Well today's awful tabletop RPG discourse has turned to my ol' favorite, #DarkSun, so it behooves me to speak a little on this topic.
Someone out there decided to run a Kickstarter for a 5e game that's a knock-off of DARK SUN, but...
(cw later in thread for brutality)
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... they seem to think that it's a win to just lean right into everything terrible and unironically embrace outdated gaming conceits like bioessentialism and cultural ethical relativism. This is... a bad choice on many levels, so lemme break it down.
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For the broad swath of groups out there, RPGs are an entertainment activity. You play them for fun. They're also a social outlet. You play them with your friends.
DARK SUN and its relatives are RPGs like any other, and they fit into this mold. It's a social game.
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DARK SUN has a reputation for being a tough, mean, "hardcore" setting. Resources are scarce. Arcane magic damages the environment. Despotic sorcerer-monarchs rule over denuded city-states with corrupt and collapsing infrastructure. The deserts are full of awful monsters.
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Sadly, some folks use this as an excuse to be punitive. They say that the game's only fun if they make players suffer. But this is usually just a cover for folks who want to be abusive. "The game says that you should be miserable, so I'm just running it right!"
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Thing is, the game shouldn't make you miserable. DARK SUN is a setting with lots of terrible problems because those are heroic calls to action. Your characters show their mettle in how they respond to the crises of the world.
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Arbitrarily dying of dehydration in the middle of the desert isn't fun for anyone. Resource scarcity and environmental hazards are flavor enhancers: They increase the sense of peril, and color the backdrop, for the story of the other problems that you encounter.
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DARK SUN's entire endgame is premised on transformation—both transformation of the self into an entity of majestic power, and transformation of the world around you to make it safe and vibrant once more.
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But some people use this idea of "DARK SUN is hard times!" as a justification to just gather up all of the terrible ways that you can mistreat players and claim that not including these problems would ruin the game.
This is nonsense, of course.
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Every game should be an exercise in finding what makes the game work for your players. If your players, who are presumably there for a good time, don't want to engage with certain things that are painful or just tiresome, then you don't do those things.
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And what you do at your own table has no impact on what someone else does in their game. BUT.. when you are selling a book to thousands of people, what you include, and what you focus on, sets the tone for what you think is important to your game.
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If you set your focus up front on things that should carry a content warning... tough stuff like slavery, rape, genocide... and you don't work to explain how to mitigate this content, to repudiate it or to show how to account for players' rejection of it...
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... you've just implicitly made a statement about the kind of game that you're selling. You've made it clear that you do not give two shits about some of the players out there, and about how your game's fictional premises cross over into real world ideas of bigotry.
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The problem with DARK SUN is not that it's a setting that has slavery. It's that too often RPGs present issues like slavery, racism, sexism, and genocide poorly. And they never stop to ask people who were actually affected by these real-world ideas about how they feel.
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Turning someone else's heritage of suffering or personal trauma into an entertaining anecdote for yourself is a pretty callous act. It's also just bad marketing. Why would you do something that's going to drive away potential players?
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If you want to revive and revitalize DARK SUN, you have to do it like the heroes in its denuded and dying world. You shoot for a better tomorrow and you grapple with the problems of the past, looking for a new way forward.
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You can't get new converts to old ideas by keeping them ossified in outdated concepts. One of the lessons of DARK SUN is that you can't turn back the clock. Rajaat, the great villain of the setting, tried to bring back the past, and he failed.
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You move forward by taking those old ideas and re-inventing them in a new way that is relevant and appropriate to more people. You create a new form that brings in a new audience. You take what's familiar and you make it relatable to more people.
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This doesn't mean that you just take some current material and slap new labels on it. You look to the core of why the ideas behind the game matter, what's relevant, why its pieces exist, what functions they serve. Then you build a modern architecture with them.
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Every gulch-hugger out there who argues in favor of being needlessly cruel or petty to potential new players (or even old fans!) is destroying the possibility of bringing people in to play the game that they claim they're trying to promote.
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If you want to make a new iteration of DARK SUN, official or otherwise, you need to give people reasons to love it. Not reasons to avoid it.
~Fin~
P.S. You should listen to the people from communities who are actually affected by this stuff, so for instance, watch this:
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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.
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/
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)
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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?
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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.
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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.)
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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.
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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.
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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!
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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.)
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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)
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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.
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"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.