Wednesday, April 8, 2009

Role-Playing Must Be Fun

This gradually became, within the past few years, how all instances of evolution of the game's design have been explained to the masses.

D&D is a game that ought to be fun. To increase the fun, it thus needs to be faster in game play. It needs to be easier to grasp. It needs to provide all sorts of elements that help players and DMs imagine as quickly as they possibly can, with the most "fun" value out of it. Okay, I guess, but... what kind of "fun" are we, in fact, talking about?

Never, in the last edition's text, do we get a comprehensive explanation of what, exactly, is supposed to be fun when playing role-playing games. I suspect that's where the fallacy of Fourth Edition began: the challenge of 4e's "design team" was to pick up Third Ed and instantly wonder "how do we get this game to be more fun?" rather than "what makes role-playing games fun?" in the first place!

I suspect that the fun that makes one play role-playing games has in fact nothing to do with "game balance" (which truly means "rules' balance in a vacuum" - maybe more about this later). It has nothing to do with the relative complexity of a game system, though it can affect the long term engagement of a player with a particular game.

Nope.

The Fun of role-playing games has to do with that very first day we were given the occasion to play them. It surely varies in tone, feelings and experiences for each and every one of us, but I suspect it always comes down to "wow. I can actually be part of the fantasy world". Some will call it immersion. Others will call it escapism.

I prefer, like others, to call it Enchantment with a capital E.

Yes. Enchantment.

This "wow" factor of "Yes! This time and forevermore, *I* get to be Jack climbing the beanstalk!"

This has been ignored in game design for some time now in favor of a self-contained, self-contaminated, self-inflicted obsession about the rules and how these rules bring about fairness, choices, support to the fun of the game.

This is my theory, and this is why I think it is valuable to get back to the Lake Geneva campaign as a sort of cartharsis to our own first role-playing experiences. A way to understand why role-playing was so fun in the first place, and how, so that we can make our own games profit from this experience and become more "fun" themselves.

I suspect this post may be quite controversial to some people, and to tell you the truth, this is fully intended. Am I wrong in thinking this way? Then please, tell me so by leaving your comments! Whatever your thoughts may be, I hope you will share them and fuel this conversation. I feel this is part of the reasons why we are all here.

Tuesday, April 7, 2009

To Send Dave Arneson Your Best

I received this e-mail today from Dave's family in which they asked me to post this for the community, fans and Daves's friends. I imagine that similar requests went to other forums/contacts, also.

"Please pass along the following from the family of Dave Arneson:

As of this writing, Dave is still with us. We have moved him into a facility where we can focus on keeping him comfortable. We have been and will continue to watch the forums and blogs and are passing along everyone's thoughts and prayers. Right now our focus is on getting Dave into the best possible position to maintain his comfort and his dignity. We will update the community as we can. We want to thank everyone for your thoughts and prayers and ask that you continue to send Dave your support in whatever form that means to you.

An address has been established to receive messages to Dave.

Dave Arneson
1043 Grand Avenue
Box #257
St. Paul, MN
55105"

An Exhortation For My Friend DLA


Don't Give Up the Ship, Buddy! The Whole Gang's
rooting for you!!

Monday, April 6, 2009

Round... About?


I recall the very first time I sat at a game table with a battle mat. The DM drew a long, 20' wide passageway and asked us to place our figures in marching order. Someone asked if one of the squiggly lines was just a mistake, since it exceeded the grid marks by a 1/4 square in several places, so the DM used a folder edge to redraw & conform the line to the grid. Instantly, I knew he was going to map out everything ahead of us as we moved through the dungeon. I was stunned by a sense of loss, where everyone else seemed to think of it as a convenient innovation.

Previous to crossing this dividing line, I had endured years of getting lost on maps made for their difficulty. Frustrating though that often was, my sense of loss at the battle mat was my sense of adventure being sucked out of my brain. I quickly became bored, as we were constantly watching the DM draw the map in front of us, often erasing huge portions, like a lecturing professor who thinks they must write everything they're saying out loud. During these moments, I went off the grid, so to speak. I spent time imagining the shock of the character's as a great hand constructed the walls of their world ahead of them. I tried to imagine exactly how that absurdity would work. I recall also being particularly amused by the theological implications resulting from moments when the DM would reconsider his map and make painstaking alterations to his battle mat pen work.

Undeniably, the supplies we've used to create our worlds have conformed them to subtle metaphysical rules. Millions of pages of graph paper have conformed the adventuring experience to a basically square experience. Anthropologists describe the world we westerners live in as a square world. Our houses and streets are relatively square. Whereas, many tribal cultures live in a round world, where their most basic structures are round (by no coincidence, Gary's college work was in anthropology.) Of course, the popular interpretation of this difference is that round is organic and natural, and square is artificial. This also correlates well to the idea that pen and paper gaming is natural and computer gaming is artificial, as if pen and paper gaming wasn't also constrained by limiting conventions.

Robert and I disagree a bit on this. I'm a computer geek, and I believe there is hope for a more fluid and virtuous computerized fantasy role playing experience, even if I suspect that I may be doomed to begrudgingly admit he's right. Computerized play may never admit to the beauty of direct interpersonal experience. But, we do watch movies instead of attend the theater, and there was a time when theater in the round was considered the best way to holistically experience a play. Still, I'm recently drawn to experiment with virtual tabletops, such as Fantasy Grounds or Battlegrounds. However, it appears that one of them might not allow you to mask parts of the map, which means you have to chunk your map up into presentable parts in order to limit the player's view. And how do you chunk up organic settings like the fluid turns of caves? In any case, the move from smooth hewn passageways into caves, perhaps carved by erosion or burrowing, marks more adventure. Imagine the surprise possible where monsters live in the square spaces and humans live in the caves of the dungeon - the grid/non-grid exepectancies reversed.

Sometimes you know you're getting into some adventure when you encounter a pattern that can only be interpreted on a large scale, which only had a loose structure on the small scale. Now, just how do you discover this on a battle map or when using a virtual table top? The magic of gradual realization is lost in such mediums. For example, consider this map on the right here. Imagine the odd spiral of chunks as gigantic stepped pillars. The ceiling is too high for light to touch, thus the chunks appear on the map as walls, not gigantic stepping stones.

You can see how I am gradually realizing the extent of my agreement with Robert, even if I am stubbornly pro computer. But what does this mean?

I see the rigid artifacts of our gaming materials, wherein we see that we have already conformed ourselves to a grid, in the same way as I see the effects of computing on gaming, or movies on plays. It doesn't mean there isn't a magnificent art to delight in. It just means that different signs and methods are used to reproduce Peter Pan's magic. Our magical Pan may be strung up on stage, while on TV he's framed by a rectangular viewing port, yet his flight appears free of attached strings. There's a trade off. And to end these thoughts, since they could sprawl into the gigantic "extense" of another 30 columns of text, we can be certain there were critics of theater in the round, who must have seen within it the hand of the devil... perhaps descending upon the audience... from above, where balconies no longer protected the aristocratic viewer... who could be seen by anyone looking through the play....

“Behold, I send an Angel before thee, to keep thee in the way, and to bring thee into the place which I have prepared.” - Exodus 23:20

My thoughts go out to Dave, tonight, may peace be with him.

Of David Arneson

I just came upon the news of Dave Arneson's sudden health decline via James Mishler's posts at TLG, quoting this account:

David's cancer has unexpectedly worsened just this week, to the point that he is in the hospital. He is heavily sedated and not doing well. He is not expected to live for more than a couple days, if that long.

Obviously on a human level this is very sad news, and one wishes Mr Arneson and his loved ones courage and comfort at this time, and also a calm and conscious passing. It has also struck me a little oddly in its timing, mainly because I've just been musing a lot on Dave Arneson's role as a midwife at the birth of roleplaying as we know it. I must own that I come to this lacking much historical information, likely possessed by those who were present to the original time. But based on what has accrued since, on various boards and blogs and journals, and from secondary sources, it strikes me that Arneson has been a much less 'visible' elder than E G Gygax, and I wonder about this.

I also wonder about the ways in which these two idiosyncratic and fecund imaginations met and interpenetrated, and how through the friction of their connecting in the conditions that prevailed, they helped to seed the form we came to know as D&D. Perhaps this is not the time for such speculations, and I will leave the details to those who have more developed connections to the man and his work. But I do want to note the sense of an era ending. For me, well, seeing the news moves me to feeling a bit like I did when John Entwhistle died, leaving just the two surviving members of The Who.

I'll end with an expression of gratitude, and acceptance, from the fitting pen of Walt Whitman

To die is different from what any one supposed, and luckier

Let your soul stand cool and composed before a million universes

Sunday, April 5, 2009

The 2009 Spring Gaming Hoopla!

I am posting the following for John Bobek in order to raise awareness of this event:

****
The 2009 Spring Gaming Hoopla!

April 25th, 2009 (8am - 10pm)
and April 26th, 2009 (8am - 4 pm)

Lake Como Beach Clubhouse
W3730 Clubhouse Dr., Lake Geneva, WI 53147

Only $7 for one day, or $10 for the weekend!

Pre-register and pay only $5 for one day or $8 for the weekend!
Remember, ALL proceeds from the Gaming Hoopla are being donated to the American Cancer Society through a local Relay for Life team!

Food and beverages will be available on site for very reasonable prices.

There will be plenty of room for open gaming, with a games library of over 220 games to check out free of charge! (Valid ID required)

GO TO here to pre-register!

John Bobek

Saturday, April 4, 2009

Erik Mona's Pictures


Posting will be light for me over the next week so I encourage other contributors here to keep articles flowing. And as there has been much discussion of late, and many words flying here or there, I am distributing some popcorn and invite folks to relax and enjoy a picture show, courtesy of Erik Mona. It's really neat what you find while perusing various subjects on the net.

Wednesday, April 1, 2009

Old School vs. New School

I find revitalizing movements exciting until they degrade into fundamentalism. The initial excitement revs everyone's engine like a Spring cleaning spree! This opens up space and makes it more useful, but quickly devolves into a set of repetitive instructions that eliminate making messes in the first place. These repeatable instructions, these rules, seek to preserve the openness, but make the openness that of a museum: "Don't touch!"

One can honestly read about "old school" and predict only one outcome: fundamentalism. The reason why is rather simple. Rules are more tangible than the fantasy adventure, so the rules lawyers have something they can easily discuss as if it were representative of the actual game. The rules are, after all, titled Dungeons and Dragons. Whereas, what actually happens in them, fantasy, is not so easily measured.

In all honesty, I can, and have, used any rules to produce the magic of my campaigns, and in a certain sense, I have never played Dungeons and Dragons in my entire life span. When I was introduced to the game the rules were up in the air. The rules books gave the initiate a sense of the mechanics, like a script outlines a movie, yet can say nothing about the effect of the final performance or directing. Back in the day, the script/rules were under constant change in order to better accommodate the actors and directors. The rules were a tool that could be rearranged rapidly and easily, to greater dramatic effect. Thus, everyone in Lake Geneva had a different version of Dungeons and Dragons. In fact, when someone else put out a new rules set, we were often quite eager to borrow whole cloth to see how it wears. At one point I was probably judging Rob using half D&D, 1/4 Chivalry & Sorcery, and 1/4 rules I'd made up or borrowed from the dozens of games in which I was participating.

Tell me if it isn't true that this exact same openness to rules isn't still taking place right now, throughout the role playing community? One can only imagine the answer is “more so!” I can hear you all shaking your heads in agreement here.

We are a community of strong minded individuals that pleases in a shared experience, which we might not otherwise have if it were not glued together by our amazement! It is the power of fantasy that permits us to open each other’s minds and dance inside of them, not the rules. The idea of our revival is to win over more members to the movement in order to extend and gain its greatest wealth. We need to generate a broad appeal. This is not accomplished by walking away from the future and only investing in the past.

Calling it old school is immediately limiting. At best, what we share is a certain sense and feeling of the game that we wish to return to, but that's not possibly achievable by settling upon a set of rules that wasn't even used for longer than a snapshot in time by its creators.

The successful and enduring mechanic of D&D can be found in almost all of the other games descending from it. Frankly put, once you've played one role playing game, you're far past the conceptual learning curve of any other. This is not true in the realm of board games, where one must compare Stratego to Candy Land to Monopoly to the thousands of counters and 32 square feet of map for Drang Nach Osten. The core goodness is much smaller than OD&D. It’s a more basic pattern.

The coin of the role playing realm should be the world. When comparing rules sets, we’ve not yet realized that what makes one rules set better over another are its organic elements. Do the rules abstract excessively, or are the mechanics closer to how things would really work? In other words, if I can cast a spell called magic missile without learning neurology, I'm better off. This means that the mechanics in a role playing game should correspond to what's found in the world. For example, there should be rules for pounding spikes, not rules for abstract success given the ratio of strength to skill additionally rated by experiences with hand held tools. We want to pound this flocking spike now, for heaven’s sake. We do so within the game world, not within the rules set. We must then ask, do the rules take us too far out of the world in which we are acting?

Of course, the more basic the rules set, the more likely we are in the world. But the truth is, the more organic the rules set is to the world, the more we are in the world and not the rules books. It is only happenstance that we find ourselves more attracted to OD&D, simply because we can see the more simple kernel of its truth. We certainly cannot be attracted to it because it makes the play any easier! It was terribly incomplete.

The idea of old school sounds to me like a well intended invitation to a retro dance, which seeks to honor the past. Right now I like the energy, the spirit, the intellectual endeavor, and the honest search for enjoyment that the movement seems to entail. However, I don't see anything new to adopt. I've been there. I'm hardly returning to it. I see no new ideas that would change my game. I have no reason to buy the rules. I knew them by heart in my childhood, but I’ve forgotten them on purpose, much preferring a D10 for fighter hit points over a D8. In fact, when I first encountered the phrase, “First Edition without its excesses,” I immediately thought, how about “OD&D without its excesses?”

If you want to go really old school, who's to say you shouldn't roll your character's hit points every morning when they wake up. So a fighter that rolled an 8 on that D8 yesterday may only start with a 1 today. Thus, the adventurers would need to consult with each other about how they're feeling before deciding to sally forth, or else wait until tomorrow. Does anyone really want to go back to that excess? It's how it was done for a period, and straight out of OD&D.

Frankly, OD&D introduces more uncertainties than most will realize. But folks don’t notice these differences because they apply what they already assume about the game to the rules set. OD&D isn't "D&D" anymore than 1st edition or 3rd edition.

And let’s admit it. Whenever we’ve been to someone’s game that intends to play exactly by the rules, we’ve quickly lost the enchantment of the evening, instead realizing we’re playing with someone that has very little understanding of what fantasy entails. The dim fact in these cases remains true: the DM can’t maintain consistency without recourse to the rules, therefore they also can’t adequately present the risk of chaos inherent in any conflict that fuels fantasy. Fantasy demands an imbalance if there is to be anything worthy of our rapt attention.

The game's essence is captured in the play. The proof for this is quite simple. We instantly recognize a suck-ass game when we're sitting there waiting to see who acts the fastest because we have to slowly figure out the dozen or so modifiers involved in the initiative system. Can anything be more ironic, waiting to see who’s not waiting?

It doesn't really matter what the rules say, too many rules and it's stupefying, not enough and you're assuming things. And what’s more, I haven't seen a single copy of D&D that fits my needs, because they are ALL merely guidelines. One could almost go as far as to say that a real and true fantasy campaign doesn’t have rules. It has only guidelines.

The chunkiest part of these guidelines would be the Action Resolution System (ARS), which would tend to seem mechanical, but which can be hidden using certain ideas as guides, such as class, rather than detailing out every single skill a character might have. Class is fairly organic, and while the idea of skill is also organic, a vast skill system such as one finds in roll faster (Role Master) is certainly not.

But even a most basic ARS is a guideline, since it can quickly be turned upside down on its head in a fantasy world. For example, a planar gate can transform strength into the force of one’s thoughts and intellect into the raw ability to hover in an amorphous, non-physical reality. How solid can any system be in such a place as magic rules? I’m more concerned with a DM’s consistency and ability to seamlessly lie than I am with rules in a fantasy setting. The lies of fantasy require convincing stories to hold them together, not a single, reliable mechanic. The idea of fantasy makes such a thing patently IMPOSSIBLE.

But what if a movement seeks to coalesce around guidelines? I can't imagine how that works. Where's the soul in that? Thus, there is an insecurity inherent in the idea of an old school movement. The strongest voices will tend to be the rules lawyers, those whose lack of imagination will succumb to fundamentalism.

Thus, while I am enjoying the feeling of the movement’s heart, I prefer to identify with the concept of the Old Guard, which implies honor, virtue, foundation, and generational preservation. I must refuse the term 'old school,' since I'm not part of a series of fads, not even if the succession of editions causes one to think in such terms.

Old school implies done and used, and anyone participating in fantasy is hardly that unless they embrace the limitations of the past, in which case they are defying the natural magic of the game's profusion and unpreventable advancement. And, magic is the one thing you cannot defy in fantasy without resulting in something boring and altogether unfantastic.

But are YOU really old school? Do you embrace the excessive limitations of OD&D? It doesn't even say how often you roll your hit points. Were you aware of that? Or, more likely, did you bring a core set of assumptions from your experiences with other gamers and editions to the table and simply didn’t notice how rudimentary and poor OD&D was due to these cultural aspects of the game that carry forward? A rules system is not a grail. It's a system that should be subsumed by the play of the game, not something we pride ourselves in using or are aware of on any level while immersed in a fantasy realm. I pride myself as a fantasist. How about you?

In all truth, I've noticed that much of the conversation about the old school is inaccurate. Folks are digging up the original game and making assumptions about it that were not present in that time, and therefore they are working a subtle revisionism. A canon is being created, not found. The story is identical to fundamentalism, where you return to an alternate past composed only of those parts of the past that conveniently fit the desired interpretation of the past. You end up interpreting reality to fit with a literal interpretation. You end up with unreal limitations that had no place in the movement’s heart at the outset, but which take it over due to the nature of talking versus doing.

If we all adventured together, the rules lawyers would have less weight. They tend to be less likely to come up with innovative ways to play. They tend to focus on the rules. They become the priests of any movement depending upon mechanics. But that’s not a revitalization, since the life of the game is in the play. How does it play? Not, what are the rules.

What do you do to make fantasy happen and how do you preserve it and propagate it? Are those specifically rules questions? No.

What will truly preserve the game would be the embrace of a “new school” that finds what is best and propagates play the easiest. But this isn't possible if you term the movement old school and tend toward fundamentalist rationalizing.

Any successful movement needs robin hoods more than altars. We need to steal back what is good without worshipping its wealth as if it were the end all.

Monday, March 30, 2009

High Adventure and Low Humor

But if serious purpose is integral to a successfully ongoing campaign, there must be moments of relief as well. Such counterplots can be lesser and different themes within the whole whether some side dungeon or quest, a minor altercation between petty nobles, or whatever. Occasional "pure fun: scenarios can be conducted also. That is, moments of silliness and humor help to contrast with the grinding seriousness of a titanic struggle and relieve participants at the same time. After all, ADVANCED DUNGEONS & DRAGONS is first and foremost a game, a pastime for fun and enjoyment. At times the fun aspect must be stressed.
The above quote appears in Gary Gygax's magnum opus, the Dungeon Masters Guide, immediately before sections in which are offered rules conversions between AD&D, Boot Hill, and Gamma World. As a younger person, this section was one of my favorites, precisely because I could still find enjoyment in flinging the PCs, via a cursed scroll, to Tombstone, Arizona on October 26, 1881 or having them face off against a band of Knights of Genetic Purity, armed to the teeth with blasters and photon grenades. I'd not yet taken the game too seriously, which was a common malady afflicting some of my older contemporaries in the hobby and one to which I eventually succumbed in turn.

It's a very common story in my experience. Nearly everyone I've ever met in this hobby started off with an expansive understanding of "fantasy," one that could accommodate literally anything their mind could conceive, no matter how outlandish or "silly" it might seem. Then, bit by bit, that understanding contracts, becoming more rigid and codified, with clear boundaries distinguishing what is acceptable and what is not. Gone is the genuine open-mindedness of childhood, replaced by the feigned seriousness of adolescence. Banished along with that open-mindedness are the infinite possibilities that first drew us into the hobby in the first place.

If we're lucky, we eventually grow out of this serious phase and recognize the wisdom in the paragraph quoted above. No, not everything in one's play must be silly or nonsenical, but then neither must everything be deadly serious. As with so many things in life, balance is key. Knowing when to introduce a little levity is one of those skills all good referees acquire, just as all good players learn to enjoy it and introduce some of their own.

My friends and I long ago realized that the most satisfying fantasy campaigns were those that freely mixed high adventure with low humor. Many of the situations that arise in a long-standing fantasy campaign are genuinely absurd, if looked at with a dispassionate eye, and there's absolutely nothing wrong in occasionally allowing that absurdity to step into the foreground. Indeed, we would argue that it's essential that this happen every now and again, to ensure both the freshness of the campaign and to maintain interest in it. Nothing is surer to kill an ongoing campaign than unrelenting seriousness, which is why, even now, I try very hard to remember how I originally approached the game and to use that knowledge to keep the game fun for everyone, most especially myself.

E.G. Palmer's Crocaparrot

Just in case you don't read Old Guard Gaming Accoutrements, E.G. Palmer's recent creation, the crocaparrot, deserves your attention. Not only does he get points for creativity, but each time he uses humor he pairs it to a perfectly delightful rationale. Add to this the crocaparrot's characteristic attack and method of feeding, which are sure to produce post encounter horror and fun, and the piece simply lights up the imagination.

Grok the crocaparrot!

Friday, March 27, 2009

EGG's Love Affair With Fairy


If it wasn't evident enough in all of his works, here's some more "origin" stories about 4 magic items that appear in D&D, all from the tale, Jack the Giant Killer.

I had read this as a child, of course, but EGG was always fond of retelling it, and did love to repeat the "Fee, Fie, Fo, Fum" on occasion and when you were suitably trapped in the game by a giant. He loved giants. He totally befuddled his son with a giant encounter wherein Tenser bargained for what was in the giant's bag (nothing but old clothes and such); and he certainly did them justice with the G-Series of modules, some of his best adventure crafting, in fact.

Note the extract from the downloadable PDF file, below, for the magic, of which I am sure EGG has commented upon in part or whole, elsewhere; but it is here presented in full. Note that I include the "cap" under what was to become the Helm of Understanding Magic and Languages (i.e., knowledge).




And do note that my humble creation, the Bean Bag (as included in Greyhawk: Supplement #1 to D&D, and then in later editions), was inspired by a related tale, Jack in the Beanstalk. You might say EGG and I "sprouted" from the same garden...

Thursday, March 26, 2009

The Uncanny


A friend working in animation recently steered me to the concept of the uncanny valley, where humans revulse upon encountering nearly successful robotic humanoids, but receive them more kindly when they appear more crudely human. Some find the theory rubbish, but regardless of its truth, it's certainly an interesting descriptive tool for thinking across and delving into a wide variety of issues directly related to fantasy, such as xenophobia and transhumanity. I suggest taking a look at the Wikipedia article linked above.

But more interestingly, my friend's reference surprised me because I had just read Sigmund Freud's essay on The Uncanny a few days earlier - one of those uncanny coincidences Rob delights in... But enough about serendipity-doo, I highly recommend reading Freud's essay treating with the aesthetic of the familiar and unfamiliar, heimlich und unheimlich. It's an interesting read for any studious fantasy DM, or their double....

Movie Time at Gary's House



As a young chap I was part of the Gygax family, virtually adopted at one point, and always in attendance at their house on a daily basis. I ate, drank. and sometimes slept there, gamed (of course) helped with the garden, adopted their religion, and most definitely watched movies there!

That I was influenced by EGG's tastes is to say the least. He would later comment upon several that held deep fascination for him and inspired him in writing many of D&D's spells, particularly, 7 Faces of Dr. Lao; and of course, The Raven, a Roger Corman film.

What we have derived from these films are:

7 Faces of Dr. Lao: Stone to flesh spell (cast by Merlin): "After Medusa turns the disbelieving shrew to stone, Lao calls an end to the proceedings and Merlin restores the now-reformed woman."

The Raven: "Craven and Scarabus then seat facing each other and engage in a magic duel. After a lengthy performance of narrow escapes..."

These scenes are of particular importance, for therein are revealed many future spells, such as shield, magic missile, fireball, meteor swarm and several others, like levitate, polymorph any object and perhaps even animate object which could have had ties to Disney's The Sorcerer's Apprentice from Fantasia, as well. I do not include polymorph (of Lorrie's character into the raven), as that proceeds the matter in many myths, particularly as noted in the Grecian myths that EGG was of course familiar with. One can stretch here or there, of course, but when Vincent Price's character, Dr. Craven, does a quick hand movement and creates a transparent, circular shield that stops Dr. Scarabus' (Karloff's) missiles, well, you just have to appreciate it all in afterthought.

I highly recommend both of these movies, the latter which features a very young Jack Nicholson to boot.

Wednesday, March 25, 2009

UP ON A TREE STUMP #2: Humor in the Original Campaign


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

©2009 Robert J. Kuntz

#2: Humor in the Original Campaign

Alastair Clarke explains: "The theory is an evolutionary and cognitive explanation of how and why any individual finds anything funny. Effectively, it explains that humour occurs when the brain recognizes a pattern that surprises it, and that recognition of this sort is rewarded with the experience of the humorous response, an element of which is broadcast as laughter." The theory further identifies the importance of pattern recognition in human evolution: "An ability to recognize patterns instantly and unconsciously has proved a fundamental weapon in the cognitive arsenal of human beings. The humorous reward has encouraged the development of such faculties, leading to the unique perceptual and intellectual abilities of our species."

Humor in the Original Campaign was rife; and quite honestly if it hadn't been, the experiences would not have been as rich as they were, and thus not as memorable as they now truly are. Gary did not pretend that he was not humorous, quite the contrary. Very early on in our friendship he pushed book after book into my hands, urging me to "read them." One such gem was Jack Vance's The Eyes of the Overworld. I will forgo describing it and let those who have not graced themselves with Vance's penetrating wit, and indeed, biting sense of irony and drama that interweaves throughout it all, partake of it, and I do highly recommend doing so.

What is revealed here might seem a dichotomy. Humor, however, never equated as some may assume, to actual ridiculousness. Gary's approach was simply wherever he found humor, he expressed it. This is only indicative of his quick mind, as a quick wit does not otherwise rise above that potential but only equals it. There were too many instances of humor in the Original Campaign to really conclude that all was non-serious, for the stories and other data available point to the contrary even if we side with a "fun and games" view as EGG might have himself expressed. He has been quoted many times as expressing such an ideal, but ultimately this becomes his distilled afterthought and his poignant sense of it all, for the adventuring milieu he spawned so early on was a mix of terror, high adventure, horror; and within that he sprinkled, just as the very best dramas have done, slices of humor.

But, one may then ask, what was the purpose of all this humor? We can go many directions with this and even adopt the point that Mr. Clarke exposes above, that "An ability to recognize patterns instantly and unconsciously has proved a fundamental weapon in the cognitive arsenal of human beings."

Facet One, Disarming the Opponent: One must remember that EGG's grounding was in table-top and miniature wargames. Imagine a gathering of us nere-do-wells in his basement, squared off against each other on separate sides of a 6 x 10 sand table. Now imagine the interchanges as we, the generals of one side of the table, quipped with the other side's commanders. Provocation? Most definitely! It may well have been the same thing that the Scots and Edwardian Englishmen could have traded squared off as they were, awaiting the outcome of an upcoming battle. A summoning of courage? Most certainly! The superior force responds on all levels of emotional output, and this was no different in our games, whether staged or instinctual, or where-ever such "harmless" chiding bore from. As the battle wore on, as the field changed hands, and as the final victory was in view, the other side crushed and in rout, well, you can imagine that we didn't just sit there wringing our hands and noting it in a perfunctory manner. And although some were calmer in their expressions, EGG was most expressive in victory (especially if it had been a very hard-fought battle hinging on last minute shifts and on the fly changes), so it is not to say that he didn't sound like a Confederate soldier on occasion, perhaps imagining himself pursuing the blue-bellies amidst howls and hoots after the Union's rout at the First Battle of Bull Run!

Now transfer this particular part of his mindset into the D&D game with him as DM. His opponents were the players, we all knew that, and he did too. There wasn't an ordering of political correctness and a false cloud of pretentiousness which I've seen portrayed in modern RPGs. This was a game of strategy and tactics, and that meant, on both sides, that outwitting the opponents involved was now at hand...

Facet Two, Never Reveal Your Hand: EGG was constantly bluffing and had a poker face. I reminded Eric Shook the other day of a tactic EGG and I both used when DMing, in this instance when parties hit a down slant, elevator room or transporter, which secretly moved their PCs (without their in/out-of-game knowledge) to another dungeon level. Well, inevitably at those times EGG and I would create an out-of-game distraction, and I indeed learned this from him while Co-DMing with him on so many occasions, such as: getting up to go to the restroom. Well, this took the focus off of us as DMs, and the party usually took this opportunity to discuss matters of planning and approach and other details in game context. I'd return to such a scene and they'd still be at it, so as I sat down, that is when I'd turn the page to the level they'd been recently transported to, and without them noticing. This tactic merges with DM-craftiness and keeps the upper hand of information in proper control of course; and this was also accomplished through us telling a humorous aside (a joke)--to which the players responded by laughing--and during the uproarious interlude is when we effected our "changes", the level-shifts, etc. DMs have to be magicians, you know.

The poker face comes in handy especially when applying these types of nuanced forms, and certainly helps retain a balanced (neutral) side to the affair, which is indeed the DM's goal to begin with and thus, in our cases, were just part and parcel of the suggested outcome. Styles may differ in attaining these most singular points, of course.

Facet Three, Dispelling Tension: Humor was also used in dispelling tension and thus in informing players in a round-about manner, and thus intuitively, that we may have been in a good mood that day as the DMs. More often this tactic was used with newcomers who we were not going to handle too roughly... at first. This tactic merged with "Disarming the Opponent." When used up front on veteran players they often, if not always, took it as a warning sign instead, and with good reason, as it more often meant to them that we were about to test a new situation or thing upon them, the guinea pigs; and so the more intuitive of the bunch would react with a more guided approach and careful manner, especially if there were veterans mixed with newcomers, the latter having no idea of the "fun and games" ahead. The best players in this regard were Ernie Gygax and my brother, Terry. Ernie especially would pick up on this charade of ours, having for many years understood his father's humor and mind and thus, by transference, my own. Keenly perceptive and eyes rooted to ours, he was always searching for clues in our manner, but more often than not only got in return shrugs and a poker face, accentuated at times by wry smiles...

So, when you hear that humor has no place in a "serious" game, think back. Are the tales of Nehwon at a loss for it? Do L. Sprague DeCamp's or Fletcher Pratt's stories fall to the side and not embrace such? Does Jack Vance not include it in many of his tales? Then too, does the dark side of this in C. A. Smith's tales not rise time and time again to relish it? Where else can we find this form, this dramatic mixing which works so well in a game merged with the fantastic? If certainly within some tale as recounted by Shakespeare, then I have no qualms at all for being included in such company! Humor can thus be offset, and rightly so, from joking around. This is a serious business outwitting an opponent in a game; and this is made even more notable if you can do it with a smile...

Monday, March 23, 2009

Hardcover Theater: A Princess of Mars and Grimm's Tales adapted for the Stage




Boy we certainly know that pulp fiction is making a resurgence when I note that since 2002 it has been going on behind our backs and on stage. Where have I been?

This morning, stirred by Jame's fine post on Mr. Saunder's Imaro character, who I've seen mentioned elsewhere, I sat back and thought about the pulps. I've also been spending some down time with a cold, so I did that in and out of writing the blog article by watching some old Flash Gordon reels at You-Tube, which of course made me order the DVD, love that stuff, especially the Clay People of Mars in all those nifty sets that gave another tunnel-like feel to me as a kid watching these. But I digress.

I thought of those Flash Gordon scene-cuts where the actors just enter from off-set, having been staged there, and that it was so reminiscent of the theater (I am sure this is no revelation, just that I don't follow theater nor it's history or comparative studies that much). Well, the similarity struck me as comparable so I immediately did a search on 'pulp fiction and theater'... and so we have today's topic.

It's really beautiful how correspondences work throughout our life and between similar mindsets and what comes of it, thus, by growth!

There's more pictures on their site. Gotta love the role-playing going on here with the symbolic heads and all. And look at those costumes! They also have a movie clip there of their performance of Princess of Mars. What's next? Hey, if you're in the Twin Cities, go support this troupe, I know I will.