The Real Problem of Storygaming

 

So I've been on Twitter for awhile now.

No, come back, trust me, this is going somewhere.

I got involved in the RPG space on Twitter immediately. It's been a lot of fun, and I've actually learned a lot about design. A lot of people, it turns out, are grappling with the same issues I've been seeing. I don't agree with them 100% of the time, but it actually feels like something closer to a conversation than what I would have had before Twitter. Now, by and large, the folks on Twitter are right-wingers who like oldschool gaming. I am a storygamer with some rather deep-seated feelings of resentment against storygaming, so I engaged in some conversations and boy did some stuff get cleared up.

I define storygaming as:

Playing a game that makes a story. As in, by playing the game, a coherent narrative emerges, which the players can derive actual aesthetic enjoyment from as its own object, both in real-time and post-game.

Storygaming can be a roleplaying game (as in, there's people who are strictly playing a limited role), or in a more meta way (which I'm going to define as a storytelling-game). This is similar to how you can have a wargame proper, or a wargame that is a roleplaying game as well (see ODnD).

Storygaming solves a problem that old-schoolers don't want to acknowledge: NOT ALL OF US WANT TO PLAY DUNGEONS AND DRAGONS, SORRY NOT SORRY.

The problem isn't that storygaming exists. That's like blaming wargaming for roleplaying games's problems. Which is absolutely absurd. The problem is far more fundamental.

The central problem of most storygames is that it assumes that simply telling a story is extremely comfortable for adults, who are the majority audience for games. Without an infrastructure to attach to, what should be a very intuitive experience gets awkward, forcing one person to step up and help guide everyone through a process they don't even really know how to do anymore.

Yes, to the storygamers who are currently protesting, I am talking about the average person.

"bUt StoRyTElLinG iS NaTUraL"

Yes, it is, but not in the context of a collaborative game. Most people tell stories to others, and don't consciously collaborate. Most games give events that people craft a narrative with afterwards. Storygaming itself promises a story that you can make, and recognize, in process. 

That's so fucking cool.

It's also the farthest thing from "natural" in the world. It's a really  cool thing to do, but let's not pretend that collaborative storytelling outside of a liturgical or party context is natural.

How Do We Make This More Natural?

There's four ways to address this: more focused rules for narration, mechanical support, ritual, and increased objectivity, without sacrificing thematic depth.

Narration Rules

It all begins here. Narration in most storygames is hand-waved. "Just say what you want to do!" There are two people I know of who, upon hearing that for the first time, did not have a low-grade panic attack. It's not that narration as the core mechanic of your game is a bad idea, per se, but if it's literally just "Well, say whatever"... most adults I know lock up, at least at first. The sheer amount of choice available isn't freeing, it's paralyzing. Adults are so used to not having that many choices that handing them the whole freaking buffet line does more harm than good.

So you use rules to help focus them. Not railroad, and certainly not restrict. Focus.

A good example is my own RPG, Crescendo: your actions have to fit the Setting's Myth and your character's Heart, according to the Weaver (GM). There are standards, some of which you wrote yourself, which you can measure your actions against as you're playing. Everyone has agreed on the Myth, and the Weaver accepted your Heart when you wrote it. Since this is all based on commonly agreed tropes and personally chosen stuff, it's easy to know how successful the outcomes of your decisions will be... and whether you even care. Sometimes players will deliberately fail, because their Heart runs up against the Myth, and they let it be messy and find it fun, because it addresses what they expected in the first place.

Mechanical Support

This is the one that most storygames do a decent, even an excellent job, at. PBTA particularly, with its reactionary Moves, pushes the story in different ways, although it's easy for it to fall into a railroad. Burning Wheel's Beliefs and Artha cycle takes the conversation that is a storygame and elevates it into a complex and emotional story. Bleak Spirit's scene structure and prompts helps push the conversation into places that are easy to run with. Mechanics reacting to narration really is an amazing kick of dopamine!

Ritual

Storygames are okay at this one, by and large, but this is where certain actions are mandated, like beginning and ending session mechanics. These help get everyone into and out of trance more easily, and that cannot be underestimated. Adults have to be coaxed, wooed, into letting go and just enjoying themselves.

Increased Objectivity

This is possibly the biggest actual offender in the storygaming world.  The setting goes from being a real place that may have unexpected edges (lots of them!), to... just be fully at the behest of the players. This is honestly the most damaging thing in storygaming as a genre. If the world is to be fully shaped by player fiat, then the simulation fails one of the fundamental tests of whether it's reality or not: being told "No". This is obviously not true in all storygames, but there's plenty of them where the setting is not a real place, which can push back and tell players "No, you will have to contend with me." This is one of the things the OSR does completely right, just about all the time.

The Good News?

We don’t have to pick sides. Storygaming doesn’t need to abandon its ambitions—it just needs better scaffolding so that normal adults can actually enjoy the thing it promises. We can keep the dream of collaboratively crafting a real story at the table while giving players the structure, ritual, pushback, and mechanical teeth that make it feel exciting instead of paralyzing.
That’s exactly what I’ve been chasing with Crescendo. The Myth and Heart system gives players clear boundaries to play against (and sometimes against each other). The Weaver isn’t a dictator, but they’re also not a vending machine. The world has weight. Failure can be beautiful. And when it works, the story that emerges feels earned—not because we forced it, but because we had enough infrastructure to let it breathe.
The RPG space on Twitter (and beyond) is full of people who love this hobby for very different reasons. Some want the thrill of exploration and danger. Others want something that feels like a story worth telling afterward. Both are valid. The real failure would be pretending these desires can’t learn from each other.
So here’s my pitch: stop treating “storygame” and “OSR” as rival faiths. Start stealing the best ideas from both sides without apology. Give narration focus. Build mechanical engines that reward good play. Add ritual that helps everyone get in the zone. And for the love of all that’s holy, let the world say “no” sometimes.
The result might not be pure storygaming or pure old-school. It’ll probably be something new, a little messy, and a lot more fun.

Dark Souls RPG Reflections

 

Welcome back! Good to see you! Today we go over my thoughts on the Dark Souls RPG, as I start contemplating the next campaign.

The Dark Souls RPG has a lot of promise. Like, the kind of promise I'm willing to hack around to accommodate. So I'm not pretending that this is a perfect game, but I'm not aware of too many games that do this one loop so well. It's half-baked, but the parts that are fully cooked are so good that I can't help myself.

The Way It Actually Works

Dark Souls is a d20 game that isn't about the d20, which is the biggest compliment I can give. D20's are swingy as hell, and this game adds in one wrinkle to the decision: Position (HP). If you fail the roll, you have to decide if it's worth spending Position to succeed. The d20 informs your decision, but it isn't the core decision. Provided the GM provides good information... you now have one heck of a dilema on your hands. Because Position is so fragile in surprise situations, how do you decide which tasks are worth succeeding or failing on? 

The decision wouldn't matter as much if it wasn't for just how brutal the damage is. Damage in Dark Souls is around double the damage of 5e, so screwing up rolls in this game can lead to insta-death very quickly. And there's that freaking Wisdom save whenever you die, that does random things to your character if you fail it.. .and you're almost assuredly going to. Each death changes you, for better or for worse, and you simply don't know what the consequences of death might be.

So the core loop, properly played, is this series of calculated gambles, to either allow the failure or to force a success. Position tells you how much leeway you have, and when you die, it changes you, making the next run different. It is a constant, low thrum of anxiety and dread.

It's awesome.

And there's nothing like it, to the best of my knowledge, in the TTRPG space. Not quite so elegantly built, as your Position is your health. Players have an immediate idea of what they're doing, when they're sacrificing Position. The tension is incredible. And if this one thing was the only thing in the game, it would be awesome. 

The combat spends for Position (extra damage and extra movement) are understated, but they're extremely useful, especially the movement one. Do not estimate how useful it is to have your speed doubled for a paltry amount of Position, especially if you have a reach weapon. It is for this reason I think the Dark Souls RPG is a grid and minis game: players have issue trying to figure out just how useful the movement spend is, unless they're looking at it and realizing "Waitasec, I can legitimately not be around for the monsters, and force them to come to me." Seeing it is better than any reminder. However, the core “how much should I spend before the GM utterly ruins me” is still quite present. 

This Game Has a Right Way to Play It

It is a mudcore dungeoncralwer. You're playing characters who are perpetually stressed-out, pushing their luck, and hoping they can bank up enough souls to level up at a bonfire, before dying. "Muh story" people really need to go find another game. It won't work like that.

HOWEVER.

The rest of the game has a hard time matching up with this loop. Some of it's perfect too. Some of it's... imperfect... and some of it's just outright bad. The fact that the outright bad has to do with the shit editing, making this a book I am forced to write in, is unforgivable. This is a pretty book and I have to mark it up. 

Steamforged, get ready for that rant. Coz it’s coming and I do not intend to be gentle. This is shameful stuff. 

The Souls System

The souls system, wherein XP and money are collected, is just on the right side of detail. The biggest change is that souls are spent to level up, resetting them to zero. This means that going from level 2 to level 3 doesn't require another 600 souls, but another 900. I cannot overstate just how profound an impact this one change has on the game. The stakes were clarified at the table so powerfully and simply, that almost this alone would have made a Dark Souls game. My players would laugh when they died, because the souls were gone, and they knew that they had screwed up. The punishment was so over-the-top and ridiculous that the players would laugh to tears... or at least I think it was laughter. They kept playing! The horrible punishment forced them to try to learn to navigate the environment. 

Skills

Skills is a spot where the game rules definitely needed to be more fleshed out... to the point where I considered just doing the 3.5 skill system, or adapting it somehow. There was some guidance on how to adjudicate challenges outside of combat in the core book... but it's not a lot. Folks, this is mudcore OSR, and that's that. And the rules for adjudicating mudcore dungeoncrawl are... adequate. They're not terrible. But they're not good. I wanted crunch here, to support me as I played. Maybe you won't, but it came up a lot for me, personally. The "talk your way through the puzzle" sounds nice, until you have to do it a lot. I get exhausted of it. I'd rather have rules to look up and learn. "Find what works for you" is nice... until you have to do it all the time. And this game actually has the depth in its loop to handle crunch... and it doesn't have it. And it should.

The Organization of this Book Makes Me Angry

Of all the things that are a sin in this book, it's the absolutely abysmal organization that does it for me. It goes from "why isn't this table featured more prominently" to "THIS IS UTTER GARBAGE".

The biggest offender, by far, is the miserable lack of page references in the Locations section, combined with the utterly asinine monster organization. There's all these tables with monsters, with no page reference numbers. Nothing. You have to climb through, (and this is true of all THREE books) and figure out where the monster is. And, since the monsters aren't alphebatized, but are instead in "groupings" like "undead", "beasts", "denizens"... and I don't think even the monsters organizations are freaking alphabetized either. It's a nightmare finding monsters.

I have to write the numbers into the book in order for the most important section in the book (for GMs) to be usable! The book's poor organization requires it, and that pisses me off. This is a premium book, one I do not want to make marks in, and instead I'm having to scrawl page numbers because the editors were utter idiots. Utter. Fucking. Idiots. Steamforged really should be ashamed of themselves, but we know that that's not something the company as a whole is good at.

It's not any better with the items. The types of items are not necessarily intuitive, and they're not organized alphabetically either. This makes finding things... really really really hard. And I hate it. It's not an absolute deal breaker, but I'm more than a few months into using this book and I am absolutely not used to it yet. It takes me so much work to do what should be a simple look up, and I have no idea why they did it this way.

The Advice is Stupid

There are.... two...?  Two, I think. Lines of good advice in the book.

Do what you want with this game, whatever works for you, is bullshit advice. It indicates a nervousness about having a vision for your game.

The game is clearly mudcore oldschool. It's not a question. The mechanics, if played straight, produce a brilliantly flawed mudcore experience.

And about two lines of the advice serves this.

The rest is just "what do you want your story to be like" and "this game is yours" nonsense.

It is most of the advice in the books. All three of them.

There is no advice on how to make monsters. You have to go find other 5e products for that. Fortunately the monster design itself is pretty darn good, so you don't have to worry about this so much but... this is an outright glaring absence in the game's advice and design.

This Game Is Flawed

There is so much to recommend this game. It is a masterclass in getting players of any experience level invested. When we got done with our short little game, the players all immediately said they wanted to come back to it, after our Pathfinder 2e excursion. One of the players and I swap GMing duties, and you don't pass that kind of thing up. However, we're fully invested in this. I'm making a bigger map. Something we can chip away at as the months and years go on. I'm putting ideas together and I'm really excited. What so few games get right (the essentials), the Dark Souls RPG lands with aplomb.

However, the rest of the game is a mess. A shamefully hard to use mess. Like, the book is fundamentally flawed in its organization, to a degree that is an outright failure on Steamforged's part.

If you're willing to put in the work, you have one of the best experiences you'll ever have for a conventional RPG. If you don't... I really can't blame you, this book's organization is a shame before God and man.

Why Do You Care So Much???

This is a fair question! Why bother?

There isn't a rational answer and I won't pretend otherwise.

However.

I don't have to care if I'm being rational, and neither do you. And the answer may be interesting to you.

Some Things Just Fit

Aesthetics are supra-rational. They are what rationality is derived from. For whatever reason, the visual and narrative aesthetics of Dark Souls is home in a way that no other pre-established setting is. And the game's mechanics for this TTRPG evoke that feeling for me: ruined grandeur, something beautiful turned to something rotted. Which automatically creates this need to make it right again, even if you doubt it can ever be done. For whatever reason this game evokes that sentiment out of me, and I am better person for experiencing it.

One day the flame will return, and all will be well.

Now, that may not be the reason to forgive a game its many flaws for you, but it sure is for me.

And it really does come down to that.

Here I stop. If you I do not see you next week, I do not blame you. It is not easy road.

Atchison: Session Two

Atchison: Session One

Atchison: Session 0

The Dragon's Fire: Reflections on a Wonderful Failure

 

Welcome back! Today I go over some of my thoughts on the latest Crescendo epic.

Games have design goals. They're meant to provide an experience, which keeps people coming back because they're having fun! The goal of Crescendo is to replicate the feeling of reading Wolfe, to take his principles and put them in a TTRPG space. Adaptation does not mean trying to replicate the original exactly, but to adapt its principles into a different medium.

So, on the one hand, Crescendo is a ton of fun. People are coming back and having a really meaningful time. Heroes are a wonderfully designed character type, and literally nothing in the TTRPG space exists that does what Heroes in Crescendo does. That's a fact. Heroes are successful. They successfully draw an arc found in Wolfe extremely well.

However, that doesn't mean Crescendo is successful in achieving the goal "replicating Wolfe's principles". And that is... not what Crescendo does. Not yet.

Let me try to explain. Let me try to show you what's wrong.

At the beginning of The Dragon's Fire, I introduced a girl-vampire (as in, a vampire who was turned when she was a girl), called The Bride. Now, I had a backstory for The Bride. She was a child who was brainwashed into thinking she loved Eous, The Big Bad. So when he turned her, as an 11 year old child, she went willingly. I didn't come up with more than that, just enough to know this NPC was evil, and liked it... and was seemingly naive about it in a way that should have been chilling.

The Bride showed up four times in thirty plus sessions of gameplay.

Four.

Now, to be clear, this wasn't exactly a problem, per se. The game does a good job of shaking up the spotlight around the players pretty thoroughly. So there was always something interesting going on, it just wasn't... well.. any of the villains, the monsters, of the setting. There were hints of what could have been depth, but nobody cared when Raphael took the Bride down, and when the original dragon vanished, nobody looked. This was because, in order to capture Wolfe's startling breadth of vision in a game, I had to put a completely different kind of workload on the Weaver, who is not a GM. As I have repeatedly stated. 

This is a problem for a few reasons:

1. Wolfe's stories manage to squeeze a lot of depth into each and every character that ever hits the page. They're not "NPCs", but protagonists in a stories that you simply can't linger on. The current set up does not support that feeling.

2. Without that depth, it is hard for players to fully invest in the setting itself. There needs to be some parts of the world that push back harder than others, in a way that preserves player autonomy.

3. Because of the chaos, the Weaver cannot focus on NPCs to develop.

4. The game is about challenging Beliefs and then holding the players responsible to the Myth. That's already a lot.

In short, I think this was the best campaign of Crescendo I have ever run, one of my best in general, and it was somewhat in spite of the game I made.

That.. doesn't make me feel good. My players were awesome, I was absolutely on fire, and Crescendo carried us pretty far... and could have carried us a lot farther.

Fortunately, there's a pretty simple fix.

Whatever you want to give depth to, you give to a player. 

GMs, who aren't having to work with half as many left-field "WTF" moments as a Crescendo Weaver, benefit incredibly from this principle (see the book on the right)... and that's going to go  triple for Weavers.

Fortunately, that's going to be really easy to mine out of Wolfe, because he gets into the psychology of monsters, a lot: they're simply creatures who don't want any change to affect them. They cannot adapt in a way that others can work with, because their very nature makes them unable to adapt in a way that's friendly to others.

Wolfe's stories do not skimp on monsters who have very deep, very complicated, inner lives... that are utterly unable to do anything other than look to their own interests. Unlike Heroes, whose development can go anywhere, Monsters can only be interested in themselves... and have an infinity of ways of thinking about their own needs.

Someone's going to go "Just stop developing already! Move on!"

No.

Let's get this clear, for anyone who's reading this and who cares. This is my hobby. This is for fun. Anyone who thinks I am trying to develop a commercial product needs to rethink their assumptions.

I am not.

Yeah, sure, there's a PDF up on DriveThruRPG. You can go buy it for five bucks. It would be nice if you did. But I also just drop the PDF on people for free, because this is what I do for fun. If it makes money, cool. If it doesn't... okay? I want this damn game to do Wolfe. And it's gonna do it. 

Because the stuff this game does right deserves to be supported. I think about King Melny the Dragonslayer, Alistair the Serpentbane, and Raphael the Hordefighter... and my goodness that legitimately makes my heart hurt, in the best way possible. These huge legends and the things they did that literally nobody will know about. The apology of King Melny, where he admitted that his evil ways were born of fear and how he wanted to be better... and how that cost him Junior. Like, that hit me really hard. Alistair trying to understand how Natasha was still with him, actually with him, even after death, and failing to do so, and having to accept that he would never fully get it. Raphael holding his friend after a good and long life and being the last thing he ever saw. 

That shit means something to me. It lives in me, in the best way possible. Those memories are the reason I run games like this. Like, sure, I want to have fun too, but... there's something so human in it, and I need that. I think people in  general need that: unplanned humanity.

My priority is that experience, at my table. And Monsters will make that stronger. There could have been the moment where The Bride doubled down on her evil, in a way that shows she literally can't think of another way to do things, eliciting pity and horror. There could have been the moment where the original dragon tried to escape her tormentors and failed. That wouldn't have taken away from the Dragonslayer, Serpentbane, and Hordefighter. Quite the opposite. It would have made those moments even better, because the pity and horror of The Bride would have made the good moment sharper.

But that requires adding things to the game, and that's fine. The design shall continue until morale improves!

So yeah. This was a gorgeous failure. Let's make the next one work better. ONWARDS.

It is here that I leave you. If I do not see you next time, I do not blame you. It is no easy road.

Letters to God

 

Welcome back! Good to see you! We're going to listen to me rant about a long-standing problem today.

I have never, not even once, doubted that God exists. It's never been a question for me. I know there's people who are like "Well, there isn't a compelling reason to think there's a God." I have never had that question. Dunno why. I just haven't.

My question is a different type: if God is real, does He really love me? Can He?

This past week has been hard. I thought I was done with flashbacks, with PTSD. I even had said goodbye to my therapist in that capacity. All had been well.

Welp.

It's been a week of flashbacks, all the old self-destructive impulses, and the crushing realization that everything I have ever written on this blog is true... and that's not necessarily making me happy. I don't know what to do with myself. With my life. The realization that it's all true and I am somehow all of it has crashed in with the sickening epiphany that I'm still riddled with nervous tics that aren't healthy, moral injuries I can't even see, and a sense of fallibility that's frankly floored me.

These are all bullshit words to try and communicate a deep panic. Imagine some poor kid on a merry-go-round, puke flying out of his mouth, as he begs everyone to let him get off for a moment... and then collapses on the damn thing as it spins and cries. And it just never stops spinning. Even as he goes catatonic.

I came home today, trying very much to ignore these things. And found myself snapping at Maria. She'd done something small, and instead of just shrugging and going "Well, nobody's perfect," I went "WHY AREN'T YOU PERFECT WHEN I NEED YOU TO BE." I mean, why not? I put in the work, why shouldn't I have some demands.

The young and stupid are nodding along.

The older and happily married are going "OH SHIT YOU DIDN'T".

I almost did.

I sorta struggled through the rest of the objectively pleasant evening. It is amazing how damaging your own sins are, to your ability to enjoy a simple evening. But man, it almost ruined me this night. I just... sat through it. Let myself simmer and stew. I gritted my teeth and was present as best as I could be. I later tried telling Maria I was sorry, and that almost started a fight, but finally I just said "It wasn't small to me."

And her response?

"I know, but I couldn't do what you wanted. I can't just be what you want."

Rage came up.

Was swallowed.

And I really looked at this poor woman who had been blindsided with a battle neither of us anticipated. I felt, for just one moment, that quiet and tired thing that kept her coming back to me, radiating off of her.  The small, still Voice was in her tiredness. It always seems to be. He always seems to be in those moments when she's just trying to love me and I'm fighting her with every last bit of strength... and still she persists. What a saint. She's way too fucking good for me.

I nodded. "No, you can't. And that's okay."

She relaxed. She could tell I meant it.

And for one second I could feel something resembling peace.

It was short-lived. It isn't always, but tonight it is. Oh well. God knows my warring heart needs something to do, I suppose. Here we go. So, I'm sitting here, later, banging this out on my keyboard instead of cleaning the fucking kitchen, and I am saying, loudly, angrily, with more hope than I ever thought I could: "I'M NOT FUCKING DONE YET. IS THAT ALL YOU GOT??? I GOT A LOT MORE IN THE TANK, AND I'M STILL YOUNG. LET'S GO!"

Is that the wisest thing?

Probably not.

But I can only be what I am, and right now I am pissed off and want to take all that's evil within me and get rid of it. And I can feel that it is obliging me in the appointment. I am going to win.

So I get up, eager. Rage sparks through my bones, getting my muscles to work again... I see the incoming wave. I know that I am going back to the war. I will need to swim through this next tsunami of exhaustion, trauma, and moral damage. It's coming right at me.

Oh, Defender, if only you could see what I see, as I see it!

I can't run. The wave is too big. I wonder if it'll take me out. For one second there's a twinge of fear.

It turns to aggression, raw defiance: if I go down, it's going to be charging. Let's go. I start a run. Right into the darkness. Again.

Who knows? Maybe the eagles will come in time, this time. I keep seeing them, circling. Hopefully those aren't vultures. That would suck. Oh well. Only one way to find out. Hopefully God does love me, and those are eagles.

I suppose God loves vultures too. He gives them food, too, specifically those who don't make it. Even the bones of the fallen are used to benefit someone. Should I despair of God's love as He provides for the vultures?

Fuck it. Time to go live.

It is here I leave you, until next week. If I do not see you again, I do not blame you. It is no easy road.

The Dragon's Fire: Epilogue

 

The Dragon's Fire: Chapter Eleven

Rappa 21-25

The Queen, King Melny's wife, and their child have escaped to Sota City. Sota Fortress is fallen. Her honor guard surrounds her and the child jealously. They demand an accounting of where the king and his companions have been. The Argentum overlords are putting up with this "visiting" queen, but only because of the strength of her honor guard... and the viisuulas insisting that King Melny's family is to be protected. The Argentum general is compliant with the wisdom whales' wishes, for now...

Chapter Eleven (Rappa 26)

Moving Forward: The Crescendo Clubhouse

Welcome back! Today, we talk about turning the Crescendo discord server into a clubhouse.

It is always a question of what your goal is. Always. When I first started designing Crescendo the goal was raw: never leave that feeling I had at the end of Book of the Short Sun, and the rest of the Solar Cycle. I labored with that goal in mind. I have accomplished my goal, admirably even. But the problem shifted even as it was solved, and now I find myself at another crossroads: now that I have this game, what do I do with it?

That's a flawed question, as we'll see in a minute. Put a pin in it.

The biggest things that I got out of my time working on Crescendo have been threefold:

1. Gaming allows a form of vulnerability with people I find necessary.

2. As long as I stick with people, the project expands.

3. As the project expands, people will come on board who will want to do "more" with it, and may actually want to take point.

I do not think most people are naturally comfortable with being vulnerable with each other. I also think that people need to be vulnerable with each other. It is vital. It is not negotiable. Our culture is so bad with it, and the rift between what's expected of human beings and what's needed is now so wide that it's a wonder there aren't more suicides. Crescendo's helped with that problem, in a way that's a lot of fun, and I couldn't be prouder of what it's accomplished.

The more important point, however, has been that I simply do not have any ambition... because I like just playing with people. I like designing games and playing them with people. I don't particularly care for the business end of it. And I have found that, as long as I am playing with people and enjoying the time with them, things grow. And that's a nice byproduct of the one thing I really care about... playing the game.

The thing is, the other day one of the players just out and out suggested a mechanic that absolutely improves Crescendo. I never would have thought of it, but the idea was utterly correct. So, it's going into the 0e draft, which I'm currently working on. We'er going to playtest it, and make sure it works the way we thought it would. Now, if he can just show up and come up with an idea that I frankly could never have come up with, on my own, then someone better suited to this whole business bullshit may. I don't care, I just want to play the game with people.

And that, I think, is the real answer to the question I pinned earlier. I set out to chase a feeling I got from Gene Wolfe. I caught it. The game exists now, and it does what I wanted it to do. But the goal was never really to "have" the game. The goal was to feel that thing again, and then to share it. 

Turns out the best way to keep feeling it is to keep playing with people who make it better than I ever could alone. So maybe the next question isn't "what do I do with Crescendo?" 

Maybe it's simpler: keep showing up. Keep the table open. Keep making space for the next person who walks in with an idea I never would have had, or the next quiet player who finally feels safe enough to speak up. 

The game will keep growing, or it won't. People will run with it, or they won't. Business stuff will happen, or it won't. 

None of that is the point anymore.

The point is the table. The point is the moment when someone laughs, or cries, or leans in and says, "Wait… what if we did it like this?"

As long as that keeps happening, I’m exactly where I want to be.

Crescendo isn’t something I need to "do" anything with.

It’s something we get to keep doing. Together.

And that feels like a pretty good place to be.

So, with that in mind...

I am going to put up everything I have been developing, on Itch, and I'm going to start running them all, talking about them all. If we can get people trying these ideas, they'll help develop the philoisophy more.

So, c'mon over. Let's play some games!

Tsuro: The Perfect Party Game

 

Welcome back! Good to see you! Right this way, we’re going to talk about Tsuro. It’s the perfect party game. 

What’s a party game? I never actually knew that. Let’s go somewhere scholarly. 

“ Party games are games that are played at social gatherings to facilitate interaction and provide entertainment and recreation.”

Wikipedia

 Now that we have a technical definition. 

Tsuro is the perfect party game. Notice I didn’t say it was the best. I simply said “No notes”. If you don’t like Tsuro that’s nice. Something doesn’t need to be wrong with you to dislike it. 

But it is perfect. Here’s why.

First: rules are stupidly intuitive. Lay a tile down before your piece. The tile has a path. Advance your piece along that path. Other pieces advance down a path if you “accidentally” put a path before them while you’re laying a tile for yourself. You win by being the last guy on the board. 

Boom. Done. 

That alone is enough. It’s awesome. People can just play. 

But that’s not the end of it. See, most party games don’t have real consequences in the game. Points accrue, sure, but you don’t necessarily have the game funnel you. 

Tsuro funnels hard. Each tile you play creates branching paths, which takes up space on the board. You can’t get around this. Eventually you’ll find that your choices are viciously constrained. You run out of tile choices. You’re picking up the tiles of the fallen, hoping they’ll give you just one more turn. But eventually you run out of time. 

And you have to take yourself off the board. 

Most party games? They're yelling matches or mean-spirited roasts. Tsuro's elegant. Zen-like paths on a gorgeous board. A touch of strategy—block 'em, dodge 'em, pray for that perfect tile—but mostly pure, shared chaos. Everyone's in it together, watching the board shrink like a noose. 

May the best one evade it. 

"Consequences!"

And here I must leave you. If I don’t see you next week, I understand. It is no easy road. 

The Dragon’s Fire: Chapter 10

At this point, I am convinced of three things:

1. 1:1 time is essential for adapting Wolfe. Anyone who doubts this really needs to reread Wolfe a dozen times.

2. That Heroes simply don't care about what happens between... even if it's important to the world's response to the Heroes. There's times it really matters... and then there's the rest of it.

3. I don't want to model that out alone, and refuse to do so.

So we're going to make two more games. Coz I want to model Wolfe, and Wolfe is about 1:1 time, and Heroes don't care about it enough to make it worth throwing stuff at them.

More on that in next week's blog post.

Rappa 4-19

 For the past two weeks:

For Alistair and  King Melny, the entirety of  the Undermaze lights up with this powerful blue light. You start seeing visions of ones you love, striving and suffering and pushing, all for you. And then, on this last Sunday, a powerful blue flash happens, right at midnight... and you both bump into each other a few minutes later

And then, somehow, there's blue footsteps, leading you further.

Tell me about some of what you saw

Tasha saw that I hadn't made a prompt for her. I responded that she had walked into Faerie, and that time didn't work there like it does in the material plane... so nothing yet.

Alistair

As we follow the footprints it's like a dream where places are melded together, like when it's your bedroom but also a pool. I see Natasha's home but it's also the forest where I died, and the cave where I found the sword all at once. It's all places connected to both Natasha and Telos. It doesn't feel like a message but a reference. Like the index of choices and inevitabilities that brought me here.

King Melny

I see visions of all my past friends and rivals. From my first day in the company to the current day. I see the faces of the soldiers, the captain, the lieutenants. All of them meld together before melting away to reveal Alistair and Raphael. Signifying they are my true friends that have remained constant. Before I awake, I see a vision of my old self. He simply bows and tells me good luck before I awake.

Chapter 10 (Rappa 20)

After this Chapter, Cal and I talked and agreed that he was now a Legend. His acceptance of the reality of Natasha still being with him, regardless of what was actually going, was the trigger.

So now we're left with Raphael.

We're almost there, and the bittersweetness is so good.

RIP Junior. You're my favorite gentled demon son.

Dark Souls: Initial Report Session the Last

 

With their mission clear ("find the dragon and stab it with the magical spear, so you can whittle it down"), Hazbil and Fizbun come into a large room, filled with pillars and a vaulted ceiling. There's a wooden bridge at one end of the room, leading out into the utterly frozen wasteland, with another tower across the way. There's holes in the ceiling big enough for "their" dragon to poke his head and roast them alive.

I announced the DC for Stealth to go check out the wooden bridge: 24. Hazbil and Fizbun about burn out all their Position passing the check.

They get to the bridge, which is exposed to the cold that killed them almost instantly earlier. I make them a deal: they burn enough Position, they can cross the bridge, but it destroys their Stealth Check.

The dragon comes up behind them as they cross. They roll Initiative, and fail just closely enough to where they can burn the Position necessary to go before the dragon.... and thus roll for their combat Position. Hazbil has a higher Strength than Fizbun, so he lugs the spear right at the thing, and passes the thing pretty easily. With the spear that keeps the dragon's Position from resetting firmly lodged in it. Normally, I would make the rest of the campaign about them leveling up for this one boss fight. I certainly could have prepped that.

But the guy playing Fizbun really wants to run some Pathfinder, and I don't get people wanting to run games for me terribly often.

So.

We skipped that part.

We guessed it would take about eight tries to take the dragon down. The dragon began to disintegrate under the influence of the Flame. Fizbun, being a pyromancer, volunteered to take the Flame on, as he had some Flame resistance. But he needed help getting up the stairs to the Kiln. So they stumbled up to the Kiln, and Fizbun, the asshole who closed doors, fell into the Kiln at the top of the tower.

Hazbil looked down from the tower. The ice was starting to melt... and there was a ton of it. He would need to move fast if he wanted to get to the nearby mountains.

Thoughts on the System

By the end of this session,  the players had come to a different appreciate of the Position system. At any point in time, they could pass a roll. It was a question of whether or not they had the resources to do so. This means that the game becomes a series of rough calculate risks.

Or it could.

Could.

But, if you're not running the game as an old school mudcrawl.... this system just isn't going to work. Period. If you're not pitting the time against the Position of the players... there's no tension. The usual railroading 5e is known for just won't work here. You have to present real choices that require constant dice rolls for the system to function.

Will We Run This Game Again?

Fuck yes we will. It's not perfect (I made up the encounter dice), but my goodness it does mudcrawling so well, and I will happily draw up another map for it. However, I would do a few things differently:

Assign more random tables to different parts of the map. I only really used two, and that was a mistake. Players need more zones, where they can go and hide, or grind and level up. Things like that.

I would want to actually come up with a good boss fight "mechanic". Not sure how to do that, yet, but the core choices in this game  warrant some extra work. I think I would set up a BOTW/TOTK style map, with factions set up and whatnot. I can't really get other players to do faction play in the world, due to physical constraints, or I would.

I'll write a bit about Pathfinder 2e next. I have my own very loud and snooty opinions on that game, so we'll see how that goes.

The Dragon's Fire: Chapters 8 and 9

 

Kaksusa 22-28

The Weaver's Prompt(s)

On Kaksusa 23, a giant squid attacks the sub, which is badly damaged, requiring the sub to surface. The sub's engines are badly damaged, and can't submerge. The week is spent with the now openly-android crew fixing the sub. They ask for some help, specifically in calibrating the sub temperature, as their own systems were damaged in the attack.

When asked, they claim they're taking the three of you to see the dragon. The real one. It took them awhile to find a passage to her, and they want your help, to finally end the infinite undead army. To end Legion, who is going to win if nobody does anything. "It is not time to raise the Apocalypse Ship, for Uriel has not returned yet."

King Melny

On the feast of the Lunar Announcement, Elise tries to corner you. She's hot for you. If you redirect her, she suddenly screams and falls to the ground, dead. Something... other... something blackened, comes out the corpse. And it charges. Its body leaves burn marks as it burns a hole in the hull and escapes.

Alistar

Natasha takes you out into the Outer Abyss in a series of dreams, to the Mountains Beyond the Mountains, the places that border Seitsemann. Untold beauty is shown you by her. Waking up from these dreams is saddest thing you've ever done, but she comes to you, night after night, showing you the beauty of the Spaces Between the Daughters, The Outsider's Country.

Raphael

Ifan shows up, briefly, and tells you your sword's name is Sydanelma. "Do not bring it into the light of day, for it does not exist yet, and light is not kind to things that are necessary, but cannot yet exist. Come. Find me. Cut a hole in the world and step through. Get me out of Faerie."

If y’all could write your responses by Saturday

Raphael

Raphael freezes at the voice, eyes narrowing.

“Ifan?” He doesn’t move right away. The name Sydanelma sits wrong in his mouth, like something placed there on purpose.

“Faerie lies,” he mutters, pacing once, thinking. “It wears faces. Says the right things. Gets you to open the door yourself.”

He looks at the blade—half there, half not.

“…But you knew the sword’s name.”

A long pause.

“If you’re not him… then I’m about to make a very bad decision.”

A faint smirk.

“…and if you are, you already knew I would.”

He grips the blade, testing the pull of it against the world itself.

“One way to find out.”

Raphael cuts the tear anyway—slow, deliberate—and steps through, ready to either pull Ifan out… or kill whatever’s pretending to be him.

Alistair

Natasha is sending me messages in my dreams, but when when I awake she has no memory of our walks through the glens and atop the mountains. It physically pains me to leave the dreams, but the Natasha of the real world comforts me when I awake.

King Melny

I'm just gonna say Melny would follow the group and say "Can we have one normal day? It is this normal now?' as he leads them to relevant safety.

Chapter Eight (Kaksusa 28)

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   Chapter Nine (Rappa 2)

So, after the disaster that was scheduling for Chapter Eight, we got Cal on for Chapter Nine. We knew Jesse would be unavailable, but Tasha accidentally slept through the session (given they happen at 10 pm CST, that's understandable).

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I think the 1:1 time is not quite working, at least not as I have it implemented. Part of it is that we started implementing it in the last book of this epic, and that probably wasn't a good idea. Missed session mechanics are definitely a good idea, and I have those already. The deeper issue, however, is that Heroes do not inherently care about time in the way that 1:1 time works. The source material skips large sections of time, and then implies the changes that happen between those two points, because of changes in the setting.

The central conceit, however, is that the background elements matter, which means time is important. 

The only way out is through.