrace these changes, not fear them.
In the OP's example, perhaps it does make the story more interesting if they're able to see what the BBEG is up to. Maybe the BBEG detects their scrying and begins to lie. It is very important in games like this to build out the sandbox a bit. Ask yourself "what would BBEG be doing now while the party is handling this room full of minions?" "How did the BBEG get where he or she is?" "What do they want and how would they react to the party's interloping?"
These are very important questions that will add to the fluidity of the story as your party starts to change things. I did this very well when I ran KOTS and not so well with Thunderspire Labyrinth. I hope to fix that as we're running through Pyramid of Shadows. "What are Karavakos and his shards doing right now? What is Vyrellis thinking? What do they all want? How are they changing their behavior based on the party?" If I know this, and the PCs manage to learn something more from them, the world will seem more fluid and real.
I know it sounds hokey but I like to actually visualize myself looking through the eyes of the BBEG (long before the party may eve know who it is). "What am I doing? What do I want?" It's sort of like method-acting. You must BECOME the BBEG to truly understand he or she. It was this method that led me to the idea that Kalarel in KOTS is actually a serial killer on top of being an Orcus priest. This led the party into some CSI-style crime scene investigations before they started digging into the Keep. Now the bad guy had motivations and actions that the PCs began to understand so when they saw him, he was a lot more real than just a dude with a funny hat.
Deadwood is a great example of a story that moves organically rather than with plot. People change their behavior based on the actions of others. They have backgrounds, ambitions, and personalities - not storylines. That's how a good BBEG is.
Anyway, I think its very interesting to discuss when a DM should put his or her hand in to move the story one direction and when they should step back and let the story evolve on its own.
I've been known to fudge die-rolls once in a while. I've even been caught once or twice. My group has a bad habit of second-guessing me, which is sort of a pain sometimes.
However, I believe in maintaining a loose grip on the story. For dramatic flair, I might have a BBEG last another round or two to push the party a little bit more. Also, if the party is in significant danger, I might cut them a break.
One time I did save my wife's character from being thrown into a pit (she made the mistake of putting her character on the edge of a 100' deep pit with a green dragon right there able to shove). She failed the save but one of our other characters had not yet gone, I gave him an immediate chance to go save her by burning an action point and rolling some skill checks. It worked but people knew I cheated - I should have rolled behind the screen for it.
On the other hand, it's the die-rolls and the unexpected that make D&D a shared story rather than the DM's story. You never know what the players will come up with and often it moves the story around in surprising and entertaining ways. We should embrace these changes, not fear them.
In the OP's example, perhaps it does make the story more interesting if they're able to see what the BBEG is up to. Maybe the BBEG detects their scrying and begins to lie. It is very important in games like this to build out the sandbox a bit. Ask yourself "what would BBEG be doing now while the party is handling this room full of minions?" "How did the BBEG get where he or she is?" "What do they want and how would they react to the party's interloping?"
These are very important questions that will add to the fluidity of the story as your party starts to change things. I did this very well when I ran KOTS and not so well with Thunderspire Labyrinth. I hope to fix that as we're running through Pyramid of Shadows. "What are Karavakos and his shards doing right now? What is Vyrellis thinking? What do they all want? How are they changing their behavior based on the party?" If I know this, and the PCs manage to learn something more from them, the world will seem more fluid and real.
I know it sounds hokey but I like to actually visualize myself looking through the eyes of the BBEG (long before the party may eve know who it is). "What am I doing? What do I want?" It's sort of like method-acting. You must BECOME the BBEG to truly understand he or she. It was this method that led me to the idea that Kalarel in KOTS is actually a serial killer on top of being an Orcus priest. This led the party into some CSI-style crime scene investigations before they started digging into the Keep. Now the bad guy had motivations and actions that the PCs began to understand so when they saw him, he was a lot more real than just a dude with a funny hat.
Deadwood is a great example of a story that moves organically rather than with plot. People change their behavior based on the actions of others. They have backgrounds, ambitions, and personalities - not storylines. That's how a good BBEG is.
Anyway, I think its very interesting to discuss when a DM should put his or her hand in to move the story one direction and when they should step back and let the story evolve on its own.
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