Author: Josh Fox

Rabalias grew up wanting to be a pirate. But a band of evil bureaucrats kidnapped him and forced him to work for The Man. Even so, Rabalias was patient and cunning. He escaped by gnawing his way through the walls of his prison and concealing the hole behind a picture of cthulhu. He fled to the coast, and stowed away on the Black Armada, where he worked his way up to the rank of Admiral.

How does system matter? (part 2: house rules, mods and hacks)

This is the second in a series of articles. In the first I talked about designer intent, and mechanical procedures.

As discussed in the previous article, designer intent is important but only so far as it is successfully communicated and/or implemented through the game text. We’ve talked about how the procedures of play can shape what the game is like: now let’s talk about what happens when you modify those rules through house rules or hacking.

First up, what’s the difference between house rules and hacks? I think it’s a difference of scope and formality, and can reasonably be said to exist on a sliding scale. A house rule is generally a focused change to the rules given in the official game, a hack is a much broader set of changes which, taken far enough, can become a completely new game. It’s a slightly arbitrary distinction but when you’re far enough apart on that spectrum, the distinction will matter, as we’ll see.

So starting with house rules: small, focused changes to the rules. In my experience these tend to come about when someone is playing a game, and a situation comes up that they want to handle by something other than fiat, but the official rules don’t give a mechanistic way of doing that. I emphasise mechanistic, because as we’ll see later, plenty of games give you tips or guidelines for making decisions in spaces that aren’t covered by the mechanical procedures of the game. But usually when a house rule comes about, it’s because the group wants something harder edged, that defines something you definitely can or can’t do, or that involves picking up the dice.

So we’re talking about discrete, focused, mechanical changes. They are the same as what I call “procedures”, meaning they are pretty much fixed in their operation: give them input A, they’ll give you output B (or perhaps randomly either output B or C, say). There will be interpretation about when something in the game has triggered input A, and how output B or C manifests, no doubt, but still – a fairly rigid mechanism that compels B/C to happen when A happens. And like other procedures, that means they force the game into a particular shape.

It’s useful to now contemplate the designer’s intentions again. The designer, we may hope and assume, has created a functioning whole: a collection of rules that work effectively to generate the type or types of play that the designer envisages[*]. Your intervention is hopefully giving you the type of play that you wanted, but it might push the game outside of its original parameters and into an entirely different play space. Or! It might not. Maybe your new rule is on just the same page as the designer, and it’s more of an incidental thing that they happened never to include such a rule – perhaps they didn’t have the space, or never thought of it.

Point is, by introducing a new rule, you’re changing the system. Maybe only a little bit, or maybe it’s more significant than that, either because it has a big impact on play, or because it interacts with other mechanical parts of the existing rules in unexpected ways. That’s a good thing! You wanted to change how the game worked, and that’s what you did. Just, it’s important to understand that you’re now playing a new game, and because system matters, that might make a big difference to the experience you have at the table.

An example may be useful. I was chatting to Ben Riggs on his podcast Plot Points the other day, and mid-way through a conversation about why Last Fleet isn’t a D&D hack, we came to an idea that you could allow characters in D&D to heal some hit points when they have an emotionally meaningful conversation. Ben was quite taken with this idea, and hopefully will try it out.

Here’s what I think will happen when he does: the players will start talking to each other about stuff that they never previously bothered to talk about, or at any rate will do so more frequently than they did before. Talking about feelings. Talking about things that give us feelings – happy or sad events, hopes or dreams, worries or fears.

More than that, if they’re clever they’ll start to set up stuff that they could talk about at some future juncture. Like, if you’re using the official D&D rules, the only incentive to introduce an ailing mother into your background is if you’re a drama llama who likes that sort of thing. But under the new Ben hack, doing this is an excellent idea, because when you’re low on hit points later on, you can talk about how worried you are about your mother and ker-ching! you get some hit points back.

And because it’s docked into hit points specifically, they will be having these conversations at a specific time i.e. after a fight. No point having the conversation just before a fight, in fact you’re squandering a future opportunity to heal! So you’ll get a rhythm: encounter, conversation; encounter, conversation. Now imagine if it was docked into the advantage system instead, so that you got advantage on your next roll. Or if it was docked into the XP system, so you just got some XP. That incentivises totally different types of play.

So you can see that even quite a small change to the rules could create a fairly radical change to the play experience. Now when you get into much broader changes to the rules, that’s the danger zone when it comes to system. Think of the system like a garden. If you plant a small herbaceous plant somewhere in there, it could potentially harm or benefit neighbouring plants, or those plants might harm or benefit it, but the garden as a whole won’t change that much. If you plant a gallumphing pine tree in the middle of that garden, you’re definitely going to change the look and feel of the garden, and maybe kill off some other plants. If you do that a lot, before you know it you’ve got a different garden entirely. And the key thing is, if you do it at random, the garden will be a mess, and many of the original plants may become unhappy.

Don’t get me wrong: a hotchpotch, higgledy piggledy garden could be beautiful and enjoyable. I’m not saying “you must design your game to be completely coherent and perfect”. But on the other hand if you simply throw things together randomly, you’re trusting to luck that it’s all going to work in combination. The more you venture from house rule to hack, the more you can benefit from thinking about that garden – that eco-system – as a whole, and designing stuff to fit together.

Ok, that’s enough for now. Next time I’ll start thinking about the softer stuff – venturing beyond procedures and into principles and culture.

This article is supported through the Black Armada Patreon

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[*] But what about generic systems, I hear you cry! Well, so-called generic systems are generally promoting a particular type of play, too. D&D is sometimes held up as generic, but its systems aren’t designed to do just anything – for instance, they ignore completely the emotional life of the characters to focus on practical matters like whether I can kill this orc or get past this trap or seduce this guardsman. The designers of D&D thought their game would focus on orcs and traps and guardsmen, not hopes and fears; other games do the opposite. That’s the sort of thing I mean when I say the game is going to generate a specific type of experience.

Last Fleet is live on Kickstarter!

Hello everyone!

The Last Fleet kickstarter campaign is now live!

Last Fleet is a PBTA game about a rag-tag fleet, fleeing across space from the merciless inhuman foe that destroyed human civilisation. You play brave pilots, officers, engineers, politicians and journalists fighting to keep the fleet – and themselves – in one piece.

The game is focused on action, intrigue and drama in this high-pressure setting. The game’s setting, situation and mechanics push the theme of pressure, whether it’s through white knuckle space battles, tense hunts for infiltrators on the fleet, or the social fallout when your characters finally crack. It excels at the classic PBTA rhythm of switching between action and interpersonal drama.

If you like the sound of that, please do check out the Kickstarter page where you can see previews of the art, read more about the game, download the reference sheets, and of course back the campaign.

https://www.kickstarter.com/projects/blackarmada/last-fleet-rpg-lastfleetrpg

Thanks for your support.
Cheers,

Josh

How does system matter? (part 1: designer intent, and mechanical procedures)

There seems to be a mini-rash of “system matters” discussion happening at the moment. I’ve often found these discussions get lost in differing definitions – you can’t agree whether system matters if you don’t agree what system is. More importantly, different aspects of system matter in entirely different ways. So rather than debate whether it matters, I’m going to break down different aspects of “system” and consider what’s important about them. This will be a multi-part series.

Here’s a list of things I’m planning to talk about in this context. Possibly more will come up later.

  • Designer intent
  • Formal written procedures of play (“the rules”)
  • House rules, mods and hacks
  • Written principles and implicit directions
  • Unspoken rules at the table
  • Play culture

Let’s start with designer intent. You might think this is not part of system (and I pretty much agree) but it obviously shapes many of the other items on the list above, specifically the formal procedures, written principles and implicit directions.

A designer can have a greater or lesser focus on specific themes, a specific type of experience they want you to have, or particular styles of play that they favour. The important thing to say here is that designer intent only matters to the extent it’s communicated to actual or potential players. This can be done through the rules, through the background material, through guidance, through the game art, even through marketing or interventions on social media.

But let’s face it: in most cases, people will only have take in what’s in the game book. Anything else, no matter how important, is likely going to be missed by most of your target audience.

Regardless of how it’s communicated, it doesn’t matter what you meant when you designed your game, only what the players understand. This isn’t a philosophical point about the nature of meaning, but a practical point about the nature of game design. Of course different audiences will take different meanings from what you say, and with the variety of game culture that’s out there it is very likely that someone, somewhere is going to misunderstand what you intended.

In fact it’s even worse than that, because (in my experience) many people don’t properly read the rules at all. They skim, they grab the printouts and run, they make assumptions or ignore rules they don’t understand. This is one of the things that makes playtesting important, because you don’t know how people outside your circles will read (or not) your words.

Game design is communication. Communication is messy and imperfect. No amount of playtesting can eliminate misunderstandings. You aren’t designing a car, where the systems interlock and perform in exactly the way you imagined; you’re designing practices for humans, and humans never perform the same way twice.

Anyway, that’s a long and rambly way of saying that design intent is hella important, but ultimately once you put the game out there in the world, no longer matters.

So what does matter? Well, let’s get our teeth into what most people probably think of when they hear the word “system”: the rules.

Here I like to talk about procedures. A procedure is a structured way of doing something. It takes an input, and turns it into an output, according to a fixed, mechanistic formula. Or in the case of roleplaying, it more typically takes many and complex fictional inputs, turns them into fewer and simpler mechanical components, futzes around with them (in a structured, mechanical way) to generate mechanical outputs, which in turn are translated back into fictional outputs.

Still: the distinction I’m making when I talk about procedures is that they’re mechanical. No matter how complex your rules, the procedural parts of them can be boiled down into simple if-then statements. That’s not all there is to rules – we’ll get to principles and directions, later on – but it’s an important aspect of “rules” that dominates many people’s thinking, perhaps because everyone is familiar with rules from other contexts like board games and wargames.

But it is worth pausing to note that in a roleplaying game, you cannot activate a mechanical procedure without first making a fictional interpretation. Even something simple like an attack roll requires you first to recognise that someone has attacked someone else in the game’s fiction. You have to interpret the fiction to do that. “I hit him with my sword”, cool, make an attack roll. “Did I mention my sword is made out of marshmallow”, oh, uh… I guess not then. So, as I’ll discuss in a moment, clearly rules are important, they matter, but they only function as filtered through the human and fictional medium: your brain and the brains of the other people at the table and the stuff they’re trying to imagine together. (Maybe we’ll get back to that later.)

The key thing about procedures is that they are fixed. Once you’ve decided that it’s time to make an attack roll, you must roll a d20, and if it equals or exceeds the target’s AC, you must roll damage and subtract it from the target’s hit points. If the target’s hit points reach zero, they die.

Seems pretty hard-edged, and with examples like that we can all clearly see that the rules are going to matter. If the rules say that short swords do d6 damage, and a normal human has d8 hit points, we can see that humans will typically last a lot longer than if short swords do 2d6 damage and a normal human has d4 hit points, or if we skip damage rolls altogether and just say that a successful hit roll kills the target.

All this is deciding is how quickly we go from “roll initiative” to “everyone is dead”, but it will make a huge impact on the play experience. Would you want to start a fight if one successful hit roll will kill you? That will feel a lot differently than if you and your buddies each get 50 HP while your opponents get about 10. And that’s without even getting into whether the game includes rules for fighting in the first place.

So one way in which the rules matter is that they compel you to change the fiction, and they compel you to do it in particular ways. If your game rules say that one successful hit roll = death, you’re compelled to play a game where fighting is really dangerous, and so we either won’t have very much of it, or we’ll have a lot of people dying. If your game rules say that player characters have tons of hit points but NPCs don’t, we’re compelled to play a game where fighting is pretty safe for PCs, which is very different.

Compelled? Well, yes. If you use the rules as written. We’ll be coming back to house rules, play culture and all sorts of ways in which you can ignore the rules. But enough to say here: obviously if you ignore the rules then they don’t matter. Rules only compel you if you let them. Still, something isn’t really a rule at all if you don’t obey it, right? As long as you’re following the procedures to the letter, they really fucking matter.

One other way in which the procedures of play matter is that they generally cover only specific types of thing, not everything you could possibly do. D&D Basic*, the ancient and revered forefather of the biggest fish in the roleplaying sea, didn’t have any skill system. If you wanted to, I dunno, deceive a guard, there weren’t any rules for that. You could houserule it, you could make something up on the fly (and we’ll get to the ways in which a game can actively encourage you to do that, or not). But it wasn’t in the book, and that meant that deception was only a part of play if the group decided to make it part of play. Unlike stabbing things with swords, which was explicitly and formally coded into the game.

Now obviously many people put deception into their D&D Basic game. This may have been an inevitable consequence of the narrowness of the rules in that game, the massive gaps it left, and the incentives of play: obviously someone was going to want to lie to a guard at some point. Obviously someone would need to come up with a way to do that. And so a thousand house rules were spawned, and eventually D&D 5e. But meanwhile, there wasn’t any fixed way to handle deception, and very probably many games didn’t have it in at all. And practically nobody ran D&D without fighting in it. Because, amongst other reasons, that’s what the rules were focused on: fighting, not lying.

So that’s two ways in which the procedures of play matter: they fix certain ways of doing things by making them mechanical; and they channel you towards doing certain things rather than other things. Those are pretty big impacts!

Next up, we’ll think about some things that modify the procedures of play, and some things that aren’t procedures (as I’ve defined them) at all. The next article in this series is here.

This article is supported through the Black Armada Patreon

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*Ok, it wasn’t called D&D Basic** back then, and many people don’t call it that now. Probably it wasn’t even the first, because once it was chainmail or whatever. The point stands.
** I’m told I should head of pedants by saying I’m referring to the original edition of the game, circa 1974. Honestly, I’m not even sure. If that version didn’t have skills mechanics, great, it’s an example of what I’m talking about.

Join the UK Indie RPG League!

Are you interested in selling games at UK conventions, but want to avoid the cost and loneliness of doing it by yourself? Then you’re going to be interested in this.

The UK Indie League is recruiting. We’re a group of friends who go to conventions together to sell our tabletop roleplaying games. We share convention costs, and we staff the stall together, so we have friendly company and can take breaks without abandoning the stall. It’s a chance to meet fans of our games and sell stuff to people who might otherwise not see it. Plus you get free entry to the conventions, which is nice.

We’re looking for new members. You’d join us at conventions, bring your stuff, and help us to sell our stuff and yours. You keep your share of the profits, and you pay a fair share of the stall costs based on how much space your products take up and how much you sell. You’d also need to cover your own transport and accommodation costs. It’s on a trial basis initially, because we need to know we like each other before we commit to something more long-term.

The next convention we’ve got coming up is UK Games Expo. It runs from Friday 29 to Sunday 31 May 2020 at the Birmingham NEC. If you’re not interested in UKGE, it’s still worth getting in touch, and we’ll consider you for future events, but right now we’re prioritising getting people who can help with that.

If that sounds good, we’d love to hear from you. We have to limit numbers to keep things manageable, so we can’t guarantee we’ll say yes, but we’ll look seriously at every application. Please fill in this Google Form to register your interest. We’re happy to talk about what’s involved in more detail, just drop us a line at indieleague(at)vapourspace[dot]net.

Black Armada supports KSRU

We’ve been watching closely the attempts by the Kickstarter United (KSRU) to get recognised by Kickstarter as an official union. We’ve been dismayed by the response by Kickstarter. We support staff efforts to unionise, and we support the demands for Kickstarter to #recognizeKSRU.

We would like to emphasise that KSRU have not called for a boycott of Kickstarter, and doing so unilaterally at this stage is likely to undermine efforts to secure recognition. We are not boycotting Kickstarter. With that said, we support individual choice and nobody should be attacked for choosing to stay away from the platform at this time.

Below is an email we have sent to Kickstarter senior management (kickstarter-sot(at)kickstarter.com) and to thoughts(at)kickstarterunited.org. We’d urge all creators and backers to make your support known too.

To whom it may concern


We are writing as co-owners of Black Armada Games. We are three-time creators on Kickstarter. We have backed dozens of projects ourselves. We truly appreciate the service that Kickstarter and its workers provide to help entrepreneurs and individuals alike bring their dreams to life. We are substantial beneficiaries of that service, and we would like to use it again. Indeed, we have a campaign coming up in early 2020 that we would like to put on Kickstarter.


However, your company’s position on recognition of Kickstarter United has put us in a very difficult position. We support employees’ right to unionise as a matter of principle. We support the aims that KSRU have put forward – honestly, we struggle to see how anyone could disagree with them. It seems to us that those aims, and the support for workers to be able to unionise, is strongly consistent with Kickstarter’s stated values, not least as Kickstarter is a public benefit corporation.


It is clear that Kickstarter’s actions have been to oppose unionisation. While you have claimed to take a neutral position, in practice you have argued against forming a union, you have pushed for a process (NLRB elections) which will impede the speed and likelihood of the union being recognised. And that is without even considering the sacking of KSRU organisers, an action which looks deeply suspicious. We are horrified by these actions and, were KSRU to call for a boycott, they would have our wholehearted support and compliance.


With all that said, we have a decision to make as to whether to put our next campaign on Kickstarter or choose one of your many rival crowdfunding sites. We imagine we are not alone in reconsidering whether Kickstarter is the best platform for our brand and our values. We do not wish to undermine KSRU and we are not boycotting your site, but as a business we have to choose the best platform for our work. We may yet decide to continue with Kickstarter, but this issue weighs heavily in our minds.


And so we call on you to voluntarily recognise KSRU. End your oppositional behaviour. Redeem your reputation and move on from this PR disaster. Live your values and those of countless creators and backers. And selfishly, we’d ask you to do it swiftly so as to make our decision about our campaign an easy one.


Yours


Josh Fox and Becky Annison

Black Armada Games

Push and pull mechanics

A popular mechanic which crops up in a lot of excellent games is Conditions. A Condition is a problem that’s affecting your character, like “broken leg”, “on fire” or “suspected traitor”. The idea is that the GM will hit you with trouble when your Condition would be relevant, or penalise you when it would get in the way. But this doesn’t work as well as you might think.

The trouble is, Conditions hardly ever get used. Why? Because they require the GM to Push them into the game[*]. In other words, the GM has to remember that the Condition is in play and bring it to bear on the game’s fiction and/or mechanics. This requires the GM to divert their limited attention and make a decision. I found this out to my cost in recent playtests of Last Fleet, where a whole bunch of Condition-type mechanics just never seemed to bite.

There are various ways you can increase the salience of these GM-Push mechanics, to help avoid them disappearing into the general cacophony of demands on the GM’s attention. Taking a mechanic off the player’s character sheet and putting it onto the GM’s reference sheet where the GM can more easily see it, for instance. Or better yet, put it in big letters on a nice, visible index card that sits in plain sight right in front of the relevant player. But even so, that’s just greasing the GM’s cognitive wheels a little. You’re still putting the onus on the GM to turn those wheels.

But there’s two ways you can restructure your mechanics to make them work without needing a GM push:

  • Turn them into a Pull mechanic
  • Turn them into a Player-Push mechanic

Let’s start with Pull mechanics. A Pull mechanic is automatically activated in fixed circumstances, drastically reducing the cognitive demands of the mechanic. For example, where a Condition relating to an injury generates work for someone to apply it in the fiction, a simple Harm or Hit Points mechanic are much easier to track.

You might think that sounds kind of boring: am I really recommending Hit Points as a mechanic? Well, it needn’t be dull. The system of Marks in Night Witches is essentially a Hit Point system, but it’s one where every time you take damage, something interesting happens. It’s just that the interesting thing happens automatically. Whenever certain Moves are triggered, someone has to choose consequences which include taking a Mark, and when someone takes a Mark, the fictional or mechanical consequence is applied right away.

The other approach is to use Player-Push mechanics. The difference here is, you put the onus on the owning player to activate the relevant mechanic. A good example is the Conditions found in Masks: A New Generation. Although having the same name as the GM-Push mechanic mentioned above, these work differently. Each Condition is tied to a particular Move or Moves in the game, and creates an automatic penalty each and every time that Move is used. The penalty itself is a Pull mechanic: whenever you use those Moves, the penalty applies, so no thought or judgement required. But removing the Condition is a Player-Push mechanic: if a player wants to remove the “Angry” Condition, they have to break something important, which requires them to choose that action. Now a player character’s Anger can be applied to create interesting complications in scenes, but it’s up to the player to choose when instead of the GM. And there’s a clear incentive for them to do it, because as long as they’ve got that Condition they’re continuing to take the penalty.

Another nice thing about Player-Push mechanics, by the way, is that they hand more power and narrative control to the players. That’s usually a good thing in my view: it means they’re more engaged with the game, and it means that the trouble that is created is something they’re eager to get to grips with – after all they chose it.

You can even combine the two. An example is Pressure in my own WIP game Last Fleet. Pressure is used as a kind of Hit Point system, whenever a character takes harm but also when they take an emotional shock – a Pull mechanic that happens automatically when the rules say so. But players can also voluntarily Mark Pressure to get bonuses to rolls – a Player-Push mechanic that provides a clear incentive for the players to make trouble for themselves. Finally, when you get to 5 Pressure, you hit Breaking Point, forcing you to choose from a list of irrational or risky actions to take that will complicate your character’s life. Breaking Point is another Pull mechanic: it kicks in without any decision needing to be taken.

There’s definitely room for GM-Pull mechanics. In most games, part of the fun of being the GM is to exercise your attention and judgement to spot opportunities to make interesting stuff happen. You wouldn’t get to do that as much if only a mechanical trigger or player decision enabled you to do it. But, in the interests of lightening the burden on the GM and ensuring your mechanics actually come into play instead of sitting unused on someone’s character sheet, consider using Pull and Player-Push mechanics instead.

As a coda to this, I took three distinct GM-Push mechanics in Last Fleet and converted them over to a mix of Pull and Player-Push mechanics. I’m really happy with how they bring into sharp focus elements that were previously relegated to a minor role or just plain didn’t work.

This article is supported through the Black Armada Patreon

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[*] Ok, to be fair, in a lot of games other players can activate Conditions too, using another player’s Condition against them. But the principle is the same – it requires someone else to think of the Condition and bring it into play.

Bite Marks is on Backerkit

We’ve sent Bite Marks off to the printers, which means it’s now available for pre-order if you missed the Kickstarter campaign.

Bite Marks is a PBTA game of werewolf pack dynamics. This is a game about being a werewolf, in a Pack. The Pack is a deeply intimate and close family; like a family, sometimes it is full of love and happiness and sometimes it is brutal and dysfunctional. But love it or hate it, you can’t ignore it – it will shape you. Fearless Alpha, dedicated foot soldier, pacifist scholar or rebellious cub – your relationship with the Pack is the cornerstone of who and what you are.

You might notice the game’s name has changed – we had some difficulty with a similarly-named board game, hence the change. We hope you like it!

You can pre-order Bite Marks here.

Get our games on itchio

We’ve also uploaded our back catalogue of smaller games to itchio. These include some of the first games we ever designed. Create your own disaster movie, fight a deadly duel between close friends, play farm animals overthrowing the despotic farmer, and more. Most of them are free (with optional donation).

And we’re uploading the games we’ve offered through our patreon. The first two games, Soap Bubble and What the Water Gave Me are already up there, with more coming soon. Of course, if you like these then you should consider backing the patreon, where you’ll regularly get games like this, before they show up on itchio.
 

Last Fleet playtest

The first two rounds of Last Fleet playtests are complete. As a reminder, Last Fleet is a PBTA game where you play brave pilots, officers, engineers and politicians on board a rag-tag fleet of ships, fleeing across space from an implacable, inhuman adversary.

The game is in great shape, but there have been some tweaks which need further playtesting. If you’d like to take it out for a spin, drop us a line at lastfleet@vapourspace.net and we’ll send you a playtest pack.

How I run investigation games (part 2: in-session)

Last time I wrote about how I prep investigation games. I’ll talk a bit more about that here, but I also want to move on to talk about what I do during sessions.

My aim in running an investigative game is twofold:

  • Make the players feel smart
  • Make the investigation challenging

Those two aims seem kind of contradictory, but in a way they support each other. You cannot feel smart if the game hands you everything on a plate. You cannot feel challenged if the game is simplistic or handled entirely through dice rolls.

As discussed in a previous article, you can break investigation down into various components:

  • Leads (where should I look next?)
  • Imprints (what clues are there?)
  • Patterns (how do the clues fit together?)
  • Conclusions (what is my theory of the case?)

I want as much as possible of the above to feel like they were investigated by the players themselves, using their own brainpower, without running up against the perennial problems of analysis paralysis and the thing that seems obvious to the GM not being at all obvious to the players. I’m not going to pretend those problems aren’t real – and more on how I tackle them below. But for now, let’s talk about how I handle the components above.

My initial lead is always given away for free. That’s a given: the game will be no fun if you can’t get started.

From that point on, I follow a simple set of rules:

  • If a clue is obvious, you don’t have to roll to find it
  • If a clue is hidden but you look in the place it’s hidden, you find it without rolling
  • You can find any clue with an appropriate roll
  • Once you’ve got the clues, it’s mostly down to you to figure out the logical leads, patterns, and conclusions

You can probably see for yourself how the above could easily lead to an investigation stalling. If the players don’t look in the right place, or roll badly, or can’t figure out the next lead, then everything grinds to a halt. There are three principal ways that I solve this:

  • Critical mass. I make sure there are enough clues available that it’s unlikely they’ll fail to find anything.
  • Keep some leads obvious. Signposting specific characters or locations as being of interest will ensure there’s always a next step to follow (but there’s always the potential to discover more)
  • Move the clock on. If the players are taking too long, then I look to the next event on my timeline and make it happen – so even if they get stuck, the story doesn’t

The aim here isn’t to make it impossible to fail the investigation. That wouldn’t be challenging, and it wouldn’t make the players feel smart. The aim, instead, is to make sure that they never get completely stuck – even if they’re failing, they’re moving forwards. So there’s always enough clues to find something out, and there’s always enough obvious leads that you have somewhere to look next.

Equally, my aim is to create a potential dividend from being smart, from being lucky, and from being quick. Players who get lucky on the dice find more clues; players who think their way around those clues and ask good questions discover patterns and start to reach conclusions; and those clues and conclusions can enable them to get ahead of my timeline. Those who move at the minimum pace enabled by following the obvious links, probably find themselves fighting for their lives at the finalé, having left a trail of murders in their wake. Those who leverage luck and judgement may be able to save some lives and catch the perpetrator unawares.

What this means is: being open to the players failing – so that another person is killed (or whatever consequences I established in my timeline happen); but also being open to them wildly succeeding, so that my villains fail and their plans are completely foiled. The critical mass of clues and obvious leads means that I’m hopefully leaning towards success over the medium-term, with occasional frustrating blocks that make that success more satisfying when it comes.

I cannot overemphasise how important it is for failure to come with consequences. If they get stuck, then those consequences mean that the game doesn’t get stuck; instead of their next lead being a witness they want to investigate or a place they want to investigate, the next lead comes in a body bag. And of course, this also means that when they succeed, they’ll know that it was earned, because they know what happens when they fail.

Very occasionally this means the players fail utterly. The villains complete their plan entirely, and escape. That’s great. It means there’s now a future recurring villain, who the players really want to take down, because they feel responsible for not catching them the first time. As long as things didn’t grind to a halt during the session, so there were always fresh leads to follow and tense pacing created by my timeline events, then failure is ok.

One last thing: do not let things drift towards out of character discussion of clues. To a degree all theorising is out of character, since you don’t actually have the skills, knowledge and brainpower of your characters. But try to keep people talking as their characters, because that will help to reinforce the sense that any frustration they may be feeling is fictional, it’s part of the story. They’re not sat on your couch feeling worn down by the investigation, they’re stood in a dark alley looking at a corpse and wondering when the next one will show up.

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Breaking down hard moves

Apocalypse World introduced the concept of Hard Moves, i.e. the individual interventions the GM makes in response to players’ actions and rolls. Subsequent PBTA games have tended to distinguish between “hard” and “soft” moves. But they vary wildly in how much time they put into explaining the distinction. Here I’m going to talk about the different ways in which a move can be “harder” or “softer”.

Before I get started I should pause to acknowledge that Magpie Games have done a pretty great job of talking about this in the past. Check out Urban Shadows and Masks: A New Generation for a particularly good treatment of the topic. What I’m trying to do here, building on that, is to break down and codify the different types of move “hardness”.

My thinking about moves is informed by my professional life, where I have some experience of risk management. Risk management is the discipline of recording and managing all the bad stuff that might happen to your business. Sometimes people use similar techniques to manage potential good stuff too (opportunities); and you can also manage “issues” which is essentially a risk or opportunity that has already come to fruition.

In risk management, we think about the probability of a risk coming to pass, and the impact if it comes to pass. You can have an absolutely terrible risk that would devastate your business, but which isn’t very likely to happen, or a fairly mild risk that would cause you problems, but is highly likely to occur. You’ll treat those two very differently, and its debatable which you ought to focus on. But for our purposes, you can apply a similar(ish) approach to thinking about moves.

Start with probability and a related concept, proximity. Let’s compare some scenarios where the GM is making a move:

  • There’s a woman with a grenade launcher, and she’s fired it at you. It’s going to explode at your feet in a few seconds’ time. What do you do?
  • There’s a woman with a grenade launcher, and she’s aiming it at you. What do you do?
  • There’s a woman with a grenade launcher, and she’s aiming it at your party. What do you do?
  • There’s a woman with a grenade launcher, a few metres away. She hasn’t seen you yet, but she’s about to. What do you do?
  • There’s a woman with a grenade launcher a few blocks away. She’s heading in your general direction. What do you do?
  • You get a message warning you about this bounty hunter, Screwball. Her favoured weapon is a grenade launcher. Apparently she’s taken a contract to take you out. What do you do?

Obviously, all these scenarios vary in hardness. In all cases, there’s a potential threat – a woman with a grenade launcher. What’s different between the scenarios is how definite that threat is (how likely it is that the threat will come to pass) and/or how immediate that threat is (how close the threat is in time or space). In all cases the basic worry is “I might get blown up with a grenade”, but the hardness of the move is hugely different depending on the probability and the proximity of the threat.

A caveat to the above is that in most PBTA games, if the GM has mentioned something as a threat then we kind of know that, if we do nothing, the threat will come to pass. There’s not really any such thing as probability – the GM decides what happens. Of course other games are different; in OSR games, for instance, the GM might well roll to decide if an extant threat heads your way or not. In that case probability can be a genuine factor. Either way, a move that is currently low-probability and/or low-proximity at the very least gives me longer to react, so it’s a softer move.

Now let’s think about impact. In risk management this is broken down simply by severity, i.e. where does this sit between being an existential threat down to simply a minor inconvenience. That applies to GM moves as well. But in roleplaying we can also think about significance, i.e. how much do we care about the outcome. Some examples may help to illustrate:

  • A gang has hired an assassin to kill you. What do you do?
  • A gang his hired a local leg-breaker to rough you up. What do you do?
  • A gang has decided to burn your house down. What do you do?
  • A gang has hired a local leg-breaker to rough up your nephew. What do you do?

Now obviously in the examples above, you’re more worried about an assassin than a leg-breaker, because the severity of the threat is lower in the second case. But which is more of a threat – having your own legs broken, or those of your beloved nephew? We don’t know the answer to that unless we know how significant your nephew is. If they’re your beloved nephew, you might put their wellbeing above your own. Similarly, what about your house? Losing your house is probably less severe than losing your life, but the significance is unknown.

Moves that are significant are often much more of a body-blow than a far more severe move that’s of lower significance. Here’s some fun examples:

  • Your hated mother has hired a local assassin to kill you. What do you do?
  • Your beloved mother has hired a local assassin to kill you. What do you do?
  • Your beloved mother has tears in her eyes. Her lip trembles but she hardens her face and says “Get out. I never want to see you again.”

It seems like having your mother target you with a move is probably more significant than when it’s some gang. But it’s a big difference if your mother is beloved or not. How terrible, that your mother – who you love – has gone so far as to have you killed! But the final example is perhaps the most significant: even though the severity is lower (we aren’t talking about life and death anymore, after all) having your beloved mother cut you out of her life might be seen as a “harder” move than the other two.

In my view, significance is the key to really effective hard moves, because they hit you in your emotions. It is worth reflecting, though, that a really significant threat requires some ground-work. My nephew is going to seem more significant to me, the player, if we’ve spent some time establishing who he is and building him up as beloved, than if he’s simply introduced as “your beloved nephew, who is now under threat from a local leg-breaker”.

Related to the above is target. We tend to assume that a move that targets you is harder than one which targets someone else. But that isn’t necessarily the case – after all, people will risk their own life to save that of someone they love. Similarly, we can ask which is a harder move: your beloved mother cuts you out of her life, or your beloved mother cuts your dying father out of her life? The answer, of course, goes back to significance, but I mention target as a separate issue simply because it’s easy to forget that you have the option to target someone other than the players.

Another layer you can add on top of all this is choice, because forcing people to make decisions automatically makes a move harder, and because a choice between two bad outcomes means it might be literally impossible to avoid both. The mere fact that you had to choose the bad outcome can make the resulting badness seem more significant, too.

The final variable I want to mention is sign, as in positive or negative. That is, we can distinguish between moves that have consequences that a character perceives as bad, versus those which have consequences that the character perceives as good. I mention this mostly because – just as most risk managers focus on bad stuff over opportunities – most GMs focus on escalating bad situations over offering potential rewards. It’s a totally valid move, even in response to a bad roll, to offer an opportunity. A “positive” move might even be seen as a fairly hard move in the right circumstances, if it’s an opportunity that comes with risks.

So that’s the seven ways you can vary the hardness of a move:

  • Probability
  • Proximity (in time and space)
  • Severity
  • Significance
  • Target
  • Choice
  • Sign

What techniques do you use to keep your moves interesting? Let me know in comments!

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How I run investigation games (part 1: prep)

A really juicy mystery, with the cool feeling of piecing together clues and coming to the correct conclusion, is one of my favourite things in roleplaying. It’s also something that I feel isn’t well delivered by existing RPG systems. Here I’m going to talk about my approach to building a mystery and enabling real investigation.

This isn’t the first time I’ve explored this terrain. Back in 2013 I talked about how mysteries are like stones falling into a pool, creating ripples. And I went on to talk about how investigation isn’t just about clue detection, but about deduction and reaching conclusions. But I stopped short of talking about how to construct a satisfying mystery, which is what I want to do now.

Just for the moment, let’s assume I have an ok system that will cover the business of discovering clues, and an ok premise that make sure the players want to investigate this mystery. I may come back to these later, but let’s imagine they’re solved problems for the purposes of this article. Let’s also assume I’m running something that has a substantial investigative focus, so there’s more than just one simple mystery to solve.

I then create my mystery in a number of fairly discrete steps:

  • Decide what the fundamental driver of the mystery is. Something like “There’s a cult trying to summon a demon through a series of ceremonial sacrifices”, or “House Rukh are planning to assassinate the governor and take over the planetary government”
  • Generate from this driver a series of events. These can be past events which the players are (presumably) going to be investigating, or future events which the players are (presumably) going to be trying to avert.
  • For each past event, I generate a footprint, that is, a set of clues which are out there waiting to be discovered by the players.
  • The footprint breaks down into physical clues and witnesses, which are obviously investigated in different ways. Each of these is amenable to assigning a location and/or time. I’m also thinking about the ways in which the players might discover the clues, though I’m leaving myself open to other ways as well.
  • For future events, I generate a timing and/or trigger, some consequences, and (in case the players don’t find out about it until after it happens) a footprint, exactly as for a past event.

For instance, let’s look at the cult example:

  • For events, I decide that the cult has already sacrificed two victims. One of them was pursued through a particular district in the city in the night, and then murdered in a junkyard. The other was killed previously and more quietly, in their apartment.
  • The pursuit generated some witnesses along the route it followed – people who heard screams for help and some who looked out of their windows to see a group of figures pursuing the victim.
  • Both the murders generate a corpse, some messy bloodstains, perhaps a footprint. They also include the identity of the corpse – for the junkyard murder that may not be obvious, while the apartment victim (if the players discover it) is in their apartment so probably can easily be ID’d.
  • The junkyard murder will be reported, which is the trigger for the players’ investigation. The apartment murder will likely lie fallow for a while, but might show up later.
  • I also create three future events: a near miss where someone is cornered by the cult and nearly killed, but escapes by jumping out of a window; and a murder that involves an initial kidnapping and the victim being brought to a specific site for the final sacrifice. Perhaps the near-miss will report in to the authorities and the players can find out about it that way. Perhaps the kidnapping will be reported, perhaps not.
  • At this stage I might also add in some kind of link between the various murders, be it geographical (the locations form a shape on the map, with the final sacrifice in the middle) or social (the victims are all highly religious people, say), or whatever.
  • If the final sacrifice is completed then the demon will be summoned and a whole new set of events will be generated after that (but I don’t bother thinking about that right now, because I’m expecting that the players will stop the sacrifice happening and/or kill the demon after it’s summoned.

Once I’ve planned all this out, I’ll review what I’ve got to make sure there’s enough there to give the players a fighting chance of cracking the mystery, but not so much that they’ll solve it in five seconds flat. I can add or remove witnesses and clues until I think I have got that right. Of course, my future events ensure that, no matter what happens, the players will have something to do. If time passes and they haven’t made progress, the next event happens.

I’ll then break the information down into a number of components I can use:

  • A timeline of events
  • A list of locations with clues that can be found there
  • A list of characters with motivations, information they might have and any key abilities

Once I’ve got all that in place, the game more-or-less runs itself. The players move from location to location as prompted by clues and/or a future event becoming a present event. Perhaps they discover clues which help them to get ahead of the timeline, perhaps the timeline runs ahead of them and they’re forced to confront a scary situation unprepared.

I’ll talk in a future article about how I use this prep in practice.

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