Justin Achilli

Month: June, 2009

GM Experiment: Kanban Encounters, Part Two

When we last left our kanban cards, they had ambitiously occupied the foreshadowing category. I had removed them and left their pins in that column, ready to foreshadow them in my game. That’s why I had them with me as physical artifacts at the game table: to remind me to use them. You don’t have to take these to the table with you if you’re the fast-and-loose sort who keeps it all in his head, but the tangible card is part of the appeal of kanban. I won’t issue you a citation for doing it wrong. Or rather, I will, but it’s not a moving violation, so it won’t affect your insurance.

Anyway, at the game table, I drop a hint or two about my upcoming events. These don’t have to be anything specific or address any defined criteria. They’re just there to give the players a sense that things happen with meaning in the game world, and to give the puzzle-solver players something to runimate over.

Note that I don’t plan to spring the encounter during this game session. Right now, I’m just setting the stage, testing the waters, or using whatever pained simile strokes your esophagus like a pet owner giving the poor animal a pill.

Here’s what I tease:

Example One: Vampire Chronicle (Blood Cult)

A ghoul the Kindred encounter sneers dismissively at them when they offer a bit of vitae in exchange for some sensitive information. “My master and his congregation see to it that I’m provided for,” he replies. It seems like standard my-regnant-is-better-than-your-sire brinksmanship, but it certainly indicates that something is happening beneath the surface. A savvy Vampire player will pick up on the ominous innuendo, but it’s not required for the current plot thread to move forward, nor is it critical to manifest the blood cult’s presence down the road.

Example Two: D&D Campaign (Gnoll Ambush)

As the party makes its way out of the Silent Valley toward Duke Torgal’s castle they hear the jackal-like howls of the gnolls, which are very different from the wolves that normally lurk in the valley. They mention that they’re doubling their guard, paying acute attention, or taking another precautionary measure.

Obviously, the D&D example is much more direct than the Vampire example, but that’s okay. In the D&D game, my players are used to a more action-oriented style of play, so ominous portents usually signify imminent kickass. My Vampire players are more used to culling through various cryptic statements for hidden meaning… when they’re not blundering into their fellow Kindred’s best-laid traps, of course. This is wholly a matter of taste and narrative. Decide your intent, and play to your group in the way you want them to interpret the foreshadowing.

After the game concludes, I have a decision to make. Having capital-F Foreshadowed, like my column on the kanban chart tells me to do, is the encounter “primed,” as it were? If the answer is yes, well, hell, I can move it up into the Ready to Use column and actually turn it loose next time (or whatever time works best). The vast majority of the time, this is going to be the answer. Even if the players don’t respond at all, that’s okay. They’ve been introduced to the concept, so it can enter the game gracefully.

If the answer is no, I have some questions to answer. Why is this not ready for use? Did it fly completely over the players’ heads? Maybe it needs to go stay in the Foreshadowing stage for a little more teasing. Did the players react negatively — did they say, “Oh, man, gnolls again?” or take some course of action to steer themselves well away from the expereince? Maybe it needs a little more retooling to satisfy their tastes. If they hated the very idea of it, and not in the savoring mock-dread sort of fashion, maybe it’s best to ditch it entirely.

Whatever the case, the card goes somewhere. It’s okay to send it back a step for more conceptual work, to be teased again when the idea is more solid or satisfying. It’s okay to send it forward into the Ready to Use column if you as GM think it’s time is nigh. It’s even okay to throw the card away entirely. Not every idea is golden, and that opens a new card slot in the Planning stage to cultivate a new idea.

Back to the examples.

Example One: Vampire Chronicle

Let’s say the ghoul’s coment has intrigued one of the players. He mentions that he wants to take the haughty creep aside and coax more information out of him with a little “percussive therapy.” We play out the scene, I tease a bit more, and then I take my card home at the end of the session and advance it to the Ready to Use column.


Example Two: D&D Campaign

The players have taken immediate precautions, which is gratifying, but I’ve teased it too soon. They think the creature howling through the valley is coming now. Too soon. I don’t want to rush the ambush, so I lay off the foreshadowing. In fact, I keep it in the Foreshadowing column, so I can tease it again next session, or whenever the best time would be to revisit the idea.


The important thing here is to decide what you want to do with the idea. Advance it? Polish it? Throw it away? And again, this all sounds like a lot of work, but it’s really lot. It’s just an organization tool to help you keep track of your storylines.

In this GM exercise, an idea “overflows” into the next pipeline-column when it’s ready — when it can no longer be contained by its current column — or it “drips down” into a prior stage of iteration. It’s not a failure to take an idea a step back, you’re just placing it back in the idea incubator.

Next, we’ll cover Ready to Use and Revisit. See ya soon!

GM Experiment: Kanban Encounters, Part Two

When we last left our kanban cards, they had ambitiously occupied the foreshadowing category. I had removed them and left their pins in that column, ready to foreshadow them in my game. That’s why I had them with me as physical artifacts at the game table: to remind me to use them. You don’t have to take these to the table with you if you’re the fast-and-loose sort who keeps it all in his head, but the tangible card is part of the appeal of kanban. I won’t issue you a citation for doing it wrong. Or rather, I will, but it’s not a moving violation, so it won’t affect your insurance.

Anyway, at the game table, I drop a hint or two about my upcoming events. These don’t have to be anything specific or address any defined criteria. They’re just there to give the players a sense that things happen with meaning in the game world, and to give the puzzle-solver players something to runimate over.

Note that I don’t plan to spring the encounter during this game session. Right now, I’m just setting the stage, testing the waters, or using whatever pained simile strokes your esophagus like a pet owner giving the poor animal a pill.

Here’s what I tease:

Example One: Vampire Chronicle (Blood Cult)

A ghoul the Kindred encounter sneers dismissively at them when they offer a bit of vitae in exchange for some sensitive information. “My master and his congregation see to it that I’m provided for,” he replies. It seems like standard my-regnant-is-better-than-your-sire brinksmanship, but it certainly indicates that something is happening beneath the surface. A savvy Vampire player will pick up on the ominous innuendo, but it’s not required for the current plot thread to move forward, nor is it critical to manifest the blood cult’s presence down the road.

Example Two: D&D Campaign (Gnoll Ambush)

As the party makes its way out of the Silent Valley toward Duke Torgal’s castle they hear the jackal-like howls of the gnolls, which are very different from the wolves that normally lurk in the valley. They mention that they’re doubling their guard, paying acute attention, or taking another precautionary measure.

Obviously, the D&D example is much more direct than the Vampire example, but that’s okay. In the D&D game, my players are used to a more action-oriented style of play, so ominous portents usually signify imminent kickass. My Vampire players are more used to culling through various cryptic statements for hidden meaning… when they’re not blundering into their fellow Kindred’s best-laid traps, of course. This is wholly a matter of taste and narrative. Decide your intent, and play to your group in the way you want them to interpret the foreshadowing.

After the game concludes, I have a decision to make. Having capital-F Foreshadowed, like my column on the kanban chart tells me to do, is the encounter “primed,” as it were? If the answer is yes, well, hell, I can move it up into the Ready to Use column and actually turn it loose next time (or whatever time works best). The vast majority of the time, this is going to be the answer. Even if the players don’t respond at all, that’s okay. They’ve been introduced to the concept, so it can enter the game gracefully.

If the answer is no, I have some questions to answer. Why is this not ready for use? Did it fly completely over the players’ heads? Maybe it needs to go stay in the Foreshadowing stage for a little more teasing. Did the players react negatively — did they say, “Oh, man, gnolls again?” or take some course of action to steer themselves well away from the expereince? Maybe it needs a little more retooling to satisfy their tastes. If they hated the very idea of it, and not in the savoring mock-dread sort of fashion, maybe it’s best to ditch it entirely.

Whatever the case, the card goes somewhere. It’s okay to send it back a step for more conceptual work, to be teased again when the idea is more solid or satisfying. It’s okay to send it forward into the Ready to Use column if you as GM think it’s time is nigh. It’s even okay to throw the card away entirely. Not every idea is golden, and that opens a new card slot in the Planning stage to cultivate a new idea.

Back to the examples.

Example One: Vampire Chronicle

Let’s say the ghoul’s coment has intrigued one of the players. He mentions that he wants to take the haughty creep aside and coax more information out of him with a little “percussive therapy.” We play out the scene, I tease a bit more, and then I take my card home at the end of the session and advance it to the Ready to Use column.

Example Two: D&D Campaign

The players have taken immediate precautions, which is gratifying, but I’ve teased it too soon. They think the creature howling through the valley is coming now. Too soon. I don’t want to rush the ambush, so I lay off the foreshadowing. In fact, I keep it in the Foreshadowing column, so I can tease it again next session, or whenever the best time would be to revisit the idea.

The important thing here is to decide what you want to do with the idea. Advance it? Polish it? Throw it away? And again, this all sounds like a lot of work, but it’s really lot. It’s just an organization tool to help you keep track of your storylines.

In this GM exercise, an idea “overflows” into the next pipeline-column when it’s ready — when it can no longer be contained by its current column — or it “drips down” into a prior stage of iteration. It’s not a failure to take an idea a step back, you’re just placing it back in the idea incubator.

Next, we’ll cover Ready to Use and Revisit. See ya soon!

GM Experiment: Kanban Encounters, Part One

Kanban is a lean-production technique used to maximize productive output while reducing overhead and bottlenecks. Kanban itself means “billboard,” and that’s part of the process — the kanban practicioner tracks the progress of a production item via corkboard and note cards. When a product finishes one stage of production, it moves over into the next column, and then on to the next when that’s complete, etc.

 

I’d like to adapt this technique to gamecraft.It’s something that a player would probably never see, but I think it’d be a great way for a gamemaster to organize encounters. It seems like a good way to handle key plot events and balance them with enough idea creation (in whatever method you use) to know when you’re done with planning and ready to spring them on the players.

This all sounds like a lot of work, and far less spontaneous than many people like to be around the table. In practice, it’s fast. It’s actually not a lot of work — it’s just a way of keeping track of what you’re doing. It can be precisely as spontaneous as you wish, as you’re the one taking the notes, deciding how much information you need to prepare yourself for a game, and when it’s sufficiently done to move into its next column. The idea stays strongly in your mind because you’ve physically moved the card — you’ve committed to moving an artifact, rather than just having a vague idea in your head or scribbled onto a notepad. That’s why companies practicing “lean” production and “agile” development use it. I’m just extrapolating it from a work-management framework to a game-mastering framework.

A four-column arrangement would handle this fairly well, I think. The columns I’ll use are Planning, Foreshadowing, Ready to Use, and Revisit. As I complete each step of the encounter, I’ll move the card one step to the right on the kanban board. Also, I’ll limit the number of cards that can occupy the board at any one time to seven. This will help me keep a number of irons in the fire, but will prevent me from losing focus or unraveling too many plot threads at a single time.

I’ll present two different examples here, one for a story driven system (Vampire) and one for a more mechanically sustained system (D&D). I wouldn’t keep these on the same board because I wouldn’t want them confused. The fantasy scenario would be out of place in the Vampire chronicle, obviously.

Planning

At this stage, I’m still working on the idea. I take a note card and write a brief synopsis — two words, nothing more than the barest bones of the idea — and write it on the card. On the opposite side of the card, I’ll place the encounter’s notes as they come to me.

This card resides here until the planning is done. When I’m ready to start teasing it into play, I’ll move it into the foreshadowing column, but I’m not there yet. I’m still making notes.

Example One: Vampire Chronicle

On the synopsis side of the card, I write “Blood Cult.” On the back of the card, I scribble enough notes to give me substance to work with. I write “A powerful elder has been maintaining a cult of mortal worshipers and jeopardizing the Masquerade. That’s all I need for the narrative style of play driving Vampire. I can drop the clue and see how the players react, so this is done. I move it over into the Foreshadowing column.

Example Two: D&D Campaign

On the synopsis side of the card, I write “Gnoll Ambush.” On the back of the card, I jot down a small stat block for the gnolls, maybe a rough sketch of a map where the ambush might occur, any treasure, and the usual stuff I’ll need for a combat scenario. However, I also not the gnolls’ motivations — they’ve been hired by a corrupt noble to put an end to the do-gooding party of adventurers. She liaises with the gnolls through a repulsive toady — you don’t think she’d talk to the creatures themselves, do you? Into the Foreshadowing column it goes.

On game night, I take the relevant card off the board, but I leave the pushpin where I removed it. This is to remind me where the card was, and give me the chance to consider its placement after the game.

Next, we’ll cover the Foreshadowing stage. Stay tuned!

GM Experiment: Kanban Encounters, Part One

Kanban is a lean-production technique used to maximize productive output while reducing overhead and bottlenecks. Kanban itself means “billboard,” and that’s part of the process — the kanban practicioner tracks the progress of a production item via corkboard and note cards. When a product finishes one stage of production, it moves over into the next column, and then on to the next when that’s complete, etc.

 

I’d like to adapt this technique to gamecraft.It’s something that a player would probably never see, but I think it’d be a great way for a gamemaster to organize encounters. It seems like a good way to handle key plot events and balance them with enough idea creation (in whatever method you use) to know when you’re done with planning and ready to spring them on the players.

This all sounds like a lot of work, and far less spontaneous than many people like to be around the table. In practice, it’s fast. It’s actually not a lot of work — it’s just a way of keeping track of what you’re doing. It can be precisely as spontaneous as you wish, as you’re the one taking the notes, deciding how much information you need to prepare yourself for a game, and when it’s sufficiently done to move into its next column. The idea stays strongly in your mind because you’ve physically moved the card — you’ve committed to moving an artifact, rather than just having a vague idea in your head or scribbled onto a notepad. That’s why companies practicing “lean” production and “agile” development use it. I’m just extrapolating it from a work-management framework to a game-mastering framework.

A four-column arrangement would handle this fairly well, I think. The columns I’ll use are Planning, Foreshadowing, Ready to Use, and Revisit. As I complete each step of the encounter, I’ll move the card one step to the right on the kanban board. Also, I’ll limit the number of cards that can occupy the board at any one time to seven. This will help me keep a number of irons in the fire, but will prevent me from losing focus or unraveling too many plot threads at a single time.

I’ll present two different examples here, one for a story driven system (Vampire) and one for a more mechanically sustained system (D&D). I wouldn’t keep these on the same board because I wouldn’t want them confused. The fantasy scenario would be out of place in the Vampire chronicle, obviously.

Planning

At this stage, I’m still working on the idea. I take a note card and write a brief synopsis — two words, nothing more than the barest bones of the idea — and write it on the card. On the opposite side of the card, I’ll place the encounter’s notes as they come to me.

This card resides here until the planning is done. When I’m ready to start teasing it into play, I’ll move it into the foreshadowing column, but I’m not there yet. I’m still making notes.

Example One: Vampire Chronicle

On the synopsis side of the card, I write “Blood Cult.” On the back of the card, I scribble enough notes to give me substance to work with. I write “A powerful elder has been maintaining a cult of mortal worshipers and jeopardizing the Masquerade. That’s all I need for the narrative style of play driving Vampire. I can drop the clue and see how the players react, so this is done. I move it over into the Foreshadowing column.

Example Two: D&D Campaign

On the synopsis side of the card, I write “Gnoll Ambush.” On the back of the card, I jot down a small stat block for the gnolls, maybe a rough sketch of a map where the ambush might occur, any treasure, and the usual stuff I’ll need for a combat scenario. However, I also not the gnolls’ motivations — they’ve been hired by a corrupt noble to put an end to the do-gooding party of adventurers. She liaises with the gnolls through a repulsive toady — you don’t think she’d talk to the creatures themselves, do you? Into the Foreshadowing column it goes.

On game night, I take the relevant card off the board, but I leave the pushpin where I removed it. This is to remind me where the card was, and give me the chance to consider its placement after the game.

Next, we’ll cover the Foreshadowing stage. Stay tuned!

Actual Play: Death Drums on the Thunder Plains


Nobly, the heroes sallied forth to strike down the goblin foe plaguing the Thunder Plains. Ignobly, they were ground to paste, and only the aptly named elven avenger Angrist survived. A dead tiefling bard, a dead dragonborn paladin, and a dead eladrin wizard still remain as corpses on the battlefield.

The goblins came foridably to battle, bringing archers, infantry, and spellcasting support. Four sharpshooters, three hexers, and six skullcleavers crept across the plain to slaughter the pilgrimage, and, well, they did a damned fine job.

Neither side had a terrain advantage on the open plain, but the goblins’ numbers and diversity gave them an insurmountable edge. Magic support plus ranged weapon support plus vigorous (if rudimentary) melee fighters equals 75 percent dead PCs.

The party spread itself too thin, you see, and the wily goblins filled in the gaps, isolating individual good guys and hacking them to flinders. Certainly, the monsters had the advantage of numbers, and they maintained that upper hand throughout the majority of the fight. Although supremacy teetered back and forth in the early stages of the fight, once the goblins had taken the lead, they kept it, to the bloody end.

Notable Positive Experiences: The avenger — a movement-based class — was the victim of a stinging hex that inflicted damage if he moved. Lo, the irony. Ultimately, while under the curse, he sucked it up and moved, which was a dramatic moment to see. A broad selection of enemies made for an interesting combat, as opposed to a lot of the same creature type, which makes for a fairly one-note encounter.

Notable Negative Experiences: The party separated early, so a lot of the synergies between party members just couldn’t happen once the goblins had them on the ropes. The leader bard was isolated, so none of his battlefield control made a tinker’s damn of difference. The wizard survived a few clumsy attacks on the part of the goblins, but was also isolated, and with any competency at all on the part of the enemy, would have been chum earlier than she already was.

Also, “just add more enemies” isn’t that simple. Previous lunch scenarios had belonged entirely to the players. They had no reason to balance their per-level expenditures so they basically went in with all guns blazing. I doped up the number of enemies to challenge them more, but I added too many, and once the fix was in, it was lights out for the players, who should have still maintained the advantage.

It also didn’t help that the scenario too two lunch periods to play, and they were three weeks apart. hey, we were busy. Anyway, this probably could have been solved with a greater degree of fine tuning.

Despite all this, I still can’t take goblins seriously. Too much Warhammer or Warcraft, perhaps. I imagine my goblins more like those in the Lord of the Rings movies, but their presentation in much of fantasy roleplaying is more like misguided comic relief, kind of like green gnomes. Also, fifty-three hit points is a lot for a goblin jabroni.

Actual Play: Death Drums on the Thunder Plains

Nobly, the heroes sallied forth to strike down the goblin foe plaguing the Thunder Plains. Ignobly, they were ground to paste, and only the aptly named elven avenger Angrist survived. A dead tiefling bard, a dead dragonborn paladin, and a dead eladrin wizard still remain as corpses on the battlefield.

The goblins came foridably to battle, bringing archers, infantry, and spellcasting support. Four sharpshooters, three hexers, and six skullcleavers crept across the plain to slaughter the pilgrimage, and, well, they did a damned fine job.

Neither side had a terrain advantage on the open plain, but the goblins’ numbers and diversity gave them an insurmountable edge. Magic support plus ranged weapon support plus vigorous (if rudimentary) melee fighters equals 75 percent dead PCs.

The party spread itself too thin, you see, and the wily goblins filled in the gaps, isolating individual good guys and hacking them to flinders. Certainly, the monsters had the advantage of numbers, and they maintained that upper hand throughout the majority of the fight. Although supremacy teetered back and forth in the early stages of the fight, once the goblins had taken the lead, they kept it, to the bloody end.

Notable Positive Experiences: The avenger — a movement-based class — was the victim of a stinging hex that inflicted damage if he moved. Lo, the irony. Ultimately, while under the curse, he sucked it up and moved, which was a dramatic moment to see. A broad selection of enemies made for an interesting combat, as opposed to a lot of the same creature type, which makes for a fairly one-note encounter.

Notable Negative Experiences: The party separated early, so a lot of the synergies between party members just couldn’t happen once the goblins had them on the ropes. The leader bard was isolated, so none of his battlefield control made a tinker’s damn of difference. The wizard survived a few clumsy attacks on the part of the goblins, but was also isolated, and with any competency at all on the part of the enemy, would have been chum earlier than she already was.

Also, “just add more enemies” isn’t that simple. Previous lunch scenarios had belonged entirely to the players. They had no reason to balance their per-level expenditures so they basically went in with all guns blazing. I doped up the number of enemies to challenge them more, but I added too many, and once the fix was in, it was lights out for the players, who should have still maintained the advantage.

It also didn’t help that the scenario too two lunch periods to play, and they were three weeks apart. hey, we were busy. Anyway, this probably could have been solved with a greater degree of fine tuning.

Despite all this, I still can’t take goblins seriously. Too much Warhammer or Warcraft, perhaps. I imagine my goblins more like those in the Lord of the Rings movies, but their presentation in much of fantasy roleplaying is more like misguided comic relief, kind of like green gnomes. Also, fifty-three hit points is a lot for a goblin jabroni.

The People Part


Obviously, I come from a storytelling tradition. The mechanics in games that use the Storyteller/ Storytelling system take a back seat to moving the story along. (In fact, I used to kid that the rules were intentionally so bad that they forced you to rely on sensible story outcomes rather than stare into the yawning abyss of the mechanics.)

Story doesn’t really matter much to games.

Heresy! Let’s put that in context, however.

The experience of what makes games doesn’t end with what the players accomplish in the game. What’s important is that the players are together, interacting, communicating, and sharing an experience. The fact that they got together to tell a story about vampires in the cutthroat world of modern art or a raid on Orcus’ temple is secondary. The important part is that they’re doing something together.

That’s where I think tabletop RPGs have a distinct edge over their legacy, online MMOs. In an MMO, the player ostensibly has access to thousands more players at any time — but their interactions are limited by the medium. Most MMOs feature a familiar format of kill-the-monster, gain-the-level. You don’t need other people for that, and if you do, the objective is fairly obvious, so the necessity for communication is minimal.

By contrast, around the table, the player isn’t forced to communicate, she’s already inclined to communicate because being there, with other people, she’s just doing what people do when placed together — she’s forming community. She either already knows the people with whom she’s gaming, or, if this is a first-time session like a convention game, she’s there specifically because meeting people and gaming with them is what people do at a convention.

In this regard, though MMOs overcome the massive barrier of geography, they don’t always do a good job of making the players acquaintances before they throw them into the game itself. Other people aren’t first and foremost friends or acquaintances in networked games, they’re tools to help overcome the environment. They’re game pieces, rather than players.

EVE does a good job of putting players in touch with each other socially: It assumes everyone wants to join a corp, and the experience is designed to put players in corps as early as possible. And that’s why you see EVE, as a comparatively small game (300K subscribers), with a strong, tight community that has closer interaction than many of the larger titles. The social network starts early. It doesn’t always start before the experience of the game, like I did when I was nine and played D&D in my cousin’s basement, but it overcomes that limitation as early as it can.

(Tangentially, you also can’t kill your communication channel. You can minimize, but you can never actually leave the basic channel. You will communicate in the world of EVE, whether you want to or not.)


Look at a Vampire LARP, as another example. Until you start talking to people, you are almost guaranteed to have nothing to do. Character objectives in Vampire LARPs are rarely mechanical — you’re not likely to be tasked with “kill 50 Brujah.” You might want to kill a given Brujah, or maybe even cripple “the Brujah” as an entity, but that all arises from some assumed interaction in the player/ character’s past rather than as a solely systemic objective.

Putting people together is something I’m working on every day. Dana Massey’s blog also covers this topic (with some editorial bias, as Will points out). Be sure to read the comments when you check out that article.

Consider that the next time you’re around the table or logged in. What you’re doing isn’t important as that you’re doing it, specifically with the people who are also there. The experience you can form with those people is greater than the story or world in which you’re doing it. Think beyond the experience at the table or outside the monitor. What do you have in common with those people — outside your characters?

 

The People Part

Obviously, I come from a storytelling tradition. The mechanics in games that use the Storyteller/ Storytelling system take a back seat to moving the story along. (In fact, I used to kid that the rules were intentionally so bad that they forced you to rely on sensible story outcomes rather than stare into the yawning abyss of the mechanics.)

Story doesn’t really matter much to games.

Heresy! Let’s put that in context, however.

The experience of what makes games doesn’t end with what the players accomplish in the game. What’s important is that the players are together, interacting, communicating, and sharing an experience. The fact that they got together to tell a story about vampires in the cutthroat world of modern art or a raid on Orcus’ temple is secondary. The important part is that they’re doing something together.

That’s where I think tabletop RPGs have a distinct edge over their legacy, online MMOs. In an MMO, the player ostensibly has access to thousands more players at any time — but their interactions are limited by the medium. Most MMOs feature a familiar format of kill-the-monster, gain-the-level. You don’t need other people for that, and if you do, the objective is fairly obvious, so the necessity for communication is minimal.

By contrast, around the table, the player isn’t forced to communicate, she’s already inclined to communicate because being there, with other people, she’s just doing what people do when placed together — she’s forming community. She either already knows the people with whom she’s gaming, or, if this is a first-time session like a convention game, she’s there specifically because meeting people and gaming with them is what people do at a convention.

In this regard, though MMOs overcome the massive barrier of geography, they don’t always do a good job of making the players acquaintances before they throw them into the game itself. Other people aren’t first and foremost friends or acquaintances in networked games, they’re tools to help overcome the environment. They’re game pieces, rather than players.

EVE does a good job of putting players in touch with each other socially: It assumes everyone wants to join a corp, and the experience is designed to put players in corps as early as possible. And that’s why you see EVE, as a comparatively small game (300K subscribers), with a strong, tight community that has closer interaction than many of the larger titles. The social network starts early. It doesn’t always start before the experience of the game, like I did when I was nine and played D&D in my cousin’s basement, but it overcomes that limitation as early as it can.

(Tangentially, you also can’t kill your communication channel. You can minimize, but you can never actually leave the basic channel. You will communicate in the world of EVE, whether you want to or not.)

Look at a Vampire LARP, as another example. Until you start talking to people, you are almost guaranteed to have nothing to do. Character objectives in Vampire LARPs are rarely mechanical — you’re not likely to be tasked with “kill 50 Brujah.” You might want to kill a given Brujah, or maybe even cripple “the Brujah” as an entity, but that all arises from some assumed interaction in the player/ character’s past rather than as a solely systemic objective.

Putting people together is something I’m working on every day. Dana Massey’s blog also covers this topic (with some editorial bias, as Will points out). Be sure to read the comments when you check out that article.

Consider that the next time you’re around the table or logged in. What you’re doing isn’t important as that you’re doing it, specifically with the people who are also there. The experience you can form with those people is greater than the story or world in which you’re doing it. Think beyond the experience at the table or outside the monitor. What do you have in common with those people — outside your characters?

 

Talking Dog

One of the things that always ended up undoing Danny Culp was that he could smell manna where it had fallen from Heaven. His tolerance for alcohol didn’t do him any favors, either. And he had rotten luck with women. The third characteristic probably developed directly from the first two, but it had as much impact on his life as they did, so it’s fair to state it.

So it was that a hundred and ten degrees found Danny Culp in his cherry red but beat-to-hell Chevy pickup, broken-hearted, a duffel full of wrinkled clothes on the passenger seat and a toolbox in the bed of the truck. He had a shovel back there, too. For digging. Sometimes the stuff he smelled was buried. Danny’s course was vaguely eastward across the Texas scrub.

Danny worried the trek might take him into Louisiana. That meant a stop in Shreveport. Precious few of the Shreveport casinos even let him in anymore. Why did God always leave the stuff He needed found in the places that compounded sin upon sin?

Aside from the way he lived his life, Danny wasn’t a gambling man. But those vices of booze and women had a way of laying a man low. That was the problem with Shreveport, and Shreveport was the problem with Louisiana. That and New Orleans.

The problem with Danny right now was Maureen.

Danny had a thirst so great it practically changed the tuner on the radio.

Gilbey’s Road House poked up from the twilight horizon.

That really made the decision. How far could a thirsty man drive? Roughly the distance of the horizon, Danny estimated. It turned out to be true. He pulled into the lot and parked.

A tired, old mutt sat by one of the porch tables, lonely as Danny felt. Nobody wanted to be outside on a hundred-and-ten-degree night. “They at least leave some water for you, Patch?” Danny asked with heartfelt sympathy.

“Tain’t Patch,” the dog said.

“What?” Danny asked. Talking dog. Maybe two hundredth on the list of weirdest business he’d encountered. Still, it caught him off guard.

“Tain’t Patch. M’name’s Kit,” the dog offered. “An no, hain’t got no water.”

“Well, I’m going to water myself, Kit. You want me to bring you out a bowl?”

“Mighty kind, mister.”

“Danny Culp, since we’re introducing.”

“Much obliged, Danny Culp. I’ll be here. Say, you don’t have a tire iron in that Chevy beater, do you?”

“No. Got a shovel,” Danny replied, the squint of a cowboy at dusty noon in his eyes. “And, hey, it’s not a beater. It’s an Apache.”

“Runs twenty years past its prime, and I’d rather push a Ford than drive a Chevy,” Kit said.

“The thing’s barely a year old. An you’d have to push the Ford. Dogs don’t drive, anyway.”

“You some kind of expert?”

Danny didn’t know how to respond to that. He went inside, excusing himself from Kit’s company with, “I’ll bring that water right out to you.”

He was inside by the time Kit muttered, “You’re going to want that shovel.”

Gilbey’s Road House was a fancied-up rat trap that, for all of its faults, kept its beer cold. It was maybe eight degrees cooler inside than outside, thanks to the noble efforts of a clattering pair of window-unit air conditioners. One hundred and two degrees. Cold beer.

Danny ordered a beer and a bowl of water.

“The water better not be for that flea-bitten dog,” the bartender told him. She was fifty, or maybe fifty-five. At least ten years older than Danny. Had a face like one of her parents was a snake and the other was a hatchet.

“Your name’s not Maureen, is it?” Danny asked her.

“No.”

“Because you remind me of my Maureen.”

“You know, I’ll bet she’s not your Maureen anymore. Just like any water in here ain’t for that dog.”

“Come on, lady, it’s hotter out there than it is in here. Water don’t cost anything.”

She gave him a Point, still in the bottle, sweating condensation.

“Look, bud. That dog could be President Eisenhower and I wouldn’t give her a drop.”

No wonder the dog was so prickly. A woman.

“Fine. How much for the beer?”

“A dime.”

Danny paid and walked out the front door.

Kit still sat there, the veritable picture of the word hangdog. Danny sat down in a rickety chair next to her. A checkerboard sat on the table next to the chair, with too few pieces to play a game.

“That hag in there wouldn’t give me any water for you. You wanna lick the bottle?”

“That’s kind of you, Culp. Don’t mind if I do.” Kit licked the bottle. “That wreck behind the bar isn’t the problem. She’ll die soon enough. Poisoned by her own blood, most like. You didn’t get your shovel, like I warned you.”

“Didn’t need it. Just bought a beer.”

Kit shrugged. Heretofore, Danny didn’t know dogs could shrug. It looked just like a human shrug.

The screen door flew from its hinges and landed in the dusty parking lot. Danny jumped and dropped his Point, roaring “Holy smokes!”

It must have been the cook. The guy was heavy-set, dressed in an apron and a sweaty a-shirt. He had his hair slicked back and a few dangerous strands dangling from a severe widow’s peak. He wore an earring. Some kind of aging greaser. Maybe a gang hoodlum.

The cook had blood in his eye and a chef’s knife. Danny’s mouth hung open.

“Nuthin’ here for you!” the cook shouted and waved his knife at Danny.

Danny ran for his truck. “Get your shovel, Culp!” Kit called to him.

At times in Danny Culp’s life, he did things on strange impulses. He proposed to Maureen when he knew she was sleeping with Jim Hall. He drank some homemade “tequila” that Alfredo made once, which turned out to be mostly peyote and spit. He crashed a Dodge Meadowbrook through a police roadblock because he thought the cops were agents of the Devil, and the roadblock was set up to keep people from taking the highway into Heaven. This time, he grabbed the shovel from the back of his truck so he could fight the satanic cook at the road house because a talking dog told him to.

The alternative was to hold his ground and let this crazed demon cut him into a chopped Culp sandwich with Brunswick stew on the side. Not much of a contest there, really.

A crowd had gathered outside Gilbey’s, whether out of malice or sheer excitement, Danny didn’t know. If they were demons, too, they’d probably already be intervening on the cook’s side. But the hag behind the bar hadn’t been any too friendly, and she knew something was up with the dog.

“Quit horsing around, Culp,” Kit yipped while skipping in and out of the maniac’s vision. The chef plodded relentlessly toward the truck.

Danny tasted Point as he belched up some nervous gas. He grabbed his shovel and did his best to look intimidating. Dust stuck to his sweaty brow.

The problem was, you can’t reason with people possessed by demons. They didn’t have any care whether or not you annihilated their bodies. They weren’t really their bodies. They were just meat, some rube or unwilling vessel who just happened to be in the wrong place when the hoary host of Hell figured, “We need a guy there,” and sooner than you could say “Dante,” there was the Devil’s proxy, ready to spit fire or hail brimstone or what have you.

Shovel in hand, Danny put himself in a batter’s stance, hoping for slowball right down the center.

Possessed people weren’t very sophisticated. Danny got his wish. Whump, right into the cook’s chest. But possessed people didn’t feel anything, either.

Not that Danny knew this. He just followed his nose, and sometimes it led him into the path of bad people. He expected the cook to double over in pain. Maybe at least curse a little. No such luck. The cook slapped the shovel away with his burly arm and outstretched palm.

“Run, Culp!” Kit shouted. Danny ran, kicking up a rooster tail of parking lot rocks. Back into Gilbey’s.

The cook followed him plod plod plod, to much cheering of the hayseed crowd. Beer spilled. Gaps in teeth whistled.

“What the heck am I going to do?” Danny wondered to himself. Then he came to the realization that he didn’t have to do anything. It wasn’t his problem. He could just leave, and the greaser with the knife would either calm down and forget about whatever it was that had worked him up into a lather, or run himself ragged trying to follow.

Out through the back door, Danny ran, pausing only briefly to grab a fire extinguisher off the wall near the griddle. If nothing else worked, maybe he could buy himself some time by throwing it at the cook.

Kit met him out back. “Good thinking. Let’s go.”

Apparently, the talking dog was coming with him. Did no one else hear this dog talking?

“Where we goin’, Kit?”

“I don’t know. You tell me. You’re the one who can smell Heaven.”

It was pointless to argue. The dog was right. And maybe a talking dog would come in handy wherever he was headed, Danny figured.

They both bolted, circumnavigating the roadhouse, hoping to make it back to the truck before the demonic brute caught up to them. “You have to ride in the bed, Kit. Sorry,” Danny warned as they sprinted under the hot, purple Texas sky.

“In a pig’s eye. I probably drive better than you do.” Kit sprung up into the cab, surprising Danny Culp as he opened the door for himself. She went all the way over to the passenger’s side of the ratty bench seat, though, and he was relieved she didn’t want to put that theory to the test.

The engine groaned to reluctant life, miserable in the heat after its short reprieve, but it faithfully pulled the truck out of Gilbey’s stony parking lot. Tex Ritter crooned on the radio, that song about the playing cards, as Danny and Kit left a traildust smokescreen behind them.

Two miles down US 20, Danny shouted “Aw, for the love of—” and made a U-turn in the middle of the empty desert two-lane.

Kit sat bolt upright and practically squealed: “What? What happened? What’s going on?”

Back at the roadhouse, the cook still sat at the order table in the kitchen, wondering what the name of Scratch had gotten into him. Not a second later, his eyes lit up red and he exhaled with a grunt like a bull. And picked up his knife again.

Danny said, “I forgot my stinkin’ beer.”

Kit couldn’t believe it. “That cook crack your skull, Culp? Just stop at bar or liquor store and get a another beer whenever we stop for the night.”

“Nope. I already paid for this one.” The engine roared as the red truck reclaimed the pavement it had left behind. Gilbey’s appeared on the horizon again, this time lit up like a livid boil on Lucifer’s own hind end.

Having given up on actual conversation, Kit barked excitedly while Danny told her to shut up and wheeled the Chevy into a drift that only barely fishtailed across the parking lot, just like Danny wanted. He hit the throttle hard just as the possessed cook made it out onto the slat-wood porch again, knife in hand.

The truck slammed into the porch, sending up a cloud of dry splinters, loose nails, and snapped lumber. It didn’t stop, though, plowing forward through the carpentry as the cook took two steps toward it before meeting the grill with his face. The knife spun away, somewhere, over the truck.

Danny mashed the brake, replacing the scream of the porch’s destruction with various shouts of fear and surprise from inside. He threw the Chevy into reverse, backed up a dozen feet to the table where he had sat with Kit reclining next to him, and got out to pick up his beer.

There it was, standing on the upright table, flanked by a single overturned chair, still sweating in the hundred-and-ten degree night.

Danny Culp got out and picked up the bottle. “Forgot my beer,” he said again to the gape-mouthed crowd staring at him in awe from the ruined road house dining room. The body of the cook fell from its clumsy mooring in the truck’s grill with a wet thud muffled by the dust.

Kit barked.

Talking Dog

One of the things that always ended up undoing Danny Culp was that he could smell manna where it had fallen from Heaven. His tolerance for alcohol didn’t do him any favors, either. And he had rotten luck with women. The third characteristic probably developed directly from the first two, but it had as much impact on his life as they did, so it’s fair to state it.

So it was that a hundred and ten degrees found Danny Culp in his cherry red but beat-to-hell Chevy pickup, broken-hearted, a duffel full of wrinkled clothes on the passenger seat and a toolbox in the bed of the truck. He had a shovel back there, too. For digging. Sometimes the stuff he smelled was buried. Danny’s course was vaguely eastward across the Texas scrub.

Danny worried the trek might take him into Louisiana. That meant a stop in Shreveport. Precious few of the Shreveport casinos even let him in anymore. Why did God always leave the stuff He needed found in the places that compounded sin upon sin?

Aside from the way he lived his life, Danny wasn’t a gambling man. But those vices of booze and women had a way of laying a man low. That was the problem with Shreveport, and Shreveport was the problem with Louisiana. That and New Orleans.

The problem with Danny right now was Maureen.

Danny had a thirst so great it practically changed the tuner on the radio.

Gilbey’s Road House poked up from the twilight horizon.

That really made the decision. How far could a thirsty man drive? Roughly the distance of the horizon, Danny estimated. It turned out to be true. He pulled into the lot and parked.

A tired, old mutt sat by one of the porch tables, lonely as Danny felt. Nobody wanted to be outside on a hundred-and-ten-degree night. “They at least leave some water for you, Patch?” Danny asked with heartfelt sympathy.

“Tain’t Patch,” the dog said.

“What?” Danny asked. Talking dog. Maybe two hundredth on the list of weirdest business he’d encountered. Still, it caught him off guard.

“Tain’t Patch. M’name’s Kit,” the dog offered. “An no, hain’t got no water.”

“Well, I’m going to water myself, Kit. You want me to bring you out a bowl?”

“Mighty kind, mister.”

“Danny Culp, since we’re introducing.”

“Much obliged, Danny Culp. I’ll be here. Say, you don’t have a tire iron in that Chevy beater, do you?”

“No. Got a shovel,” Danny replied, the squint of a cowboy at dusty noon in his eyes. “And, hey, it’s not a beater. It’s an Apache.”

“Runs twenty years past its prime, and I’d rather push a Ford than drive a Chevy,” Kit said.

“The thing’s barely a year old. An you’d have to push the Ford. Dogs don’t drive, anyway.”

“You some kind of expert?”

Danny didn’t know how to respond to that. He went inside, excusing himself from Kit’s company with, “I’ll bring that water right out to you.”

He was inside by the time Kit muttered, “You’re going to want that shovel.”

Gilbey’s Road House was a fancied-up rat trap that, for all of its faults, kept its beer cold. It was maybe eight degrees cooler inside than outside, thanks to the noble efforts of a clattering pair of window-unit air conditioners. One hundred and two degrees. Cold beer.

Danny ordered a beer and a bowl of water.

“The water better not be for that flea-bitten dog,” the bartender told him. She was fifty, or maybe fifty-five. At least ten years older than Danny. Had a face like one of her parents was a snake and the other was a hatchet.

“Your name’s not Maureen, is it?” Danny asked her.

“No.”

“Because you remind me of my Maureen.”

“You know, I’ll bet she’s not your Maureen anymore. Just like any water in here ain’t for that dog.”

“Come on, lady, it’s hotter out there than it is in here. Water don’t cost anything.”

She gave him a Point, still in the bottle, sweating condensation.

“Look, bud. That dog could be President Eisenhower and I wouldn’t give her a drop.”

No wonder the dog was so prickly. A woman.

“Fine. How much for the beer?”

“A dime.”

Danny paid and walked out the front door.

Kit still sat there, the veritable picture of the word hangdog. Danny sat down in a rickety chair next to her. A checkerboard sat on the table next to the chair, with too few pieces to play a game.

“That hag in there wouldn’t give me any water for you. You wanna lick the bottle?”

“That’s kind of you, Culp. Don’t mind if I do.” Kit licked the bottle. “That wreck behind the bar isn’t the problem. She’ll die soon enough. Poisoned by her own blood, most like. You didn’t get your shovel, like I warned you.”

“Didn’t need it. Just bought a beer.”

Kit shrugged. Heretofore, Danny didn’t know dogs could shrug. It looked just like a human shrug.

The screen door flew from its hinges and landed in the dusty parking lot. Danny jumped and dropped his Point, roaring “Holy smokes!”

It must have been the cook. The guy was heavy-set, dressed in an apron and a sweaty a-shirt. He had his hair slicked back and a few dangerous strands dangling from a severe widow’s peak. He wore an earring. Some kind of aging greaser. Maybe a gang hoodlum.

The cook had blood in his eye and a chef’s knife. Danny’s mouth hung open.

“Nuthin’ here for you!” the cook shouted and waved his knife at Danny.

Danny ran for his truck. “Get your shovel, Culp!” Kit called to him.

At times in Danny Culp’s life, he did things on strange impulses. He proposed to Maureen when he knew she was sleeping with Jim Hall. He drank some homemade “tequila” that Alfredo made once, which turned out to be mostly peyote and spit. He crashed a Dodge Meadowbrook through a police roadblock because he thought the cops were agents of the Devil, and the roadblock was set up to keep people from taking the highway into Heaven. This time, he grabbed the shovel from the back of his truck so he could fight the satanic cook at the road house because a talking dog told him to.

The alternative was to hold his ground and let this crazed demon cut him into a chopped Culp sandwich with Brunswick stew on the side. Not much of a contest there, really.

A crowd had gathered outside Gilbey’s, whether out of malice or sheer excitement, Danny didn’t know. If they were demons, too, they’d probably already be intervening on the cook’s side. But the hag behind the bar hadn’t been any too friendly, and she knew something was up with the dog.

“Quit horsing around, Culp,” Kit yipped while skipping in and out of the maniac’s vision. The chef plodded relentlessly toward the truck.

Danny tasted Point as he belched up some nervous gas. He grabbed his shovel and did his best to look intimidating. Dust stuck to his sweaty brow.

The problem was, you can’t reason with people possessed by demons. They didn’t have any care whether or not you annihilated their bodies. They weren’t really their bodies. They were just meat, some rube or unwilling vessel who just happened to be in the wrong place when the hoary host of Hell figured, “We need a guy there,” and sooner than you could say “Dante,” there was the Devil’s proxy, ready to spit fire or hail brimstone or what have you.

Shovel in hand, Danny put himself in a batter’s stance, hoping for slowball right down the center.

Possessed people weren’t very sophisticated. Danny got his wish. Whump, right into the cook’s chest. But possessed people didn’t feel anything, either.

Not that Danny knew this. He just followed his nose, and sometimes it led him into the path of bad people. He expected the cook to double over in pain. Maybe at least curse a little. No such luck. The cook slapped the shovel away with his burly arm and outstretched palm.

“Run, Culp!” Kit shouted. Danny ran, kicking up a rooster tail of parking lot rocks. Back into Gilbey’s.

The cook followed him plod plod plod, to much cheering of the hayseed crowd. Beer spilled. Gaps in teeth whistled.

“What the heck am I going to do?” Danny wondered to himself. Then he came to the realization that he didn’t have to do anything. It wasn’t his problem. He could just leave, and the greaser with the knife would either calm down and forget about whatever it was that had worked him up into a lather, or run himself ragged trying to follow.

Out through the back door, Danny ran, pausing only briefly to grab a fire extinguisher off the wall near the griddle. If nothing else worked, maybe he could buy himself some time by throwing it at the cook.

Kit met him out back. “Good thinking. Let’s go.”

Apparently, the talking dog was coming with him. Did no one else hear this dog talking?

“Where we goin’, Kit?”

“I don’t know. You tell me. You’re the one who can smell Heaven.”

It was pointless to argue. The dog was right. And maybe a talking dog would come in handy wherever he was headed, Danny figured.

They both bolted, circumnavigating the roadhouse, hoping to make it back to the truck before the demonic brute caught up to them. “You have to ride in the bed, Kit. Sorry,” Danny warned as they sprinted under the hot, purple Texas sky.

“In a pig’s eye. I probably drive better than you do.” Kit sprung up into the cab, surprising Danny Culp as he opened the door for himself. She went all the way over to the passenger’s side of the ratty bench seat, though, and he was relieved she didn’t want to put that theory to the test.

The engine groaned to reluctant life, miserable in the heat after its short reprieve, but it faithfully pulled the truck out of Gilbey’s stony parking lot. Tex Ritter crooned on the radio, that song about the playing cards, as Danny and Kit left a traildust smokescreen behind them.

Two miles down US 20, Danny shouted “Aw, for the love of—” and made a U-turn in the middle of the empty desert two-lane.

Kit sat bolt upright and practically squealed: “What? What happened? What’s going on?”

Back at the roadhouse, the cook still sat at the order table in the kitchen, wondering what the name of Scratch had gotten into him. Not a second later, his eyes lit up red and he exhaled with a grunt like a bull. And picked up his knife again.

Danny said, “I forgot my stinkin’ beer.”

Kit couldn’t believe it. “That cook crack your skull, Culp? Just stop at bar or liquor store and get a another beer whenever we stop for the night.”

“Nope. I already paid for this one.” The engine roared as the red truck reclaimed the pavement it had left behind. Gilbey’s appeared on the horizon again, this time lit up like a livid boil on Lucifer’s own hind end.

Having given up on actual conversation, Kit barked excitedly while Danny told her to shut up and wheeled the Chevy into a drift that only barely fishtailed across the parking lot, just like Danny wanted. He hit the throttle hard just as the possessed cook made it out onto the slat-wood porch again, knife in hand.

The truck slammed into the porch, sending up a cloud of dry splinters, loose nails, and snapped lumber. It didn’t stop, though, plowing forward through the carpentry as the cook took two steps toward it before meeting the grill with his face. The knife spun away, somewhere, over the truck.

Danny mashed the brake, replacing the scream of the porch’s destruction with various shouts of fear and surprise from inside. He threw the Chevy into reverse, backed up a dozen feet to the table where he had sat with Kit reclining next to him, and got out to pick up his beer.

There it was, standing on the upright table, flanked by a single overturned chair, still sweating in the hundred-and-ten degree night.

Danny Culp got out and picked up the bottle. “Forgot my beer,” he said again to the gape-mouthed crowd staring at him in awe from the ruined road house dining room. The body of the cook fell from its clumsy mooring in the truck’s grill with a wet thud muffled by the dust.

Kit barked.

Follow

Get every new post delivered to your Inbox.

Join 1,838 other followers

%d bloggers like this: