So I'm seeing a lot of Monolithic "WotC doesn't want to do this" or "WotC doesn't care about this" comments in regard to a lot of trending points of conversation, and I think, once again, it's important to point out "WotC" in these instances isn't a monolith.
The people in charge of the profitability of the company have their goals, the people in charge of marketing the brands of D&D and Magic want certain things, and they want those things in context of the brands, not the specific games.
The people in charge of the actual game development and the success of the specific games want different things than all of those other folks, and have to balance those desires against what gets set as a company priority.
I'm saying this in part to point out that the person that wants the D&D movie to be successful, wants D&D streaming shows to take off, and wants D&D clothing and other merchandise to take off probably has very little care for what the OGL is or does.
If the OGL doesn't touch on anyone else using WotC IP to market themselves, then it's not really part of their sphere of responsibility.
The people that are working more directly on digital initiatives are worried about generating a steady revenue stream through D&D Beyond and other digital tools. The OGL doesn't allow anyone access to their digital platforms, so it's likely not part of their overall plans.
The decisions they are making will likely revolve around the continued offering of new official content will be on 3rd party sites, like VTTs, once WotC is closer to having their own solutions.
While there are ramifications for 3pp publishers, in that their material cannot digitally interact with official resources produced after a certain date, the exclusivity is likely more about controlling the revenue stream rather than cutting off 3pp profits.
The real hurdle, for anything regarding the OGL, is much more likely someone making a case that anything new should be added or updated as the rules change for 2024.
We know when D&D 4e was released that there were people that worked at WotC that wanted an OGL, and from what was said at the time, the road to the GSL was more of a battle with the legal department than it was with anyone that had a conflicting business plan.
It's probably also worth noting the breadth of what has been done with existing OGL statements. Older editions of D&D have been reverse-engineered from the 3e version of the OGL, and WotC wasn't moved to challenge them.
Early in #DnD5e's life cycle, before the 5e version of the OGL was released, a couple of years into the game's release, there were OGL 5e supplements released using the 3e version of the OGL.
The main bit of tiptoeing that happened with these adventures and settings, which usually featured monsters, backgrounds, magic items, and spells, but stayed away from too much subclass design, was using phrases like "tactical advantage" instead of just "advantage."
I think the biggest area of concern for 3pp isn't going to be if they can produce content under the 2024 rules. It's going to be how much the consumers of the 2024 rules consider the digital means of delivery, and thus, how cut off they will be from the assumed experience.
The main thing that is going to affect that is going to be if WotC finds out that their integrated VTT solution isn't going to progress as quickly as they hope, and the degree to which they want to cut themselves off from sales on VTT platforms while they wait.
And all of that is only going to concern the upper echelons of the company and brand management if it seems like that will cut into the sales of the game itself.
We're going to see a lot revolve around how much some of the newer people in key positions at WotC can make the VTT and D&D Beyond work like ongoing "games as a service" or "licensed software" models used by companies that provide digital content.
Reading some commentary on Banishment to day got me thinking about the classic trope of banishing something to another dimension, and how to express that in #DnD5e
The tricky thing is, banishment in most stories isn't a "the caster snaps their fingers, says a word, and their gone" kind of thing. I may have recently been reminded of this watching the Willow series on Disney Plus.
On one hand, you could fix this by just making the casting time longer, but having one spellcaster in the group dedicating their action to casting a spell for a longer period than most fights take doesn't seem like fun, or fit the playstyle.
Finally, finally got to play #DnD5e again tonight after being sick last time around. I'm probably going to jinx myself, but I'm feeling pretty good right now. At any rate, we had a few developments.
The PCs were trying to free a group of clerics that had been kidnapped by zealots of Ba'al, and each of the clerics had a magical trapped lock on them based on the Arcana of the Deck of Many Things.
Each cleric had a card's symbol that was antithetical to their religion showing, and they needed to be moved to the opposite of those symbols in order to free the cleric without triggering the trap.
I've finished Chapter 7: Siege of Kalaman, which is the final "adventure" chapter of the book. One note, this can be a little confusing, because this isn't the Siege of Kalaman as described in the Dragonlance Chronicles, but an earlier point in the War of the Lance. "A" Siege.
Essentially, the PCs need to be able to infiltrate a location, but while they are waiting to have the means to do that, they end up encountering various elements of Red Dragonarmy forces that need to be repelled. In general, I like all of these encounters.
It does follow that same format that I'm not a fan of from previous chapters, where you have a list of encounters, and are told to run however many you want. But I can live with that, because I like them.
For reasons, I've been flipping through some of my 3.5 Dragonlance books, and at the end of the section describing a region, there are Adventure Ideas. Why do I point this out?
Because SO MANY campaign setting sourcebooks still spend hundreds of pages detailing locations without pausing to say "this is what kind of adventures we're picturing for this location."
There are fascinating settings out there, even ones that are a lot of fun to read, but that are hard to digest or retain, because it might be a hundred pages of facts about a fictional place without letting us absorb the information creating emotional beats to hitch memory to.
Shadow of the Dragon Queen Chapter 6: City of Lost Names read through:
Just finished up the next chapter of the adventure, and as per usual, I've got some thoughts on how it unfolded.
The opening section of this chapter, leading to the location that the PCs have been trying to find, is another of those callbacks that reminds me a bit of the original adventure and the Sla-Mori, the hidden path into Pax Tharkas.
There are four locations in this section, with three meant to be explored. The fourth is next chapter's problem, and to dissuade players from going there, it's the most heavily guarded.
I know it's a bit out of date, as it ended with Eisner's departure, but every time I see someone talking about a Disney project that got screwed over in the promomtion phase, I think of Disney War, and how sometimes someone that wants a project to die tries to kill it indirectly.
This is definitely part of Disney corporate culture. When someone that is the head of this studio or that gets to make a decision that slides unded the radar of someone else in the company, this is how they kill a project that is already in the pipeline.
Sometimes it's about "I don't want the head of that division to look good," and sometimes it's "oh, shit, I didn't realize it was about that," but its a thing that definitely does happen at Disney. Someone wanted Strange World dead.