Very interesting, could you expand on this last bit, please?
Sure, I’ve actually been ruminating on this a lot recently but my players highlighting stuff during the session crystallized it in my mind.
In short: my contention is that adversary design is generally pretty boring and rarely implicitly does any of the following for the players:
- force a dilemma.
- remake the situation.
- create interesting choices.
Amplification:
IMO I don’t think it’s contentious to say that DH is primarily a power-fantasy game focused around character portrayal. There’s relatively little trade-offs inherent to the combat subsystem (loose movement, no engagement, minimal baseline conditions that change the decision space, etc); beyond resource expenditure. Compare to something like DS! or 4e that inherently design this broad tactical decision space (with an emphasis on mechanical teamwork).
But also, games like PBTAs don’t have much of that either - however what they bring in is a much greater regard for the fiction of the moment. Can you even clash to hurt the monster? What are the risks you face? How can you manipulate the fictional moment to adjust the agreed upon outcomes of a Move?
I guess I’d draw the line over to something like Fabula Ultima here: similar loose narrative focused gameplay, with a combat mode that has juuust enough complexity to make turn order & working together matter.
on the DH adversary side, I find the following things to be true:
- they’re designed mechanically heavy with rare payoff (exception based design baking a bunch of stuff into individual profiles, features that cut against the strengths of the game in character portrayal and power fantasy without doing much for actual difficulty).
- the math is bad. Patchwork Paladin & one of the main community adversary designers have recently done long posts on how the guidelines are both overly complex for encounter building but also miss the mark.
- it’s far more interesting to know what the baseline expectations for the tier are and say interesting fiction that drives drama and materialize the mechanics to push a scene vs look at the sheet.
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