#in a popular mainstream rpg

[perilegs]

i still dont think im playing datv until way after it's released IF i play it at all, but oh my god top surgery scars being a cc option. even if the game is complete dogshit at least it gave us this. and i knoww it's a very small and a simple thing that some may see as performative but this is big!!! even if it's in a game i may not play it's great to know someone did have us in mind

[icewindandboringhorror]

I've referenced before how I have a big google document to keep track of every media I've ever seen in my entire life (just for reference because I like to track everything possible lol… I am the Data Collector), but recently as I was updating it, I thought of actually evaluating them to find out random percentages (like for example, out of Total Shows Watched, what percentage did I finish vs. stop watching, what percentage did I like or dislike, etc.)...

Evaluating these things is made easier by the fact that I already place everything on each subsection of the list into 6 broad ranking categories, so I don't have to go back and guess to figure out how I feel about them or anything. The categories are: Ranking 5 - overall best* (despite some criticisms of course because I'm too much of an Analyzer to ever find anything Perfect lol) Ranking 4 - more positive than neutral, but not good enough to be 5 Ranking 3 - either the good + bad negate each other, OR it's just not memorable/interesting in any way enough to be ranked higher or lower (this is the Default category ALL things are placed in if no other rank applies) Ranking 2 - maybe a few redeemable elements but largely more negatives than positives Ranking 1 - So bad that it circles around to being fascinating to observe in some way (not necessarily Funny, or Good, but just interesting somehow) Ranking 0 - Bad in a genuinely frustrating or obnoxious manner

*("best" primarily defined here as most interesting, rather than most good in a technical sense, or some other measure. I tend to value more highly whether there's something novel or thoughtful about the worldbuilding, tone, writing, base premise, etc - than about whether it's actually executed perfectly.)

And here's the amount of shows that have so far been placed into each category -

TV shows ~ Rank 5 (highest) - 20 shows ~ Rank 4 (mid-high) - 28 shows ~ Rank 3 (neutral/default/meh) - 114 shows ~ Rank 2 (mid low) -33 shows ~ Rank 1 (low low but intriguingly so) - 14 shows ~ Rank 0 (iredeemably low) - 2 shows

This would make for a total of 211 TV shows overall. However, there are 57 shows within these list marked as "didn't finish" (typically meaning I quit on the very first or second episode - but log them still to keep a record that I at least had a brief view of them).

So my total of genuinely fully watched shows would be more 154. 211 Total, but a More Accurate Total of 154.

Counting them all and using the Total Number Of The List (211) -- that means roughly 9.5% of all total shows I have ever watched (or at least attempted to watch) have been Mostly Good, 13% have been Moderately Okay, 54% have been either entirely Forgettable or some mix of good + bad that lands them right in the Neutral Middle, 15.6% have been Mostly Bad, 6.6% have been Bad (but in an interesting way), and 0.9% have been Terribly Bad.

Additionally, I didn't even get past the first two episodes of about 27% of the total.

Sooo, discounting ones I didn't finish, my total TV shows ever watched in my life would be about 154 (maybe give or take a few, assuming I might have forgotten some from very long ago).

But instead of entire life, let's just say this is the total for 'About 20 Years' (so, not counting very early childhood when I likely wouldn't remember things I saw/have no detailed recollection of them (like for example, I'm sure at some point when I was like 4yrs old I must have seen an episode of Spongebob or something, but I have zero distinct memories of it, can't quote anything of it, and barely recall the premise - so I don't count it on the list, etc.)).

In that case, 154 divided by 20 would be roughly 7.7 shows a year.

Which is actually surprisingly low considering that I often have stuff on in the background for hours whilst I make sculptures and do costumes and stuff (maybe I should have also marked some distinction between 'things I fully paid attention to' and 'things I kind of half listened to whilst sculpting', but that would further split the categories too much probably lol), but I guess a lot of that is youtube videos or random documentaries, so .. eh.. maybe I get it being lower.

Now, doing the same thing for movies-

Movies ~ Rank 5 (highest) - 4 movies (3.4% of total) ~ Rank 4 (mid-high) - 12 movies (10.3% of total) ~ Rank 3 (neutral/default/meh) - 91 movies (78.4% of total) ~ Rank 2 (mid low) - 8 movies (6.8% of total) ~ Rank 1 (low but interesting) - 1 movie (0.8% of total) ~ Rank 0 (irredeemably low) - none in this category (0%)

That makes 116 for a Total (Actually Remembered) Movies Watched In Lifetime (Or At Least In 20 Years).

116 divided by 20 is roughly 5 or 6 movies a year (I feel this has probably been skewed though by adding everything since like elementary school onwards, as I remember a lot more movies from child/teen years.. Whereas, the past 3 years I feel like I've barely seen maybe even 5 movies?? lol). I also have "Didn't Finish" marked on 18 of them. Which means I quit halfway through about 15% of the total movies.

So, a for broader summary stuff..

I seem to be less forgiving to movies than tv shows, by far. Which makes sense to me, I guess, because I love elaboration and details, so "short form" things that only last an hour or two are often lost on me a bit. My biggest complaint with movies is indeed usually walking away just wishing there had been more exposition, more scenes where characters are doing nothing, more "mindless bantering" conversations, more Quiet Downtime and Lore Elaboration and so on lol, so... of course most 1-2hr films end up feeling a bit Not Enough To Draw My Interest/Nothingy to me.

If you count 5 and 4 as "like" and rankings 2 to 0 as "dislike", then for TV shows I at least somewhat liked 48 of them, and at least somewhat disliked 47 of them.. So it's almost exactly the same lol. I'm just about equally as likely to find something bad as I am to find something redeeming about it. But overall, the largest chance is that I just won't really care much for it at all and it will be tossed into the 'neutral' pile, forgotten forever. Movies have a bit better of a balance, "liking" 16 of them, and "disliking" only 9 of them. So I'm slightly more likely to enjoy a movie than to find it annoying - though still VASTLY more likely to just not find it anything in particular, possibly not even finishing it.

ANYWAY.. this is vague and literally pointless, but like I said, I just really find information fun. Like my document where I've rated every apple flavor I've ever tried (like 40 of them now?), or reviewed every oreo flavor (32?), or ranking data from my entire 10 years of Trying To Make Friends process (out of 100 people, roughly 8% chance of a moderate compatibility, 3% chance of high), or etc. etc.. I love to have random pointless things to analyze I suppose lol.

I doubt anyone tracks things in their life in this same exact way, but I'd be interested in hearing any at least somewhat similar data !!! (like, how many TV shows you watch a year on average, and what percentage of those you like vs. dislike (if you keep track of that sort of thing), etc.)). I guess it might be easier with movies, since I think some people use those websites where you curate a list of movies you've seen and you can rate them or something, so maybe the numbers are already available on those places. :0

[imsobadatnicknames2]

ur tabletop takes are fucking insufferable i can't stand the constant 5e hate coming from u and ur clique what does it matter if i want to use 5e to play everying, do u want me to learn a new game for every setting? let people play what they want, u have no right to tell me what to play

Lemme screenshot something real quick.

Like. If you find my opinions so insufferable then good news! you aren't forced to look at my blog or the blog of any of the handful of intense weirdos who agree with me. Blogs that post nothing but 5e content outnumber us dozens to one, go follow those instead.

WotC has largely succeeded in getting every mainstream space within this hobby to cater to people who think exactly like you. The idea that it's okay to never branch out from d&d and you can hack d&d for any setting you wanna play doesn't need to be defended, it's the default opinion in this hobby.

Go to any popular tabletop space and the most common response you'll find to "i want to play a game set in ______" is "here's how to reskin d&d for it". Many publishers are releasing 5e conversions of their non-d&d games, or straight up ditching their own in-house systems in favor of 5e because they know they won't sell enough to stay afloat otherwise. Go to the RPG section of a bookstore and non-5e material will take up at best a tiny fraction of the shelf space if there is any at all.

You won. Your opinion is the dominant one and still you can't resist the urge to butt in on the little spaces that people who don't agree with it have carved for ourselves just to rile yourself up about the fact that people who don't share the dominant opinion exist at all.

[anim-ttrpgs]

The skill point allocation system in Eureka is very elegant.

Is the principle of evening out to 0 something that has often been used in ttrpg design? If so, can you name other games that inspired Eureka in that regard? Or did you come up with it for Eureka?

"All skills can be -n to +n with a cumulative total of 0" seems too usefull, too elegant, as to never been utilized before the year 2024.

I came up with it independently and have literally never seen it anywhere else. I have thought the same way about the Eureka! Point mechanic, though similar things have been done before in other RPGs, just never applied to mystery investigation gameplay. Why hasn't anyone done this yet?

I feel like it must have been used somewhere else at some point in the 50 years of TTRPGs that have been made, I've just never seen it. i agree it feels like too good of an idea to not, like, practically be industry standard, but then again, TTRPGs are not a very innovative industry. It's very stagnant. Most TTRPGs that have come out in the past 50 years have just been D&D clones to some degree or another, and most "innovation" I see has just been "what if we unknowingly reinvented the wheel except this time we made it hexagonal instead of octagonal," total Tesla cybertruck style innovation.

The industry is kind of uniquely set up for that. It's one of the most monopoly-dominated industries/artforms in existence, with one game (of greatly varying quality and thoughtful design between editions) completely dominating it for all 50 years of its existence and being allowed to basically fully define what a "TTRPG" is. The biggest alternative to D&D for the past 20 years has been Pathfinder, which is just like D&D but a little better designed, and before that its biggest competitor was World of Darkness, which, if you actually read their rulebooks, are also designed pretty much like D&D except for some text at the beginning which basically says "you can ignore these extremely dungeon-crawl-y rules to focus more on narrative, don't be like those dumb dungeon crawl players," which if you have been following this blog you know is a load of crap.

Call of Cthuhlu, another big veteran contender for the industry that is still going pretty strong, has been the standard for "investigation" gameplay for nearly 50 years, but it's just a Lovecraft hack of RuneQuest, which was designed for, you guessed it, fantasy dungeon crawling. That's why even though CoC adventure modules do tend to play pretty well with Eureka, most of them are still structured as a short line of like 1 or 2 clues to follow to get the PCs into a spooky scary enclosed dungeon-like monster-filled location as quickly as possible, and you have advice like (uncharitable hyperbole) "if the PCs get stuck, make evidence fall from the sky and land at their feet."

Plus, you have big "actual play" podcasts who really really champion the whole "ignore the rules when they get in the way of your pre-planned three-act-structure plot" and the mega-monopolgy with marketing money making it a selling point that if you ignore the rules enough "D&D5e can do anything."

TTRPGs are also a relatively young artform without a ton of mainstream attention until pretty recently (which, as I mentioned, has been eaten up by D&D5e, Pathfinder, and big "actual plays"), and they are a hard one to participate in because playing a single TTRPG requires a ton of time investment compared to most other popular art forms like books, video games, music, and movies.

All this results in many, many people who play and even design TTRPGs literally never having played anything that wasn't WotC-era D&D, barely one or two degrees of separation from WotC-era D&D, or "it's not important if it's WotC-era D&D or not if you just ignore the rules!" Oh and PbtA and BitD players and designers, you're not immune to this! Those are just the "D&D5e can do anything!" of the indie scene and no they really really are not the best framework/engine for every single game ever!

For all the talent, study, effort, and respect for the artform across the A.N.I.M. team, not even we are immune to this. I haven't played nearly as many TTRPGs as I would like to have before calling myself a "learned" TTRPG designer. There might be some obscure game from 2004 I've never heard of that does some of Eureka's stuff already, that if I had read, I could have made Eureka even better by improving upon and learning from the mistakes of others rather than working in uncharted territory.

So, in conclusion, to use the film industry as an analogy, it's like if, during the past 10 years of every fucking mainstream movie being about superheroes, aspiring film makers, who have watched between 0 and 1 movies that weren't about superheroes, are having the "novel" idea of "what if.. a movie wasn't about superheroes!" and then trying to make a movie not about superheroes with no non-superhero experience or study. And Eureka: The Movie is good and innovative because A.N.I.M. Studios watched a measly 10 different non-superhero movies and studied film theory before making it.

[animenostalgia]

Some sad news to share this morning - Prolific animator, character designer, and illustrator Mutsumi Inomata has passed away. She worked on many beloved anime titles throughout the 80s, including animation work on Urusei Yatsura, Space Warrior Baldios, City Hunter, and Goshogun. Her striking and unique style added unique flare to her character designs for beloved cult titles like Birth, Windaria, and Leda: The Fantastic Adventures of Yohko right alongside more mainstream titles like Plawres Sanshiro and the Future GPX Cyber Formula franchise. She was also a part of the video game world, doing illustrations for Dragon Quest novels in Japan, and being the main character designer for the popular "Tales Of" series of RPG games. Truly, her artwork touched many beloved pieces of media over the years. And for all her unique and beautiful work, she will be greatly missed.

[fereldanwench]

apropos of nothing and certainly not my tag rant from a few posts back

did you know that out of 150 popular video games released between 1985 and 2022, only 6% of them feature sole female protagonists?

did you know that prior to mass effect 3, female shepard was never used in any promotional material for the series?

(and there's no hard data available on this, but i very distinctly recall a lot of gamerbro outrage when me3 had an optional reversible cover so you could pick between male and fem shep on your personal game)

did you know that only 18% of players chose femshep in any shape or form (default or customized) during the original release?

(anecdotally, i know a few people who didn't even realize you could play a female at all in me1 bc of how the cc is setup)

did you know with the release of the legendary edition in 2021 the percentage of femshep players didn't even double (despite jennifer hale's seemingly enormous popularity amongst the broader playerbase over the past decade) and is reported at 32%?

did you know that dragon age inquisition has the same breakdown between male and female inquisitors (68% to 32% respectively)?

did you know during the playtests for assassin's creed odyssey, it was a 50/50 split between kassandra and alexios, and ubisoft suits actually thought when the game was released, kassandra would be more popular? and yet once again, about 70% of players chose the male protag

did you know evie and aya were both supposed to have a much larger roles in assassin's creed syndicate and origins but were forced into a smaller role bc the ubisoft marketing team didn't think the games would sell well with a female lead?

cdpr hasn't released data on male vs female v, probably because the game handles gender a little differently than just two strict options like many other rpgs, but it was revealed that panam was the most popular romance, sitting at about 68%, which means at least 68% of players chose the male v body. I'm sure some players did not make that choice as a cis male v, but i would also guess that those who didn't are a small minority of this demographic, and if you factor in kerry romancers, this split is probably very similar to other games in the genre

now i realize that a lot of the male v players who are in more transformative fandom spaces (like tumblr) are not the str8 gamer dudebros of reddit angry about pores on a female character's face and whatnot. i realize that a lot of you are also on the outskirts of the perceived norm and also feel under-represented by mainstream male protags and that's incredibly frustrating and alienating and i genuinely feel for you

but female protagonists and female gamers who want to play as female protagonists and who have a few niche spaces to celebrate female protags are not the reason for your lack of representation

and frankly you don't sound a whole lot different from the angry incel gamer boys when you say shit like "fem v gets too much attention"

so maybe try advocating for male protags who don't fit the generic boring gruff white guy mold without throwing women under the bus. we're should be allies in this fight, not rivals

[whereserpentswalk]

Ttrpg safety tools and the dog test

A quick rundown of what safety tools are: tools for setting boundaries in ttrpgs. Can be useful to some people, but often used really wrongly, and often seem overly gamey to me personally. It's like therapy speak for rpgs. And is similary used by the people it was meant to be used against.

One of the most common examples of these is the X card. The X card is a card with the letter X written on it. It sounds like a good idea if you've never interacted with people before. The X card is a boundary where one of the rules is you can't talk about the boundary. It's very useful for anyone who want to weaponize it, and not very useful for asserting actual boundaries.

There is also a type of chud who dislikes the the idea of safety tools because they think they're "woke". The only way to have a productive conversation around safety tools is to ignore them. Bad faith questions don't deserve good faith answers.

Now, a lot of people would think that its easier for a player to step out then deleate a scene. But a lot the culture around safety tools is based on this toxic highschool mindset around ttrpgs where someone feels like they both have a right, and a duty to be at every single momment of every session, and everyone else does to. So every single safety tool you'll see will assume the of lack the option of leaving the table at all. Being able to leave at any time is the ultimate boundary in ttrpgs and many other safety tools are attempting the impossible task of establishing boundaries without it. People compare them to safe words in bdsm. But it's like trying to create a safe word system but you have to cum and can't take breaks.

See part of the problem is 4chan and reddit have cultures of rpg horror stories. Which are useally lies. I'm not going to say fiction because that implies a relationship with the audience that they don't have. And these lies almost always have queer people, ND people, leftists, and anyone you'd see called a degenerate or weirdo as villains. While the type of nerd that Scott Pilgrim was the first book makes himself out to be a hero. And reddit also happens to be where the concept of safety tools was popularized.

It's this problem where people aren't trying to deal with actual triggers, they're trying to police content they morally condemn. R/rpg horror stories is the home of people who consider themselves outcasts for liking star wars and then have a deep fear of a marginalized person or someone from a slightly less mainstream subculture showing up at their table. And when they're the ones defining what a boundary conflict in rpg space looks like it's useally pretty bad. When a lot of safety tools go bad it's the case of weapons made to catch monsters being bad at dealing with humans.

And beyond all that. Beyond the specifics of rpg horror stories and it's influence. The way people talk about safety tools is mostly about removing content they deem objectionable from ttrpgs. When people talk about the X card and things like it, they're useally afraid someone will talk about something taboo and the table, and want a way to stop them, with the assumption that the rest of the party agrees. The extreme nature of how much someone has the power to censor, is brought with the assumption that what will be censored won't just violate their personal boundaries, but a community sense of morals.

They don't just want their triggers removed, they want things they deem immoral to be removed (not everyone who uses safety tools of course, but the hoard of bearded cishet white men who play 5e who dominate the conversation on them). That's just what a lot of the conversation around safety tools always comes down to. When somebody says they want safety tools to remove torture scenes or sex scenes from their table, it's not their personal triggers, its that they don't believe these things belong in the medium at all. They don't imagine what it would be like to be the only person in the room with their trigger, because the narrative they've created with problem players and safety tools, has made it so they assume the majority of the room shares their boundaries. Safety tools as they exist and are talked about are not built for a minority of players to be able to assert boundaries agaisnt the majority of players.

The dog test: so basically, while safety tools in ttrpgs have good reasons to exist, a lot of the time they're weapons players use to remove content they deem immoral. So often every discussion around things like the X card comes with a lot of moral condemnation, and assumptions about what content can ever be triggering vs what is ok. And this culture of moral condemnations can make safety tools especially dangerous for queer people and ND people, or just members of certain subcultures.

So I've developed the dog test. The dog test, is an example used to test if a safety tool (or more commonly someone talking about them) wants boundaries or wants moral policing. The dog test is simply to see how the safety tool is viewed if it's used to remove dogs from a game. Basically taking the commonly used examples like blood, or sex, and replacing them with the existence of dogs. Perhaps to add to it let's say the only case this hypothetical person will be ok with dogs is if they're killable enemies. This isn't unrealistic, a lot of people have trauma from dog bites, it's probably more likely to be a good faith trauma than a lot of the examples.

If they person is as willing to work with the needs of a player who has trauma around dogs as they are more sympathetic triggers than they've passed the dog test.

Disclaimer. A lot of these thoughts were developed in a discord conversation with @dragonpurrs and a lot of these words were originally things I said to it.

[thydungeongal]

curious why you called out Genesys/FFG Star Wars specifically there, what elements do you think are 3.5 fingerprints?

Genesys very much utilizes the D&D 3e style of "combat encounters built with an eye towards providing the characters with a balanced playing field in which they can demonstrate their abilities." That is significant. Even though the idea of game balance in combat was not entirely alien before the 2000s D&D 3e popularized it and it thus seeped into most mainstream action adventure RPGs.

On a structural level, Genesys also very much has a very similar structure to character abilities: you have Skills as a separate pool of abilities that contribute numerical bonuses (or skill dice in the case of Genesys) to dice rolls, but you have a separate resource like Feats and Talents or whatever that create exceptions to rules. Again, while not invented by D&D 3e, D&D 3e popularized this structure. In older games you would have things like Blind-Fighting (this one is a one-time purchase that negates penalties for fighting blind) and Smithing (this one can be purchased in separate ranks each of which adds a bonus to Smithing checks) both classed as Skills.

And again, these were not innovations of D&D 3e as such, but D&D 3e was huge in popularizing them, to the point where if you look at pretty much any modern mainstream action adventure RPG you can be certain there's some D&D 3e in there. It's in Genesys, it's in AGE, it's in WFRP, it's even in indie games like Fate!

[canmom]

what's the book for? part 2

[here's an intro where I talk about the three hour video essay that inspired me to do this]

[here's the first part where I argue that there's a big difference between the actual thing you do in an RPG and the book that tells you how you're allegedly supposed to be doing it]

So if the actual TTRPG games are mostly learned by observation and practice, what is the something that RPG books claim to give you in order to enable that?

Here's three things I can think of.

This isn't intended as a Forge-like categorisation of games, most RPG books offer (or claim to offer) all of these to some degree, ideally in complementary ways...

A ruling reference - RPG book as legal system

In the intro to a typical mainstream RPG book, this is typically the explanation that is given.

Over the course of a telling a story together, all sorts of weird edge cases come up where you might not want to simply make a call on how it should resolve. Moreover, consistency is valued, for both challenge and narrative reasons.

In this case, the RPG book is a big collection of rulings for specific situations. 'What happens when a character falls off a cliff?' You can look it up. It's like legal precedents. This is how a lot of the stuff in the early D&D books started - stuff that someone had done, and a referee had made a ruling, and it got written down. Then it would get systematised, unified, and streamlined so that it's easier to remember and extend to new situations.

A lighter game avoids special cases and just suggests a general procedure for resolving situations of uncertainty, conflicts etc.

This angle doesn't tend to cover procedures for how the game is physically run - how to go about setting up the scenario, who should get priority when speaking, etc. etc. - beyond perhaps offering prebuilt modules to inspire you. In older games, most of that is stuff you pick up by watching. In newer games... well, hold on.

A grab bag of interesting prompts - RPG book as inspiration in the moment

Most RPG books have flavour text; many also have tables of weird shit you can roll on or select when building a character, character sheets full of interesting abilities, descriptions of NPCs and so on. A select few RPGs like Unknown Armies and Chuubo's Marvellous Wish-Granting Engine have really distinctive prose too.

The aim of all these tools is to give you something to latch onto when you're in the moment and you need to think of the next thing to say. It's also to get people onto some shared understanding of what this game is all about.

This is where the bulk of many RPG books lies. It's explicitly the aim of Apocalypse World's MC moves. Many one-page RPGs are nothing but lists of evocative names and description elements, and a short snatch of prose.

Prompt tables and lists of names are popular in just about every tradition of RPG design - trad, storygames, OSR, all use them. Sometimes they're the most memorable thing about an RPG, like Dark Heresy's crit tables.

Sometimes pages of tables is the RPG - in recent years, card-based games have become popular, using a regular deck of cards which indexes into a big table of events, each of which is like 'here's a short description. how do you respond?'. This type of game has a great deal in common with storylet-based interactive fiction like Fallen London.

Prompts don't have to be short, though. Arguably an adventure module can be pretty much this - something you consult when players arrive in a new place to get an idea of who they should meet for example.

In D&D, the Monster Manual is straight up a book of real freaky guys you can put in your game. It also has stat blocks for them, of course, but the descriptions and pictures do a lot of work here to make them concrete.

This is why I describe the pictures in Lancer as load-bearing. The pictures help - or are supposed to help - grease the wheels of imagination when you're trying to imagine mechs.

This function of RPGs is a large part of the angle you're playing if you tie the game to a particular genre, setting or IP.

A machine to guide you to a specific experience - RPG book as auteur blueprint

So here's the newer flavour.

RPGs can be one of the most feelings-dense forms of art that humans create - it's your story, with your characters. This is something that tends to arise organically after you spend a long time with a character and 'get into their head'.

However, there is often a desire on the designer's side to structure the game to bring about a particular kind of emotional experience more directly. From horror games to games self-consciously 'about' colonialism, abuse, romance, etc., these games try to give you a particular experience, similar to what a film or book gives you - or indeed, a computer game.

Here are some examples:

My Life With Master is an older Forge game. It's about the 'Igor' servant characters in a classic horror movie, billing itself as 'a roleplaying game of villainy, self-loathing, and unrequited love'. It presents you with an emotionally charged scenario and mechanics that try to push you towards specific drama - if you want to be critical, a firm instance of the incentives and buttons oriented design that Huntsman was talking about, sometimes quite explicitly saying 'this mechanic was designed to...'

Dog Eat Dog is a game 'a game of imperialism and assimilation on the Pacific islands', with the DM reimagined as a colonial power adding more and more restrictions and the players as native people who will inevitably break its rules, until they are eventually pushed to 'run amok' (fatally), or assimilate. It's a game whose entire argument is more or less spelled out in the book itself.

But games don't have to be this narrowly scoped to have this kind of aspiration. Something like Apocalypse World still wants to bring about certain kinds of interaction, laid out quite explicitly as 'agendas' for the MC and players. It is strongly 'opinionated', in programmer terms.

Even a very flexible game can take on this model. Fiasco is a very abstract structure, designed to set up a chaotic situation like in a Coen Brothers movie. Microscope is designed to give you a fractal zoom in and out of a fictional history. These games are almost all procedure; Fiasco has some fantastic prompt tables, and a clear way to cook up your own, but the bulk of it is the stuff it tells you to do with scenes and dice.

These could be seen as games on an auteur model, with many of the emotional beats of the scenario already rigged up in advance. You get this type of book to experience a good/meaningful story - with a certain amount of flexibility in the details that gets you more attached. If there is a GM/MC/etc. they have instructions to facilitate the expression of that story.

...well, I refer to it as an auteur model. Thankfully not everyone is Ron Edwards! Apocalypse World has a whole chapter about how to modify the game to your taste, or build new games on its framework, and that - plus its conceptual simplicity - probably played a role in its hundreds of derivatives. 'Hacking' games was well established as a practice in the storygames milieu right from the early days. Probably the vast majority of games put out on itch.io are simply hacks of an established framework, very few offer real innovation.

Despite this, the offer of these products is still that they'll tell you how create a kind of verbal machine to realise some very specific thing.

Secret fourth thing...?

I can't think of others right now, but I hate presenting a list as exhaustive unless I can prove it's exhaustive. It's very likely there's some other function a book can claim to perform.

However, to summarise, you look at an RPG book to get:

a consistent set of rulings to handle situations of uncertainty

a set of prompts to help inspire your imagination when you need inspiration

a carefully designed procedure to lead you to a specific experience

The third thing is kind of a different beast to the other two, huh? You might be thinking that the first two are trad games and the third one is post-Forge 'story games', but it's really much older than that. Paranoia is a great early example; there are shades of it in many games published in the 80s and 90s. Not all these games are affiliated with the Forge and its diaspora either - take for example Jenna Moran's games and Bliss Stage.

Story games are not books either

The Forge and its diaspora led to a lot of games being printed, and launched the careers of many an 'indie TTRPG designer', which was not really a thing you could be in the same way before. It would be easy therefore to think this was the main contribution: we should assess it on the basis of the printed games that resulted.

However, nothing says you have to use a book to pilfer from their idea pool.

The really interesting contribution of the whole movement, to my eye, is that it calls our attention to a facet of TTRPGs that had often been left implicit. Who speaks, when? Who gets the 'narrative authority' to make the final call on what becomes 'true'? How do you organise time - do you frame scenes, use flashbacks, cut between different characters? What makes a dice roll exciting? How do you work out what would engage the other players, and communicate your own interests? Are you trying to help your character win, or are you more like a writer who might choose to make them suffer? How do you make a compelling character arc? What can be changed around behind the scenes to make a better story?

These are all aspects of 'play', the thing that you do at the table. Any given TTRPG group will settle on its own implicit or explicit approach to this kind of thing.

Different RPG books will tell you to do this or that. Some games will tell you to set stakes, or make failure interesting, or make choices that act as 'flags' to show what you're looking for.

But these tools are not tied to any specific game. You don't need the 'permission' of a book, nor can a book stop you doing it. A book may lay out a procedure that makes it easier, may introduce you to an idea that you haven't heard before, but once you have the idea, you can play with it however you like.

The way I approach a trad game like D&D, from either side of the DM screen, has become very different after my sojourn into the world of story games. A lot of what I liked there, I kept doing. Other inspiration comes from outside of the 'hobby' entirely, in related milieu like improv comedy.

This is something the OSR milieu seems to understand quite well. Everything is expected to be mixed, matched, and interpreted by the needs of your group. Posts will be framed as mere advice, which can be picked up and applied regardless of context.

But that all depends on a certain amount of common ground as to 'what the game is'. There is an authoritative DM who runs the scenario. The emphasis of the game is probably on exploring some kind of ruin and surviving in a dark, decaying fantasy world populated by various factions at odds with each other. Players control flimsy characters whose survival is not guaranteed, but if they live long enough, they can become major powers. There is a heavy strategic aspect: you are trying to use your resources to survive and get something. This is the general shape of a 'prototypical OSR game'.

the shared context of storygames

Story games form their own subsubculture, but they do not have this level of shared context. Instead, a different kind of shared context is kind of implicit in the milieu.

Here's how things go at the London Indie RPG Meetup Group, which I've attended a couple of times: a group of nerds gather in a pub. People will pitch games with a couple of sentences; then people will form groups and play that game as a one-shot session. Someone will have a book, or printouts. Most players will not have heard of the game before.

In this kind of context, a lot of the quirks of story games make sense. 'Read this out' paragraphs, rapid character creation based on selecting prompts, simple mechanics designed to push you into drama as quickly as possible: all of this stuff is perfect for a one-shot game you play once or a few times. This type of game is not really trying to 'take on' trad games.

But then there's the 'middle ground' kind of game, which are closer to a 'trad' game - a game master, persistent characters each controlled by one player, multiple sessions, progression - but also instruct you to do something more experimental by trad-game standards. This includes Apocalypse World and its derivatives, Blades in the Dark and its derivatives, the Burning Wheel/Mouse Guard lineage, Jenna Moran's games... and so on.

It's this point of overlap where things get sticky and it all becomes a bit tense. Since, well, story game fans can be quite evangelistic - and part of that evangelism depends on a dismissively book-determinist view of trad TTRPGs. But conversely, trad players can be quite reluctant to imagine there is any other way of approaching this whole activity, and dismissive of any other approach. I do not like it, Sam-I-am.

So you end up with a situation of camps, with both groups bristling at the sense that they should be compelled to give up the thing they like to do it the way they consider inferior.

And if you want to criticise the other camp, what do you do? Pick up their book and criticise it as a product, according to your sense of what a TTRPG book is for. Which seems hopelessly besides the point when a book is such a small part of the story.

I've played trad games, story games, OSR games, 'freeform' forum games, LARP, MMO roleplaying, improv comedy... Not as much as I'd like of anything, but enough to get a sense of the many ways we can do this 'roleplaying' thing, whether by explicit rule or implicit convention.

So the puzzle I now have is, if there is to be a book involved, what is that book there to do? What really makes for a good RPG book? Are there other ways to get that thing? How do you game design honestly?

We'll try to address that in part 3 of this series, coming... sometime soon, hopefully!

[stephensmithuk]

The Hound of the Baskervilles: The Curse of the Baskervilles

CW for discussion of crimes against humanity.

Devonshire is a historical alternative name for the county of Devon, these days not seeing that much use. Devon and next-door Cornwall have a friendly rivalry going over various things, including the order in which you put cream and jam on a scone. Cornwall does jam first, Devon cream. Getting it the wrong round in the relevant county can attract disapproving looks.

Mainstream Christianity believes that the only sin that cannot be forgiven by God is "blaspheming against the Holy Spirit", which is a continuous and arrogant rejection of it. It is generally deemed impossible for a Christian to actually do because if you worried that you've done it, you're not rejecting the Holy Spirit.

The Great Rebellion is the then standard name for what is commonly called the English Civil War or less commonly, but more correctly the War of the Three Kingdoms - England, Scotland and Ireland all being their own kingdoms under a single monarch, Wales is a principality. Lasting from 1639 to 1653 and including a whole bunch of conflicts, including two English Civil Wars. Various videos explaining the whole rather complex affair with varying degrees of comedy can be found on YouTube, but the popular version is that a bunch of republicans (Roundheads) with short hair fought a bunch of monarchists with long hair (Cavaliers). To quote Arnold Rimmer, it ended "1-0 to the pudding-basins" and King Charles I ended up losing his head in public.

Edward Hyde, 1st Earl of Clarendon, a key member of the governments of Charles I and Charles II wrote some memoirs of the whole period. Initially written between 1646 and 1648 as a defence of the former, his fall from power and exile in 1667 (he was made to carry the can for the English defeat against the Netherlands in the Second Anglo-Dutch War despite having little involvement) resulted in a massive expansion and re-write of The History of the Rebellion, which generally runs to no less than six volumes. One can compare it to Winston Churchill's The Second World War it seems - interesting, but watch for bias.

A yeoman in this context was a commoner who owned the land that he farmed, as opposed to being merely a tenant. Indeed a third of all farmland remains run by tenanted farmers; including much of Dartmoor, which is owned by the Duchy of Cornwall, the land holdings of a (male only) heir to the throne.

A maiden is traditionally an unmarried girl or young woman, with a strong implication of virginity to boot.

Michaelmas is a Christian festival held on 29 September in honour Saint Michael and all the other angels. It was traditionally associated with the end of harvest and a bunch of other stuff, including the legal calendar. The Lord Mayor of London (not to be confused with the Mayor of London) is elected on this. Traditionally the meal eaten here included goose, but it has very much fallen out of fashion in modern Britain.

A carouse (also a verb) is basically a long drinking and dancing event; "Carouse" turns up as a skill in some RPG systems i.e. the ability to do this effectively without ending up on the floor next to your vomit.

"Terrible oaths" here mean foul language.

A league is three statute miles, so she's got to get nine miles or 14.9 kilometres. That's a rather long way to go, especially in the dark.

A flagon is a large vessel for containing drink, about 2 imperial pints or 1.1 litres in capacity. You can either use it for pouring (in which case it will have a spout) or drinking from directly.

Trenchers were flat wood or metal plates used for serving food. In medieval times, they would be made of stale bread. After the meal, these and the juices, leftovers etc. would be generally given to the poor. Eating the trencher yourself was considered rather vulgar.

"Wench" has had various meanings over the years. In Shakespeare's time, it was a neutral or even endearing term for a young woman. It then evolved into a female server, particularly at a tavern (with the associated sexy costume, although I am not sure when that became a thing) and from there to being a term for a prostitute, with "wenching" becoming a verb to mean using the services of them. With an associated meaning of a promiscuous woman. It is not clear whether the writer is using the term or Hugo is here. I can see the latter using it in a rather venomous way.

A kerchief is another name for a bandana.

The pistols of the period were single-shot weapons requiring reloading with powder, wadding and shot. Even with regular practice like in an army (where this was a major part of drill), you'd be looking at a 15 to 20 second reloading time. It was commonplace to carry two pistols (a brace) as a result, at which point the fight was either over, or it was time to get your sword out. Some went still further - Blackbeard, who was going progressively crazy with syphilis, is recorded as carrying six loaded pistols on him.

There were 16 fatal dog on human attacks in the UK from January to September 2023; a sharp rise blamed on the American XL Bully breed, which was promptly banned in England and Wales as a result.

Providence means God's intervention in the universe.

"Which would not forever punish the innocent beyond that third or fourth generation which is threatened in Holy Writ" is a reference to the Commandment about not creating graven images or idols, either the Second Commandment or part of the First depending on your denomination; Anglicans put it as the Second.

"The probable Liberal candidate for Mid-Devon" is going to form part of a post discussing late Victorian elections, because I could go on all days about those. Central Devon was a narrow Conservative hold in 2024, by the way.

Nouveaux riches is French for "new rich", commonly rendered as "new money". The "aristocracy" on both sides of the Atlantic (see The Gilded Age) looked down on the new millionaires who were being created by the Industrial Revolution, such as railway tycoon Cornelius Vanderbilt.

The discovery of diamonds at Kimberley in 1867, followed by gold at Witwatersrand in 1886, led to a vast boom that turned what would become South Africa from an agricultural economy to a wealthy industrial one... most of that wealth ending in the hands of white people, of course. Indeed, it led to the actual creation of South Africa in the first place.

Inquests are held in England and Wales after any death that is violent, unnatural, a possible suicide or in custody. These were at the time conducted with a jury, but this has become much rarer since 1927, when a coroner can do it on their own in many cases. In the case of a murder, an inquest will be opened and adjourned to allow the police to investigate. This process can take quite a while; after the Manchester Arena bombing of 2017, a full public inquiry into the event was held and following the end of that in 2003, the same judge then conducted an inquest into the death of the bomber himself, as was legally required. No public hearings were held in this case to avoid attention and save public money. The conclusion was officially logged as "suicide while undertaking a terror attack that murdered 22 innocent victims and injured many others", Sir John Saunders clearly that merely putting "suicide" was insufficient.

The Gypsy and Traveller community have long been associated with horses, with the Appleby Horse Fair being held every June in Cumbria. The RSPCA have a large presence at the event to deal with any animal welfare issues, issuing warnings and will take animals away or prosecute people if required. The 2024 event saw two horses worked to death, the official website posting the RSPCA's request for information on those responsible.

I've discussed Bushmen/San in one of my posts on The Sign of Four.

"Hottentot" is a now-offensive term for the Khoekhoe nomadic pastoralists of Southern Africa, often grouped with the San. Its use in the 1964 Mary Poppins film has seen that movie reclassified in the UK from a U (universal) to a PG.

They are split into the Northern Khoekhoe or Nama, located in Namibia and Botswana, and the Southern Khoekhoe or Cape Khoe found in the SW coastal regions of South Africa. At the time this book was set, these were, respectively:

German South West Africa

Bechaunaland Protectorate (de facto independent until 1891 when the British took active control)

The Cape Colony

Two years after publication, separate Nama and Herero rebellions in the former against colonial rule (the German aim being ethnic cleansing) were brutally defeated, with the peoples either shot dead, driven into the desert or placed into concentration camps. They were subjected to medical experiments, skulls being taken to Germany for use as demonstration of "racial inferiority". The similarities between this genocide and the Holocaust are clear, although the precise connections are debated by historians.

It is estimated that up to 80% of the indigenous population died as a result.

Germany has in the last decade offically recognised this as a genocide, agreed to pay €1.1 billion to the affected communities and has returned the human remains held in German universities or teaching hospitals.

On a final note, Mortimer failing to mention the footprints around the body might be considered perjury.

[emblemxeno]

The people who want supports removed from FE don't quite seem to understand that bloating the main story or plot significant script to make every single character relevant is terrible for pacing in a video game, especially for RPGs.

Actually, now that I think about it, lots of criticism from certain sects of the community towards FE writing quality and supports and the subsequent suggestions towards 'fixing' the alleged issues always seem to misunderstand how video games as a storytelling medium should be constructed so to not exhaust the player. Limiting player interactivity and agency (e.g. no supports or potential character building and the gameplay benefits as rewards for that) to such a degree is just as bad as bloating a game with too many mechanics, gameplay styles, or resources to manage (i.e. the common criticisms for 3H and Engage).

Not to mention that if you don't have some kind of material to flesh out characters, you get a Radiant Dawn scenario where most of the new cast are flat as boards, or an Echoes scenario where it's very easy to miss extra backstory if you don't visit villages at specific points in the campaign.

The video in question that's floating around regarding this topic mentions that Path of Radiance's base conversations would be an appropriate replacement, but... Path of Radiance had both base convos and supports. New Mystery and Echoes did this as well! 3H did it too, with its only issue being an extension of the problem that silent/dialogue choice centered avatars can create. It never had to be one or the other, and it's strange that it's presented as such.

Now, supports as a system can definitely be revamped or trimmed, I agree with that. But removing them entirely? When those are a major factor for why the series has now achieved mainstream popularity? Nah, lmao.

[electricea]

also maybe this is the persona bias in me speaking but i feel like persona is hardly this underrated series that flies under the radar anymore - i feel like especially around the time of persona 5 was when it really blew up and became 'mainstream (ie you saw it everywhere on youtube and twitch, etc) i can't speak for the time before persona 5 since i got into it around the tail end of persona 4 golden's original release, but regardless as to when persona actually took off and became popular as a franchise, i love to see it! atlus usually does a great job with balancing the life sim and the RPG aspects.

[prokopetz]

Hey why DO all those old tabletop RPGS and adventure games have such weird obtuse "act in this one scene or softlock forever" moments? Like, these weren't designed like arcade games that munch quarters... Why was this sort of thing so commonplace?

(With reference to this post here.)

Funnily enough, for tabletop RPGs there's actually a good answer.

If you're familiar with the popular history of tabletop roleplaying games, you've probably heard the idea that they developed out of fantasy wargaming. That's not actually terribly accurate; tabletop RPGs and fantasy wargames are more like two parallel branches that split off from the recreating-historical-battles kind of wargaming at about the same time, and for the first couple of decades there wasn't a bright line drawn between them like there is today. Many are genuinely hard to classify by contemporary standards – there are a lot of early fantasy wargames that look more like modern tabletop RPGs, and vice versa.

One of the consequences of that lack of sharp distinctions between tabletop RPGs and fantasy wargames is that early tabletop RPGs were often played in a sort of "competitive co-op" format at wargaming tournaments. Multiple groups would run their parties through the same adventure in parallel, and be ranked on their performance; sometimes this would involve scoring points for completing specific objectives, or speedrunning the adventure and aiming for the fastest time, but the most popular tournament format was the survival module: adventures which were deliberately designed to be unreasonably difficult, with whichever group's last surviving character's corpse hit the ground furthest from the dungeon entrance being judged the winner.

The upshot of that popularity is that many published adventures early on – and certainly the greater part of the more infamous ones! – were originally written as survival modules, created to be run competitively at a particular tournament, and later repackaged and sold as commercial products. Of course, practically none of them actually explained that; like nearly all tabletop RPG material of their day, they were written under the assumption that all tabletop roleplayers had come up through organised play at university gaming clubs, and thus already had all the context I've just outlined. This ended up causing no end of confusion when the hobby's mainstream visibility exploded in the early 1980s, and suddenly there were folks who'd picked up the rulebooks at their local bookstores trying to teach themselves how to play from first principles with no prior contact with gaming club culture.

As for why adventure games were also like that... well, this is going to sound bizarre by contemporary standards, and I don't blame you if you don't believe me, but once upon a time, point-and-click adventure games were considered the gold standard for Serious Gaming. Unforgiving routing, bizarre moon-logic puzzles, and a bewildering variety of unique ways to get yourself killed off were held up as the mark of the serious gamer in much the same way that janky soulslike combat systems are today, and a large chunk of the genre was made to cater to that ethos. Gamer culture is a hell of a drug!

(If you're about to ask the obvious follow-up question, "what changed?", the point-and-click adventure game's fall from grace and subsequent dismissal as casual fluff tracks more or less directly with a large demographic shift in the late 1990s that saw the genre's player base skewing predominantly female – and, well, you can probably connect the dots from there.)

[mayamidnightmelody]

The 1990s was a pivotal decade for geek culture, solidifying many of the trends and franchises that continue to influence pop culture today. Here's an exploration of the various facets of geekdom in the 90s:

Video Games

The 1990s were a golden era for video games, seeing the rise of iconic franchises and gaming consoles.

Consoles and Games:

Super Nintendo Entertainment System (SNES) and Sega Genesis were at the forefront of the early 90s gaming scene. Classics like "The Legend of Zelda: A Link to the Past," "Super Mario World," and "Sonic the Hedgehog" became household names.

The mid-90s introduced the Sony PlayStation and the Nintendo 64. Games like "Final Fantasy VII," "Metal Gear Solid," "Super Mario 64," and "The Legend of Zelda: Ocarina of Time" revolutionized the industry with their storytelling and 3D graphics.

PC Gaming:

The rise of PC gaming brought titles like "Doom," "Quake," "Warcraft," and "Starcraft," which laid the groundwork for modern first-person shooters and real-time strategy games.

The introduction of the CD-ROM allowed for more complex and graphically intense games, expanding the possibilities of game design.

Comic Books and Graphic Novels

The 90s was a transformative period for comics, marked by a combination of innovation and market upheavals.

Marvel and DC Comics:

Marvel experienced a surge in popularity with the introduction of new characters like Deadpool and the significant events like the "X-Men's Age of Apocalypse" and "Spider-Man's Clone Saga."

DC Comics shook the world with storylines such as "The Death of Superman" and "Batman: Knightfall."

Independent Publishers:

The formation of Image Comics by former Marvel artists brought a wave of creator-owned series like "Spawn," "The Savage Dragon," and "WildC.A.T.s."

Vertigo, an imprint of DC, produced critically acclaimed titles such as "Sandman" by Neil Gaiman and "Preacher" by Garth Ennis, pushing the boundaries of mature storytelling in comics.

Science Fiction and Fantasy

The 90s were a golden age for science fiction and fantasy, both in literature and on screen.

Television:

"Star Trek" had a strong presence with "The Next Generation" continuing its success, followed by "Deep Space Nine" and "Voyager."

"The X-Files" became a cultural phenomenon, blending science fiction with horror and conspiracy theories.

"Buffy the Vampire Slayer" redefined the fantasy genre on television, combining teenage drama with supernatural elements.

Movies:

Blockbuster franchises like "Jurassic Park," "The Matrix," and "Men in Black" showcased cutting-edge special effects and imaginative storytelling.

The re-release of the original "Star Wars" trilogy in special editions prepared the groundwork for the much-anticipated prequel trilogy.

Anime and Manga

The 90s saw the global explosion of anime and manga, making Japanese pop culture a mainstream phenomenon.

Anime:

Series like "Dragon Ball Z," "Sailor Moon," and "Pokémon" became immensely popular worldwide, introducing many to the world of anime.

Films by Studio Ghibli, such as "Princess Mononoke" and "My Neighbor Totoro," received critical acclaim and international recognition.

Manga:

Manga series like "Naruto," "One Piece," and "Berserk" began their runs, setting the stage for long-lasting popularity.

The publication of "Shonen Jump" in English brought many of these series to Western audiences.

Role-Playing Games (RPGs)

The 90s were a significant decade for tabletop RPGs, with many classic games being developed and popularized.

Dungeons & Dragons:

The release of the second edition of Advanced Dungeons & Dragons (AD&D) in 1989 carried through the 90s, with campaigns like "Planescape" and "Dark Sun" becoming fan favorites.

Other RPGs:

"Vampire: The Masquerade" by White Wolf Publishing introduced the World of Darkness, a setting that offered a dark, gothic-punk alternative to traditional fantasy RPGs.

The cyberpunk genre was well represented by games like "Shadowrun" and "Cyberpunk 2020," capturing the gritty, high-tech, low-life aesthetic.

Collectibles and Trading Card Games

The 90s witnessed the birth and explosion of collectible card games (CCGs), with "Magic: The Gathering" leading the charge.

Magic: The Gathering:

Created by Richard Garfield and released by Wizards of the Coast in 1993, "Magic: The Gathering" became a groundbreaking and immensely popular game, sparking a new industry of collectible card games.

Pokémon:

The Pokémon Trading Card Game, released in 1996, quickly became a massive hit alongside the video games and TV series, contributing to the global Pokémon craze.

Internet and Technology

The rise of the internet in the 90s played a crucial role in shaping geek culture.

Early Internet Communities:

Bulletin board systems (BBS), forums, and newsgroups like Usenet allowed geeks to connect and share their interests in ways that were never before possible.

The creation of fan sites and the use of IRC (Internet Relay Chat) facilitated the growth of online communities dedicated to various fandoms.

Technology:

The proliferation of personal computers and the advent of the World Wide Web democratized access to information and entertainment, allowing geek culture to flourish and expand globally.

In conclusion, the 1990s were a transformative decade for geek culture, characterized by the rise of influential media, the advent of groundbreaking technology, and the growth of vibrant communities. The era laid the foundation for many of the trends and franchises that continue to shape geekdom today.

[cadinmingming]

Has Super Smash Bros EVER actually gotten people into new series? Because I get the feeling people either only care about the series they already like from the original games, OR they only care about the Smash Bros “version” of the characters as they are experienced in the game.

Everybody loves Captain Falcon the charismatic tokusatsu hero ham, but how many wanted to play his racing F-Zero games were you only see his vehicle and what little you get of his personality is more along the lines of Batman (wich are awesome don’t get me wrong)? Lots of people like to joke that he’s a “Smash Bros original”.

Everybody knows the Fire Emblem characters are cool fantasy anime warriors but how many people were like “I want to play the chess-like RPG they are from!”. In fact it seems a lot of Smash Bros players only got a negative impression about the series because they felt Fire Emblem “got too much atention” or “they all look the same”.

And how many people in general played Kid Icarus: Uprising? Because the Smash series sure tried to promote that game.

I’ve been thinking about this because it seems a lot of Yo-kai Watch fans wanted Jibanyan to make it into the roster in the hopes that it would introduce more people to Yo-kai Watch. Chances are people would have either liked or disliked Jibanyan as “that cat from Smash Bros that plays like this or that”.

There are other, far better ways to make Yo-kai Watch more mainstream, even after the series has seemingly become dormant for the time being. The Mother/Earthbound series is popular despite only having three games released a long time ago and very separate from each other. Animal Crossing is a fine example of a series that was always there but suddendly exploded with popularity one day. I don’t think these things happened because of SSB.

For now, I think there should be a re-release of the original Yo-kai Watch trilogy on a new console. The games on their own are perfectly capable of earning new fans, they just need more people to play them.

#rereleaseYokaiWatch

[thepleasuregoblin]

By the time I was aware of the sort of larger ttrpg milleu, 4e had already come out, so a lot of what I heard was just "4e sucks," but asking anyone who was into RPGs at the time of 3.5's height, or even earlier: has D&D always had this sort of stranglehold on the general idea of ttrpgs, even among enthusiasts? Or is the current culture kind of unique since 5e has become Actually Mainstream Popular?

Like I can definitely see people going "oh you can do anything with 3.5/OGL man, why would I play something else when I can just homebrew?" But I can't remember any specific instances of it happening