Another session of the spies game last night. The mechanics are still present, just because they're primarily in my head (or on the blog), so I'm trying to keep them transparent, but I think they're holding up. Specifically, We're been playing the 3d6 variant and it's proving fairly robust.
Last night was the kind of session where things took a much more wiggly path than I anticipated, but I made a lot of unexpected discoveries. The sole downside is that the tempo system feels a little stretched in a close quarters gunfight - one that feels like it should be more dangerous than normal. While it's easy to give one side or another an advantage, there's no dial for making a specific fight nastier. I could probably tweak the margin of success in the background, but that seems a little ham-handed. Something to think about, but I don't think it detracted from the game.
On the upside, I think I finally internalized the need for penalty dice as a difficulty gauge. As it's a fixed-outcome roll (influenced by Apocalypse World, but it is definitely not an AW hack) the game has the frustrating habit of distributing outcomes independent of the fiction of the world. Tossing in a penalty die to say "This is harder than just doing the same thing in different circumstances" feels very natural, and since the impact of the penalty die is immediate and palpable, I get a lot of mileage out of just using a few. One means this is hard, two means this is really hard, and three means you're really pushing it. Keeping it down to 3 possibilities keeps it easy to grasp.
I also made a realization which Fred verbalized. As in AW, there is a "Success with complications" outcome that is the most likely of outcomes, but unlike AW, the complication is not automatic - in this, the complication is at the GM's option, and if he adds it, the player gets a fate point. This worked out very well in play, and added a few surprises to the game, but the real payoff was on the meta-level. As a GM, it allowed me to back off from a roll I shouldn't have called for or which I was just using to test the breeze. For the players, Fred pointed out that it removed a lot of the hesitation of using lower skills, since those were the ones most likely to hit these results. That last in particular pleases me.
Didn't get to test combat too much - two fights, the first one ending in rapid withdrawal (that was the close quarters gunfight), and the second ending under the weight of such an overwhelming opening roll that it couldn't really be categorized as a fight.
As a GM, I was reminded that I have a weakness for NPCs who manage to pull off an escape in the face of overwhelming PC firepower, and I had to let myself get comfortable with letting the dice shape the follow up. I've also made a note to myself to see how the tempo rules fare in a chase.
Anyway, all in all a good game, and this may yet shape up into a full system.
Tuesday, November 9, 2010
Monday, November 8, 2010
Persuasion
This has been stuck in my head as I've been reading through Influencer by Patterson, Greny et al. It's a book about how people change their minds - in some ways a practical companion to the Heath Brother's Switch - and it's chock full of interesting stuff. But the bit that's been riding me has been that about persuasion and how it works.
See, verbal persuasion (making a good argument and so on) works pretty well in lots of situations so long as the recipient trusts your intentions and your expertise and so long as they're not already invested in the subject. If another cook offers you a tip on how to prepare garlic, odds are good you'll change your behavior and give it a try provided you don't think they're trying to pull a fast one. But for less tractable issues, ones where there's already an investment or other sorts of gravity? Well, the book puts it quite well:
Consequently, whenever you use forceful and overt verbal persuasion to try to convince others to see things your way, they're probably not listening to what you say. Instead, they're looking for very error in your logic and mistake in your facts, all while constructing counterarguments. Worse still, they don't merely believe you're wrong, they need you to be wrong, in order to protect the status quo. And since the final judge exists in their own head, you lose every time.
I read that and had to go dig up a highlighter to mark it, because I had never seen every argument on the internet, ever, described so succinctly.
The author's go on to assert that the best real persuader is personal experience, and I have to agree with that. Seeing and doing real things impacts people profoundly, in a way that just thinking or talking about it does not. But they concede the problem with that is that experience can be hard to come by, especially specific experience. And that is where stories come in.
The book has an interesting output driven view on stories as our most effective tool for creating vicarious experiences. That is to say, if you can't actually be there, a good story from a good storyteller is the next best thing in terms of power to influence how you think. This is not news - marketing has been telling us for years that we sell with stories, but I found this the most practically explained framework for the idea to date.
And it also has me thinking about what we mean when we say stories. What's interesting about this approach is that it talks very little about how to tell good stories, instead acknowledging that it can be done well or poorly and moving on, and just concentration on the _outcomes_. This fascinates me because, I think, it highlights some of why the term is so contentious in gaming as some people talk about inputs and others talk about outputs, and are then so busy stabbing each other to sort it out.
Anyway, I'm still chewing on this, but I needed to get it out of my head and into circulation.
See, verbal persuasion (making a good argument and so on) works pretty well in lots of situations so long as the recipient trusts your intentions and your expertise and so long as they're not already invested in the subject. If another cook offers you a tip on how to prepare garlic, odds are good you'll change your behavior and give it a try provided you don't think they're trying to pull a fast one. But for less tractable issues, ones where there's already an investment or other sorts of gravity? Well, the book puts it quite well:
Consequently, whenever you use forceful and overt verbal persuasion to try to convince others to see things your way, they're probably not listening to what you say. Instead, they're looking for very error in your logic and mistake in your facts, all while constructing counterarguments. Worse still, they don't merely believe you're wrong, they need you to be wrong, in order to protect the status quo. And since the final judge exists in their own head, you lose every time.
I read that and had to go dig up a highlighter to mark it, because I had never seen every argument on the internet, ever, described so succinctly.
The author's go on to assert that the best real persuader is personal experience, and I have to agree with that. Seeing and doing real things impacts people profoundly, in a way that just thinking or talking about it does not. But they concede the problem with that is that experience can be hard to come by, especially specific experience. And that is where stories come in.
The book has an interesting output driven view on stories as our most effective tool for creating vicarious experiences. That is to say, if you can't actually be there, a good story from a good storyteller is the next best thing in terms of power to influence how you think. This is not news - marketing has been telling us for years that we sell with stories, but I found this the most practically explained framework for the idea to date.
And it also has me thinking about what we mean when we say stories. What's interesting about this approach is that it talks very little about how to tell good stories, instead acknowledging that it can be done well or poorly and moving on, and just concentration on the _outcomes_. This fascinates me because, I think, it highlights some of why the term is so contentious in gaming as some people talk about inputs and others talk about outputs, and are then so busy stabbing each other to sort it out.
Anyway, I'm still chewing on this, but I needed to get it out of my head and into circulation.
Friday, November 5, 2010
Glass Bead Fate
Ok, so before I start, I have to ask: did you learn how to play the game? You should have, and if you didn’t then this isn’t going to make a lot of sense.
The reason you want to learn the game is simple: the skills that make you good at playing the game will help make you better at designing adventures for FATE games, including the Dresden Files. The method is simple - once you start getting used to drawing connections between seemingly unrelated items, you can start applying those same skills to finding connections between aspects.
This is one of those ideas that is simple and powerful, so much so that there’s a temptation to just stop there and say “That. Do that.” because if you actually do it, odds are good its benefits will be sufficiently self evident that any explanation will seem like overkill. Still, assuming you don’t have the time to walk through it right now, let me break out an example. This is a variant on the default Glass Bead Game board:
Now, let’s combine this with some aspects from the sample Baltimore characters in the DFRPG.
Evan: Young White Council Wizards, In Over My Head, Heir to Montrose, Precision is Everything, Here’s the Plan, Hail Hail the Gang’s All Here, I’d Rather Not be a Warden, Thanks.
Biff: Trust Fund Jock, “Sorry Mouse”, Dumb Luck, Krav Maga, Mortimer Lewis Abernathy III, Hail Hail the Gang’s All here, Plays the Dumb Jock
I’ve randomly distributed these on the grid. How is not terribly important, you can do whatever you like to spread it out.
One curiosity of this particular map is it’s asymmetry - the item in the middle right is disproportionally connected to the grid, which has interesting implications when applied to adventure design - it suggests that aspect is going to be a crux of things. Something to think about when you fill in the grid for your game.
Next, let’s grab two of these and pluck the string between them to see what it makes. There are a few gimmes - Heir to Montrose and Mortimer Lewis Abernathy III are an easy pair since they suggest a range of issues about society and family and so on. To easy to even consider using as an example.
Let’s consider something a bit more challenging, like, say, Dumb Luck and Young White Council Wizard. White Council drips with hooks, but Dumb Luck’s a tricky starting point because, while it’s easy to bring up during play, it doesn’t have a lot of setting hooks, but the upside is that it’s a wildcard. If these two aspects were on the same character, it would be easy to put these two in conflict with some bit of mundane luck (like winning a lottery) drawing too much attention to his Council role, but it’s a little trickier to tie in both characters. The best bet would be to draw on Dumb Luck as an initiator - the lucky find or discovery of come sort, one that might be of interest to the council. Something that the council values or wants. If you want to introduce some tension, then you give Biff something cool that the council demands Evan take away. If you want to tie them together, then have Biff stumble upon one of the White Council’s secret’s (perhaps a way map, or something personal about a senior council member) that is personally useful, but which Evan either needs to keep concealed from the council, or Evan gets some pressure from the council to “do something” about.
Whew. Ok, that one took some work. ( This is, by the way, one more reason I like anchors - having concrete things to plug into the grid is much, much easier.) But whatever the case, it's doable, and something similar could be done with almost any pair on the grid, and I encourage you to try. But despite my saying so, you may not believe it.
It is easy to say "see the connections between these things and find potential points of intersection" but as advice goes that's only marginally more useful than "be creative." No matter how much you intellectually understand that's what you want to do, it still can seem impossibly hard.
And that, right there, is why you need to try the glass bead game. Yes, it's fun and interesting and that's great, but it's also a drill, a drill that makes you get better at seeing connections between things. Like any skill, it gets better with useful practice, but like many soft skills, practice is not easy to come by. That is, unless you can find something like the glass bead game. It's not something I can demand you do, but if seeing connections is something you want to get better at, whether to make for better games or for some other personal purpose, why wouldn't you give it a try?
The reason you want to learn the game is simple: the skills that make you good at playing the game will help make you better at designing adventures for FATE games, including the Dresden Files. The method is simple - once you start getting used to drawing connections between seemingly unrelated items, you can start applying those same skills to finding connections between aspects.
This is one of those ideas that is simple and powerful, so much so that there’s a temptation to just stop there and say “That. Do that.” because if you actually do it, odds are good its benefits will be sufficiently self evident that any explanation will seem like overkill. Still, assuming you don’t have the time to walk through it right now, let me break out an example. This is a variant on the default Glass Bead Game board:
Now, let’s combine this with some aspects from the sample Baltimore characters in the DFRPG.
Evan: Young White Council Wizards, In Over My Head, Heir to Montrose, Precision is Everything, Here’s the Plan, Hail Hail the Gang’s All Here, I’d Rather Not be a Warden, Thanks.
Biff: Trust Fund Jock, “Sorry Mouse”, Dumb Luck, Krav Maga, Mortimer Lewis Abernathy III, Hail Hail the Gang’s All here, Plays the Dumb Jock
I’ve randomly distributed these on the grid. How is not terribly important, you can do whatever you like to spread it out.
One curiosity of this particular map is it’s asymmetry - the item in the middle right is disproportionally connected to the grid, which has interesting implications when applied to adventure design - it suggests that aspect is going to be a crux of things. Something to think about when you fill in the grid for your game.
Next, let’s grab two of these and pluck the string between them to see what it makes. There are a few gimmes - Heir to Montrose and Mortimer Lewis Abernathy III are an easy pair since they suggest a range of issues about society and family and so on. To easy to even consider using as an example.
Let’s consider something a bit more challenging, like, say, Dumb Luck and Young White Council Wizard. White Council drips with hooks, but Dumb Luck’s a tricky starting point because, while it’s easy to bring up during play, it doesn’t have a lot of setting hooks, but the upside is that it’s a wildcard. If these two aspects were on the same character, it would be easy to put these two in conflict with some bit of mundane luck (like winning a lottery) drawing too much attention to his Council role, but it’s a little trickier to tie in both characters. The best bet would be to draw on Dumb Luck as an initiator - the lucky find or discovery of come sort, one that might be of interest to the council. Something that the council values or wants. If you want to introduce some tension, then you give Biff something cool that the council demands Evan take away. If you want to tie them together, then have Biff stumble upon one of the White Council’s secret’s (perhaps a way map, or something personal about a senior council member) that is personally useful, but which Evan either needs to keep concealed from the council, or Evan gets some pressure from the council to “do something” about.
Whew. Ok, that one took some work. ( This is, by the way, one more reason I like anchors - having concrete things to plug into the grid is much, much easier.) But whatever the case, it's doable, and something similar could be done with almost any pair on the grid, and I encourage you to try. But despite my saying so, you may not believe it.
It is easy to say "see the connections between these things and find potential points of intersection" but as advice goes that's only marginally more useful than "be creative." No matter how much you intellectually understand that's what you want to do, it still can seem impossibly hard.
And that, right there, is why you need to try the glass bead game. Yes, it's fun and interesting and that's great, but it's also a drill, a drill that makes you get better at seeing connections between things. Like any skill, it gets better with useful practice, but like many soft skills, practice is not easy to come by. That is, unless you can find something like the glass bead game. It's not something I can demand you do, but if seeing connections is something you want to get better at, whether to make for better games or for some other personal purpose, why wouldn't you give it a try?
Thursday, November 4, 2010
Learn This Game
Nominally, the Glass Bead Game is an idea whose roots can be found in Herman Hesse’s Magister Ludi, but I’ll cop to it right here: I’ve never read it. I picked up a secondhand copy once, but it utterly failed to grab me, and it ended up getting lost in one move or another. Perhaps I’ll give it another try sometime, but I’m not in any rush. Too many books, not enough time in life.
My introduction actually came through a very interesting (and old) website, Hipbone Games, presenting an actual Glass Bead Game based on the concept from the novel. This game is one of my favorite ideas of all times, combining an interesting game that’s curiously self-balancing with a thought exercise that is useful in almost any endeavor. Specifically, it’s incredibly useful for someone looking to run Fate, but I get ahead of myself.
The game centers around a map, but the details matter little. All that it requires is that the map be composed of spaces connected by lines. This can be as simple as a dumbell illustration or as complicated as one of those crazy cabala diagrams. Play is simple: the first player writes down something, anything, in an empty space. The next player does the same thing. They alternate until one of them fills in a space that is connected to another space by a line.
Super Simple Example
At this point, the person who just wrote comes up with a list of everything the two things have in common (if there’s more than one connection, this is done for each connection). After they finish, their opponent has the opportunity to come up with any new similarities his opponent hasn't thought of. After they’re done, each commonality is worth a point. Now, there are some potentially fiddly bits here - while you don’t necessarily need any limitations, depending on the nature of the players, some sort of time limit is usually necessary. Add one if you need it, but it’s secondary to what’s really going on here, the creation of connections between apparently unrelated things. And these connections can be pretty freaking crazy. To illustrate, consider the example of “Orange” and “Rock & Roll”. I might be able to score any of the following points:
If I could remember the name of that CD I can see SO CLEARLY that was safety orange[1] I could probably use that too, but I’m drawing a blank, so I might have to give that one away, and regret that it’s not Black, because, man, you could go nuts with that.
Anyway, It’s the kind of thing that people who see fractals underlying everything can go crazy with, but it also has a subtle twist that it favors your personal expertise, whether that’s 17th century french poetry or an encyclopedic knowledge of the members of G.I. Joe. You may not be able to draw connections between Voltaire and the Great Wall of China, but you might be able to go nuts between Optimus Prime and Jem and the Holograms. The way you think is the right way to think to play, but expanding the way you think can expand the way you play.
As a twist, you can also use found things to create the map. Rather than writing things down on the fly, you can take a stack of…well, almost anything, but cards work pretty well.[2] If the contents of the spaces are determined randomly, it changes the nature of the game again, and pushes the players even further.
And that space it pushed you to? That’s why you need to learn this game, if only to play it against yourself, for reasons that will make up much of tomorrow’s post.
1 - Safety Orange! Safety Dance! There’s another point!
2 - Though, again, it depends what you know. If I laid down the minis for various D&D monsters on the map, or books pulled off the shelf at random, I feel pretty confident some people could make a hell of a game of it.
My introduction actually came through a very interesting (and old) website, Hipbone Games, presenting an actual Glass Bead Game based on the concept from the novel. This game is one of my favorite ideas of all times, combining an interesting game that’s curiously self-balancing with a thought exercise that is useful in almost any endeavor. Specifically, it’s incredibly useful for someone looking to run Fate, but I get ahead of myself.
The game centers around a map, but the details matter little. All that it requires is that the map be composed of spaces connected by lines. This can be as simple as a dumbell illustration or as complicated as one of those crazy cabala diagrams. Play is simple: the first player writes down something, anything, in an empty space. The next player does the same thing. They alternate until one of them fills in a space that is connected to another space by a line.
Super Simple ExampleAt this point, the person who just wrote comes up with a list of everything the two things have in common (if there’s more than one connection, this is done for each connection). After they finish, their opponent has the opportunity to come up with any new similarities his opponent hasn't thought of. After they’re done, each commonality is worth a point. Now, there are some potentially fiddly bits here - while you don’t necessarily need any limitations, depending on the nature of the players, some sort of time limit is usually necessary. Add one if you need it, but it’s secondary to what’s really going on here, the creation of connections between apparently unrelated things. And these connections can be pretty freaking crazy. To illustrate, consider the example of “Orange” and “Rock & Roll”. I might be able to score any of the following points:
- REM’s “Orange Crush”
- Both depend on Frequencies
- Rhyming opposites (One depends on easy rhymes, one can’t be rhymed)
- Both are passionate/fiery
If I could remember the name of that CD I can see SO CLEARLY that was safety orange[1] I could probably use that too, but I’m drawing a blank, so I might have to give that one away, and regret that it’s not Black, because, man, you could go nuts with that.
Anyway, It’s the kind of thing that people who see fractals underlying everything can go crazy with, but it also has a subtle twist that it favors your personal expertise, whether that’s 17th century french poetry or an encyclopedic knowledge of the members of G.I. Joe. You may not be able to draw connections between Voltaire and the Great Wall of China, but you might be able to go nuts between Optimus Prime and Jem and the Holograms. The way you think is the right way to think to play, but expanding the way you think can expand the way you play.
As a twist, you can also use found things to create the map. Rather than writing things down on the fly, you can take a stack of…well, almost anything, but cards work pretty well.[2] If the contents of the spaces are determined randomly, it changes the nature of the game again, and pushes the players even further.
And that space it pushed you to? That’s why you need to learn this game, if only to play it against yourself, for reasons that will make up much of tomorrow’s post.
1 - Safety Orange! Safety Dance! There’s another point!
2 - Though, again, it depends what you know. If I laid down the minis for various D&D monsters on the map, or books pulled off the shelf at random, I feel pretty confident some people could make a hell of a game of it.
Wednesday, November 3, 2010
Fate Inspiration
Not everyone is comfortable with Fate, and with aspects in particular. This is natural enough - no game is going to be to everyone's tastes, but in the case of Fate, there's a specific hangup that I think merits a little bit of attention, if only because it's easily addressed.
Aspects (and the use of fate points) serve a number of purposes in play, which means they cover a lot of different ground. A fair portion of that ground involves things that are normally considered within the GM's purview, like dictating the occurrence of coincidences, the arrival of connections and the convenience of gear.[1] For many players, this kind of flexibility is liberating, but for some it breaks their suspension of disbelief. They are comfortable with clearer lines of division that put the GM in control of the world and the player in charge of his character. For that kind of arrangement, giving the player authority beyond his bounds is as disruptive as giving the GM authority over the character.[2]
If so, that's fine - you can actually drop a lot of that material without disrupting the game in any real way. The simplest way to do this is to limit aspects to being literal and descriptive rather than abstract. The first step to support this is to replace Fate Points with "inspiration". Rather than representing the player's role in the game and their ability to help steer the narrative, inspiration is a combination of willpower, drive and sheer dumb luck. It's that reserve of capability that a hero can draw upon in the worst of situations. As a result, the things it can be spent on reflect tapping into that reserve to try a little harder or push a little further.
To support this, aspects should reflect training, background, something intrinsic (like a stat) or things that the character is inspired (for good or bad) by. Mechanically, nothing changes: Spend inspiration along with an aspect to get a bonus or reroll, or gain some inspiration when the aspect makes trouble for you. Under this model, compels are all about character behavior - accepting a compel means accepting a limitation (like being too tired to go on) or yielding to a temptation rather than making the "optimal" choice.[3] More abstract compels don't have a place under Inspiration rules.
This same thinking applies to other aspects in the game. They should be limited to purely to descriptive things like "Dark" or "Dazed." When they are tagged or compelled, the effects should have a clear cause and effect.[4]
Now, there are still plenty of borderline issues, but that's more or less the point. The inspiration model works because it's a discrete subset of the Fate system. Everything done with Inspiration could be done in generic Fate, but the reverse is not true. So while a generic Fate character might have a hard time in an Inspirations game, an inspirations character can play in any Fate game without missing a beat. Compatibility is king!
1 - This also shows up in certain skill uses, like using knowledge skills to make declarations
2 - If this doesn't apply to you, then don't sweat it.
3 - The thinking here is similar to some modern understanding about willpower as a limited reserve. Effort spent resisting one temptation makes it harder to resist another. What this means is that yielding to temptation can help make you more able to face a later challenge, must the same way that doing something unwelcome but which you know is the right thing can make you feel better about yourself.
4 - For example, if an enemy has the "Off Balance" aspect on him, a player can't compel to have him slip at a convenient moment, but he could compel it after a successful attack, describing the attack as successfully knocking him down. While the result may be the same, the former example depends on the player narratign events his player cannot control, which is exactly what we're avoiding here.
Aspects (and the use of fate points) serve a number of purposes in play, which means they cover a lot of different ground. A fair portion of that ground involves things that are normally considered within the GM's purview, like dictating the occurrence of coincidences, the arrival of connections and the convenience of gear.[1] For many players, this kind of flexibility is liberating, but for some it breaks their suspension of disbelief. They are comfortable with clearer lines of division that put the GM in control of the world and the player in charge of his character. For that kind of arrangement, giving the player authority beyond his bounds is as disruptive as giving the GM authority over the character.[2]
If so, that's fine - you can actually drop a lot of that material without disrupting the game in any real way. The simplest way to do this is to limit aspects to being literal and descriptive rather than abstract. The first step to support this is to replace Fate Points with "inspiration". Rather than representing the player's role in the game and their ability to help steer the narrative, inspiration is a combination of willpower, drive and sheer dumb luck. It's that reserve of capability that a hero can draw upon in the worst of situations. As a result, the things it can be spent on reflect tapping into that reserve to try a little harder or push a little further.
To support this, aspects should reflect training, background, something intrinsic (like a stat) or things that the character is inspired (for good or bad) by. Mechanically, nothing changes: Spend inspiration along with an aspect to get a bonus or reroll, or gain some inspiration when the aspect makes trouble for you. Under this model, compels are all about character behavior - accepting a compel means accepting a limitation (like being too tired to go on) or yielding to a temptation rather than making the "optimal" choice.[3] More abstract compels don't have a place under Inspiration rules.
This same thinking applies to other aspects in the game. They should be limited to purely to descriptive things like "Dark" or "Dazed." When they are tagged or compelled, the effects should have a clear cause and effect.[4]
Now, there are still plenty of borderline issues, but that's more or less the point. The inspiration model works because it's a discrete subset of the Fate system. Everything done with Inspiration could be done in generic Fate, but the reverse is not true. So while a generic Fate character might have a hard time in an Inspirations game, an inspirations character can play in any Fate game without missing a beat. Compatibility is king!
1 - This also shows up in certain skill uses, like using knowledge skills to make declarations
2 - If this doesn't apply to you, then don't sweat it.
3 - The thinking here is similar to some modern understanding about willpower as a limited reserve. Effort spent resisting one temptation makes it harder to resist another. What this means is that yielding to temptation can help make you more able to face a later challenge, must the same way that doing something unwelcome but which you know is the right thing can make you feel better about yourself.
4 - For example, if an enemy has the "Off Balance" aspect on him, a player can't compel to have him slip at a convenient moment, but he could compel it after a successful attack, describing the attack as successfully knocking him down. While the result may be the same, the former example depends on the player narratign events his player cannot control, which is exactly what we're avoiding here.
Tuesday, November 2, 2010
Friday Night 4-Fight
Hit Points are weird. This is hardly news, I know. Entire volumes have been dedicated to providing some sort of logical justification for them as an abstraction of health, luck, mobility and anything else that comes along. They might literally represent progressive injuries, but more often they represent you slowly getting tired and generally roughed up until things get really bad.
We've trained ourselves to be comfortable with this in a lot of games, but it always hits a little resistance when we add in guns. We have a harder time abstracting away the effect of guns for a number of reasons, the biggest being that it's very hard for us to reconcile the idea that a hit with a gun can be casually shrugged off.[1] That cuts to the core of the "health" component of hit points and makes it difficult to sustain. We can imagine the occasional grazing hit, but those quickly strain credulity. On the other hand, using hit point purely as luck or agility[2] to produce retroactive misses is pretty dull, and especially frustrating when players have guns to tell them their hit is a miss, but it's really a hit, you see.
One solution to this (beyond making guns stupidly high-damage weapons) is to decouple the scariness of guns from HP damage and instead reflect it with effects or conditions[3], and that definitely works well, especially if you want to introduce guns into an existing game.
But if you want to do guns from scratch, as in to just do a simple firefight with 4e, a more drastic departure might be in order, one that's been on my mind.
The idea on my mind is to turn Hit Points into a more generic pool, perhaps just called luck, reduce them, and make them a component of _defense_ rather than damage. The trick for this is the addition of Defense actions, At-Will interrupt actions available to all characters to represent things like diving out of the way or making a block. These actions do something descriptive, and also raise the character's defense by the number of "Hit Points" spent.[4] In the fiction, the _action_ creates a miss.
Mathwise, the result is very similar - HP slowly ablate from hits - but descriptively it creates a much clearer sense of when a hit connects and does damage.
Speaking of damage, this would of course call for a slightly different damage system, some sort of injury model. Perhaps an injury threshold - if an attack that hits rolls damage in excess of the threshold, you're out. If not, reduce threshold by the # of dice rolled, representing an issue.
It's still a kind of loose idea in my head, but some part of me has been wanting to take the quick play of Gamma World and drop it into something closer to Feng Shui (except, perhaps, with Planescape cosmology). This is a bit too much of a departure for straight D&D, but for a departure in the same style as Gamma World, it might be reasonable.[5]
I may have to try out a firefight or two soon to see how this fleshes out.
1 - And, in fact, a cinematic shorthand for things being out of the ordinary is a target that shrugs off bullets.
2 - Which would also demand HP not be tied to Constitution.
3 - Including @Wm_Bounty's brutal "Shot" condition - make a death save at +4 each round, Heal check DC15 to end.
4 - Maybe fixed values. Maybe some # of dice. Need to play test what's fastest.
5 - For straight D&D, @gamefiend pointed out the the Star Wars Damage Threshold (You have HP, but a single attack doing X or more damage has certain effects) probably works well.
We've trained ourselves to be comfortable with this in a lot of games, but it always hits a little resistance when we add in guns. We have a harder time abstracting away the effect of guns for a number of reasons, the biggest being that it's very hard for us to reconcile the idea that a hit with a gun can be casually shrugged off.[1] That cuts to the core of the "health" component of hit points and makes it difficult to sustain. We can imagine the occasional grazing hit, but those quickly strain credulity. On the other hand, using hit point purely as luck or agility[2] to produce retroactive misses is pretty dull, and especially frustrating when players have guns to tell them their hit is a miss, but it's really a hit, you see.
One solution to this (beyond making guns stupidly high-damage weapons) is to decouple the scariness of guns from HP damage and instead reflect it with effects or conditions[3], and that definitely works well, especially if you want to introduce guns into an existing game.
But if you want to do guns from scratch, as in to just do a simple firefight with 4e, a more drastic departure might be in order, one that's been on my mind.
The idea on my mind is to turn Hit Points into a more generic pool, perhaps just called luck, reduce them, and make them a component of _defense_ rather than damage. The trick for this is the addition of Defense actions, At-Will interrupt actions available to all characters to represent things like diving out of the way or making a block. These actions do something descriptive, and also raise the character's defense by the number of "Hit Points" spent.[4] In the fiction, the _action_ creates a miss.
Mathwise, the result is very similar - HP slowly ablate from hits - but descriptively it creates a much clearer sense of when a hit connects and does damage.
Speaking of damage, this would of course call for a slightly different damage system, some sort of injury model. Perhaps an injury threshold - if an attack that hits rolls damage in excess of the threshold, you're out. If not, reduce threshold by the # of dice rolled, representing an issue.
It's still a kind of loose idea in my head, but some part of me has been wanting to take the quick play of Gamma World and drop it into something closer to Feng Shui (except, perhaps, with Planescape cosmology). This is a bit too much of a departure for straight D&D, but for a departure in the same style as Gamma World, it might be reasonable.[5]
I may have to try out a firefight or two soon to see how this fleshes out.
1 - And, in fact, a cinematic shorthand for things being out of the ordinary is a target that shrugs off bullets.
2 - Which would also demand HP not be tied to Constitution.
3 - Including @Wm_Bounty's brutal "Shot" condition - make a death save at +4 each round, Heal check DC15 to end.
4 - Maybe fixed values. Maybe some # of dice. Need to play test what's fastest.
5 - For straight D&D, @gamefiend pointed out the the Star Wars Damage Threshold (You have HP, but a single attack doing X or more damage has certain effects) probably works well.
Monday, November 1, 2010
Cool Monday: Gamestorming
As a gaming guy who has to work in a day job, I was utterly drawn in by Gamestorming by Dave Gray, Sunni Brown and James Macanufo. Dave Gray has written a lot of interesting things about sketching and data visualization in the past, and this particular book is dedicated to using games in a business context. These are games designed to inspire creativity, build teams, brainstorm and otherwise do the things that are supposed to happen at meetings but very rarely do.
I admit, I'm an easy sell when it comes to the idea of finding utility in games, and this book makes a great case for that, with almost three quarters of the book dedicated to specific examples. That said, the fist section is actually a broad analysis to games which I found utterly fascinating. Specifically, there's a lovely analysis of games as creating a range of ideas, kicking those ideas around, then narrowing down the range of ideas until you have a winner. This struck me in large part because of something that has a lot of utility in Dresden Files city creation. The system's very good at creating a bunch of ideas and kicking them around, but I think the narrowing step could probably use some work. It's a great example of how a good model can give insight into an existing system.
Now, I think this is a great book from a business perspective, but my appreciation is a lot nerdier. See, a lot of the games that are useful for business could also be a lot of use when brought back to gaming. Specifically, a lot of situation, scenario and character design and collaboration can be acquired through these games.
Even better, a lot of the game techniques can be used to solve long-standing game problems. Specifically, a lot of the games are designed with checks to keep the more talkative members of the group from directing everything while at the same time working to draw out contributions form people who might normally be hesitant to speak up. For me, at least, this is a situation I've seen at many gaming tables, and any way to address it is welcome.
To illustrate, I'm going to pull out a couple of the games that really struck me as ones that could apply to RPGs, but I'm just scratching the surface here. If this is even faintly interesting, I strongly encourage you check out the book and the blog.
BrainWriting
Start with a topic, (such as a setting element). Each player takes an index card and writes down an idea or object related to the topic. Redistribute the cards (pass to the write) then add to or enhance the idea on the card. Repeat several cycles of, possibly starting fresh. The result will be the equivalent of a loud brainstorming session, but you'll have gotten input from everyone.
As a twist, I note this one can be done entirely by email, if the GM is willing to administrate. Has the advantage of hiding handwriting or groups in which that matters.
Context Map
The context map is a visualization game to study and reveal the influences on an organization, such as the trends affecting a business. It can be applied equally well to fictional organizations and situations, and is a great situation builder.
Heuristic Ideation Technique
Fans of Shock or the 5x5 adventure design system will recognize this method. will recognize this one, and a mention it mostly for that. Basic Idea is a 5x5 grid, with 5 elements on each axis, and the grid used to review how those elements intersect.
Pre-Mortem
Like a post-mortem for a problem, but done in advance, to consider the things that might/will go wrong. Struck me as a great way to design adventures by starting with a goal and building the problems from that.
5 Whys
Start with a problem, and ask everyone to write down why it's a problem. Line up those answers as the top of several columns, then go down each column 5 times, asking why the the thing above is a problem. This is a great way to boil down bigger issues, but in gaming it's a great way to build the backbone of a campaign with problem like "The Dark Lord Rising" and such.
I admit, I'm an easy sell when it comes to the idea of finding utility in games, and this book makes a great case for that, with almost three quarters of the book dedicated to specific examples. That said, the fist section is actually a broad analysis to games which I found utterly fascinating. Specifically, there's a lovely analysis of games as creating a range of ideas, kicking those ideas around, then narrowing down the range of ideas until you have a winner. This struck me in large part because of something that has a lot of utility in Dresden Files city creation. The system's very good at creating a bunch of ideas and kicking them around, but I think the narrowing step could probably use some work. It's a great example of how a good model can give insight into an existing system.
Now, I think this is a great book from a business perspective, but my appreciation is a lot nerdier. See, a lot of the games that are useful for business could also be a lot of use when brought back to gaming. Specifically, a lot of situation, scenario and character design and collaboration can be acquired through these games.
Even better, a lot of the game techniques can be used to solve long-standing game problems. Specifically, a lot of the games are designed with checks to keep the more talkative members of the group from directing everything while at the same time working to draw out contributions form people who might normally be hesitant to speak up. For me, at least, this is a situation I've seen at many gaming tables, and any way to address it is welcome.
To illustrate, I'm going to pull out a couple of the games that really struck me as ones that could apply to RPGs, but I'm just scratching the surface here. If this is even faintly interesting, I strongly encourage you check out the book and the blog.
BrainWriting
Start with a topic, (such as a setting element). Each player takes an index card and writes down an idea or object related to the topic. Redistribute the cards (pass to the write) then add to or enhance the idea on the card. Repeat several cycles of, possibly starting fresh. The result will be the equivalent of a loud brainstorming session, but you'll have gotten input from everyone.
As a twist, I note this one can be done entirely by email, if the GM is willing to administrate. Has the advantage of hiding handwriting or groups in which that matters.
Context Map
The context map is a visualization game to study and reveal the influences on an organization, such as the trends affecting a business. It can be applied equally well to fictional organizations and situations, and is a great situation builder.
Heuristic Ideation Technique
Fans of Shock or the 5x5 adventure design system will recognize this method. will recognize this one, and a mention it mostly for that. Basic Idea is a 5x5 grid, with 5 elements on each axis, and the grid used to review how those elements intersect.
Pre-Mortem
Like a post-mortem for a problem, but done in advance, to consider the things that might/will go wrong. Struck me as a great way to design adventures by starting with a goal and building the problems from that.
5 Whys
Start with a problem, and ask everyone to write down why it's a problem. Line up those answers as the top of several columns, then go down each column 5 times, asking why the the thing above is a problem. This is a great way to boil down bigger issues, but in gaming it's a great way to build the backbone of a campaign with problem like "The Dark Lord Rising" and such.
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