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Message: <blockquote data-quote="grendel111111" data-source="post: 6793200" data-attributes="member: 6803870">I think this is partly due to many of these options being in the DMG and so people don't give them a fair shake. WTC needed to choose a default settings and these are the choices they presented in the Players Handbook. But people have become so hung up on "official" rules that they don't look at the optional rules in the DMG which can shift the came significantly in one or other direction.Those who like not using fail forward will also argue that is the better approach, and it is for them.The key here is that being accepted as a universal option is different to being accepted as the universal right way to play. And I think you see the difference. I certainly see it as a very valid and enjoyable way to play. For me it suits some games better than other and different forms of failing forward work in different game experiences. And I think everyone agrees on this. Those who want a consistent world (because we can't use realism we need a new phrase), would also have kicking down a door attracting the attention of near by creatures. But I for example would not have the person who successfully kick down the door be some how quieter than those who failed. Success and failure generate about the same amount of volume in this situation. People who suggest that success at a cost is good here could also look at the option of: just saying that yes the door is kicked down and assess if there were any creatures near by that heard that happen. I don't see a reason to even roll a die and assign a failure to it, if they are automatically successful knocking down the door anyway and the orcs hearing you is because of the kicking being done not the success of the opening.In the same way that if a person proficient with lock picks is opening a lock - you want it to succeed so no matter the roll it will open, What is important is "did someone hear you?" the I would go with a stealth roll, and if they announced they were doing it as quietly as possible give them advantage on the roll.I really like the levels of success mechanic and use it a lot, especially for anything knowledge based.I definitely agree about building games and game elements with purpose not only as they fit being a game component, but also as the fit in the world as it is presented.You may find that some people disagree about "you're writing a story" and rather that you are experiencing a world, and that makes a difference. What you are setting out to do in your game does effect choices that you make. Writing a story implies that the key result is the story that happens, Things should be chosen based on what would make a good story (but from whose perspective, the players, the DM, an outside observer? it could be all 3). Then story elements are key, build to a climax, a certain level of script immunity is needed, keep the story moving to a resolution, "Random" events happen not randomly, but because they add to and enhance the story.On the other hand if your goal is to experience a world through the game, then different choices can be made. Random things happen because in life random things happen. Hitting a dead end and having to find another way to achieve you goals or even needing to change your goals, is perfectly fine if you're not tied to "story".  Characters don't have to die in a story satisfying way, because it is a game and the mechanics have given the result you got. "Time for a new clone". I had a DM ask after one game where my character died if I wanted him to save my character as my story wasn't "finished". But to me his story was finished, he didn't reach all his goals, but that is part of life.People who have a preference for one style of game over the other will see elements of the other approach as a failing and unsatisfying because it's not meeting their gaming needs.I see a 3 way pull on design:1 story2 experiencing a world (or building a believable and immersive world)3 game elementsSometimes they all pull in the same direction and sometimes they pull against each other. When they pull against each other you need to make a choice as to which you prioritize and it may not be the same decision every time.so in the locked door example number 1 says the door is locked and must be passed for good story.number 2 says the door is locked if it makes sense, who locked it, why did they lock it, does it result in an impossible situation (such as a person being in the room with no key, so no chance of leaving, but has been here for months clearly with no food or water, waiting for someone to stumble up and open the door for them.)Number 3 says if something is essential don't put it behind a locked or secret door.One of my favorite openings to an adventure is B4. It's in a pyramid with only a secret door for access. but the door is wedged open by a corpse with a crossbow bolt in it. The door is automatically found and the trap that killed the interloper is triggered and empty. The "secret door isn't a blockage and it makes it clear the party are heading into a heavily trapped area.I use a fate mechanic in leverage and other games I play not so much in D and D, but again people should see it as a possible mechanic they can use to create the game they are looking for.PS I am really enjoying this discussion.</blockquote>

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