Table of content

Story

Sure, the players can wander aimlessly throughout the forest and slay monsters, but wouldn’t it be more interesting if that creature they just killed was a holy being of the Nabu tribe that now swears revenge on everyone in the land? We can make things up on the spot, and this can be fun, but having a framework of events that players and characters are woven into is much more engaging. There are many plot hooks that we can use, and even clichés that, with a little tweaking, can appear entirely original. The possibilities are endless, and I always encourage people to try and create their own stories, as those are the most unique and in turn authentic. GMs can use the elements of players’ backstories, expand upon a random improvisation or simply ask what elements of the game players enjoy the most. 

My goal was to provide people with a world they can use to craft their own adventures in dangerous and intriguing lands. The descriptions of the cities are there to jumpstart the process of writing plots by giving the general atmosphere of the place and some elements to hook onto. Whatever is written can be used as it is or changed as much as you want.

Many fantasy games happen in similar settings (European-esque medieval cities with forests full of goblins and dragons atop mountains), so it’s good to change things up. Running a game in the desert, on the savanna, or in an unfamiliar location to your players will make the game feel fresh and interesting. Sure, you can explore dungeons in the desert and battle skeletons, but hey, have you been in a dungeon where sand is pouring through the cracks in the sealing? Another advantage is that during your preparations, you discover many new things about these places. By looking at images of unfamiliar places you can expand your visual library and by mixing and matching you can create new and fresh connections.  This gives you a significant advantage while improvising, as you can introduce surprising details you’ve learned that are unfamiliar to your players. Similarly, we can take the ever-present green forest and turn it purple with the shining plants everywhere. Yes, there’s a bear, but you have never seen a shining one. Why is it this way and what can it do? If you can explain why this fantastical thing exists, even better, as it grounds the fantasy and makes it more believable.

There’s an interesting phenomenon where many players get so immersed in the game that they don’t question the existence of certain elements. For example, a magical dragon, as big as a bus, that lives in a cave deep underground without a logical explanation on how it got there. If we consider this when writing the scenario, we can include a vast corridor leading to the dragon’s chamber, making players wonder why it’s so large. Or we can take the opposite approach and provide an explanation, such as that someone was feeding the dragon to keep it there and protect a treasure.

When looking for inspiration, there are many sources like movies, books, and stories. However, you can take it a step further by seeking inspiration from art, both old and new. For instance, the idea for the Mist came from an image of a whale swimming in the clouds. Pinterest is a good source for visual inspiration. Music can also be inspiring; fantasy music can give you an idea of the kind of moment it would fit, and you can integrate it into the game.

The story is generally made up of these moments, prepared in advance with characters, locations, and interactions. Everyone in the story should have a purpose, even if it’s not immediately obvious to players. For example, at a noble banquet, there’s a man you know is a thief dressed as a guest. Is he there to steal something, or is he a spy? Players don’t know the answer, but you do, whatever it may be. You don’t have to prepare exactly what the noble thief will say when approached, but if you know why he’s there, the response will come naturally.

Similarly, you don’t have to create 150 interesting characters for an encounter in a bustling marketplace. Many NPCs are simply going about their business, unimportant to the story. However, the guy who possesses the stolen medallion the players are looking for is important. Similarly important are his protection and the nearby city guards. It’s crucial to establish what is vital and what isn’t, as you need to communicate these elements to the players. Everything without significance to the story is just flavor, used by players to some extent, but generally not impacting the main events you’ve planned. Be prepared for changes that players may force you to implement. If you’ve created places, characters, and their motives, the story will mostly run itself.

You don’t have to make a grand adventure from the get go. On the contrary, you can always start small, with a simple and clearly defined task, and see how it goes. You don’t have to be perfect, especially when you are starting your career as a GM. Remember that.

Atmosphere

It encompasses everything that is not directly related to the game itself but what enhances the overall experience and improves the location of the game. Elements like music, lighting, props, references, handouts, and decorations can significantly improve the entire gaming experience. While playing with friends on the couch is enjoyable, imagine doing it in the forest at night next to a fire – it adds a whole new level of immersion.

It’s essential to discuss the level of engagement players are interested in. I’ve encountered many groups with varying levels of dedication. Some prefer to sit and listen to the GM, while others go above and beyond, dressing up and always staying in character. As long as everyone in the group agrees, any level of engagement can become the norm. Enhancing the atmosphere of the location where you play can greatly improve the game. To start, you can add moody lighting, using candles or LED lights that change colors. If you want to decorate the place with thematic objects, go ahead. This not only makes the location more immersive but also allows the GM to incorporate these elements into the narration. For instance, you can have white lights on when outside, then switch to purple when mist arrives, and go to another color when they hide in a cave where the only light comes from a shining crystal. Similarly, you can blow out a candle to finish the game with a cliffhanger, amplifying its impact.

Props can introduce fresh interactions, as objects from the imaginary game become real. It doesn’t have to be expensive or difficult to make. Often, random objects like an old watch, book, feather, retired coins, or a decorated key work best. We all have some useless trinkets tucked away in our attics, basements, or drawers, and these objects hold a lot of mystery and intrigue when seen for the first time. Additionally, because they are physical, they gain significance. Handouts like notes and letters further immerse the players, as what was once imaginary becomes real. Sending these notes through a group chat can take players out of the game, so playing tabletop RPGs truly requires a tabletop, as the name suggests. Immersion is much stronger when you’re face-to-face with your friends, playing together. The feeling of collectively examining a random prop and wondering about its significance is priceless. It doesn’t mean that playing online is somewhat worse, as playing with friends is always better than not.

Another interesting possibility with props is that they can become games themselves. You can hide notes in them or create mini escape room games where players must find something within a room you play and/or in a limited time. One trick is to describe a characteristic object in the room you play in with great detail and then tell players to look for whatever they came for in the game. It’s best to save these tricks for the end of the game or just before a break, as they can briefly break the fantasy immersion.

Last, but not least, let’s talk about music. Whether it’s ambient sounds or a soundtrack from a game playing in the background, it’s one of the simplest ways to enhance your games. Once you create a playlist for one RPG session, you’ll have songs for a lifetime of gaming. Music can become a signature of a GM’s style – some create a playlist for each game, while others do so for an entire campaign, selecting a main theme. You can have a running joke about a particular song always playing in the tavern, or you can constantly introduce new music. Regardless of your choice, having songs for common moments is always beneficial. I recommend finding music for battles, downtime, and tense moments. It’s advisable to avoid songs with lyrics, as they can be distracting when describing something. There are numerous playlists available online for battle music, tavern ambiance, or whatever you’re looking for. Some GMs even use AI software to generate ambient music for various occasions. It’s a good idea to seek out unique and original music, as main tracks from well-known games like Skyrim or Baldur’s Gate can remind players of those games instead of immersing them in yours. You can also ask players for music suggestions – the more, the merrier.

Delivery

One word that encapsulates effective delivery is “showmanship”. Gestures, voices, body language, storytelling, and engagement are some of the most critical skills for every GM. With just a story, you’re a writer, and with only atmosphere, you’re a production designer. If you can improvise and deliver an engaging story, then you’re a Game Master, and likely a natural one. It’s vital to isolate the elements that distinguish a good game from an average one. Hundreds of podcasts and recordings feature people playing RPG adventures, and from them, we can discern what makes GMs interesting. The voices of characters, descriptions of places, gestures, acting, and tone of speech—these elements shape how we perceive the story and its memorable moments. A game is a collection of these memorable moments, brought to life by the GM and other players.

To enhance the game, one of the simplest things you can do is modify the voices of characters to make them distinguishable by voice alone. You don’t have to explicitly say, “Beatrix said” or “John said.” Your voice can do that for you. To take it a step further, consider implementing dialects, accents, speech mannerisms like lisps, stutters, or interjections in sentences. Some people use “uptalk,” where they finish sentences with a higher pitch, while others employ “downtalk,” which is the opposite. The latter manner of speaking, often seen in TED Talks, makes sentences sound more professional, confident, and intellectual. You can also insert interjections into sentences, like saying “Yes?” at the end or “Ahm” at the beginning to make characters unique. Anything you think will make your characters more interesting is a plus.

When observing people speaking, you’ll notice that everyone has a unique posture and manner of being, including how they talk, facial expressions, body language, and eye contact. These elements can be translated into the game world, with brave and strong heroes displaying open postures, while scared and cowardly characters might have more closed, curled-up presence. I understand that GMs often sit behind screens, but showing a bit of your upper body can make you more expressive while playing. These subtle changes in how you sit and present yourself can enhance the atmosphere. It might seem amusing at first, but don’t take yourself too seriously — after all, this is a game of roleplay. Moreover, different cultures have unique gestural habits; for example, Italian people are known for their expressive gestures while Japanese folk often do deep bows as a sign of respect. Embrace these cultural quirks to add an extra layer of complexity to your role-playing. Don’t be a mere talking machine; use the stage to your advantage. Stand up when someone delivers a speech, speak from behind players when portraying menacing evil figures, or incorporate props from the room into your narration. This is your stage, so make the most of it.

When describing something, it’s crucial to highlight the most significant elements, allowing players’ imaginations to fill in the rest. You don’t need to describe every rock and blade of grass; it’s not necessary. In fact, the best descriptions are those that ignite the players’ imagination. You can start with the physical aspects, explaining size and location, remembering that objects have sizes associated with their names. For example, a desk is the size of a desk, but it adjusts to the space it occupies. In a dollhouse chest is drastically smaller than in a giant’s den. What’s most important is the relation to the players; they will mentally scale it accordingly. Then, adorn your space with words—objects, sounds, smells, lighting, temperature, presence of the wind, how the place feels—whatever comes to mind. Every place has a specific vibe you’re trying to convey. While you can specify the mood, it’s often better to let players form their own conclusions. Describe, don’t explain; let players infer meaning from your descriptions. You can capture the essence of a place with a single object, like an old, dented, rusty bucket in a rotting barn. If something stands out, don’t forget to mention it; our imagination, like our eyes, seeks contrast.

Next, consider your choice of words. The image you’re trying to convey carries meaning and emotions, so you don’t want it to be flat. Feel free to use the most interesting or even made-up words as long as you’re understood. For instance, instead of using the word “big,” you can choose from “enormous,” “large,” “monstrous,” “vast,” or “immense,” each carrying a different atmosphere. Manipulating your choice of words can make the game truly spectacular. You can accent certain words to emphasize their meaning or, conversely, make things less important by downplaying them.

Ultimately, one thing is crucial: speak clearly and in a way that everyone can understand. It doesn’t mean that characters can’t mumble, but descriptions have to be clear. You are their window into the fantasy world, and if players can’t understand you, their vision becomes blurry. Make everything clear, and if necessary, repeat or add more information. Then, work your magic and most importantly, have fun. The main goal is to enjoy the time spent together. No one starts as the best, so start GMing and see how it goes.

Tone of the game

While the game is designed with a certain tone in mind, nothing stops you from changing it. Some people adore dark fantasy, while others have a penchant for high fantasy. Depending on your preferences and those of your players, you can adjust the game as you see fit. What prevents you from shaping the world into an unforgiving and perilous place, where despair reigns and every corner harbors danger? With a simple twist, that very world can become challenging yet enigmatic and rewarding. Sure, there might be deadly beasts lurking in the forest, but will they deter you from discovering the lost ruin? Let’s switch it once again as our world saviors embark courageously to vanquish the ancient land’s inner evil. Everything hinges on how we convey the world to the players. If we wish to impart gravity, it’s only our presentation that stands in our way. 

Similarly, how NPCs perceive players and their manner of speech can shape the world’s ambiance. I find it most intriguing when we play with this dynamic, as subverting expectations leads to the most captivating games. We can introduce a character who may seem eccentric and mad but genuinely seeks the best for everyone, or a charming adventurer concealing malevolent secrets. The same can be achieved with voices. Those who stutter or lisp can be portrayed as exceptionally intelligent erudytes. A person with a melodious voice can be nefarious. Old men can exhibit immaturity, and an excessively squeaky hag can exude love and kindness. The possibilities are limitless.

Structure of the game

The first question we must ask ourselves is whether we are going to run a one-shot game or a campaign. The primary difference between them is that a one-shot starts and ends in one sitting, while a campaign spans over many individual sessions. One-shots are easier to start with, requiring a smaller time commitment from everyone involved. On the other hand, campaigns are more demanding but also significantly more rewarding, as players can develop their characters and make impactful, long-lasting decisions. Campaigns can last for months, with some stretching into many years and dozens of sessions.

There will come a point when characters become exceedingly powerful, and consequently, the stakes of the game will rise dramatically. This mirrors the progression seen in superhero movies, where they start by saving a city then they save the planet and eventually evolve into protectors of the entire universe after several installments. Preparations for a campaign differ significantly, as you must plan events far into the future and adjust them for the players’ actions in each session. They might outsmart your villain, rendering some actions impossible, while falling for an obvious trap you thought they would avoid. For these reasons, I believe it’s better to loosely plan the events in a campaign and adapt as needed when they unfold. It’s entirely possible that your ten-session campaign over half a year will deviate from your initial expectations. Be flexible and prepared for each game.

Writing a story

It is impossible to provide one universal formula for writing a good game, as some advice will apply in one scenario but not in another. When I prepare a game, I usually start with the main question: What is the objective of the players? What should they aim for? It cannot be something abstract like improving people’s lives. The quest has to be clear and understandable. Find a person. Prevent an assassination. Retrieve an object. Deliver a package. Win a tournament. It may sound simple and silly, but think about it. The most popular fantasy series, Lord of the Rings, is about a group of individuals going to Mordor to destroy the ring. In essence, it is a delivery quest. Sure, there are hundreds of interesting problems along the way, but the goal is simple: go somewhere and don’t lose the object. If you lose the thing, retrieve it. If you don’t know how to get there, find the way. No matter if your adventure happens in one city or throughout the whole continent, the rules are similar: keep the objective in the players’ minds and make it meaningful for them along the way.

Then we can introduce obstacles on their way. Players have to go to the city on the other side of the mountains, but oh, look, there’s a problem. It is dangerous. It is impossible. You have to go around. There is only one way to go. There is a secret passage.They have to find a guide. Present these problems to them and have some solutions already prepared in advance. They can choose to go on foot straight through the mountain against better judgment, but it is always their choice. If you prepared something interesting like a forgotten mine or a hidden passage, whatever it is, lead them there, but don’t force them. The fact that they can make those decisions is what makes TTRPGs interesting. Players shouldn’t have only one solution available but also the ones they come up with. This is where you have to improvise, and that’s where rules come in handy, as they describe what is possible and how difficult it is.

Once we have established the goal and obstacles, it’s time to create the scenery. Sometimes, I have interesting locations ready made and  I simply insert them into the story. Other times, I find it necessary to create something very specific for that adventure. The more original and creative, the better, as long as it fits the world. We can add depth to those places by adding their history, traditions, interesting architecture, and local conflicts. If it is believable, it is probably good. With the places created, the only thing left is to create our NPC cast and give them roles. They can be whoever you want, but remember that they are there for a reason. They can be a traveling merchant, a thief looking for an opportunity, a spy tracking the enemy of their master, or a farmer trying to survive. They can be there by sheer coincidence or with premeditation.

Not only do players get tangled into the problems of the world, but also farmers and other folk. Sometimes folk have a meteorite hidden in their house, making them relevant to the story. Merchants can be forced to spy. Other adventurers can be looking for the same thing as players but for an evil patron or another party. Motives — everyone has them and does things because of them. Again, the more original and creative, the better. Some conflicts will come to mind while reading the pages of Haze: the Crystal Mist Adventure and they can become the seeds of your future games. Key characters that live in the cities can be used in your stories or replaced by your own. Make a “save the princess” quest, a monster hunt, or a never-ending campaign. It is your world, and you can do whatever you want with it. Have fun. 

Of course not everything has to be original, there are plenty of ideas that work as they are. Below are some ideas for you to start your own adventure. They are simple concepts that you can expand for a one shot session. You can use them as a plot hook for players to start an adventure or as elements later in the game:

Examples of plot hooks
  • Last Dying Wish: Players were supposed to meet with their old friend. As they come to the meeting place, they hear a commotion in the alleyway. There, they see a man running away and their friend lying on the ground. In his last words, he asks players to fulfill his dying wish.
  • Revenge: A noble person is willing to pay a substantial amount of money for players to destroy someone or their reputation. Whatever that person did to their potential employer, it has made them furious. How will they respond to such a generous offer?
  • Glory of the Day Past: A fallen house on the outskirts of town holds a glimpse of its former glory. Players are invited to an ambitious meeting in a run-down manor. Their potential employer wants to revive his long-lost empire and needs the skills of our players to do so.
  • Cursed Treasure: An adventurer is looking for people to join her on an expedition to an old ruin. Everyone thinks she’s crazy because it’s known that this place is cursed, and no one returns from there alive. She claims to know how to break the curse, but no one believes her. Will our players be brave enough to join her?
  • Mystery Map: Players obtain an old map of the region. It indicates that something is hidden deep in the wild. Is it a forgotten village, an old mine, or perhaps a temple? It doesn’t specify, but it wouldn’t hurt to investigate, right?
  • Recruitment: In the city, a recruitment event is happening. They need people for a grand expedition heading north. Little is known about the expedition’s purpose, but the pay is good.
  • Overheard Conversation: A group of individuals is discussing a job, and it looks like they need more people. Aren’t players running low on money?
  • Replacement: There’s a job, and they need people immediately. Players are replacements for some other people who didn’t show up. The other workers aren’t pleased, but they have no choice, but to hope that the job will go without a hitch.
  • Heist: A big job is in the works, and an informant tells players they should get involved. It could be a major score, but before they join, they need to find their way into the conversations.
  • Broken Caravan: While traveling, players come across a broken vehicle, whether it’s a ship or a wagon. What happened? Are there survivors? Do they need help? Perhaps they should investigate.
  • Murder Mystery: A murder occurs at a banquet players attended. Are they guests? Are they there for protection? Maybe they’re there by accident? Regardless, they’re stuck there until the mystery is solved.
  • Gold Rush: Near the city, recently discovered ruins promise easy money. Players have the information early, so if they hurry, they might hit the jackpot. Little do they know what awaits them.
  • Crushed Ship: While traveling by ship, players are awakened in the middle of the night. The captain reassures them everything is in order, but suddenly, the ship starts to break apart. Players are thrown into the open water and washed onto a beach. What adventures await them there?
  • Wrong Place, Wrong Time: Players find themselves in the wrong place at the wrong time, getting entangled in trouble. They must decide which side to work with, as their choices will have consequences.
  • Solution for All Evil: A peculiar individual not from around here claims they can create a magical concoction and needs players’ help to collect ingredients. The pay is good, and if they succeed, they might be asked to accompany the person to their homeland.
  • Hostage: In a series of unfortunate events, players find themselves in a situation where someone dear to them is held hostage. They must comply with the captor’s demands.
  • Wanted Dead or Alive: There’s a wanted person poster, and players happen to recognize the individual. Are they going to warn the wanted person of the danger, or will they pursue the bounty for quick money?
  • Delivery: Players are tasked with delivering a package to a specific address. They don’t know what’s inside, but it seems that other people are eager to get their hands on it.
  • Monster Hunt: A monster is terrorizing a village, and players are called upon to stop it. It has already claimed many innocent lives, and the town’s survival is at stake. No one else in town can handle it, and only our adventurers can help.
  • Missing: Players embark on a rescue mission to find a missing person. Time is of the essence, and they must locate the individual at all costs. They will be provided with everything they need for the mission.
  • Chosen Heroes: Our adventurers bear a suspicious resemblance to the heroes from an old folk tale. As they arrive at a town, they are treated as legendary figures, but when the prophesied evil arrives, they must rise to the occasion.
  • Pest Problem: A town is plagued by pests, and players are tasked with dealing with the infestation. However, as they investigate further, they realize that these vermin are not what they expected.
  • You Owe Me: A shadow from the players’ past comes looking for them. An old debt is due, and they must perform a favor for their former friend. They cannot refuse, even if they suspect the task won’t be easy.
  • Lost Heir: The son of a noble family has been kidnapped. As the last heir, his safe return is vital, and everyone is searching for him. Players may have information that could provide an advantage in this quest.

Dungeons

Creating an old and abundant ruin that is fun to explore is no easy task. We have to think of them as places that were closed to sentient creatures while animals and other beings thrived. While there are some general things that we expect from dungeons like monsters, traps, and treasures at the end, it would be advisable to ask ourselves why things are there. If our dungeon is a ruin of the city would there be a trap in its walkways? If it is a tomb, it would be suspicious Not to encounter traps.   Whatever that place was in the past, it is now only a shadow of its former self. Every room has been adapted or repurposed by someone in the past if it was easily accessible. However, if a room wasn’t easily accessible, it likely remains in its original state from the past. Players exploring such rooms may face similar challenges in discovering their purpose or contents as the current inhabitants did when they first encountered them. The machinery would be corroded, rusty, and wood would have rotted away. In dry conditions, every organic matter like wood, furs, or bodies would mummify, while in wet conditions, they will degrade to nothing, with perhaps only bones left. We don’t have to make things inoperable, but it is good to keep their age in mind. You can always go for the hero fantasy approach and leave out those annoying details, but I personally like to just mention them. It is important to strike a balance, as placing too many obstacles in the players’ way can be tiresome. Similarly not everything has to be explainable you can just have things placed for fun of the game. These are just suggestions not the rules.

Traps puzzles and monsters

I personally think that traps can be some of the most interesting elements in the dungeon, even more so than monsters. To make them intriguing, they don’t have to be contraptions of metal that kill players; there are other ways. Environmental traps can impose conditions on players, they can obstruct the easiest way in or out, or force players to split up. Some traps may be in plain sight, giving players the possibility to disarm or avoid them, while others may already be deactivated. These traps can be woven into the narrative, creating tension and enhancing the atmosphere, as long as we don’t overuse them.

Puzzles are somewhat related to traps but are a more advanced version of them. In their simplest form they are small games, challenges or riddles, for players to solve in order to achieve something. There can be various outcomes of a puzzle, and they may or may not pose a danger to players. Puzzles can be implemented using props in the real world or kept entirely in our collective imagination. Regardless, they should be tested beforehand, as nothing is worse than taking away the joy of solving a riddle with the words “you just figured it out”. Puzzles can take a lot of time to solve, especially if they are more complicated, which can slow down the game. While they can be the most memorable part of a game, they can also be a hit or miss in my experience. When implementing them, again, balance is key.

Monsters are the enemies of our players and often an extension of the places they live in. When choosing creatures for our dungeon, we should consider if they fit into that environment. There is no place for eagles in the mines or wild verdalings in the desert unless you can provide a reasonable explanation. Eagles could be living in an underground aviary by hunting rodents for years or wild verdalings could be found in the desert due to the presence of a nearby oasis. Make it make sense. In the Scientica Naturalis section, you can find many monsters that can be used in your games. If you want more creatures, create your own or modify existing ones by making them faster, smaller, larger, or different in general. In nature, not everything is the same, so make some creatures weaker and some stronger.

Creatures do not always make the smartest decisions, especially if they are not very intelligent. It’s a good idea to roll every now and then for their intelligence to determine if an animal at a particular moment is smart enough to do something you have in mind. You can assign an abstract value to this test, like 7 or 8, and let the dice decide. As you can imagine creatures with higher intelligence have a better chance of passing this test. 

Rewards

Nothing is better than going through the treasure after defeating a boss. Rewards are a crucial part of the game and can range from in-game items like magical items, hex, gold, forgotten knowledge,  fame, and reputation to meta-progression in the form of experience, skills, and abilities. The bigger the challenge, the greater the reward. I believe that awarding some experience points after each session is always a good idea. Generally, one experience point for each game should be granted to every player, and additional points can be given for various things, such as good role-playing, significant actions, sacrifices, ingenuity, character growth, quest completion, teamwork promotion, and any actions that enhance the game. Be fair in your assessment; it’s better to give everyone 2 points than to give 4 points to one player and 1 to the rest. In-game objects that are rewarded should be more in line with the players. While we know that a random magical item in the old ruins can be anything, it’s much nicer if one of the players can use it. After all, players are your heroes, so let them become stronger. Provide them with objects that enhance their abilities. Both sides will have more fun when they can utilize these rewards.

A reward that falls in between the categories of in-game and meta-progression are skills. NPCs can offer players some training in their respective fields of expertise. If a robbed hex artisan has nothing else to offer, he can at least teach you about his craft. It’s important to keep these training sessions reasonable, as learning complex skills or crafts should take more than an overnight conversation. I would recommend incorporating them during time skips in your adventures and explaining the time spent, which will make more sense and immerse players in the world. This is an excellent opportunity to provide a brief narrative about the time players invest in gaining that knowledge.

One of the most interesting rewards that players can receive are abilities. Unlike magical items, abilities cannot be lost or taken away, making them more valuable. Depending on the character of the game, these skills can have different impacts. In a more realistic game, they might be something minor, like a permanent bonus to climbing or a +1 to damage. In more epic and heroic games, players could gain something grand, like the ability to transform into an animal or breathe fire. When granting such powers to players, you need to consider their applications and how impactful they can be.