Tag: Gaming Outpost

RPG-ology #31: Screen Wrap

This is RPG-ology #31:  Screen Wrap, for June 2020.


This was originally published on June 29, 2001, at Gaming Outpost, as Game Ideas Unlimited:  Screen Wrap.

I usually call it “recursive occlusion”; but that’s because that’s what Peter Davison’s Doctor called it in Castrovalva, and now that I get around to thinking about what that means he must have been referring to the method of construction—that the Master had built a trap for him by creating a world based on a formula in which each element was dependent on all previous elements, resulting in a blockage of all exits.  But that’s not important.  The idea is a lot simpler than that.

Years ago there was a video game called Tank.  Tanks would wander around the screen trying to shoot each other.  Thing was, in the early versions you could shoot off the top of the screen and the bullet would come in at the bottom; or you could shoot off one end and have it come in the other.  In some versions you could actually drive the tank that way, off one side and on the other.  It wasn’t the only game that did that, and it was a simple solution to a basic problem:  what do you do about the boundaries?

But it’s an idea I’ve used many times to mystify and confuse my players—and in more variations than you might have imagined.  But if you’ll come with me for a moment, I’ll try to help you imagine a few.

The first one’s easy.  The characters enter some sort of complex—a section of tunnels in a dungeon, an area of rooms and hallways in a space station.  As they pass a certain point, they are inside the boxThe box is clearly marked on your map—it shows that any exits to the east connect to those to the west, and those in the north run to those in the south.  If a character walks into that last ten-foot section on the edge of the box, he’s immediately teleported to the first ten foot section on the other side, so going out one side means coming in the other.  Only one of the entrances is also an exit.  You will be surprised at how many times the players will redraw the same configuration of tunnels before they realize that something is amiss.

The second variation takes the idea to another level.  I did this to one player once, and I’m not sure he figured it out even after someone explained it to him.  I put the same room in two different places on the map.  I denoted them with subscripts so I could keep them straight.  Because they were the same room, if you entered the room, you were in both places at once; but when you exited the room, you always left from the other one.  They weren’t far apart in this experiment—which actually added to the confusion, as he entered the first, left the second and walked back to the first, and drew it twice, but in the wrong position.  At one point part of the party left the room and came back, and then when they all left together they got split up, because some had entered the first room and some the second, but they all were together whenever they were in the room.

You could use this idea to move characters very long distances—another dungeon, another space station, another planet.  You don’t even really need the rooms—you can just use some innocuous looking door.  Looking through the door, you see another room; step through the door, you’re in a room that looks just like the one you saw, but isn’t it.

These ideas have basically focused on keeping the player character inside the box.  You can as easily turn it on its head, and use the same principles to keep him out of the box.  For example, If you’re walking down corridor A and reach room 210, you next pass through a transfer point that takes you to corridor A outside room 280; if you reverse, the transfer will take you from 280 back to 210.  If the player doesn’t know the room numbers or layout, he won’t realize that he’s been moved—until he completes other sections of the map which go around this blocked area, and discovers that the distance between two points in the A corridor is an awful lot shorter than it should be.  You can make it so that access to that central area is only from a specific entry direction, such as above or below or a particular lesser-used corridor (but it can be exited at any point at which it connects).  Or you can determine a sequence of events or “switches” that must be activated to open the area to the characters, such as finding the key, or deactivating the grid, or realigning the circuits at every entrance.

I used an idea like this for a Minotaur’s labyrinth once.  My players were good; they could map a maze in a minute, comprehend any convoluted corridors I created.  The worst thing about facing a Minotaur isn’t the beast itself; it’s the fact that you’re on it’s turf, and it knows how to get everywhere while you’re wandering lost.  But once you’ve mapped a bit of it, it’s pretty easy to keep from getting lost, and the beast’s advantage is gone.  So what I did was create a layout of halls that frequently ran the same distance in the same direction, but parallel to each other a dozen feet apart. Then I put “transfer points” in the halls such that if you were going one direction you would get bounced to another hall, but if you were coming back nothing happened.  The creature knew its way around, and could use the magic to its own advantage; the players always knew which direction they were headed, but once they got involved in the tunnels they never knew quite where they were or how to get back.

Doctor Who faced a Minotaur-like beast called the Nimon once (I won’t swear to the spelling).  This time it was Tom Baker finding his way through the maze.  The thing that made that maze so difficult was that it constantly changed—he worked out that it was a huge set of switches in a communications and transmat system.  That’s a very difficult thing to do—but I can think of two good ways to make it work.  One would be to draw up maybe four or five distinct maps that were the same size and shape and had a few good fixed internal landmarks; that way at random intervals you could randomly change which map was in effect.  Of course, jumping from map to map could be tricky.  You might try making one map on paper that had the landmarks and a few fixed walls as reference points, and then getting four or five sheets of clear plastic overlay to put on top of the map, on which you would draw (or maybe if you’re really ambitious line with thin strips of black tape) the details of each position.  When the layout changed you would pop the new overlay on top, see where the characters are, and slide the old one out.

Of course, this idea doesn’t actually fit the pattern of the others, the pattern of moving the players from where they think they are to somewhere else.  But it probably makes them feel like it does, and sometimes that’s even better—especially if you’ve used tricks to move them around before.  They’ll leap to the conclusion that you’ve moved them, and begin trying to work out where they are.  You can get this effect with even simpler tricks.  Try making a matched pair of seemingly unique landmarks a short distance from each other in a confusing section of paths.  Players unaware that there are two (and especially those uncertain about their mapping skills) will come to the second and think they’re back at the first.

Something like that happened in one of my games, when the player was exploring the world we call Tristan’s Labyrinth.  (It was not called so when Tristan was exploring it.)  The labyrinth is endless; it is made of an L-shaped section designed to fit together such that all exposed sides are the same length (well, a single and double length) with doors that match up, so that you can build outward from one to as many as you need.  This means the same patterns of rooms appear, but not always in the same directions.  You can get the same effect with any of a number of random-connect dungeon floor plans; somewhere I’ve got a set of squares and rectangles published by TSR a generation ago, although I was never terribly happy with the way they fit together.  Just use the same piece against itself, turned around.  In the one game, the player found himself in a room with an interesting shape and several exits.  Deciding to use this as the base for his explorations, he traced out one of the exits some distance and back again, and then another.  The third tunnel took him off the map piece onto the adjacent piece, and connected to another tunnel which led to that same room on the next piece of map.  Carefully he followed it, reaching that identical room.  He looked at it.  He studied it carefully.  He compared it to what he had already drawn.

And then he changed his map.

If you use these tricks, there will be many times when your players will start erasing what they’ve charted, changing and fixing and trying to figure out where they are and how they got there.  But there is nothing like realizing you have gotten them so confused they are erasing the map when it was right.


Previous article:  Story-based Mapping.
Next article:  Doing Something.

RPG-ology #26: Monster Design

This is RPG-ology #26:  Monster Design, for January 2020.


Not long ago a member of the Christian Gamers Guild asked for advice in designing monsters.  This article has been republished from Gaming Outpost’s Game Ideas Unlimited series from August, 2001, only slightly edited for republication here, originally entitled “Game Ideas Unlimited:  Monster Design.”

Sometime a couple decades ago, someone I had known over the Internet and met at a convention asked me to be a judge in a contest he was running.  Dungeons & Dragons Third Edition was slated to be released in perhaps a couple of months, and there was already a lot of pre-release information about it floating around.  He wanted to have people submit new monsters for use in future D&D games.  Knowing of my somewhat intimate familiarity with the old Original Advanced Dungeons & Dragons™ rules set and acquaintance with at least three of the other versions of the game, he thought I would be able to contribute something to the judging.  He also asked two other people to judge, whose skills and perspectives were very different from mine.

I took the notion very seriously.  Before I looked at the first of the entries, I gave a lot of thought to what made a good monster.  Some of the things I valued were contradictory—that is, it would be very difficult for a creature to score high on every quality I sought.  But I reduced my consideration to eight qualities, eight aspects of creatures which I thought made them, in a general sense, well-designed monsters.

And if you’re designing monsters for your own campaign, or for some Internet contest, or for publication somewhere, you might like to give some thought to these qualities.  You won’t always try to make every creature score high in every category.  But if you’ve thought about the categories, you’ll be making tradeoffs that reach your goals at a reasonable “cost” in terms of what you sacrifice. Read more

Faith in Play #26: Fields to Harvest

This is Faith in Play #26:  Fields to Harvest, for January 2020.


Last month I wrote about the impact the Christian Gamers Guild has had on Christians and on gamers.  I noted that there were now many other “geek ministries” trying to make a difference.  In fact, between when I wrote that article and when it appeared I began to wonder whether we had become superfluous.  Role playing games had moved almost entirely from feared activities suspected of cult and occult connections to mainstream entertainment embraced by ordinary people worldwide.  Video games now pull more income than movies, as an industry.  Board games are on the rise.  Even such “fringe” geek activities as anime and cosplay are moving into the mainstream.  Certainly there are still some believers who embrace errors taught decades ago about the evils of such entertainments, but they are a vanishing breed.  I thus wonder if my job, defending hobby games to Christians, has become moot.

Then an odd thing happened.

You may know that I write two article series published here at the Christian Gamers Guild.  This one, Faith in Play, was envisioned as a resurrection of the notions of the Faith and Gaming series originally published in the early aughts and still on our site, looking at the intersection between our faith and our leisure activities.  However, when it was proposed, our webmaster said he hoped it would include material similar to and possibly drawn from the Game Ideas Unlimited series I did weekly for four years at Gaming Outpost, most of it lost when that site died.  (Some of it has been preserved in French translation at the Places to Go, People to Be French site, and indeed I also wrote material for the Australian Places to Go, People to Be, and for RPGnet, RoleplayingTips.com, MysticAgesOnline, and several other role playing game sites, not all of which still exist.)  Not seeing that as part of the faith and play connection, I suggested instead that I do a second series, which eventually was named RPG-ology, strictly about role playing game play, design, and theory.  Thus I contribute two articles each month to the site, aimed at slightly different audience interests.

I was responding to a post on a Facebook role playing gamer group, and the question was something I had addressed in one of the RPG-ology pieces, so I linked the article.  As I recall it was one that had been only slightly edited from a Game Ideas Unlimited original, and so had once appeared nearly the same at Gaming Outpost.  Bryan has somehow cleverly set up the site such that such links are branded:  the image shows the name of the article and the Christian Gamers Guild logo when it appears in preview on social media sites.  Seeing the logo, one of the participants in the Facebook thread commented that he never read articles on Christian web sites.  He said they had a certain “smell” to them.

I don’t know quite how to react to that. Read more

RPG-ology #25: Transmats

This is RPG-ology #25:  Transmats, for December 2019.


This article has been republished from Gaming Outpost’s Game Ideas Unlimited series from June, 2001, only slightly edited for republication here, originally entitled
Game Ideas Unlimited:  Transmats.

Matter transmitters bug me.  In short, I find them incredible in the most basic meaning of that word:  I don’t believe them.

If by some chance you’ve avoided all science fiction, let me explain the matter transmission concept.  A material object, possibly even a living object, is deconstructed particle by particle, and a complete record of the position, motion, and energy of each particle is recorded and transmitted to another location where an exact copy of the original is constructed particle by particle, having the same energy levels and motions and relative positions.  It’s the teleporter of Star Trek, the transmat encountered on Doctor Who.  Larry Niven envisioned such matter transmission booths replacing telephones.  And there’s something about it all that I just don’t believe.

It actually is not the science.  It is pseudo-science, certainly; someone is going to have to find a way around the Heisenberg Uncertainty Principle if it’s going to work.  But there’s a logic to it that suggests to me it will one day be accomplished.  I don’t know that I will live long enough to have my molecules disintegrated and reintegrated, but I would be surprised if no one ever manages it.

What bothers me is the way in which this technology doesn’t matter in the worlds in which it is prevalent.  To have done this is to have accomplished much more, but generally those aspects are not considered or even worse are discounted for insensible reasons.  So bear with me while I take another look at transmat technology.

In order to build a matter transmitter, you have to be able to disintegrate a target.  This may seem obvious; yet in how many settings do they include matter transmitters and don’t include a simple disintegrating weapon?  If I can find and disintegrate a dozen men on the surface of a planet far beneath me, why doesn’t it work as a weapon?  Since I don’t have to worry about reproducing the object disintegrated, I should be able to destroy buildings, structures, perhaps entire cities.

But that’s just the beginning of my interest in disintegration.  After all, I’m quite aware that if you disassemble a molecule, you convert it to an enormous amount of energy.  The problems inherent in containing and controlling such levels of energy are another question; but why can’t this technology be used to generate power?  Given the amount of energy in a mass the size of a human body, the energy required to initiate the disintegration reaction must be a tiny fraction.  When the dilithium crystals are failing, why don’t we just throw furniture into the transporters and convert it to reserve power?

And the weapon use of such power is staggering.  A moment ago I was talking about a disintegrator; but if you start to take apart the molecules of an object, you initiate nuclear decay on a massive scale.  Every building, every person, every rock is a potential nuclear bomb whose massive energy can be explosively released with a bit of prodding from our disintegration technology.  As it says in Multiverser, “a device which disintegrates without containment is a remote nuclear fission reaction stimulator.”

And that leads me to think about the containment.  If I’ve built a transmat, I’ve found a way to contain the energy of complete nuclear collapse.  I don’t know what those force fields will be like, but somehow I think they’ll be able to deflect or absorb unimaginable amounts of power.  We are casually assuming the presence of a shield that could have easily contained the impact of Hiroshima.  We are tossing those shields around as an everyday tool, without any consideration of their real power.

It’s probably not impossible to design a matter transmitter which reintegrates directly from the disintegration pattern; but it makes more sense to include a memory circuit.  And most of the matter transmitters in most fiction at least imply the existence of such memory banks.  That means that whenever you transfer an object from one point to another you also make a data copy of it; and as long as you have that data copy, all you need to do is add energy to it and you can make another–and another, and another, as many as you need.  You can make a hundred dinners, a thousand starships, a million soldiers.  But this is a largely untapped resource, and the excuses used are complete nonsense.  Not enough energy?  Easily rectified:  throw a few rocks into the disintegrator.  Pattern loss?  This is as foolish as those badly-written spy shows where they are passing around the “only copy” of a computer program.  If making a copy of a program deleted the original, it would make sense–but anyone who understands even a little about computer memory knows that even deleted data is still there until something replaces it.  Keeping the file in memory is easier than losing it.  But is the available memory too small?  The memory circuit really only makes sense if it’s large enough for the entire file.

But writers go to great lengths to make it impossible to copy things, especially people.  We are told that complex DNA molecules are imperfectly replicated such that life forms can’t be copied.  But we know that life forms can be copied, because that’s what happens when we teleport them.  Really, we’ve completely destroyed one body and built another identical to it.  Besides, those “tiny molecular changes” are inconsistent with most of the other replication applications we can conceive.  How many water molecules have to accidentally be mis-linked as hydrogen peroxide before the liquid is not merely bitter but deadly?  How many mistakes can you make in the atomic structure of a metal object before the levels of radioactive decay are measurable?  No, molecular copying has to be perfect for it to be useful at all; it doesn’t have to work substantially better to copy life forms than anything else.

Not only can we copy things, we can modify them.  The applications of this have never been adequately explored.  In fact, the medical applications alone are mind boggling.  Did you break a bone?  We disintegrate you, make an adjustment to the program, and reintegrate you with the bone corrected and fully strengthened.  You can do the same thing with a ruptured spleen, or a hernia, or a defective heart valve.  With a filtering program, you can completely remove every trace of a targeted virus or a chemical poison.  If there’s chemical imbalance, whether insulin or hormones or neurotransmitters, you can adjust to correct levels.  Body temperature can be corrected.  With our growing knowledge of the human genome, we would be able not merely to instantly undo the effects of such genetic disorders as sickle-cell anemia or Chrone’s Disease but to reconfigure the genome itself to remove the cause.  And when it comes to cosmetic surgery, well, “you ain’t seen nothin’ yet.”  You want to be taller?  We’ll re-craft your long bones and vertebrae.  Overweight?  We’ll filter out a hundred pounds of fat on one shot.  We can add muscle mass in all the right places, turning a ninety-eight pound weakling to The Incredible Hulk in minutes.  Forget hair dye; we can change the color of your eyes, the pigments in your skin, the length of your fingernails.  Your facial structure can be completely rebuilt.  If we want we can provide you with entirely alien features, or make you look like someone else.  Giving you short blond hair in the morning and long dark hair by dinner is no problem at all.

Let’s consider cooking.  Insert the roast of your choice and enter the program.  We can increase the temperature such that it is fully cooked in seconds.  At the same time, we can screen out gristle and bone while dispersing the ideal amount of fat and moisture for the most tender servings.  And spices can be added not merely to the surface but throughout the meat.  It’s as easy to chill as to heat.  Water can be turned to ice, cream and sugar to ice cream–we can even make Baked Alaska, with the hot cake and meringue surrounding the frozen center.  Spoiled food is no longer a problem, as we can screen toxins from our meat and dairy product far more easily than we could from our bodies and serve them fresh and delicious.

Your wardrobe is as flexible as your imagination.  Oh, there will still be designers; but instead of selling clothes they’ll sell computer files.  And getting dressed won’t take long.  Stumble out of bed in the morning into your transmat and execute the preprogrammed routine.  A few seconds later you arrive at work dressed in a new suit cleaned and pressed, with your hair combed and your teeth clean.  If you like you can even program a shot of caffeine already in your blood, or go one step better and clear those endorphins from your brain.  After work, you enter another program into the transmat and go directly from work to the club; you arrive in a completely different outfit with your makeup redone and even a new hairstyle.

But we don’t have to stop there.  Do you like being thirty-five?  No reason for you to get any older–we’ll just save the pattern of your thirty-five-year-old body and restore you to that physical form with each trip.  Or if you’d prefer being younger, we can probably do that too–maybe not the body you had then, but something very like it.

And of course everything that isn’t true of cloning is true of transmat copies:  they have your personality, your memories, even your fingerprints, and they’re your age.  Today there are people who are highly skilled to the point of indispensable; tomorrow we’ll be able to copy these people so that they can be in several places at once, and if something should happen to one he’s not entirely irreplaceable.

And we could go beyond that:  we could design our own people.  Once we know the basics of the human genome, we can modify it to suit our preferences; and unlike with genetic splicing, we don’t have to wait to see the results of our changes:  we can birth the new person fully grown.  And we don’t have to be limited to people.  We could design and build a faster race horse, a smarter ape.  We could design bodies completely different from anything we’ve seen.  And if we like we can give them human levels of intelligence.

That, of course, leads to a much deeper question.  Why is it that we don’t let our science fiction stories make copies of people?  At least, whenever we do it’s usually an accident, and usually with serious complications.  For television, it may be in part because of the technical problems of having multiple roles played by the same actor.  But there are also moral and theological challenges raised.

As already said, everything that isn’t true about clones is true about transmat duplicates.  At the moment of their creation, they match the pattern exactly.  They will diverge from each other thereafter, as each acquires distinct experiences and memories, but depending on how established their characters are at the time the pattern is made they will always be similar.  Which is the original?  In truth, neither–both are copies, the original having been destroyed in the creation of the pattern.  Neither has any more claim to being that person than the other; each has the same continuity of consciousness up to the moment the original was disintegrated.  And you might argue that it is illegal, immoral, or unethical to make copies of people–but is that going to prevent it from happening, or force it underground?

But there’s a deeper problem, a theological problem which you have to answer before you can use a matter transmitter:  is man merely the sum of his material parts?  Is there nothing more, nothing intangible, what might be called spiritual?  If there is, then when the body is disintegrated it would presumably leave a disembodied spirit; and when it is again reintegrated, some spirit would have to occupy it.  It’s easy to hypothesize some sort of spiritual dimension such that the spirit of the man can travel any distance instantly and so be immediately reunited with the body; but it’s just as easy to imagine that some other disembodied spirit would fight him for that body–one of the dead, perhaps, or something worse.  Also, if a man has one spirit, and you duplicate him, what spirit occupies the other body?

The presence of matter transmission technology in a game world has so many other implications it should be carefully considered before inclusion.  If you’ve got it, you have the basis for uncounted changes to the world from its weapons of warfare to its basic social structure.  You also have some very challenging story ideas from which to build adventures that can be as intellectually compelling as they are exciting.

Technology always changes the world in unanticipated ways.  When you consider the effects it has in your world, make sure you don’t stop with the obvious.

Since the original publication of this article, I have been reliably informed that the property known as quantum non-locality will make it possible to overcome Heisenberg and possibly build a matter transmitter, but probably will not work for the communication system I envisioned in that linked article–although I did give permission to another science fiction author to use it in his work, and it has a plausibility to it.


Previous article:  An Amusing Dungeon.
Next article:  Monster Design.

RPG-ology #24: An Amusing Dungeon

This is RPG-ology #24:  An Amusing Dungeon, for November 2019.


On June 1, 2001, Gaming Outpost began publishing Game Ideas Unlimited with an introduction to the author and the series plan.  The following week this article appeared, only slightly edited for republication here, under the title
Game Ideas Unlimited:  An Amusing Dungeon.

Photo by flickr user Waldo Jacquith under Creative Commons 2.0 license, no changes were made.

  Some years ago I was the dungeon master for a new group of novice AD&D players.  After a hiatus, I found myself back in the dungeon design business, and this time for a bunch of teenagers who did not know me.  I wanted to do something good, fun, interesting.  But I also wanted to apply the lessons of previous games to the new one.  One of those was that dungeons had to make sense:  there had to be a reason why this underground structure had been built.  And that meant that I needed to create history, a story which explained what had happened in the past.

  The story I invented was fairly simple.  Eons before (when dealing with elves who live for millennia, ancient history must be defined in eons) an elf had a crazy notion of establishing trade with the underdark, possibly even negotiating peace between the surface elves and their estranged drow brethren.  It was he who designed the original dungeon and financed its construction.  The tension between his dream and his fear that he might be unleashing a great evil on the world made him a bit crazy.  The original designs included some levels which were safe havens, places for travelers to rest and even be entertained, interspersed with levels which were deadly, laced with traps or fierce beasts, intended to kill anyone not privy to the safe path.

  The builder died, and was buried in the depths of his creation; that which he built fell into disrepair, and was discovered and occupied by others.  The newcomers made changes, making this their homes.  Some areas lost all trace of their original purpose and design, while others were untouched.

  Among those discovering the abandoned rooms and tunnels was a traveling troupe of entertainers.  They saw in the upper levels the opportunity to build a home, a place to practice their crafts.  A secret door provided a wonderful entrance to the area they picked–the second level of the dungeon–and behind it they began making changes.  One of their number, a young wizard, began to construct something here that would be the wonder of the age.  Yet as his companions died, the troupe and their work would fade into oblivion, leaving their magical showplace buried and forgotten.

  And so it was that the character party stumbled into something none of them could possibly understand, something so strange and frightening it would leave them bewildered and terrified; yet so awesome they kept returning, trying to fathom its mysteries.  For the thing that had been built eons before into which my characters now blundered was something unknown to their age.

  It was an amusement park.

  It wasn’t difficult to design.  I had to throw a lot of continual light spells around, and extrapolate some spell research into locomotion.  There were some things I couldn’t include–I wished there were a way to do a Ferris wheel, but the underground setting limited the vertical dimension of my designs.  Still, I managed to create a very real collection of attractions.

  Some of these were very straightforward.  There was a stone zoo, in which petrified specimens of a number of fantastic creatures had been caged for display.  Two stages were illumined with light spells in reflective containers; one of these was for plays, and had prop and costume supplies behind it, while the other was the sideshow where the magician kept his tricks and gear.  A betting wheel would spin automatically when a bet was placed, and if the d6 matched the player’s number it paid five to one.  A small cafe included a floor where some ancient musical instruments still sat.  And there was a quiet boat ride through a dark tunnel, the boats magically teleporting back to their starting point once the passengers had disembarked.  I even included vending machines which could create food and drink when activated by a coin.  But there was so much more.

  The merry-go-round had carved figures of horses, but also of fantastic beasts; and they were enspelled such that once riders mounted all would move in a circle with the same gait they would have if alive.  The cavalier in the party loved this, using it to train herself on gryphons and dragons and pegasi.  The funhouse had mechanical shifting stairs and floors and slides, vents of air blasts from below, distorted mirrors, and an entrance to the vast maze on the next level.  The strong-man bell was extensively magic-mouthed such that on a die roll (adjusted for strength) it would hurl insults or compliments at the characters.  And the shooting gallery provided five bolts to fire from the tethered light crossbows (sites suitably misaligned), again charging a coin to play and rewarding victory with a few coins returned.

  My favorite trap–that is, ride–was the tilt-a-whirl.  The characters entered a room; it was perfectly round, with two doors, one to the north and one to the south.  The room had a thirty foot ceiling.  There was a sort of statue, more like an obelisk, in the center–shapely and not unpleasant, but with no feature that would distinguish the front.  The floor was metal, and this smooth metal continued up the first ten feet of wall.  A few minutes after characters stopped entering the room, all doors would close and then vanish, and the metal floor and wall would suddenly shift, slowly turning.  As it turned, it increased in velocity, and characters were forced to the outside wall; but as everything was told from their perspective, they were told that as they were moving, some magic drew them against that wall.  Then, as they were pinned helplessly against this wall, they saw the obelisk slowly drop into the floor; at the same time, the ceiling descended toward them, inexorably threatening to crush them.  This took only a couple minutes, and the ceiling stopped descending when it reached the top of the metal part of the wall.  But then the truly terrifying happened:  the metal floor beneath them dropped twenty feet, down to the obelisk below.  They were now suspended by the magic which pressed them against the wall as it spun.  Then, slowly, the metal wall began to drop toward the floor below, and once it was there it slowed to a stop.  One door–randomly selected–opened to permit the dizzy characters to stumble back to the halls, uncertain of whether they were north or south, or whether they had descended to a lower level of the dungeon.  Of course, they had not–they had been lifted twenty feet and then lowered back to their original depth.  But their perception of the situation left them quite bewildered.

  But their favorite was probably the roller coaster.  This began as a bench at the end of a hall.  If anyone sat on the bench or stood in front of it, suddenly a low wall would appear creating a sort of cart around it, and it shot straight up thirty feet, and then moved forward–at the same time leaving behind an identical looking bench at the end of the hall.  I mapped out a course that carried them three hundred feet per round (a minute); along the way there was one straight stretch where a group of piercers would attempt to drop into the cart, and another where large spiders sprang at them.  But the true terror was in hurtling through alternately light and dark tunnels, sometimes bound straight for a wall only to have the cart turn at the last instant.  Of course, once two of the party members had been swept away by this trap–I mean, ride–others had to follow in the hope of rescuing them.  The carts would depart at one minute intervals. And in the midst of the ride was a section where one cart would leap over another.  I think one of the players may actually have screamed.  I know that at least one of the characters leapt from the cart onto the track to escape.

  I’ve run thousands of hours of fantasy games; yet this is the adventure people best remember.  They all agree it was an insane idea, a concept which never should have worked, never should have been tried.  Yet it was among the most fun and most memorable adventures they ever had.  Almost fifteen years later they still spoke of it.

  I never imagined when I thought of it that it would really work.  It was just an idea for an adventure, something to fill space in a dungeon map.  Two levels down I had a luxury hotel; two levels below that was a dragon lair; below that was a race war.  This was just part of the show.  What made it so wonderful was that it was so totally out of place, and all the players realized that whatever they thought it was, to their characters it was completely inexplicable and clearly very dangerous, even demented.

  A substantial part of creative thinking involves taking two things that have not been put together before and asking whether they can be combined.  This adventure placed a modern amusement park in a medieval fantasy dungeon.  I often find my ideas by looking at what to me are perfectly ordinary things and asking how they would be perceived by someone with an entirely different understanding of reality.  I find a way to make it work in that reality, and then attempt to describe it to the players through the filters of the characters’ mindsets and presuppositions.  The result is always strange to the point of alien, to the level of magical.  By taking the ordinary and shifting it until it is out of place, you can create something quite original.


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RPG-ology #1: Near Redundancy

This is RPG-ology #1: Near Redundancy, for December 2017.


If it seems to you like I just launched a new article series two weeks ago, congratulate yourself on your astute observation: Faith in Play #1: Reintroduction just appeared. That series is in a real sense a continuation of the Faith and Gaming series of a decade ago, dealing with the relationship between our leisure activities and our Christian faith. However, it was suggested that that series could also include articles on game theory and game play, drawing on the now lost Game Ideas Unlimited series I wrote for Gaming Outpost around the same time. That to my mind did not really fit the vision of the Faith in Play series, and I discovered that I had more to write for that series than I anticipated, and much more that could be written if these other areas were opened. Thus I suggested that I might write two distinct series of articles, this one covering the aspects of designing and running games that are less directly involved with issues of faith. Of course, as that series observes, everything in our life is related to our faith; it’s just that some parts of life are easier to discuss separately. Thus here is “RPG-ology”, the study of role playing games, presenting aspects of the hobby that are more practical, nuts-and-bolts concepts.

I said two weeks ago that when I introduce a new series I try to explain what the series is about and why I should be qualified to write it. Of course, I just did that for the other series, and a lot of this is redundant, because you can read there about my background as a gamer, my introduction to role playing games, my involvement in writing Multiverser, and my long-time defense of role playing games against critics. Much of that qualifies me for this as well, but there is more. Certainly I have been running role playing games since 1980 and spent the better part of the 90s creating one (and I am not alone in thinking that it is a particularly good one). I also became involved in discussions of role playing game theory and design in around 1997, with such well-known independent game designers as Ron Edwards and Vincent Baker, first at Gaming Outpost and later at The Forge. I have written articles on quite a few role playing web sites including RPGnet and RoleplayingTips.com; my article Applied Theory is at The Forge, I have six articles at Places to Go, People to Be (a series on Law and Enforcement in Imaginary Realms and another on Theory 101). My column at Gaming Outpost ran weekly for four years. Quite a few of these have been translated into French, republished at the French version of Places to Go, People to Be (the editor informs me that there are 18 of my articles translated there to this point) and some in print in Jeu de Rôle Magazine.

I have also corresponded with quite a few of those in the industry. Gary Gygax and I discussed alignment; I have a couple of stories told me by Dave Arneson. I won’t embarrass anyone else (either by inclusion or exclusion) by listing more names. Suffice it that I have a substantial curriculum vitae in the gaming world.

Further, as mentioned, I wrote over two hundred articles on the subject which have vanished with the demise of Gaming Outpost—but I have titles and descriptive blurbs for well over half of them, and memories of some of the others. There is good material in that—tricks to use in scenario design and play, secrets of good game masters, theory behind play, and more. So a lot of that lost material is likely to be recycled here as found new material. That might also be redundant—but as the recent successful run of the republication of Faith and Gaming demonstrates, even material that is still somewhere on the web is unknown to many who would enjoy it, and that would be all the more true of material that has vanished and is being re-written.

So I hope you’ll join me mid-month into the future as we discuss aspects of role playing games that offer ideas for play and design you might not have considered. I look forward to recovering some of these ideas.


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Faith in Play #1: Reintroduction

This is Faith in Play #1: Reintroduction, for December 2017.


There is a sense in which this is the continuation of the Faith and Gaming series. I began writing that in April, 2001, and continued doing so every month for four years—and then stopped. It seemed to end abruptly to me, but as I looked back at it the final installment was an excellent last article, and it has stood the test of time as such, as the series was published first independently by me and then in an expanded book by Blackwyrm. The end seemed abrupt to me because it was occasioned by a computer crash at my end that took all my notes for future series articles (it ended the Game Ideas Unlimited series at Gaming Outpost as well), and at the time I could not see how to get back up to speed. However, it has been more than a decade—thirteen years this past April—since the series ended, and I am often asked, and often consider for myself, whether I am going to continue it. Part of my answer has always been a question: what remains for me to write? Yet there is always more to write; I just have to identify it and tackle it.

And thus there is another sense in which this is a new series—thus the new name, Faith in Play. Part of that is because I noticed from the vantage of years of hindsight that much that I had been writing specifically about role playing games applied much more broadly to all of life, and especially to all of our leisure activities. So with that in mind, I am again putting the fingers to the keys and producing more thoughts on how we integrate faith with life, and particularly with those parts of life that in some sense seem the least religious, the times when we are playing. C. S. Lewis more than once cited a conversation from Pride and Prejudice in which Mr. Bingley was explaining a ball, that is, a festival dance, to Miss Bingley, who had never attended one. Miss Bingley asked, “Would not conversation be much more rational than dancing?”, and Mr. Bingley replies, “Much more rational, but much less like a ball.” And that is the challenge we often face in our leisure activities: that they are what they are, not the least bit rational, and yet not for that reason unimportant. In some ways, how we spend our leisure time, what we do when we are having fun or relaxing, may be the most important part of our Christianity, because it is the one thing over which we have the most control, the one part of our lives in which we most express who and what we are, and usually the time when we are interacting with others most naturally.

This is not the first time I have begun a new series of articles, and I generally begin with an introductory post. That post usually explains what it is I hope to write, and who I am that I feel qualified to write any such thing. Having explained the former, that leaves me with the awkward part of presenting my credentials. Read more

Faith and Gaming: Cults

Some time ago while on an afternoon picnic with my wife the subject of my writing arose. (I write for the gaming industry, as my biographical information attests, so in a sense we were talking about my work.) The talk took a turn toward my responses to criticisms of role playing games and discussions I had had with others about this, something on which I am perennially working as well-meaning Christians send me scathing, offensive, insulting, hateful letters of condemnation for this “wickedness” in which I am involved and which I promote. One point I mentioned was the circular support created between “cult experts” and “police authorities”. Read more