Some thoughts about GMless gaming

I’m a big fan of what is sometimes called GMless[1][2] gaming. I get things from it that I don’t get from GM’d gaming (whether I’m GMing or not). But there are also problems I or others in my group have experienced with GMless games, sometimes bad enough that it makes the experience unenjoyable. I’m going to use this post to talk about the good stuff and the bad stuff, and some things I like to do in my GMless design to mitigate the bad stuff.

This is the good shit

So why do I like GMless gaming? The main reason is simply that I love focusing in on one character, creating and developing them, advocating for them and pushing them along whatever journey they turn out to be on; but I also love getting my hands dirty creating and developing a world and situations, using those situations to create problems and opportunities for others and portraying more than one character. Some GM’d games allow me a bit of both[3], but it’s unusual for a GM’d game to scratch both itches at once. By contrast my best GMless experiences have given me both in spades. It’s a particular issue for campaign play, where I’m effectively committing to stay in one role for a long time – this nearly always leads to frustration that I can’t switch roles.[4]

There’s more, though! A big part of the fun of roleplaying, for me, is when I create something or do something and then others input to that in unexpected ways, and my own creation ends up going somewhere I couldn’t have planned or better yet boomeranging back and hitting me in the face. And while this does happen in GM’d games – everything the GM says or does can prompt unexpected action by a player, and vice versa – with GMless games I can literally create something and have someone else run off with it and make it part of something I had nothing to do with. A character I created could end up played by someone else, could literally hit my character in the face. The potential for creative interaction in a GMless game is particularly rich.[5]

Issues with GM’d play

There’s also an issue that can arise with GM’d play where the fact of one person having a superior position in terms of information and mechanical power leads to the rest of the players becoming kind of passive. At the extreme, it can lead to a sort of spoon feeding, where the GM is responsible for all the fun, and the players are only there to react to what they create. Many GM’d games have tried to break out of this in various ways (see footnote 3 below for examples) but it is devilishly difficult to create the mindset of active contribution once it sets in. In fact, it can be extremely difficult to get a group into GMless gaming, once they’ve got into this mindset – something I’ll discuss later.

Indeed, GM’d play can create a lot of pressure for the Chosen One who must turn up every week with ideas and energy. There’s no rest for them. A player can sit back and be a bit passive on a given session (or even over a whole campaign, if they’re so inclined). As long as they haven’t ended up in the role of group leader (which has some similar issues), they can engage or coast and the game mostly copes. This can be a plus for the individual and for the group, since the game doesn’t fall over if one person is wiped out. But by contrast if the GM is exhausted or not in the mood (or worse, burned out), the game cannot proceed. It dies. So many games have met this fate – I can’t imagine anyone who has played a GM’d game hasn’t experienced it. GMless play carries risks of its own in this regard (see below) but it doesn’t rely on one person to be awesome all the time.

Problems with GMless play

Alright, that’s my two big positives for GMless gaming, and my two big negatives for GM’d gaming. But I’ve said that I have had problems with GMless too – let’s talk about those. Let me say right now that some of these issues aren’t exactly new blinding insights, and there’s lots of tools out there for dealing with them, which I’ll talk about as we go.

Direction, energy and structure

There’s a big one around direction, energy and structure. Sometimes in the absence of a GM there’s nothing to stop the game kind of meandering or stalling. There’s several ways this can happen. One is on a scene-by-scene basis, where nobody really has an idea for what a scene should be “about” or where it’s going, and so it just fizzles. But then, on a story level, a bunch of energetic scenes may not really add up to much, and the overall arc of the game becomes frustrating or boring. This is I think a particular problem if a group includes players who aren’t used to being in a GM-like role, who tend to play passively and not want to push things in any given direction.

On the other hand, the opposite can happen. One person might be so pushy or definite in their ideas that they take over every scene and become de facto GM. Or two or more people may be trying to do stuff at the same time, creating a different type of lack of direction. And one way that this can spill over in the opposite direction is where people feel the only way to effectively contribute to the game is to fire exciting things at each other, in an escalating pattern that is sometimes called Going Gonzo.

Direction, energy and structure problems generally come from two things: a lack of common creative ideas, and a lack of structure in the game design itself. This can easily lead to meandering or chaotic play, and if players aren’t listening to each other and simply pushing their own ideas, it can also lead down the path of Gonzo. Fortunately there’s lots of approaches to help deal with this:

  • For the group, discussing and agreeing what the game might be about before the game, and perhaps during as well. Things like Microscope’s palette are simple tools to get yourselves on the same page.[6] Caerllion introduces the neat idea of a Lodestone which tells everyone broadly what the story is going to focus on.
  • For the individual, actively listening to others’ contributions and responding to them, as opposed to waiting for them to guide the scene to wherever they might be headed or trying to jump in and provide some impetus of your own.
  • For the designer, avoiding an entirely freeform approach to the game’s design, but helping to provide nudges towards the particular kind of play you want to see in your game. This can take many forms: you can create specific types of scene which help the players to focus on a particular kind of action; you can structure the overall arc of the game; you can provide prompt lists so people don’t draw a blank; you can mechanise the way that players contribute, constraining what they can do; and more besides. What you’re trying to do here is make sure that nobody comes to a scene without a clear focus, and perhaps give them a menu of approaches to reduce the risk of drawing a blank and reinforce the tone of the game.
  • (When it comes to introducing structure you have to be careful, of course, that you don’t remove all the interest from the game. There has to be player input to the action, else why play at all? The best structured games exert a light touch and leave a lot of undefined space where player creativity steps in.)
  • A particular approach I’m fond of is to explicitly call out who is responsible for the direction of a particular scene. I’m not saying someone has an idea and then railroads everyone else into following it (though you could do that). But in every scene someone – mandated by the rules – is responsible for framing a difficult situation, or introducing adversity, or preceding the scene with a question which everyone is trying to answer, or similar. This avoids diffusion of responsibility and reduces the risk of meandering; and as long as this responsibility rotates, it can help prevent one person taking over.

Mysteries, secrecy and black boxes

By the way, a particular subset of direction issues arises from the Black Hole problem, where someone creates a mystery or black box of some sort and then neglects to resolve it. For example, I introduce a character who is clearly up to something, but I refuse to make it clear what that something is and seem to be hoping someone else will make the decision for me. The bottom line here is that you shouldn’t do this, and not doing it needs to be a part of every GMless game’s guidance. It can be ok to introduce something and ask someone else to define it for you, but this does generally require you to explicitly ask them to do so, not simply expect them to guess that you’re hoping they’ll do it. So, it’s ok to have a mysterious stranger carrying a black box – but then you either need to decide what’s in it and make that true, or ask someone else what’s in it and be guided by what they say.

Related to the above is the general problem of secrecy. If I want to play a game with a mystery in it, one that is genuinely mysterious, it necessary to have a person who owns that mystery and secretly knows what’s really going on? You might think so, because otherwise two people with conflicting ideas might unknowingly undermine each other, and anyway how can something be really mysterious unless I have no part in defining that mystery? Having ownership of mysteries is not a bad idea – and it doesn’t necessarily require a GM, you could just make it clear when you introduce your black box that it’s yours, you know what’s in it, and everyone else should defer to you in matters black box-related. But it is possible to have a mystery that nobody owns without it not being mysterious. Lovecraftesque does this – at the end of every scene, the players individually and secretly “leap to conclusions” about what happened in the scene, so that everyone has their own pet theory about what’s in any black boxes that may have been introduced. And because only one person is Narrator at one time in Lovecraftesque, there will always be moment-to-moment consistency about what the black box seems to be. This does require you to pay attention in every scene, so that your pet theory remains consistent with everything that has happened! But I would argue that’s a good thing.

Role hopping

Another problem which seems to be more major for some people than for others is the issue of hopping between roles, so that you feel a lack of connection or commitment to any one of them. A particularly important subset of this is a feeling of not being able to “immerse” in a character, because you’re too busy trying to think about things outside of them. It seems as though there can be a conflict of interest – and a difference of mental attitude – between advocating for one character and guiding the “story”[7] or the broader elements of the game world, which can prevent people from really getting into either one.

This, it seems to me, is a challenge that hasn’t quite been answered by any one game as yet. However the approach we took with Lovecraftesque, and which I’m taking with my game Flotsam, is to avoid it by making role changes much more structured and well delineated. In other words, I don’t ask you to play your character and be the GM at the same time – I ask you to do both roles, but at different times. In this way you can dedicate yourself to one job at a time. Flotsam attempts to make this flexible, by giving you permission to step outside your character and make GM-like contributions, but also making sure there’s nearly always at least one person who is on point as GM, who will deal with any GM-like contributions when they’re needed, so that you have permission not to do it when you’re focusing on your character. Flotsam is being playtested at the moment, so it remains to be seen how successful I’ve been there. Another possible approach to mitigate the problem is to make parts of the game off-limits to GMly intervention, safe spaces for “pure” in character interaction where you can focus on being your character. Indeed, When the Dark is Gone applies such an approach to an entire game (I suspect it may also be a common approach in LARP, where GM interventions pose other problems).

Too much like hard work

A final problem to mention is the “everyone awesome, all the time” problem. The problem with everyone being GM is that the issue I identified earlier on, of constant pressure on the GM, applies to everyone. I’m expected to contribute to every scene, I have to be always creatively ready to pick up what others create and build on it. This can be exhilarating! It can also be exhausting. And it means if anyone comes to the game not really ready to contribute, then the game may stall. If a lot of the group are tired or feeling passive, then it can start to feel like a GM’d game where one person ends up taking the reins. It also can be off-putting for many groups who aren’t used to the pressure of being switched on for a whole session, or simply don’t want to have to be. This may explain why a lot of GMless games are designed for one-shot play: short, intense, and over before you get too tired.

I think this last is chiefly a problem for us game designers. We need to find ways to design our games that allow people to step back and take a break. Don’t create a setup where everyone is always on. (Or maybe do, but then make it a one-shot and/or encourage breaks.) You can do this by not having a fixed requirement on who is involved in a scene, so that those with the energy pick it up and get involved, while those who are tired spectate; or you can do it by having a fixed requirement by making sure that it rotates around, leaving everyone with quiet periods they can just watch and listen. Again, in Flotsam I’m trying to design a system that lets people switch in and out in a fairly flexible way, choosing how actively they want to be involved – we’ll see how well it works in practice.

Final thoughts

I’ll just finish off by saying that a lot of these problems can be solved on a group-by-group basis through a culture of listening, give and take, common ideas about what’s fun and so forth. Some groups may be so good at this that these problems don’t even arise. That’s great – but not every group has this, and it can be challenging to develop such a culture. As a game designer I want to help everyone to get a good experience from my games by providing tools which reduce these problems regardless of what group they’re in.

Ok! That was long. I’d love to hear about other people’s experiences or approaches to cracking some of these problems. Please do give your views in comments.


[1] “GMless” is sometimes replaced by the word “GMful”, which I believe to be interchangeable with “GMless”, and merely a way of emphasising that in a GMless game, everyone gets to be GM. I have also seen “GMful” used to mean a game where the GM role exists but different people occupy it at different times.

[2] As far as I’m concerned, any game that doesn’t have a single person who has primary responsibility for describing the world, playing the bulk of the characters (except for the “player characters”) and generating any adversity required for the game, is at least partly GMless. Sometimes that’s because the role exists but rotates, sometimes it’s broken down or structured and handed out amongst the group, sometimes it simply doesn’t exist.

[3] Games like FATE have mechanics that give me temporary ability to narrate stuff outside my character, PBTA games usually include a bit of co-authorship for the world in the form of question-asking, and arguably most GM’d games at least give you some creative input on stuff outside your character such as key NPCs connected to them.

[4] GM burnout being a good example – though that is also caused by the pressure that a highly GM-led gaming approach tends to heap on the GM.

[5] There’s a whole set of ways in GM’d gaming where you can create stuff that literally never interacts with anyone else. The secret backstory nobody ever finds out about. The mega-plot that nobody knew was happening. Even the notorious cases where the plot is a railroad, with the players forming a passive audience to it. I’m not going to say this can’t happen in GMless gaming, but the whole setup makes it pretty obvious to all concerned that if you didn’t say it out loud, it hasn’t happened yet, so secret plot and backstories could get nixed by someone else any time; and railroading is essentially impossible. Good!

[6] These same tools are useful for ensuring a consistent genre and tone as well – which can potentially be a problem, but in my experience much easier to solve.

[7] I put “story” in quotes there because I don’t buy into the often-promulgated idea that GMless games mean everyone just focuses on the story and everything else is secondary. This is not how I play GMless games at all! It is true that I sometimes take individual decisions differently “for the good of the story” but it’s very much not the main approach. I dedicate myself to the fictional situation and push it forward, while actively trying to get my contributions to engage with what others are doing, and I don’t particularly worry about “is this making a good story”. For me, story is something that doesn’t happen in any given decision or moment, and it’s something that one only really needs to pay attention to when things are going wrong.

The power of asking

Over at Department V, Smiorgan writes about Everway’s three methods to decide a conflict: Karma, drama and llama.

Smiorgan discusses the issue of who decides what the plot should be (in order to rule in accordance with drama), and how randomness (fortune) can introduce something new and unpredictable.

I mostly want to talk about the latter here. It’s a ubiquitous way to keep the game unpredictable: Pick up some dice and let fate decide what happens. An observation I make is that this is very often restricted to determining “can I do X”, which is in itself only one of the interesting things one needs to decide during a roleplaying game, but that’s a topic for another day. What I want to talk about here is an alternative approach to introducing unpredictability – one which I am increasingly favouring in my game design.

Here I am going to refer to the method as asking. More broadly, it is about giving away decision-making power to someone else. You see, your decisions as GM (or a player, for that matter) may be based on drama or karma or something else entirely, but to you they can seem predictable. You have perhaps already thought about what the needs of the story are, or what the demands of the fictional situation are, so making that decision can seem predictable to you.

So an obvious way to get the sense of unpredictability for as many people as possible is to spread those decisions around. I’m not talking about discussion and consensus; in many ways that feels like the most predictable method of all for resolving things. I’m talking about varying who makes the decisions.

In a traditional GM-and-players game, you get this a bit. The GM takes decisions about the NPCs, the world, and often some conflict resolution. so they provide a sense of unpredictability to the other players. And it’s often remarked by GMs how the players’ surprising actions make the game exciting and unpredictable. But it’s clear that the GM has much broader scope for making decisions, and it is they who provide the chief source of unpredictability outside of the dice: the question is not “what will happen”, but “what will the GM decide”.

What I’m increasingly finding is that having all the players involved in those GM decisions, by making individual calls, creates a fantastic sense of unpredictability for everyone. No one person has their hand on the tiller, so the boat goes where it will.

I’ve called it asking, because a very straightforward way to make it happen is by asking questions to another player. Instead of it being either the dice or the GM who decides what happens next, it’s another person whose mind you can’t read. And even the person you ask, moments ago, didn’t know what the question would be or that they would be answering it.

Similarly though, rotating roles (as seen in Microscope and Lovecraftesque, for example) ensures that the story isn’t moving in a straight line. Each person guides it a bit, and no one person could have forseen where it would go. In effect, here, it’s the system doing the asking, but instead of always asking the same person, it’s a different person every time.

It’s important to emphasise this is about one person deciding. If you turn to group discussion for this, you quickly find that you’re relying on negotiation, social dynamics and (often) a rather turgid laying out of the reasons for and against each course of action. This is far from unpredictable.

This is also the method that lies behind improv-based approaches to GMless roleplaying. Each person leaps forward and inserts their ideas into the story higgledy piggledy, like having a jam session. But what improv approaches tend to leave space for a small number of people (maybe just one) to dominate the game, subtly or not-so-subtly steering things so that they are not so much a product of the group as the product of an organising committee. This is why games like Lovecraftesque and Microscope impose a no-discussion rule, forcing every player to contribute to the flow of the game.

So there you go – karma, drama, llama and banana, I guess.

Roleplaying in Chesterfield, Derbyshire

With apologies to regular readers, this is an advert for my local gaming club.

Refugees from Reality
We are a Roleplaying and Board Gaming club in Chesterfield, Derbyshire. We enjoy a wide variety of games, from indie to the big names. We welcome new players and are always open to trying something different. Find out more on our website or drop us a line if you’re interested in coming along.

Game feedback: different kinds

I was listening to one of the Metatopia panelcasts from last year, and the panelists[*] mentioned that there are different types of feedback and wouldn’t it be nice to have a way to say what kind of feedback you wanted. Well, I agree, and it’s something I’ve been meaning to write about. So here goes.

Before I start, let me say that when I send my games out for feedback (playtesting, normally) I always provide a list of specific questions. This is partly to ensure that specific things I’m wondering about get covered; it’s partly to avoid feedback I’ll find unhelpful; and it’s partly to provide a structure to help people think about the play experience. But anyway. Let’s talk through different kinds of feedback.

  1. Drafting feedback. This includes identifying spelling and grammar errors, as well as areas where language might not be as clear as it could be. You might want this when your game is in its final draft form. You probably won’t find it that useful before that point, because you’ll be redrafting anyway.
  2. Comprehension feedback. This is a bit like drafting feedback, but a bit higher level. It’s asking whether there are aspects of the rules that are confusing. Can you understand the game? This might be particularly useful for an early draft read-through. I normally check on it with playtesting as well.
  3. Experiential feedback. What did the game feel like to play? Was it humorous or scary? Was a particular mechanic hard work? Did you get emotionally invested in your character? This is generally a key component of playtesting for me. I want to create a game that feels a particular way, and so I need you to tell me what it felt like to play it. That’s much less useful if you’re just testing out a mechanic in isolation, though. You also might not need it so much if, say, you’ve already playtested the game quite a bit and you’re just testing a modification to the original design.
  4. Mechanical feedback. What happened, mechanically? Did you seem to crit fail constantly? Was there an exploit where you could build up unlimited bennies? Did some mechanics just never get used? Did anything break down at the table? You’ll probably want this sort of feedback at some point in playtesting, unless your game is super freeform. Some people like to playtest mechanics individually, outside the context of a full session. It’s not something I do, but worth considering.
  5. Design advice. It is often said that it is very annoying when people try to design your game for you through their feedback. And generally, I do agree with that. But, sometimes that may be exactly what you want: you know something isn’t working in your game, and you want suggestions on what to do about it.

So, when you’re asking for feedback on your game, be clear which kind(s) of feedback you’re looking for and, where appropriate, which kinds you aren’t looking for. I would add that you can, and probably should, say which specific bits of your game you are asking for feedback on. If there’s a particular mechanic or aspect of play you want to hear about, say so! Even if there isn’t one particular aspect, you might want to break your game down into specific areas you want covered.

Of course, it bears noting that you might not always realise that you need feedback on something. Maybe you think your mechanics are working perfectly and you don’t need feedback on them. If a playtest reveals they broke down completely, I’d hope my playtesters would tell me that, even if I was only asking for experiential feedback.

I hope that’s useful. I’ve probably missed something. Comments welcome!

[*] I don’t know exactly who said it. Panelists included Emily Care-Boss, Julia Ellingboe, Avonelle Wing, Shoshana Kessock and Amanda Valentine.

Rolling versus fictional positioning

So, I was reading some stuff about the OSR, and came across the concept that spot checks and detect traps rolls aren’t used in the OSR: instead, you identifying potential danger zones and have your character check them, and the GM tells you what you find. This article is about the more general case of this dichotomy: when is it appropriate to allow a player to describe their way to success, when is it appropriate to reduce it to a roll, and – in the absence of a roll – when to punish a player for neglecting to describe some particular action in the fiction. But yeah, I’ll talk about traps a bit because it’s a convenient example.

Caveat: I’m talking about games where you have Player Characters trying to overcome obstacles through skill or luck, and where those obstacles exist in the GM’s head or in their prep i.e. not invented after a roll is made. I realise not all games are like this, but that’s the scope of this article.

Matthew Finch’s Quick Primer for Old School Gaming talks about a couple of examples which are relevant:

  • Some dudes are walking down a corridor. There’s a pit trap ahead. Do you have them make a detect traps check (as you would in, say, 3e AD&D) or do you hit them with the trap unless they take an action which will allow them to detect it and disarm or avoid it? Supposedly the latter is the OSR approach. He describes how the dudes, having lost their ten foot pole, look for cracks in the ground and then detect the edge of the pit trap by pouring some water on the floor and looking where it collects. Then they just walk around the trap.
  • Some dudes enter a room. There’s a moose head with a concealed compartment behind it. Do you have them make a detect secret doors check (as per AD&D 3e) or let them find it if and only if they investigate the moose head (OSR). In the example the dudes fiddle with the moose head and discover it slides to one side.

So, looking at “detecting hidden stuff” as a category of action, we can see that you can just skip over the business of describing how you find it and make a roll (perhaps the GM describes how you succeed or fail after the roll), or you can have the player describe in some detail what they actually do and judge what the effects of those actions might be.

We can go further, though: some hidden stuff will jump out and mess with you if you don’t detect and deal with it, some hidden stuff is something nice you’ll only get if you detect it. I think this is an important distinction. If the world is full of stuff that will hurt me unless I take the correct action, then this raises some questions:

  • What warning, if any, must the GM give me before the bad stuff happens? Is “there’s a corridor” sufficient warning that there might be a pit trap?
  • How much detail do I need to go into in my description? In the example, simply touching the moose head seemed to be sufficient to get it to slide, but what if I can only open it if I tickle the moose under its right eyebrow? Do I need to describe all the weird combinations of action I might take to get to that?

Now, this brings us to GM philosophy. Think about Apocalypse World’s “be a fan of the player characters”. In a system where you’re relying on detailed action description rather than “just make a detect hidden stuff roll”, it would be a dick move to have a moose head that only opens if you tickle its right eyebrow. That’s just too obscure. On the other hand, at the margin, it’s a total guessing game whether the particular hiding method you’ve decided on is too obscure, too easy, or just that nice level of challenge.

I suspect the OSR answer to all this is “who cares”. You’re going to get hit by traps sometimes, and sometimes they will kill you, and sometimes it’s because the GM put something in place that turned out to be a bit too obscure for you to pick up on it. Sometimes it will be because you were slopped and forgot to investigate the obvious moose head; sometimes it will be because you investigated the obvious moose head and it turned out to be a trap. But as someone not particularly signed up to OSR philosophy, the idea that my character’s life or death hangs on the question of whether the GM’s idea of fair warning and mine align, or whether the GM’s warning of a reasonable level of description and mine align.

Let’s think wider than hidden stuff. You may wish to base a category of action resolution on the players’ detailed description if you want your game to be about describing that thing in detail. (Duh.) If you like the idea of describing turn after turn of agonisingly detailed trap searching, weighing up the risk of wandering monsters against the risk of arbitrary death at the hands of a concealed trap, then OSR D&D clones may be for you. Equally, if you want a game that is about complex political negotiations, you might not want to boil every interaction down to a roll – you want to ensure there’s enough fictional positioning required that it feels like you’re actually negotiating, not just rolling a bunch of dice. Conversely, DON’T do that if you want to avoid such detailed description. If you make the intricacies of character position a crucial factor in a fight, then every time there’s a fight you’ll get painstaking description of character position, obviously. If your game isn’t about fighting, you probably don’t want that.

If you are going to make a category of action resolution all about player description (with or without dice rolls) then you’re also going to have to think about how to get everyone on the same page about that. Establish what a reasonable level of description is. Establish what fair warning is. This goes wider than traps: does my political negotiation description need to give the gist of what I’m saying, or the detail, and if the latter, do I also need to roleplay my impassioned, emotional argument, or just describe what I’m saying? If we’re not on the same page about this, I’ll be pissed off when you have my argument fail (or saddle me with a fat negative modifier to my roll) because you felt I wasn’t impassioned enough. I’ll be annoyed that you thought describing the quirk of your NPC’s eyebrow is fair warning they’re about to stab me in the face.

So this brings me back to the OSR. I read in the primer that OSR is about rulings, not rules. Fair enough; but one thing rules do is get everyone on the same page. Quite literally. If we all read the rules, we can have common understanding of how a given situation might play out, and even if we don’t then at least we have a fair way to check the arbitrary power of the GM. If we don’t have that, then that sense of fairness depends on the players and the GM being on the same page, metaphorically.

Anyway, what this has got me thinking is, there’s a space for an OSR-style game that provides exceptionally clear explanation of the above factors: how much detail is it reasonable to expect, how much of a warning sign is it reasonable to expect. Providing some parameters to your rulings, without forcing you to conform to highly detailed rules. Maybe it already exists? Comments welcome.

Lovecraftesque’s sinister influences

So I read on G Plus recently that nobody ever credits the designers who influence them. I don’t know if that’s true, but we’re really keen to acknowledge the debt Lovecraftesque owes to previous games.

[*turns to camera* Lovecraftesque! The GMless storytelling game of creeping cosmic horror. Back it now on kickstarter!]

There are three influences which really loomed large in our thinking.

  • The big one is Graham Walmsley’s Stealing Cthulhu. Graham forensically analyses the style, structure and atmosphere of Lovecraftian stories and how you can replicate them in a roleplaying game. Once we had read this, we couldn’t stop thinking about how you could make a game system which would do some of that work for you – which would feel just like a Lovecraft story.
  • Ben Robbins’ Microscope is another major influence. The game gives you the structure to create a shared world, while abolishing tedious discussion of what should happen next. In so doing, it ensures that all the players contribute to the story; that was inspirational. The “leaping to conclusions” rule in Lovecraftesque was influenced by our desire to  duplicate that discussion-free story creation.
  • Jason Morningstar’s Fiasco is obviously a very well-known indie game, and one of the first indie games that we played. The use of in-built story structure, guiding the story from initial scenes through the tilt and on to the ending and aftermath, stayed with us. The Journey into Darkness in Lovecraftesque is a direct descendant of the aftermath in Fiasco.

We’d also like to mention the indie design community, who have provided fertile territory to develop our design thinking in general. Members of that community have shaped our thinking around how games should strive not to perpetuate harmful stereotypes and, indeed, promote diversity and inclusivity. This was crucial in developing our desire to create a Lovecraft game with a specific design objective to tackle the issues of racism and mental illness. We wanted to include a list of community members who were particularly instrumental, but the truth is there are so many of you that the list became unwieldy. Even so, Anna Kreider and Chris Chinn deserve special mention.

Trindie, schmindie

I read Smiorgan’s discussion of so-called trindie games (and the “trindie triangle”) on Department V recently. I disagreed with a lot of it – in particular I see the essence of the three gaming spheres, and in particular the indie sphere, very differently from Smiorgan. But I’m not planning to critique his ideas, rather I want to set out some of my own.

Disclaimer: these are my thoughts about what makes a game trad, freeform or (in a much broader, vaguer way) indie, and therefore what could be a trindie game. Obviously, this is to a certain extent semantics – but I think it does identify a space that isn’t fully explored yet, which may therefore be of interest.

A trad game will involve a GM who mostly makes the rules calls and who controls most of the game world and the characters in it; player characters who are the exclusive domain of the other players; mechanical procedures that relate to the actions of characters in the game and aimed at determining success or failure; and game time based on when something interesting is happening to one of the player characters, and skipping over the rest.

A freeform game will be played in real time. It will focus on a defined situation, which will usually be designed to minimise the need for rules calls i.e. characters who aren’t likely to start fighting each other in-session, or using lots of powers, or whatever. It will have a rules system for adjudicating when people do enter conflict, which will usually be designed to minimise the need for a referee, but there will usually be some people who can serve that function if needed. Often times there is a downtime system for managing what people do between sessions, which is much more ref-moderated.

An indie game could look quite similar to either of these (AW is quite like a trad game in many respects; WTDiG is like a freeform game) or be completely unlike either of them (Fiasco, Microscope, forex). So what makes an Indie game (apart from the obvious question of whether it’s independently published)? I think the answer is, no one thing, but there’s a whole set of tools and techniques which you see in indie-style games that you don’t see very often in trad or freeform games.

Diverse options for division of GM duties. Such as:
– Fiasco, has no GM (this seems to be the exemplar indie game by Smiorgan’s metrics, and I suspect the one he was thinking of when he wrote his article). Everyone is responsible for working out how the scene should go. The final outcome of the scene is decided by selection from a limited pool of available positive and negative outcomes.
– Microscope, has no GM. For most of the game creative responsibilities are clearly delineated so that just one person has authority to decide at any given time, so it’s sort of like having a rotating GM. Except! In scenes, the players roleplay in a fairly unstructured way to answer a question posed by the person whose turn it is.
– Apocalypse World, has a GM. But the GM doesn’t have the power to dictate when the game’s mechanics are brought into play. And, the GM is encouraged to ask questions, often quite sweeping questions, about the game world and situation, so that they no longer have full control over those.
– Dream Askew, has Situations which have owners, who effectively take on some aspects of the GM’s role, in particular creating pressure on the player characters. Other aspects are handled through questions asked to others, like in Apocalypse World.
– When the Dark is Gone, hands over creative decision making to the players in its entirety. The GM-role is just a facilitator who asks questions.

Messing with the player character role, so that people may have more than one character. Such as:
– Durance, where everyone has two characters; one from the criminal side and one from the authority side.
Lovecraftesque (and, I understand, Downfall), where everyone takes turns playing the main character.
– Rise and Fall, where you play an archetype, and may play several different exemplars of that archetype, one per scene, maybe coming back and playing the same one(s) more than once or maybe not.

Using mechanics to structure the story and drive its overall shape. Such as:
– Fiasco sets hard limits on the number of scenes and on how many of them can have a positive or negative outcome. After half the scenes are used up, there’s a tilt; once they’re all used up, there’s an aftermath.
– Dog Eat Dog gives out tokens, and at the end of each scene the characters make judgements about the scene, which trigger a token exchange. The token exchanges drive the events of the game and ultimately determine when it ends and with what final outcome.
– My Life With Master is another game with a mechanical trigger for the endgame, based on the accumulation of points resulting from the outcomes of individual scenes.
– Witch: the Road to Lindisfarne frames the whole game around a journey, and has a required number of scenes and a theme at each location, with a fixed ending.

Now, I’d like to touch on the so-called “trindie” games such as Fate and Cortex Plus. What these particular games seem to do that is considered by some to be indie-ish is to allow players to create stuff outside their character – scene aspects in Fate, and mechanically similar assets in Cortex Plus. In effect, the player narrates a little chunk of what would, in a purely trad game, be narrated by the GM. But this is very limited! Players can only do this within fairly narrow limits, and the primary effect of doing so (and I suspect in many cases the primary motive for doing so) is to attain a temporary mechanical advantage in a conflict. In other words, aspects and their ilk are like temporary traits that a character can use, that just happen to sometimes concern a bit of the world outside their character. They’re not so much about creative control as broadening the range of ways your character can be awesome. That doesn’t seem particularly “trindie” to me – it seems like a trad game with a tiny bit of narrative control grafted on.

So what would a truly trindie game look like? Well, I don’t see how you could keep the tr in trindie without keeping a pretty unified GM role and players who each play one character (maybe two). But there is a game which keeps all of that, while altering the trad formula in a number of ways: Apocalypse World. AW gives you background and plot that is mostly generated by the players through question-answering (but driven forward by the GM); mechanics that are triggered by fixed circumstances and with relatively fixed outcome options, reducing the role of GM judgement and constraining GM fiat; it encourages the GM to put things beyond their direct control using tools like countdown clocks. It even lets you play more than one player character, while remaining essentially a player rather than a GM.

I don’t think AW has driven as far into this space as you can possibly go. But it suggests some thoughts about what aspects of a trad game you could retain while introducing elements of indie play. I would suggest the core of a trad game is a GM whose role is to represent adversity and drive forward external threats; and players whose roles are to fully inhabit the roles of a much smaller cast of characters.  Within that model, you can divvy up a lot of creative power, you can introduce mechanics which put the structure of the story at least somewhat beyond GM control, and you can give the players something other than just a single unchanging character to play. I can’t think of another game that has done this to the extent that AW has, but I’ll be very happy to hear of one. Suggestions?

Lovecraftesque update

For those who have been following this project, we’ve just been through another round of playtesting (some internal, some external) using updated rules.

This was a bit of an odd playtest in a way. The rules updates we had made had their intended effect, the game seemed much improved, and overall we seem pretty much bang on in terms of realising our design goals while keeping the game fun to play. But we had two pieces of fairly broad-brush negative feedback which shook our faith a little and made us re-evaluate where we were. The bottom line is that after some soul-searching we concluded that we should not panic over two bits of feedback, when most of our feedback is so positive – but this feedback nevertheless led us to make some further changes.

The big one was that the game was too complex. Of course, as an indie/story game-style game, it is a *lot* less complex than your average traditional RPG. At the same time, it is probably significantly above average complexity compared to its peers. More importantly, after reviewing the game we concluded that there were elements of complexity that could be removed quite easily, without changing the play experience. A no brainer, really.

This has led to a number of changes:

  • Progress through the parts of the game is now driven by scenes played rather than clues revealed, which seems simpler and more intuitive.
  • We’ve ditched the idea of separate reprisals scenes (and the reprisals track), and merged reprisals into our card system.
  • We’ve ditched the decreasing narrative distance rules and, again, merged them into the card system. By default you can only introduce rationally explicable clues throughout the game.
  • The revamped cards allow you to introduce a thematic element (e.g. a cult) and enable thematically appropriate rationality-breaking clues or reprisals (e.g. the cult threaten or attack you).
  • We’ve simplified the journey into darkness so you can pretty much choose whatever role you like on each step rather than having to switch back and forth between roles.

The gameplay is more-or-less unchanged, but the burden of explaining the rules has been significantly reduced. The cost is that the cards are much more important – we need to playtest that before we’re sure if they work the way we want them to.

The other issue we picked up was around tone. The default tone of the game is very much slow-building, brooding horror, with a protagonist who is at the mercy of events and probably doomed to meet an unpleasant end. But there’s nothing to stop the game from being a bit more heroic in feel. You could even run it for laughs, deliberately parodying the style. We’ve introduced a stage where this choice is explicitly discussed. This is less because we think these other options will be chosen, and more to make sure that whatever choice is made, everyone has explicitly agreed to it. We think this will reduce the risk of divergence of styles causing grief in play.

We’ve also hit the start button on a couple of art pieces (we’ll only commission the rest if/when the kickstarter is successful) and some sample layout options (again, we’ll pay for the book to be laid out if we get the funds). Discussing ideas with our artist and layer-outerer (?) has really got us excited, and we saw some early sketches this weekend which look really awesome. We’re beginning to talk to printers and flesh out our ideas for kickstarter reward levels and stretch goals for the kickstarter. We’re still a little ways off launching the campaign, but it’s beginning to come together.

Watch this space.

Lovecraftesque – actual play report

Actual Play report of Lovecraftesque

As played at Seven Hills in April 2015

Players: Josh, Fergus and Ric

[In the setup we agree the basic parameters for the game, in open discussion – the only time that discussion is permitted.] We decided to set the game in the Himalayas. Off the back of that, we decided to make our Witness an explorer. We wanted a classic Lovecraftian game, so we decided on 1890s for the era. His reason for being in the Himalayas seemed pretty obvious, so we just needed a personality trait (we went for arrogant) and a source of strength (we decided he was driven by the need to prove himself to an explorer’s club back in London). Finally, we needed a name (this always seems to come last!) and we decide on Sir Arthur Worthington.

[Fergus had an idea for a starting clue, so we started the first scene with him as Narrator, Ric as Witness.] We began with Sir Arthur, already high in the Himalayas, trudging through thick snow with a retinue of sherpas carrying his equipment and supplies. A blizzard blows in, and Sir Arthur can barely see past the end of his nose. [Fergus comments: Already the power of having a Watcher was beginning to show as Josh brought the hostility of the environment to life, describing numbing extremities and the suffocating thin air.] Sir Arthur follows what little he can see of the path, to a large, blocky building of black stone, clinging to the edge of a precipice. He has lost the sherpas, and it’s only getting colder, so with trepidation Sir Arthur goes inside. Within he finds a dark room lit by yak fat candles, and filled with saffron-robed monks. The walls are carved with scenes of monsters. One of the monks greets him silently as he enters, and beckons him to follow. The monk leads him to what can best be described as an audience chamber, where a saffron-robed boy is waiting on a dais, backed by more carvings of strange demonic monsters. The boy explains that they have been expecting him, that there is a prophecy that foretold the coming of “Siratha”. He will save the world from a great evil. [This was the first clue.] Baffled, Sir Arthur agrees to the monk’s suggestion that he should rest now, and goes to sleep on a simple bed within the monastery.

[The next scene is Ric’s to narrate, with me (Josh) playing Sir Arthur.] Sir Arthur wakes up to find the monastery empty. Nobody seems to be around – the monks are gone. Wondering if he has dreamed the whole thing, or lost his mind, he wanders through the monastery, trying to retrace his steps to the exit. En route, he stops to look at those carvings he saw before. He stares in disbelief as he recognises a perfect likeness of his own face amongst the carvings on the wall. [Second clue.] Although Sir Arthur has barely exchanged words with anyone, we have discovered more about him from his inner reflections.

[Next up, I’m the Narrator, Fergus is Witness.] Sir Arthur Worthington makes his way up the mountainside. He has lost his sherpas, and the monks are all gone. He has no supplies. He has little hope, really, but his desire to prove himself drives him on. As he trudges up the path, he spots a small building – a hut – crouching in the snow. Within, he finds a comfortable little home, complete with fireplace, bed, a rather nice desk. This will make a good place to camp for the night. Idly flicking through one of the books he finds on a shelf, he is baffled to see that it is entitled “Ye Journale of A Worthington”. Within are various coded writings, together with the occasional unencoded note such as “Tried it again today without success. Perhaps tomorrow.” [Third Clue.] He tosses the book on the fire, but as it burns, a terrible, fiery symbol appears, crystal clear within the flames. [Fourth Clue, created using a card – “reveal a Clue that has no rational explanation”.]

[Fergus is Narrator next, Ric is Witness. Fergus chooses a Reprisals scene.] Sir Arthur wakes up in the hut. He still has no food, no hope, no ideas. He opens another of the books – unbelievably, it’s the same Journal from before. He opens another – the same. They’re all the same. [This is a re-use of an existing clue, so doesn’t count as the clue for the scene.] Setting out into the snow, he spots a couple of scavenger birds flying in the distance, periodically descending to the ground. Realising that there may be food where those birds are landing, he heads in that direction. When he arrives, he finds one of his sherpas. He has been brutally killed. He appears to have been hit with something – a massive impact – and his face is a mask of terror. Most disturbing of all, his entrails have been torn out and arranged in the pattern of the symbol Sir Arthur saw in the fire. [Again, this is clue re-use.] A trail in the snow reveals where his body was – presumably – dragged to this spot.

[Ric is Narrator, I’m Witness.] Sir Arthur is filled with horror at the sherpa’s fate, but pushes his fear down. He knows he will surely starve if he can’t find food. It is possible – just possible – that the other sherpas are at the end of that trail. So he has little choice: he follows the trail. At the end, he finds a cave in the ice. Inside, he finds a package of perfectly butchered meat, no bones within. [Fifth Clue. This triggers the end of part 1, which means all new Clues from now on must have no rational explanation.] Returning with haste to the hut, and desperately trying not to think about what might have butchered the meat, or what (or who… please say not who) the meat might have come from, he cooks the meat and eats it.

[Ric Narrator, I’m Witness. Another Reprisals scene, this time played with a card.] The next morning, he awakens to find that the hut has been ransacked torn apart. The desk, smashed to matchwood. His remaining equipment, gone. The books, torn to shreds. And over the fireplace, daubed in blood, the symbol from the fire. [Another clue re-use.]

[Me Narrator, Fergus Witness.] Emerging into the snow, Sir Arthur finds that there’s a trail heading away from the hut. Looking at it closely, the trail seems to be made up of countless clawed footprints. No living animal could have made these prints. But a thick fog cloaks the mountainside, and though he hears a terrible, cracking, bubbling noise from deep within the fog, he does not dare to pursue it. [Clue 6.]

[Fergus Narrator, Ric Witness. Once again, a card is played, this time “Change Location”.] Once the fog has cleared, Sir Arthur goes looking for his stuff and spots some of it, scattered down a sheer slope near the hut. Clambering down to retrieve his stuff, he discovers a deep, dark cave.

[Ric Narrator, I’m Witness.] Heading into the cave, Sir Arthur comes upon the monk he met at the beginning of our story. Enigmatic to the last, the waiting monk gestures him to follow deeper into the cave. Sir Arthur follows, and after a time emerges through a carved stone doorway into an underground room, where the saffron-robed boy awaits, this time wearing a golden mask. The boy removes his mask to reveal Sir Arthur’s own face staring back at him. [Clue 7.] Sir Arthur screams the scream of the unhinged.

[I’m Narrator, Ric is Witness.] Sir Arthur is numb with terror, but continues into the depths of the cave. He passes through another arch, carved with the same monsters he saw in the monastery. He finds himself at the top of a deep shaft, with winding stone steps carved into the side, descending deep into the earth. But it is what is carved into the walls that horrifies him: a written history of previous pilgrims to this mountain, horribly reminiscent of dreams that Sir Arthur has had long before his journey to the Himalayas. Or thought he had. Were they dreams? [Clue 8.]

[With the 8th Clue, part 2 ends. It could have ended earlier, if the Witness had decided to voluntarily initiate the Journey into Darkness, but he didn’t. Fergus is therefore Narrator for a Force Majeure scene, which proves rather simple.] Sir Arthur stands at the top of the winding steps, and knows he must go no further, his innate determination rising within himself. But then he feels a shove at his back, as the saffron-robed monk pushes him over the edge, and he falls, down into the darkness.

[We now begin the Journey into Darkness. Since I can’t remember each individual step of the Journey, I’ve written it as a single scene, though different parts were narrated by different people.] Sir Arthur comes to at the bottom of the shaft. He lights a torch, and looks around. To his horror, he sees that the carvings that had described his dreams continue even down here. But now they are describing the events of the last few days. [Clue re-use.] There is a further staircase leading down into greater darkness. Sir Arthur follows it, plunging further down into the earth. He is feeling a mix of terror and exaltation now. He feels that this is his destiny. He was born to fulfil this destiny, and the fools at the explorer’s club will regret laughing at him. He finds himself at an altar, where a copy of the Journale of A Worthington sits waiting for him. But now he can understand the coded text. He reads it – it is a ritual, which he begins, chanting wildly. There is a little bowl of flesh. He eats it. A portal opens, and he steps through.

[With the Journey over, we briefly conferred over who should do the Final Horror. As it happens, two of us had an idea, but Fergus said that his was perhaps a little too optimistic an outcome to the story, so I stepped forward to narrate the Final Horror, with Ric as Witness, for all the good it did him.] Sir Arthur emerged onto a cold mountain peak. Before him was a great cauldron of blood. The saffron-robed monk was there, and gestured to the cauldron. Knowing now that his destiny would be fulfilled, Sir Arthur drank from the cauldron, deeply. But now he felt strange. His limbs began to change. His voice was changing, his hands warping into tentacles. He tried to scream, but in place of his voice was a terrible, cracking, bubbling noise. The saffron robed monk places a golden chain about his neck, and leads him down to join the other monstrous creatures, his predecessors on the mountain.

[The Epilogue rotates the roles so that someone not involved in the Final Horror gets to be Narrator. That’s Fergus, so he narrates what becomes of the Final Horror, and Ric gets to narrate the fate of the Witness (in this case, his descendant.] In the Epilogue, Sir Arthur’s son grows up and becomes a geologist. He, too, decides to journey to the Himalayas. We ended with the monster that was Sir Arthur watching, wordlessly, as his son arrived to enact the ritual.

Lovecraftesque: playtest

After half a dozen external playtests and a similar number we ran ourselves, we’ve been beavering away on an updated version of Lovecraftesque. We’re now opening it up for a second round of external playtesting.

What’s the game about? You create your own story of brooding horror in the mould of Lovecraft, but without using any of Lovecraft’s material. It’s a GMless game, in which you spend most of your time as a narrator whose role is to intrigue, torment and terrify the Protagonist. You and the other players create strange clues for the Protagonist to investigate and, ultimately, draw them together into a compelling Final Horror to drive the Protagonist to despair or insanity.

What’s changed since the first playtest?

  • We’ve ripped up the token mechanics. They were clunky, and they were getting in the way of engaging with the game.
  • You’ll receive one or two cards at random at the start of the game, which make each story unique and a little unpredictable.
  • We’ve introduced the “leap to conclusions” rule, which keeps things coherent while leaving everyone plenty of room to influence the story and be surprised by what the other players contribute.
  • We’ve created a teaching guide which makes it quicker and easier to teach the game to new players, and which gives a great summary of Lovecraft’s style and themes for players who aren’t familiar with his work.
  • Plus loads of other, smaller tweaks designed to make the game easier to play or deepen the atmosphere.

If you’d like to take part in the playtest, please leave a comment here or email lovecraftesque at vapourspace dot net and we will send you the playtest files.