Rules, Rulings, and the Paradox of Choice

I'm A Banana

Potassium-Rich
Speaking personally....

I absolutely adore using goals in play, and advancing them as I go. To me, coming from a bit of a theater background, motives are absolutely important to playing an awesome character.

It's not something that's universally needed in RPGs, and it's something a few RPGs have explored, but it's always something that wins me over -- mechanical representation of character goals.
 

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Speaking personally....

I absolutely adore using goals in play, and advancing them as I go. To me, coming from a bit of a theater background, motives are absolutely important to playing an awesome character.

It's not something that's universally needed in RPGs, and it's something a few RPGs have explored, but it's always something that wins me over -- mechanical representation of character goals.

I couldn't xp your OP but it was an interesting read.

I certainly wasn't trying to suggest that my preferences are universal - I'm well aware that they are probably pretty niche in the scheme of things. But I try to voice them anyway from time to time.

:)
 

@chaochou

Great post. What you've just described is the exact process of character creation for my 3 player PC group for the last 10 years. It was amped up considerably in 4e given the thematic nature of the PC build resources (from Backgrounds to Thematic Powers to Feats to Themes themselves), milestones and minor and major quest creation.

My 3 players, and myself, all create the idea of the character they want to play then, together, we flesh out the type of thematic pretexts and genre specifics we are going to play out. At that point they build their characters around their character idea, our thematic pretexts and our genre specifics. We come up with coherent milestone protocol that are relevant to those character interfacing with the thematic pretexts and genre specifics (so we're on the same page before the game begins). I flesh out the skeletal outlines of minor and major quests with my players before the game starts and then they emerge in play and go from a skeletal framework to a clearly fleshed out thing.

I hope that 5e has a Theme module for PCs. They can get narrative points by properly playing to theme and genre during play (specifically for making sub-optimal choices that enrich the narrative).
 

Hussar

Legend
There also comes the problem with when you narrate actions.

In combat, you can only narrate, or at least complete a narration, after the results are known. Kyle the SwordGuy's player announces he's attacking the orc, but, until all the dice are rolled, no one at the table knows how that's going to turn out. IOW, Kyle initiates the process, but the narration always comes after the fact.

In the other two pillars, it's usually reversed. We make our speech to the king and then roll the dice (presuming dice are used) or the DM reacts to our speech (in a more freeform system). The narration typically comes first. And that's how people have done it for a long time. I think it can be very jarring to try to reverse the order. This is why you have such strident resistance to things like Diplomacy checks.

After all, if you make your speech first, then roll diplomacy, it's fairly easy to have a large disconnect between the two. Either Bob Stumbletongue rolls a nat 20 and his hemming and hawing player speech is turned into Shakespeare, or Bob Silvertongue's gift for the gab turns horribly wrong. And that disconnect is hard to work around.

I'm not sure what the right solution to the problem is, but, I think it needs to be recognized that many players want to narrate non-combat stuff first and then roll the dice to determine degree of success, rather than roll the dice first and then narrate it after. After all, take a Search for Traps check. The player describes himself as being careful, rolls badly and trips the trap as he was just not careful enough. But, going the other way, maybe the DM describes the character as not being careful enough and the player might object that he wouldn't actually do what the DM is describing. If left up to the player though, it can be hard to try to describe your own failure.
 

I'm A Banana

Potassium-Rich
Hussar said:
I'm not sure what the right solution to the problem is, but, I think it needs to be recognized that many players want to narrate non-combat stuff first and then roll the dice to determine degree of success, rather than roll the dice first and then narrate it after.

Usually when I see something like this, I wonder, "Why is Combat any different?"

I mean, there's a lot of RPG players out there who know the finer points of medieval combat and fencing and kendo and historically accurate armor and how armies swayed wars...

...but we don't usually care too much about that when we're making combat rules. We don't let their knowledgeable narrative trump the dice. We usually say something along the lines of "D&D is a fantasy game! Real world combat restrictions don't apply! I don't care if you said you aimed for his femoral artery, you did 4 damage and he has 600 hp."

The reason we let the dice dictate this is because of all those advantages using the rules gives us (fairness, variety, constrained choice, etc.). Sometimes we add +2 for a good description, but we don't often want to hear purple prose all night, and anyway we don't let someone chop off an orc's head just because they said they were going to try to chop off an orc's head.

So why do we let someone act out a dramatic speech, or describe in detail their method of stealth, and expect them to just be able to do it just like they did there at the table? They're playing Kyle the SwordGuy, they're aren't him, so why do we let them dictate what Kyle does or says with that much leeway, when we wouldn't let them dictate how Kyle kills goblins like that? They aren't standing in front of King Whatzhisname, they aren't cold and hungry and tired and tromping through the Black Swamp, why do we assume that it's OK for Kyle's player to explicitly dictate what he does outside of combat, but not in combat?

I'm guessing it has something to do with why those rules are historically more key in combat (ie: fairness because of TPKs) than they are elsewhere.

If you're looking to apply rules to areas outside of combat (and, it needs to be repeated, not everyone is -- and that's perfectly understandable), it's useful to think about the dice as direction, not as reaction. You (or the DM) narrate Kyle's attack after you roll the dice, you (or the DM) can narrate Kyle's speech after you roll the dice, too.

One way to think about it is this: in order to change the world, you need to interact with the rules somehow. If you want to try and convince the king of something, or if you want to try and cross through the swamp, or if you want to kill a goblin, you're going to have to roll some dice to see if you can do that.

I imagine that a lot of those people who have trouble swapping that order might just not be that interested in the rules, and that's valid and awesome and should even probably be the default. It's not the only way to play, though.
 

My 3 players, and myself, all create the idea of the character they want to play then, together, we flesh out the type of thematic pretexts and genre specifics we are going to play out. At that point they build their characters around their character idea, our thematic pretexts and our genre specifics.

Kudos. I'm sure I'd enjoy a game like that.

Happily there are plenty of systems which I can run straight out of the book and get that kind of set-up done. It pretty much describes Fate and Burning Wheel to a T.

The mafia scene I described is from a Diaspora (sci-fi Fate) game I'm currently running.

There also comes the problem with when you narrate actions.

In combat, you can only narrate, or at least complete a narration, after the results are known...

In the other two pillars, it's usually reversed.

There were other points raised in that post, but I'm thinking about these, and in particular in respect of D&D.

My instinct is that the discrepancy happens because players tend to get to the point in combat, but have a habit of not getting to the goddamn point when laying the charm on some NPC.

So I (or you) have to listen to five minutes of gibberish before we actually get to what they want, and even then it may only have been alluded to.

I tend to cut across the flowery speech and ask 'What are you trying to achieve here?' If they don't know it doesn't need a roll. If they have a goal I can say 'What are you saying/doing to achieve that?'.

Then I have to remember to set out the possible outcomes and difficulty before the roll so everyone is clear. When I have the presence of mind to stick to these processes I find running goes reasonably smoothly. When I don't I find social play can get mired in confusion, or 'nothing is happening' style apathy. I cut scenes like that the moment no-one is engaged.

To try and work that on-topic it definitely helps a game when the rules explain not just the rules but the hows and whys of the procedure for using them with your friends to make them work as intended.
 

Hussar

Legend
KM and chaochou, I pretty much completely agree with everything you've said.

We accept the abstract nature of combat, but, for some reason, won't accept abstraction in the other two pillars. We see it all the time. People call for exacting descriptions when the thief searches for traps - "I look under this, I look around that..." and possibly it turns into pixel bitching. Abstraction won't allow for that kind of play. If, as in 3e and 4e, a search check (whatever you want to call the skill) is used, it searches an area and then you give the results.

Like you said earlier KM, the issue is, we break things down to too fine of a grain. You search this 5 foot cube. Then this 5 foot cube. Then etc. etc. Combat doesn't work like that. It's not set up as discrete pass/fails. I do think that new out of combat rules should work similarly. Instead of simple pass/fail, non-combat elements should be set up as more complicated - a series of checks (ahem, skill challenge ... ok, not quite there yet) with concrete results as you proceed through.
 

DM: "<specific setting="" information;="" what="" are="" the="" stakes.="" is="" happening.="" how="" it="" who="" doing="" it.=""> What do you guys do?"

Players: "We do this, this and this."

Resolution Mechanic: <failure -="" forward="">

DM: "The challenge (environment/non-player characters) reacts. This genre-relevant, skill/resource deployed-related thing occurs to impose itself (successfully) between you and your aims." [Typically the best route here is something dynamic that is external to the PC's locus of control...but still, at least, peripherally related to the resource related...specifically related to that resources efforts in dealing with the stakes] "What do you do?"

Players: "We do this, this and this."

Resolution Mechanic: <success -="" with="" new="" adversity="" complications="">

DM relates how success and new adversity/complication manifests and environment changes. Etc etc and challenge continues on to its ultimate conclusion (which is a composite of the narrative within the mechanical framework).

What happens to the table dynamics (mood, tension, pace) if we reverse Players and Resolution Mechanic in that formula?</success></failure></specific>
 

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