Judgement calls vs "railroading"

Ilbranteloth

Explorer
When I talk about a game-world I'm talking about the whole thing, including what lies beyond the bits the PCs have actually encountered as those bits are potentially just waiting their turn to become relevant...or not, as the case may be.

Each time you've used Greyhawk as a setting, regardless of whether the "stuff in this game ... conform to details of what happened or was established in the prior games" it's still conforming to the background Greyhawk canon as a whole (more or less, let's not open that can o' worms again), meaning any player familiar with Greyhawk will have some vague ideas of what to expect. This sets a whole series of baseline assumptions that whatever comes next can build on...and conveniently gets you off the "DM-driven" hook in this aspect as all you did was select that setting; the rest of the baseline info, maps, etc. is already out there if anyone cares to dig for it.

My current game-world is Akrayna. Ever heard of it? I doubt it - in fact if you have I'd be both surprised and rather impressed, as it's something I made up for this campaign. My players had never heard of it either, before the campaign started, meaning they didn't have any baseline at all. They had to learn about it from the maps I'd drawn, the info I'd posted, and things discovered later during the run of play. Is this DM-driven? By your definitions I'll guess it is. Is it bad, or poor, or providing any sort of negative experience? I don't think so in the least.

Therefore, DM-driven does not always equal bad.

Lan-"if a giant falls in the forest and there's no PCs there to see it, does anyone get xp?"-efan


So much great stuff from [MENTION=16586]Campbell[/MENTION] and [MENTION=42582]pemerton[/MENTION], both of which I think I'll address here too...

What [MENTION=29398]Lanefan[/MENTION] is describing here is closer to how things function in my campaign. I will admit that the nature of my games has an awful lot to do with what I like, and the way my brain works. I tend to dig deep into just about anything that interests me, and that pretty much always leads off into tangents that I also dig into. That includes world-building aspects, story-building aspects, and rules too. I like them to all work together.

I have spent a lot of time both learning and detailing what I use in the Realms. And I use a lot of it. I've considered the majority of the games (and certainly all of the Forgotten Realms campaigns) that I've run as part of one campaign. The events and characters from games I ran in the late '80s still show up or have an impact on the current games. They could be legends, sometimes ancestors, and other times still exist. Things that I wrote up decades ago, often come into play in the present campaigns.

But really it comes down to what we prefer as an in-game experience. My players (and we've had discussions, and in many cases tried other systems) like the (essentially) AD&D approach where they know what they need to know as their characters, and the DM handles the rest. I get that it's sort of a self-fulfilling approach, because when I (and some of my players join me) run a public game, even with different approaches, they tend to invite the ones that seem like they will fit our play style best back to the home game. Most of these public games also tie into the home campaign, and characters (and players) have moved from one group to another.

So when we're looking for new players, we're looking for players that will fit in well with what we do. Likewise, when we start new players, we're invariably teaching the game in the way we like to play it. How that fits into the greater world of RPG innovation really doesn't matter to us. It just matters that we're having a good time.

I consider myself an enthusiastic hack. But I have a lot of former players (usually due to scheduling issues) that end up playing in other games, then coming back to me to discuss why it's not working as well, or why it's not as much fun, or what they've been doing to try to teach the others. I'm not saying I'm a great DM, or necessarily better than anybody else. Only that for the people that play in my campaigns like the way I (and we) play. And to me, that's the point. If people want to come back to your campaign, or reminisce about how great it was, or even attempt to emulate your play styled, you must be onto something. That this has been the case for 30+ years now, I think I'm onto something that works for me. It might be a very small percentage of the gaming population, but it's more than enough for the time that I can afford to devote to it.

I do enjoy learning more about how other DMs and other game systems work. I'll steal whatever seems to fit. Perhaps my willingness to try new things and approaches, to look for ways to improve my skills, and improve the game for the players is part of that. When I started looking more into BW/DW (because of this forum), we looked at it in some detail, but the group decided the approach didn't fit what they liked. So I could give up some of my D&D time to go try another game, but I'd rather just play D&D. From the late '70s to the early '90s I tried just about every other game that was released. Since the whole group couldn't get together several times a week, a smaller part of the group that loved checking out and trying other things would get together to try them. Whether it was another TSR game world, or another RPG altogether, we tried a lot. The fantasy ones we tended to like the least, since they didn't really fit what we liked in our fantasy RPG.

When it comes to consistency there are few things my group tends to do that I believe helps to maintain it.

We constrain detail to what we need to create a space for play.

Many others have suggested a similar approach. For me, I love the detailed histories and such. They help my brain function to tie things together, bring more ideas into the world, and bring the world to life. Knowing the history of a sword provides some context when they find it, like when Frodo gained Sting. In addition, it's just the way my brain works. I don't expect the players to feel the same, but they do enjoy being able to count on me when they do dig into the history of an object, place, event or person. I wouldn't recommend the approach to everybody, but if you're like me, writing material behind the scenes (even if you don't write it down or bring it into play) can be very rewarding.


There is so much richness and diversity to a single life it would be impossible to meaningfully cover it all in play.

Yes, but the more you know about something the more you can meaningfully cover it.

We must choose where to focus our attention...Other players are generally free to work with me to elaborate on areas they wish to explore. I use their passion as a resource.

Yep, and mine lie in world-building, rule-building, and many more. My players tend to be passionate about their characters, and the story they are writing with them. They tend not to have much of a world-building slant to it, they don't want to influence that part of the game, instead they want to experience it as their characters.

We are exploring characters. We are not really exploring setting. ...The social dynamic of play can result in fiction that feels more authentic and less designed. We focus on the fiction as experienced.

Since we're not great acting-type role-players, it's the richness of the setting, the locations, the dungeons, the schemes and mysteries, and things that like that make it feel more authentic and less designed. This flows into our rules as well. For example we don't have issues with 5-minute work days because they treat their characters as people, who like things like sleep, and breaks from work, and food, and a reasonable amount of effort during a given day. I've also modified the rules to support that approach too. The mundane things, the bits of life that make it feel more "realistic" whether it be rules, setting, or interactions, is what helps ground them in the game, makes them feel more immersed in their character within the world.

I'd say we are exploring the characters within their setting. The setting is as important a "character" as the characters, NPCs and story. I'd equate it to comparing Star Wars and Star Trek. Both are science fiction stories, but the setting has a dramatic effect on the characters and stories.

We are not afraid of do overs and talking things out.If we play something out and it does not feel authentic to our sense of the fiction or these characters we are not afraid to speak up. We also do not feel like we need to get it right the first time. If we miss some critical detail we can rewind and replay it or work together to clarify the situation. This ability to call each other out on our crap is a critical component of our play. Our core assumption is that you do not really own your characters and no one really owns the fictional world. We trust the GM to play the world with integrity and we trust the other players to play their characters with integrity. We trust everyone to be curious explorers of the fiction. Constructive criticism along the way is not only valued, but expected.

We aren't afraid to fix an inconsistency, but we won't typically replay it. They do own their characters, and they own as much of the fictional world as their characters impact.

We try not to let problems stop the flow of the game however, and wouldn't want to call each other out. That's probably one of the biggest reasons we have found that we don't like the BW/DW style of play. We prefer to maintain the immersion within the story. That is, the players maintain their immersion within their character, instead of shifting from character to world-building, to potential discussions about how or why that can't or shouldn't happen, or it contradicts this, etc. Likewise, I'm typically not doing much world-building within the course of the game. Certainly, as a DM, improvisation is always part of the game. But by having a thorough understanding of the NPCs and their goals, the events that are occurring in the region, the lay of the land, and things like that. Even the typical behavior of monsters, etc., means that I can also focus on the creation of the story during the game, reacting to the characters and their actions.

Outside of the game session I don't have any problem with as much input from the players as they want to give. But within the game we expect to be within the scene, and within the moment, with them as their characters and nothing else.

Elaborating on that: framing and action declaration are definitely not 1st person narration moments at our table. The discussion moves very flexibly between first person, second person (GM addressing player/PC as "you"), third person but character focused (eg "Jobe is trying to . . . "; "How does that relate to Jobe's Belief that . . . ?"; etc), and god's-eye-view third person.

While there are certainly times when I have to address a player directly, and there is a blend between player/character, and recognizing that we use a more descriptive approach rather than "in character acting," they players do not shift out of their in-character perception. That is, they approach the game as a character experiencing the story, rather than a player playing a character that is experiencing the world, or third person. But that's largely because the players aren't part of the framing. I might ask them where they are standing, and certainly what they do, but the answer is almost always "I...something." A "how does that relate" moment exists only if another character asks. Otherwise what's going on in a character's head stays in that character's (player's) head.

The bottom line is, we have different goals, and we find what works best for us to meet our goals. I won't begin to pretend that my way is the "right way" nor that everybody should be doing it this way. It's just the approach we enjoy.
 

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Campbell

Relaxed Intensity
One of the things that is probably the most different between us is I really don't set aside D&D time or Apocalypse World time. I set aside social time with my friends. When we get together we decide if we want to continue one of our ongoing games or start a new game as a group. If I am not really up to running a game than someone else can run something, or we might play Fiasco, or we might just play board games. This is a big part of the reason I prefer games with minimal to no prep. It's also a big part of the reason we haven't gotten around to playing Burning Wheel. The commitment isn't there. The group isn't always constant either. If a player can't make it we still game - we just usually play something else if their character's absence would not make sense in the fiction.
 

Tony Vargas

Legend
I couldn't agree with this more
[MENTION=42582]pemerton[/MENTION] has articulated several times, often these moments (perception and knowledge checks) are ones where something important is at stake. D..I wouldn't want to deny player agency in such instances.

How do you handle these in your games without breaking player immersion and disrupting/falsely imposing the tension of the moment?
You can use passive scores and roll behind the screen for perception/insight/etc. (And engage in legerdemain like making decoy checks for no reason, or making checks in advance, in order, so no sound of rolling dice to add inappropriate tension.)

For knowledge checks, OTOH, the joy of being the exposition character can get pretty watered down by the vagaries of the d20. ;( The character with the best roll craps out, then everyone else jumps in and one of them rolls high enough to do OK. One thing I've started doing when I call for a knowledge check is to put a mechanical choice before the party: either the high-check character makes the roll and everyone takes what he has to say as gospel, or they compare notes, hash it out and find a consensus, modeled by a group check.
But, even if you succeed and your exposition character has the knowledge, it's the DM then tells everyone what's what.
Exposition seems like it'd be the perfect time to give players some extra fiction-writing agency. Say, to get all indie with it: let the player who successfully ID's the heretofore unknown monster and it's weakness name it and decide what the weakness is... ;)
 

Campbell

Relaxed Intensity
To me there is a difference between an adventure path, which leaves PC/Player autonomy intact, and a railroad which removes PC/Player choice. The former allows the PCs to engage the path or leave the path entirely if they wish. That's still a collaborative effort in my eyes. The latter forces things the way the DM wants them and creates a DM driven situation where the players have no real input.

I think a major flaw in your analysis is a failure to meaningfully consider the social environment present in adventure path play. I also think you are applying some binary logic here when it comes to railroading that fails to get to the very real nature of what happens between players at the table. This is also why I am not overly fond of the way [MENTION=42582]pemerton[/MENTION] is framing things even though I mostly agree with the point I believe he is trying to make.

If adventure path play is to be functional and coherent there needs to be a shared interest by all players to engage the adventure and try to figure out what they should be doing. The hallmark of skilled play involves properly reading cues, pursuing one of the paths that the adventure has laid out for the play group, find the prepared story, and trying to beat the scenario. We might let our characters influence how we approach things, where the spotlight gets shone, who takes the lead, and other matters of approach. Advocating for our characters and the things they want is secondary if it even enters the picture. While abandoning the adventure path or engaging the fiction in unforeseen ways is always a possibility it is not likely because if our shared interest is in engaging the adventure on its own terms then there is an extremely high social cost for pursuing those courses of actions.

This is a phenomenally different sort of play experience than one in which our shared interests are focused on meaningfully exploring a fiction, advocating for our characters with integrity, pursuing their goals and drives, playing hard, and playing to find out what happens - not just how it happens or why it happens. Up thread I made a big deal about the difference between hooks and opportunities. What separates the two in my mind is that an opportunity exists primarily for players to engage it on their terms - in the ways they want to. It does not determine what their aims should be on social layer of play. Adventure hooks imply a complete a buy in to engage the adventure on its terms, not your own.
 
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Lanefan

Victoria Rules
Well, I think following that suggestion would defeat what [MENTION=16586]Campbell[/MENTION] was talking about.

This also relates back to some questions that [MENTION=6785785]hawkeyefan[/MENTION] and others asked about the OP, namely, why not just "say 'yes'" to the presence of a vessel in the room?

Picking up the dice, rolling them, calculating the result - this is part of the ritual of play, which (in BW, at least) signals that something that matters is at stake. I don't want to hide that. I want to emphasise it.
When it's already clear something's at stake, all is good.

But when it's not clear; or not known to everyone that something relevant is at stake at all, then rolling dice is a big (too big, IMO) tip-off.

Let's use the anxious-guy-in-the-bar example. Guy arrives, eventually beelines for the PCs' table. If at that point I start calling for checks the players OOC are going to suddenly view the scene differently than had I not called for checks, and dollars-to-donuts that'll be reflected in how they react in-character.

So if the PC walks into an inn out of the rain, and the player casually mentions "I hang my wet cloak on a hook at the door", that will be accepted without any need for comment - it's a moment of "saying 'yes'". But if the PC has arranged to send a signal to another character by hanging his/her cloak at the door - and it hasn't already been established, in the fiction, that there are hooks at the door - then that's the time for a check! The PC expects and hopes to hang his/her cloak; the player wants the same thing - the Inns-wise check will tell us whether or not there is a hook at the door. The prevalence of coat hooks at inn doors seems like something that would be pretty common knowledge, so the DC is probably low; but just picking up the dice and making the roll emphasises that something that matters is at stake here.
They didn't previously check the inn for hooks before setting up this signal?? Dummoxes deserve what they get.

If they hadn't checked, that's one where I'd go through the motions of secretly rolling dice and then either ignore the roll and just say yes there's hooks (if it makes sense there'd be hooks there) or go by the roll (if it may or may not make sense e.g. rain here is very uncommon). When I'm DMing I'm rolling dice all the time...sometimes for real, sometimes for show. Therefore in this case the players don't know whether I'm rolling for the presence of hooks, whether I'm rolling to see if someone else might catch on to their signal, whether I'm rolling to determine how many people are in the bar, or whether I'm just rolling for the sheer hell of it. Keeps the mystery going.

Lanefan
 
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Lanefan

Victoria Rules
I think a major flaw in your analysis is a failure to meaningfully consider the social environment present in adventure path play. I also think you are applying some binary logic here when it comes to railroading that fails to get to the very real nature of what happens between players at the table. This is also why I am overly fond of the way [MENTION=42582]pemerton[/MENTION] is framing things even though I mostly agree with the point I believe he is trying to make.
[MENTION=16586]Campbell[/MENTION], this (above) doesn't quite parse...

If adventure path play is to be functional and coherent there needs to be a shared interest by all players to engage the adventure and try to figure out what they should be doing.
Adventure paths are their own different animal, wherein both the players and the DM sort of quasi-agree to - if not completely railroad themselves, at least mostly stay between the ditches as they follow the path from start to end.

They also (usually) have a pre-defined end point, at least from the DM side; which in all other types of game is usually considered a railroad red flag.

Lanefan
 


pemerton

Legend
It's absolutely true that immersion and verisimilitude can be enhanced or damaged by different things for different players. It's also true, however, that we might instead be using the same labels "immersion" and "verisimilitude" to refer to entirely different feelings.

<snip>

given that at @pemerton's and @Campbell's tables immersion and verisilimitude are enhanced by the same factors that detract from those feelings at my table, I think there is good cause to believe we may be defining the terms differently.
Here's a bit more about this.

Consider the example I was using upthread: the PC enters an inn ut of the rain, and the player casually narrates "I hang my wet cloak on a hook at the door". That is the player authoring new fictional content (ie the existence of hooks at the door of the inn). Does the player have to get the GM's permission first? Does the player have to ask "Are there any hooks at the door? If so, I hang my wet cloak on one."?

If the answer to those questions is "yes", then to me that is immersion-breaking: because instead of my PC being at home in the gameworld (being able to see things, make reasonable judgements eg about the standard layout and facilities of inns, etc), the PC is like an alien in a foreign land who needs the GM to affirme, to the player, verything that the PC sees and can do.

The same thing is true with NPCs: if the player is always dependent on the GM to explain who NPCs are, what their connection is to the PC, etc, then it is as if this character has no friends, no family, no one who is not a stranger to him/her.

It's not a coincidence that so much fantasy RPGing involves Conan-esque characters who are strangers in the lands they travel through. (And see [MENTION=29398]Lanefan[/MENTION] and [MENTION=23751]Maxperson[/MENTION]'s responses upthread to the idea of a PC becoming a magistrate - that this is incompatible with the wandering that is the norm of a PC's life.) REH chose to make Conan a stranger - the only Cimmerian who ever figures in the stories - as a deliberate narrative and thematic device. The hobbits in LotR, for different reasons, are likewise framed as strangers into the situations they encounter. But this is not a necessity of fantasy RPGing. Or fantasy fiction. Ged, in the Earthsea stories, is not a stranger to his world. He knows his way through it. Han Solo is not a stranger to the world of Star Wars. Etc.

In my experience, if a player is going to play a character who is part of the world rather than alienated from it, then it's not viable for every bit of the fiction to be mediated through the GM, as if the PC was learning about the world for the first time.

I might ask them where they are standing, and certainly what they do, but the answer is almost always "I...something." A "how does that relate" moment exists only if another character asks. Otherwise what's going on in a character's head stays in that character's (player's) head.
If I took this approach, I would feel like I was GMing blind. I wouldn't know what the player was hoping his/her PC would achieve. I wouldn't know what was at stake. I wouldln't know how to apply pressure.
 

pemerton

Legend
For the DM to drive the game, the players need to have no input at all. The game is effectively a story where the DM decides what will happen and what the PCs will do. If the players have control over their PCs, the game is not DM driven, but rather a collaborative effort.

<snip>

The reverse is also true. A game cannot be player driven so long as the DM has input. The difference here between my style and the style of @pemerton is which side pulls back the swing and which side engages the swing to put the ball in motion. Both styles are completely collaborative.
A classificatory scheme is of no use if everything we want to classify ends up under the one label.

Compared to a rocket, Usain Bolt and I are both slow. All that tells me is that using rockets as my standard for fast is not very good in a conversation about sprinting speed.

Likewise, if you measure for "GM driven" is "the players sit at the table while the GM reads them a story", you've chosen a bad measure for talking about RPGing - because what you're labelling as "GM driven" isn't RPGing at all!

I as the DM set up certain events, back story, etcs.

<snip>

At that point everything stops. The players then decide whether they want to engage what I have set up and put the swing in motion towards the 2nd hole, or whether they want to pivot me and aim for a different hole or even move to a completely different golf course. At no point can that ball(D&D game) move anywhere without the players choosing to take that swing.
Two things:

(1) I prefer a game in which the players do the bulk of the set up. That is what I mean by "player driven", and it clearly differs from what you have described - which is what I call "GM driven".

(2) Why don't you find out which hole of the golf course the players want to shoot for before setting things up? That would seem more efficient.
 

pemerton

Legend
A game where the GM deliberately stymies player intent on a failed die roll (and is required to do so by the mechanics, no less), is incompatible with my usage of the term "player-driven"
A question: when you are GMing a game, and a player fails a check, what do you do? If they can fail the check yet still get what they wanted, then what was the point of the check?
 

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