2014-12-12

Stealing settings for fun (and possibly profit)

Rather than trying to invent some wholly original game setting (and then trying to explain it to the players), often it's easier and more immediately fun to take an existing adventurous setting and modify it to your needs.

Love Star Wars and Spaghetti Westerns? Do both at once! Just watched Jason and the Argonauts and Pirates of the Carribean? Merge them!

How do you do that? Break it down into essential parts of the setting you want to emulate, and think about how to translate those into your planned setting.

So - what are the essential parts of the setting? Let's look at a couple of examples.

---

Cowboys in Space
(or wherever)

- making a Wild West themed setting in any genre

You will need:
  • The Old World
    • The planet (or planets) from which our Colonial settlers' ancestors hailed - representing Europe (and Asia and Africa) in our real world history.
    • The Old World has its problems, which may still influence what happens in the New World, but usually only at arms' reach: a war in the Old World might send more emigrants to the New World
    • Example: Earth-that-Was in Firefly. We assume this was our Earth, and Firefly is set in our future. Earth-that-Was is gone, and has no further influence over the setting.
    • Example: Mundia in the Helios system is the Old World. It is home to the human race, and is thought to be the orignal planet on which humans evolved and developed all civilisation. Its continental superpowers fluctuate between cold and hot war.
  • The New World 
    • The region that has been settled by the colonials.
    • The New World is largely virgin and unspoiled; rich in resources, but hard and wild.
    • Including:
      • The Established Colonies
        • The early colonies which have had a hundred years or more to settle down and expand - the equivalent of the 13 colonies of the US.
        • Example: The Sapiens Cluster. The initial colonisation of the Cluster was acheived through the creation of an artificial wormhole, allowing vast insterstellar distances to be travelled in a single short hop. The Cluster's several adjacent star systems were swiftly colonised by sub-light expeditions, and are now teeming hubs of industry and commerce.
      • The Wild Frontier
        • The regions of expansion, where the established colonies are pushing into the hinterland - the Wild West of the mid-19th Century.
        • Example: Since the colonisation of the Cluster, the invention of the FTL jump drive has allowed for interstellar expansion beyond the Old Colonies. The dozens of new frontier systems see explorers pushing back the edges of the known systems, prospectors following mineral rushes seeking fast riches, terraformers trying to create new farm lands, emigrants looking for a new chance - and the inevitable opportunists who support and prey on those waves of migrants: gamblers, grocers, doxies, doctors, engineers, bandits and marshalls.

Optional content: 
Some of the elements that go to make up the Wild West genre may be contentious and delicate, touching on real-world issues that are distasteful and perhaps out of place in an adventurous game setting - treat these with care.
  • The Recent Civil War
    • The Established Colonies and certain of the New Frontier regions have engaged in a bloody and devastating war over slavery or some similarly divisive ethical issue. The slump experienced by the losing faction causes resentment and division for decades to come. 
  • Various Natives - oppressed, belligerent, friendly, etc
    • Attempts to civilise the natives
    • Annexation of native land and resources
---

Pirates of the Mediterranean
(other seas are available)

- a Greco-Roman themed take on swashbuckling piratical adventures

You will need:
  • Civilised trading nations
    • The sophisticated empire and other regions between which expensive and exclusive goods are traded - so that the pirates can steal them
    • These will be your stand-ins for England, Spain and the "exotic" regions they traded spice with.
    • Example: Greece and Carthage trade around the Mediterranean and beyond, clashing with each other, but more usually coexisting as rivals - up to a point.
  • Naval authority
    •  The civilised nations have their navies who protect their trade ships.
  • Unexplored regions full of native riches
    • Standing in for the Meso-American civilisaitons plundered by the European colonials
    • Example: The African and European hinterlands are largely unknown lands to the Mediterraneans - so we can have hot and cold lands to explore and exploit, and all the alien cultures to go with them. With our mythic theme in mind, we can add legendary monsters and dangerous wizards into the mix.
  • Lots of uncharted islands and coasts
    •  Standing in for the islands of the Carribean, the Mexican Gulf, etc.
    • Example: The Greek Islands themselves, as well as invented myriad islands for adventures among hidden coves, smugglers' stashes, pirate havens and isolated cultures. In this mythic setting, these islands can be plucked straight from the Odyssey, with cyclopes, harpies and all.

2014-11-23

Playing roles - revisited

In my first "Playing Roles" post, I talked about the different forms of role playing that I've noticed people tend to do. Here, I'll talk about overcoming embarrassment - the idea that by acting up a role, you're making a fool of yourself.
 
Recently, I was chatting online with a mate who has trouble getting into character at the game table.
At the end of it all, he suggested it'd make a good topic for a blog - so here's an editted transcript of our chat, and a few comments to expand on it.



Via messenger


Me: As far as RPing goes, you seem to me to be a bit embarrassed about actually playing "in character".

Jack:Yeah. I get too shy doing it.
I always try to make a character based on someone from TV so I have a rough idea.

Me: Nicking other people's characters is fine - we all do it a bit. The point is to put yourself in their shoes.

Jack: I know we are all nerds together but I hated drama and stuff at school.
I can do the whole loud, blunt Jack act quite well, but that's it.

Me: Sure - make characters who are easy for you to play before you try hard stuff. You know - play Jesse from Breaking Bad. He'd be right up your street.

Jack: See, Vin [Jack's rogue character] was always Mike from Breaking Bad in my head. Sutrin [Jack's warrior character] was always going to be the Hound [from Game of Thrones] - but I never really got the ball rolling with him.

Me: Okay  - but you aren't a grim tough guy, yourself. You're more of a gobby youth, innit blood! That's what made me think of Jesse.
Me, I like to play clever, slightly posh chaps who want to do the right thing, but get out of their depth and have to bluff and blag their way through.

Jack: Is that why you are always a mental wizard? ;)
I was thinking gruff type dude would be easy as I can just be blunt.

Me: You may be blunt, but you're not gruff.

Jack: Sure. Right then - that's my plan. I will make a Rogue for [the next] game, and he can be a street urchin type - BITCH! Totally works, yo!


---



Play yourself




The short version is this: play yourself - or a version of yourself. 
It's usually within your comfort zone, you don't have to stop to think about character motivations so much - it reduces the strain and lets you enjoy the game.

Acting like yourself is far less out there than acting like a large ham, booming all your statements and trying to sound like Brian Blessed or Laurence Olivier.

I've seen the same sort of embarrasssment in LARPing - it's far easier to get people to come and play contemporary or near future LARP where they get to wear their own clothes than it is to get them to dress up like Robin Hood.

Once you've got the hang of playing a version of yourself, you might want to try assembling a character out of part of yourself, rather than just slotting your whole personality into the setting. 
Maybe you're a bit of a science nut, who finds social niceties difficult - then you might find it easiest to play a bookish wizard with little time for social skills.

Myself, my day job is working in product safety compliance, applying laws and safety standards rigidly: so aside from clever-but-naive idealists, sometimes I like to play strong enforcers of some code of ethics - cops or paladins or whatever the setting has - who have to learn to moderate their black-and-white morality.

Great actors talk about finding a connection with their character from their own experience, so that they can channel their own real emotions into the performance. 

You'll need to know yourself to play like this - but I've found that playing various versions of myself over the years has given me a better understanding of those parts of my own personality, which in turn makes me better at playing other roles.

If you start by making an alter-ego of yourself who shares much of your own personality, then their behaviour in the face of the game's scenarios starts out as easy - and in time, that behaviour and expeience will change the person that the character is, as their life moves away from your own. 
Then you'll find you're playing a well-rounded character, with just a hint of you buried under the wealth of experience they've gone through.

2014-10-27

Snowdonia Marathon - earning XP

I knew Snowdonia was going to be tough, but I didn't think it'd be that bad.

I trained at running up and down hills, because I live a relatively flat part of the world. The nearest steep hill I've got is a couple of miles long, with a maximum gradient of 20% - whereas the three Snowdonia ascents get up to nearly 30%. So I trained with ankle weights on.

I'd heard that for marathons, it's better to run three days of 10 mile runs than to do marathon length runs as training - so I did that.

I'd been told that the Snowdonia marathon was mainly road, with a little bit of track and path - so I mainly trained for road, with a little off road.

On the day, I slogged up the first ascent and down again without much trouble. The long down hill and flat section was steady, then the second ascent went reasonably well.

Some loon who thinks he can run
More loons
It was about 20 miles that I started to really tire out. My feet ached from pounding down the hills as well as the long distance. I had to stop for a moment and massage my legs and rest my feet - just for a moment. I spent the rest of the flat section shuffling slower and slower.

The last mountain was where I picked up the pace again - going up hill puts less pressure on your feet. I'd trained and trained at the uphill running. From mile 23 or so, I climbed about 200 metres in single run, then as the ground was just levelling out, I had to slow to walk. The road turned into a rocky path, all uneven footing and sharp edges. My knees and all the fine-control muscles hurt like hell, and my feet ached.

When I'd made it to mile 23, I'd been on track for a personal best marathon. If I'd had that bit more stamina to manage the flats and the hard terrain at the top, I'd have managed it.
As it was, I still made a respectable time for my first Snowdonia - just under 5 hours. I'd been hoping for under 5.5 hours. I'd have been happy with under 6 hours.

My brother, the rugby-playing runner, by contrast - he passed me at the top of the last climb, and bounded down the rocky descent.

So - the lessons:

  1. Train the long distances till they're routine.
    I want to run marathons fortnightly, so I'm prepared for those last six miles.
  2. End on bigger hills, including the descents.
    Going downhill when you're tired is hard. I need to condition myself to run down hills after a long tiring run.
  3. More off-road.
    The surprisingly tough surface at the end ofthe run threw me. I do a fair bit of off road running, but I should have done more long distance off-road for this one.
The subtext here, of course, is that I'll be back - Snowdonia is an amazing marathon.

They print your name on your number sheet, so everyone calls it out as you go past - "Come on, Alastair! You can do it, Alastair!" That's still with me - but my knees don't hurt anymore.


2014-09-29

A Fistful of Aces - playing card RPG

Playing cards have been used for RPG randomisation before. I've read none of those other systems - so any toe-treading is entirely coincidental - but the idea seemed sort of cool, so I thought I'd make my own card-based RPG.
After a bit of toying around, it seems that such a system lends itself very well to relatively rules-light but flavourful gaming. Jolly good - I mean: Yee-haw! Saddle up!

A Fistful of Aces

This is a story-telling role-playing game, played with an ordinary deck of playing card. Leave the Jokers in. Shuffle them well.


The Lowdown

Here's how the game is played. There'll be more nitty gritty below - this is just the jist.

One player is the Dealer, who sets the scene. Other players portray characters in the story.
We're telling a story together. The Dealer sets the scene, and the players tell the story of their characters. The Dealer may seem like he's the narrator most of the time, but each player gets to narrate their character's successes and failures.
When the player tells a tale of an outrageous success based on just a little win of the cards, she's raising the stakes - we all now know just how far that player will go, and we can go there too.
Careful how you boast.

The Dealer deals out 7 cards per player, including a hand for himself, which he sets aside until he needs it. The remaining cards are placed on the table face down - this is the draw deck.

When the Dealer describes a task that the players want to resolve - shooting down a bandit, jumping onto a train, bluffing the local deputy, or whatever - the player plays a card from their hand.

If the task is to beat an inanimate object - like jumping onto a train - then the Dealer declares the value of the card that will beat the task.
If the task that the Dealer has described is against another person - a non-player-character like the deputy - then the Dealer usually draws a card from the deck. If the player's card beats the Dealer's, then the player has succeeded. But if the Dealer's card beats the player's, then the Dealer wins, and the task has failed.
On the other hand, if the Dealer's character is a serious adversary - the sherrif, or the bandit chief, or some other key person - then he takes up the hand of cards he dealt himself, and chooses which cards to play.

If a player finds they have a good hand of five cards among their seven - a poker hand - she can play her hand to try to win the scene outright.
The Dealer plays the best hand he's got. The other players may choose to play their hands - for example, if the first player is beaten by the Dealer.
If the player wins, she gets to narrate the outcome of the scene. If the Dealer wins, he tells the tragic tale of the loser.

Each time a player plays a card, they pick up one to replace it. When the Dealer plays a card from his hand, he picks up to replace it.
When poker hands are played, each player and the Dealer picks up to replace the played cards.

Characters

The four suits represent four broad aspects of a person's character: Black suits are physical, Red are mental.

  • Spades represent strength, power, toughness and all aspects of prowess
  • Clubs are speed, maniual dexterity, agility and all aspects of skill
  • Hearts are persuasion, charisma, appeal and all aspects of social
  • Diamonds are cleverness, knowledge, learning and all aspects of smarts

Rank the suits in order of your character's aptitude. You get to have three specialities for your top ranked suit, two for the next, one for the next, and no speciality for the lowest ranked.

Specialities can be anything you like: brawling, shooting, science, doctoring, intimidation.

Tasks

If you play the right suit for the task, you get to add +2 to the face value of the card.
If you play the right colour for the task (but not the right suit) you get to add +1 to the face value.
If a task involves one of your specialites, you get to add +2 to the face value of the card you're playing.
All the picture cards - Jack (J), Queen (Q), King (K) - are worth 10: but in a tie, K beats Q which beats J. Aces are 11.
Jokers are wild - they can be played for the value of any other card.

The targets for an uncontested task - like jumping a gap, or climbing a wall - are ranked Easy to Amazing
  • Easy: 5
  • Average: 7
  • Difficult: 9
  • Very difficult: 10
  • Amazing: 12
Once cards are played, they are left in the discard pile. When the draw deck is finished, the discard pile is shuffled and becomes the draw deck.

Assisting
If a player wants to assist another palyer, they offer their hand for the first player a to draw two cards. If the assisting player has a specialism that is applicable to the task, the first player may draw three cards.
The first player then selects one of the cards to keep (and play if they wish) and returns the other to the assisting player. The assisting player then draws enough cards to make their hand back up to seven cards.

Poker Hands

In order of value, from the least to the best, poker hands are as follows:
  • 1 pair: two cards of the same face value
  • 2 pairs
  • 3 of kind: three cards of the same face value
  • Straight: five cards in sequence order
  • Flush: five cards of the same suit
  • Full house: a pair and three of a kind
  • Four of a kind: four cards of the same face value
  • Straight flush: five cards of the same suit in sequence order
  • Royal flush: 10, J, Q, K, A of the same suit

If two hands are of the same type (two hands of three of kind, for instance), then the higher value cards win. If a task involves one of your specialites, you get to add +2 to the face values of the cards you're playing.

If all the significant cards of that hand are the right suit, then your hand trumps the next better type of hand. If all your significant cards are the right colour, then your hand trumps any hand of the same type.
So for a Social task (Hearts), a flush of Hearts beats four of a kind (which will be a mixed suit hand), and a straight of all red cards beats a flush of black cards.

When you play a poker hand, you must put up a stake of at least 1 chip, which the Dealer matches from the Bank.

Gambling with your Life

Player characters start with 5 chips. Players can give their chips to each other if they're feeling generous.

When you play a poker hand, you must bet at least 1 chip. The Dealer matches your bet from the Bank. You can up your stake by adding another chip, until you run out. You can fold before you run out, but you lose the stake you've bet so far.
Each adversary the Dealer controls will have a limited of a number of chips they can bet before any further increase forces them to fold - to back down and lose their stake.
If the Dealer runs out before you, they must fold (back down) or play their hand. If the Dealer folds, you gain back your stake plus one chip. If the Dealer plays their hand, the winner takes all the pot. You choose whether you want the Dealer to fold or play.

You can also gamble chips to avoid failing a task - you put a chip in the pot before you attempt the task, and if you fail, then instead of your character failing the task, the chip is lost and your character completes the task.

Chips are also lost when failing a task causes injury, such as in a fight.

You gain a chip when you defeat an adversary, and you gain all the chips in the pot when you win at a poker hand. You don't gain chips for defeating extras, only for significant adversaries.

When you've run out of chips, you cannot play any poker hands. Any task failure that would cause you to lose a chip ends with you knocked out, in jail, or dead.
You and the Dealer can thrash out the details - remember we said to be careful how you boast?

High Stakes Games

As you win chips, you can take on tougher challenges, because you can bet higher and force the Dealer to fold more often.

You can also spend chip to gain new specialities. It costs 1 chip for every speciality you already have in that suit - but it always costs at least 1.

Dealer's rules

Who goes first?
Usually, contested tasks are simultaneous. Even in a duel, the quick draw and shot of the duelists is resolved by the opposed plays, not by taking turns.
But if you need to decide who goes first, it's a Skill task. Have the players play a card from their hand, and turn over the top of the draw deck for their opponent (or play from their hand). If a player chooses not to play from their hand for this Skill task, they go last (they might not want to spoil a powerful hand).

More than one adversary
When there is more than one named adversary against the players, then they may assist each other, just like the players.
Pick one adversary to take the lead. For each other adversary assisting her, draw two more cards, and pick one to put in her hand.


Central Casting

Extras in a scene are usually handled without much need for rules. If you need to, pick a suit to rank high, and a speciality to go with it. The extra gets +2 to tasks of that suit, and another +2 to that speciality, just like a player character.
Extras don't have chips to bet. When a player plays a poker hand to defeat multiple extras at once, the number of extras in the scene dictates the number of "virtual chips" the Dealer can stake against the palyer. For these virtual chips, use a distinctly different token. 

Named adversaries are made just like a player character. The Dealer sets their difficulty by giving them a number of chips from 1 to 8 (or even higher for High Stakes Games).

Example extras
  • Brawler: Spades high - fistfighter
  • Saloon drunk: Hearts high - carousing
  • Bartender: Hearts high - rumourmill
  • Deputy: Clubs high - arresting
  • Bandit: Spades high - robbery
  • Cowpoke: Clubs high - ranching
  • And many more...

Example adversaries and named allies
  • Doctor: 
    • Diamonds high - doctoring, medicines, one other book learning; 
    • Hearts - polite society, gossip; 
    • Clubs - pick one
  • Marshall: 
    • Clubs high - shooting, horse skills, tracking;
    • Hearts - streetwise, gossip;
    • Diamonds - law
  • Gang boss:
    • Spades high - brawling, toughness, maiming;
    • Hearts - streetwise, gossip 
    • Clubs - shooting

2014-09-27

Game Settings I Have Pondered

I think about melieu to run games in now and then, and I don't necessarily get to do anything with them - so I thought it might help (me, or anyone peeking at this who wants to run their own) to lay out a few of them on the blog.

A Fascist Potterverse

A mash-up of Harry Potter, Neverwhere, Misfits and others.

Secretly, all manner of supernaturals lurk in our world. Wizards are top of the heap, using their magic to enforce domination and keep the ordinary folk in line - the most benign of the wizarding community believe the mundanes must be magically lobotomised, controlled and kept quiet. The Magocracy is a priviledged elite, using the lesser supernaturals and mundanes as pawns to maintain their luxurious lives.
The player characters are low-lifes of one sort or another - petty criminals who meet through community service, perhaps - who discover they have supernatural abilities. They discover the lies of the Magocracy and decide where they stand.

Cowboys - in space!

Tales From the Star Wars Cantina / Firefly-esque Planet-of-the-week, western-style antics with Galactica-style FTL allowing for a bigger scope than a few planets and moons - all grungy tech and frontier attitude.
A fairly casual game of episodes, with an emerging overall plot drawn from players' goals.

War of Gods

The world shakes under the angry feet of the gods themselves!


These "gods" reflect the beliefs of the people - and reinforce those beliefs with superpower actions. They are in fact powerful extra-planar entities - demons, devils, archons, etc. - and unique monsters.
Their temples function as gateways to the outer plane where the god of the temple resides. Generally, each tribe or clan has its own god, but some allied clans and tribes have co-operating gods.
Tribes and clans have political priesthood and gods (generally settled), or shaman (more often in nomadic people).
Magic is a power of the gods - mortal and player character magic will be very limited.

Demikind races live in walled/fenced or hidden settlements, warring against the dangerous monsters of the wilds. There are few "civilisations" - just cities in key points, supported by agriculture, thriving due to geographic isolation.
A few nomadic peoples outside the civilisations are living in barbaric conditions, constantly struggling against monsters.


As the people of the settings have expanded and populations have grown, their lands have come into contact with each other - and their beliefs have clashed! The gods with brook no rivals! Holy war with the added terror of nuclear-war-level deities.

The player characters will be a disparate band of adventurers / outcasts who see the coming anihilation, and can try to stop it, or aid one side or another.

2014-09-23

Rules and the Game

Why do we use rules to play games? What are rules?

I'm an inquisitive engineer, with a background in sciences, and a love of games. I've been finding that when I talk to people about game rules, there's quite a different reaction even among those who love to play the same games as me. What's that all about?

The Game / Narrative / Simulation theory suggests players can be split into three camps - those who play the game as a challenge, those who play to create stories, and those who play to simulate an alternate reality - and that real gamers can be placed on a three axis graph that reflect their love of each.

[dons pretentious beret and roll-neck]
But like Pirsig in Zen and the Art of Motorcycle Maintenance, I've found there seems to be a split among gamers between what he called Classical thinking (dissect in-game situations to create simulation rules) and Romantic thinking (just do whatever feels right for the enjoyment of the game).

And like Pirsig, I think there's a way to create harmony between these two camps.
[stashes pretentious garb - for now]

I'm going to start with two questions, and see where those lead me: What are rules (in RPGs)? and What are rules for (in RPGs)?

What are rules?

In the context of RPGs, what do we mean by rules? Is everything in the AD&D Players' Handbook (for example) a rule? I think possibly not.

RPG books tend to present a few different types of material, so let's look at each in turn.

Character rules
Character abilities - how strong and smart the character is, skills and so on: these are obviously rules. Without these, the character you play isn't defined.

Mechanics of a game - what dice to roll, numbers to add, targets to beat, etc - especially where these are the mechanics for conflict resolution (can you hit the monster with your sword? can you climb over the wall and escape? can you argue your way past the palace guard?): clearly these are rules.

Species (human, vampire, elf, vulcan, etc) - the playable species (specieses?) of the game also forms part of the rules. Some games may present rules for creating new species, so that playable species are all of a similar power.
Similarly monsters and other adversaries - examples and / or rules for creation form part of the rules.

Are spells, equipment and gadgets rules? Probably, yes - they establish the power of players' characters and their tools. Again, like species, maybe the underlying systems should be put forward along with the spells, equipment etc, to explicitly show the system from which the examples are derived.

Tools, species, and adversaries are benchmarks for the power of the games elements. While most games will give examples, some will also provide rules for creation - what bonuses are appropriate for tools to provide, what are appropriate damages for weapons to deal, how tough adversaries should be, and so on.

Tables of options - like settlement population, random encounters, treasure and the like - are these rules? Maybe not...
Is it a rule of the game that settlements have certain population sizes and demographics, or is this a guide on setting, rather than a game play rule? Would you bother to ask the question about a list of random character or pub names?

Although lots of elements may appear in the rule book to help with play, not all of them are really rules - there's a lot of guidance and flavour in RPG books.

What are rules for?

As well as having my own opinions, I asked around on some RPG forums to get a sense of what other people think. It's always worth it - some people confirmed what I was thinking, but there were some gems of insight I'd never have thought of for myself.

So, in no special order, here's what rules do for us:

Fair play - rules make the game fair.

They create a system for fair interaction, including by randomisation (by Jenga tower, dice, cards or whatever) - rather than the players directly deciding the outcome of their characters' actions (GM included), there is a random element. This avoids bias, or the suspicion of bias.

Fair play also includes fair and equal access to an enjoyable experience. The player's abilities should not hold them back from having fun playing the role they want - the game rules should allow everyone to play equally.


A superspy yesterday
Just as the game rules allow weak students and office workers to play strapping tough warriors and action heroes, I think that the same attitude needs to be applied to social skills. So I may want to play a suave and seductive superspy, but I have the flirting skills of a celebate monk - and the game rules can allow me to do just that. As a player, I should be free to spout cheesy flirting and pick up lines, but my inept skill with them shouldn't override the character's skill.


Gaming the rules - we can play with the mechanics to achive our goals.

The combat rules of the d20 systems have various manoeuvres that can knock down or reposition your opponent, steal or destroy their equipment, and so on. Using these rules imaginatively can be very satisfying.
Rules must serve the style of the game, and enable players (see Fair play, above). Rules should focus attention on the important bits of the game (arguably, d20 games aim to make combat a focus of game play) - they certainly shouldn't get in the way.

Challenges - without rules, what limits you?

If we don't have any rules, can't we just declare the actions of our characters? What stops us being invincible? Can't we claim to have special armour and ignore the attacks of enemies? Can't we call on powers at will and without precedent?

Where do I stand?

Yes, I like rules - but if you come to my game, will you find me invoking the rule book? No, not really.
I prefer to run games by eyeballing the situation - using freeform instincts, within a rules set that I'm largely familiar with.

In my day job, I have a bunch of several-hundred-page safety standards that I have to refer to to test products for safety - but each of these boils down to a set of prescribed tests, built around a small set of safety principles.
Now, I know those principles very well. When I'm testing, I only need to look up the specifics of the test standard when the result is hard to call - most of the time, it's obvious whether the product meets the principles or not.

Of course, knowing the core rule concepts is vital.
Years ago, a gang of us used to do Live Action Role-Playing at the weekends, and we'd sometimes co-opt our non-RPing mates to come and make up the numbers too. One of these non-RPing guys - Jon - clouted a player character - Mike - across the legs with his sponge axe during a fight. Mike asked how much damage the axe dealt - and Jon said "Dunno - ten?"
Now 10 points of damage was a vast amount. Mike's character had 2 hit points on his legs - so Jon's hit had supposedly chopped them off completely. Basically, if the game's Ref had briefed Jon properly, he'd have known not to say "10" - Jon needed to know the ball-park area in which to make an educated guess.

So the rules are important, if only to act as a frame on which to improvise sensibly.
Like jazz [puts on the beret and roll-neck again] - an incompetent random honking on a bunch of trumpets sounds terrible, but a skilled player with an understanding of the rules can break those rules in an entertaining and exciting way.

The rules I've been palying around with inventing recently have been largely about the game setting. You see, I feel like I need to understand what is normal - long before I go deviating from it.
In storytelling, normality must be established / understood before the fantastic events take place - this creates base from which to operate, and avoids players' awkward questions.

I personally really don't like those questions - you know: "Why is XYZ not like ABC, as is normal?"

"Why is there such a long distance between towns? In Medieval Europe, there was generally less than a day's walk between villages - so why is it different here?"

"How can the Dark Lord muster an army of a million, when that'd require a support staff of double that amount? There surely aren't that many people on the continent."

"Why would anyone build a castle here? That makes no sense."

I hate being caught out like that - so I like to explore what is normal first, so I can make sure my games reflect something like reality - or so that when I chose to step away from the normal, I know that I've done so!

Then I can say: "Yes, that is odd, isn't it?"

Playing with rules

Last word from me on this topic - and the pretentiousness really piles up with this bit, I'm afraid.

Listening to Radio 4's The Infinite Monkey Cage, when presenters Brian Cox and Robin Ince were talking with maths author Alex Bellos and number theorist Vicky Neale, the love of discovering new mathematics was brought up - and it rang a big lovely bell with me. Let me paraphrase...

Making up rules is to play with quantifying the world in tables.
I'm finding the patterns, which I then use to provide a simulation.
Rules aren't made, they're waiting to be discovered and expressed.

[adjusts beret, strokes goatee]

2014-09-21

Table NSG1.0 & 1.1 - the Nemesis Speech Generator

Like many GMs, I like to make up tables for silly things. I found one of them today - my Nemesis Speech Generator.

This is for use when the Big Bad Evil Guy is monologuing.

NSG 1.0

NSG1.1