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)

So you don’t need to break out your PH.

Full transparency, I’m not queer. I am, however, strongly pro civil rights and inclusivity. But, when we were working on the fifth edition of the D&D game, I made a mistake regarding this issue. James Wyatt drafted that statement about sex and gender for the Player’s Handbook. I read it. I said to myself, maybe a little nervously, and giving in to internalized cultural pressure, “This goes without saying. D&D has always been about freedom to be who you want to be in the game.” I fired off an email to Jeremy Crawford, the D&D Managing Editor and Sage, to that effect. That email is proof that I had failed to imagine what the book’s clear statement would mean, and does mean, to queer folks marginalized in our society, even at our gaming tables.Read More »

World Building: Roots

Barsoom (2)

I said a while ago that I wanted to talk about world building (maybe worldbuilding or world-building, as you prefer). That I do. Doing so seems likely to take more than a couple entries here. This essay is the beginning, written as much for me to explore what I know as for anyone who cares enough to read it. (1)

Generation of the world or universe, the setting, is important to numerous aspects of creating media, from novels to games. Careful design can’t be undervalued. Assumptions should be avoided, while reasoned relationships should take prominence. Aim to build novelty and interest, but include enough of the familiar to build resonance with the audience.

We need to define a few terms before the discussion begins. This essay waxes philosophical. (3)Read More »

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’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 »