Why do RPGs have rules?

That’s one way to look at it.

Another would be, because these players are my friends, isn’t there something I could come up with that would appeal to us all?

I didn’t want there to be a game without them. I wanted to include the whole group.
Yes, and bending to the desires of some of your players was, I suspect, no great hardship for you, because you weren't really having much fun in any event. You weren't asked sacrifice something you really enjoyed, lessening the fun you get out of gaming. That's not going to be true of everyone, not the GM, and not the players that didn't raise complaints.
 

log in or register to remove this ad

So why do RPGs have rules?
Because of the central mechanic that defines an RPG where
  1. The referee describes a setting
  2. The players describe some character they want to play in the setting.
  3. The referee describes the circumstances in which the characters find themselves.
  4. The players describe what they do as their characters.
  5. The referee adjudicates what the players do as their characters and then loops back to #3.
Steps 3 and 5 repeats until the session or campaign ends.

If the referee is a good teacher, coach, and communicator. Knows the setting of the campaign very well including what is possible for characters to do. An RPG campaign can be played without any reference to a system. However, the skill required to make it fun and doable as a hobby is high enough that most folks turn to a written system.

Having an RPG system saves the players and referee time and work in several ways.
  • As a terse form of communication as to how a setting or genre works.
  • The system mechanics will provide a terse and often precise description of various elements of the setting like characters, and objects.
  • By teaching the referee and players how to handle common situations that arise in the setting or genre. Determining when there is a certain success, a certain failure, or the odds are uncertain, thus needs to be resolved with a procedure.
  • As a reference so that similar rulings are made for similar situations.
This allows the group to spend more of their limited hobby time and verbal bandwidth on playing the campaign. Rules are not a requirement to run an RPG campaign but having a set of rules make it more fun and doable in the time one has for a hobby.

The key element for tabletop roleplaying that elevates it above "Let's Pretend" that makes it work is the judgment of the human referee, not the rules. The rules are an aide and a tool to make this happen easier as a fun pastime.

Where it gets messy is in the implementation of the system. The only firm requirement that the system needs to follow is that the mechanics reflect the setting of the campaign accurately. If they don't then either one of two things will happen. The rules will be modified to reflect what missing or the setting will be altered to reflect how the rules describe things.

Beyond that, it is a purely personal preference. Are characters described using class and level or skills and talents? Is armor about avoidance or damage resistance? Does social interaction get the most detail, is it combat encounters? Or both. Level of detail and focus are often the main drivers in which set of rules the group finds fun and interesting.

As long as the result is consistent with the setting and the group finds it fun to play there is no right answer. The loose analogy I like to use is that it doesn't matter whether the car is painted red or blue., they both will get you to your destination. But you may have more fun getting there driving a red car.

Again while this is easy to describe, the implementation is messy given the flexibility of the core mechanic that all RPGs share.
 

I don’t think that’s always true.

I’ve played in games where a seemingly important choice is later shown to not be as meaningful, and that’s harmed my enjoyment. Sure, I had fun at the time… but the retrospective take harms enjoyment at that point, and likely going forward.

So that stuff can certainly matter.
It definitely depends on the person, just like nearly everything else.
 

Now that I think of it, I'm not sure I've ever heard the story of how someone came to love storygames that didn't heavily involve a series of bad GMs in that person's past. It's like the genre's fans are mostly victims of bad actors.
Mod Note:

That’s painting a bunch of gamers with a pretty dismissive and divisive brush. And that’s a good recipe for sowing discord in a thread or forum.

I think you’ve done enough damage in this thread. You might want to reconsider how you describe your fellow hobbyists.
 

Yes, and bending to the desires of some of your players was, I suspect, no great hardship for you, because you weren't really having much fun in any event. You weren't asked sacrifice something you really enjoyed, lessening the fun you get out of gaming. That's not going to be true of everyone, not the GM, and not the players that didn't raise complaints.

Well not exactly. As I said, this was a big deal for me. I'd never had a game fall apart like that. I wasn't going to continue without two of my friends included, but I absolutely felt like I was giving something up. I had put a lot of effort into the game, and I think if we stuck with it, they'd have liked it. It's not the kind of game I'd try and run today, but at the time, it was something I was really looking forward to.

This was a pretty formative experience for me and was a big part of my shift in thinking as a GM and a gamer in general. It forced me to look at my GMing and what I was doing with prep with a dispassionate eye and really examine what was going on. I don't think that was an easy thing to do.
 




Seeing as we're doing origin stories . . . I've posted mine on these boards several times over the years. Here's a link to a 2013 post: https://www.enworld.org/threads/pem...a-good-approach-to-d-d-4e.333786/post-6074196

I discovered The Forge more-or-less randomly in 2004 (I can't remember what link or Google search took me there) and found the GNS essays hugely interesting. (And had no prior knowledge of the Usenet discussions and analysis.) And naturally enough they made me think about my own playstyle. At that time I was GMing Rolemaster, and had been doing so for many years, and I was easily able to identify it as a purist-for-system simulation system (= process simulation). But what I and my group were doing with it seemed a bit different from sheer process simulation and world exploration: it seemed to have more in common with the vanilla narrativism that Edwards described. In particular, morality in our game emerged out of play and mostly at the metagame level of player decision and response, rather than ingame as part of the fiction. (I have a long time hatred of mechanical alignment!) And a lot of my play approximated more towards No Myth (improvised NPCs, locations etc) than heavy pre-prep, and that seemed to be a strength rather than a weakness.

So reading those essays, plus other posts, blogs etc, plus starting to look at some of the games Edwards referenced (Maelstrom Storytelling, HeroWars/Quest, etc), got me thinking more theoretically about my game and the techniques I was using. And I came to understand the Forge style in terms of my own play, rather than encountering it externally and not noticing it could be relevant to my own (very non-avant garde) fantasy RPGing.

This meant that when 4e started to be revealed by WotC, and some of its key features started to be revealed, I felt I had a fairly good handle on what was motivating the designers and what sort of play their game was meant to support. And therefore was pretty sure it would be a game I would enjoy - a level of mechanical crunch comparable to Rolemaster (for no very sensible reasons my group is pretty crunch-loving), but action resolution mechanics that would better support my preferred approach. (RM's PC build rules are pretty good for light fantasy narrativism play, but quite a bit of its action resolution is not.)

. . .

I really stumbled into it [ie scene-framing, no myth techinques] when I started GMing Oriental Adventures in 1986/87. I knew that I didn't really enjoy, and was also quite bad at, designing and adjudicating dungeons in the Pulsipherian/Gygaxian style. The difference that OA made was that the PCs had pretty clear inbuilt hooks (honour, family, etc etc) and so did the monsters (the Celestial Bureaucracy, etc), so it made it easy to build and adjudicate fun and engaging encounters on the fly.

After that I ran a two-person thief game in a similar way - of all the AD&D archtypes, I think the thief has the easiest inbuilt hooks (which in my view also explains some of the notorious problems of thieves in dungeon exploration, because it means having to ignore those hooks). And then I strated my series of long-running RM games, which is also how I met my current group.

. . .

I've become more self-conscious about my techniques and have deliberately cultivated some and changed others

. . .

One example of a deliberate change in technique - being a lot more upfront about stakes, for instance by table-talking with the players, and by using many fewer secret notes/one-on-one reveals and instead doing many reveals in front of the whole group even though only one or two PCs would know - thus setting up an emotional tension between what the players know and what their PCs know and can do about it. And giving them clear options for pushing the game forward to resolve those tensions. (Having been doing this for several years now, I've recently discovered that Robin Laws talks about this very technique in his "On the Literary Edge" essay in Over the Edge.)​
 

Because of the central mechanic that defines an RPG where
  1. The referee describes a setting
  2. The players describe some character they want to play in the setting.
  3. The referee describes the circumstances in which the characters find themselves.
  4. The players describe what they do as their characters.
  5. The referee adjudicates what the players do as their characters and then loops back to #3.
Steps 3 and 5 repeats until the session or campaign ends.
This process describes a pretty narrow slice of the full gamut of RPGing.
 

Remove ads

Top