Le fraise sans merci

I often get bogged down in the process of game design shortly before playtesting. In part, this is often because I get bogged down in revisions and edits. However, often I simply get daunted by the process of making the components.

I’m mainly talking here about board and card games; to playtest an RPG, you generally need to write some adventures, but what the heck, no one ever playtests RPGs anymore anyway. But at some point when developing a board or card game, you have to actually make boards and cards.

Aside from the physical making — index or business cards get you a long way in game prototyping — I often need to make up a whole lot of relatively arbitrary game tokens. If I’m writing a game about the secret politics of a restaurant kitchen after all the humans have gone home, I’m going to have to stat up a lot of creatures with Influence, Ruthlessness, and Deliciousness. And how do I know what a rutabaga’s Deliciousness is relative to a chanterelle? Presumably less, but how much less? How about a parsnip? Is a strawberry more or less ruthless than a ripe Camembert?

Worse, I know that the vast majority of these I will get wrong, because the main problem of early-phase playtesting is getting the asset distributions sufficiently right that you can figure out whether the core mechanics are worth saving. The task of spending a ton of time producing components that will probably survive only a single playtest is a daunting one, and one that often confounds me for a long time.

Experiences That Have Shaped My Thinking: The National Security Decision Making Game

Back in 1994, I went to the Origins game convention, which was in San Jose that year. One of the things I did was to play a game called the National Security Decision Making game, which was a simulation run by a couple of guys who had taught at the Naval War College. It was intended to model, in abstract form, most of the major players in international politics and their important interactions. I was all set to mix it up international relations style. However, upon drawing my role, I got to be a region of the United States.

This was 13 years ago, so I don’t remember the game’s details terribly well. I do, however, remember the basic dynamics of the US’s domestic politics in the game, because that was what I mostly had to deal with. There were, I believe, five regions of the US — New England and the Mid-Atlantic, the South, the Midwest, the Plains States, and the West Coast. I was New England. The main objective of the regions was to secure national resources for themselves, in the form of a share of the national budget, which was refigured regularly. A region could accomplish this by lobbying the President, who determined the budget.

There were also three politicians, whose base condition was to be a Senator, but one of whom would be elected President by the regions every so often. I don’t remember the politicians’ names, but let’s call them Senator Gravitas, Senator Unctuous, and Senator Nonentity.

At the beginning of the game, we had a choice to make, and the senators made their pitches. Senator Gravitas seemed intelligent, trustworthy, and possessed of good plans for the nation. Senator Unctuous, meanwhile, mostly seemed ambitious. He said the right things, but his eyes were a little too clearly on the prize, and he just seemed a little sleazy. Senator Nonentity I don’t remember at all; I merely assume he must have existed because I’m pretty sure there were three senators, and we shall not speak of him again. Instead, let us assume he retreated to the ranks of those elder statesmen who are always discussed as potential presidential candidates, and whose chances always seem quite good except for their inability to excite either donors or voters. Needless to say, President Gravitas was elected, and it was morning in America.

The Gravitas administration was probably quite successful; he threw himself into foreign affairs with a will, and things seemed to be mostly going his way. I, however, was not paying that much attention, because I wasn’t allowed into some of the most important stuff, and I was mostly concerned with the fact that my share of the federal budget was not what it could be.  I managed to wheedle some concessions out of the President, but the other regions were pushing hard too, and he had a lot to do.

Shortly before the election rolled around, Senator Unctuous asked if he could have a word with me, the Midwest, and the West Coast. “I have a proposition,” he said. “If you three vote for me, I will give you the entire federal budget.” We were startled. We were a little scandalized. We could do the math. Thus began the Unctuous Administration.

Sen. Gravitas was really pissed off. Here he’d been doing a good job, getting things done, treating everyone fairly, and we had straight up stabbed him in the back. I felt a little bad about it, but I was getting a much bigger slice of the pie, and pie is a wonderful cure for guilt. The South and the Plains States were pretty ticked off too, but there wasn’t a whole lot they could do about it. Unctuous wasn’t about to throw them a bone, because if he annoyed one of the regions in his coalition enough to lose it, he was going down for good.

I don’t remember how the game went from there; it had been running a long time, it was late, and I think I went to bed before we got through another term. Still, I think about that experience a lot when I think about national politics.

originally published on LiveJournal

Failure Modes in LARP
(July 21, 2005)

I am, in some respects, a grim person. One of these respects is that I tend to respond to the conclusion of a project by introspecting a while on what went wrong. (I try to stay positive, but this generally means an occasional ray of light among the grim. (This is why I never publish my postmortems of anything; they’re depressing. And vulgar.))

Anyway, last weekend I was on staff for a LARP, and I’ve been mulling over places I erred. Out of the internal discussion, I’ve noticed a few distinct types of failure in assembling a LARP. And never one to resist a taxonomy, I share them here.

Failures of Conception: Sometimes, an idea that seems clever just isn’t. Or sometimes there are bits of gameplay that would never have worked, but you didn’t manage to put two and two together. Case in point from the game just past: in game, there were two ways to learn a new skill. You could brew a potion using the alchemy system, generally having to pass through three to four intermediate steps and using up consumable resources. Or you could find a tutor and spend ten minutes getting taught the skill. Individually, both mechanics seemed reasonable. Side by side, I feel like a dope.

Failures of conception are frustrating, because you can’t really explain them away — you screwed up, no two ways about it. At the same time, they’re the easiest to learn from. The error is usually clear, and often you can draw some nice principle to blog about, which is pleasant.

Failures of Implementation: Sometimes bits of gameplay didn’t work because they didn’t work like they were supposed to. You ran out of time, someone else on staff misunderstood the packet, the crucial prop broke, whatever. It didn’t work right. The classic example, in my experience, is the political mechanics for The Bear in Winter, the Victorian steampunk game a crowd of us ran in January of 2004. I got caught up in making really badass maps, ran out the clock, and failed to finish the asset lists. It was basically unplayable. It’s possible that the mechanic would have proven a terrible failure of conception — it was a little avant-garde — but I don’t know; it never got its chance. (To this day, I want to run a game where I can take it for a spin. If you’d like to play in a small-scale experimental diplomatic simulation, bug me about it and maybe that can happen sometime.)

Another example, to my mind, is the combat mechanic from The Camel in Summer (the game from last weekend — yeah, there’s an Animal in Season motif going on there (huh, now I want to run a 1920s expatriates game called Coq au Vin)), which I realize some people feel was a failure of conception. The original idea was an attempt to make hand-to-hand combat, which was not really appropriate to the Arabian Nights bazaar setting, vaguely embarrassing. It was akin to your generic non-boffer LARP combat mechanic, but in place of rock-paper-scissors, we were going to use Rockem Sockem Robots. At the last moment, we couldn’t find Rockem Sockem Robots, and used a travel set of Hungry Hungry Hippos instead. Unfortunately, the table we used didn’t stay level, which made it sort of pointless; Hungry Hungry Hippos is very easy when you have a slope in your favor. It’s possible the mechanic would have been problematic in any event, but we don’t really know; the tilt pretty much spoiled it.

Failures of implementation drive me nuts, because there’s not much you can draw from them other than “shit happens”. They also cause arguments; I get most defensive when someone is critiquing a failure of implementation as if it were a failure of conception. I can’t really defend the gameplay in question — it didn’t work. At the same time, I don’t feel like we can say much useful about it other than on a theoretical level based on what we instinctively feel ought to work, and purely theoretical arguments about LARP are best resolved with nerve gas. (See? Depressing and vulgar. Well, violent, anyway.)

Emergent Failures: Intrinsic to the form, emergent failures happen when the players behave in unanticipated ways that cause gameplay elements to collapse. Arguably, this is a subtype of failures of conception, because in theory you should have been able to anticipate that the behavior at issue might happen, but if you can anticipate everything the players might do, there’s not much point from where I’m sitting in running the game at all.

An example of emergent failure is the underutilization of the alchemy system in The Camel in Summer. Many of the potions you could make affected the combat system — healing, powerups, etc. The dysfunction of the combat system, therefore, meant there was no demand for a lot of what you could do with alchemy.

Emergent failures are one of the things that I realize really aggravate me about the essentially interactive-literature-style games we’ve been running. I used to run boffer games, with large staffs and an essentially players-vs.-staff narrative structure. When things went wrong in unexpected ways, it was possible to roll with it. The biggest game I ran, a weekend-long piece called Mysteries of the Sunken Hundred, went horribly awry on the second day. The players had failed badly at one plot thread, and were basically unwilling to do what had to be done to avoid catastrophe. So my co-GM and I sat down (after cursing a bit), brainstormed a few minutes, and drafted an entire new slab of gameplay to get the game back on track. We slotted it in, and none of the players ever realized we hadn’t meant to do it that way from the get-go. I can’t do that in an IL game. I don’t have the staff to make more than subtle changes to the flow of the game, and even if I did, the PvP narrative structure of the style makes it hard to help one player out of a hole they’ve gotten into without possibly screwing over another player.

Failures of Aesthetic: I almost hesitate to put this last category in, but I’ve seen (be honest; I’ve done) things that made the players absolutely miserable, but worked *exactly* the way the GM intended them to. I hesitate because I think the first three categories are more or less objective, while this one depends on the common but not universal proposition that if a player didn’t have fun, that is by definition a gameplay failure. Now, there are certainly times when players create their own unfun, but I find it useful to distinguish between gameplay that didn’t work and gameplay that did work but wasn’t fun. Case in point: I wrote a game once where the entire player group was killed by fiat halfway through and spent the rest of the game on the run from the spirits who collect the dead. There were a few players who felt, either in or out of character, that all good people ought to embrace their eternal reward, and were pretty upset about the whole thing. I think, on the whole, the conceit was worth it, but I still consider it a failure in part for that reason.

Playtesting is hard

My friend Brian came by yesterday evening to test out a board game I’m toying with. It went pretty well, all things considered (which is to say it successfully illustrated several ways in which I failed dismally), but it reminded why it’s so easy for a game design project to bog down.

It’s easy to design a game — logistically, anyway. All I need is my brain and something to write on. I may need to spend some quality time crunching numbers, but that’s a process that I can fit into my life without too much difficulty. To playtest, however, is another process entirely. I have to find someone interested in playing a game that is, as I like to put it, “not guaranteed to be in any way fun”; we need to find an adequate slice of time that is available for both of us; we need to avoid the temptation to gab on about whatever comes to mind.

And when all is said and done, all that’s accomplished is a handful of data points. With card games, an evening usually gets two or three sessions in; last night we didn’t even finish a full play-through. This is OK for a first prototype, as even a partial play-through reveals all sorts of stuff that needs to be tinkered with that will change the gameplay pretty radically, but as you move closer to a final version, it’s damn hard to get in enough play hours to really put a design through its paces.

Originally published on LiveJournal

Aesthetics of Play: Catharsis

Many players bring an aesthetic that I think of as cathartic play to their relationships with their characters . The cathartic playstyle approaches roleplaying as a venue for players to take risks or indulge impulses in ways that might have unpleasant consequences in real life. The satisfaction of cathartic play is the chance to blow off steam.

Consequently, cathartic characters are often similar to their players, but with certain traits amplified and certain inhibitions muted. In a more extreme form of the aesthetic, these characters may be wholly designed around the traits to be amplified. I’ve known people who used short-tempered characters to work through their anger issues; I like to play impulsive people from time to time as a break from my usual overthinkery.

More commonly, however, a cathartic character is simply a version of the player who kicks more ass and isn’t afraid to be a jerk. This milder form of the aesthetic is extremely popular — at its root, traditional “hack and slash” gaming boils down to “It’s us, but we’re killin’ orcs and takin’ no guff from nobody.”

Dinosaur Mind

At the Game Developers Conference this year, I went to the Casual Games Summit, which wound up discussing a variety of markets underserved by the hardcore-centric status quo. One of the speakers noted, “People think that games for children have to be so simple. Have you ever looked at Pokemon? I can’t figure all those critters out.”

There’s an interesting issue there about the nature of complexity.  Pokemon is intimidating to the uninitiated — there are several hundred of those little critters, with weird names and subtle distinctions between them.  But it’s not really that *complex*; mechanically, it’s pretty simple (a little baroque, maybe, but not complex). Its complexity lies in the *diversity* of the game assets, and the fact that children can master this complexity is basically the same phenomenon as when six-year-olds memorize every dinosaur of the Jurassic through Cretaceous periods; kids are good at absorbing massive swathes of systematized trivia.

“Dinosaur mind” is a talent that fades for most people over time; I know I find my brain less willing to hold on to information I’m not going to need later, or that I can look up if I need to, as the years go by. Interestingly, I think gamers as a class tend to hang on to their dinosaur minds longer; I can cost out a GURPS 3e character without a book, and I know people who can debate the differences between the spell lists in the first and second editions of AD&D from memory. Probably it’s a matter of practice.

Dinosaur mind has implications for designing games for non-standard audiences. When designing for non-gamer adults, you can assume that your audience can tolerate at least moderate complexity, but not that they’re willing to memorize all sorts of fiddly bits. When designing for children, the opposite is true; it’s probably wise to place the complexity of a children’s game in the data, not the algorithm, to use a computing analogy.

Reflections on Complexity in Game Design

I’d like to share some personal terms of art I use when talking about game design, because I will probably want to use them in the future, and it would be handy to be able to simply hyperlink to what I mean.

There are three dyads I want to talk about today. The first comprises brittle and robust; these terms discuss the scope of things that a game system can do. A robust system can handle a wide variety of issues and situations without breaking down. The HERO System, for example, is an RPG which places a high value on robustness; the implicit design goal is to be able to handle any concept within the game’s mechanics. Original D&D, conversely, is a brittle system; it’s pretty good for going into dungeons and killing things, but anything outside that scope requires the players to expand the rules somehow. (Arguably, this was a good thing for RPGs as a whole, by demanding large-scale rules innovation and ferment from the get-go, but that’s a different topic.)

The second pair of concepts is simple and complex, which cover, in essence, how much stuff you have to remember or reference in order to play the game. A system in which you have to roll a die and exceed a certain number to succeed is simple; one where you have to roll a die, apply a raft of modifiers, cross-reference with the difficulty of the task on a table, then roll another die, apply a different set of modifiers, and check another table, depending on the results on the first table, is complex. (Some of you may know what I’m talking about here.)

Finally, we have elegant and baroque, which refer to the relationship between the other two quantities. An elegant system has high robustness relative to its complexity; it is no more complex than it needs to be. A baroque system, on the other hand, is more complicated than it needs to be for its expressive power. This isn’t necessarily a bad thing; some systems are deliberately baroque in order to convey a certain flavor. Original Deadlands, for example, is extremely baroque, using all the major polyhedral dice, playing cards, and poker chips in its resolution system; some of this baroqueness, however, pays dividends in setting a tone for the game.

Aesthetics of Play: An Occasional Series

Theorizing about roleplaying poses me a difficult challenge. I’m generally dubious about totalizing theories of playstyle like the GNS scheme or the older Adventurer/Problem-Solver/Roleplayer triad — I think they all tend to highlight real and interesting issues, but they tend toward the Procrustean, trying to cram all game styles into a fairly limited space with questionable success.

On the other hand, I gravitate to stylized categories like a moth to a stroboscopic bonfire. It’s a character flaw. 

The way I’ve decided to wrestle with this particular issue is to keep my theorizing on a lower level, focusing on value clusters that prize particular types of gameplay experience. Borrowing, folding, and spindling a term from the MDA framework, I’m going to call these clusters aesthetics of play. These aesthetics are not intended to be exclusive; multiple aesthetics can be, and usually are, operative for any player at any time. I’m going to try to avoid constructing opposing pairs of aesthetics, as I’ve had limited success with that in the past, but I may present two different approaches to a single issue at one time.

I’m also going to take this opportunity to note some stylistic ground rules. In all Aesthetics of Play essays (and, probably, other future theoretical works), I’m going to be using bold for emphasis. Italics are going to be reserved for introducing terms of art. I’m certain that my choices of terms of art are going to seem questionable to someone at some point; I recommend Jargon and Definitions before writing me snide emails about my choice of terms. You can write the email regardless, but I’m going to ignore anything along the lines of “That’s not what X means!”

Experience Points and Plot

I have a thesis about one of the reasons that earned experience points are so persistent in roleplaying games.

Experience points provide an irreducible floor of plot.

As is traditional in RPG theory, I’m using an idiosyncratic and non-intuitive definition of “plot”. What I mean by “plot”, in this connection, is the occurrence of events which cause a lasting change of state in the characters or setting. Put more simply, plot is when something happens that matters.

Ideally, in every session of an RPG, there would be plot. PCs would advance toward short-term or long-term goals, gather information or assets necessary to advancing toward goals, move along a character arc, etc. However, we’ve all had sessions where nothing happened. Maybe there was some beating on orcs, but nothing really happened. Nothing changed, in the characters or the world they live in.

Experience systems, however, guarantee that the PCs will be changed by every session, regardless of that session’s content. Whatever else happens (or doesn’t), you get XP, and now maybe you can get that new ability you’ve been saving up for. They turn otherwise narratively vacant sessions into training montages.

Originally published on LiveJournal

Raiding the Good Ship CRPG
(June 6, 2000)

The relationship between computer RPGs and tabletop RPGs has long been uneasy. This is, I think, largely due to the perception, widespread in the tabletop community, that computer RPGs are a parasite which rips off ideas from tabletop games and, more insidiously, captures the minds of the young and prevents them from becoming tabletop RPG fans. Hence denying the tabletop industry its rightful Phat Cash and forcing its best and brightest to go over to the computer RPG juggernaut.

One might be reminded of the Windows/MacOS rivalry back in the pre-Linux days, and indeed, I am compelled to remind one of it, because that’s where this article properly starts.

I am a Mac person. I make no bones about it. However, like most Mac people, I have had to use various incarnations of Windows for work purposes. I also spent a year selling computers of both types, which compelled me to dive into the relative benefits of each platform. And one of the opinions that I have formed on the matter is that a significant contributor to the huge success of Windows 95 was the fact that it was actually innovative. Windows 3.1 didn’t really do much of anything that you couldn’t do on the Mac, while the Mac had its own array of features not duplicated in Windows, leaving the PC platform to compete mostly on price and the corporate-market dominance that entails. Windows 95, on the other hand, had some really useful features that the Mac just didn’t have. Alt-Tab and the Taskbar, to name two. For the first time, one could actually believe that Windows was an easier platform to use and not be lying to oneself (we will ignore the Plug-and-Play debacle).

What does this have to do with RPGs?

Much of the analysis of the computer vs. tabletop situation focuses on the inbuilt limitations of the different media. Tabletop games are social; computer games can be played any time, and by yourself. Tabletop games are more flexible; computer games can have really cool visuals and audio, and they don’t get irritable or boring when they have an off day. These features are the equivalent of “PCs have more software; Macs don’t collapse every time you add a new piece of hardware”. It’s just part of the landscape. Barring major advances in the underlying terms of the discussion (which in the case of roleplaying will probably come from the massively multiplayer end of things, but that’s another essay), these factors will not change. If the foundation isn’t going to change, you might as well dink around with the bells and whistles.

The computer RPG industry has learned this lesson well. They license popular tabletop games to make computer games — AD&D, Vampire, and so on. They’ve been looting the pantry of good ideas.

It’s time to turn the tables.

There are a bunch of computer games which have structural ideas in them which are both good and not, to my knowledge, duplicated in any tabletop game. So I’m going to ruthlessly excise those good bits and talk about ’em for a while, that you may use them in your own tabletop games. Fight the power and all that.

Magic in Final Fantasy VII

In FFVII, magic requires little hunks of crystallized energy called materia. The energy to cast spells comes from your own personal reserves, but the spells you can cast depend upon the materia you’re carrying. This is a pretty nifty, if non-revolutionary, concept. Magic which requires objects to cast has several advantages.

First, acquiring these objects is a fabulous plot hook–not unlike vis in Ars Magica. Acquiring new spells can be the plot of an adventure, not just the reward for it.

Second, objects can be stolen, which can be either a plot hook or a way to cool down overheated character advancement. They can also be broken, which isn’t possible in FFVII, but no one says we can’t expand a little here. Being able to break the source of a magic-user’s power adds more strategy to magic duels, and adds just a little bit more to the stakes of a rough ride, a long drop, or a severe beating.

Third, you can restrict the number of magic doohickeys a character can use at once (in FFVII, the number of materia you can use is dependent on the number of “slots” in your weapon or armor, so finding equipment with enough slots to let you use your materia is another important task). This kind of restriction allows you to give out increases in magic power without letting the power levels get out of hand–if the PCs are limited to five doohickeys in use, having thirty spiffy powers is better than having five, because the variety gives them flexibility, but it’s not as insanely better as if they were allowed to use all thirty at once. Plus, you get all the Christmas-morning new-magic-item bliss for each of those thirty doohickeys.

FFVII’s materia also have a few variations which are pretty cool too. Materia gain experience just like PCs, and as they go up in level, they gain more powers, and eventually divide, giving you a baby materia which you can sell or keep around so it too can go up in level. Some materia, when they get enough power, can be combined into extra-powerful materia. Some materia have interesting special effects in combination.

Lastly, FFVII has summoning materia. Instead of casting a spell, these summon a supernatural being to kick ass on your behalf. All the roleplaylicious goodness of a magic item and an NPC in one. It worked for Disney in Aladdin; it can work for you.

Magic in Final Fantasy VIII

I didn’t like the magic system in FFVIII that much as a computer game. However, it’s got some goodness to loot for tabletop.

Spells work strangely in FFVIII. You can suck magical power from creatures you fight or from rare natural locations which happen to be a source for magic (again, a bit like vis in Ars Magica). When you do, you get a certain number of castings of a certain spell. When you cast one, it’s gone. When you run out of castings of a given spell, too bad. Now, depending on factors which are not relevant here, you can “junction” spells to certain characteristics. If you junction a spell you’ve got a whole lot of to an attribute, it goes up a bunch. If you don’t have many castings of the spell, it goes up less. The end result is that casting spells can make your attributes go down.

This was a little frustrating in the computer game because it made for a little more min-maxing than I like to indulge in in front of my TV. However, these kinds of choices are ideal for a tabletop game.

First of all, having to choose between augmenting your powers and fighting something that’s trying to kill you is one of those tough choices on which drama is made. It can even be poignant if the choice is between augmenting your powers or fighting something that’s trying to kill one of your friends.

Secondly, having to choose between elevated abilities and immediate magical whoop-ass, while a less dramatic choice, allows a variety of strategies as well as tending to rein in the munchkiny instinct to bring all weapons to bear.

Save Points

Death in RPG is one of the mighty dilemmas of the genre. If a character cannot die, taking physical risks means nothing, and the game can come to feel flat. On the other hand, the death of a long-played character can be a sad occasion, and can make a game more depressing than some people enjoy. If different members of the group have different tolerances for risk and death, the problem only gets worse.

Computer RPGs deal with this quite cleverly with the concept of Save Points: if you die, you can start again from the last save point. Thus, you always risk something when going into danger; death means losing a significant amount of progress. However, you don’t risk losing everything.

Translating this to the tabletop is a challenge; we put up with all kinds of violations of suspension of disbelief in CRPGs that tabletop games can’t get away with. The best solution I can come up with so far is an order of sage-priests who record the life-works of individuals who they feel are important to the flow of history, and recreate those individuals if they are prematurely removed from the mortal world. Of course, they can only restore the person up to the point at which their life-works were recorded. This might still niggle at suspension of disbelief, and also could create problems with separating player from character knowledge (“Well, we went that way last time, so obviously that wasn’t a good idea”). On the other hand, introspective players might have some fun having their character obsess over whether the recreated them is real, or whether they are simply simulacra. At this point, the cruel gamemaster has the recreated character discover the character’s original body. This doesn’t happen in CRPGs, but why limit ourselves to the source material?

Another possibility would be to posit that true heroes have prophetic dreams. Hence, whenever a character dies, the party has the opportunity to declare, “No, that was Ragnar the Bold having a prophetic vision. He awakes in a cold sweat, and next time we’re not going to pee in the sacristy.” This has problems; for one, it’s hard as a GM to pose challenges if the PCs can just reset and try again. On the other hand, you can always change the adventure — Ragnar’s dream may not have been literally accurate, you know. However, you still waste the work. This solution can also lead to intra-party friction; asking the whole party to sacrifice a session or more worth of progress so that Ragnar can not have died for being an idiot can be a lot to ask.

Thousand Arms

Thousand Arms is one of my favorite CRPGs ever. Admittedly, I have a taste for the odd, but even so, I think Thousand Arms is a spectacularly innovative game. Your main character in Thousand Arms is a Spirit Blacksmith: in addition to doing your regular CRPG wackiness, you can reforge your own weapons and those of your friends, giving them new and exciting powers. However, it seems (though they don’t go into too much detail in the game itself) that the process of forging a magic sword requires the application of the male principle (you) and the female principle (someone else), properly attuned. The upshot of this is that in order to forge a powerful weapon, you have to go on dates with women and become close to them so that they can help you forge more powerful weapons.

We got the game because the notion of a CRPG with dating seemed so wonderfully whimsical, but it works really, really well (I’m not quite so pleased by the gender politics of the game, but you can’t have everything). The dating system facilitates actual roleplaying better than I’ve ever seen in a CRPG. In most CRPGs, the roleplaying amounts to different spins on a character–you can say different things, but basically the character is a certain way and there’s nothing you can do to change it. In Thousand Arms, you can make decisions about your character’s personality and have his conversation reflect that–there’s enough leeway in the options to permit that sort of customization (of course, you can also be a big munchkin and tell every girl exactly what she wants to hear in order to maximize your power. But roleplaying is about options).

Love-feast for Thousand Arms aside, what I find so fabulous about this is the fact that it links character power to developing the character’s personal relationships. Perhaps more importantly, it links the hero’s quest to the development of personal relationships. In a tabletop RPG, this could have two effects. One, it allows you to channel a game from raw acquisition into roleplaying and character development without outright railroading (in case you hadn’t noticed, I’m a big fan of using the base desires for power, money, and magic items to fuel roleplaying, epic story, and other stuff that satisfies my inner dramaturg. Kind of like taxing pollution. I am of the opinion that every gamer has an inner munchkin and an inner artiste. When both can be satisfied, all is right with the world). Two, it reduces the conflict between a desire for characters to have more meaningful connections to the world than their police contacts and their fences, and the circumstances of the traditional hero type. Typically, the time for relationships is after the world has been saved and you can retire. Among other things, getting involved with people is like painting a target in villain-visible ink on them. Most PC heroic types have buried too many friends to make new ones. Which is all well and good, but dang it, meaningful relationships make for a more interesting story. If making friends and influencing people is a prerequisite to doing the hero thing, we can get those interesting entanglements properly on center stage where they should be.