One aspect of Dungeons & Dragons 5th Edition that I like is the idea of wild magic areas. However, I don’t like wild magic effects tables that focus on effects that only last a few combat rounds, and I really don’t like ones that have a lot of positive effects, especially healing, which is part of the cleric’s domain.

So I created my own wild magic effects tables focused on what can happen in a wild magic area when magic is used, the effects of which are nearly always bad, and which tend to last for days. But also, I wanted wild magic effects to occur when a spellcaster is working with magic in unusual ways, such as creating a magic item or new spell or mixing magic together in unpredictable ways (drinking multiple potions at once, for example). Because of this, I wanted such experimentation to be more flavorful by mimicking the traditional vignette of a lone wizard or witch performing magic in an isolated location under the light of a full moon.

In the material below, I use “sorcerer” to refer to all users of arcane magic. In my world, wild magic doesn’t affect clerics, because their magic comes from a different plane than that of sorcery. Also, I measure most distances by yards, so that those outside the US can just consider this to mean meters.

Wild Magic Areas

Some areas of the world are crossover points where the “seams” of the Material plane and that of the Ethereal plan cross or are areas that have worn thin between the planes. In these places, often quite small, the casting of spells and use of other magic can cause strange effects.

Magic that is affected includes sorcerer’s spells, creature’s spell-like powers, spells from magic items (a staff, wand, etc.), the use of the powers of magic items (boots of speed being used for their speed, for example), the drinking of potions (but not tonics), and the reading of scrolls. It does not include the bonuses of magic weapons and armor or the mere presence of magic items, nor does it include any holy or sacred items or the performing of rites (clerical spells).

Each time magic is used in the area, perform a skill check to determine if the magic works normally or (on a failure), the caster suffers a minor wild magic effect.

Be sure to read the effect first and decide how to relay it to the player. Some effects will not be obvious immediately. Effects are considered a curse and can be lifted as one. For some effects, the GM may rule the character is allowed a saving throw.

• “Full moon” means the effect lasts until the character is touched by the light of the full moon. If the effect occurs while the character is under a full moon, the effect lasts until dawn.
• “Two full moons” means the effect lasts until the character is touched by the light of the full moon after the next full moon. If the effect occurs while the character is under a full moon, the effect lasts until only the next full moon.
• “Dawn” means the effect lasts until the character is touched by the light of the first hour of dawn.

Minor Wild Magic Effects

Major Wild Magic Effects

If the effect includes “the vicinity”, it is a one-mile radius.

I got intrigued by the idea of the “duel of wits” mechanic from the TTRPG The Burning Wheel, which has since been reused in Torchbearer and Mouse Guard. It’s also used for some combat as well, but reports are that it is crunchy, requires substantial setup to work well, and can be somewhat unsatisfying dramatically, despite being clever.

It’s based on an expanded rock-paper-scissors idea, with four to six choices and three or more outcomes, but the core requirement seems to be that you must specify three plays at the beginning, which leaves you something of a spectator as the conflict gets resolved.

A battle of wits is a great idea that can be useful for resolving a negotiation with a nobleman or foreign emissary, a civil or criminal trial, a peace treaty, a surrender or ransom, a trade dispute, a negotiation with pirates, or even a romantic entanglement. So I wanted one of my own.

My idea is to base the mechanic on tic-tac-toe and let the players play out the conflict in real time. The strategy of tic-tac-toe is very simple, but the game generates drama by making each choice contested. Hollywood Squares introduced drama to tic-tac-toe by requiring the contestants to answer trivia (or, rather, agree with trivia answers). My version requires the players to engage in a roll-off or contested skill check for each square. This mechanic allows characters with negotiation, deception, or even entertainment skills to gain an advantage for some plays.

Role-Playing a Battle of Wits

You can role-play making (brief, simple) appeals using persuasion, intimidation, or instruction combined with a rhetorical skill of charm, shade, or dismissal. If preferred for simplicity, you can merely quote the square in the layout.

Persuade: You appeal to the facts, justice, honor, and fairness. Relevant skill: negotiation.

Intimidate: You appeal to the law, rights, authority, or, in subtle ways, even might and wealth. Relevant skill: hearten/dishearten (or the law, pirate code, etc., where relevant to an NPC).

Instruct: You appeal to logic, consequences, tradition, history, and common sense. Relevant skill: lore.

Charm: You make your point with an attempt impress, charm, delight, or trick the audience or opponent. Relevant skill: entertaining (any verbal version).

Dismiss: You make your point by an attempt to dismiss, sidestep, belittle, or reject the opponent’s arguments. Relevant skill: gambling.

Shade: You make your point by casting doubt on the facts, witnesses, evidence, or motives of the opponent. Relevant skill: deception.

Playing Out the Battle

To begin, each side makes an opening argument that states their case, such as adventurers vs a nobleman: “We should be allowed to keep all this treasure, because we found it,” as opposed to “I should be able to claim all this treasure, because it was found on my land.”

Then the opponents alternate selecting and contending over squares. Use your TTRPG’s contested skill checks or the shambles rules I posted previously to see who makes the better point in the back-and-forth of appeals and rebuttal. The winner takes the square, and the loser chooses the next square. An official may remark on the insightfulness of the point; an audience may laugh and cheer.

One side can even try to overturn a square taken by the other (effectively rebutting the point to make a point of their own). If overturned, that square should then stand. In casual disputes, the GM may allow only one overturning; in formal court argument, the opponents might try to overturn nearly every point; in courtly intrigue, a square might be overturned twice.

Winning a Battle of Wits

In the end:

• If one side has three in a row, the opponent is likely to concede, or the judge or audience is likely to come to a conclusion heavily favoring one side.
• If neither or both sides complete three in a row (possible, since both get to have their say each turn), they have both made a good show, and there should be an even compromise.
• If the winner makes three in a row vertically (using all shade, charm, or dismissal techniques), the argument is weak, and the judgment may include some compromise.