Archive for the ‘Gaming’ Category

In The Danger of Difficulty Despair – With Graphs I talked about the risk of a game suffering from boring encounters if the difficulty progression was always identical.  I showed, with the aid of graphs, how linear encounter difficulty combined with character improvement at the end of each adventure could create a universe which sees the player characters improve but never lets them experience the improvement.  I’ll come back to that problem in a future post.  First I’m going to suggest a few alternative difficulty variations that can be used for adventures.

To quickly recap the linear difficulty encounter adventure is an adventure where a series of encounters occur starting with an easy one and building up to a harder one.  The difficulty of each encounter is roughly similar.

Capability and Linear Difficulty (blue vertical lines represent the end of adventures)

A common variation on this is the Swooping difficulty adventure where the difficulty starts out at a level, drops down and then rises for the climax.  My notes included a mention of the “extreme” swoops favoured by one of the DMs we played with who used a lot of very easy encounters and then towards the end things got really tough.

Swooping Difficulty (blue vertical lines represent the end of adventures)

Extreme Swooping Difficulty (blue vertical lines represent the end of adventures)

Another type of progression happens in dungeons built of areas (which may be levels) where several encounters of similar difficulty are grouped together followed by an area with harder difficulty and so on till the final, climactic encounter.

Stepped Dungeon Style Difficulty (blue vertical lines represent the end of adventures)

Last time I said I’d talk about one of the worst games I ever played in.  I’d played in games run by the DM responsible before and he was usually pretty good.  Then came his experimental phase.  First a game where he let two of us generate nominally evil (really just not good) characters and then decided he wanted only the cleanest of clean characters.

Then came what I think can be best described as his attempt at a game combining psychedelic elements from 60s TV shows, American film musicals and Dungeons and Dragons.  He topped that strange combination off with difficulty so varied that I think it can be best described by this graph…

If you've read this far already you shouldn't need any explanation for this graph

It was just as frustrating for the players as the linear progression of difficulty.  Here the frustration came from the feeling that the world didn’t make sense.  It might be “realistic” but it lacked drama.  Players never knew when to heal and when to use their limited use abilities until it was too late.  We suspected there was a lot of dice fudging by the Dungeon Master going on so we didn’t get wiped out.  We stuck with the game for about five sessions and then, to our relief, it came to an (unsatisfying) end.

Ragnarok Issue 57 (The Magazine of the Society of Fantasy and Science Fiction Wargaming) landed through my letter box today.  My article for BTRC’s SLAG! appears along with a variety of fantasy and science fiction wargaming goodness.

Fall of the Goblin Empire (FoGE) is my entry for the SFSFW’s fantasy wargaming competition.  A game of goblins and their varigated, varied and highly unreliable flying machines. Here are a couple of the opening paragraphs that set the scene for a game of goblins going up-tiddle-ee-up coming down-tiddle-ee-down-down…

Ask anyone and they will tell you Goblins are mad, bad braggers, they have an anger in their eyes and can’t hold their drink. What most won’t tell you is they’ve good reason. When chroniclers write out the ages of the world somehow the age of
goblins gets misplaced. Yet there was a time (as any drunk goblin will tell you at length) when the little green folk ruled all the world and everyone in it for over a thousand years. Of course no one pays any attention because who believes a drunk goblin?

Yet it did exist for a thousand years. Eventually, as happens to all empires, the great goblin empire lost its grasp on the land.  In its last days the goblins retreated to the floating isles protecting their most valuable asset: the magical metal goblinic
famed for its ability to lift many times its own weight off the ground. They were fortunate that the islands also produced some iron, flax cloth, vast mounds of guano and some natural gasses. There they fell back into ancient tribal feuds and so the
goblin empire fell. Soon after that they turned to the bottle.

I was going through some very old gaming files from when I was at college and came across some notes on designing the difficulty of encounters in a tabletop role playing game. A few weeks ago I questioned if Role Playing Games Need XP and the notes reminded me that in a game with experience the characters can effectively not develop. That sounds like a contradiction but it can happen and it can be a problem. It happens when the difficulty faced by characters increases at the same rate as the characters improve and this can be frustrating for players.

In most table top RPGs experience, and character development happens between adventures characters’ capability develop something like this:

Character Capability against time (blue vertical lines represent the end of adventures)

A game with linear encounter difficulty is one where as the characters abilities increase so does the difficulty of the encounters they face. The characters may gain some advantage; they may hit their enemies harder or more often and may have more hit points. Unfortunately their opponents also now hit harder, more often and have more hit points. In its purest form every encounter has the same chance of their succeeding, as the last for characters. In fact, apart from a little colour in their encounters, they might as well have not improved at all and their opponents could have remained at the same power too.

Linear Difficulty over time (blue vertical lines represent the end of adventures)

So difficulty and capability always keep step with each other…

Capability and Linear Difficulty (blue vertical lines represent the end of adventures)

Some games virtually encourage this style of adventure design by including charts or advice to allow referees to work out the ideal encounter for a group of X players of level Y to face. Charts and tables like that serve a useful purpose in helping new referees and those unfamiliar with a game to find their feet when designing encounters. The risk of building an encounter that will obliterate a group or underwhelm them is significantly reduced without having to resort to dice fudging or deus ex machina. There is a real risk of boredom if this type of difficulty progression is slavishly applied.

Others virtually rule out easy adversaries – I read one rulebook recently (forgive me I can’t remember which one) that said all “easy” encounters where the characters were guaranteed success should be role played rather than roll played. While I agree with that generally (although I hate the phrase roll play and its derivatives) doing this all the time means the players can never feel how powerful they are in a crunchy way.

I’m going to leave this here for now but I’ll be back soon with some other kinds of difficulty progression and some thoughts on one of the worst game I ever played in.

Update: Part 2 is now available Variations on the Difficulty Theme.

I’ve added entries for Dark Conspiracy, Twilight 2000 and Babylon 5 to the Open the Door page.

When making rules for a role playing game there is the ongoing balancing act between narrative and simulation.  Both of which ultimately need to create fun.  At one extreme you’ve a game like Over the Edge with very lightweight rule system and at the other end you’ve got rules heavy, simulation game like Rolemaster.  Both have their place and both have advantages and disadvantages.  A rules light game can be as hard to run (harder in some ways for a novice) than a rules heavy game.

When I wrote Under Stairs Over Stairs I deliberately decided that character development should be based on a character’s age not on how many fights they had been in.  However over the years some of the feedback I’ve had suggests some players would prefer an experience system.  They’re just more comfortable with games that keep the elements most games have like Statistics, Skills, Combat Rules, Experience Rules and buying equipment with cash.  The further a game moves from the comfort zone the less they like the sound of it.

Simulating an episodic TV shows before the story arc era of shows like Babylon 5 and Buffy the Vampire Slayer presents an interesting dilemma.  In that era, where episodic and serial TV shows were clearly separate, characters didn’t develop much from one episode to the other.  There were good reasons for this: channels could show the episodes in any order and repeat them in any order without having to worry about it.  Writers didn’t need coordinating so the story line maintained continuity.  Crucially it was felt the audience could miss an episode and then start watching again.

So in the game I’m running I’ve been talking to the players about how we can simulate this narrative style in-game since the setting is style after episodic TV shows.  Traditional experience systems see XP awarded and characters improving from adventure to adventure.  The game has that kind of system at the moment.  Episodic TV didn’t see characters changing and growing.  They usually began as fully formed heroes, at least once the pilot episode set them up, and then carried on in the same way for the rest of their dramatic lives.

I’ve been considering a few different approaches to take to this.  The first is simply to not bother with XP.  The second is to not bother with XP but to allow players to reshape their characters a little between episodes by moving skills or stats round till they are happy with the balance.    A slight variation on these possibilities is to give the players more points when creating their character’s so they start out better.  Many games are designed with the idea that the characters will become more powerful and thus deal with bigger challenges as time goes on so this would balance that out.

Another thought is to use XP but instead use it to buy prominence in an episode’s story or to buy central casting in the next episode.  I’ve seen this in a few games – role buying in Hong Kong Action Theatre springs immediately to mind.  I’m wondering if a system that allows the players to buy into the story could work. A little XP would net them a part in the adventure’s B plot.  A bit more would buy them a connection with a character in the story or being in the right (or wrong) place at the right time.  A really big spend in advance of the adventure would let them buy a pivotal position in the next adventure.

So would throwing out XP or using it in a different way make you less likely to be interested in a game?  How would you feel about buying a bigger role for your character in a game?

I’ve been writting the next adventure for the role playing game I’m occassionally running today.  As well as the traditional overhead map of one of the key locations I’m considering using elevations of the streets to help players visualise their surroundings.  The small sample above is a section from a trial elevation I sketched tonight.

I can’t remember ever seeing elevations used in any roleplaying game.  So I thought I’d throw the example out there to see what any gamers reading this thought.

I’m wondering if I should add textures to some of the surfaces or leave it as line art.  If I leave it as line are I’m thinking I’ll use different pen styles / weights to enhance the look.  I’m also wondering if I should include people and cars on the drawing.  Do you think I should add in postboxes, lamp posts, pedestrian crossings and other street furniture.  One detail that’s missing from the example: I’ll be including labels on the final elevations.  Is there anything else you’d suggest?

I’ve been looking for an idea for a new article to send in for the SFSFW’s Ragnarok and I think I may just have found it a mashup of Steampunk and the short lived 80′s TV show Street Hawk…

This is the Honourable Jesse Macintosh, a former penny-farthing policeman, whose reputation was perilously injured whilst performing his lawful duties.  Now a Scotland Yard trouble shooter, he’s been recruited for an exceedingly secret government mission to ride Street Hawker – an all-cobbled surfaces attack bicycle designed to fight urbane criminality, capable of incredible speeds up to thirty miles an hour… immense firepower… and a really loud speaking horn. Only one man, Her Imperial Majesty The Queen-Empress Victoria’s confidant, Lord Axminster (the prominant inventor, industrialist and engineer Norman Tuttle-Herringbone-Smyth), knows the Honourable Jesse Macintosh’s true identity. The Man… The Machine… Street Hawker.

Miniatures shouldn’t be a problem with Eureka’s Pax Limpopo range including a variety of eminently suitable figures.  I’ve not settled on a rule set yet suggestions in the comments would be greatly appreciated.

In the dim and distant past (well circa 1996), when I had my first web site on mudhole, I had some pages about SLA Industries a British, dystopian, science fiction, table top role-playing game.  Last night I revived some of those pages from back-ups.  So for the first time in quite awhile (well probably 8 or 9 years) some of my completely unofficial, fan material is back.  More to follow later.

Tonight I’ve added a page to my web site about Wessex Games’ Aeronef - at the moment it is an article I wrote for Ragnarok War Kites and Flying Batteries.