Not The Gold Standard

For this month, I was going to spill some ink about earning XP for finding treasure. I had nearly 2,000 words in place, all ready to go. Something else, however, had been stomping around in my little attic and making so much noise, I felt compelled to go upstairs to find out what it was. So here we go. The post that I did not intend to write…

The Gold StandardFor this month, I was going to spill some ink about earning XP for finding treasure. I had nearly 2,000 words in place, all ready to go. Something else, however, had been stomping around in my little attic and making so much noise, I felt compelled to go upstairs to find out what it was. So here we go. The post that I did not intend to write.

Here’s a confession: I have a really weird relationship with D&D. It was my first RPG. It was the game that hooked me. It’s the game I prefer to play over any other. I’m happiest when I’m working with the other players to explore a dungeon, fighting monsters, finding treasure, and adding the XP to my character sheet. I love solving puzzles, mapping dungeons, and drawing upon my encyclopedic knowledge of the game and its lore. I love the classic experience. And it is in this world where I am most at home. So why then do I have all this frustration? Why can’t I be happy?

To get this right, we have to go back to the beginning. My first experience with D&D was with the adventure Rahasia. I had nothing else. So, instead of pressing my parents to get me the rules, I just made them up. I called it Passages. It was super easy. I think you rolled a d6 and if you rolled some number or higher, you killed the monster. You gained a level every time you moved onto a new map.

It wasn’t long after that my parents presented me with the red box. I still remember pulling off the thin plastic and removing the lid, finding the two booklets, some inexpensive dice, a crayon, and an ad for the RPGA. I looked through the player’s book and discovered, to my dismay, D&D was nothing like the game I had made. It looked complicated and had all sorts of strange rules. I was disappointed.

My friend Landon, however, was a big-time D&D guy. I remember seeing him run AD&D on the playground for some other kids. They had strange books, the Advanced ones, and I clearly remember them discussing Oriental Adventures and the cool stuff it contained. I was intrigued. I wanted to join them, to have the same experiences, to find out just how many flavors of dwarf there were. I want to play, too. Landon, I suppose, sensed my interest and invited me to spend the night at his house. We talked about comics quite a bit. Eventually we sat at his kitchen table and ended with my first D&D character, a fighter named Booger. I landed on the name Booger from my disdain for the entire enterprise. Character creation bored me to death. Later that night, when the lights were off, and I was drifting off to sleep on the floor, I had decided that D&D was not for me. I was, again, disappointed.

The next Friday, Landon invited me over again, this time to play. It was just me and Travis. Travis had his two characters, and I had Booger and a magic-user Landon had put together for me. I named the magic-user Pardu after Tom Hanks’s character from Monsters & Mazes. The game began. Within minutes, mere minutes, I was frantically erasing the name Booger from my character sheet and was scrawling Ator in its smudged place. I was hooked. From that day on, I went to Landon’s house or he went to mine. We swilled Mountain Dew and Sundrop. We devoured chili dogs and lasagna. And best of all, we had awesome adventures in a world of our imagination.

The takeaway from this charming anecdote is the manner in which I became hooked. I took one look at the rules and character creation (laughably simple now of course) and was ready to quit before I had even played a single session. But once I had dice in hand, once the story began, I never wanted to stop. The experience of playing, the genuine fear I felt for my character when we faced down the gnolls for the first time, the excitement I had when I found a +1 two-handed sword: all this had sparked my imagination and would eventually launch my career.

So with all that love, I’m left wondering what the problem is. In suspect it’s that for the last 15 years or so, the most important part of the game has not been playing but rather creating for it. Character creation used to be something you had to do before you could have the fun. The mechanics were the necessary evil, the gauntlet you had to run. In recent years, the fun has moved from the time you spent at the table to the time you spend thinking about the table. Sure, back in the old days, I made plenty of characters for games I played and games I wanted to play but never really did. It was just like doing math problems. They had solutions. You just had to roll the dice, make the choices, and plug the information into the sheet. But hasn’t been that way for a while.

It seems the fun for many is in putting the different pieces together to create something new. Clever play now occurs in isolation. The player earns the greatest reward not from having a good idea at the table or thinking to look behind the wardrobe and finding a magic item, but from the discovery of a winning combination of mechanics, the perfect marriage of two spells, skill and feat, class feature and widget. The pleasure comes from realizing the broken combination and from putting the mechanical abomination into play. No delight is sweeter than that which is experienced by watching the expressions of those who must bear witness to your creative horror. Does it matter that the loophole makes the game unplayable? Does it matter that such shenanigans immediately put the beleaguered Dungeon Master on the defensive, to the point that he or she flails because the game no longer seems to work? Not at all. Why? Because the game wants you to break it. It begs for you to dig in and explore the options. The endless parade of new mechanics demand you to pick them up, peer at them in the light, and plug them in. It’s a game made for the tinkerers. Oh, you just want to play? Well, you’ll need these ten books, this character generation tool, and on and on and on.

The prize for being the best player goes not to the creative mind, the cunning tactician, the burgeoning actor, but to the best mathematician. Perhaps this was the way it was doomed to go. The seeds were there all along. The mechanical-minded played spellcasters—who dominated—while the rest plodded along with fighters. As the game evolved, it was no longer sufficient for the fighter to become more accurate or to attack more often: the fighter had to do things beyond swing a sword or loose an arrow from a bow. The game needed rules for every situation, for every scenario, and with each new rule came a new exploit, a new opportunity to bend the game into something terrifying.

This has turned rant-ish and for that I apologize. I do not believe there is a right way or a wrong way to play this game. I know a great many people love to tinker, to build, and create. They see the character sheet as a blank screen, eager for new code, a canvas craving the brush. And that’s cool. But for me, I don’t want that experience anymore. I crave lighter fare. I want the thrill of discovery. The excitement that arises at the table. The hilarity of defeat and the thrill of success.

So here we are, at the dawn of the next edition, an edition I, in some part, helped to create. When I was brought onto the team, it was with the understanding that I would fly the 4th Edition flag, a game I had worked hard to support through the countless articles and supplements throughout the life of that game. Looking back, I find it strange since I have all but divorced myself from the 4th Edition rules, largely for the reasons I outline above. While I enjoy 4E, it scratched a different itch for me than the one D&D had for many years. As I worked on 5th Edition, I shed my 3rd Edition and 4th Edition influences. I abandoned conceptions and beliefs about design that I had held as truths for years until I returned to my roots, to a place where the most important part of D&D is not what’s in the book but what happens at the table. And so, I look forward to the coming months, to see what I hope will become a return to the glory days of D&D to a style of play both familiar and new. I believe this game preserves just enough of the customization elements that defined the 3rd and 4th Editions to be recognizable to newer members of the audience, while having reclaimed the heart of the game from the earliest editions and put it back where it belongs. It should be an exciting future and one that I am proud to have helped create.

Climbing the Wall of Text – let’s design an RPG adventure!

When I think back to the best times I had running adventures, I feel like they were great not because the adventure was fantastic (although in some cases, they were), but were great because of how we filled in the gaps…

Robert J. SchwalbWhen I think back to the best times I had running adventures, I feel like they were great not because the adventure was fantastic (although in some cases, they were), but were great because of how we filled in the gaps. If you run Steading of the Hill Giant Chief as written, you’d be painting lip-gloss on a shotgun and squeezing the trigger before you got to the end of the adventure. Why? After you explore and kill all the giants in ten rooms or so, you’ve probably had enough. Do this ten more times and you have found the very definition of boring.

A surface read of the classic adventures reveals that despite the fun we had with them, as written they do little to light me on fire. Many are just page after page of room descriptions, sprinkled liberally with monsters to kill, traps to avoid, and treasure to find. If there’s a plot, it’s thin and, often, acts to the adventure’s detriment, something best ignored or adapted to suit the game master running it. The adventure is a framework and it’s up to GM and the players to bring it to life.

For me, this is why adventures like Steading and the rest of the G series were so great. Yes, you can kill room after room of giants, if you decide to approach the adventure that way. It’s far more entertaining to infiltrate the steading, to sneak, to hide, and keep the fighting to a minimum. After all, make a lot of noise and you’re going to bring the entire place down on your head. If you can get in and out with a few sacks filled with loot and without having to swing a sword, you can count the entire enterprise as a win. This sounds like so much fun, I want to run it right now!

This approach to adventure design has largely fallen out of favor. It seems far more important to ram a thick plot down the audience’s throat. Rather than getting a map, some interesting locations, and some clear goals, adventures demand you first climb the wall of text, to read and absorb 32 or more pages of background, to discover an entire cast of characters, each with their own goals and agendas, the detailed histories and layouts of countless towns and cities, with every plot presented with meticulous detail. Once you survive this gauntlet, you might get to the adventure itself.

But wait! No designer wants to create a railroad adventure. Players want choice! They want to go where they want, do what they want: They don’t want to follow the GM through to the end. And so the adventure gains pages and pages and pages of side-treks, hooks, work-arounds, helpful advice to get the PCs back on track, adding page after page after page of information, all of which obscures what is, effectively, a simple treasure-hunting, stop the bad guy, destroy the artifact expedition.

I understand why adventures often take this shape. A robust story can cover the unforeseen decisions the players might make. The development sections insulate the GM against the confusion and mishap that can occur when the players go off script. So rather than pull back on story, the solution has been, at least for most mainstream games, to go full on story, to map out a web of possibilities so no GM will be caught unprepared.

And this is why adventure design gives me an ulcer. Why should the adventure cover almost any and every eventuality? It runs counter to the user experience—designers throw their labor into the wild and the audience puts it together in whatever ways they want. A designer has no control over how the audience uses the game, so why would we bother to hand out scripts that do exactly what the game experience is not supposed to do?

Of the many games and systems out there, it’s Savage World’s take on adventure design that gets me all hot and sweaty. I’m looking at “The Dark Side of Love” in Solomon Kane and what I see is a basically a broad outline for how the action might unfold with the climactic scene at the end. The game expects the players and GM to fill in the details and let the adventure play out in as organic manner as possible. This, my friends, is the way to do adventures.

I would go a bit further, though. Here are the things I would cut from general adventure design:

  • Text in the background that exceeds 100 words.
  • The adventure synopsis
  • NPC descriptions that go longer than a sentence or two.
  • All read-aloud text.
  • Location descriptions would be limited to three basic things: Broad parameters about the place, the first thing visitors notice, and something for the players to play with—a secret to find, a monster to kill, treasure to grab.
  • All descriptions of things that exceed the most basic information a GM needs to know.
  • All stat-blocks for creatures other than ones new to the adventure.
  • Anything that is a mechanical process that the core rules already cover.
  • Conclusions, aftermaths, anything that deals with what happens next.

The idea here is to empower the GM and players to frame the story in a manner that works for the group. I would take this approach for dungeon crawls, investigations, mysteries, explorations, hex crawls, everything. I know, this is aggressive, but I think it’s crucial to keeping people playing the game. How many times have you wanted to run a game but couldn’t because you had nothing prepared? How many times have you hit upon something in the adventure you’re running and accidentally forgot to reveal an important plot point? How many times have your players gone off script and left you frantically trying to adjust?

Let me give you an example before I sign off. I think it would be fun to set a story in a ghost town near some mines. So here we go:

Background: The miners delved too deep and came upon a demon imprisoned in the deep, dark depths. The miners freed it. It killed them. The demon, gore-slicked, crawled out of the mine and butchered the townsfolk. One person got away. The PCs find the survivor, who’s insane and gibbers “Everyone is dead!”

Town: The town has ten buildings. They include 6 homes, a smith, a tavern and inn, a church, and a general store. Muddy footpaths meander between them. Farms ring the town for about a mile all around, speckled with farmhouses, silos, and barns.

The Demon: The demon eats the people it killed. Roll a d10 when the PCs arrive to see where the demon’s eating. On a 1–6, it’s in a home; 7, the smith; 8, the tavern; 9, the church; 10, the general store. If the demon hears a loud noise, it comes out to investigate, perhaps bringing its meal along with it.

Other Threats: A pack of 1d6 + 6 wild dogs fighting over the corpses of the dead; a gang of 1d4 hungry ghouls; a survivor who’s thoroughly mad and screams if he sees anyone, which alerts the demon and draws it out.

Scenery: You can use the following to dress up the town.

  • A room painted in blood with a blood-drenched doll in the middle.
  • The body of a woman that looks alive from the front, but is dead and missing the back of her skull. Let’s say there are horrid teeth marks in the bloody brain matter.
  • A cloud of flies, each fly bearing a human face, evacuated from the demon’s bowels and lingering in a room. Their buzzing forms the words “You will die” over and over again.
  • An uncast shadow creeping across a wall.
  • A hidden room that holds a victim’s treasure, say 20 + 1d20 sp and a jade idol of a fat, horned god worth 1 gp.
  • A hidden room that holds the trappings of someone’s deviant and secret fetish—manacles, a leather suit, or something really gross.

And that’s it. A map could be helpful, but really isn’t needed. It’s not like their arrangement is all that important to the story. And if it’s important, the GM can just make it up. There’s enough here for a GM to get an idea about the place, ways to set the mood, monsters to fight, treasure to find, and the information creates a scenario that the GM can play through in an evening. If I wanted to expand it, I might talk about the mines. The PCs could follow the trail back to the mines, deal with some underground critters—beetles and so on—and finally come to the room where the demon was released. Perhaps the characters find a ritual scroll and can perform the ritual to bind the demon once more. Of course, the ritual’s performance would recall the demon to their presence and it’s probably not at all happy about being sealed up again. But this is an adventure and it’s enough for a group to play – have a great time, and, hopefully, remember for a long time.

I want more stuff

When is too much of a good thing too much?

Picard FacepalmOn the road to see a flick in Nashville, my non-gamer friend, Trey, was asking about how RPGs worked. Having never played an RPG before and probably having never had much interest in the hobby in the first place, this was all new territory for him. I gave the usual pitch—you create or choose a character and then make decisions for that character, blah, blah, blah. You know what an RPG is, so I’ll move on.

In the thick of the discussion, my sobriety-afflicted little attic wiggled and seized on an idea, one that crystallized why and how the experience one has playing the game has evolved to the point that the way we play “mainstream” RPGs would be unrecognizable to our older selves. I think it all comes down to the problem of increasing complexity.

The big coup that made 3rd Edition such an innovative game was that it took all the little independent systems lurking in D&D’s dark and scary corners, brought them into the light, and pounded on them until they all used the core task resolution mechanic. Old D&D felt like it was cobbled together from a variety of resolution systems made ad hoc to resolve situations that cropped in play. Attacks with melee weapons and ranged weapons both rolled a d20, but they took place at different points in the round and each had special rules. Dodging a fireball, resisting a spell, or withstanding poison all used saving throws, but the numbers varied by class and level. And don’t get me started on psionics or unarmed combat.

Distilling everything down to a common mechanic obviously made the game easier to learn. After all, once you figure out how to add a number to a random number, you can play D&D. Sort of. Initiative, attack rolls, saving throws, and everything else you would do that had an uncertain outcome relied on the common mechanical procedure for determining success and failure. Slick, sexy, and fun to play, and which is why the game is still being played in one version or another almost 15 years after it first appeared on the shelves.

As awesome and as powerful as the 3rd Edition rules were for D&D, I think it came with a deeper and far more insidious transformation. And that transformation finds its roots in character customization outside of class and race. Introducing rules exceptions by methods outside of the big choices made the game fuzzier and, in my opinion, harder to master. Non-weapon proficiencies may have been the initial culprit, but I would argue that it was the line of complete books in 2nd Edition that gave the final push that would drag the game down the rabbit hole into the murky and strange world in which we now live.

The difference between now and then is that though game-complexity started higher (the learning curve for AD&D was pretty damned steep), it stayed relatively flat once you figured out how it worked. You could create a dozen fighters, with different races, alignments, personalities, weapon assortments, but they all played more or less the same. The more you played a fighter, the more second nature it became until you could always play your fighter effectively. Your big contribution to game-play was high accuracy and consistent damage output most of the time. That might not seem like much fun, but given the necessary abstractions to make combat simulation manageable, the mechanics did the job.

Obviously, spellcasters were complicated. Keeping track of all the spells is tough and so players who chose to play magic-using characters had their work cut out for them. But, again, once you get over the hump, does complexity really ramp up? I’d say no. Even if you’re preparing 35 spells each day, you eventually settle into a pattern after you figure out what spells work well and what spells don’t. There’s not a lot of mystery to magic missile after the first time you cast it.

At the time, 2nd Edition felt like a radical change from 1st Edition and, in hindsight, the nerd rage I felt then is kind of amusing when I look at the rulebooks today. The guts of that system are basically the same and, I would even say, better. We lost a lot of the really arcane mechanics and the system made great strides toward normalizing how you did things in the game. And, best of all, you could still enjoy the same experience of system mastery you had with 1E in that a fighter was pretty much a fighter every time you played. But the Complete books changed that. Not only did they help push the non-weapon proficiency system away from being an optional set of rules, they made class functionality and definition fuzzy. You might play a myrmidon in one campaign and a gladiator in the next. Both are fighters, yes, but the fighter identity—what I do in the game—changed by allowing players to select a kit. More options are good, yes? Maybe? Maybe not.

Kits just kicked open the door for more customization. Since there aren’t moving parts in classes aside from spells, the game needed other elements for players to choose, elements that would become skills and feats. Kits from 2nd Edition didn’t really have mechanical weight. They just added flavor. Since people gravitate toward those things that make their characters more powerful, skills and feats needed and got mechanical weight, which, in turn, raised their importance for making an effective character. And, since the game needs to reflect growth, the system had to parcel them out over time. The net result is great texture and mechanical weight attached to things that used to just be how you described or roleplayed your character. But it had a huge price tag.

From 3rd Edition on, your character, regardless of whether you chose a fighter or a wizard, always becomes harder to play as you gain levels. A character is a veritable catalog of permissions (I can attack with this weapon, I know this thing) and exceptions to the rules (I can sacrifice accuracy to boost damage, I can maximize my spell damage). By the time you reach the top of the ladder, you have so many things to track and remember, so many widgets, what should be simple—I attack with my sword, is a veritable labyrinth of yes and nos. The result is a slower, clunky game that more often than not comes screeching to a halt as everyone gathers around to sort out just what widget Q from sourcebook 76 actually does.

I know, I sound like a cantankerous old man and I’m really just whining about bygone days. But seriously, the prevailing opinion that greater complexity over time terrifies me. When did it become good to make a game harder to play the longer you play it? And I’m not talking about harder challenges; I’m talking about making basic decisions and resolving them as you take on those harder challenges. Why would we ever build-in a disincentive to play the game more if the goal, as producers of product, is to encourage customers to use our form of entertainment instead of something else?

The genie is undoubtedly out of the bottle. The existing audience demands cool and interesting rewards to act as carrots for continuous play. However, the methods we use to deliver these rewards and to determine what awards ought to be is critical for controlling complexity bloat.

One of the things I liked a lot about 4E was the attempt to control complexity by having higher-level powers replace lower level powers. Of course, the game shot itself in the junk by piling on extra powers that were additions rather than replacements, but the core idea is sound. Widgets that retain their core functionality and just improve at later points would be an easier way to deliver these extras. Maybe instead of getting 7 feats, you gain 3. And at the points when you would normally gain a feat, you upgrade the effects of the feat(s) you already have. Power Attack, in this model, might be a flat penalty to the attack roll to get a flat boost to damage. Let’s say –2 for +4 damage. At level 6, the penalty might stay at –2 and the damage would jump to +6 or +8. Just a vague idea, but I think something like this would demonstrate improvement, preserve character customization, and control the excess of complexity by piling more stuff on top of the stuff you already have.

So, what do you think? How often does increasing play complexity end your campaigns compared to finishing the campaign’s story? Is complexity a problem in your games or is it something you work around?

23 Ranks of Use Rope

I’ve not made a secret my disdain for skills in d20-based games. They always feel tacked on, a sop offered to players who need more numbers to truly realize the character they want to play. Rather than just say, “My dude spent a lot of time in the king’s court” and let the GM interpret what this means, most players feel it’s important to have mechanics that represent capabilities beyond the core task resolution system. Today, I want to talk about why I feel this approach is bad for d20 games and probably make you super upset as a result. But I have a solution and it comes at the end…

String trickI’ve not made a secret my disdain for skills in d20-based games. They always feel tacked on, a sop offered to players who need more numbers to truly realize the character they want to play. Rather than just say, “My dude spent a lot of time in the king’s court” and let the GM interpret what this means, most players feel it’s important to have mechanics that represent capabilities beyond the core task resolution system. Today, I want to talk about why I feel this approach is bad for d20 games and probably make you super upset as a result. But I have a solution and it comes at the end.

Where to begin? Every RPG needs a clear and easy way to interpret whether what a player describes happens or doesn’t happen. Every description can be distilled down to a yes or no. While some games explore ideas of “yes, but” and “no, but,” the “but” only slaps on a consequence for not quite getting to the positive outcome or dipping into the negative and provides a bit more nuance and story fodder for folks who want it. It’s still a binary outcome though. Ultimately it happens or it doesn’t.

In old editions of D&D, the game had individual mechanics for tasks and sometimes those mechanics employed completely different systems based on whether or not you were a member of a particular class. Cast a spell? The target might make a saving throw against spells. Swing a sword, roll the die, add your modifier, and tell the DM who then checks the table. Want to pummel a dude, try something else that’s not quite so arcane or involved please. Proficiencies, introduced in 1st and spread to 2nd as an optional rule, provided yet another method for resolving tasks. It was a great, big complicated mess. When 3rd Edition showed up, all slick and sexy with a unified task resolution mechanic, it was a revelation to me and it’s still remarkable how much the game changed when the edition meter rolled over to 3.

As awesome and as powerful as a core mechanic was for the game, it fundamentally altered the role ability scores played in the game and in a manner that reduced abilities to nothing more than descriptors. In the older editions, the six abilities pretty much told you everything you needed to know about your character and the game system told you how those abilities plugged into specific tasks. I know when I ran 2nd Edition, whenever someone described an action that wasn’t an attack or a spell, there were three possible outcomes: yes, no, and roll a d20 to see what happens. If the player rolled under his or her score, the action happened. Otherwise it didn’t. This technique comes straight out of the game’s proficiency system, so I wasn’t doing anything revolutionary. But the main thing is that the abilities were always where the player looked to determine whether a described action happened when the outcome was not certain.

From 3rd Edition on, ability scores primarily served as the method to derive another number, the modifier that plugged into the core task resolution system. Aside from a few weird corner case rules, the scores only functioned as another kind of hit point pool. A special attack could damage or drain a character’s score, and thus reduce the modifier. And 4th Edition didn’t even have that.

So what’s the problem? If the modifiers were the only thing a character added to his or her task resolution roll, I probably wouldn’t have much of a problem aside from the fact that the score itself is just character sheet clutter for much of the game (True20 solves this problem by just jettisoning the score). But the modifier is not the only thing you add to your task resolution roll and skills bloat the numbers until they are the only thing that matters.

Both 3rd Edition and 4th Edition effectively abandoned abilities as the primary method for task resolution by attaching numbers to ability modifiers that were larger than the numbers themselves. If you can have 23 ranks in Use Rope, the +3 bonus from Dexterity seems paltry. The most important component of the calculation to determine if you manage to tie the knot properly is the bonus from the skill. And if the skill ranks are the thing that matters most, why bother having the ability modifier at all? Wouldn’t it be simpler to just use a range of skills and have a character choose a couple of descriptors (Strong, Smart, Alert) that plug into the skills and increase the skill bonus? For example, you might have the Athletics skill and it might start with a modifier of 0 to 4 that can grow as you gain levels. If you have the Strong tag, you might get a +1 bonus to Athletics checks. While similar to what 4E did with skills (granting a big, heavy flat bonus instead of mucking about with ranks), it dispels the illusion that abilities matter.

But, carving up the corpses of abilities into smaller pieces encourages specialization and, when those pieces directly interact with the game’s predominant play-style (combat, intrigue, exploration, whatever), survival impels players to focus develop those pieces. We see this all over the place in 3rd and 4th. Choosing the History skill in 4th Edition over Perception is a stupid decision unless the game is focused on dredging up dusty bits of trivia instead of finding treasure and butchering monsters. Similarly, putting ranks in Knowledge (Architecture and Engineering) is foolish if you take those points away from Listen/Search/Tumble. Such focus undermines the whole point in having skills in the first place. To realize that wonderful character you’ve imagined in your head, you have to make bad build decisions about your character. Efforts to mitigate this problem by making flavor-skills more mechanically useful only managed to create weird narrative problems. If having History gives your dude a big fat bonus to attack rolls every now and then, your game is likely to be filled with historian-fighters. That seems weird.

Let’s wrap this up. D&D is chock full of big abstractions and the biggest is in how the big six abilities claim all the character’s descriptive real estate. The game, at various points, tells us that ability scores are a combination of natural talent and formal training. Intelligence isn’t just your character’s IQ, but it’s also your character’s education, wits, and recall.

The non-weapon proficiency system is a long way from perfect, but what it did was plug into the existing system architecture without diluting the importance of ability scores. Simply, you roll a die and if you equaled or got under the score (+ or – the check modifier), you succeed. Boom. Dead simple. And if you want to improve your proficiency, you can just take it again, gaining a +1 bonus to the check for each time you took it after the first.

Adopting a system like this for your d20 game isn’t that hard, but it would mean stripping a fairly big chunk of the task resolution system out of the game. The big thing is to flip the chance for success. You’d need to double the modifier for all checks (not attack rolls or saving throws) and make the baseline DC 10. Drop the DC to 5 for easy tasks and jack it up to 15 for hard tasks.

Rather than have a slew of combat skills like Spot, Athletics, and so on, you just lean on the abilities. If you want to get better at climbing, make darn sure you put your ability score increases in Strength. Skills would become things you have to have special training to pull off: Animal Handling, Picking Locks, and so on. And those skills would modify the DC based on their complexity. Feats would just cover everything else.

Well that took a while to get to, but I think this is pretty cool. What about you?

One Cool Thing About Monsters… by Robert J. Schwalb

Please welcome Robert J. Schwalb and his first article at Stuffer Shack. He’s an established RPG game designer and novelist with a slew of credits to his name, and in this article he talks about that cool thing that makes monsters cooler…

Robert J SchwalbAs a guy who has spent much of his gaming existence running D&D games, I suppose it makes sense that monsters get my creative juices flowing. Long before I got into the business, in the days of 2nd Edition AD&D, I scooped up every one of the Monstrous Compendium Appendices for the cool and weird creatures they contained. I’d read those books with the same focus and dedication I showed a novel. I’d pour over their mechanics, pull threads of story from the fluff surrounding the guts, and chuckle at the prospect of dropping a maggot golem or a batch of clockwork horrors into my next game. For me, monsters did more for my imagination than a campaign setting ever did and I looked at them as windows into the possible worlds of my favorite roleplaying game.

My love for the monstrous has not abated now that I make up stuff for a living. I still salivate at the thought of writing demon entries in a monster book, wring my hands about how I should layer in these story threads when confronted with a new or existing monster, and cackle as I come up with some nasty bit of tech that both captures the monster’s story and promises to vex even the most cunning players.

As fun as monsters are to design and use in a game, there are some considerable pitfalls too. For a long time, I felt that monsters with magical abilities should have long lists of spells or complex mechanical design. In 4E, it was all too tempting to keep adding entries and stuff to overflowing the action buckets so that it could deal with every conceivable situation. While this could make the monster interesting, more often than not it simply wound up making the creature unplayable in the game. A DM confronted with a page-long stat-block would drown in options and I found I would miss traits or action outputs in play since I would have to sort through the menu to find the thing I needed.

I have had many monster design conversations over the years, but two stand out. The first one was a Wizards of the Coast freelancer panel at Gen Con a few years ago. James Wyatt led a discussion about how to make monsters in 4E more engaging and memorable. Of course, some of the discussion zoomed in on common errors that pop up in monster design, but he brought up a great point about a few monsters in the MM. He pointed to one in particular. While fully functional, the design revealed nothing about the creature’s identity, place in the world, or, really, anything to set it apart. You could name the creature a human meat-dancer and no one would be the wiser. The goblins, however, all shared a common mechanical device, goblin tactics, that, in play, reinforced their identity in the game world—tricky, elusive combatants. The take-away from this is that mechanics and story are not separate entities and story should inform the mechanical design for an RPG. Obvious stuff, but in the Ivory Tower of mechanical design, especially for a game with lots of moving parts, it’s easy to become lost in the numbers.

The second conversation was with Steve Winter. I was in the office at my borrowed cubical and working on something for D&D Next. Steve, having been steeped in D&D for more years than I should say, has seen it all. I was talking to him about a D&D Cyclopedia game that I ran at a show a couple years ago and told him that I marveled at the game’s ease and simplicity. I had cut my teeth on an earlier version of that game (the Red Box), but hadn’t really touched it since I “graduated” to AD&D. Steve mentioned that what made that game so wonderful was that to run an encounter with a monster, you needed to know a couple of numbers (AC and HP) and the monster’s trick. This idea has stuck with me and I’ve thought a lot about how awesome it really is. A monster only needs one or two cool things to come to life in the game. When I ask you what’s the distinctive thing about dragons, you probably go straight to the breath weapon. When I ask about trolls, regeneration comes to mind. The beholder has eye rays. The wraith drains life force. Skeletons take half damage from piercing and slashing weapons.

That’s all these monsters need. Everything else in the stat-block is clutter, mechanical baggage the game system demands for coherency and consistency. Hit points, Armor Class, and if you’re playing a game that uses them, Defense/Saving Throws are nothing more than an elaborate timer for how long the monster sticks around. Speed? Damage for attacks the creature is never going to use? Skills? All that stuff just obfuscates the thing that makes the monster interesting. Of course, games like D&D demand these stats, so what I’m saying is heresy I know.

But imagine how much simpler the game would be to run if it just dropped the baggage and embraced what’s actually happening in play. A monster’s lifespan in combat might be measured in rounds. And the players’ efforts might just reduce the number of rounds based on their choices. An attack with a weapon (any weapon) would reduce the rounds by 1. A spell might reduce rounds by its level or half its level if it affects an area. The monster has a very short menu of things from which the GM picks each round. Maybe the dragon lives 10 rounds and can use breath weapon once and natural weapons twice. And when the dragon uses all of its actions, it gets them all back. And then the players and GM describe what happens at the table as a story. You could probably run this without dice, but if you need randomness, a d6 would be enough. Success on a 4 or higher. Boom. Done.

OK. I am stepping back from the ledge. I know this goes way, way too far and probably offends the sensibilities of people who like the granularity of big RPGs. Admittedly I’m one of them too. I like to pretend that the difference between a 16 and 17 AC is meaningful. I cling to the idea that there should be mechanical differences between a battle-axe and a sword. But this was an interesting thought experiment. I’m glad you stuck it out with me. Until next time, roll some dice, kill monsters, and tell awesome stories.