The Dungeon Master Behind D&D’s Biggest New Actual Play Already Knows What’s Next

Stepping into the Dungeon Master’s chair for an official Dungeons & Dragons actual play series is a daunting prospect, but breathing new life into the gothic horror of Ravenloft and one of the game’s most legendary villains is an entirely different beast.

Throughout the inaugural season of Dungeon Masters, Jasmine Bhullar guided a troupe of brave souls through the harrowing mists of Sithicus, culminating in a dramatic showdown with the infamous Lord Soth. Across eight gripping episodes, the series not only built momentum for the Ravenloft: The Horrors Within sourcebook but also wove a deeply personal narrative of sacrifice, resilience, and found family. The cast—featuring Professor Crem de la Crem (Neil Newbon), Zora Thornska (Devora Wilde), Eloin Emberleaf (Christian Navarro), and Wesley (Mayanna Berrin), later bolstered by the arrival of Lividity (Alexander Ward)—brought immense heart to the table.

Following the show’s poignant finale, we sat down with Jasmine Bhullar to discuss her process, collect her wisdom for aspiring DMs, and confirm her return for the upcoming season. The next campaign kicks off next week, shifting the action to a fresh Domain of Dread: Innsmouth, where the party will confront the terrifying, cosmic influence of H.P. Lovecraft’s legendary Cthulhu.

This interview has been edited for flow and clarity.

Polygon: What were the most significant hurdles you faced while helming Dungeon Masters, and how did you prepare for them?

Jasmine Bhullar: The primary struggle is striking that delicate balance between pure, table-top fun and honoring the game’s rigid lore and mechanics. My goal from the start was to create an accessible show that might entice newcomers to pick up the hobby. I’m quite hard on myself whenever a rule is glossed over in the heat of the moment. To prepare, I poured my energy into understanding the players’ backstories. We had a tight timeframe to introduce such a high-stakes setting as Sithicus while giving every character their moment to shine, so I focused on mastering that lore to ensure their arcs felt meaningful and earned.

Did the condensed episode format force you to adjust your approach to DMing?

Surprisingly, not really. I’ve always gravitated toward shorter, punchier sessions, even at my own home table. I enjoy the challenge of delivering a focused, efficient narrative without needing extensive post-production edits.

The character arcs unfolded so naturally. How did you cultivate those moments within such a short window?

I engaged in deep conversations with each player to understand their characters’ cores, then leveraged that knowledge to apply narrative pressure. Ravenloft is built for dread; I wanted to see where each character would fray under the strain. I let the internal party friction simmer, acting only as the catalyst to keep the temperature rising. It was essential to create that claustrophobic, “there’s no way out” desperation that defines the best horror campaigns.

You managed a mix of experienced veterans and fresh faces at your table. How do you harmonize those different levels of expertise?

I absolutely love that dynamic. When a classic villain appears, you get that visceral reaction from the veterans, while the newcomers provide this infectious, wide-eyed wonder. Their curiosity and genuine delight can revitalize encounters that might feel “played out” for someone who has sat through a dozen campaigns. That enthusiasm is contagious; the whole table feeds off that energy.

During the finale, you allowed Neil Newbon’s character a pivotal re-roll after a failed attack against Lord Soth. It felt like a decision between tragedy and triumph. How do you view the DM’s role in “thumbing the scale” for the sake of the story?

It’s a balancing act. Whether we’re using 5e or 5.5e, the rules aren’t meant to be a prison. I don’t give players easy wins, but I will occasionally tilt the scales if they’ve fought tooth and nail for a moment. To me, that moment wasn’t about a “heroic” feat; it was about Professor Crem, a man who had lost his career, his wife, and was on the brink of losing his daughter. That wasn’t a standard mechanical buff—it was the pure, gritty adrenaline of a man who simply had nothing left to lose.

What is your most cherished memory from the first season?

The quiet downtime in the windmill during the first long rest stands out. It was a perfect blend of wholesome interaction and crushing heartbreak, establishing an emotional baseline that defined the tone for the entire journey.

What is your definitive piece of advice for new Dungeon Masters?

Above all else, make sure you are still playing. Even when you’re the architect of the world, you are a participant in the game. Once you lose the sense of wonder and play, you lose your connection to the craft. I’ve never seen myself as a “forever DM” burdened by the role—I see it as the best seat in the house. Always prioritize finding a group you genuinely love to spend time with, and never stop having fun with the game yourself.

Having worked on juggernauts like Critical Role and Acquisitions Incorporated, how does Dungeon Masters feel uniquely yours?

It feels like home. On other shows, I’m often a guest or a one-off contributor—I’m there to support someone else’s legacy. But here, the set, the crew, and the way the screen is organized to my specific needs—it’s all tailored to my style. It’s “my” table. I have immense respect for the long, storied histories of shows like Critical Role, but Dungeon Masters feels like a collaborative space that we built from the ground up together.

Can we confirm you’re returning for the next campaign?

Oh, I’ll be there.

Source: Polygon