Judgement calls vs "railroading"

pemerton

Legend
From descriptions of your game and @pemerton's, it sounds like they're brimming with conflict.
Certainly conflict between the PCs and . . . obstacles . . . whether those are NPCs or inanimate aspects of the gameworld.

Dramatic need + obstacles/challenges/complications => conflict. That's what makes the game unfold, rather than just hand around in stasis, with nothing for the PCs (and hence the players) to do. And if the external conflict generates internal conflict (the sorts of choices I've just been discussing with [MENTION=29398]Lanefan[/MENTION]), or conflict among the PCs that forces hard choices to be made there too, well so much the better.

(Intra-party conflict is obviously tricky. As I approach the game, a certain onus falls both on GM and players to manage this carefully, especially in a system like D&D that presumes pretty tight party play. The conflict has to be enough to drive action, without being so great as to cause a split. I wonder what [MENTION=16586]Campbell[/MENTION]'s thoughts are on this.)

There is no competitive angle that I want in my games...or at least, that's my concern.
I want at least this much competition: if I (as GM) am playing a NPC/creature who wants to hurt a PC, I want to be able to do that without having to hold back. I, the GM, have no particular desire that the PCs lose; but their opponent does, and I want to be able to express and give effect to that in my play of that opponent.

Not all systems allow for this: or, at least, if played this way they will produce what I would regard as an unacceptably high level of player defeats. (Low-level AD&D played in a non-dungeon crawl context I would regard as Exhibit A in this respect.)

I prefer ones that do. 4e combat handles this, by building a certain sort of "softballing" into the mechanics (PCs have depths of resilience and capacity to project power that NPCs/monsters lack). (It doesn't really arise in 4e non-combat, because skill challenges don't involve mechanical opposition, only narration in the form of framing, and then re-framing in light of consequences.)

BW handles it quite differently, by building in a range of non-death defeat consequences, and by embracing "fail forward", so that PC defeat isn't (straightforwardly) player defeat.

MHRP has some issues with this, in virtue of the way the Doom Pool works. I'm still getting the hang of it. The dominant online advice is "Sometimes the GM should softball the Doom Pool", but I have doubts about that for the reasons I've stated.

(Note: the distinction between framing and resolution matters to the above. Framing is, for me, a metagame process, and I do that based on the principles I've discussed above. But when the actual conflict is being resolved, once the situation is framed and the competing actions being declared, I don't want to have to metagame.)
 
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Imaro

Legend
The setting is not ill-defined. In fact, I would say that a setting which is generated via the methods I prefer tends to be quite rich. This is in part because it is more likely to contain content contributed by multiple authors (eg I don't think it would ever have occurred to me to narrate the giant ox; or - to allude back to another episode of play that I posted about upthread - an ancient battle between angels and demons in the Bright Desert); and it is in part, I think, because the connection between the setting and the dramatic trajectory of play is normally very transparent.

Hmm, I wasn't addressing your particular method of setting creation directly in that post I was speaking to [MENTION=16586]Campbell[/MENTION] 's whose details are more nebulous to me... but I'll post my thoughts on the above statement here.

I think there can be different types of richness... to claim that a setting is quite rich due to having a multitude of authors contribute to it doesn't seem like a particularly strong argument to me since that could just as easily lead to a hodgepodge or incoherent setting. In other words I don't think having more authors inherently adds to the richness of the setting. I also wonder if there aren't different types of richness... in my games and the games I play with my normal group we feel a setting is rich and interesting when we ask a question and are able to get an objective, pre-defined answer (and yes admittedly there may be times where an answer isn't already detailed but in our playstyle the GM through his knowledge of the setting as a whole is positioned to most easily provide answers to said question)... generating said answers ourselves, through out of game or in-game methods, makes us feel the setting isn't rich or even designed but instead a thing that is ill-defined and in flux. Is this inherently bad... no, but we don't start off with investment with such a setting and said investment has to be fostered and may or may not grow as play continues. Your games strike me as much more concerned with the actions, thoughts, goals, motivations, etc. of the characters and much less with the setting outside of it facilitating those things and honestly in that type of game the setting only needs to be rich in so far as it serves that purpose. But for some games (especially exploratory games and sandbox games which I enjoy running) the setting is important as an objective thing we want to explore, learn about and care about outside of it's importance to framing our characters motivations, goals, etc. I didn't think it contentious to say a setting being decided and narrated in the moment with no secret backstory started ill-defined but I'd like to hear how you view it as being well-defined if nothing exists in the fiction for your games until it is brought into play?
 

Imaro

Legend
As I said in my post upthread, and in response to which [MENTION=16586]Campbell[/MENTION] replied "that is very much the sort of distinction I am trying to make", the contrast is between a "curated" experience and what might (by way of contrast) be called a "spontaneous" or "unprepared" experience - an experience unmediated by curation.

What are the benefits of curation? The experience is ordered. The curator structures it in such a way as to try to ensure that the experience will have a certain, intended, character. Perhaps something becomes available to an audience who wouldn't otherwise know how to find it, or how to make sense of it.

What does curation preclude? It precludes spontaneity. It puts a burden on a certain sort of discovery.

What is Duchamp doing with his "Fountain"? One thing he's doing is mocking curation, and the sorts of expectations it creates. Why were the early twentieth century avant-garde European artists so fascinated by African masks and other "tribal" artefacts? Because (rightly or wrongly) they saw in them a certain sort of authenticity, or unmediated character, that they felt was absent from the received traditions of European visual art.

The political and aesthetic questions raised by this desire for authenticity are challenging. The political ones, obviously, are off-limits for this board. The aesthetic ones aren't, but naturally they're going to be matters of contention.

But I don't think we can easily ignore them. Look at the OSR, and its rejection of the Dragonlance/AP-model of adventure design, and its self-described "DIY" ethos. Look at The Forge, and its animating mantra of designer-published games as an alternative to RPG publication as the business of selling "supplements" that are barely-disguised works of fiction. What are these but expressions of the desire for a certain sort of authenticity?

Okay thanks for this... the use of the word curated in this instance makes much more sense to me than authentic vs. inauthentic and I don't think I have much if any disagreement in what you are saying or in the differences you've hashed out for me. I don't think however this distinction falls along traditional vs. indie games as I believe both can provide curated and uncurated experiences depending on how they are run. Many achieve spontaneity in sandbox games through random charts, while not the same methods you or [MENTION=16586]Campbell[/MENTION] use...I think it still produces an uncurated experience... or am I still missing the difference? between the two?
 

Imaro

Legend
What is "general fun"?

I enjoy five hundred more than bridge, because it is lighter, has a degree of randomness, and you only need to count trumps and high cards in off-suits. I have friends who are more serious card players than me who enjoy bridge more than five hundred, because in bridge skill counts for more. Which one of these games is generating "general fun"?

I enjoy backgammon more than chess for much the same reasons I enjoy five hundred more than bridge. Again, I have friends (and family members) who prefer chess. And others who prefer go to either. I don't find the notion of "general fun" very helpful here.

Are you saying that you enjoy D&D more than (say) Burning Wheel because it is less demanding to play (somewhat like five hundred being less demanding than bridge) and hence better as an accompaniment to a non-focused social gathering? That would be plausible. But the notion of "general fun" still doesn't have any work to do.

This was in reference to Law's player types which were brought up earlier in the thread. But to try to simplify it so you don't have to go over numerous posts to get the gist of it... I was using it as a shorthand for what I think you and some others would call incoherent design (and please correct me if I am making an incorrect assumption here.) It would be the type of fun that comes from a game that caters to (or can be run in a way that caters to) numerous agendas of fun as opposed to being focused on creating a narrower but more focused specific type of fun.

I am saying I enjoy D&D more than BW because if I want to focus on beliefs I can in D&D through ideals, bonds, flaws and inspirtation... but I don't have to if I don't want to. I could instead focus on tactical and strategic combat, or focus on the fun of powergaming and so on. BW is focused on a specific type of fun, expressed through acting upon the beliefs of the characters the players have created (admittedly, I could be off about this, but it's the impression your posts have given me). If I don't want to focus on said beliefs... why would I run BW? I don't really have to ask myself that question with D&D... I can drift it into numerous types of fun depending on what my players want in a particular session or even in a particular moment.


The tailoring you describe can be done with MHRP. Or HeroQuest revised. Or PbtA. None of these has a built-in theme or level of seriousness.

It's not about a level of seriousness... it's about the mechanics of the game and what they bring about... as an example, If I remember correctly Heroquest has a mechanic that increases or decreases DC's based on dramatic appropriateness. But if I want to play a more tactical/simmulationist game this doesn't work for me. MHRP is lauded as a game that balances Jubilee and the Hulk and has little to any mechanical tactical play in combat... how do I drift that so the powergamers or the strategist/tacticians in my group have fun? These games are created to produce very specific gameplay.

As for drifting to certain experiences in the moment: the one thing the GM can't do (by definition, as it were) is choose to drift towards a player-driven experience! More generally, there are some experiences that aren't amenable to being chosen - they emerge only as by-products of other things.

Why couldn't I? Are you saying D&D can't be run as a player driven game?

I don't see how this in any way contradicts a claim that playing with the right people is important. It seems to be an instance of such a claim.

It's not contradicting the claim... it's contrasting the reasons. I would rather play with my friends and family than with the people necessary for a specific game. In one instance I am choosing people because they are my friends and family then picking a game that will accommodate all of our goals and wants as players... while in the other instance I am choosing a game thewn picking people who fit within the parameters of said game well enough to produce the expected experience.
 

hawkeyefan

Legend
I don't know. As in, I can't remember.

But I do want to reiterate that there is a significant difference between the thought that the skulker might be a Vecna cultist - which I think I probably had at the time of first mentioning him - and it being the case, in the shard fiction, that the skulker is a Vecna cultists. It is when the latter occurred that I don't know.

This difference - between ideas for what might become part of the fiction and the shared fiction per se - is what gives significance to Paul Czege's description of the following technique:

I frame the character into the middle of conflicts I think will push and pull in ways that are interesting to me and to the player. I keep NPC personalities somewhat unfixed in my mind, allowing me to retroactively justify their behaviors in support of this.​

"Unfixed" doesn't mean "no ideas". It means establishing the fiction as part of framing and resolution, not prior to it.

Sure, I understand that. I mean, I said as much in the post you quoted....that's how I tend to handle things when I introduce them into my game. I have an idea, but I'm not married to it.


What I am trying to convey is that the same thing can be true on the GM side. So, to relate back to an example I mentioned upthread, just because I have notes that say that such-and-such might happen at the baron's funeral (or celebration) that doesn't mean that the shared fiction does, or will, include any such thing. As it happened there was no funeral (the PCs saved the baron from the catoblepas come to kill him) nor any celebration (instead the baron collapsed upon learning of his niece's death at the hands of the PCs).

Yeah, I'm fully aware of this, and as I said, this is generally how I handle my games.

Do you consider this some sense of illusionism, though? If I understand that term as it's been used in this thread, it mostly relates to the illusion of choice or of consequence of choice being used by the GM. Does this flexibility with the true origin of a story element....let's use the yellow skulker as the example....kind of fall into that same category?

Your use of the word "thwart" is itself tendentious, though. It's not a word I've used - I've talked about determining that an action declaration fails by reference to elements of the fiction (ie fictional positioning) that the player is not aware of, rather than via the action resolution mechanics. Nor have I used the word "bad". And that's deliberate. I don't think it's bad. Rather, it's not something I really care for in RPGing.

As I said above, though, you can't play classic dungeon crawling D&D without doing it. Eg a player declares "I search the southern wall for secret doors". If the GM's map indicates that there are no secret doors there, then that's that - whether or not the GM fakes a die roll, the answer is going to be "You don't find any secret doors". That's an instance of determining that an action declaration fails by reference to fictional positioning of which the player is unaware. Whether or not you would call that "thwarting the player" I will leave up to you, but it is an instance of application of GM's secret backstor. Hence it's not something I'm really into (and, as I posted upthread, it's not something I'm particularly good at either).

No, you have not used the word thwart....but every example you've provided has been one where the GM thwarts the PCs' ideas. The secret door example you just provided is the first benign example of this that I've seen you use. It's very possible that I've missed such an example if you have provided one...but from what I've read, it seems that your examples display a bit of a bias toward how you view it. Which is not wrong or bad by any means.....it just seems a bit obvious even if you don't come right out and say it.

And I know you didn't term it as bad, but I meant that I am not as averse to it as you because I think it can be a legit method at times. So I don't find it bad in that sense.

In that case, I would say that the idea of the GM being constrained by player concerns/interests as expressed by the build and play of their PCs has no work to do. Likewise in these circumstances it would make no sense for the GM to "go where the action is", as there is no action in the relevant sense.

That doesn't sound, though, like a GM being constrained, at every moment of framing and narration, by the concerns and interests of the player as expressed by build and play of the PC. It sounds like a nod to the PC backstory as a passing event in some other trajectory of play.

But it is. It's just that the player interests and concerns are far less constraining. They don't have aspirations beyond those of the adventure path in question, or if they do, they are easily reconciled with and incorporated into the AP.

In the case where players may have much more involved expectations for their PCs and so on, then it would be a concern. In that case, it would be far more difficult for a GM to run a traditional AP as presented without significant changes.

My point though is that this criteria that you described doesn't seem to actually bar the AP style traditional GM driven game, depending on the players' desires and expectations. So as such, it doesn't seem to be a criteria for a player driven game.


I don't fully agree with this.

There are some systems (eg Classic Traveller, at least some versions of RuneQuest, Moldvay Basic) where PC generation is almost totally random, and so building a PC gives the player almost no chance to "hook" the GM. And in some games (eg Moldvay Basic again, Tunnels and Trolls, many 1st level AD&D PCs), PCs - especially at the start of a campaign - are so thin that they don't contain any hooks.

Although RM and RQ are both ultra-simulationist games, they have important differences, and it's not a coincidence that I fell in love with RM whereas - while I have long admired the austere beauty of RQ - I have never fallen in love with it. RM allows the player to make choices at PC build that send signals - eg choosing to give your PC skill in Cooking and Lie Detection, or in Etiquette and Seduction, tells me as GM something about what you want to do with your PC. RM also, in action resolution for melee and spell casting (not so much archery, which is a bit of a weakness0, allows choices to be made - roughly, trade offs of risk vs potential reward - which (again) allow a player to express an attitude towards the ingame situation and set stakes in a fashion; whereas in RM everything is just percentage skill checks without the same scope for player stake-setting.

Well, you've kind of narrowed this down to "the players hooking the GM with PC stats or game mechanics", but that need not be the case, and was certainly not what I had in mind. Regardless of PC creation methods, or statistics, the player can say to the GM "I kind of want this character to be haunted by his past...he's done some things he's ashamed of, and is working toward some kind of redemption, but he's not sure that's even possible at this point."

That's an idea that a GM can take in so many directions. My current game has a PC with that very backstory involved. As a result, I created a mercenary company he had been a member of, and an entire group of supporting NPCs that he has a past with, and an NPC villain that usurped the mercenary company. I then figured out a way to tie this group into some of the other stories that have been established. All of this helps to constantly bring up elements of the group's past actions, and therefore the PC's past, in the current game. So he is constantly being reminded of his dark past and having to deal with that.

It's a major part of our game, and it was entirely inspired by the player having an idea for his PC. He had the initial idea, and then I came up with some details and shared them with him, and we kind of tweaked them till we were both satisfied, and then we incorporated it into the game. Now, I will admit that I did have some elements in mind that I kept from him....I want there to be elements of this story that still need to be discovered.


Certainly conflict between the PCs and . . . obstacles . . . whether those are NPCs or inanimate aspects of the gameworld.

Dramatic need + obstacles/challenges/complications => conflict. That's what makes the game unfold, rather than just hand around in stasis, with nothing for the PCs (and hence the players) to do. And if the external conflict generates internal conflict (the sorts of choices I've just been discussing with [MENTION=29398]Lanefan[/MENTION]), or conflict among the PCs that forces hard choices to be made there too, well so much the better.

(Intra-party conflict is obviously tricky. As I approach the game, a certain onus falls both on GM and players to manage this carefully, especially in a system like D&D that presumes pretty tight party play. The conflict has to be enough to drive action, without being so great as to cause a split. I wonder what [MENTION=16586]Campbell[/MENTION]'s thoughts are on this.)

By competition I mean more about conflict between the PCs and the game world more so than the players and the GM, although the GM does have to adopt a certain amount of antagonism toward the PCs when he is playing the villains of the game. I do like things to be difficult for my PCs.

But I do also root for them, and I try to make sure that any competition is fair. Or that in the case of something being unfair (for example, an opponent of some sort who is beyond the PCs' ability to actually fight and win) that I give enough information so that the situation is clear, and that there are alternate ways to handle the conflict, and the players can decide how to best proceed.


I want at least this much competition: if I (as GM) am playing a NPC/creature who wants to hurt a PC, I want to be able to do that without having to hold back. I, the GM, have no particular desire that the PCs lose; but their opponent does, and I want to be able to express and give effect to that in my play of that opponent.

Not all systems allow for this: or, at least, if played this way they will produce what I would regard as an unacceptably high level of player defeats. (Low-level AD&D played in a non-dungeon crawl context I would regard as Exhibit A in this respect.)

I prefer ones that do. 4e combat handles this, by building a certain sort of "softballing" into the mechanics (PCs have depths of resilience and capacity to project power that NPCs/monsters lack). (It doesn't really arise in 4e non-combat, because skill challenges don't involve mechanical opposition, only narration in the form of framing, and then re-framing in light of consequences.)

BW handles it quite differently, by building in a range of non-death defeat consequences, and by embracing "fail forward", so that PC defeat isn't (straightforwardly) player defeat.

MHRP has some issues with this, in virtue of the way the Doom Pool works. I'm still getting the hang of it. The dominant online advice is "Sometimes the GM should softball the Doom Pool", but I have doubts about that for the reasons I've stated.

(Note: the distinction between framing and resolution matters to the above. Framing is, for me, a metagame process, and I do that based on the principles I've discussed above. But when the actual conflict is being resolved, once the situation is framed and the competing actions being declared, I don't want to have to metagame.)

All good ways to deal with PC failure. And I think we pretty much agree on how the GM needs to run opponents of the PCs. I also agree with your note about metagaming in how the situations are established, but then letting the game take over in the resolution of the situation.
 

Campbell

Relaxed Intensity
Not more narrow experiences, just different experiences. From my perspective the divide is not about which games are flexible and which games are focused. It is about which set of motivations games do more to actively reward. Most mainstream games are fairly good at rewarding Creative Component (Discovery, Design) and Achievement Component (Completion, Power) motivations. They are worse at rewarding Mastery Component (Challenge, Strategy) and Social Component (Competition,Community) motivations. The reverse is true for most indie games. The mainstream culture is heavily biased towards the motivations mainstream games reward. When they see a set of games that does not match their particular motivations for playing these games they assume they must be more meaningful narrow, rather than catering to gamers with a different set of motivations.

I will have more later when I have more time. I am addressing the typical case here, not the broad range of experiences within both indie games and mainstream games. I am not speaking to individual games or gamers here.
 

Ilbranteloth

Explorer
How is a rule being put ahead of the fiction?

Which is to say, why is the fiction of your second option superior to the first, or true to the established fiction.

As I'm sure you agree, "better" is subjective. My only point is that as a DM I like to have options open, and I don't like how the rules seem to limit the option of ambiguity.

And from the point of RPGing, what benefit do you think flows from the players not understanding the motivations of hostile NPCs? Upthread, [MENTION=16586]Campbell[/MENTION] called this "find the plot" RPGing. And [MENTION=23751]Maxperson[/MENTION] referred, in this sort of case, to the players taking steps to find out what explains the NPC's behaviour. What makes this superior to the players knowing the NPC's motivation?

Because sometimes when they learn something is as important as to what they learn. I don't agree it's "find the plot" RPGing. Just like a murder mystery, the "plot" is known pretty much from the beginning. Somebody is murdered, the question is who did it.

In some of the examples, the fact that they aren't told the answer tells them something. Once they learn that somebody is hiding the fact that the king is dead has potential implications.

The story as a whole progresses from an unknown to a known. Just because the DM (or another player) knows something before the players doesn't mean that in terms of the story it's the right time to be known.

To reiterate: player-driven RPGing techniques aren't focused on content. The concern is with the process of establishing that fiction.

OK, but by your assertion that not telling the players that the king is dead immediately breaks the rules of the game implies that it is disallowing that content within the fiction as well.
 

Ilbranteloth

Explorer
In order to know whether or not framing a PC into an episode of haggling with a merchant over silk counts as "going where the action is" (in the relevant sense), one needs to know whether or not haggling with merchants is something that speaks to the player's concerns for the game (as expressed via build and play of the PC).

I'm not sure I follow.

The PCs are in a town.

A player tells me I'm going to shop for some Calishite silks. An action.

I tell them they are able to find some, the price is 250 gp a bolt.

"Wow, that's really expensive, I'd like to haggle with him to see if I can get the price down." Another action.

Haggle away.

No motivation is revealed, just a series of actions. I didn't frame them into anything. They took action.
 

Ilbranteloth

Explorer
And my point is that, as a RPGing experience, it's even more powerful if the GM doesn't know either.

So then, instead of the player discovering what it is that the GM had in mind all along, the player and GM both discover what it is that they have created together through their playing of this game.

OK, I get what you're saying. As a musician, when improvising and everything falls into place just right it's absolutely amazing. Almost a religious experience. But more often than not, at least for amateurs like me, it just doesn't happen that often.

But I'm also not sure I totally agree with it either. Having had a co-DM a number of times, we would work on story lines together. And that moment where somebody comes up with that big moment is pretty amazing. We're both surprised, our excitement is palpable. And then we riff off of it, "but wouldn't it be even better if...?" And usually it is even better. We get to fine tune it and tweak it so it's just that much better. And then not only is the moment amazing, but we get to live it a second time, but from a different perspective, the joy of the excitement of the players.
 

Maxperson

Morkus from Orkus
I'm not sure I follow.

The PCs are in a town.

A player tells me I'm going to shop for some Calishite silks. An action.

I tell them they are able to find some, the price is 250 gp a bolt.

"Wow, that's really expensive, I'd like to haggle with him to see if I can get the price down." Another action.

Haggle away.

No motivation is revealed, just a series of actions. I didn't frame them into anything. They took action.

I think he's saying there needs to be some other motivation. The PC is a merchant, or loves silk, or just likes to bargain. Something that would turn that into something relevant to the PC.
 

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