After a comment on @monkeyking's post about D&D writin', I mentioned #DarkSun and #Planescape, and this seems as good a time as any to ruminate a bit on some thoughts for making interesting Planescape adventures.
A thread of... who knows what!
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Planescape's D&D with a side dish of philosophy. The core game drives you into conflicts via the Factions, each of which has some Thoughts about the nature of reality, the cosmos, and our relation to it.
This is important enough to affect your character!
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Since you pick a Faction affiliation—or you don't, and that, too, has consequences—and it gives you a mechanical alteration to your character, the game tells ya right up front that this is supposed to be central to the kinds of things that you do in play.
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So one of the ways that you can make an interesting Planescape adventure is by looking for a parallel between the esoteric and the exoteric in your story: Some way that the action reflects some element of a Faction's philosophy.
For instance...
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Rumors might tell of someone who claims to have memories of a life before this one, something that would suggest that the Dusters are correct in their belief that everyone's actually already dead, having died in some higher level of existence. But...
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... various Factions would want such a person silenced, of course. And how can you validate their claims? If it's all lies, it could be bad for the Dusters; what if one of the Dusters decides that eliminating this loose end is the better idea?
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Or, perhaps the PCs are approached by an apprentice psion, who explains that his mentor experienced some kind of mental break that has shattered her personality. He needs to send someone in telepathically to mend her mind, but it will take all his strength to make the link.
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He hires the PCs to enter the mindscape of a damaged mind, with fragments of personalities hidden throughout dreamlike (or nightmarish) landscapes. The PCs must slowly bring the personalities back together and merge them.
"We must go deeper!"
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Upon reassembling the psion, though, the mind shifts itself back into a fused whole, and the PCs find their personalities all fused into one form! Worse still, the psion becomes convinced that she can absorb them, too. How do they escape? Split her up again? Overcome her?
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Of course, this idea matches with the philosophy of the Signers: The psion is solipsistically building her own universe and asserting that other people are just figments of it. This ties in with the idea of the problem of other minds:
So you can take one of the Factions and loop back to a big philosophical conundrum and then present it in adventure form. What if the psion's mind fragments again and pieces of her personality wind up trapped in each of the PCs? Whose mind is real? Which reality is real?
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Or a McGuffin story: The Guvners hear of a magical tabulator that can predict the outcomes of various actions with perfect accuracy. Possession of such an object could change the nature of their Faction!
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The Fraternity of Order would change its agenda from working on universal laws and loopholes to discovering the right questions to ask so that they can predetermine desired outcomes. Or just using the tabulator to home in on questions that would tell them about cosmic laws!
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Not everyone would love this. The Xaositects might think that it needs to be destroyed. (Or they might not care. Or different Xaositects might think different things.) And how accurate is the tabulator? On its home in Mechanus it could be perfectly accurate...
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... but perhaps in Limbo or the Abyss, where "universal laws" break down, it too loses its function? And where did it come from? Perhaps it was a tool of Primus, the One and the Prime, that was stolen by Tenebrous during Orcus' reign of terror? Without it...
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... Mechanus could become increasingly error-prone, so the PCs must decide whether to bring it to the Guvners or return it to the Modrons. But what questions do they ask it along the way?
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Another trick to making an interesting PS adventure is to just pick two of the Factions at random and pit their philosophies against each other for the adventure hook. For instance, the (rolls dice) Bleak Cabal and the (rolls) Athar. Ok, we create meaning vs. gods are fake.
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A new arrival turns out to be a demigod, child of one of the gods. The Athar believe that this person could be proof of their philosophy: The divine powers of the person show that you don't have to worship gods; gods—and, by extension, divinely-powered mortals—have power...
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... by their nature, not because gods are somehow deserving of worship and engaged in giving people powers in exchange. The Bleak Cabal, on the other hand, feels that this demigod's existence is a great chance to show that your life is your own to shape, that we are not...
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... predestined because of our roots, because there is no cosmic meaning to our origins and thus we make our own stories. Both sides want to recruit this demigod. But the twist? The god's divine parent has divinatory foreknowledge of this conflict, and is meddling by proxy.
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The PCs wind up being "guided" into this struggle as the demigod, a potentially valuable ally, is steered first this way and then that.
Or if you wanna get really over the top, reveal that the PCs are all demigods and it's part of a big divine experiment!
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Anyway, that's the thought for this morning. Planescape games run a philosophical idea in parallel to the adventure's action. Center the adventure around that idea, or relate it to the things that the PCs do, to make 'em resonate.
Until next time, sword-ringer!
~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 scope—you'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 𝘓𝘰𝘳𝘥 𝘰𝘧 𝘵𝘩𝘦 𝘙𝘪𝘯𝘨𝘴 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 vapors—and 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 $$$—full 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.)