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A Question Of Agency?

hawkeyefan

Legend
So I think the appeal for actual examples we can talk about is a good idea, because all of the hypothetical discussion is just going in circles.

I'm curious what folks who prefer for players to not have any kind of narrative influence think of something like the claim maps from Blades in the Dark. Below I've copied one such map from page 101 of the book, the claims for a crew of Assassins.

To put it in context, Blades is very much a sandbox. The below claim map is in no way a limitation on what players can have their characters do. It is meant as options that are always available if the players would like to pursue them. Generally speaking, claims are meant to be seized from other factions in the city by following the paths on the map below. So you start at the lair then you could take Turf to the right, then move on to Informants or Cover Operation from there. However, the players can ignore the paths and jump right to a claim of their choosing, but if they do so, the GM is encouraged to make the seizing of that claim that much more difficult or involved.

What I like about this is it gives players a foundation of what they can always try to do if nothing else presents itself. Since the GM and the players can all possibly be coming up with ideas for Scores, this is a good fall back if either no one has any ideas, or nothing is pressing, or if the players decide they'd like the benefit that a claim offers. Each claim comes with some perk that bolsters the strength of the crew. Each type of crew has its own claim map, but you also have the option to seize claims on other crew maps, but again, the GM is encouraged to make such a job difficult and/or involved.

The claims tend to be pretty thematic, but there's a good amount of overlap from crew to crew. The specific details of the claim are left up to the GM to decide, but again, he is encouraged to shape these claims around the elements of the game that the players are already interested in or involved with, if it makes sense to do so. So, if the Assassins have been making more noise than they'd like, and have attracted unwanted attention, then the players can decide to try and seize the Hagfish Farm claim, which would alleviate a lot of that Heat and attention, and allow them to dispose of bodies. So the GM looks at the factions that have been involved in play, and chooses one that would make sense to own the Hagfish Farm, and possibly offer some interesting fallout based on what's already been established in play. Then the players could proceed with a Score or perhaps a series of Scores to seize the Hagfish Farm claim from that faction.

The benefit of this approach seem to me to be that you have the freedom of a sandbox and the characters being able to go anywhere and do anything, but you have the flexibility of details to make these comings and goings have more meaning. You can kind of hook the personal goals and connections of the characters into these claims. The setting is sketched rather than drawn in detail, so you can add and alter and adapt as you go.

The claim map also seems to me to be a game element that gives the players agency in that they have this structure that is in place that they can choose to engage with or not, and which binds the GM. They can say "we want to seize turf" and the GM then should frame some potential Scores about grabbing some turf. They also can serve as short term goals. And of course, as with just about anything in Blades, they can offer new avenues for the fiction to go, new points of input to bring other factions into play, or to challenge the crew in new ways. There's always a response to anything the crew does.

I'm curious what others have to say about this aspect of the game, and how it impacts (or doesn't impact) player agency.
Here's the example:

1609883089063.png
 

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aramis erak

Legend
IDK, I think that choice might be the better word. Even a newb-y 0 level git has all the choices in an open sandbox. Unless you're using 'power' to mean 'ability to'? Help a brother out here....
Not all - some choices are precluded by the sandbox being set up.
he/she/they/xem cannot choose to catch a jet if the setting doesn't include them.
Nor to go to places not set up in the sandbox.

A sandbox is, of need, a structure for players to act within, react to, and be reacted to by.
 

Campbell

Relaxed Intensity
I'm not speaking RPG theory, but like the general stuff that applies to all games that you would learn in a game Design 101 course at a university. Stuff that applies to Poker, Warhammer 40K, Dungeons and Dragons, board games, et al.

What I mean by feedback loop are the indications that you are either playing a game poorly or well. Indications of your skill at the game so you can make adjustments in order to play the game better. A tighter feedback loop just means it is easier to see what the consequences of what your decisions as a player are.
 

FrogReaver

As long as i get to be the frog
I'm not speaking RPG theory, but like the general stuff that applies to all games that you would learn in a game Design 101 course at a university. Stuff that applies to Poker, Warhammer 40K, Dungeons and Dragons, board games, et al.

What I mean by feedback loop are the indications that you are either playing a game poorly or well. Indications of your skill at the game so you can make adjusts in order to play the game better. A tighter feedback loop just means it is easier to see what the consequences of what your decisions as a player are.
IMO. That’s not the only kind of feedback loop.

I don’t see sandboxes having much of that kind of feedback.

I do see a feedback loop in them though where players make choices toward some typically immediate goal. Their choices impact what’s going on offscreen. They later learn of this. This shapes their future choices and so on.
 

No. Classic Traveller is a RPG from 1977 that expressly contemplates, right there in the text of its little black books, the sort of player agency that I enjoy in RPGing and that you and @FrogReaver are saying is not part of a "true sandbox".

@AbdulAlhazred was playing club D&D in the mid-70s and - as I understand his posts - does not think that the conception of player agency that you and FrogReaver advocate would have been universally accepted back then.

I don't think it's "old school" at all. I think one version of it solidified in the 1980s, but I think the version that you two are advocating also has a certain "retro" dimension to it. It's not actual "old school", it's a type of re-recreated "old school" that didn't predominate back in the day.
Well, I think it probably did 'predominate', and I'd even venture to say it was pretty much expected play in D&D, but there were games like Traveler (which was the 2nd most prevalent RPG at that time AFAIK) where it was at least LESS so. There were also other games C. the early 80's which didn't seem to contemplate an authoritarian GM who was the source of all fiction, though often these concepts were not well-articulated in games of that era. Still, I recall that Gangster! (very narrow focus of play, obviously) was rather like that. In fact its resolution systems were primitive, but in a lot of ways it was a story game, or could be played that way. In fact Boot Hill has some of the same sort of vibe, being so niche that every genre-relevant activity any player would engage in is practically on the table, and what else is there to do after the first 3 shootouts EXCEPT 'character agenda'?

Toon I think is the prize of this era, as basically the whole game is just "do whacky stuff" and your character is just expected to be some sort of crazy invention that breaks the whole game as much as possible. Things like "I relentlessly pursue my love interest (or carrots for that matter)" is clearly the prime modus of the whole game. Adventures, as such being meaningless (PCs cannot die, and the milieu is a sort of timeless 'neverland' where nothing that happens really 'sticks').

Still, the awareness of different paradigms for an RPG was pretty nascent at the time, since the whole concept of an RPG itself was just barely standing up out of its primal origins in Kriege Spiel at the time.
 

@Bedrockgames

I just have no real idea how to square the circle here. I just do not see on a fundamental level how the activity you are talking is a game subject to any analysis based on game design principles. This is not meant to be an accusation. It's so far removed from my experience of gameplay (in the general sense) I have no real idea how to bridge the gap. It's also worlds apart from my understanding of Finch's Primer, Moldvay B/X, or the Principia Apocrypha. It's even fairly removed from the instructions in Stars Without Number.

Maybe I am missing something here, but it does not seem like there is any real objective to your play or meaningful feedback loops. Please tell me if I am wrong.

I will say, sometimes people are just operating from very different conceptions and play backgrounds. I have talked with Estar a number of times about RPGs and RPG design and we seem to communicate well enough about it (and our approaches are not identical). There are communities I am in, where I have no trouble conveying what I am talking about. I may not be expressing my ideas well here. I can send you a couple of PDFs I've done if you want and you can skim through the GM material, and determine if what I have to say makes sense or is unintelligible to you. If you are genuinely curious, more than happy to do that. I definitely wouldn't say I have a unified theory of RPGs that I operate by. And my aims often shift from book to book. For example one of my games is set up as a wuxia dramatic sandbox, while the game that followed is Chinese Horror-Investigation, with a monster-of-the week approach (and not a sandbox game). Right now I am running a bunch of wuxia one shots, each divided into two sessions and each adventure based on a single wuxia film (where the players bid to be one of the characters in the film). After that I am going to resume play testing my wuxia crime campaign, which is all about the players rising up through the ranks of a criminal organization.

Here is an adventure I ran for Halloween recently to give you an idea of how I approach things, when not operating in a strict sandbox:

HEAD OF THE TEAHOUSE

Also here is a game I ran online with Estar, my friend Adam, Deathblade and Elliot. It is more focused on a dungeon crawl, but might give you an idea of how I tend to run games:

 

So I think the appeal for actual examples we can talk about is a good idea, because all of the hypothetical discussion is just going in circles.

I'm curious what folks who prefer for players to not have any kind of narrative influence think of something like the claim maps from Blades in the Dark. Below I've copied one such map from page 101 of the book, the claims for a crew of Assassins.

To put it in context, Blades is very much a sandbox. The below claim map is in no way a limitation on what players can have their characters do. It is meant as options that are always available if the players would like to pursue them. Generally speaking, claims are meant to be seized from other factions in the city by following the paths on the map below. So you start at the lair then you could take Turf to the right, then move on to Informants or Cover Operation from there. However, the players can ignore the paths and jump right to a claim of their choosing, but if they do so, the GM is encouraged to make the seizing of that claim that much more difficult or involved.

What I like about this is it gives players a foundation of what they can always try to do if nothing else presents itself. Since the GM and the players can all possibly be coming up with ideas for Scores, this is a good fall back if either no one has any ideas, or nothing is pressing, or if the players decide they'd like the benefit that a claim offers. Each claim comes with some perk that bolsters the strength of the crew. Each type of crew has its own claim map, but you also have the option to seize claims on other crew maps, but again, the GM is encouraged to make such a job difficult and/or involved.

The claims tend to be pretty thematic, but there's a good amount of overlap from crew to crew. The specific details of the claim are left up to the GM to decide, but again, he is encouraged to shape these claims around the elements of the game that the players are already interested in or involved with, if it makes sense to do so. So, if the Assassins have been making more noise than they'd like, and have attracted unwanted attention, then the players can decide to try and seize the Hagfish Farm claim, which would alleviate a lot of that Heat and attention, and allow them to dispose of bodies. So the GM looks at the factions that have been involved in play, and chooses one that would make sense to own the Hagfish Farm, and possibly offer some interesting fallout based on what's already been established in play. Then the players could proceed with a Score or perhaps a series of Scores to seize the Hagfish Farm claim from that faction.

The benefit of this approach seem to me to be that you have the freedom of a sandbox and the characters being able to go anywhere and do anything, but you have the flexibility of details to make these comings and goings have more meaning. You can kind of hook the personal goals and connections of the characters into these claims. The setting is sketched rather than drawn in detail, so you can add and alter and adapt as you go.

The claim map also seems to me to be a game element that gives the players agency in that they have this structure that is in place that they can choose to engage with or not, and which binds the GM. They can say "we want to seize turf" and the GM then should frame some potential Scores about grabbing some turf. They also can serve as short term goals. And of course, as with just about anything in Blades, they can offer new avenues for the fiction to go, new points of input to bring other factions into play, or to challenge the crew in new ways. There's always a response to anything the crew does.

I'm curious what others have to say about this aspect of the game, and how it impacts (or doesn't impact) player agency.
Here's the example:

View attachment 130987

This is very good. I like this more specific example and bend in the discussion. I am having a somewhat hard time understanding how this looks in practice, not because its bad, or looks unappealing, or your communication style, but I find with stuff like this, until I play it in person, it doesn't really sink in what is going on exactly. However I think I kind of get what it is. Is this like a map of potential pathways to take turf? Personally i don't see anything wrong with a tool like this. Is there a point in this mapping procedure where the players would exert powers they wound't have in the kind of game I've been discussing? (just want to understand where you think mechanics might be potentially irksome for us).

Over the years I have run a lot of what I call Boxer From Shantung campaigns (which is a movie about a guy who rises up in a city's kung fu criminal underworld, to become major crime boss himself). And I've used different methods for getting there. Sometimes I use models like this one I think. But what I've found is in my crime campaigns my players tend to prefer things being very specific (so I usually map out each organization with its key members, stats for all its henchmen, and explanation of its territory). In some campaigns this has gotten quite granular (i.e. the House of Loma has an extortion racket that includes the following businesses, and is engaged in the following smuggling operations, etc). The players would then deal with these things concretely in the setting. I've found when I try to overlay an absract system on that, it has met with resistance (I have found the same thing when I've tried to build sect building tools or crime committing tools and tables------it may just be my players but they often sidestep these measures by just getting more specific). Maybe that isn't a possibility here. I am not sure I understand it enough to know (and again I haven't read Blades int he Dark, but one reason it is on my list is to see how it manages this kind of thing as it is something I deal with a lot in my campaigns and I will take any tools and tweak any tools I can that work).
 

Fenris-77

Small God of the Dozens
Supporter
Not all - some choices are precluded by the sandbox being set up.
he/she/they/xem cannot choose to catch a jet if the setting doesn't include them.
Nor to go to places not set up in the sandbox.

A sandbox is, of need, a structure for players to act within, react to, and be reacted to by.
Notice I said in the sandbox? The above is what I meant.
 
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Fenris-77

Small God of the Dozens
Supporter
This might be part of the issue, I have never taken such a course, nor had much interest
Me neither, but there is a lot of great stuff available on teh interwebs. That's only helpful if you find that sort of thing interesting though. I happen to enjoy reading scholarly articles about RPG design, but that's certainly not everyone's cup of chai.
 

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