Monday, August 3, 2020

RPGaDay 2020 #3 Thread (Actually Vision)

I've got nothing on today's prompt, so I'm going to save it for later.

One of my big stumbling blocks for this blog is that I've felt the need to have a Vision in order to post something. Not a prophetic vision, but some sort of Big Idea that I must Send Out to the Cosmos.

At least part of the issue is that my gaming life has really slowed down, so I don't have observations from my last session or previews of my next to keep you all entertained.

During the most severe part of the lockdown (We're still not through the woods yet as I type this), I actually did run some sessions of my OSR worldbuilding campaign that I kept saying I would do. Maybe through this month (and hopefully beyond), I'll share some observations and maybe even updates on this campaign.

Sunday, August 2, 2020

RPGaDay 2020 #2 Change

The only sure thing in life is change, as my last post demonstrates.

It's always interesting to go back and look at the ways I've run my games in the past. It's not always been a smooth transition, and not always an improvement. That's an important thing to remember.

I think my biggest "failed experiment" was using the Beat Chart that appeared in Dream Park as well as other products by R. Talsorian Games. On the surface, it was a pretty nifty idea: Mix up the types of scenes in your game so it's not just a series of fights, or endless talking or what-have-you.

The problem occurred because I was always planning too linearly. And maybe because I had at least one player who liked to push the story off the rails. And every session, every adventure, I would be sure that they would follow the steps that I had planned and everything would go like it "should." But it never did.

Before that time, my sessions were very loosely structured. I would go in with one or two good ideas and let my players react to what I put in front of them. Once I realized that the Beat Chart wasn't working for me, I tried to go back to that, but it wound up being too loose.

The next game I ran was the megadungeon, which was a complete break from the prior style of gaming. Which I've already talked about at length, so here's where we break off.

Saturday, August 1, 2020

RPGaDay 2020 #1 Beginning

As per usual, I've been terrible keeping up the blog. But every time August rolls around, I at least have to try to complete the RPGaDay challenge.

It's hard to find something new to say on the subject of beginnings. It's one of my recurring themes on this blog. How to be a new player. How to be a new Game Master. How to start a campaign. Good games to play if you're just starting out (Hint: I wrote one).

I think the one sort of beginning I haven't really talked about is starting over. I'm not sure if I have any advice on the subject because I still feel like I'm in the middle of the process.

I moved to the San Diego area a year and a half ago. 800 miles from all of my established gaming friends. Any friends, really.

It's been pretty uphill, but some good gaming has taken place. I wouldn't say that I had fully settled in because I wasn't running a regular campaign. Being a GM is in my blood now. I'd run a few session of this or that. Usually something pretty light that didn't take a lot of work. I know I've mentioned some big dream campaigns, but those take big effort to implement.

Then the virus hit. All in-person gaming was canceled for the foreseeable future. It wasn't until it became absolutely necessary that I took to online gaming. Starting over all over again.

I'm adapting. I continue to adapt. But it is not easy and not always fun.

Friday, May 15, 2020

Happy 10th Anniversary!

What a long strange trip it's been!

I don't know if anyone still reads this, but I would be remiss if I didn't do something to mark this day. Ten years ago today, I released Adventures in Oz: Fantasy Roleplaying Beyond the Yellow Brick Road over at

The traditional gift for the 10th anniversary is Tin, which connects very amusingly with Oz, as everyone knows. Not only is the Tin Woodman a fan favorite character, but he also had a long lost "brother" in the form of the Tin Soldier. As a gift to my many fans, I have reduced the price of the Adventures in Oz Characters Pack, featuring the Tin Woodman, to $0.00. That's right, it's now free permanently!

Tuesday, February 11, 2020

Who Needs Players?

The simple answer, of course, is that there is no game without players. For a very long time, I wouldn't even consider planning for a game if I didn't have a play group. My diverse tastes made me even more cautious. I didn't want to have a campaign half-written if nobody wanted to take the first step and learn new rules.

The downside of this strategy is that I wound up running games under-prepared. Almost criminally so. I've commented on this blog many years ago about how my players would exploit my lack of preparation as a sort of "fast forward" through my scenarios.

So, what has me thinking about this now? Back in July, I found a writing club meeting at a coffee shop. (Actually, I was at the coffee shop scouting it as a place to run a game. The writing club just happened to be there.) I wound up joining and used the place and time to work on my RPGaDay blog posts. That's why I was able to finish that project despite an awful lot of blog silence previously.

But with August over and all entries completed, I needed something else to write during that time. I decided to work on my campaign notes for my ever-in-the-future Star Trek campaign. I've had the ideas for the campaign for over 5 years but without prospective players, I held off on developing it too deeply.

             One thing I very much wanted to avoid was the temptation of excessive world building. I don’t know how many books on my shelf are full of setting details that aren’t useful. At least not to me. Strange customs that would only be relevant if I was going to force my players to navigate them instead of just making an Etiquette roll to avoid the whole thing (which they would, given the opportunity). Fashion descriptions that mark characters as being rich or poor or from this country or that when all I’m really going to say is “This NPC looks rich or poor or from this country or that.”

            What I did was just start writing the adventure scenarios just like I would if it was a game I was actively running. But instead of having to rush to have something done by this upcoming Monday, I have the time to let my adventure stew until some Monday (or whatever day that group decides on) in the future.

            The big advantage is that I have more time to buttress my plots. When I only had the week between sessions to sketch out the plot, it tended to be weak, with lots of opportunities for “plot clipping” as I previously mentioned. By sitting on ideas and letting them stew, I can look at them from more angles and close the plot holes that I find. Sometimes, instead of simply plugging holes and filling in details, I realize that the story I’m trying to tell requires a different plot structure.

            It also means that I’m doing more world-building. I still avoid world-building for the sake of world-building, but taking the time to flesh out my plots means that world details get filled in. For example, for the Star Trek campaign I want to run, I have a planet where science is a religion. The plot centers on a religious/technological artifact. Quite logically, it would be guarded by something like the Pope’s Swiss Guard. If I only had a week, I might not have put much thought into them. With the pressure off, I can flesh them out a bit more. There might even be a future adventure on this planet where the Star Guard are a major player.

            For my “ultimate sandbox” D&D game, I’m doing everything randomly. The map is randomly generated. I’ve got some randomly generated dungeons for the players to explore. I’m even pre-rolling some random encounters. Originally, this was to reduce the time I spent rolling dice and looking things up in play. But because I have the time to reflect on things, some of these encounters are turning into stories of their own.

            One of the craziest things I’ve rolled up yet is an encounter with four boring beetles (the kind that dig holes, not the kind that are dull). The beetles are in their lair, which means that they are adjacent to their treasure, which includes such randomly determined things as sheep and horses along with other commodities. Boring beetles are the most intelligent of the beetles and the bestiary I’m using even says that they can have a hive consciousness that is quite intelligent indeed. So, I make a reaction roll to determine what they think of anyone who attempts to enter their lair and I get “Friendly.” Instead of a simple monster fight, I get beetles that are intelligent and potentially keeping livestock and other commodities that are friendly and welcoming towards visitors.

            Of course, the point of the ultimate sandbox is to give the players freedom of action in the world and see what they do with it. While they could interact with the beetles and maybe even trade with them, there’s also nothing stopping them from killing them and loading all those commodities onto the horses and laying claim to them. But from my perspective, my world just got that much more interesting because of that potential, whether it gets realized or not.

Thursday, January 16, 2020

An Old Dungeon Story

I love story games. I love games that let me create new kinds of stories when I play. The tragicomic betrayal of Fiasco. The monstrous humans and human monsters of Monsterhearts.

It’s also true that I’m a big fan of the Old School Renaissance. Dungeons, and dragons and 10-foot poles. In fact, I’d rather play an old school game than a more modern version of D&D.

What’s the deal?

Maybe it’s the fact that I came to it via the OSR, where the old game is explained in new words, and some people have added their own interpretations of the original text, but my position is that Old School D&D is a story game. Back in the late 90’s, when I first developed my interest in gaming, it was typical to sneer at D&D as “the game of killing monsters and taking their stuff” as we played GURPS or whatever other system we were into at the time. But then story games came along and the fact that a game has such a clear mission statement is considered a virtue.

But it takes more than a mission statement to make a story game. You need mechanics that are geared towards that mission statement. There must be some sort of carrot to lure players into playing in certain ways. Maybe even a stick or two to cut off stories that are not in the game’s wheelhouse. Simply put, story games deliberately create “winning moves” within their mechanics and by leaning into those winning moves, you’re supporting the game’s style.

In Fate Core, the winning move is to engage with aspects and fate points. To keep the blog from getting too far from its main topic, the winning move in Adventures in Oz: Fantasy Roleplaying Beyond the Yellow Brick Road is to help people and make friends. Not only will doing these things make your character more powerful and effective, they also help create the story that those games want to tell.

Now back to the OSR. Looking for those winning moves that offer the big rewards, what do we see? The big reward is clearly experience points. That’s how you level up. And they also line up neatly with that mission statement. In Old School D&D, you get XP for killing monsters and taking their stuff. In fact, first edition D&D is unique in that it’s the only version that offers XP for taking their stuff. And that makes all the difference.

For example, let’s say that a party of 4 orcs is guarding a chest with 100 gold pieces in it. In 1e, the orcs are worth around 15 XP each if they are killed, but none if they survive. Recovering the chest of gold is worth 100 XP. If you kill 2 orcs and the other 2 run away (because 1e also had morale rules), you’ve still got most of the XP for the encounter.

Old school D&D is not a game of heroic adventure. It’s a game of treasure hunting. Realizing that, so many of the odd relics of that edition make a degree of sense. One of the simplest advantages is that it removes a certain sort of metagaming. Since the player at the table and the character in the game are after the same thing, anything the player does to get the best reward for their character is also the character working to get the best reward for themselves. 

Encumbrance rules and fiddly equipment lists are all about planning and preparation. How much can you carry into the dungeon and how much can you carry out? Did you remember to bring the thing you need to deal with the challenges you expect? How many extra challenges can you cope with? And how much treasure can you get out of the dungeon once you’ve found it? Because coins and weapons and scrolls all have weight.

Time is another resource in the dungeon and random encounters emphasize the ticking clock. The group could spend several turns making sure that they’ve explored everything in a dungeon room. Every trap disabled and every secret door uncovered. But every turn spent is one turn closer to the dreaded random encounter check.

What’s wrong with a random encounter? Isn’t that just a bundle of XP walking right towards you? Maybe. Remember those orcs guarding that chest? Now imagine that you found those orcs wandering the dungeon away from their chest. If you kill them, you get their XP. But you don’t get XP for their chest, since that’s back in their lair. So, a fight is going to potentially cost you spells, hit points and items without a worthwhile reward.

The funny thing is that the earliest roleplaying emerged from trying to beat this clock. Instead of taking a turn of game-time to check for a trap, secret door or hidden treasure, players would listen for clues in the Dungeon Master’s description of the room. Is there a candle sconce in the wall? Try to turn it and see if a section of wall opens. Does the floor sound hollow when I tap it with my 10-foot pole? Probably a pit trap there. Traps could be detected in segments instead of turns. There was less chance of failure for this type of searching as well, since no dice were rolled for these types of actions.

And if a random encounter did occur, players could do things other than fight the monster. Like talk to it. Especially if there was a large power disparity between the monster and the party. A powerful monster might get an apology for intruding upon their domain, while a weak monster might be intimidated into revealing where their lair and treasure (and XP) are.

Admittedly, the treasure for XP rule was dropped in all subsequent editions of D&D because it was not often used. Monster XP was increased to make up the difference, but it doesn’t seem like they thought of the results on the game’s incentive structure. While the objective of treasure hunting led to a lot of variety and creativity, simply rewarding monster kills encouraged players to be combat hammers banging on as many XP nails as could be found.

Modern D&D seems pulled between two forces. On the one hand is this reward structure that has become so ingrained into gaming culture that it cannot be escaped. On the other hand, there is the desire to be a generic fantasy RPG, being as big a tent as possible and encouraging people to play it in any way they want. The downside is that it has too much identity to be a truly generic game, but it has sold too much of its original identity to continue the story game legacy of 1e.

Sunday, September 8, 2019

RPGaDay 2019 Day #31 End

Today’s theme is “End.”

How do you end a campaign?

I think we’re all familiar with how a campaign “normally” ends. Someone finds something else to do with their Thursday night and eventually everyone else follows suit. How long this takes can depend on where in the chain the Game Master is.

There was a period where my gaming career consisted of “mini-campaigns,” 3-4 months of roughly weekly sessions using a single system and a single setting to tell a single story arc before jumping on to the next system and setting for a new story arc. Each of those story arcs had their own conclusions (and if I had tried, I would have had the devil’s own time trying to push past what that ending was), so I actually had a number of campaigns that did have a proper ending. The closest I had to a continuing campaign in this period were the “sequel campaigns” I ran in the “Mars invades Atlantis” setting I had devised, each using a different generic system.

My Adventures in Oz playtest, which occurred during this period, was an example of something that was mostly intended as an open-ended campaign that found itself a conclusion. I was trying to keep things going, but I was having a hard time giving them plot threads to follow. This would have been a sign for me to wrap things up, but my players, especially Kris, beat me to it. He declared the mission to go to Utensia (since that would unleash my worst pun impulses, the group had resolved to never go there), and he also devised the scheme to thwart the Nome invasion that I had put in front of them along the way.

My “ultimate sandbox” campaign is intended to be never-ending. One way of looking at the old school playstyle is that players would bring their characters, Dungeon Masters would provide the setting and play would happen when both of those things came together. So as long as I keep my notes for the sandbox together and in playable form, I can use them for whatever group I organize at any point in time.
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