D&D General Defining "New School" Play (+)

Remathilis

Legend
Everywhere you go, you hear talk about "Old School" Play. Old School This, Old School That. There are games part of the Old School Renaissance that pride themselves on how close to Gary's Vision they can be. But while everyone is rolling 3d6 in order and searching for that save-or-die poison trap that has to be around here somewhere, I have to ask "Old School in relation to what?"

So this thread is to discuss what it means to be "New School". When did it start, what does it entail and how can it be fostered and improved. This is a plus thread, so the point is to celebrate and nurture new school play. OS people, uh go hangout in Dragonsfoot or something...

What is New School Play (to me)

Cavaet: This is my view on NSP.

1.) Characters are special. New School play fosters a sense that the PCs are cut above the standard person. They have unique skills, a complicated backstory, a special origin, or some other thing that makes them just a little bit different. New School characters can be the scions of prominent figures, selected by the God's to be their chosen, have cursed lineages they must absolve or at least bare, or are prodigies in their chosen field. That is not to say all characters have 20-page backstories: sometimes the baker's daughter discovers she's a sorcerer and goes adventuring. The key is they aren't just random mercenaries, they have something special.

2.) Characters are defined by those around them: New School characters often have a variety of connections in their life: Friends, Family, Loves, Bosses, Rivals, Etc. The relationships help define the character. Does the PC adventure out of loyalty to his friends, quest for the love of a beautiful maiden, or seek to win the approval of a doubting father. They may have an enemy who shows up to ruin their day, a Moriarty to the PCs Holmes. This could be the campaign villain or a side character. Regardless, they are in it for more than just gold and glory.

3.) Campaigns have clearly defined Stories: NS play often has an endpoint; a place the story builds to. Villains scheme and plot, cataclysms threaten to destroy what the PCs love, the fate of kingdom/world/multiverse is in the PCs hands. This is commonly seen in adventure paths (see below): but its far older: most people would credit Dragonlance for this style of play but I think the Ur example is the GDQ: Against the Giants -> Queen of the Demonweb Pits where the PCs seek to explore disturbances with a local giant steading and get drawn into the machinations of the drow and their Goddess, Lolth. There are stakes, tension, and narrative flow. Events build on each other. Eventually, only the PCs can save everyone.

4.) Death is Not the Only Fail state (but it's the worst one): New School Play rarely treats player characters like tissue. Meatgrinder play is seen as anathema to NS play. Instead, PCs often suffer other setbacks other than death. After all, if all the PCs die, the game is over. That is not to say NS play is easy or a cakewalk, but it does mean that PCs have a little plot armor (even something as thin as negative hp/death saves) and often, failure results in the loss or treasure, plot complications, and other "fail forward" options.

5.) Play is narrative, but not necessarily linear: Adventures, and to larger degree, campaigns, have a greater emphasis on narrative play. The PCs find a hook and get involved in the action, often following the story beats to their conclusion. That is not to say NS play is a railroad (as some like to paint it); there can be multiple branching paths and a Good DM has to know how to get PCs who have wandered too far afield back to the focus, but adventures tend to have a strong story element, not just a dungeon to explore for gold.

6.) NS emulates Fiction: Most people who play RPGs do so because they saw some other form of media (movies, games, novels, etc) and said, "I want to make my own." NS play attempts to capture that spirit. It has players making characters like the ones they see in fiction and has DMs telling stories like the ones that inspired them. Large the life villains, grand stakes, bold heroes. They have come to tell a shared story like the ones that have inspired them.

That's my list of what NS means to me. Feel Free to add your own or comment on what is there. Let's build a community that prides itself on being New School.
 

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If I were to be defining “New School” it would look directly at the games that emerged between 2005-10 and thereafter. There was a sudden proliferation of games with new systems that were deliberately and self-consciously not D&D, which were trying to do new things beyond hack and slash (a reductive view that I do not share).

I think it emerged due to a number of factors. A willingness to explore new systems when 4th edition came out is one of them, but the proliferation of cell phones, comfort with online transactions, and increased comfort purchasing pdfs (with which came the expectation that buying a hardcopy would mean you got a pdf with purchase, something the D&D still hasn’t accepted), as well as online warehousing and review sites that gave information about new systems (and sites like ENworld that offered prizes!), all facilitated a technological and societal change that allowed more people to enter the market with niche-ier games that had low costs for entry into the market by creators and could target specific needs.

It was a great time, and led to a lot of fun exploration with new systems.

Among the systems that I would put in this category are FATE and the Powered by the Apocalypse games, as well as Burning Wheel, Reign, the Cubicle 7 and Margaret Weis games, as well as brain-breaking genius surprise hits like Fiasco. Yes, there was a “theory” behind this all (and strong personalities; but this is a + thread), but it all encouraged new thinking about what games could do, and (in my view) the OSR was a response against this type of gaming.

Some of the innovations fed back into 5e when it came out: I'd say it is seen most clearly in the 2014 backgrounds, where there was a "feature" that didn't necessarily give a mechanical bonus, but helped define your personality, motivations, goals, etc.
 

This is obviously a different take than the OP; in some ways what characterized the games I'm calling New School is (in a variation of the OP's #4) that player actions were determined with a number of success states -- everything a player did led to a "Yes, and...". You might not get everything you wanted, but it was no longer a binary yes/no, hit/miss (not that that is a fair characterization of older-school games).
 




I would add another element:

Making Informed Choices.

Something revealed by the massive amount of content in 3.x was...there were a lot of "choices," but not very many choices. An awful lot of things were absolute trash, not even worth thinking about. This had been a characteristic of D&D for a long time, but 3e made it aggressively obvious to anyone who really cared about gameplay qua gameplay. Trap options have existed in D&D since OD&D, and stupidly brokenly overpowered stuff had too. If there is such a thing as "New School" at all, this has to be a part of that: getting rid of "traps" and the crazy-powerful-you-should-always-take-this stuff (like Natural Spell).

It dovetails with some of the things above. For example, the reduction in lethality is not there to remove challenge, despite what many, many, many frustrating people will tell you. The point is to let you learn from your mistakes, to let you bounce back from being on the back foot, to have a difficult initial experience before rallying and ultimately winning: victory is often not ultimately in doubt, but it is initially in doubt, and that matters a lot.

This also manifests as an interest in balance as a game design element--which 3e tried to pursue, but objectively failed miserably at actually achieving. (Had it been able to somehow enforce old-school style play on its players, that might have been a different story, but the game just wasn't designed properly for it.) Different options need to actually be relatively close to the same in total impact BUT still different in effect: that way it is really, actually a choice, and not a mere brute-force calculation to determine what is best. You have no choice but to THINK about what you want to do, because path A, B, and C are all objectively valuable but still different.

Finally, this manifests as a deep and abiding antipathy for certain kinds of "Old School" techniques that may have once been acceptable, even laudable, but which "New School" usually does not cotton to very much. Fudging, quantum ogres, secretly rewriting in-combat creature stats on the fly, secret retconning, "invisible railroads," that sort of thing--"New School" may not be universally opposed to this stuff, but it's definitely got a MUCH lower tolerance for it than "Old School" ever did.
 
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I would call it character motivated story driven games, with more emphasis on character development in universe and more focus on story element. In essence, new school is more collaborative storytelling and less lightweight skirmish board game.
But it does not totally discard the skirmish boardgame. Instead, if there is to be such a game, it must be worthwhile on its own merits. It must be enjoyable for its gameplay, and that gameplay must connect to the roleplay just as the roleplay should be connecting to the gameplay. Another of 3e's (many) faults was how poorly it achieved that connection, with Prestige Classes being a stand-out example, but other smaller things fell in that space too (like how absolutely awful the skill-points system is at actually delivering an interesting and sensible character concept.)
 

Things that come to mind; neo-trad, Hickman revolution, non-random chargen.
The problem with that is that something that allegedly started in 1985 cannot, per force, be called "new school" with any degree of seriousness. Perhaps, if we're going to qualify something "new", it should be a style that's less than 20 years old not a nearly 40-year-old style.
 

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