Vindicator
First Post
Sometimes I feel like we have strayed too far from the original intentions of D&D/AD&D with the wargame/tactics/number crunching embodied in 3/3.5. Below are some passages by two past masters, Gary Gygax and David Cook, from the AD&D 1/2 Dungeon Masters Guides. Read and discuss:
ON COMBAT
Combat is divided into 1 minute period melee rounds, or simply rounds, in order to have reasonably manageable combat. “Manageable” applies both to the actions of the combatants and to the actual refereeing of such melees. It would be no great task to devise an elaborate set of rules for highly complex individual combats with rounds of but a few seconds length. It is not in the best interests of an adventure game, however, to delve too deeply into cut and thrust, parry and riposte. The location of a hit or wound, the sort of damage done, sprains, breaks, and dislocations are not the stuff of heroic fantasy. The reasons for this are manifold.
Gary Gygax, DUNGEON MASTER’S GUIDE (1979), p.61, “Combat”
The mechanics of combat or the details of the injury caused by some horrible weapon are not the key to heroic fantasy and adventure games. It is the character, how he or she somehow escapes—or fails to escape—the mortal threat which is important to the enjoyment and longevity of the game.
ibid., p.81, “Saving Throws”
Since this isn’t a combat game, the rules are not ultra-detailed, defining the exact effect of every blow, the subtle differences between obscure weapons, the location of every piece of armor on the body, or the horrifying results of an actual sword fight. Too many rules slow down play (taking away from the real adventure) and restrict imagination. How much fun is it when a character, ready to try an amazing and heroic deed, is told, “You can’t do that because it’s against the rules.” . . .
The trick to making combat vivid is to be less concerned with the rules than with what is happening at each instant of play. If combat is only “I hit. I miss. I hit again,” then something is missing. Combats should be more like, “One orc ducks under the table jabbing at your legs with his sword. The other tries to make a flying tackle, but misses and sprawls to the floor in the middle of the party!” This takes description, timing, strategy, humor, and (perhaps most important of all) knowing when to use the rules and when to bend them.
David Cook, AD&D 2E DUNGEON MASTER GUIDE (1989), p.51, “Combat”
ON ALIGNMENT
Asking another character his alignment is futile, anyway—a lawful good character may feel compelled to tell the truth, but a chaotic evil character certainly wouldn’t. A chaotic evil character with any wit would reply “lawful good.”
Even if a character answers truthfully, there is no way for him to know if he is right, short of the loss of class abilities (as in the case of paladins). Player characters can only say what they think their alignment is. Once they have chosen their alignment, the DM is the only person in the game who knows where it currently stands. A chaotic good ranger may be on the verge of changing alignment—one more cold-blooded deed and over the edge he goes, but he doesn’t know that. He still thinks he is chaotic good through and through. . . .
Some characters—the paladin, in particular—possess a limited ability to detect alignments, particularly good and evil. Even this power has more limitations than the player is likely to consider. The ability to detect evil is really only useful to spot characters or creatures with evil intentions or those who are so thoroughly corrupted that they are evil to the core, not just the evil aspect of an alignment.
Just because a fighter is chaotic evil doesn’t mean he can be detected as a source of evil while he is having a drink at the tavern. He may have no particularly evil intentions at that moment. At the other end of the spectrum, a powerful, evil cleric may have committed so many foul and hideous deeds that the aura of evil hangs inescapably over him.
David Cook, AD&D 2E DUNGEON MASTER GUIDE (1989), p.27-28, “Alignment”
Discuss.
ON COMBAT
Combat is divided into 1 minute period melee rounds, or simply rounds, in order to have reasonably manageable combat. “Manageable” applies both to the actions of the combatants and to the actual refereeing of such melees. It would be no great task to devise an elaborate set of rules for highly complex individual combats with rounds of but a few seconds length. It is not in the best interests of an adventure game, however, to delve too deeply into cut and thrust, parry and riposte. The location of a hit or wound, the sort of damage done, sprains, breaks, and dislocations are not the stuff of heroic fantasy. The reasons for this are manifold.
Gary Gygax, DUNGEON MASTER’S GUIDE (1979), p.61, “Combat”
The mechanics of combat or the details of the injury caused by some horrible weapon are not the key to heroic fantasy and adventure games. It is the character, how he or she somehow escapes—or fails to escape—the mortal threat which is important to the enjoyment and longevity of the game.
ibid., p.81, “Saving Throws”
Since this isn’t a combat game, the rules are not ultra-detailed, defining the exact effect of every blow, the subtle differences between obscure weapons, the location of every piece of armor on the body, or the horrifying results of an actual sword fight. Too many rules slow down play (taking away from the real adventure) and restrict imagination. How much fun is it when a character, ready to try an amazing and heroic deed, is told, “You can’t do that because it’s against the rules.” . . .
The trick to making combat vivid is to be less concerned with the rules than with what is happening at each instant of play. If combat is only “I hit. I miss. I hit again,” then something is missing. Combats should be more like, “One orc ducks under the table jabbing at your legs with his sword. The other tries to make a flying tackle, but misses and sprawls to the floor in the middle of the party!” This takes description, timing, strategy, humor, and (perhaps most important of all) knowing when to use the rules and when to bend them.
David Cook, AD&D 2E DUNGEON MASTER GUIDE (1989), p.51, “Combat”
ON ALIGNMENT
Asking another character his alignment is futile, anyway—a lawful good character may feel compelled to tell the truth, but a chaotic evil character certainly wouldn’t. A chaotic evil character with any wit would reply “lawful good.”
Even if a character answers truthfully, there is no way for him to know if he is right, short of the loss of class abilities (as in the case of paladins). Player characters can only say what they think their alignment is. Once they have chosen their alignment, the DM is the only person in the game who knows where it currently stands. A chaotic good ranger may be on the verge of changing alignment—one more cold-blooded deed and over the edge he goes, but he doesn’t know that. He still thinks he is chaotic good through and through. . . .
Some characters—the paladin, in particular—possess a limited ability to detect alignments, particularly good and evil. Even this power has more limitations than the player is likely to consider. The ability to detect evil is really only useful to spot characters or creatures with evil intentions or those who are so thoroughly corrupted that they are evil to the core, not just the evil aspect of an alignment.
Just because a fighter is chaotic evil doesn’t mean he can be detected as a source of evil while he is having a drink at the tavern. He may have no particularly evil intentions at that moment. At the other end of the spectrum, a powerful, evil cleric may have committed so many foul and hideous deeds that the aura of evil hangs inescapably over him.
David Cook, AD&D 2E DUNGEON MASTER GUIDE (1989), p.27-28, “Alignment”
Discuss.