Finding Me at Gen Con

Once again that mammoth wave of sensory overload we call Gen Con,wherein we all magically remember again that gaming is fun and community brings joy, approaches at its typical barreling speed.
I’m very much looking forward to this year’s event. My top priority during exhibit hall hours is to chat with the people who read my books and play my games. By all means, please feel empowered to swing by and strike up a conversation or get a book signed. That’s what I’m there for. My newest game, The Gaean Reach, would look very nice with my signature on it. So would Hillfolk, The Esoterrorists 2nd Edition, or any number of fine products, recent or classic.
When I am not palavering at a panel, I’ll do my best to be at the Pelgrane Press booth during show hours—with the usual gaps when I am pulled away for interviews and business entreaties, or succumb to the cruelly inevitable exhibit hall pizza slice. That’s the auspiciously numbered Booth 101.
My public events sked goes like this:
Thurs 4 pm, Feng Shui 2 panel
Join the Feng Shui 2 team for scoops, teasers and art previews, including announcements regarding the upcoming Kickstarter campaign. (Crowne Plaza : Conrail Stn)
Fri 1 pm, Ken and Robin Talk About Stuff Live
Robin D. Laws and Kenneth Hite talk roleplaying, history, conspiracy, occultism, writing, food, movies and whatever you ask them about in this live edition of their award-winning podcast. (Crowne Plaza : Victoria Stn C/D)
Seminars don’t generally require tickets, but people have been grabbing them for KARTAS Live, so if you’re the cautious type you might want to pop over to the Gen Con site to reserve.
Fri 11 am, Pelgrane Press panel
Lob questions at the Pelgrane conclave regarding GUMSHOE, 13th Age and more. (Site TBA)
Note new time!
Sat 4 pm, GUMSHOE Adventure Masterclass
Learn to structure investigative scenarios with the GUMSHOE gurus. (Site Westin)
The last two events have yet to propagate to the Gen Con site. I’ll update when locations become available, and spread the word via social media on the day.

Ken and Robin Talk About Stuff: In a Non-Necromantic Context

In the latest episode of our well-fortified podcast, Ken and I talk the On Words conference, Jack Vance, defensive scenarios and The Nazi Occult.

Core Resolution and Emotional Dynamics

How To Design Games the Robin Laws Way

(Part Six of Several; see part one for introduction and disclaimer)

With the core book outlined, it’s time to tackle the question of the game’s core resolution system.

(The reality isn’t so linear; thoughts about the book’s structure generally arise in parallel to ideas about the resolution system.)

If you’re designing a new game based on an existing core rules set, the choice is simple—let’s use that one. It might be dictated to you by the publisher, or a decision that you make as a designer. In the latter case, you'll obviously be constrained to the core rules sets available to you. Most likely, you’re working with a rules set by the same publisher. Or you might be using one available through a license, open or limited. We’ve already talked about the process of fitting a new game to an existing rules set; you’re presumably doing the Game X take on Y genre/setting.

If, however, I’m working from scratch, I want to design a core resolution system that creates the emotional dynamic implied by the core goal. Dying Earth, with its rolls and rerolls, evokes the comical back-and-forth of the source material. DramaSystem emulates the basic construction of dramatic scenes and otherwise gets out of the way. HeroQuest zooms out to a broader emulation of story construction, including the pass/fail cycle I later refined in Hamlet's Hit Points. GUMSHOE asks why it feels cool when heroes gather information in a mystery story, and brings that to the gaming table.

I never start out with a novel or abstractly intriguing mechanical idea and then try to build a game around that chassis. It starts with feeling. The mathematical construct is secondary; what the players are feeling when they use it is everything.

Recently I had the experience of switching from one core system owned by my publisher to the other. Before digging into the research for The Gaean Reach, I figured it would be Skulduggery-based, with bits of GUMSHOE sorted in. After reacquainting myself with Jack Vance’s delightful source material, I saw how the structure of its stories differed from the superficially similar Dying Earth tales the core rules were originally designed for. The SF novels played were more about investigation with the occasional setback than the constant picaresque reversals undergone by the likes of Cugel and Rhialto. So I shifted gears, to a GUMSHOE core with appropriate Skulduggery elements grafted on. Again this was a matter of creating the right feel, whether or not the crossover between the two systems introduces brand confusion.

See P. XX

In my promotional flurry for The Birds: There Goes My Dream Job I have been remiss in directing you to the April edition of Pelgrane Press’ webzine, See P. XX.

My eponymous column previews The Gaean Reach design process, explaining how a game I thought was going to be Skulduggery with a dash of GUMSHOE asserted itself the other way around.

But that’s just for starters! Also included:

• an inquiry into the love life of the doomed Augustus Darcy, from Book of the Smoke
• an introduction to the gorgeous artwork of new Pelgrane illustrator Phil Reeves
• tradecraft and character dossiers for Night’s Black Agents
• playtesting opportunities, including The Gaean Reach
• tantalizing first looks for the 13th Age, Rob Heinsoo and Jonathan Tweet’s upcoming love letter to dungeon-crawling fantasy adventure
• and as always, Simon’s update on what’s new and in the works at Pelgrane

Five Reasons to Fear Quandos Vorn

During character generation, after determining why they want vengeance against the common enemy called Quandos Vorn, Gaean Reach players specify why catching up with him will prove a task of epic difficulty. Each supplies a reason of particular relevance to his own motivations and backstory. In the in-house playtest, it was determined that Quandos Vorn:

• maintains a troop of elite cloned bodyguards

• constantly disguises himself and is constantly on the move

• controls, through corruption, resources even within the IPCC (interstellar police force)

• can track one of the PCs’ movements and can't be surprised

• constructs elaborate schemes which repeatedly ensnare another of the PCs

This not only further defines their nemesis, but again proves that, given a measure of narrative control, players will screw themselves over in ways they would never permit were a mere GM doing it.

Five Reasons to Hate Quandos Vorn

With Hillfolk in outside playtest and on the brink of a crowdfunding campaign, I’m now in the early stages of The Gaean Reach, Pelgrane’s game of interstellar vengeance, based on the classic cycle of SF novels by Jack Vance. While I originally thought this would be a Skulduggery variant with some GUMSHOE grafted on, it turns out to be the other way around: GUMSHOE with a touch of Skulduggery.

The game’s default campaign frame pits the characters against a nemesis, who they hunt by increments over the course of the series. Every group defines its own nemesis, usually called Quandos Vorn. During character creation, each player indicates what Quandos Vorn did to incur his or her PC’s wrath. This delineates both the nemesis and the player character.

In the in-house game, this is why the protagonists plot revenge against Quandos Vorn:

“After I critiqued his academic paper, he saw to it that I lost everything—my tenure, even my family.”

“I used to be a corrupt interstellar cop on his payroll, until he killed my partner and framed me for a series of crimes I didn’t commit.”

“When my casino would not accommodate his obscene requests, Quandos Vorn shut it down.”

“His ponzi scheme collapsed the star-spanning financial empire I was supposed to one day inherit.”

“To keep himself sharp, Quandos Vorn hunts, battles, and kills clones of himself. The only clone to ever survive one of these pursuits, I seek to avenge the humiliating defeat that left me hideously disfigured.”

From those five statements, we know much about Quandos Vorn’s behavior and capabilities—and even more about the people who seek him.

Precisely Subjective

At Gaming as Women, Darla Magdalene-Shockley posits that subjective reward mechanics, dispensed for entertaining roleplaying, carry the risk of unconscious gender bias. Regarding actual play with Paranoia XP, she observes:

[W]e are all socialized very strongly to view women in certain ways. We expect women to be responsible, do the boring administrative work, and in general shut down the fun.  We emphatically do not expect women to be silly.  So women are less likely to be silly, and everyone is less likely to notice when they are.  The Paranoia GM (despite being quite the stand-up guy) is less likely to notice and reward it.

Unexamined assumptions at the gaming table, including those surrounding gender, can certainly play havoc with what is meant to be a facilitator of gaming fun. Many people first came to RPGs as a structured way of overcoming shyness. Quiet, uncertain or casual players, whether they’re that way out of socialization or inclination, or both, will get left behind by rules that do this—and maybe feel uncomfortably singled out when the GM takes compensating measures.

On the other hand, all games inevitably favor certain personal traits over others. The vast corpus of traditional games reward math savvy, recollection of complex rules, and willingness to spend time poring over rules text searching for optimal character build choices. In this context it hardly seems unreasonable that players with confident performance and improv skills will prosper in games falling on the story side of the spectrum.

A middle ground can be found by narrowing and defining the subjectively rewarded activity. The Dying Earth and its descendants, Skulduggery and The Gaean Reach (which I’m working on now), all mechanically encourage you to weaving taglines (supplied lines of dialogue) into the session. They bribe you to talk like Jack Vance’s characters, an essential element in creating the feeling that you’re exploring his worlds.

The GM does judge how effectively you use a given tagline, but by gauging the reactions of the group to your bon mots, which takes into account an observable, gestalt subjectivity if not objectivity. Where the instruction to “be entertaining” is broad and hard to define, the metrics for taglines are clear and simple. If, for whatever, reason you’re less than voluble, taglines give you highly structured permission to seize spotlight time.

Seeking Toronto-Area Gamer For Thursday Night Playtest Group

I am once again looking to augment the ranks of my Thursday night playtest group—hence this open call for one new recruit.

To join the group, you’ll need to be reliably free on Thursday nights and able to get to the Bloor-Bathurst area in downtown Toronto. We meet from 7 pm to 10 pm.

You will also need a saintly tolerance for my playtesting needs. I run games I’m either designing or need to familiarize myself in order to do freelance work for. In the early going a new game may crash and burn, mandating a return to the drawing board. Often I’ll have to suddenly abandon a successful series in midstream to go on to the next thing. We usually play RPGs but there’s always the chance you may be asked to test-drive a card or board game along the way.

At present we have just entered our second season of Hillfolk, the first game using the new DramaSystem engine. It works within the storygame tradition, focusing on narrative and character development, setting traditional butt-kicking and problem-solving by the wayside. This game will continue until at least spring. Next up will be Gaean Reach, a game of interstellar mystery and vengeance using the GUMSHOE system, with touches of Skulduggery thrown in for good measure.

Please put yourself forward only if you can realistically make a long-term commitment to showing up every Thursday night.

If you’re interested, get in touch either by leaving a comment on this blog, or via private message on Facebook or G+, or DM on Twitter.

With All Due Punctilio

One piece of writing advice I have increasingly come to reject is the one that urges you to exterminate all trace of mannerism. Certain words are too distinctive, so the admonition goes, to use more than once in the course of a novel.

One particularly nutsoid bit of outward-turned insecurity I ran across a while back went so far as to complain about writers who used the simple word “tone” more than one in a book-length work.

Sure, you have to be aware of terms and expressions you overuse reflexively, and to be conscious of how hard you’re leaning on them.

But certain words are so distinctive that they help transport you into a writer’s particular world and vision. Recently, in preparation for an upcoming project, I had the pleasure of reading fourteen of Jack Vance’s Gaean Reach novels in a row. Vance rightly receives praise as one of the finest stylists in genre writing. And you know what? He breaks a bunch of supposed writing rules left and right, without blotting his copybook. Foremost among these is the injunction against re-use of exotic words. I don’t feel I’m truly in a Vancian setting until someone acts with punctilio. Or speaks with candor. An insulting reference to dog barbers becomes not a tired return to the same well, but a welcome moment of gratification—a return visit with an old friend.

Prose greats don’t vanish into the page. They grab hold of written language and make it theirs.

Jack Vance owns punctilio. But maybe we can aspire to our own landmark words, and free ourselves to use them with the ruthless abandon true masters employ.