In the past I've had extraordinarily bad luck with dice in gaming, so much so that it's statistically noticeable. What this usually translates into is "You don't get to play the game, sorry." 2/
Your character died three times in a row, immediately being killed after being restored each time? Sorry, you don't get to play.
Your character failed every roll for the initial social scene and now you can't participate in any following social scenes? Sorry... 3/
Early D&D did this because of its wargaming roots. If you failed your saving throw against a 𝘩𝘰𝘭𝘥 𝘱𝘦𝘳𝘴𝘰𝘯 spell, you sat out the fight. Maybe you had another character, or a henchman. It didn't matter much because combat was so fast you didn't wait long. 4/
In modern games, a series of bad rolls can be extremely frustrating, as it feels like you're just prevented from doing anything. It's like the Talisman board game's tendency to make you lose a turn. If you have to wait half an hour for your turn to come again, that's no fun. 5/
Of course, failure is important to your stories. It can be a great motivator: If two party members are killed by a villain, that's a strong motivation for the party to come back to give that villain some comeuppance. Failing a lot with a skill pushes a character to improve it. 6/
The trick is, how is this failure interesting to the player? And what do you do to let the player recover from it?
Sometimes failure is a slap on the wrist. You went unprepared into a dragon fight and you got scorched. Make a new character. 7/
(And making a new character is a good use of your time while the rest of the team is running away.)
But some failure sequences just leave you feeling like you didn't really get to participate, so why bother coming to the game? 8/
There are a few ways to tweak this. Some games use narratively negotiated failure: You don't accomplish what you wanted, but you get to at least shape the outcome in some fashion. Or the GM decides how you fail, but it's not always the way you think. 9/
Or you can have a streak breaker: Each failure gives you a resource that you can later use to mitigate or overcome a failure. This gives you the comic book-style dramatic turn-around, where your character gets pummeled and then makes a comeback. 10/
A big part of this is up to the DM: Providing challenges for which failure isn't just "you lose/you die/you do nothing." Challenges in which a failure provides an interesting new opportunity, or raises the stakes, or gives you a clear action to take as a response. 11/
D&D specifically has a few spells that don't fit well with this: things that turn you to stone, paralyze you, or kill you outright. They just take the character off the table—except that they might change your allies' behavior to save you! 12/
Failure can be a good addition to your stories, but to do so, it needs to drive player behavior. Give you a choice, or make you respond, or teach you something about how a plan failed, or give you a different way to participate.
~Fin~
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Wondering why all the social media sites were able to suddenly swoop in with a banhammer on all the fascists, when they dragged their feet for so long that it wasn't until there was a violent attempted coup that they did anything?
(A thread)
1/
You may use social media to connect with friends, chat, share pictures, and join events, all for free, but those companies have to make money somehow. They have employees and investors to pay! So where do they get the money?
2/
You're the product. Social media sites are selling "you" to their advertisers and partners. When you read something, click on something, reply to something, buy something, they record it. They develop a profile of you, automatically, by tracking everything you do.
3/
Been playing a lot of cyberpunk recently—no, not that one, the #Shadowrun kind! (Specifically Dragonfall, which I tried to play back when it came out, but I kept dying in the tutorial.)
Shadowrun does some things really well that are good design ideas...
(A thread.)
1/
Like most cyberpunk genre media, in Shadowrun, megacorporations have global reach and influence. The game books include top-ten lists of the largest, wealthiest, most influential corporations, and ideas about what they do and what kinds of cutting-edge research they sponsor.
2/
Shadowrun lays out the corporations for you, giving them names, chairpeople, and agendas. This makes it really easy for you, as a GM, to figure out missions that involve them. It also does worldbuilding for you: These organizations exist, they have logos and goals.
3/
On my prior thread about #cyberpunk, some people asked if you can't just enjoy the aesthetic of cyborgs and neon without the revolutionary elements. The answer is no, so let's explore how the aesthetic of cyberpunk is tied into dystopia and rebellion!
1/
Cyberpunk aesthetics owe some debts to earlier art forms, both from the punk movement and from underground and futuristic art, like that explored in 𝘔𝘦𝘵𝘢𝘭 𝘏𝘶𝘳𝘭𝘢𝘯𝘵. (𝘏𝘦𝘢𝘷𝘺 𝘔𝘦𝘵𝘢𝘭 magazine for yanks.)
2/
The granddaddy fiction of cyberpunk, 𝘕𝘦𝘶𝘳𝘰𝘮𝘢𝘯𝘤𝘦𝘳, commonly describes the world in its dismal tones, its popping lights, and its toxins and waste. The cyberpunk world is one in which even air is a commodity, because everything's polluted.
What would a cyberpunk story look like when you start cleaning out problematic things like racism and transphobia? Let's investigate.
(A thread)
1/
Cyberpunk's root words are: "cyber," which really refers to communication, but was taken from communication between human (bodies) and machines and popularized as talking about synthetic body parts and neural interfaces.
2/
"Punk," referring to the rebellious movement that came out of Britain in the '70s and spread rapidly as people showed their dissatisfaction with authoritarianism and consumerism.
Hey @Wizards_DnD players, 𝘛𝘢𝘴𝘩𝘢'𝘴 𝘊𝘢𝘶𝘭𝘥𝘳𝘰𝘯 𝘰𝘧 𝘌𝘷𝘦𝘳𝘺𝘵𝘩𝘪𝘯𝘨 is finally here, and with it the new rules about changing up ability score modifiers, languages, and skills that are connected with race in the core book. Let's chat!
(cw: bigotry)
(A thread)
1/
D&D rarely does extradiegetic text. Going back to 1st edition there are some places where Gygax writes essay-form analysis of what constitutes good play and gives advice about successful adventuring...
2/
... but by and large, the game rarely has text explaining "Here's WHY this rule exists" or "You may want to do X, instead of Y, depending on the goals for your game." (Monte Cook talked about this in an interview where he said their original goal was to...
3/
If you want to be a better game designer, destroy your ego.
(A thread.)
You will make mistakes. You will make cringeworthy material. You will design something that is clunky, or ineffective, or a perverse incentive, or insensitive, or a mechanic that threatens the entire game's integrity.
These are moments to learn from, and people who talk about them are giving you feedback to absorb.
Taste is subjective. People who rail on your material because of differences in taste are expressing opinions, which means you can decide how much weight to give them.