Inspired somewhat by Malandros, I’ve been wondering about the following: do you prefer a game text that is utilitarian in nature, which is to say it gives you all the tools you need to get the game to the table quickly; or one that invites you to stay awhile and really ponder the author’s vision?
An example of the former would be 44: A Game of Automatic Fear. That text gets right to the fucking point, making it quick and easy to get to the table.
An example of the latter would be Paul Czege’s The Clay That Woke, a game whose rule chapters are interspersed with chapters from a novella, none of which have titles in English. It’s an inspiring (and inspired) text, but it’s not the easiest game to play on a whim.
Thoughts?
I am personally a big fan of straight to the point, and that is how I tend to write, by default. Doing Threeforged and in particular reading Grant’s writing on Field Work made me realise I need to work on improving my ability to do the second type of writing. (Or rather, since I think I probably know how to do it, actually focus on doing it.)
I mean. Muscle Wizards and Laser Dinosaurs was, on paper, not a terribly well-designed game (sorry, Grant et al, if I’m shitting on your dreams there). But the flavourful writing made me want to vote for it anyway. Field Work is an ok design[*], which turns out to perform well in the field (ho ho) but Grant’s writing brings it to life and makes you want to play it. It also helps you to understand how it should be played. The system didn’t change very much from my first draft but the game is way better, and that’s because of how it’s written.
[*] I can say that about my own game without apologising, no matter how my English instincts may rebel against it.
I am personally a big fan of straight to the point, and that is how I tend to write, by default. Doing Threeforged and in particular reading Grant’s writing on Field Work made me realise I need to work on improving my ability to do the second type of writing. (Or rather, since I think I probably know how to do it, actually focus on doing it.)
I mean. Muscle Wizards and Laser Dinosaurs was, on paper, not a terribly well-designed game (sorry, Grant et al, if I’m shitting on your dreams there). But the flavourful writing made me want to vote for it anyway. Field Work is an ok design[*], which turns out to perform well in the field (ho ho) but Grant’s writing brings it to life and makes you want to play it. It also helps you to understand how it should be played. The system didn’t change very much from my first draft but the game is way better, and that’s because of how it’s written.
[*] I can say that about my own game without apologising, no matter how my English instincts may rebel against it.
Oh my God, it is a technical manual first and an evocative exercise in frustrated novel-writing second. Communicate setting and tone and color outside the efficient presentation of what you want people to actually do.
Sometimes these two things are not mutually exclusive, but those times are rare.
Oh my God, it is a technical manual first and an evocative exercise in frustrated novel-writing second. Communicate setting and tone and color outside the efficient presentation of what you want people to actually do.
Sometimes these two things are not mutually exclusive, but those times are rare.
From strictly the consumer perspective, I ideally like to see both. The format that I find most useful is to have the rules compressed and concise in the beginning of the manual. This would include everything I need, from a rules perspective, to run the game. Then, the later part could include all sorts of material and vision that would show me, the potential GM/Player, how all the pieces might work together. This could be background material, play examples, inspiration material, etc.
From strictly the consumer perspective, I ideally like to see both. The format that I find most useful is to have the rules compressed and concise in the beginning of the manual. This would include everything I need, from a rules perspective, to run the game. Then, the later part could include all sorts of material and vision that would show me, the potential GM/Player, how all the pieces might work together. This could be background material, play examples, inspiration material, etc.
I don’t know if I could play The Clay That Woke without the “evocative exercise in frustrated novel-writing” (pun intended).
I don’t know if I could play The Clay That Woke without the “evocative exercise in frustrated novel-writing” (pun intended).
I think it’s a matter of perspective, of course. However; I only speak for myself in saying I prefer when the writing is both narrative and informative all at once. In some instances, sidebars are a good way to introduce examples, narrative fiction of combats or skills as the story proceeds. There are some core books I don’t mind reading over and over again even though I may already have mastered most of the game. Morningstar has done an excellent job of mingling these two aspects together in Fiasco to create an entertaining melange of instruction, conversation, and fiction not to mention adding a dash of nostalgia for the cinema grognards (ref: BLOOD SIMPLE circa 1985, can exclude those under 40.)
I think it’s a matter of perspective, of course. However; I only speak for myself in saying I prefer when the writing is both narrative and informative all at once. In some instances, sidebars are a good way to introduce examples, narrative fiction of combats or skills as the story proceeds. There are some core books I don’t mind reading over and over again even though I may already have mastered most of the game. Morningstar has done an excellent job of mingling these two aspects together in Fiasco to create an entertaining melange of instruction, conversation, and fiction not to mention adding a dash of nostalgia for the cinema grognards (ref: BLOOD SIMPLE circa 1985, can exclude those under 40.)
Davide Pignedoli It would definitely be different. That mind meld you have with Paul while reading the book seems really critical to the experience, but it’s also probably why the game has the reputation of being challenging.
I suspect buried somewhere in one of our dark hearts is a conversation about whether games are art, but I won’t be the one to open that can of worms.
Davide Pignedoli It would definitely be different. That mind meld you have with Paul while reading the book seems really critical to the experience, but it’s also probably why the game has the reputation of being challenging.
I suspect buried somewhere in one of our dark hearts is a conversation about whether games are art, but I won’t be the one to open that can of worms.
Rocky Perez Every chapter of Fiasco begins and ends with “this is what you do”.
Rocky Perez Every chapter of Fiasco begins and ends with “this is what you do”.
OPEN IT UP! Rpg games ARE an artform – just as valid as comics are literture. The question as in all art critiques is this:
Is the artist successful in relating what they set out to accomplish?
Then, you let people have their opinions, some will say yes, some will say no. Some just don’t give a dam! lol
OPEN IT UP! Rpg games ARE an artform – just as valid as comics are literture. The question as in all art critiques is this:
Is the artist successful in relating what they set out to accomplish?
Then, you let people have their opinions, some will say yes, some will say no. Some just don’t give a dam! lol
Rocky Perez Haha, nope, I refuse to engage on that topic. I like our peaceful, polite community too much.
Rocky Perez Haha, nope, I refuse to engage on that topic. I like our peaceful, polite community too much.
Jason Cordova – I’ll tell you that for me, getting stuck in game design is as frustrating as getting stuck in writing fiction. Assuming fiction is art, this is not a proof that game design is an art, but…
… we’ll leave it at that, for now: Failed game design feels dramatically similar to frustrated attempts at making art.
(closes the can of worms, with relief)
Jason Cordova – I’ll tell you that for me, getting stuck in game design is as frustrating as getting stuck in writing fiction. Assuming fiction is art, this is not a proof that game design is an art, but…
… we’ll leave it at that, for now: Failed game design feels dramatically similar to frustrated attempts at making art.
(closes the can of worms, with relief)
I love a condensed and ready to play guidebook, something I can print out on an index card and have ready to go at a moments notice (Thank you Lasers and Feelings for being a convenient example).
I do believe though that the more complex a game, the more should be packed into it. Illustrations, sidebar text, in-world quotes from people, and narrative examples, all are important because they will help guide people to hitting that same goal that you are thinking of in your head when creating a game. For something like “The Clay That Work” or any other very pointed experience, you want to make sure the idea and vision that exists in your head can be transferred to anyone who reads it, and colorful narrative example is best!
I love a condensed and ready to play guidebook, something I can print out on an index card and have ready to go at a moments notice (Thank you Lasers and Feelings for being a convenient example).
I do believe though that the more complex a game, the more should be packed into it. Illustrations, sidebar text, in-world quotes from people, and narrative examples, all are important because they will help guide people to hitting that same goal that you are thinking of in your head when creating a game. For something like “The Clay That Work” or any other very pointed experience, you want to make sure the idea and vision that exists in your head can be transferred to anyone who reads it, and colorful narrative example is best!
I want the rules to presented clearly and useable.
But for the setting and tone have to be communicated as well, in a way that makes me want to play it and gets me interested. The less you define and the more it fits a popular genre archetype, the minimal you can be in your setting material.
But for games with a more elaborate or unique background some afford has to be put in communicating that. Often that does not fit exactly with the ideally clear format of the rules. Which does not mean that a setting-heavy game should get all flowery with it’s rules text and make it harder to use.
But I see use for non-utilitarian games text there. Or well text which only utility is to relate mood.
I am a bit of trad gamer though and play games with products like sourcebooks, which I enjoy.I like to spend time with them. And as much as I love Fiasco or Lasers&Feelings they are One-Shot games, not what I want to do always and forever. For games that are more focussed on campaign play I am more willing to spend a longer time with the text and get into flowery details. It has to be fascinating enough to make me commit a lot of time after all and it has to keep my interest.
I want the rules to presented clearly and useable.
But for the setting and tone have to be communicated as well, in a way that makes me want to play it and gets me interested. The less you define and the more it fits a popular genre archetype, the minimal you can be in your setting material.
But for games with a more elaborate or unique background some afford has to be put in communicating that. Often that does not fit exactly with the ideally clear format of the rules. Which does not mean that a setting-heavy game should get all flowery with it’s rules text and make it harder to use.
But I see use for non-utilitarian games text there. Or well text which only utility is to relate mood.
I am a bit of trad gamer though and play games with products like sourcebooks, which I enjoy.I like to spend time with them. And as much as I love Fiasco or Lasers&Feelings they are One-Shot games, not what I want to do always and forever. For games that are more focussed on campaign play I am more willing to spend a longer time with the text and get into flowery details. It has to be fascinating enough to make me commit a lot of time after all and it has to keep my interest.
FWIW, the artwork and intro section in Malandros is intended to be an in-play resource, something like the cards in Everway.
FWIW, the artwork and intro section in Malandros is intended to be an in-play resource, something like the cards in Everway.