A Question Of Agency?


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Many of the posts on the thread make me wish I could understand Blades In The Dark. I read it through a couple of times but it still makes me go, huh? šŸ˜ž

So I first learned about Blades online, and I took a look at the SRD to see if it was a game I’d consider running before buying it. The SRD gave me some impressions, but I was not at all sure if I understood everything.

So I checked online and found some actual play videos by the designer John Harper. I’m not typically a big fan of actual plays, but I found these to be very illuminating about the game and how it plays. After watching a few, I ordered the book.

And even after it arrived, I kept watching the actual play videos.

I then introduced it to my group. We went slowly at first and focused on the basics and then expanded with each session.

It’s become a big hit with my group, and it may be my favorite game.

I recommend it. Pretty sure you can get the pdf for a reasonable price. But maybe consider watching the actual plays by John Harper if you’re not sure.
 

So I checked online and found some actual play videos by the designer John Harper. I’m not typically a big fan of actual plays, but I found these to be very illuminating about the game and how it plays.

@Campbell introduced me to the game via conversations on these boards and strongly recommended Harper's gameplay videos. I love them (I too am not a big fan of gameplay videos generally), and think the game is the best thing in game design since sliced bread. Well, you know what I mean.

The videos can be found here:
 

@zarionofarabel

I don't play or own BitD so can't help you with the details of that system.

One thing I would say, though, about games like Apocalypse World, Burning Wheel, Marvel Heroic RP and (I'm guessing) BitD: they are presented in a much more "didactic" fashion than games like D&D or classics like RuneQuest and Traveller. That is, they speak much more overtly about what the jobs are that the various participants are expected to do, rather than leaving it - especially in the GM case - for people to just "work it out" based on their experience with wargaming and other RPGs.

That can mean that it is helpful to try and leave some baggage at the (metaphorical) door and to try and take that didactic material seriously and at face value.
 

"Plot hook" is not a synonym for "interesting thing in the fiction". No one disputes, as far as I know, that the GM has a job to present interesting things. That doesn't mean the GM has a job to present "hooks" that lead into "plots" that the GM is the sole or primary author of.
You seem to be tripping up on semantics again. 'Plot hook' definitely is just an interesting thing that potentially directs towards more interesting things. In your example the mention of the Rufus' master is a clear plot hook for investigating who this master is and what they want. By your definition a GM who improvises could never use 'plot hooks' and that definitely is not the case.

This makes no sense to me either. The BW mechanic and the Traveller mechanic are almost exactly the same:

In Classic Traveller: I'm looking for someone who will sell me illegal guns at a good price. Referee: OK, if you make a Streetwise check at <insert throw required> you find such a person.
In Burning Wheel: Is Evard's tower around here? GM: If you make a Great Masters-wise check at <insert number of successes required> then yes, it's around here.​

Before the action declaration, the existence of someone who will sell me illegal guns at a good price or of Evard's tower is a mere genre-appropriate possibility (we know it's genre-appropriate in Traveller because the game includes worlds with specified law levels and includes characters with abilities like Admin and Bribery and Streetwise; we know it's genre-appropriate in Burning Wheel because the game includes characters who are sorcerers and summoners and witches and augurs and they have abilities like Great Masters-wise.)

And if the action is successful, in both cases it is established that there is, in a concrete sense known to the character, a person here who will sell illegal guns at a good price or Evard's tower in this general vicinity.
(I still don't actually know anything about Traveller. Space something probably...) First of, existence of general type of a person or good and existence of an unique specific thing you made up are rather drastically different things. Furthermore, in most games in these sort of "I see if I can find any guns/drugs/etc" situations the Gm is perfectly within their rights to just say "no, this is not sort of place they can be found at." I.e. the GM actually determines whether the thing is present, the player determines whether their character manages to find it.

I also don't really follow your remark about significant setting details. If my PC is fighting an Orc, and kills it because it fails to block with its shield, that failure seems pretty significant! And conversely, had it blocked and therefore lived to try and kill me, the significance would have been driven home even more! Evard's tower is also significant, but I don't see why it is more significant. Both get their significance from the fact that the player cares about them as elements of the shared fiction.
You have some sort of weird category error going on here. These are completely different sort of things. If your character decides to attack the orc, you don't get to decide what the orc does, the GM decides that. And whether that orcs attempts to defend (assuming that the GM decides that this is what they do) is represented via some passive number such as in D&D or via some active roll like in many other games really does not affect that. That is completely different than narrative level ability to summon towers into being! Can you really not tell the difference between deciding the actions of your character and deciding things about the world, external to your character? Damn, this is a bizarre conversation...

Well, I personally think the BW game I play in is a good game. The demon seemed to be connected to Evard. After some pretty demanding exchanges, it fled the battle (Thurgon doesn't know much about demons, but conjectures that this may be due to the conditions or constraints of its summoning). It hasn't turned up again, so I don't know what that connection was. I don't know what the GM had or has in mind for it.
Right. the demon encounter is a clear plot hook towards Evard then.

Burning Wheel doesn't use random encounters as a device, so that possibility doesn't need to be considered.
Encounters can still be 'random' in a sense that they're just standalone things and not really connected to anything. I meanly meant it like that.

That's not really true.

Robin Laws has some sample adventures in his Narrator's Book for HeroWars. They are not presented anything like H3 Pyramid of Shadows. One difference is that they don't prescript what the players have their PCs do.

Greg Stafford has many Episodes in the Prince Valiant rulebook. They present situations - all standard knightly stuff - but likewise don't prescript what the players have their PCs do. The Episode Book for Prince Valiant, which is much more recent than Stafford's book, is interesting in this context because some of the Episodes it contains are similar to Stafford's in design (eg the Bone Laird episode that I mentioned upthread) and others are much closer to H3 and hence need a reasonable amount of work to be useful (eg Mark Rein*Hagen's episode). So it is a concrete illustration of the quite different ways that GM-side prep can be undertaken.
Yes, there can be many different kinds of plot hooks. I already know that...
 

It just seemed as though everything was so tightly constrained, and there wasn't any world to push against or grab onto so reactions to my actions seemed wildly unpredictable--and if I can't predict the reactions, the actions themselves feel random to me.

So I just read this and was kind of dumbfounded; the world of Blades in the Dark involves a specific setting, though it is sketched rather than fully drawn.

But I just realized the SRD does not contain the setting information. So you didn’t have any of the setting specific info at hand, just the mechanics.

I think that a lot of context would be missed in that case. I remember the SRD not doing much for me, too....but I had forgotten that there was no setting info in it.
 

You seem to be tripping up on semantics again. 'Plot hook' definitely is just an interesting thing that potentially directs towards more interesting things. In your example the mention of the Rufus' master is a clear plot hook for investigating who this master is and what they want. By your definition a GM who improvises could never use 'plot hooks' and that definitely is not the case.


(I still don't actually know anything about Traveller. Space something probably...) First of, existence of general type of a person or good and existence of an unique specific thing you made up are rather drastically different things. Furthermore, in most games in these sort of "I see if I can find any guns/drugs/etc" situations the Gm is perfectly within their rights to just say "no, this is not sort of place they can be found at." I.e. the GM actually determines whether the thing is present, the player determines whether their character manages to find it.


You have some sort of weird category error going on here. These are completely different sort of things. If your character decides to attack the orc, you don't get to decide what the orc does, the GM decides that. And whether that orcs attempts to defend (assuming that the GM decides that this is what they do) is represented via some passive number such as in D&D or via some active roll like in many other games really does not affect that. That is completely different than narrative level ability to summon towers into being! Can you really not tell the difference between deciding the actions of your character and deciding things about the world, external to your character? Damn, this is a bizarre conversation...


Right. the demon encounter is a clear plot hook towards Evard then.


Encounters can still be 'random' in a sense that they're just standalone things and not really connected to anything. I meanly meant it like that.


Yes, there can be many different kinds of plot hooks. I already know that...
That is absolutely not my understanding of what a "plot hook" is. Plot hooks are things that try to engage the players in the GM's plot, which often take the shape of things that interest the players. But an interesting thing isn't a plot hook if there's no plot there. I mean, it's right there in the term -- plot hook.
 

So I just read this and was kind of dumbfounded; the world of Blades in the Dark involves a specific setting, though it is sketched rather than fully drawn.

But I just realized the SRD does not contain the setting information. So you didn’t have any of the setting specific info at hand, just the mechanics.

I think that a lot of context would be missed in that case. I remember the SRD not doing much for me, too....but I had forgotten that there was no setting info in it.
Yeah, @prabe, the very play of the game is wholly rooted in the fiction, so a given action has clear results that flow directly from the fiction -- there's plenty of handles. If you mean the rules don't state explicitly what given actions do -- yeah, they don't at all. If you're just reading the rules and trying to figure out what a Hunt action results in, I cannot tell you without a game context to place it into, only say it likely involves you trying to shoot or track or hunt something or someone.
 

That is absolutely not my understanding of what a "plot hook" is. Plot hooks are things that try to engage the players in the GM's plot, which often take the shape of things that interest the players. But an interesting thing isn't a plot hook if there's no plot there. I mean, it's right there in the term -- plot hook.
It definitely needs to potentially go somewhere. But it doesn't mean that 'somewhere' needs to be clearly defined that the moment of planting the hook. Pretty common in more improvisational style. Plant some interesting things with a vague idea of which sort of direction they might lead and then actually elaborate if the players bite.
 

But how it feels to people is absolutely all that matters here. You can make an argument about it being the same as what you're used to all you want, but if it doesn't feel that way to them--and for a lot of people it absolutely doesn't--then the problem is every bit as real.
No, how people take things is not all that matters here. Here we're having a discussion about WHY people take it that way, so asserting that there's no discussion to be had because people don't like something is not terribly helpful. I'm very curious as to why people don't like success with complication because, to me, D&D is pretty much full of it. In D&D, though, it manifests because the GM gets a "turn" which can be used to act against whatever you're trying to do as a player with your PC -- the orc fights back, the merchant haggles, the noble condescends, etc. Here, sure, you roll a check and get the success or failure, but what happens next is usually that the GM uses their turn to introduce a complication. Success with complications, in games that feature them, do not have GM turns, so it's wrapped up into a single mechanic -- you roll, and the situation reacts accordingly. I'm curious why it's okay that someone else (the GM) can just make up complications, but so long as it's not directly tied to a roll it's just fine if the GM makes up whatever, even if you succeeded. I mean, I've run D&D for decades, I know how this works.

Honestly, this understanding that the mechanics in games that focus on success at cost are the replacement for the GM's "turn" to do thing was one of the keys for me grasping the new paradigm.
 

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