World Building: Imaginary People

A furor among several old-guard D&D creators prompted me to write this. Hyperbole, logical fallacies, and blinkered and outmoded thinking were on full display. Dismaying was the anti-progress and anti-sensitivity in evidence. So was the clear lack of understanding about modern gaming and games, including D&D as it exists today. Unsophisticated was the understanding of how communication and other shared experiences, such as streaming, affect gaming today.

Worse was a hidebound adherence to an outdated way of thinking about how games depict imaginary people. To these veterans, evil must be absolute so the good might discern and righteously smite it. The point here is not to vilify these guys for their shallow takes. I disagree with them, though. I’ll go into why, starting with the topic of recent discourse.

Read More »

Playing Advantage and Inspiration 2

The last part of this pair of posts spoke about changing advantage, disadvantage, and inspiration for D&D. It suggested changing advantage to smaller add-on dice (d3s, d4s, d6s) that can stack. Using that alternative also allows for inspiration to accumulate rather than stagnate. An accumulation of inspiration dice allows for another mechanic to find its way into D&D and other d20 games that incorporate this set of house rules. (And these advantage/disadvantage rules can be used to replace numeric modifiers in most d20 games.)Read More »

Playing with Passive Expertise 3

This series has been about allowing characters to be awesome based on what’s on display on the character sheet. In part 1, I talk about using the characters’ passive expertise as an excuse to give players the information they need. The wizard is good at knowing magical and occult facts. Give those facts to the wizard’s player. Part 2 is about allowing a character to pull off amazing stunts based on physical skills they have. Great at acrobatics? Then, as we see in action movies, you can run up a wall and backflip. No problem. In both cases, the point is to do allow a lot of this stuff to happen without rolls.

This part deviates from that theory. Some people like to roll; it’s a game. That’s valid. But you can have your rolls and emphasize expertise, too. I’ll go into a few options.Read More »

Playing with Passive Expertise 2

In the first entry of this short series, I wrote about the philosophy of passive skill or trait use in roleplaying games. That piece focused on information exchange and the use of passive skill to determine the baseline of what a character knows in a game. There, I claimed you could use passive skill, or almost any trait you might normally roll for, in active situations in a game.

What that claim means, in practical terms, is allowing player characters to have a bottom performance level in physical activities, such as athletics and stealth. This passive us fits alongside the mental acuity I advocated for in the first essay. For the sake of narration and speed of play, it’s fair for this floor of expertise to apply to NPCs, too. They can sometimes perform fancy maneuvers based on their capabilities just like the player characters.Read More »

Playing Draculola Characters

This post is a preview of the Draculola game rules for making characters. The game is on Kickstarter, and this link takes you there. You can use the following section to make a character concept. (Characters by Rosie and Meri Sims, art by Emma Welch.)

If you’re not the Narrator of the Draculola game, you need a character. Use guidelines here to make one.

This section often refers to your character as “you.” The players form a friendly group of characters that have differing qualities, so they work well together during play.Read More »

Playing with Passive Expertise 1

In several tabletop roleplaying games, especially D&D and its derivatives, we ask to roll too much as players. As referees, we ask for rolls too often, including confirming the player’s request to roll. Published adventures and rules call for rolling more than they should. It’s as if we think that rolling is essential whenever a question of success arises.

It isn’t.

Rolling a check is important only when stress is a factor, failure has consequences, or the feat of brains or brawn is possibly beyond those attempting it. Even in these cases, rolling isn’t vital. In some cases, it’s problematic for play.Read More »

Playing in Imagination Space

When we were little kids, we roleplayed with few boundaries. The floor is lava! You avoid it, or you “die.” It was the same with playing adventurers versus monsters or space wizards with laser swords in the back yard after interacting with popular media, such as Dungeons & Dragons or Star Wars.

We didn’t have written rules. The parameters were contextual and freeform. Any rules that existed were negotiated, often on the spot. The imagination space was broad.

Imagination space is an ephemeral realm where creativity has free reign within parameters a game defines.Read More »

The Fall of the Rebel Angels by Pieter Bruegel the Elder (1562).

Playing with Exceptional Scores

When it comes to a lot of D&D-derived games (1), ability scores have been a discussion for as long as the capabilities and bonuses they’ve given a character have been only derivative of those scores. Most of this design territory is an example of mechanics being too finicky for what they do but surviving nonetheless. The design at the time was functional and innovative, but that doesn’t render it good, originally or forever. These structures remain within the game largely due to legacy or nostalgia, not because they are still functional, innovative, or even necessary.

Some games moved the marker and, such as True20 did, answered the question, “If you need only a modifier, why isn’t that modifier the score?” Heck, AD&D’s second edition made ability scores more useful, especially in the Skills & Powers book. (2) These fiddly aspects merit such debate and reworking. It’s another aspect I’m interested in seeing jettisoned, and that’s the racial ability score adjustment, whatever a particular game calls it. Put another way, you are an orc, so you raise your Strength and Constitution scores by 2, and you lower your Intelligence by 2.Read More »

World Building: Inclusivity

Kotaku recently published an article on queerness in the D&D game. To be more specific, this article is about the inclusion of queer people and, more specifically, a glimpse into their lives as normal, accepted citizens of imaginary worlds. The fifth edition Player’s Handbook, for the first time in D&D history, makes a bold statement about sexuality and gender. It encourages you to imagine different. Several official D&D adventures depict queer couples or families. Many other games have similar modes of presentation, nodding toward normalcy. All these steps are positive. However, a few failures of imagination exist with regard to depicting this sort of equality in games and other media. (1)Read More »

Surviving

Let's go for a ride! Always wear your helmet.
Let’s go for a ride! Always wear your helmet.

I’ve been playing Fallout 4′s beta Survival difficulty mode. It’s good. The mode certainly meshes with my normal play style, but Survival also improves the feel of the game. How a game feels is paramount. Mechanics have to speak to the genre and the narrative. Survival pumps Fallout 4′s feel up to the right notch, adding a little something I missed without quite knowing it.

See, when I’m not experimenting with a ridiculous, chemmed-up melee fighter or a run-and-gun soldier, I default to careful play style. I use stealth and sniping to avoid “fair” confrontations. (You know, like you would.) When I set up for sniping, I lay mines on predictable approaches to my position. I avoid companions, sometimes even the lovable and helpful Dogmeat, because companions draw enemy attention, attack without tactical cooperation, and sometimes plain get in the way. (The Lone Wanderer perk is all me.) I explore nooks and crannies, and acquire the perks needed to unlock and hack everything. I’m cautious, methodical, and curious.

Survival asks you to be all three of those things. If it asked more of some and less of others, it’d go from being good to being great.Read More »

The Geek Way

In most dictionaries, the definition of “geek” is way behind the times. It’s still classified a pejorative term that implies negative qualities or insular, intellectual behavior. Synonyms include dork, freak, nerd, and weirdo—basically a social misfit.

The reason I say this sort of definition, and the people who still use it, are behind the times is because geek has been moving toward chic since Revenge of the Nerds (1984) was in theaters. As the dorks of the 80s grew up and became business leaders, computer specialists, game designers, scientists, writers, and other sorts of accomplished professionals, “geek” has become synonymous with success and disposable income.

The word is also used in common parlance to denote someone who is passionately enthusiastic, in a positive way, about a subject, job, or hobby. You can be a kayaking geek, a computer geek, a yoga geek, confectioner geek, and so on. In fact, most mature geeks I know fit into a range of geek types rather than single-minded enthusiasts. Plenty of “cool people” self identify as some sort of geek.

I’m a gaming geek. Chances are, since you’re reading this, so are you.

Other than being passionate about games, gaming geeks are often considered to be extremely cerebral and introverted. We can be pedantic, judgmental, and cliquish. All these traits can lend to the social-misfit stereotype, especially in a culture where “intellectual” is sometimes touted as an unfavorable trait. The basement-dwelling troglodyte cliché persists despite the fact that geekdom has crossed innumerable boundaries.

The worst boundaries I see in my gaming life, however, are those limits we gaming geeks impose on ourselves. Again, we can be pedantic, judgmental, and cliquish, as well as hyperintellectual and plain snobby. Rather than retain a sense of wonder and experiment, we can adhere to onerightwayisms and badwrongfunisms. We define ourselves as simulationists or gamists, roleplayer or tactical, video gamer or tabletop gamer, as if those terms have any extant value beyond the realm of personal preference. Forgetting that our games and their settings are imaginary, we look for truths in them and about them. Such “truths” are no more existent than the made-up milieus to which we apply them. (Stephen Radney-MacFarland of NeoGrognard is a great one to discuss this subject with.)

Don’t feel persecuted if you believe you’re in such a category. I’ve been there, too. But I’ve been blessed with diversity of exposure and experience that has made me see the error of my ways. In the domain of personal fantasy and fun, the only right way is the one on which the participants agree. “Official” stances, canon, metaplots, and rules be damned.

All games I’ve played had their value and an influence on my beliefs and design methods. In Wizards R&D, I’ve gotten strange looks because I said I like GURPS. Sure, GURPS isn’t any form of D&D, but it has its virtues and flaws, just like D&D does. Playing GURPS, even as dungeon-crawling fantasy, is less abstract than playing D&D in a similar mode. But GURPS, and its first cousin Savage Worlds, suffers from static disadvantages that characters can have, the roleplaying of which is governed only by the vigilance of the GM and player.

FATE (Dresden Files RPG) and Cortex+ (Leverage RPG and Smallville RPG) handle the flawed character better through use of dynamic currencies that encourage implementation of the flaws in the game. Each of these games has something D&D could learn from, and has or will in my home games. (These games can also learn from other games, as I hear Margaret Weis Productions might soon show us.) Similarly, if I were ever to run a Pathfinder or 3e D&D campaign, I would derive some of that campaign’s GMing tools, such as monster and NPC design, from 4e D&D.

The point is: As my repertoire of played games expands, including videogames, so does my viewpoint on how games might be designed and played. I’ve learned you have to play a game to have the most qualified opinion on it. Reading it or looking on from the outside is not enough. Claiming to like or dislike a game, implying your opinion is somehow educated, without experiencing that game is disingenuous. (I did this in a review of Mutants & Masterminds, the flaws of which show up pretty quickly in play—for example how Toughness works.) Saying your way of playing is somehow the one true way is snobbery.

When it comes to D&D, or any RPG really, I have yet to see a wrong way to play.

My friends and I, as kids, flipped through the 1e D&D monster books, which for us included Deities & Demigods, with our 10th-level characters to find a creature we couldn’t beat. Of course, we had unbalanced characters. I’d like to have met a 10-year-old D&D player in the 80s who didn’t. We added all sorts of stuff to our game from everything we read, saw, and listened to. Yes, some of our characters had lightsabers, and others had boots like Gene Simmons of (makeup-wearing) KISS. To more than a few of us, that stuff is still cool.

As countless other grognards and game designers have admitted and opined on, we ignored parts of older D&D that were too arcane for us. Weaned on basic D&D, and without the cash flow to assemble armies of lead figurines, we took to Advanced D&D with that simpler sensibility. We rarely used the battle grid, although the game and its statistics called for it even then. Therefore, we ignored weapon and spell ranges, and we fudged whether monsters ended up in blast radiuses. Now that I think about it, even with our lightsaber-wielding uber-characters, we emphasized what was fun for us.

That’s the key, I guess. And lots of styles can be fun.

My teenage simulationist streak is what got me into games such as Rolemaster and GURPS. Back then, I might not have tried James Wyatt’s Random Dungeon(TM), which has about as much story as Hack or Rogue. (Both of which are fun, as is JW’s Random Dungeon.) I would have appreciated Mike Mearls’s love of dungeon crawling a lot less and been unwilling to participate in a 3e reboot game he ran. In fact, I might have disdained the typical limitations of convention play. It would have been snobbery and my loss in every case.

Play style is just that. If you aren’t participating in a given game, it’s not within your purview to judge that game negatively unless you intend to be unkind. (You can judge, in a general sense, any game you’ve played, especially with reference to your preferences.) In my mind, this point of view applies to published products that don’t seem to be your style.

Fourthcore, for example, is hardcore, meat-grinder dungeon crawling in the vein of Tomb of Horrors. To some, it’s an experiment with the boundaries of 4e D&D. For a few, it goes too far afield. To me, 4e always contained the possibility of Fourthcore or something like it. My current DMing style is more along the lines of an action/adventure novel or TV series, but I appreciate the fact that D&D, among countless other RPGS, is pliable enough to accommodate so many ways of having fun. Furthermore, I can participate in alternative styles as the opportunity arises.

Just like any of us can be more than one type of geek, and most forms of geekery have positive traits, every game has a range of possibilities. What you prefer might be different, but we geeks can learn from one another, and we gamers and game designers can learn from all sorts of games. Experimentation and exploration expand horizons. Nothing is sacred; everything is permitted. Of course, none of us has the time to try everything, but all of us can avoid negative prejudgment, whether of other people or games. Instead, we can emphasize the positive aspects of our differences, gaining some wisdom in the process.

I want to thank those among you who have taught me new possibilities. I also want to thank those of you who have graced my game table or network connection with your presence. I’ve stolen good ideas from all of you, or recalibrated my thinking to accommodate a new idea of yours, just so you know. So, I owe you one.

This is my Speak Out with Your Geek Out participation. Why don’t you speak out, too?

The D&D Experience

Note: I’ve included Twitter handles for a lot of people, because I know a lot of you know these folks, just not by actual name.

A few of us from Critical-Hits were at D&D Experience this year. Matt Dukes (Vanir, or @direflail) was there as a civilian and regular ol’ gamer representative. Shawn Merwin (@shawnmerwin) attended as a DM and writer. I went as a DM and administrator for the Ashes of Athas campaign. Dave Chalker (@DavetheGame) got trapped in DC on his way to the show, so he didn’t make it. We missed him.

Lots of conventions, from PAX to Comicpalooza, have D&D games and organized play. None of them are like D&D Experience. This convention is about hardcore D&D gaming and D&D news. It’s all D&D all the time on official channels. Players who come here come to play the game from sunup until the witching hour. When they’re not playing, they’re learning more about D&D from the experts.

I got in early in the afternoon on Wednesday, and I snagged my “Judges Kit.” In it was my schedule, printed versions of the adventures I was running, an RPGA D&D shirt, and coolest of all, the upcoming Deluxe DM Screen. (See a little of it in the picture here; snag yours on or after February 15th.) I supplemented with a roll of Gaming Paper for maps, which I drew at the show.Read More »

Into the Unknown

In roleplaying games, the D&D game especially, characters delve into mysteries that surround them. They might wish to bring light into the darkness of the world. Curiosity could drive them. A desire for wealth and fame might be enough motivation. Whatever the case, adventurers go in search of the unknown.

Discovery is a process. It requires motivation, followed by exploration and a willingness to keep going despite setbacks. In games, it also requires that the truth is discoverable. Someone has to know the facts, or something has to exist to help lead seekers to the situation’s reality.

Mysteries must have answers in all roleplaying games. At least, the secrets the players wish for their characters to uncover should have some means of being laid bare. That means the DM, at least, has to know, or have an idea, where a path of exploration leads. In the case of published work, the designers should know such answers and, more important, reveal them.

We designers fail to do that sometimes, however. In books, we make statements such as:

Iyraclea is the mistress of the Great Glacier. From her realm beneath the ice she spell-snatches young, vigorous mages for some unknown but doubtless sinister purpose. Iyraclea worships Auril the Frostmaiden and commands magic of awesome power . . . . Few see her castle of sculpted ice and live to tell the tale.

Half a century before the start of the Last War, an unknown evil infected the lycanthropes of the Towering Wood, stirring them to violence and driving them east to wreak chaos in settled lands.

I’ve been guilty of it:

Known also as the Wood of Dark Trees, this dense jungle is home to all sorts of dangerous creatures. The animate and malevolent trees from which the forest gets its name are numerous, as are venomous flying snakes. A pair of chimeras with black dragon heads lives deep in the forest, lairing not far from the Mound of the Sleepless and attacking any who approach. What the chimeras guard is unknown.

My sensibilities have changed over time. Once, I might have tolerated such vagueness in my own game writing. Now I see this type of ambiguity as a disservice to DMs and players. It’s unhelpful at best, and maybe even lazy at worst.

I know the reasons for leaving narrative elements undefined. We primarily tell ourselves that we’re leaving space for the DM to create, or we’re avoiding imposing our “official” ideas on users. Maybe we’re even evading canon bloat. We’re protecting DMs, in case the players read “the truth” in the campaign guide. Further, our blank space is a call to design for those who use our products. Occasionally, the “unknown” is the subject of another product such as a novel or adventure. To me, this situation is even weaker than the aforementioned reasons. It also misses a chance a cross promotion, but I digress.

All those rationalizations are malarkey.Read More »

The Littlest Con

Madison, South Dakota might seem like a typical small Midwestern town. In some ways it is. But it’s also the home of a Dakota State University and the school’s Computer Game Design program. The DSU Gaming Club puts on a gaming shindig every year, and this legendary event is known as Nanocon.

Nanocon isn’t just a gathering to facilitate gaming of all types, which it does. It’s also an educational event for the students at DSU. I was invited last year as a representative for Wizards of the Coast, among such design luminaries as the wise and skilled Jeff Tidball (a freelancer for Fantasy Flight, Atlas Games, and countless others) and the incorrigible cad Richard Dansky (White Wolf, Red Storm Entertainment, and novelist responsible for Firefly Rain). It was a great time, and I must have done something right, because they invited me back.

This year, the roster was filled with a few more experts, such as:

Jeff Tidball was back, bringing with him a playtest version of a board game based on the well-known RPG [name redacted]. I was lucky enough to play the prototype. To me, Jeff’s version captured the essence of the RPG better than the original did at times. Sure, like Jeff himself said, there were no intense roleplaying moments, but it as great themed fun. Perhaps we’ll revisit it when the game is released and my NDA no longer applies.

• Jeff McGann, lately of Red Storm but on his way to Irrational Games and work on Bioshock Infinite. Jeff knows a thing or a thousand about the “hellish world” AAA game design. Primary in my mind, as a designer of D&D, is his take on accessibility or lack thereof. Your game has to let people in, and if it doesn’t, it won’t matter how cool the second act is. Too few people will see that act. D&D has lacked real accessibility for long enough that the problem transcends editions. Maybe the new red box helps, but I don’t think Essentials does. My point here is that most D&D players are inducted into the game without having to climb the complexity curve alone. Maybe more on that later.

• Matthew Weise of the Singapore-MIT Gambit Game Lab, researcher on game history with emphasis on Metal Gear Solid, zombies, and first-person RPGs. As a fan of stealth games, I appreciated Matt’s analysis of the Metal Gear franchise. See Game Verbiage below for more on Matt.

• Clara Fernandez, also of the Singapore-MIT Gambit Game Lab, is a researcher on adventure games, puzzle design, and dream logic in games, as well as stories in simulated environments. Maybe it’s obvious to others how puzzle design for a game is so much like overall adventure design, but I found that focus insightful. Puzzles have to provide enough information and hooks to keep players moving forward and satisfied with that progress, otherwise frustration sets in. Without a social reason to continue investing, most players just quit. Our adventures need to do the same while providing enough “imagination space” to allow DMs and players to personalize the experience. I think this is what modern D&D adventures lack, as Mike Shea has intimated.

• Kevin Rohan, the Content Director for Silver Gryphon Games. He also knows how to mix genres in Savage Worlds. As a player of Grover, mean with a pair of .44 revolvers, in Kevin’s “Fist Full of Muppets” scenario, I should know. Kevin and I also gave a presentation about sandbox adventure design, and it was pretty cool. Try to create a scenario with a nonlinear progression for the proactive player characters. Then include villains that plan intelligently and move forward. The characters have to thwart the villain’s agenda, or meet their own goals, while the antagonists do the same. It’s a lot more interesting than monsters that wait to be killed in a site that changes only when PCs appear, let me tell you.

Back to School

I was in Madison early on Friday, so I had the pleasure of going to a couple classes. Jeff Howard—a professor at DSU and author of Quests—invited me to his class on combat systems and magic systems. The students presented various combat systems for their games, and I was allowed to give some feedback. I also got to go to a projects class and witness some damn cool games designs in progress, and the students were kind enough to explain the concepts to me, even though everyone else in the room already knew the project story and parameters.

How is this useful to you? One thing I felt over and over again, and said in various ways, was that you, as a game designer, need to be able to tell me who I am in your game, what I’m doing, and why. That’s your elevator pitch right there. And if you don’t have an elevator pitch, your idea isn’t solid enough. (Steve Jackson Games writer guidelines put it another way. You need to be able to write the back cover’s sell text for your game. If you can’t, work on your idea more.)

I also felt, here and when I was evaluating pitches for D&D Insider, that most budding designers need to push ideas further and go for meaningful play. Find the unique aspects of the vision you’re after, then push them to the fore. Make sure your mechanics and narrative reward the behavior you want. Every feature of your game should have a reason for some or all players to engage that aspect. If not, then the feature is a lie. This applies to DMing from monster design to encounter design to adventure design to campaign design.

All Fluxed Up

For the game room, I came up with a Gamma World scenario based on Madison, DSU, and South Dakota wildlife. I called it Deshoo Snipe Hunt, and here’s the premise: Winter is coming. The tiny plains village of Deeshoo is finishing up the harvest and the autumnal hunts before the alpha snows block the trade route to Soox Falls. It couldn’t be a worse time for raiders to move into an old bunker on the far side of Lake He-man. The Dragon Slayers United (DSU), Deeshoo’s elite protectors, went out to deal with the raiders a few days ago. They never came back. Now a giant sword-beaked fowl with an entourage of blood birds is picking off Deshoo hunters, residents, and livestock and carrying them east. Looks like a job for the DSU auxiliary. That’s you.

Cool thing is that I got to play this scenario twice, although only once all the way through. The first time through was with four players, all of whom had humanoid mutant characters except for the player of Sunflower, which was a sentient commune of dandelions. The second game included Steve Graham, a DSU professor; Allen Thiele one of the Nanocon organizers; Jeff Howard, Jeff Tidball, and Jeff McGann. After hearing Kevin Rohan and I speak on adventure design, the last Jeff was so eager to play in one of my tabletop games that he bought new dice. As if I weren’t ecstatic enough with a table full of smart gamers, Jeff’s enthusiasm was no small compliment coming from such a smart designer. Gamma World got positive reviews all around.

I also learned a few things about the game.

• It’s all right to allow players to assign an 18 and a 16 to ability scores even if they have origins that have the same ability score. In fact, it can work better than raising one score to 20 if the player wants or needs the character to use weapons. It also behooves you to make sure every character that lacks at-will mutant powers has a reasonable score in an ability that facilitates weapon attacks. You might even want to go to a 4d6-drop the lowest scheme for other ability scores. This still allows for some low rolls, which players in my games latched onto as roleplaying opportunities.

• 1d4+1 rolls on the Starting Gear table is about 1d4 too many. The Starting Gear Table has too few options for every character at the table to have three rolls on it. Instead, give each character one roll, then another roll or two on the Ancient Junk Table, and call it good. Believe me, the Ancient Junk table is where it’s at for fun gear possibilities. I mean, how else do you get an android to throw his wireless mouse and use his Interaction skill to pretend he just threw a high-tech grenade?

• Alpha Flux is awesome. You might look at the rules for changing Alpha Mutations and dislike the randomness and changeability, but it works. Further, the players not only get it, given a simple explanation of the Gamma World setting, they also seem to love it. They especially love when they’ve used one Alpha Mutation, roll a natural 1, and receive a new mutation for the trouble. I’d even go so far as to recommend putting terrain or monster powers in every few encounters to make Alpha Flux different and, preferably, more common.

As an aside, Alpha Flux can be used to explain any kind of weirdness in Gamma World. Gamma Terra provides narrative underpinning for real-life complications. For instance, if you’re running a campaign and a player fails to show, his or her character might simply disappear for a while in a reality-altering wave of flux. He or she might even reappear with full knowledge of what transpired in the supposed absence.

• Ignore Omega Tech card drawing. Instead, give out Omega Tech like treasure, even allowing enemies to use the tech first or have it on them. As an experiment, I ignored the drawing rules for Omega Tech and gave it out (randomly) piecemeal over the course of my encounters. Doing tech distribution this way allows the players to decide who takes which treasure. It also allows you to control, to an extent, the number of tech powers that might enter play at any one time. Plus, describing the discovery of Omega Tech is more fun this way.

Game Verbiage

Matt Weise gave a workshop that was, for lack of a better word, amazing. The premise is simple: Take an intellectual property, such as The Wizard of Oz. Then reduce that IP to the verbs related to it. From those verbs, you come to the essence of what a game about that IP might include in the gameplay. The results can be surprising.

I was playing my Welcome to Dark Sun adventure (for the seventh time) when Matt started, so I didn’t participate. (The players in that game did very, very well, which I think might have something to do with my communication as a DM.) I watched. Matt and I talked while the teams worked on their IPs (The Wizard of Oz and The A-Team).

The technique might seem simple. It is. But how many games miss this simplicity? An example we spoke of is the James Bond IP. How many James Bond games are about the varied aspects of spying? Most are themed shooters that involve only the most action-oriented aspects of the Bond franchise. These games miss the chance to incorporate other aspects of the IP, and perhaps thereby, miss the opportunity to attract a wider variety of players. Matt accurately pointed out that the Hitman games involve more deceptive tactics than numerous Bond games.

A lot of designers can benefit from learning and following this sort of thinking. I know I did.

Small Con Experience

Nanocon’s magic is in its intimacy. It presents a great opportunity to meet players and play games. As a guest, I also had the chance to mingle with all the other guests, as well as the faculty and organizers. That type of interaction with others who love games is hard to overvalue. Perhaps needless to say, I’m glad I went. I’ll say a little more about what I did there later.

More Mailbag

This week I’m resting up. I’ll be old and crotchety by Saturday, so I’m taking it easy to build up my strength. (Okay, I’m playing a lot of Mass Effect 2. I like to keep Renegade nearly as high as Paragon, so don’t push me.) I’ve been working up a few ideas. Kyle Ferrin’s fine image for my Mailbag feature needs some showing off, too. It makes sense, with this confluence of events, to post some requests to you. I’ll do these articles without any help, but I figured it makes sense to do something more personal. Check out the possibilities.

Monsters

I plan on doing one or more pieces on monster design. I’ll share what I know, along with some tips based on issues I sometimes see. The plan was to snag some monsters from popular video games, which I’ll still do, as examples with visual counterparts. You can help by suggesting monsters you’d like to see from any medium that I and other readers might have easy access to. If you’re up to it, you could even submit an idea with a description or your own design for my development. To submit a request, idea, or creature, email me with the subject Monster Mash 1.

Characters

A while back we had a “discussion” on Twitter about character concepts and roles. I use quotes around that word because this is a subject with a lot of room for interpretation. Numerous disagreements I saw seemed to revolve more around semantics than actual ideological differences. Twitter’s character limit is not your friend when trying to move past semantics. Besides, Quinn Murphy called all us tweeters out to put our blogs where our mouth was at the time. I’m in. Send me character concepts if you will, and I’ll see if I can make them using the 4e D&D game rules. Feel free to restrict me, even though I might ignore the restrictions. I also reserve the right to critique the concept, as well as to solve the problem the way I’d do it as DM for my home game. If you’re ready to put your concept where my blog is, send me an email with the subject Role Me 1.

Thunderdome

I have a lot of great possibilities for playing in the Seattle area, and I have an idea for making it semiregular. Now I just have to schedule it all when my calendar has some holes in it. We’ll see what happens. If you’ve already sent me an email, I’ve got you on my docket. Still, feel fee to ping me—you will not bother me. If you haven’t sent me an email, I still have room. My first goal is to set up a local group based on those who want to play. I also intend to guest star in some established local groups when I can. The email subject for a possible play date is Thunderdome.

Freemail

Other subjects I’m working on are magic items, rituals, adventure design, looting ideas, and reading player cues. If you have any questions or hints that fit into those categories, feel free to let me know. You can also (or instead) drop me a line regarding just about anything you care to. People do it all the time. I do my best to be accommodating, just ask all the people here at Critical-Hits.

In any case, I thank you in advance for caring enough to correspond with me. I’ll do my best too do right by what you give me, and I’ll be sure to give credit where it’s due. My email address is in the bio below. I hope to hear from you.

Booty Talk

Booty Beginnings

Treasure has been part of roleplaying games since the beginning. Loot or some sort of expendable resource appears in almost every game, analog or digital, in some form. In the early D&D game, the treasure distribution stems from a worthy desire to replicate the collection of powerful weapons the trolls had in The Hobbit or the huge hoard of Fafnir in the Volsunga Saga or the nameless dragon in Beowulf. It places mystic items in hard to reach places to simulate the objects of fantasy quests throughout the ages. What would Arthur be without Excalibur and the Holy Grail? What would Elric be without Stormbringer?

Trouble is, too many games handle loot poorly. This is something I realized painfully while playing Dragon Age: Origins. The game has a great story with a lot of depth, but little to none of this depth is contained within the items one finds. Treasure, money and otherwise, is given in a context that has little meaning to the player. Open a box, receive riches that might or might not be useful, go on. Accumulated wealth goes only to buy similar items in shops, and some of that equipment is way more interesting than anything one can find. I want to hear about fabulous items and seek them out, or to learn how to replicate a mythical device through my adventures.

One could argue, though, that the Dragon Age video game, having been produced for wide consumption, couldn’t be much better with regard to treasure. Treasure can’t be tailored to the player in a video game like Dragon Age, right? Wrong. Any game can be constructed to make you, the player, care about certain items so that you seek them out or gather the materials to create them. What’s required, then, is a purpose and a story behind the item, as well as hook leading you to desire the object or its creation.

Sure, it’s too much to ask that every bit of treasure be somehow unique. But crafted carefully, numerous objects of desire, with or without magical enhancement, can lead to a narrative that is more interesting and more about a player’s desires. Such items just need a purpose and a hook, and significant effort must be expended to acquire them. Rewards then become more personal. They evoke an emotional response or investment from the player, and they can drive further adventures.

Magic items, especially, need to stand out as exceptional. They need to be more than mundane gear, through exception-based mechanics and other neatness. But good story placement and cool powers aren’t always enough if the item is something a character needs to own to live up to a game’s expectations.

Pitiful Plunder

One of the problems with the usual take on treasure, especially magic items, is that most of them provide simple mechanical benefits without doing anything truly interesting. This isn’t a fault in and of itself, since magical trinkets need to affect the game in some way. The essence of the problem, in my mind, is when the game renders such mechanical bonuses mundane by assuming the characters have them. The developers increase the challenges in the game based on such assumptions, rendering the potentially fantastic merely necessary.

Unfortunately, then, acquisition of items then becomes an arms race, rather than an interesting series of narrative events that change the game and give it personality. It’s worse if the game’s math and methodologies requires nonplayer characters to keep up with the escalation. That’s how you end up with armies armed with magic items, and dime-a-dozen +1 swords. It’s also how come to all sorts of narrative shenanigans to deprive victors of spoils. Anyone who hauled a massive trove of drow items to the surface for the first time in older versions of D&D knows this pain.

Needing magic items simply to keep up with a game’s increasing challenge curve is counter to keeping magic items wondrous. That applies from the days of early D&D‘s “can only be hit by +1 or better weapons” monsters to 3e’s DR system, all the way to 4e D&D’s assumed +1 to +6 magic item enhancement bonus curve. It applies to target numbers that assume skill bonuses from magic items. A challenge curve like that makes me wonder why a game bothers to include “magic items” at all, because that sort of curve then relegates these objects to banality. This triviality of “magic items” is exacerbated when one must replace items casually to avoid being behind the curve statistically. (D&D includes planned obsolescence, because treasure has to be part of the game, and the default method of placing treasure is simpler than other alternatives.)

To be truly wondrous and avoid contrivances, mechanical or narrative, a magic item needs to affect the game in a manner that is outside the norm. A mere +1 sword becomes something extraordinary if the game system in which the sword appears ignores that +1 in the game’s attack roll resolution math. Then, a warrior with a magic sword is something to hold in awe and fear. Now imagine a +5 holy avenger in that context. Maybe it’s too good, but I’d rather that than the idea that Sting becomes obsolete when Frodo hits 16th level.

Satisfying Spoils

The alternative rewards systems, as presented in Dungeon Master’s Guide 2 and expanded in Dark Sun Campaign Setting, goes a long way toward allowing the type of wondrous magic items I’m talking about. Fixed, or inherent as I call them, enhancement bonuses based on character level allow you and me, as DMs, to ignore a large portion of the statistics of the challenge curve. These alternative reward systems also imply, at least, a richer narrative environment for character wealth, mundane and magical.

Dark Sun Campaign Setting makes it clear that a character gains an extra +1 per point of fixed enhancement bonus to attack and damage rolls. That evokes a seeming of great, crushing skill in combat. I can easily imagine Conan’s Hyboria as a fixed-enhancement-bonus world, with Conan terribly wounding a dragon with a dagger tied to a pole, as he did in the “Red Nails” novella. Having this critical increase tied to an inherent character trait is another way the fixed-bonus system is good for wondrous magical treasure. A good magic weapon can change the die type of you extra critical damage, but it doesn’t give you that damage.

Dungeon Master’s Guide 2 and Dark Sun Campaign Setting tell you how to alter your treasure distribution if you use a fixed enhancement bonus. Personal belief and experimentation have shown me, however, that you can be even more casual about items and alternative rewards than these systems suggest. You can give far fewer magic items and boons, and far less monetary treasure, and still have a fun and rewarding games. Further, you needn’t have players provide wish lists at all—except as potential hooks for adventures all about acquiring a desired item. In a gaming environment enhanced with the alternative rewards rules, the characters can find what you, the DM, have time to select and impart. You can also take items away at dramatic moments, or encourage, with sufficient payoff, players to sacrifice items for cinematic reasons.

The new rarity rules in D&D Essentials enhance this flexibility. Using alternative reward rules, you can focus on the uncommon and, especially, the rare items. You can also throw in a few common items here and there as a substitute for monetary rewards. In my games, I’m aiming not only for fewer items, but also items  that add interest and wonder to the game. Sometimes the characters find these items, and other times they find such objects, much like the signature items you see in the hands of characters in fantasy literature.

Where Essentials loses me is with the suggestion that rare and uncommon items “are not normally created in the current age of the world” and “are now found only as part of treasure hoards.” (The emphasis is mine.) Both statements cleave to simplicity, for designers and players, at the expense of narrative richness. The latter quote is also needlessly absolute, closing design space that could be filled in later product for advanced players. As a DM, I’d assume such items were never “normally created” in any age, but are instead the results of unique processes that have to be relearned and duplicated. In other words,  a character can adventure to find such an item, or adventure to learn to create one. Often, the finding is much easier than the making, and the process might be so arduous that making more than one such item is impossible. In other words, the intrepid DM still has control.

If you’re a really bold DM, you can use magic items with enhancement bonuses that stack with fixed bonuses. Magic armor like this might live in the niche where masterwork armor exists now. You’d have to be a little more careful with weapons and defensive items, limiting them to about +1 per tier (with some wiggle room). Given the system math, not considering all possible alterations from existing game elements, such items should still be fine alongside fixed enhancement bonuses. This is especially true for weapons and implements if you favor higher player character accuracy than what the game assumes, as I do.

Looking at Loot

All this talk is philosophical, and I’m sorry if that’s less than satisfying, but this essay is more about the spirit of change than execution of that change. Implementation of the idea is something I’m still working out in my D&D game. I also know that some systems, such as GURPS, already allow what I’m talking about. When I reach a resolution, I’ll let you know.

Others among my gaming buddies have mentioned alternative solutions to the same problem in passing. I’d like to see what they think, even philosophically, in writing. I’d also enjoy reading your comments.