Recently designer @justice_arman wrote a bit about D&D effects that take players out of play - spells like ๐ฉ๐ฐ๐ญ๐ฅ ๐ฑ๐ฆ๐ณ๐ด๐ฐ๐ฏ and ๐ฎ๐ข๐ป๐ฆ, which (if the dice don't favor you) just take you out of the game for some amount of time. (thread) #dnd
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Of course this has a long pedigree in D&D. Spells like this go back to the early editions. Not to mention that much of D&D's game mechanics are built on a "roll well or you just lost your turn" system - attack and miss? Failed your skill check? Often similar to doin' nuthin'.
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In early early early editions of D&D, characters had few options, meaning that taking your turn was fast. That meant that combat was quick. Swing, miss! Next! Swing, hit! Next! ๐๐ข๐จ๐ช๐ค ๐ฎ๐ช๐ด๐ด๐ช๐ญ๐ฆ and you've used your one spell! Next!
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Modern D&D makes characters very distinctive with a range of abilities, powers, and spells to use, and specific rules for movement, taking actions, and maneuvering on the battlefield. So when you're in a fight, your turn might be kinda complicated.
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This means that losing your turn feels extra-bad because now you have to wait that much longer for everyone else to take their turns before getting back to you! And if you're out because of a spell or power, you just missed a bunch of fun in the game.
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Partly this design stems from the fact that many spells are "alternative wins" - instead of running the enemy out of hit points, you try to put them to sleep, paralyze them, poison them, halt their movement, penalize their rolls, make them unable to attack, and so on.
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Some DMs just don't use these spells and powers against players to avoid this problem. Alternatively, what would D&D look like if these abilities functioned differently?
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A few possibilities come to mind immediately. You might take a page from Savage Worlds and have one set of rules for PCs and important villains, and another set of rules for minor enemies. A ๐ฉ๐ฐ๐ญ๐ฅ ๐ฑ๐ฆ๐ณ๐ด๐ฐ๐ฏ spell might be far more devastating to minions than to heroes.
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That's a lot of extra rules though!
Another possibility is to do something like the medusa rules in 5e. Failing your save hinders you, but isn't immediately an out-of-play condition unless you fail by a lot. Failing multiple saves is what really gets you.
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In addition to adding more rules to all of these spells, though, this means that you have to keep track of effects from turn to turn, as they might escalate and you need to know what stage you're in.
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It also means some spells lose their luster: ๐ฉ๐ฐ๐ญ๐ฅ ๐ฑ๐ฆ๐ณ๐ด๐ฐ๐ฏ ain't that great if it can't actually paralyze your enemies until they've spent three rounds whacking you and failing saves.
A third possibility is to make it a tactical choice for the player.
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What if ๐ฉ๐ฐ๐ญ๐ฅ ๐ฑ๐ฆ๐ณ๐ด๐ฐ๐ฏ allows you a save, and if you succeed you're unaffected, if you fail you're paralyzed, but if you choose not to make a save you are partially affected? You can take either an action or a move on your turn, but not both.
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Well, it's more rules and more to learn, but now it means that the player is making a choice about what level of risk they want, and if they don't want to leave it to luck, they take an effect that alters their tactics but still lets them participate.
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It does make ๐ฉ๐ฐ๐ญ๐ฅ ๐ฑ๐ฆ๐ณ๐ด๐ฐ๐ฏ less powerful though, because people who don't want to be fully paralyzed can always choose to take the lesser effect. So it needs a little punching up - maybe it no longer requires concentration, or can affect up to 3 targets upon casting.
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The other side of this, the culture side, is that D&D combat can be pretty think-heavy and take time, so be a considerate player. Think about your turns ahead of time and pay attention to the game as it moves. Be ready so you don't make everyone wait.
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Losing a turn still sucks, but it sucks less if you get to your next turn faster! So help everyone out by paying attention to the game, taking your turn in a timely fashion as much as you can, and then solidly letting everyone know that you're done so the next person can go.
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In pro chess, players have to indicate when their turn is done. This simple act means no dithering, wondering if you're finished, other players waiting on you, etc. Helpful and easy to do!
Anyway, thanks @justice_arman for inspiring this thread!
~Fin~
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There's a curious challenge that Star Trek, as a property, always has to navigate: The fact that it's trying to provide uplifting or moral messages, and does so by showing what idealized people who've got things figured out do when confronted with moral dilemmas...
(thread)
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... but at the same time, it's entertainment, a show and other media made for people in our modern era, so it needs to be relatable in some way. And of course people in the 23rd+ century may be better, but they aren't perfect.
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One effect of this is that Star Trek shows often provide some sort of solution, frequently technological, that deals with a common problem. In Trek they can fix a wide range of diseases, engineering problems, and social ills that we can't fix today...
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Back in 2000 I was working at White Wolf and something weird happened. WotC announced the release of 3rd edition D&D, along with the original OGL, making it possible for third-party creators to release D&D books...
(short thread)
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... and the boss at White Wolf, @stevewieck, realized that there was an opportunity. WotC had shown their hand with their book release schedule and there was a short window during which D&D 3e would be out, but the Monster Manual wouldn't have arrived yet.
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Well for most groups, how do you play D&D without monsters? Steve and the White Wolf production team pushed out the schedule by a month and the entire design department started working on monsters for what became the Creature Collection.
I guess now a thread about worldbuilding and how it's part of the production of RPGs? Not "how to build a world," but "how RPGs generate worldbuilding in ways that other media often don't and why this matters."
(Relevant to Certain Other Things)
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In a broad-scope RPG like #DnD or Green Ronin's #Threefold or #Shadowrun or the #WoD you have a big world with a lot going on, specifically so that game groups can grab hooks that resonate with them and then build their own game sessions in ways that interest them.
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Some indie RPGs are very narrow in scopeโyou're climbing a mountain to kill a witch, or writing a journal of a thousand-year-old vampire, and that's all the game does. Big world games instead say "You figure out what your group likes in this world, here are a million hooks."
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And now, a #DnD thread about the evolution of D&D's thematic adventure focus, how the shift in the fiction shifted the rules, and how #Dragonlance was a major contributor to that slow change. (h/t @WeisMargaret, @boymonster, @trhickman)
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Early D&D drew many inspirations from swords & sorcery and low fantasy. While many people cite Tolkien's ๐๐ฐ๐ณ๐ฅ ๐ฐ๐ง ๐ต๐ฉ๐ฆ ๐๐ช๐ฏ๐จ๐ด as a major influence, it's clear that D&D owes a lot to other fantasy stories cited in the 1e AD&D DMG's famous Appendix N.
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Thing is, many of these low fantasy stories, like the Conan saga, the Lankhmar series by Fritz Leiber, Moorcock's Elric stories, and of course Vance's Dying Earth, feature protagonists who are not really... heroes. They are scoundrels, antiheroes, heroes-by-happenstance.
Unless M*sk figures out a way to make money out of a $44bn Twitter disaster, he's going to start looking for increasingly fringe ways to make money to pay the interest on the loans for it. Things like...
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* Porn, gambling, all the "vice" stuff that gives conservatives the vaporsโand look for him trying to leverage Paypal connections to try to find some way to sidestep the payment restrictions imposed by credit card companies
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* Selling user data perniciously to anyone who'll give him $$$โfull disclosure, all your tracking, likes, purchase habits, giant metadata clouds (assuming the engineers who are competent to do this don't quit first)
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Back in the '90s, when I worked at White Wolf, we were deep in setting lore. Every year, the overall plot for all of the games in the World of Darkness marched forward. Twisted conspiracies turned, influencers shifted sides, new factions emerged.
D&D and even Shadowrun did the same: There was a story, it advanced through the books, the world changed and characters grew, died, or discovered new additions to the game.
This eventually led to a phenomenon of "setting mastery": Players deeply enmeshed in the lore of a game would use their knowledge of the world to manipulate the game to their advantage. (This was a problem in large-scale organized games where players competed.)