A Plot, So Meta

Years ago, I wrote about canon as it applies to tabletop RPG settings. I still believe what I wrote back then. Canon serves as a framework for a setting, but after that, strict adherence to and advancement of canon along an official timeline is harmful to the setting and its audience. This latter specific type of canon is called a metaplot, an overarching story line imposed by the designers of a setting, creating official events in the setting up to and even drawing the setting’s timeline to a close. Because of recent experiences I’ve had, talking with some interesting folks and applying to be White Wolf Publishing’s new Editor (1), I’ve been thinking about metaplot a lot.

Strahd
Strahd’s Borovia, like Dracula’s Transylvania, was a kind of world of darkness. Region of darkness?

When it comes to expressing intellectual property (IP) in media, metaplot can be a complicated issue. For tabletop RPG settings, metaplot, as canon, is useful only insofar as it underpins players’ starting point and furthers adventures (story-based products that the players experience through sequential play). Beyond that, metaplot can be damaging to an RPG setting. However, if the intent is to focus on wider transmedia storytelling, the rules change. Then, a coherent metaplot, which is really a plan for a shared audience experience over time, is vital (although not for a related tabletop RPG setting).

Tabletop Plotting

With tabletop RPG settings, such as Forgotten Realms or World of Darkness, the necessary part of the metaplot is that which forms the myth and history of the setting. From the place defined by this initial canon, a setting becomes unique over time for each group that uses it. The publisher can continue to use metaplot in adventures, because adventures, unlike any other game supplement, are an experience of time’s forward arrow for the players. The current Dungeons & Dragons brand strategy uses this approach with adventures that describe the ongoing, player-centered drama in the Forgotten Realms. (According to Chris Perkins, the core intent for products that occur outside the Realms, such as Curse of Strahd, is to showcase the wider D&D multiverse.)Read More »

Junk Punch

You have been sucker punched. As a gamer, you’ve been categorized and used as a negative stereotype to illustrate points about terrible movies. Video games and gamers get a bum rap in film criticism. Film critics seem to like to use video games and the people who play them as a culturally understood idiom. This practice makes the critics look as bad as what they might be criticizing.

Roger Ebert, with his starkly ignorant opinion of video games as art, might have brought this mistreatment to a head in popular media. This lack of actual cultural awareness has been around for a long time, however, with film critics decrying just about anything that’s based on a video game or seems gamish. The trend degenerates from there, with critics using the term “video game” to condemn crappy adventure movies, as well as the term “gamer” to refer to insipid consumers of such dreck. This sort of condescension is a refuge only of someone who can’t come up with a meaningful metaphor and, therefore, takes the lazy route of uninformed comparison.Read More »