Not a Conspiracy Theory: Moving Toward Better Criticism in RPGs

Bluntly put, some games have specific moments or mechanics where a PC escapes the control of the player, for one reason or another. This idea is anathema to a lot of D&D players, but it's actually pretty common, and quite interesting when you see how it gets handled in other design spaces.
I think that these mechanics as "mind-control" grossly exaggerates the loss of agency involved, if any, while also engaging in special pleading that overlooks it in D&D.

Moreover, the mechanics involved where characters "lose control" often involve genre emulation.

Monsterhearts above, for example, is guided by this play assumption: "Teenagers don’t get to decide what turns them on, and part of adolescence is contending with the confusion that arises when your body behaves in ways you never anticipated." I doubt that teenagers would describe the awkwardness of being unexpectedly turned on by someone as "mind-control." So the game throws moments into the way of PCs where they have to deal with the unexpected feeling of being turned on by someone and what they choose to do about it.

Meanwhile games like Pendragon and Prince Valiant emulate chivalric Arthurian romance where knights are likwise frequently overcome with emotions, becoming instantly and unexpectedly smitten with fair maidens on first sight or throw themselves into a blinding rage to save the queen. Unsurprisingly, Greg Stafford does his homework, because he quotes a lot of the Arthurian romance literature when it comes to rationalizing his design decisions.
 

log in or register to remove this ad

Well, lets perhaps divide this red sea. There are many mechanics that, for lack of a better word, mitigate for certain sort of actions or responses. Passions would be a great example. The weak-sauce mind control in D&D would maybe be another. That's a very low rent loss of control.

So for the other bunch I want to very specifically toss the idea of mind control into the gutter as it has nothing to add to the discussion IMO. Monster Hearts, and other PbtA games are great examples. They take the idea of passion and the like and draw some lines in the sand that say past X you aren't in control any more and the consequence is Y. In those games you usually have lots of notice about impending X, and your choice of character helps define what Y looks like. That said, under certain conditions your PC does things without player consent, and that's something that simply isn't a part of current D&D. It's fine, but it's not only not everyone's cup of tea, but completely foreign to some people.
 

Well, lets perhaps divide this red sea. There are many mechanics that, for lack of a better word, mitigate for certain sort of actions or responses. Passions would be a great example. The weak-sauce mind control in D&D would maybe be another. That's a very low rent loss of control.

So for the other bunch I want to very specifically toss the idea of mind control into the gutter as it has nothing to add to the discussion IMO. Monster Hearts, and other PbtA games are great examples. They take the idea of passion and the like and draw some lines in the sand that say past X you aren't in control any more and the consequence is Y. In those games you usually have lots of notice about impending X, and your choice of character helps define what Y looks like. That said, under certain conditions your PC does things without player consent, and that's something that simply isn't a part of current D&D. It's fine, but it's not only not everyone's cup of tea, but completely foreign to some people.
I'm not sure if the thought I have here is right, but possibly part of it is that in some of the other games I believe you are thinking of, players are expected to evolve their character conception. Psychological growth (or change at least), not just physical (e.g. power scaling). This ties to a comment I found very pithy by @innerdude

The point is that in PbtA, any given success or failure is more important in the context of reframing your character's inner narrative/story approach than the externality of the "Did I get what I want?"

Coming back to mind control, it might be right to say that D&D players do not expect any roll - not even magical mind control - to change their character conception. That could explain the divided views I have heard from folk about character-conception-changing magic such as the Helm of Opposite Alignment.
 

Sorry for the somewhat late response here. I started this and then had to go do stuff.

Perhaps, but I've been trying to get at something a step earlier here: where a prior failure is assumed by the scene where there wasn't any roll or opportunity to avoid that failure.

To elaborate: Player states "I'll spend the day discreetly watching the warehouse looking for entrances, guard patterns, shift changes, that sort of thing; all the while trying not to get caught or shot." No dice are rolled.
Thinking it a soft move, the GM says something like: "OK. After a few hours a guard approaches you... <then speaks in character as the guard, asking what I'm doing here> ..."
You... can't do that. Only GMs make soft moves, at least in DW, and I'm pretty sure in other PbtA games. The distinction has no meaning for player characters. "You have to do it to do it" and "if you do it, you do it" together effectively make all player moves "hard" moves, but again that's not a distinction with any meaning when talking about player moves.

The player has said a very high level overview of what they intend to do. This is nowhere near the adequate level of detail for a DW game. My players do this (less than they used to but still more than I'd like; they are shy and cautious), so I respond with som variation of the following:
  • "Okay, how are you doing that? Walk me through your process." (This is probably my most common way of asking.)
  • "What kinds of things are you looking for? What's your starting approach?"
  • "Where(/how) do you want to begin doing that? How do you prepare, and what precautions are you taking?"
There are many ways to ask the question but it all boils down to "okay, tell me more, and be specific." Without more specific answers, I don't have the ability to make moves, neither hard nor soft. Hence, your concerns over having been overridden without a chance to do anything are simply impossible; actually running the game the way you're told to forbids doing what you have described.

What the GM just did there was arbitrarily decide my attempt at being discreet has failed (a big part of being discreet is not being noticed or attracting attention, and clearly I've done both)...or, perhaps less charitably, has railroaded me into a situation I-as-character (and thus as player) didn't want as an outcome.
Correct. They used a hard move (guaranteed failure of being discreet) when they should have asked you how you were doing your vaguely-described actions you had declared. That's against the rules of DW: the DM did not "play to find out what happens," and you as the player did not follow the requirement that "you have to do it to do it" (you must actually describe what you are doing, to a reasonable degree of detail, in order to actually do things.)

Now if I'd been given, say, a roll to maintain my discreet-ness and come up with partial success (on outright failure I assume guards-plural would be coming at me with handcuffs! :) ) - and-or a roll (which I then fail) to notice the guard's approach in time that I could innocently turn my face away, wander off, and avoid any conversation - all would be cool; and now I gotta talk my way out of this in character and-or make what I can of it. Absent those chances (or similar) to avoid the undesired scene, however, I posit the scene as presented is invalid.
Which you should have gotten. I can't say exactly how you would choose to investigate and try to remain hidden, but once you had specified what you were doing to case the joint and evade detection, that would absolutely involve two moves: Discern Realities and Defy Danger.

The first is for when you're closely examining something to learn about what it is, how it works, etc.; casing the joint is totally within the remit of Discern Realities. You roll+WIS; on a 10+, choose three questions from the list, on 7-9 choose one. The GM must answer these questions honestly. They are:
  • What happened here recently?
  • What is about to happen?
  • What should I be on the lookout for?
  • What here is useful or valuable to me?
  • Who’s really in control here?
  • What here is not what it appears to be?
Take +1 forward (add one to your next roll) when acting on the answers.

So, most likely, I would have you describe the specific ways you are trying to case the joint. What are you looking for? How do you approach it? What's the first thing you check or look into? Etc. Once I know that, it sets the stage for both the actual Discern Realities roll (because you have met the requirements, the move must happen: "if you do it, you do it") and the subsequent Defy Danger move.

Defy Danger is probably the most common move in all of Dungeon World, because it is very literally, "When you act despite an imminent threat or suffer a calamity, say how you deal with it and roll." You add the relevant modifier based on your approach (e.g. "powering through" is the term used for +STR), and then:
  • On a 10+, you do what you set out to, the threat doesn’t come to bear.
  • On a 7–9, you stumble, hesitate, or flinch: the GM will offer you a worse outcome, hard bargain, or ugly choice.
The one and only way the GM can make soft moves (indeed, moves of any kind) against the player without the player making a move first, is when the player presents the GM with a "golden opportunity." This is described as follows:
A soft move is one without immediate, irrevocable consequences. That usually means it’s something not all that bad, like revealing that there’s more treasure if they can just find a way past the golem (offer an opportunity with cost). It can also mean that it’s something bad, but they have time to avoid it, like having the goblin archers loose their arrows (show signs of an approaching threat) with a chance for them to dodge out of danger.


A soft move ignored becomes a golden opportunity for a hard move. If the players do nothing about the hail of arrows flying towards them it’s a golden opportunity to use the deal damage move.
As you can see, this is not just something the DM can toss out when they feel like, even in the form of exploiting an opportunity. The player has to clearly decide not to do something about an impending threat or problem that they are aware of. Further, the GM is required to actually dig into what the player is saying they do; abstract high-level descriptions like "discreetly watching the warehouse" and "trying not to get caught" are nowhere near specific enough, and thus cannot qualify as the player clearly deciding not to deal with a problem.

A DM might frame a situation such that there is an impending threat though. for example, "As you're walking down the alley behind the building, you see a guard approaching, cigarette already dangling lazily from his mouth. Preoccupied with the cares and grumbles of a guard on break, he hasn't noticed you. Yet. What do you do?" This frames the potential for a problem, while recognizing that the player values staying hidden just as much as they value getting information, if not moreso. There's multiple possible ways to deal with it (Dex to dive behind nearby boxes; Str to knock the guy out before he can spot you; Cha to spin a story; perhaps Int to predict where the guard will stop and thus where you can stand to avoid being seen; etc.)

Further, this sort of scene, a guard casually walking through where someone is trying to sneak around, is both perfectly naturalistic and exactly the kind of tense "what happens next!?" moment that a story about sneaky people would feature. If it goes wrong (roll 6-), finding ways to respond to that problem becomes the focus of play. If it goes well (10+), the tension passes, and maybe the sneaky person learns something. And if it goes wonky (7-9), the situation gets complicated--tension is heightened and new action is required to resolve things. Every possible result leads to something interesting happening.
 

I'm not sure if the thought I have here is right, but possibly part of it is that in some of the other games I believe you are thinking of, players are expected to evolve their character conception. Psychological growth (or change at least), not just physical (e.g. power scaling). This ties to a comment I found very pithy by @innerdude
Sure, that's true, but I think it's also true of games that don't have the loss of control we're discussing. The difference, to my mind, is mostly about what expectations are set about this from the get go by the system in question. D&D doesn't set that expectation, but then has these edge cases, which in context are understandably divisive.
 

It would be nice to have modular rules to allow for what @Fenris and @Aldarc described above within a D&D game.
The concept of focusing on the emotional state of the character through the combination of mechanics and roleplay appeals to me.

EDIT: I mean VtM came out eons ago and D&D has barely changed in terms of delving down the path of character development in mechanical terms.
All D&D has is Alignment and Bonds Ideals Flaws and Traits. That's hardly innovative given what is out there in the indie field.
Personal rant over.
 
Last edited:

I think that these mechanics as "mind-control" grossly exaggerates the loss of agency involved, if any, while also engaging in special pleading that overlooks it in D&D.
It always amuses me that the mind control detractors don't seem to be able to just voluntarily change their minds about such mechanics.

So they're under the very mind control they claim doesn't exist!
 

It would be nice to have modular rules to allow for what @Fenris and @Aldarc described above within a D&D game.
The concept of focusing on the emotional state of the character through the combination of mechanics and roleplay appeals to me.

EDIT: I mean VtM came out eons ago and D&D has barely changed in terms of delving down the path of character development in mechanical terms.
All D&D has is Alignment and Bonds Ideals Flaws and Traits. That's hardly innovative given what is out there in the indie field.
Personal rant over.
D&D has so many ways (mostly spells) for players to lose agency over their chararcters while GMs have tons of agency, so players tend to be fiercly protective of what limited agency is afforded them over their characters. I'm not sure if the above mechanics would necessarily be a good fit for D&D and the sort of games that D&D often cultivates. More robust social mechanics? Sure. But there can be a fine line before anything involving social mechanics gets accused of being "mind control" mechanics in disguise.

It always amuses me that the mind control detractors don't seem to be able to just voluntarily change their minds about such mechanics.

So they're under the very mind control they claim doesn't exist!
I could sympathize with their positions better if they didn't keep referring to them in a derogatory fashion as "mind control mechanics." It seems a bit hypocritical to get bent ouf of shape about a term like "map and key" while making false claims about other games having "mind control mechanics" without having played these games or even much working knowledge about them. It's mostly villified hearsay of how other games use mechanics in social encounters but without much basis in how these mechanics work in context of the overall system. 🤷‍♂️
 

I wrote a story game (narr) style RPG called Other Worlds in which a lot of things might be at stake in a conflict but the player retains full control. What happens instead is that you get a penalty for not acting in accordance with the result - for carrying on regardless.

So if you lose a 'does the demon terrify you?' conflict, you're not forced to run away or stand frozen in terror. But, you will get a freeform trait like Terrified which will substantially penalise your efforts to fight it instead.

Similarly if you lose a 'the mayor tries to publicly shame you into helping defend the town' conflict, you are not forced to actually man the barricades. But, you will get a freeform trait like Expected to Defend Stonybridge that means the townsfolk will shun you if you don't. The conflict doesn't represent mind control but the application of social pressure to try to make you do something you don't really want to do.

Any freeform trait can be removed by winning an appropriate healing-style conflict against it, for example you could 'heal' a Terrified trait by the bard singing a magical song of inspiration, or you could 'heal' an Expected to Defend Stonybridge trait by persuading the town your own mission was more important or that the threat had receded.
 

OK, I'm not familiar with those games. But is that any different from failing a saving throw vs fear, charm, etc?

I play a level 15 fighter in 5e and recently spent a couple rounds frightened of a dragon that I was actually kicking the ass of, so I'm not generally a big fan of these effects.

The point is, outside of magical exceptions, there aren’t any mechanisms in DnD that tell you how to play your character. Your character is never frightened of a troll unless you decide that’s true.

In non-trad games, one of the points of play is exploring a character. You cannot explore something if you have perfect knowledge of it. It would be like reading the module before playing DnD. It’s just playing wrong.

So non-trad very often remove control of the character from the player at certain times outside of outright mind control.

So your character, to use dndisms is subject to morale checks. Is subject to persuasion checks and attitude adjustments and you, the player, are expected to abide by this.
 

Remove ads

Top