D&D General "Hot" take: Aesthetically-pleasing rules are highly overvalued

Campbell

Relaxed Intensity
In general I think most versions of D&D are arcane messes that require an inordinate amount of specialized learning. 4e/5e less so than previous versions, but they still fairly messy for new players. Same goes for most traditional RPGs really.

I have found that Freebooters on the Frontier, Mork Borg, Dungeon World, Stars Without Number, Apocalypse World, Vampire 5th Edition, and Masks all have a much easier on boarding processing. Particularly Masks, Mork Borg, and Dungeon World.

I find a lot of people who wax poetic on 5e's ease of use had their own expectation mismatches with other games and not much experience with games that do not come in 300+ page books.
 

log in or register to remove this ad

Oofta

Legend
It could be a lot of things, but claiming the rules is "as simple and easy to grasp as it can get" given that no-one seems to have a completely consistent interpretation of it (c.f. 1000+ post reddit threads and so on) is such ridiculous hyperbole that I'm wondering if I'm being trolled. If it was just me, I'd feel stupid and wonder if I was dumb. But I'm sorry mate, the weight of evidence is that it confuses the bejeezus out of people, and that loads of people who think they understand it either straight-up don't (c.f. the 5E reddit and various other messageboards), or have understandings which are reasonable but contradict other understandings.

It's one of the more complicated and counter-intuitive rules in D&D, whether you're new or not, I'd suggest.

All I can say is that I disagree. If you haven't noticed an enemy when combat starts you can't do anything until the end of your first turn. I don't see how that is a hard concept to grasp.

All the discussions have revolved around concepts of "surprise round" which no longer exists. But ... whatever. I also don't understand why anyone but construction workers and farmers buy pickup trucks yet they're incredibly popular. My opinion and $10 might get you a cup of coffee at Starbucks.
 

billd91

Not your screen monkey (he/him)
I also don't understand why anyone but construction workers and farmers buy pickup trucks yet they're incredibly popular. My opinion and $10 might get you a cup of coffee at Starbucks.
It just means that people approach things like buying appropriate vehicles, or even interpreting rules, from differing perspectives. Whether natural language or technical jargon, people are often going to look at what is written and come away with differing interpretations. It may seem mystifying, but it's a fact of life. The old joke may go that it's impossible to idiot proof because the universe just keeps making bigger idiots, but there's a truism in there. No matter how you work to corral people's interpretations, you literally cannot write for everyone's idiosyncrasies.
 

Oofta

Legend
It just means that people approach things like buying appropriate vehicles, or even interpreting rules, from differing perspectives. Whether natural language or technical jargon, people are often going to look at what is written and come away with differing interpretations. It may seem mystifying, but it's a fact of life. The old joke may go that it's impossible to idiot proof because the universe just keeps making bigger idiots, but there's a truism in there. No matter how you work to corral people's interpretations, you literally cannot write for everyone's idiosyncrasies.
Which is why I always try to qualify when it's just my opinion. But most of gaming is just opinion, isn't it? No ruleset is perfect, nor can it be for everyone.

If you want to discuss rules in 5E that don't make a lot of sense, I think you don't have to look much further than unarmed attacks/melee weapon attacks mess. To me that's something that could be fixed and clarified (along with a handful of others). Surprise rules? Those, to me, are simple and easy to understand.
 

You seem to have completely missed my point, here. It doesn't have to do with "PROCESS." It has to do with the meta-rules in each. [...]
I think what you call 'meta' is what I call 'process'. I don't draw a distinction between 'game' and 'meta game', that is a very 'Gygaxian' classic early RPG sort of position (though it has certainly hung in there amongst a crowd which includes a lot of people here). Thus I don't see the difference as so much one of principles of play and such as it is a straightforward difference in tool sets. DW does not have a combat section in its rules. It doesn't talk about resolving fights and what happens in fights, except incidentally as it may be an example of 'dangerous situations'. It does provide 3 moves, 2 of which are totally combat specific (defend can be applied in a few other situations). So it COVERS combat, given that it is a significant class of activities, but "resolving combat" is not one of the processes of DW. Advancing a narrative, including combat narratives, IS. Note again that there are no distinctions in its rules process for combat/social/exploring, etc. They are all moves. The only difference is which move might be relevant in a given situation. This is entirely different from 5e where there are things "the rules don't cover" or where a distinct 'check' system is used which is different from combat. The 5e combat rules are specifically discussed as providing resolution of what happens when you swing a sword, etc. DW simply says "describe what you do" and then some move or other will be mapped onto that. Nobody in DW would say "I go hack and slash on the orc!" This is not because of 'principles', it is because that isn't the PROCESS OF PLAY! You say "I want to hurt the orc with my sword" and yes, that maps pretty directly onto Hack and Slash, but that is only one case. You could easily decide that retreating from the orc uses Defy Danger, etc. In 5e you would specifically call out rules you are using, "I'm swinging my sword at the orc." or "I disengage from the Orc." These would invoke specific other rules, like maybe OAs, triggering the use of class abilities, etc. Note how this all happens in a turn order, which simulates a strict advancement of time. DW has no concept of time. The fiction advances, maybe a little bit, maybe a lot, it just depends on what moves are made. It may well be that only one PC will even take moves in a combat in DW, and there is no rule about who gets to do what, when. The narrative and logic of DM moves is entirely in charge of that.
Now, maybe you see some principles being in charge, but I think that example of "playing DW like 5e" is MECHANICALLY FLAWED, and I could point out specific places where the rules of DW were broken. If its rules were followed, the game would PERFORCE be a story game, it could not be otherwise (Admittedly, the principles exist for a reason, I'm not denigrating them, but their purpose is more to make the game work WELL and break people of their 'Gygaxian' habits vs being what makes the game itself mechanically work).
No, 4e gets it's ability to be run narratively by accidental design. They aimed for one thing, but, if you're experienced enough in narrative play principles, 4e works well with those -- so long as you ignore a few things judiciously.

I find that any perceived direction to be more 'open' narratively is directly countered by the advice on how to pick the relevant skills which requires pre-plotting a path through the skill challenge or anticipating PC actions, both of which run counter to narrative play principles. 4e hews closely to the traditional modes of play, but is designed (again, I argue accidentally) in a way that you can switch to narrative play principles and have good success as well.
I think it is less accidental than you do, much less. We agree, it CAN be read either way. As I said, I think this was kind of necessary, the story game advocates don't seem to have had absolute sway, or probably even the most say in what got included and the exact wording. Pity. Anyway, you can come play HoML sometime and see how you would take those principles and design elements of 4e and go all the way with it ;)
 

I'm happy to bring out quotes if necessary. 4e talks about "player-authored quests" which clearly can feed into skill challenge resolution. The instructions in the DMG on skill challenges emphasise player contribution/driving, and refers to the significance of the fiction. DMG2 reinforces this with further examples and elaboration.

The relationship between skill challenges and other "closed scene" resolution frameworks - eg Maelstrom Storytelling, or HeroWars/Quest extended contests, or a BW Duel of Wits - is pretty clear. As soon as one reads the skill challenge rules it's clear that they are not just a version of "complex skill checks" or whatever those were called in 3E.

This is further driven home by the example in Essentials, where on a failed check a hostile NPC reappears just as might happen on a failed Circles check in Burning Wheel. It's clear that the resolution is not "process-driven" or "simulationist", though the rules don't actually explain this - they leave it as an inference for the reader.

People recognised all this, too, whether or not they liked it - eg the common complaint but why should I (the GM) have to keep the skill challenge going if the players come up with some knock-down solution? shows that skill challenges aren't reconcilable with process-driven or GM-decides resolution. They depend upon fiction first and narrating outcomes by reference to intention, pacing and finality constraints.
There is a reason you teach and write, and I get locked in the back room to architect large software solutions ;) You have said it in a much clearer and more succinct manner.
As a 'Gygaxian' process-focused mechanical system SCs really DON'T WORK. At best they might give you the equivalent of a combat encounter in certain fairly bounded situations (IE a race or contest, etc. Actually the DMG1 examples bear this out pretty well). As soon as you get into any scenario where PCs could change their approach or adapt their goals in any significant way, then the system, as narrowly written, isn't going to cut it. You can certainly 'wing it' but this system really only comes into its own when you are able to write SCs from a meta-game perspective. So, if a check is framed more in terms of how it impacts a PCs interests, vs a mechanical outcome, then it works better. For example: The evil minister attempts to kidnap the Paladin's girlfriend. This invokes a skill check (of some sort) as this narrative unfolds. If the PC succeeds, the plot fails to put plot pressure on the paladin. What the exact fictional position which results is, that entirely depends on narration. The mechanical result is a success, the fictional result is avoiding this obstacle, BUT success might force the paladin to pay a price! Is he willing to abandon his ally to save his girlfriend? This gets even more of a hard choice if there is a failure. He could invoke an advantage (a mechanic of SCs from RC) to erase that failure (IE save the girl) but now he's going to really be giving something up (maybe his ally actually DIES).
Now, you can kind of get this narrative out of the classic way of employing SCs, but only if the GM maps that out ahead of time, and you run the risk of things going 'off the rails', whereas when the terms of the challenge are structured in this more character-oriented process way then you can simply adapt. "Oh the evil minister was poisoned, his son swears he will 'hurt the rogue' and threatens his father instead." (This example maybe isn't the best, as it smacks of "you can't win" but you get the idea).
 

There is similar language in many D&D editions. There's been a long tradition of offering this in D&D while not actually reinforcing it through tech or principles of play. That it's in the 4e DMGs is not indicative of anything more than continuing tradition.

Also, reference to the DMG2 is an interesting thing -- the DMG2 is not the first point of entry into the game, and if such an important way to play is delayed to past the initial entry point, is that terribly indicative of intent of play? Not that the DMG2 didn't provide a bit more top cover for non-trad approaches to play, it does, but that it still isn't explicit at that point and still provides play procedures that contradict narrative play (pre-building skill challenges for specific goals and selecting applicable skills within that challenge) cuts against your point here that it provides such direction.

Yes, as I said above, if you're already familiar with these play principles the skill challenge framework offers quite a lot of opportunity. If you are not, there's nothing in those descriptions that actually points you in the right direction, largely because it's right beside the direction to pre-build skill challenges as part of traditional adventure design. This includes setting the goal/entry/framing of the challenge ahead of play and also selecting the primary skills to be used, which presupposes applicable action declarations. That's right in there as well, and are the parts that I refer to when I say that they must be ignored to achieve a more narrative use of skill challenges.

Your final point is an interesting one, because it cuts against as well as for. If the structure of the skill challenge is used, then a 'knock-down solution' is not an exit to the challenge as the rules present. Both approaches must know when to abandon the challenge framework if the fiction dictates -- it's not just traditional approaches that have this issue. That those familiar with narrative play probably already know this principle doesn't mean that the skill challenge, as presented, doesn't provide this guidance to either side. You're mistaking your experience with other techniques and principles as part of the skill challenge and creating a problem for traditional approaches that you're solving not with the skill challenge framework, but outside awareness and experience. A traditional GM could also learn this lesson in a different way and similarly have no problems with skill challenges, just like an experienced narrative play GM. The actual skill challenge rules, and the guidance for those rules, do not solve this problem for either side -- it's an outside solution for both. If I had picked up on fiction first (which I agree is the best use of the SC structure) from the text without prior experience, then the skill challenge framework would pose a similar problem for me with a 'knock-down solution.' I'd have to realize I need to step out of the process and abandon it to close the scene appropriately.
Not convinced. You can ABANDON an SC within my paradigm, if the PCs give up before mechanically reaching the 'failed' state. This might happen if they aren't willing to pay the cost of success. You won't ever see 'short circuit to success', or simple disengagement. It is really hard for them to go off the rails when the terms of their construction is made 'meta game'. I agree that this was not how it was presented in DMG1, for the most part (there are hints). Unfortunately, what WAS presented, even the details of mechanics aside, wasn't super workable.
I suspect that some of the authors simply envisaged SCs as very limited situation tools where they would only basically be an 'encounter without combat'. The examples bear that out, but real world play showed that A) the mechanics were not good for that, and B) in practice it is hard to 'keep it in the box' to that degree. So, it was a story game mechanic grafted into a process sim sort of context, and that didn't work well. DMG2 provides a bunch of fixes, but it still isn't quite bold enough to do what I'm talking about, which is to ENTIRELY shift the mechanics to being about the meta-game vs being about the details of in game resolution (and here I am using meta-game again, but whatever...).
 

Mistwell

Crusty Old Meatwad (he/him)
I was born to that era, and even the UK, if watched enough TV and American movies, you could become of that era, and I am, hopelessly lol.



I'd agree except the new-to-RPGs players I helped with 5E once were also extremely confused by it. I mean, what I'm saying is, I expected that to be the case, but my only point of evidence is to the contrary.

@Umbran Pretty much everything here is non-falsifiable. It's like, my opinion, dude.
I grew up and still live in the San Fernando Valley. We invented Valley Speak, and Dude-speak was extremely common here as well :)
 

Ovinomancer

No flips for you!
I think what you call 'meta' is what I call 'process'. I don't draw a distinction between 'game' and 'meta game', that is a very 'Gygaxian' classic early RPG sort of position (though it has certainly hung in there amongst a crowd which includes a lot of people here).
It's not Gygaxian at all -- I don't care about "metagaming" in the context of character/player separation. I'm using meta in the context of the game about the game -- ie, rules not on what you do in the game but instead on how you're supposed to use the rules of the game. It sits above the mechanics. Again, I point to the clearly defined principles of play that PbtA games provide. "Be a fan of the PCs" is not a rule -- there's no application of this rule that can be seen. Instead, it's guidance on how you're supposed to use the rules that are provided, ie I should use rules from a position of wanting to see how the PCs deal with the fiction and rooting for their success. This principle establishes a baseline for a game where the primary job of the GM is to make the PC's lives worse. The GM doesn't really have much to do with a PC success -- that's up to the player. It's only in framing and failure that the GM has work, and that's uniformly to add adversity and consequence. This principle sets the tone -- that while the GM is heaping on adversity, they're supposed to remember that they should be rooting for the PCs to succeed, or to showcase their grit and mettle. This prevents PbtA game from spiraling into GM vs player. As such, it's a meta rule because it's never realized at the table but instead only in how the GM applies the mechanics and the choices the GM makes in doing so.
Thus I don't see the difference as so much one of principles of play and such as it is a straightforward difference in tool sets. DW does not have a combat section in its rules. It doesn't talk about resolving fights and what happens in fights, except incidentally as it may be an example of 'dangerous situations'. It does provide 3 moves, 2 of which are totally combat specific (defend can be applied in a few other situations). So it COVERS combat, given that it is a significant class of activities, but "resolving combat" is not one of the processes of DW. Advancing a narrative, including combat narratives, IS. Note again that there are no distinctions in its rules process for combat/social/exploring, etc. They are all moves. The only difference is which move might be relevant in a given situation. This is entirely different from 5e where there are things "the rules don't cover" or where a distinct 'check' system is used which is different from combat. The 5e combat rules are specifically discussed as providing resolution of what happens when you swing a sword, etc. DW simply says "describe what you do" and then some move or other will be mapped onto that. Nobody in DW would say "I go hack and slash on the orc!" This is not because of 'principles', it is because that isn't the PROCESS OF PLAY! You say "I want to hurt the orc with my sword" and yes, that maps pretty directly onto Hack and Slash, but that is only one case. You could easily decide that retreating from the orc uses Defy Danger, etc. In 5e you would specifically call out rules you are using, "I'm swinging my sword at the orc." or "I disengage from the Orc." These would invoke specific other rules, like maybe OAs, triggering the use of class abilities, etc. Note how this all happens in a turn order, which simulates a strict advancement of time. DW has no concept of time. The fiction advances, maybe a little bit, maybe a lot, it just depends on what moves are made. It may well be that only one PC will even take moves in a combat in DW, and there is no rule about who gets to do what, when. The narrative and logic of DM moves is entirely in charge of that.
The focus on how the rulesets prioritize play details is a red herring. You've tried to use this to say that the difference between DW and 5e is that DW rules advance a narrative while 5e rules... I'm not sure what you mean to contest here but the implication is that 5e rules don't. This is not at all true -- both rulesets advance the narrative. There's a distinct difference in the tech used, and how that tech operates, sure, but just looking at the tech doesn't really make much difference at the end of the day. Yes, if I'm playing 5e I have more detailed rules for resolving a combat than I do in DW, but they also both advance the narrative, so they don't do different things. HOW those rules are used, though, is the important distinction, and this is the meta level of principles I'm talking about.

5e is generally used in a way that isn't conducive to "play to find out" principles. This is because D&D traditionally is based on the principles of the GM scripting at least a story outline and then presenting this in play for the players to explore. This is different from other games, like DW, where there's a minimum of GM prep and the fiction is intended to be discovered through the play. But, the actual mechanics of DW don't really do this -- you can run DW using the D&D style of approach. Like trying to run 5e purely on a narrative approach, the results are not ideal because there's a bit of a mismatch between the tech and the principles. Games like DW have tech that's designed in concert with the principles of play, and made to match, so that when you use the game tech according to the intended principles of play (the meta), the results are bang-on. 5e, on the other hand, and 4e before it, don't provide a clear statement of principles of play and instead let the individual tables come up with how that would work. 5e can be used narratively, but it's not a great fit because the tech is borrowed from D&D tradition and is aimed more at specific task resolution and fortune at the end style play which doesn't well align to narrative goals. Still, the tech can function pretty well in a large number of situations, just not as robustly as a game designed to do so. Which is why I'm arguing about the earlier statement that 5e doesn't have tech to resolve the shed toy example -- it does, if you're using an appropriate principle.

And, fundamentally, a lot of what's confused in this discussions are the principles of play. This is the source of much of the arguments on playing 5e alone, much less in comparison with other games. The fact that 5e doesn't clearly state principles of play and leaves those open to tables means that the traditional principles of D&D play are confused with what 5e presents. You don't have to do a GM lead story in 5e, for example, that's just the traditional way of doing it.
Now, maybe you see some principles being in charge, but I think that example of "playing DW like 5e" is MECHANICALLY FLAWED, and I could point out specific places where the rules of DW were broken. If its rules were followed, the game would PERFORCE be a story game, it could not be otherwise (Admittedly, the principles exist for a reason, I'm not denigrating them, but their purpose is more to make the game work WELL and break people of their 'Gygaxian' habits vs being what makes the game itself mechanically work).
No, I violently disagree that if you just use the rules and not the principles of DW that it would perforce be a story game. Recall that the fundamental principle of DW is 'say yes or roll dice' and that this is what functionally enables the story game, or narrative, play style -- that the GM cannot refuse a valid action declaration based on hidden backstory but must instead either accept it or challenge it with the tech. D&D, on the other hand, uses a clear "the GM decides" principle at the core of play -- ie, the GM can say no because they've determined, for whatever reason, that the given action fails. If you swap the DW principle of "say yes or roll the dice" for "GM decides", then the tech still functions, but the outcome is no longer a storygame. A player can attempt a move, say spew apocrypha, and the GM can just deny an outcome, even with a roll, because that's the principle at play. Here, the GM can run DW or AW or whatever using the GM decides mechanic and have players explore the GM's notes, so to speak, and it will work. Not well, and not at all what an experienced player would necessarily recognize as DW, but it will work and it will not be a storygame. You have to have the principles of play -- those rules not about what happens with dice or moves or whatever, but about how to use those rules -- the rules about the rules. Without these, there's nothing that prevents DW from running like badly organized trad D&D game.
I think it is less accidental than you do, much less. We agree, it CAN be read either way. As I said, I think this was kind of necessary, the story game advocates don't seem to have had absolute sway, or probably even the most say in what got included and the exact wording. Pity.
I don't think there were any storygame advocates on the 4e team, at least in the sense you seem to be taking it. Because that would imply that they had enough pull to add a storygame mechanic but not enough pull to actually explain how it works. If explaining the mechanic would give away the game, so to speak, and be a bad thing, why on earth was it allowed to be added? Because, I think, it's not meant as a storygame mechanic, it's just fluid enough that if you apply storygame principles it functions as that as well. I look at it as an attempt to iterate on complex skill checks from 3.x. The initial presentation, with the flawed math and poor explanation looks exactly like this. I think that it was recognized that it could work as a story game tool by the time Essentials rolled out, so there was some caveating to allow for that approach, but the core of the mechanic is still very close to how it was initially, just with better math and a few additional bells and whistles.
Anyway, you can come play HoML sometime and see how you would take those principles and design elements of 4e and go all the way with it ;)
I have little to no interest in your 4e heartbreaker, but thank you for the offer.
 

Ovinomancer

No flips for you!
Not convinced. You can ABANDON an SC within my paradigm, if the PCs give up before mechanically reaching the 'failed' state. This might happen if they aren't willing to pay the cost of success. You won't ever see 'short circuit to success', or simple disengagement. It is really hard for them to go off the rails when the terms of their construction is made 'meta game'. I agree that this was not how it was presented in DMG1, for the most part (there are hints). Unfortunately, what WAS presented, even the details of mechanics aside, wasn't super workable.
I'm absolutely certain, and was when I posted, that abandoning SCs was something you'd be just fine with. I'm a bit surprised that you don't have a similar mechanic for an action declaration that cuts through to the quick and can end in an early success, though -- that seems like following the mechanic is more important that following the fiction which surprises me. Still, there's not reason why you cannot prevent exit on the success side early, the fiction is very fluid after all and another complication can be presented.

I suppose, though, that if you have a principle of play that Skill Challenges must be completed according to the mechanics, then, sure, the meta will require this. I don't think that's at all necessary to have functional and effective skill challenges, but that's the fun of principles -- they can differ and you can still have lots of fun. I'm in a phase where I'm strongly in favor of principles being explicit, so they can be examined, improved, and iterated as needed to achieve maximum fun.
I suspect that some of the authors simply envisaged SCs as very limited situation tools where they would only basically be an 'encounter without combat'. The examples bear that out, but real world play showed that A) the mechanics were not good for that, and B) in practice it is hard to 'keep it in the box' to that degree. So, it was a story game mechanic grafted into a process sim sort of context, and that didn't work well. DMG2 provides a bunch of fixes, but it still isn't quite bold enough to do what I'm talking about, which is to ENTIRELY shift the mechanics to being about the meta-game vs being about the details of in game resolution (and here I am using meta-game again, but whatever...).
I really think that they're just an attempt to iterate on complex skill checks. That's what they look like -- instead of just rolling the same check and adding until you get to the DC, you must pass multiple checks of different kinds to get the required number of successes. Seems a direct and natural iteration, with nothing at all to do with enabling story game play. That it does so is the accident.
 

Remove ads

Top