Up on A Tree Stump™ #5: Creative Exceptionalism & Asking "Why"?

Up on a Tree Stump™
(or) All I Know about D&D™ I Learned From Life


©2010 Robert J. Kuntz

"The root cause of any problem is the key to a lasting solution." -- Taiichi Ohno, pioneer of the Toyota Production System in the 1950s. Link to full article.

I have the greatest respect for SF/Fantasy writers and their past and future involvement in the craft. It is indeed they along with the historians and other great artists and authors who have given us by adaptation Role Playing Games, for without their ideas, their time devoted to such imaginative and enlightening subject matter, none of it would exist, there would not have been an RPG, or at least not as we now know it. These authors made leaps in exposing new ideas and in challenging stereotypes in all fields of knowledge and social context, and often with a critical eye brought us profound concepts and new ways of seeing the world through the focused lens of their stories.

The majority of good literature has stood upon a spacious ground of perceptive social critique and in this case SF/Fantasy, in the main, has been no different. By transference, then, we can rightly assume that RPG designs that in whole or part emulate speculative fiction have at least that same range of possible articulation. Even though we can choose to separate an RPG from speculative fiction to the point where it becomes a mere vehicle of entertainment amid flourishes of creative addition by its author (in this case, the game designer and/or GM), there is no denying that pushing the bar of its application can expose ranges that contribute to honoring its fullest potential just as any piece of fiction can.

Thus the creation of more challenging forms of design that reach beyond tired and over-tested varieties indeed marks solidly the reason "why" they are conceived of and then produced to begin with, as these literally go hand in hand with the progressive ideal of design. But it also makes for a unique challenge to take fiction and games and weave them together into a unique tapestry that makes not only sense to the designer but to the players of such scenarios or games. And every great designer, and for that matter, great player, loves a challenge.

We have noted a plethora of titles and themes from past and present authors of speculative fiction, so we know that "whys" in our cousin-market can vary tremendously and often do. Such diversity not only promotes a wider range of interesting product but introduces a wider range of readers while expanding these boundaries. In essence it feeds the industry with new blood through fresh approaches which in turn furthers continued sustainability of creative exchange. That is then good for the industry that such writers or designers are deeply involved in.

However, what is important to some may not be so for others. This re-poses the "Why" in a different light, for a truly intransigent creator looks to outdo past designs to make his or her mark. They are the ones who will ultimately, in many cases, deserve the accolades of informed fans and valued critics. Unfortunately, most beginning writers and designers often fail to realize that ongoing homework is needed to succeed in such markets. Homework can here be roughly defined as necessary planning but takes into effect an ongoing challenge he or she envelopes themselves in. This includes innovative story, plot and character development; and in the case of RPG scenarios this will include what might be unique among its parts and how these do or do not compare to previous designs. In either case, creating unique inroads may require more planning and/or reading past examples or primary texts depending upon the proposed story's/scenario's specifics and depth.

To successfully pursue a career in speculative fiction or with any of its related by-products attaching to the RPG industry, writers should not cast their works in a mould that will more often be viewed as mere imitation. Indeed the challenge for those intransigent few who see such investments as a continued test of their creative metal is to continue outdoing themselves and others, and by correspondence greatly influencing all of what they value.

The Lake Geneva Tactical Studies Association as a group had a no holds barred approach to design. We were all very opinionated--I argued with EGG over points that I fet strongly about. I was in fact looking for "Whys". His previous tutoring of me when I was age 13 finally found purchase around age 16 in exactly the entire realm as he had projected it, which was to be unique, not just to follow his example only. EGG was a strong supporter of investigating possibilities and absracting "what ifs" from anything before him. Given that mindset we were as a whole disposed to sliding this way or that on issues of creative departure but more often found ourselves in agreement through such exchanges. Don Kaye, his childhood friend and co-founder of TSR Rules, summarized his perspective on this differently but with the same open respect for EGG: "Rob, I argue with him not so much because I think he's wrong, but just to keep him honest."

This working idea of open discourse which always fed creative rumination and critical departures from the norm or "fashionable" worked itself into D&D's play-test and design, as I've noted elsewhere, and became a very important notation for me when considering how this now relates to the whole idea of design and thereby learned artistc processes of that time. In consideration of this ongoing impact, I feel that designers should look as hard at their sources for inspiration as many like myself have done: EGG was a prolific writer, inspired game designer, trenchant humorist, avid and informed critic, amateur artist, animated story teller, superlative editor, and the list goes on. But above all EGG was an outspoken individual, and that added continuous depth of expression to his designs. There was no middle ground as he always attempted to go beyond what was being presented. When faced with design hurdles he was not shy (that word does not figure into his make-up at all) to call upon the LGTSA members to discuss options, or to play-test an idea. When faced with creative challenges (as in his Alexander he Great board game) he advanced innovative system design. Throughout all of his creative phases his voice was heard and his opinions were felt loud and clear and were for the most part respected (except by certain fragile and sensitive egos); and he was highly regarded as a designer who pushed the limits of design.

Part of the reason why this played out so was in fact due to a non-competetive arrangement between us. We were not competing with one another but in fact contesting to see who could contribute to making whatever design was before us better. In essence no one then had any time to be offended or put off by all of the flurry of debate and criticisms and play-tests and the holistic parts that were constantly being interchanged. This wasn't outwardly about ego, though of course ego is vested in design at some level, but most certainly about creation and the creative ideal. As Dave Hickey points out in my recent video post, creators, especially truly unique ones, should be allowed to express their opinions in open discourse without somebody being offended. Creativity is about reaching outwards and beyond and that is done at a sustainable level which is as unique as the artist doing so.

When we were refining D&D through play-test--in fact when we play-tested and developed all games then--we were in DEEP and open discourse. Creativity and transformation cannot occur between others in closed discourse and every artist knows this. On the personal level I have always noted that strongly creative people have equally strong opinions. It is intrinsically part of their natures, or else they could not separate from a community standard and choose their own unique paths for expression. And if anyone believes that true creativity can aspire and grow and implant itself on one's doorstep and in their hearts, otherwise, they are mistaken. D&D separated from the wargames community and formed a totally new game concept and game type; and while doing so, it was at first ridiculed, misunderstood and often vilified. But its adherents stuck with it and proved that creative exceptionalism is the rule, not sameness.   What made RPG possible were select designers and play-testers who became responsible for the unlimited possibilities of human expression in a game where people, not standards, had recourse. In comparison, one cannot look at an artistic product because of this, and as Hickey noted in that video, again, and not see the artist or his kin. And in doing so, I might add, you cannot look at the best of these either without seeing, if only in some degree removed, what inspired that art, design, or writing.

Co-equal with that, certain art can be imitated, but artists cannot be. There will always be distinctions in this by their very acts, natures and beings; and more importantly, the fire of individual creation is not found in "grouping principles" but in standing away from said group and building one's own fire. Gary Gygax was, and still is, the prime example of outspoken individualism in our industry, and so too those whom he encouraged along such paths. It is a fundamental truth that an artist must have absolute freedom to be uniquely creative. This sometimes requires the interjections of others, but in the end, it most certainly requires that a true creator take his or her hammer and smash home the nail of self expression. Otherwise designers and writers adopt another's truth and with that lose their individual creativity and trim their capacity. And the latter in no way embraces what we--prior to and during the years of TSR--promoted while upon the unending search for creative exceptionalism.

Wither DnD??--EDITORIAL

Well, it never died, but not for lack of of certain companies trying, it seems. Most people know that I am an Elder (not Old School, never quite agreed with the many, too many connotations associated with that word, though I let it pass when applied to me, whatever) of the creative sort. My grounding was in games: miniatures, board games, parlor games, then RPG with OD&D (but also AD&D 1E & 2E, 3E, 3.5, C&C). Most people today would take that OD&D part and run with it, figuring I was some old fart or such (well, at times, but I thought I closed the blinds then when nodding off with my wool blanky and rocking chair)... I was the youngest of the three who shaped the game early on. When asked by Flint Dille at GaryCon1 what exactly had I contributed to the game, and in front of Luke and Elise Gygax, I related a part, that when Gary was stuck balancing the upcoming classes for Greyhawk Supplement #1 to D&D that he called me at Don Kaye's house, requesting help (I had already handed in my parts for the MS, but was still there for my ole buddy and pal, of course). He was worried about hit dice. Every class in OD&D got a d6 per level, so MU's seemed on par with fighters but had spells (our biggest worry). Well it simply blurt from me over the phone that we should use d8 for fighters, d6 for clerics and thieves and d4 for MUs (later changed in AD&D to d10 for fighters and so on).

Boy has the game come a "long way" since then. I must admit to sharing the view here expressed at this fine blog hosted by Tim Knight, and that about D&D 4th Rendition. It's not that we can't reinvent the wheel whenever this is needed, but why? Errr. Money? Again, I embrace free enterprise (just don't want it to embrace me too hard), so I am not against companies who creatively and earnestly seek dollars. But at what expense has this been bought in the past?

I am afraid these days that such appellations as "Fantasy Role Playing Games," and as compared to D&D here and present, are losing ground as by-products of their two most important words: Fantasy & Games. Fantasy is the enchantment that led us to play to begin with; and the game is what keeps us there. Drain the life out of either of these two ideas and you are left with a shell, a ghost of both at best, and those that attach to it and call it the "gift," their eyes perhaps twinkling all the way to the bank.

In my upcoming book of interrelated essays (The Rise and Fall of TSR Hobbies: It's Impact Upon the Fantasy Fiction and FRPG Markets) I most strongly assert the above statements and then some, while offering remedies. Unfortunately, I have yet another essay to include in that book as the tally is in and WotC once again proves that their fantasy and Games are lacking. One could take exception with this as always, and one can always find the road that is best suited to travel. But I must voice ever so strongly that with the push on to rediscover our roots in gaming, and especially RPG, and then distill from those roots and streams and springs what has fed our industry for so long, that the Coastal Wizards might have learned their lessons if they had cared to. Such are the machinations of those whose plans are laid in the future and not the present or past.

There is a person here on this blog who passed along a book title to me. It is not fantasy, but it contains a lot of what is part of it. So besides WotC's managers reading the "Art of War," I suggest a perusing of it as well: "Defending Ancient Springs," by Kathleen Raine.

In between, I hope you never get caught in a dead end by an iron golem!

Rob Kuntz

EGG & the Prisoners of the Maze Introduction

As we approach a full year since Gary's passing on March 4th I am sure a lot of us have been reflecting upon his enormous contributions to FRPG and what far-ranging impact that has had on each singular life that this has positively influenced.

I have been giving much thought to my past association with EGG, from family friend when I was a precocious lad who was considered a family member by the Gygax "Clan" (ah, but the Swiss are so like that with their cantons) to the many times and projects and laughs and, yes, arguments we shared over the years. But as his childhood friend and co-founder of TSR Rules, Don Kaye, once said to me about such disagreements he had himself had with EGG: "Rob, don't let it bother you. I've argued with him for years, not because I was right, but just to keep him honest," which we both laughed at.

One of the many things EGG and I agreed on during his time was the direction of the Greyhawk Project 1979 onward, and one of its component parts, The MAZE OF XAENE, which I had been crafting. Gary was very excited about this as it was central to the ideas of what both of us had been writing about in the DRAGON and the route that we were taking the campaign, of course.
But many folks do not know to date that EGG himself wote the introduction for the first adventure in the series, Prisoners of the Maze, which I append hereafter (warning, pretty long).

For some reason I've always immensely appreciated this introduction. Others have criticized his writing, but look here, again, to see some very excellent exposition and meaningful dialog.
Though the project ended up not going to print at TSR with all of the infighting and politics of the time, it still remained a work to me that epitomized the direction that we were both in accord on with the setting's direction as we saw it then. The next project in line for us was the complete
publication of the our Original Castle Levels, and whcih EN Shook (now PPP's VP) was faithfully re-rendering then.

Note that I've bolded the word, moons, below. And I suppose Grodog or someone will tell me what I already know as to the reason why that was written by EGG...



INTRODUCTION
The secret league has voted. The council has met in secret discussion. A verdict has been reached. They, the representatives of the hoped for re-ascendancy of the Kingdom, would put an end to the reign of Ovar the Crazed. These plotters would have the King assassinated and an ordered and glorious kingdom reestablished once again. These savants of power would bring __________ (fill in your Kingdom) to the fore, with its riches and splendor, its influence and might again supreme, and with their number rightfully directing the kingdom. It is your duty to be the embodiments of action!

You and your council brothers have been directed to come before the assembled members. As you enter the draped chamber and sit in a chair next to a long intricately carved table made of priceless teak, your blood races with excitement, then chills. These cloaked figures represent unknown embodiments of power and strength. Even the air of this underground hall exudes an undefinable weirdness. To dare such an undertaking requires either madness or power or both. A cowled head turns towards where you sit; from it comes a rasping voice:

"You are to be the babes who uproot the rotten and impure tree. Be merciless! In its destruction you create a new foundation, one that will be the answer to the peoples' hopes. In its place a greater tree will grow, one whose top will embrace the sun, whose limbs will touch the moons, and cause our former tormentors to wither away!"

An arm points towards an area where the curtains are drawn back to reveal a small door. You and your brothers bow, and then back from the chamber, each filled with his own inner purpose.

It is exhilarating business to serve as executioners of someone not fit to command a rabble of southern savages; and it is quite a different task to stand long before the council's combined gaze: THAT makes one's blood congeal!

You converse in whispers as your party moves steadily and silently through seemingly endless corridors and passageways. Eventually, the floor changes from coarse stone and brick to polished black marble. Torches, lanterns and cressets light the hallways now. In moments you will be standing before the platinum worked portals of the King's lesser throng room. Where you've been in the gargantuan tower none of you know; but where you are bound is certain: At one stroke you will seal the future of the Kingdom and avenge the lives and blood of the thousands who have died in Ovar's mines, torture rooms and slave pens.

A pair of gigantic guards, covered with black mail and with skull like helms stand to either side of the doorway. At your approach, each guard slams the adamantine butt of his long halberd on the floor; and with the sound echoing down the corridor, grasps the gold ring on the door by which he stands, and heaves. The large portals swing open without noise. As you enter, the opulence of the throne room nearly causes you to falter in your steady and purposeful approach to destiny.

All of you draw a deep breath when the great valves shut behind you. You have done it! You are before the crazed tyrant Ovar! He has seen no threat to your entreat for a private audience. He has allowed you to come before him to discover the "new plants" you have supposedly discovered on an alleged voyage to the Horse Lords: miniature flowers, only fractions of an inch tall, and with their miniature insect life as well!

There sits the despot, patiently awaiting you on one of his thrones of obsidian and silver. Ovar smiles upon seeing the cloth draped coffer you bear, for he thinks it contains the tiny flowers he intends to be the culminating pieces in his collection of flora and fauna. You kneel hands touching the lustrous marble floor. Ovar bids you rise and approach to where the sumptuous rugs of red silk and silver thread are spread. As you near the throne you are elated. NOW! Each of you attacks by bounding with drawn weapon or by quickly motioning in spell casting. Just as suddenly Ovar disappears from his throne!

Confusion! Terror! Have you been betrayed? How was Ovar aware of the plan? How could he have escaped so easily and swiftly? You turn to flee, but know that your escape chances are slight indeed, but any chance is better than none. First, the trollish guards no doubt waiting outside; then a sprint to lose pursuit in the labyrinthian passages of the tower. At this moment you see HIM! It is the most powerful of mages, the dreaded Zayene.

Each of you tries to confront the court wizard, but all of your actions seem weak slow, and disjointed. The dreaded mage smiles evilly as he watches you. With laughter on his cruel lips, and an unnatural light glowing from his eyes, Zayene draws a handful of tiny orbs from the breast of his robe and hurls them at you in a single motion quicker than the strike of a giant snake! As the orbs reach positions over the heads of each of your fellows, they stop abruptly and hang suspended. From each floating orb pours a luminous cascade of strange colors: yellow gold; leaf green; glowing brown; translucent white. Your associates' figures become pale and insubstantial; and then your own arm is transparent! The room fades, but the leering face of Zayene seems to grow larger and brighter, filling the whole universe. Then . . . blackness! Thus begins MOZ Part 1, PRISONERS OF THE MAZE.