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@therpgconnoisseur
Snake Eyewear by GuiFou
Albert Wesker drip
This is the type of shit followers of set wear in vtm art
The sheer resistance in certain circles to the idea that most big-name D&D podcasts are at least partially scripted is perplexing to me because, like, look at the fucking production values. Yeah, it was cool when the party leader biffed that last-ditch Diplomacy check to prevent a battle no-one wanted, but when the GM proceeded to wheel out $1800 worth of Dwarven Forge terrain and a custom 3D-printed minifig for their reluctant foe, it's crystal clear there was no way that fight wasn't happening.
Exercise a little reading comprehension, folks. This post isn't saying "D&D liveplay podcasts are 100% scripted". It's remarking on the tendency of certain D&D liveplay fans to get tetchy about the idea that they contain any scripted elements at all. Whether your home game also contains planned scenes isn't relevant.
Some ways ive seen ttrpgs handle aging and my take on it:
1- no mechanics given, characters are implicitly asumed to be young adults with little life experience prior to the games events (boring, do more)
2- no direct mechanics but the system has enough to it that the effects of aging can be represented through chargen choices, characters not asumed to be of any particular age (fine i guess, really baseline expectation)
3- young adult is default but you can take being a teen or old as specific hinderance conditions with particular effects (not great, better than 1 for giving the option but having age, young or old, be portrayed in purely negative terms is obviously problematic)
4 - varying stages of age are represented in mechanics with both positive and negative aspects to each, players can freely choose among them, usualy the stages are young (teen), mature and old but in some cases ive seen a game give 7 age group ranging from toddler to at constant risk of dying of old age at a moments notice (love this, having this options rocks)
5- not only there arent mechanics but the author got really into fitness in his 50s and now doesnt belive in the concept of aging and will spend a few paragraphs of an already bloated book talking about how ripped he is as an old man (shut the fuck up Phil, hire an editor)
How to modify D&D 5E to play just about anything
Go to a game store
Navigate to the dungeons and dragons section
Turn your head approximately five degrees either to the left or to the right
The books on these shelves are also tabletop roleplaying games. Many of them already have exactly what you're not getting from D&D 5E
In online stores, simply uncheck the "Brand: Dungeons and Dragons" box instead of turning your head approximately five degrees
I feel like some people are gonna use monte cooks world of darkness as justifying precedent for that dnd 5.5 vtm thingy thats comming up and i dunno i feel like mcwod had some creative intent behind it, being an entire playable game and world that was barely compatible if at all with 3.5 while the new thing seems cynical in intent
One definetly wrong opinion i have on rpgs but i cant quite shake is that superheroes are a genere thats nearly imposible to do on ttrpgs well.
I dont know if its because of fundamental issues with the genere or if it comes from having played a lot of Superheroes inc. first edition in my formative years. A game that, to put it lightly, kinda sucks
Everyone touts masks as the good super rpg but i got a lot of the same bad feel from it as with other more traditional ones like mutants and masterminds
There was a world war 2 game that kinda worked, name escapes me, but the thing about that one is that it was esentially more a game about being a ww2 dnd adventurer rather than a superhero
City of mists is the one id argue works the most but only when played as a weird noir type thing rather than a proper superhero game
My conclusion is that the problems with superhores as a genere just get magnified when applied to an rpg
Or maybe i just dont like superheroes
Off the top of my head issues that get in the way of supers games being played straight:
Power disonance between characters, this can be solved by making the game more "narrative" for lack of a better shorthand. Masks does this, but i think this in turn makes something to be lost from the genere as power/utility gaps often can drive interesting situations
The "why dont they do this?" Problem, it hard for a lot of players not to act outside of the very narrow behaviour that makes up supers fiction, this fucks up the tone and youre no longer playing the intended experience. I get the temptation of going all black summer on the game but its more than half of the games ive seen go to
Deflated stakes as it was pointed out in the notes, some supers game feel really foam swordy in the fights to preserve the inocence of the genere and that has its own issues
Established universes can be a bitch to run for supers because of how bloated they are
That interview with alan moore where he says supers are inevitably kinda fashy
One definetly wrong opinion i have on rpgs but i cant quite shake is that superheroes are a genere thats nearly imposible to do on ttrpgs well.
I dont know if its because of fundamental issues with the genere or if it comes from having played a lot of Superheroes inc. first edition in my formative years. A game that, to put it lightly, kinda sucks
Everyone touts masks as the good super rpg but i got a lot of the same bad feel from it as with other more traditional ones like mutants and masterminds
There was a world war 2 game that kinda worked, name escapes me, but the thing about that one is that it was esentially more a game about being a ww2 dnd adventurer rather than a superhero
City of mists is the one id argue works the most but only when played as a weird noir type thing rather than a proper superhero game
My conclusion is that the problems with superhores as a genere just get magnified when applied to an rpg
Or maybe i just dont like superheroes
One definetly wrong opinion i have on rpgs but i cant quite shake is that superheroes are a genere thats nearly imposible to do on ttrpgs well.
I dont know if its because of fundamental issues with the genere or if it comes from having played a lot of Superheroes inc. first edition in my formative years. A game that, to put it lightly, kinda sucks
The really funny part about these interminable "why does the game's culture of play MATTER if everybody is HAVING FUN" arguments is that they always ultimately boil down to dismissing the fact that being treated as a human Xbox is miserable for the GM by framing the GM as a lone malcontent in an otherwise-harmonious group – yet if the GM in question actually followed the thread of that argument to its logical conclusion and removed themselves, in a culture of play that expects the GM to do all the work, there is no game.
You phrased it so much better than I ever could!
continuously wild to me that “you will be better at a game if you know the rules” and “if you hate the rules of a game, you might better enjoy playing a different game” always seem to make people so mad.
It's a bit weird yeah.
Wait, so...Why DID 4E underperform? Or is that outside your expertise here? (No shame if so, you're a game designer, not a market analyst. You can tell by the having a soul).
(With reference to this post here.)
There were a couple of major factors in play there.
First, a big chunk of Dungeons & Dragons 3rd Edition's popularity had come about due to robust third-party support, published under the auspices of Open Game License (OGL). Dungeons & Dragons 4th Edition, however, was not licensed under the OGL, being subject to a much more restrictive license imaginatively titled the Game System License, or GSL. Hasbro reportedly refused to negotiate with existing third-party publishers to get them on board with the GSL, or to offer transition support of any kind; instead, they simply demanded an immediate halt to the publication of all 3E material, and attempted to bludgeon publishers into compliance by threatening to yank their trademark authorisations (i.e., the agreements which allowed them to put the "D&D compatible" logo on the covers of their books).
Predictably, this approach was not well received. The largest of 3E's third-party supporters, Paizo Publishing (now Paizo Inc.), elected to produce their own game which was statblock-compatible with 3E in order to provide a venue for other publishers to continue producing OGL material; many of their peers decided to gamble on Paizo's plan rather than play ball with Hasbro, and this is how we got Pathfinder. Hasbro's behaviour thus caused D&D's third-party support to crater nearly to zero with the publication of 4E and created D&D's largest competitor.
Second, 4E was badly behind the curve on digital availability. Shortly before 4E was scheduled to drop, the digital masters (i.e., the files provided to printers in order to manufacture the books) were leaked on file sharing networks. Hasbro responded by panicking and ordering an immediate and indefinite halt to e-book publication of D&D material (in spite of the fact that the leak had demonstrably originated from their print production arm rather than their e-publishing arm), even going so far as to refuse to honour pre-orders for 4E's now cancelled e-book version.
Combined with a series of mismanagement-induced delays which caused 4E's virtual tabletop tools to miss the game's publication date entirely, and a decision to paywall what few first-party resources did manage to hit their target behind a monthly subscription, this resulted in 4E being available exclusively in print for the first two full years of its lifespan, at a time when D&D's competitors – including the aforementioned Pathfinder – were literally giving their core rules away in digital form for free.
As you say, I'm no market analyst, but I have a strong suspicion that "alienating practically all third-party publishers for a game line which was critically dependent on robust third-party support", "being the first edition of the game ever to face significant direct competition", and "making a game which dropped in the middle of the worst economic recession in thirty years available exclusively as an expensive printed set" resulted in the 4E stepping up to the plate with three strikes already against it. Add to that the almost comical ineptitude of Hasbro's advertising for 4E, and the usual drama of any major edition turnover, and... well.
"But what about the rules" sure, there were some issues with 4E's mechanics, but you need to understand that "4E underperformed because people hated the rules" isn't just a convenient narrative for edition-warring grognards; it's also a fiction which Hasbro itself has tacitly embraced, because the alternative is acknowledging that their publishing department repeatedly shit the bed on 4E's rollout.
@crashional-thinker replied:
this kind of thing sounds like something that would kill d&d as a franchise entirely with how badly hasbro fumbled it, so i'm surprised to see 5e not only still kicking, but also still the primary force to the point that people will say "homebrew 5e" for anything. what's up with that?
"Commercially underperformed" doesn't mean "failed". Dungeons & Dragons 4th Edition was still the single best-selling tabletop RPG on the market every year of its lifespan. The idea that nobody bought it at all is another of those edition-warrior myths.
#The lead for 4e committing murder/suicide ddidn't help. Killed the project and the other tools supposed to support it got abandoned. (via @kalianos)
I've touched on this elsewhere recently, but that's a myth based on misreporting of the murder of Melissa Batten. The killer, Melissa's husband Joseph, was lead developer for Gleemax, a planned walled-garden social networking site for Dungeons & Dragons and Magic: the Gathering players; however, he was never on the D&D Insider team (i.e., the one responsible for 4E's online tools), nor were his actions a precipitating factor for the cancellation of the Gleemax project, said cancellation having been publicly announced the day before the murder.
I sometimes get pushback when I describe Warhammer 40K Space Marines as eroticised figures, usually on the grounds that canonically, Space Marines can't fuck – then you look at the source material and it's like:
The text frequently dwells on long, luridly detailed lists of the various ways in which Space Marines' bodies have been modified. A disproportionate number of these modifications involve bodily fluids and/or the mouth.
The text tells us that Space Marines' power armour actually makes them less scary to other humans, because the mere sight of a Space Marine's unclothed body causes unenhanced humans to experience primal terror – and sure, you could interpret this as a body horror thing, but it's really not framed that way.
The text tells us that the only way to make a new Space Marine is to cut out part of an existing Space Marine and put it inside you, and that each chapter has a specific guy whose duty is to pick over battlefields and harvest the "gene-seed" of dead Space Marines so that their lineages might carry on.
Frankly, at this point, the fact that they're biomechanically incapable of fucking only makes it more horny.
(My actual controversial 40K opinion is that the whole "heavily marketed brand-flagship faction of genderless-in-theory-but-exclusively-male-in-practice eroticised caricatures of butch masculinity who are as a matter of explicit canon biomechanically incapable of fucking" thing actually pops up twice, because this description applies equally to 40K's interpretation of Orks, and that the distinction between the two hinges entirely on whether you prefer your blue balls upper class or working class.)
I think that's an oversimplification of the Orks. If the Space Marines are unexpressed masculine homosexuality, then the Orks are expressed masculine homosociality.
Orks are derived from English football hooligans, and they intentionally inherit the particular masculine competitiveness of factionalized sports. Orks are an eroticization of that combative/competitive masculinity, to the exclusion of sex as a practice.
Orks collapse the masculine connection between fighting and fucking into a single point. War is their orgiastic release, in contrast to the repression surrounding Space Marines. Orks want to fight because fighting makes them feel amazing! Ork societies revolve around fighting to such a degree that I would say Orks resemble a globalized fetish fiction; it's just not a fetish based in sexual pleasure.
I don't think the Space Marine's homosexuality is unexpressed. Space Marines also collapse that masculine connection into a single point, it's just more formalized and ritualized. War is the Space Marine's sexual release as much as it is the Ork's; you can't really call it orgiastic for the Space Marine, but that's just a different flavour. Space Marines societies also revolve around fighting to such a degree that you could say they resemble a globalized fetish fiction for a fetish not based in sexual pleasure; it's just that they have layers of ritual and formalized structures that spread the eroticism from combat itself to combat-adjacent things: both things that are already erotic like maintaining weapons, male camaraderie between squadmates, and military/monastic hierachy; and to things that weren't already erotic like logistics and tradition.
I think the key point is that neither Space Marines nor Orks are erotic at all in-universe, they're only erotic to the audience. A Space Marine is not sexually repressed, they canonically don't fuck and don't want to fuck, just like an Ork. And from an out-of-universe viewpoint, they're both hunky beefcakes who love Gun like it's dick and spend all their time in close, sweaty proximity with a bunch of other hunky beefcakes who love Gun like it's dick. The only real difference is the "football hooligan" vs. military/monastic source materials for the male homosociality, and the resulting flavour thereof; they even both reproduce by fighting, it's just that the Space Marine's reproduction is, again, more formalized and ritualized. So I think that the "upper class or working class" thing definitely holds.
"How about we ask chatgpt for clarification on this rule?" how about i punch you in the sternum as hard as i can? I looked at the index on the book and it might have taken me 2.3 seconds more but you know what i also got? The correct fucking answer
3 times ive had people do this shit around me and every single time it made up some bullshit, this stupid pice of shit cant tell the difference between edition, different rpg systems or even can and cant statements. Use your brain it doesnt hurt i promise
Call of Cthulhu: Punktown ~ Chronicle City (2018)
A soulslike set in Ravenloft would be hilarious because, okay, yeah, it's got the whole King Big Sad Guy, Who Did The Flame Thing deal, except most Darklords are pissant local powers whose hubris only broke reality for a few dozen square miles, so you'd end up touring a miniature version of every possible Gothic post-apocalypse.
Here's Castle Dracula and its immediate environs with the serial numbers filed off. Over the mountains are eight city blocks of Renaissance Venice inexplicably ruled by were-rats. Across the river is Evil Shakespeare Land, the domain of Evil Shakespeare. No, he doesn't call himself that, but you know it's him.
I've had a couple of people ask for a digestible version of the whole "the real problem with Dungeons & Dragons is false advertising, not anything that's present in its text" thing I keep alluding to, so here's the bullet point version of that argument:
Dungeons & Dragons is owned by Hasbro. Yes, the same Hasbro that owns Monopoly and My Little Pony.
Hasbro wants D&D to be the only tabletop RPG that anyone plays.
In order to accomplish this, Hasbro needs D&D to be a universal entry-level game.
D&D is not a universal entry-level game.
All game rules are opinionated about how the game ought to be played, and as tabletop RPGs go, D&D's rules are more opinionated than most. This is not a flaw, but it's not what Hasbro needs.
D&D is also on the high end of complexity as far as tabletop RPGs go, and it's complex in a way that strongly rewards system mastery, so it's pretty far from "entry level".
Hasbro could produce a version of D&D that's at the very least less opinionated and more entry-level than it presently is, but they don't want to, because they've determined that certain rules features which run counter to both of those goals are critical to D&D's brand identity.
They also don't want to produce multiple versions of D&D tailored for different audiences, because they want every single D&D group to be a potential purchaser of every single D&D product; they'd be effectively competing with themselves for their own customer base if the published game was actually modular in any meaningful way.
So how does Hasbro square that circle?
Simple: they lie. They insist that D&D is in fact a universal entry-level game in spite of all evidence to the contrary, and back their advertising up with sponsored thinkpieces and podcasts and such to "prove" it.
Further, they've spent decades fostering a culture of play which conceals the gap between the game they're advertising and the game they're selling by ascribing any appearance that D&D isn't a universal entry-level game to the incompetence or malice of individual GMs.
The game the rules want to produce disagrees with the game the group wants to play? Nonsense – even the rankest beginner should be able to produce any experience of play using any set of rules, and if your GM can't, they're a Bad GM.
The game is hard to learn? No, it isn't – your GM is merely gatekeeping you. This wouldn't be a problem with a Good GM.
The upshot is that the published rules are more or less irrelevant with respect to achieving the desired experience of play, because they're operating within a culture of play which dumps 100% of the work of making that desired experience of play happen on the GM.
Indeed, much of what modern D&D presents as GMing best practices are really methods of working around the fact that the rules you're using disagree with you about what kind of game you're playing.
(It's not a coincidence that D&D's entrenched culture of play also insists that it's normal for GMs to be miserably overworked and treats GM burnout as a big funny joke, then turns around and loudly wonders why there's a constant GM shortage.)
The trick is, because you're still at least notionally using the rules of D&D, the fruits of all that GM labour are perceived as the product of "playing D&D", not of the GM's hard work.
In essence, Hasbro's business model for Dungeons & Dragons is selling you your own GM's labour with a D&D sticker on it.
It's a very neat trick, if you can pull it off.
Now, at this point some readers may be asking: well, sure, but not all GMs are doormats. What about "killer" GMs who do gatekeep and railroad their players and otherwise act like complete tyrants? I hear horror stories about them all the time.
That's the second trick: these are not opposites. The GM as human Xbox and the GM as tyrant of the table both represent the GM doing all the actual work of making the game happen. The latter isn't the outcome that Hasbro wants, but it's a logical conclusion of the position the want the GM to be in.
Recently I was talking about RPGs in some chat or someplace I can't remember what and I happened to mention that I had been reading Draw Steel, one person went and googled it and came back with an excited "ooh, a 2d10 system" and it was one of the most puzzling experiences I've had in a long time, because it was such a stark reminder of what @prokopetz has characterized as "thinking of RPG rules in terms of the shape of the dice that are rolled" (not a direct quote). And it made me feel like a space alien. This is the stuff that strikes people as the most important about an RPG at face value.
It's like if I told someone I'd started roller derby and they went and googled it and came back with an excited "oh, it's a game that's often played in short shorts!" like yeah I guess