Saturday, April 25, 2026

Novelty Has No Inherent Value

I think Final Fantasy 7 was a great game. It felt fun to play. It was satisfying to play. You gain experience points for fights. When you reach a threshold, you level up. When you level up, your stats improve. You can customize your characters with equip-able magic stones called materia. You can swap them freely among your characters to make all kinds of combinations for your playstyle. When you fight, you also gain AP for your equipped materia. When your Materia reach an AP threshold, they level up and you gain more utility or power. When you fight, you get money. When you get to a new town, new weapons and armor become available for purchase that make your characters tougher. In dungeons, you can find unique weapons and armor and materia. Really simple gameplay loop. Make some progress to make more progress. You could see and feel how you get tougher. You could watch numbers go up. It was simple. It was elegant.

Then Final Fantasy 8 came out, and it was nothing like Final Fantasy 7. They changed almost everything. You earn experience points, and you can level up, but your stats barely increase! Worse yet, the monsters' levels scale to your levels, and their stats and powers do improve! It means that leveling up is disadvantageous! You can find these monsters called GF you can equip, and they gain levels with exp, but they don't have stats that you can see. Instead, you're mostly keeping an eye on their AP. When AP is earned, they learn abilities. There's a hidden ability tree where certain abilities are prerequisite to others. What abilities are going to be valuable? You don't know till you get there! Instead of finding magic stones that you equip for magic, you have to go stock spells with a tedious, slow combat action called drawing, or by using special abilities to modify playing cards or refine various items you collect from monster drops. You had to collect items to use to upgrade your weapons, some of which were rare to find and rare to drop! Armor was gone. Instead, you equip magic spells to your specific stats, and the level of the spell, and the quantity of the spell effected the amount that the stats increase. It was a very micromanage-y, it was complex, and it was intimidating to learn. Mastery meant playing the game in a very controlled way to efficiently earn AP without getting so much exp. Ugh.

But it was different, so that means it was OK? Right?

Remember the Nintendo Wii and its nunchaku controller? Eff that. Sometimes I hear people praising games for being new and different. What was wrong with Final Fantasy 7? Give me more of that! I want more of that! I wish I was into sports games and FPS games and Assassin's Creed because those game devs look like they figured this out. People like the formula, keep it! How do you go from FF7 to FF8? It's madness! What a wild change!

So, my central complaint is novelty for its own sake sucks. Is the game good? I have heard people praise FFX for being a non-standard fantasy setting. Boo! It was the ugliest setting ever. The costumes were ugly and stupid looking. The unique hair styles were dumb and ugly. Machines were ugly and dumb looking. Monsters were OK. Buildings and boats were dumb when they were unique. How many people cosplay as characters from FFX? Better yet, when people cosplay as FFX characters, which ones do they pick? Auron, and the main girl characters. That's it. The game is so ugly, no one cosplays as any other character. Ronsos were in the game. Ugly effing game.

So for some reason, people think FFX is a really good game. It's not. They did some cool stuff. Being able to swap characters in and out mid-combat? Cool. Having to swap your characters in and out mid-combat because all the monsters in the game are functionally a rock-paper-scissors game? Meh. I just want to pick my favorite characters and use them. The game's best mechanics don't get fully utilized until late game if you fill out the monster arena, which is effortful, but I think you have to be into grinding to really enjoy yourself. It so happens that I am into grinding. Why can't the whole game be more like the late game? The equipment customization system doesn't even matter until this late portion of the game. You might be able to manage to make a few useful things throughout the main game, but that's it. Mostly, you would put elemental damage on weapons so you could do double damage. By the way, Str + 5, +10, +20, etc. in FFX is a trap when using the right element doubles damage! A trap I say!

I hate the story and characters in FFX. OK, I don't hate the story and characters, but it was a very, very delayed appreciation and even then, I don't actually like them. I just don't care. I enjoy Lulu's cleavage though. More of that please. Also, bring back the customization of materia. Powers are contained in objects that are tracked separately from characters, and they can be freely moved around. And there weren't that many fiddly bits. Very simple, very fun. You dumb dumbs at Square came up with a cool idea, you used it once, then that was it. The hell is wrong with you?

What's wrong with them is they pursue novelty for the sake of it. As if reusing something that works is a bad thing because we already did it. So in FFX, they give you this thing called the Sphere Grid instead of experience and levels. What is the sphere grid? It turns character improvement into a process of moving your character along a path on a game board and activating nodes with consumable items you collect after battle. The problem is it's linear, so why? What's the point? Again, it's something in FFX that only gets good late game when you can move freely around the sphere grid and earn whatever you want. It's undercooked.

Anyway, if you've stuck with me this long, thank you. Believe it or not, I am not here to complain about the Final Fantasy series, it just happens to be what I'm very familiar with. I'm here to complain about novelty. I don't care about new things because they're new. New is not a virtue. How about I get you a new turd? And so understandably, I get a little annoyed when I hear people praise something for being new. I could get you a new car or I can get you a new scratch on it. The new car is valuable if it's in new condition because that means its quality is intact. But a new car that's used is less valuable. But what if the used car still works better than the new one?

I think innovation must be a value to some people. I don't share it. Can I say I'm tired of people trying to be innovative? Are we done trying to invent new stuff? Or make old stuff seem new by adding a twist to it? Are we done? Can we just embrace tradition yet? If you don't like tradition, then by all means make something different, but be honest that you don't like tradition. Many of us just like being a male, human, fighter, with a sword, and that will never get old to us. When you eff with the thing that works, you alienate the people who come for something familiar. I think this is why media has generally sucked for the last ten to fifteen years. Especially Final Fantasy games. The FF7 remakes sucks too. Can we cut out the ten-to-thirty-minute cut scenes? I don't want to watch an effing movie! Oh, and bring back timed hits and defenses from Super Mario RPG Legend of the Seven Stars. Those were fun!

I think I made my point without ruffling too many feathers. Newness does not automatically mean good, quality, or fun. We have decades of good stuff we abandon. What happened to side-scrollers? Video games were 90% side-scrollers once upon a time. They didn't stop being fun! And isometric perspective games are missed. Did I piss off the FFX fans? Who cares. Wakka's hair sucks and you suck for liking it. Insert the Titas Ah-ha-ha laugh. Cue the outro. DUN da da dun dun dun duuunnn.

Tuesday, April 21, 2026

The Nerd-Brain Problem

Hayao Miyazaki, regarded as the Walt Disney of Japan, said anime (animation) was a mistake and that Otaku (the Japanese word for nerd) ruined anime. I want you to think about that. Not because I want to comment on anime or Miyazaki, but because I want you to consider why an artist might think that fans spoiled art.

First, what does it mean to spoil something? Imagine going into a mystery story and trying to solve it yourself before the protagonist, then some thoughtless a-hole spoils the ending for you. You can't have fun solving the puzzle because someone gave the answer away already. The fun is spoiled.

So for some of us, we don't pursue art for the style alone, we pursue it for both the style and the substance. What nerds do is they enjoy art for what it is, both the style and the substance, and then they do what with it? What if they collectively misunderstand it and indulge in the wrong aspects of it. Then they want more of the style and don't appeciate the substance, or they appreciate the substance disproportionately less. For example, Gundam is an anime and its message is that war is bad, so it's ironic that everyone liked the mechs so much that they just wanted more mech stuff, and thus the original mech story that wanted to tell an anti-war message is known for being the first of the mech stuff. Mech stuff is commercialized, and the original artist and his message are left behind. There are several mech animes and video games and etc, now. It's not immoral but you could image how that artist could be disappointed.

Back to Miyazaki, he says anime used to be created by artists, now its created by nerds who only know how to imitate art but can't make it. And so nerds have spoiled anime for him by turning it into an art form known for imitation and that is slowly degrading in quality and substance. I think this is a fair observation because I watched all of Naruto and while it's admittedly really fun for a while, it's also really inane. Ninja fights for the sake of ninja fights. What's the substance? Believe in yourself? Never give up? OK, sure. That's fine. I guess. I didn't watch the other Naruto series and I won't. The 2021 Mortal Kombat movie was style over substance and I didn't enjoy it.

This is all leading to a point about playing D&D. I hate everything about modern D&D. Not because I find the lack of substance to be disturbing or sad, I mean it's D&D. Historically it's about killing monsters for treasure in a conflict of law vs chaos so you can build your own kingdom and rule as a hero-king and create fun and exciting stories of daring-do. The problem is partially when people bring their dumb nerdy OC to bear, and boy is that just the peak of what makes nerds nerdy and exhausting and embarassing.

But seriously, how pretentious is it to complain about D&D and a lack of high art? Or maybe isn't this just part of the hobby? If you're thinking that, you've missed the point. The point is that like nerds ruining anime for Miyazaki, the wrong crowd ruins D&D for others. There is an incompatibility. What modern D&D does is it encourages all manner of silliness and goofiness with its sanitized kitchen sink setting for everyone and wide, wide catalog of player character options for everything. Be anything you want. Imitate things you like. Bring multi-page backstories. Get tons of mechanics! Can't you just be an ordinary dude who falls on hard times and becomes an adventurer? I would like it if you could turn off your nerd-brains when you engage with the game. 

Wednesday, April 15, 2026

First Time GM Checklist

If you've never, ever been a Game Master (GM) before or maybe even never even played in a TTRPG before, here's a simple first-time GM checklist:

Starter Checklist
1. A place to play
2. People to play with
3. A beginner-friendly game to play (CairnRPG.com. Read it in your web browser!)
4. A beginner-friendly adventure to run (Tomb of The Serpent King)
5. Paper and pencils 
6. Dice (Google search for google dice and you can roll dice in your browser)

I'm going to assume you have items 1, 2, 5, and 6 under control and skip to item 3.

Beginner-Friendly Game to Play
There are a few games presented as easy, but Cairn is a combination of rules lite and free that makes it simple for absolute beginners. It's got a lot of good principles for playing and running games too which are a must-read. Reading the entire first edition (here) may take fifteen minutes.

Other beginner-friendly games that are free include Basic Fantasy RPG, Olde Swords Reign, and The Black Hack. I highly recommend Index Card RPG (ICRPG) which has a free QuickStart set of rules here! Any are good. They are all derived from one version of D&D or another. Basic Fantasy RPG is a retroclone of an D&D Basic from the 1980s. Olde Swords Reign is a combination of 5th edition and 0th edition D&D with some modern changes. The Black Hack is a hack of D&D, and I mean a hack. ICRPG is very rules-lite and DIY, and it is basically modern D&D stripped down to only the parts that matter and refined into a fast and intuitive game with new game design ideas and style. Pick one game, but definitely read the Principles in Cairn.

A Beginner-Friendly Adventure to Run
There may be many adventures marketed as starter adventures, but how many of them are actually beginner-friendly? I don't know. But I recommend Tomb of the Serpent King. It's a teaching dungeon, and it's free. You can download a pdf and you can view it on this blogger page at CoinsandScrolls.blogspot.com. In one game session, you won't be able to play the whole dungeon, so I would suggest only reading up to Room 19. End your game there, leave people wanting more.

Don't stress. Don't take it too seriously. Read your rules. Read your adventure. Get your people together. Make some characters. Play for two-three hours. Call it a night.


Bonus Checklist
Think mood. You want to set the mood if you can. It will improve the experience. You turn down the lights for a movie, right?
1. Something to look at
2. Something to listen to
3. Lightning
4. Food

Something to look at
If you've never done this before, if everyone has never done this before, it might be kind of awkward to have nothing to look at but each other's faces. Put something on your table as a visual. Make it a centerpiece, a piece of art. A big poster board with a crudely drawn map of the dungeon is good. I like to draw the map on a white board and put that down. Everyone can use coins or candies or chess pieces to track their characters. I also have Jinga Blocks. I can put two at a right angle and call that a corner. Get four corners and you suggest a room. Stack two next to each other and put a third block on top and that's a doorway. Get creative.

Something to listen to
Not rock n' roll, not hip hop. Think one of those four-hour long mood tracks you can listen to on Youtube. Commercials will spoil the mood, so if possible, find something ad-free.

Lighting
If you can get the lights down, do it. Just do it. Even if you're not playing a horror game. Candles or flashlights or lanterns. Set the mood.

Food
Get something that is simple, like pizza. If you have to use utensils and serve ware, that's too much. I think it's fair that the first time is on the host, after that everyone pitches in.

Tuesday, April 14, 2026

Good Riddance to Hot Woke Garbage

Got told to define woke.

If your counter to a critique of wokeness is to insist that there's no proper definition of woke therefore its somehow a nonsense word or it doesn't count, there's a logical fallacy in your argument. The fallacy is appeal to dictionary. It means that you are appealing to the authority of the dictionary (or even a textbook by scholars or academics) to define a concept.

That's not how concepts and ideas work.

If you put a hundred people in a room and show them a movie, then ask them to tell you what's woke about it, you'll get a consensus, with some margin of error.

Woke trash ultimately means art is passed on to new creators who have no respect for the source material, and they are the wrong creators for that art.

They:
1 don't actually like the art or source material, or sometimes the fans 
2 change the art in a way that makes it unrecognizable to the source material, and maybe incompatible with the source material
3 insert something new that's incompatible with the source material or focus on something minor from the source material and make it a predominant feature

Metaphorically speaking, they promise a breakfast of eggs and bacon, but they deliver waffles instead, and the waffles suck. Disney said they would make Star Wars and delivered something that is at best a bad imitation and at worse a mockery of it. 

Woke is ideas, beliefs, and values that oppose traditional ideas, beliefs, values. Most classic art has tradition in it. It's part of what makes something classic. Woke is a usurper that thinks it knows better and tries to invert and subvert everything. Woke is postmodernism and intersectionality. Those are incompatible ideologies with western culture. They are divisive and destructive. The spoil everything for people with traditional values while making nothing that will outlast them. They don't care about the art or the audience; they care about their message.

Saturday, April 4, 2026

Valuable TTRPG Concepts You Should Know! - Managing Expectations

This is a list of concepts that casual TTRPG gamers don't seem to be familiar with or even aware of. I have written them down and provided brief explanations because this is the TTRPG language. I find that having an understanding of more concepts is beneficial for everyone. These are in no particular order.

Genre vs Theme: Genre describes the style or aesthetic of story. Genres include action, tragedy, comedy, sci-fi, fantasy, mystery, horror, etc. Themes are the ideas or substance. Theme is the moral of the day or the deeper, complex, substantive point for telling the story. Themes are things like love conquers all, violence begets violence, never give up hope, etc. Themes are recurring ideas found among characters and setting. I add this because a big-ish YT channel got this wrong recently!

Fantasy (genre): Means fiction with magic or supernatural stuff. Does not specify what kind or how much! Note that fantasy does not mean anything goes!

High Fantasy vs Low Fantasy: Unintuitively, these terms describe the type of setting, not necessarily the quality or quantity of the fantastic elements in and of themselves. High fantasy describes a completely fantastic world with its own fantastic history, culture, myths, etc. Low fantasy describes earth or an earth-like setting with some fantastic elements added to it.

Sci-Fi vs Space Opera: Science Fiction is speculative fiction meaning it is fiction that speculates about hypothetical technology and how it might affect people or society. In other words, you ask "what would happen if we had X technology?" and you speculate about it in the form of a story. Sci-fi may also try to make a commentary on how modern technology affects people or society by showing the long-term consequences. Conflicts with technology or because of technology are the substance of sci-fi. It usually tries to be scientific although there may be some not-so-scientific tropes or story-telling conventions. A space opera on the other hand is fiction that is set in a futuristic setting with futuristic tech, but the substance of the genre is not the tech. Instead, a space opera tries to be a about mythology or drama with a futuristic setting as a backdrop. It's also called fantasy in space.

Stakes: The stakes are what you stand to lose if you fail to achieve your goal. If you fail and the only thing that happens is you die, then the stakes are your life. If failure also means the death of your people, then the fate of your people are also what's at state. High fantasy tends to have epic states like the fate of the world. Low fantasy tends to be about personal or local stakes. Either way, there should always be personal stakes because that's where the drama really comes from. You can't have tension unless something you care about is at stake.

Conflict: I want something. You want something. When we both can't have what we what, then we're in conflict. Conflict is present because someone must lose.

Tone: The mood or atmosphere. If you're in a scary scene, the mood should be scary. Participant buy-in is needed. You would be a spoil sport if you made a joke about farts or palindromes.

Player Skill vs Character Skill: The distinction between the players using their own cleverness to solve problems in the game, and the players using their character's statistics and powers to do that instead.

Gritty Survival or Cinematic Action: On the one hand, you have a game with the intent to be somewhat realistic. If you get stabbed, you're stabbed, and you treat it like that. Cinematic on the other hand, you might just imagine you're a movie action hero who can shrug off any sort of stab wound as long as he has HP to spare.

Player vs Player: Are players and their characters allowed to be adversarial towards each other?

Dark Themes and Subject Matter (Grimdark, Nobledark, Grimbright): Some people act like necromancers are just wizards who are slightly creepy. Some people treat necromancers like villains who violate taboos of life and death.

Simulationist or Abstractionist: Simulationists like to simulate things. I use my 5 foot step and I swing my sword for the monster's head. That's a negative whatever penalty because it's a called shot and because the monsters' in a higher weigh class, yada yada yada. Abstractionists like to simplify things. I run into melee range and I swing sword for the monster's head. Roll dice.

Game Balance or Nah: Balancing the game so that the obstacles always suit the character's skill; or, assign a difficulty based on what seems reasonable were the obstacle to be present in real life.

Martial Realism: Considerations for how weapons and wrestling would really work in real life and trying to model that with rules.

Reputation: Fame and Infamy: Your character earns a reputation for their accomplishments and their behavior. This reputation can precede them and be either detrimental or beneficial.

Moral Objectivity (Black and White) vs Moral Subjectivity (Grey): Some people believe there is an objective good and bad, right and wrong. Others disagree, and they want to represent moral ambiguity and complexity.

Heroic Player Characters, Villainous Player Characters, or both?: Some players want to be the heroes, some want to be the villains.

Zero to Hero: You begin with nothing! You're not special! But you can earn greatness!

Combat as Sport vs Combat as War: Combat is either treated like a game or a sport; it's fair and balanced. Or, combat is treated like a life and death, deadly activity and you fight to survive rather than win! There's no guarantee of balance. You make sure you never have a fair fight because that's a good way to die!

Narrative Driven vs Mechanics Driven: Is the logic of the narrative the criteria that decides what can and cannot happen in a scene or situation, or do you prefer to defer to game mechanics and rules?

Grounded Fiction: The fiction of the game is grounded meaning relatable characters, plausible scenarios, and realistic environments are emphasized. If the rules of the game conflict with the fiction, the fiction beats the rules. The difficulty of the game should suit a grounded fiction rather than a game balanced for the sake of a fair experience.

Rulings vs Rules: Rules are not perfect, and so in the absence of clear or complete rules, the game master makes a ruling. That's normal. However, there are some rules-lite games with looser rules intended to allow for more rulings, and there are games that try to make the rules as complete and clear as possible to eliminate or reduce the need for rulings. Then, there's also people who prefer the rules as they are written, and there are people who are not satisfied with the rules-as-written, for instance if the rule conflicts with the logic of a scene or situation, and they like to take liberties.

Metagaming: This word may be understood differently by different people. It could be understood as using knowledge that you the player possess but which your character does not possess. It could also be understood as thinking about the game as a game rather than a narrative exercise. Both understandings are similar if you think about them.

Metacurrency: Meta currency is a resource that the player has for the game, but the character is not aware of the resource. Examples are luck dice or inspiration. Using metacurrency necessarily means metagaming when the player makes a decision based on the availability of the metacurrency.

Ludo Narrative and Ludo Narrative Dissonance: Ludo is Latin for I play (that's the best I can do). Therefore, Ludo Narrative means I play the narrative or I am not just playing a game, I'm playing a narrative. We are engaging with the story as much as we are engaging with the game. Ludo Narrative Dissonance is a sensation of mental discomfort or disappointment, like a breaking of the suspension of disbelief, that comes from the game mechanics conflicting with the narrative. For example, if I'm playing a game with HP and I get stabbed, the game rules model the injury abstractly as HP loss, not a stab wound. If I can rest and immediately recover the lost HP, then does that not mean I can nap off a stab wound? That's unsatisfyingly immersion breaking to some, but not others.

Factions: A group of people with a shared set of values or goals. Factions have their own identity, history, structure, etc. Factions usually compete with other, opposing factions. Some people might suggest that factions should have an ally faction, a rival faction, and an adversarial faction.

In-Character vs Out-of-Character: When in character, you are pretending, you are roleplaying; You are portraying the character in the scene. When out-of character, you are the gamer at the table asking about rules and rolling dice.

Pacing: The rate that the story moves. A slow paved story has a lot of those little moments or minutiae like walking to a wagon, taking your gear off slowly, sitting down at the campfire, organizing your thoughts and taking a breather. Fast pacing is returning to camp, turning in, and waking up the next day.

Immersion: immersion is the sensation of feeling like you are in the moment, and your awareness of everything else fades. You lose track of time. Some players play for this sensation and spoiling it ruins the fun for them.

Horror (genre): Horror is intended to evoke a sensation of fear or disgust in the audience. Anything that causes feelings of helplessness and uncertainty are beneficial. The characters tend to be victims or survivors rather than heroes. For these reasons, horror is incompatibile with modern D&D if the game is balanced.

Exploration (game play): The act of searching for things that are hidden. It is satisfying to discover valuable or interesting things based on choices you made when there was a possibility of missing them.

Socialization (game play): Also known as social interaction, is a type of game play that involves speaking to GM controlled characters. Challenge can be found in using different methods of speech and social engineering to establish and re-establish power dynamics to earn resources. Rewards can be information, relationships, opportunities, and material support (money or items).

Narration: Using narrative language rather than game terminology to describe actions, features of an object, sensations, etc., often associated with the role of the GM. Since the medium of the game is conversation, the players should use narration to describe their own actions to establish the placement of their character in each scene and communicate intent of actions.

Inciting Incident: When an event occurs that causes a character to deviate from pursuing their general goal in their ordinary life, this is the inciting incident. This event leads to the call to adventure.

Call to Adventure: When an event occurs that demands that the character act that will involve struggle, this is the call to action. Answering the call leads the hero down the heroes journey.

Twist (Reversal): An event that is logical yet unexpected and that changes the anticipated course or direction of the story, usually to the detriment of the main character(s). In three-act structure, this usually occurs at the end of Act I (set up) and the end of Act II (execution).

Seven Rules for Monsters in TTRPGs - Your Fun is Wrong

First Rule of Monsters
Monster means monster. Monsters are not people, they are monsters. Do not humanize the monsters. This keeps monsters monstrous. Any exceptions blur the distinctions between men and monsters and makes monsters mundane and familiar. Mundanity and familiarity are antithetical to what makes us feel fear which is the unknown and things beyond our control.

Second Rule of Monsters
The monsters don't want to win; they want to eat; they want to breed; they want the thrill of the hunt; they want bloodsport; they want to hear your screams; they want to corrupt your soul; they want to serve the devil; Sometimes ritualistically.

Third Rule of Monsters
If your monsters could be replaced by humans, use humans instead. This ensures that when monsters do appear, they're doing something that men can't or won't do! It keeps monsters weird and strange.

Fourth Rule of Monsters
Use fewer monsters, both in quantity and variety. When you use a group of monsters, keep it homogenous, treat it like a hoard. When you use one monster, it becomes a big set piece monster. This keeps scenes or moments with the monster distinct like a monster movie.

Fifth Rule of Monsters
Knowledge is power; There are no experts on monsters! There are no scholars and no lore books. Even if there were, you could never attain complete knowledge of the monster. Monsters are the unknown things that go bump in the night! For every one thing that folk think they understand about monsters, there is something they don't understand!

Sixth Rule of Monsters
Monsters are a puzzle. They're not something familiar but with a twist. What do they want? How do they get it? When or where are they most dangerous? What is their secret weakness? No die rolls will grant this information. Adventurers must gather rumors, listen to the tales, scout cautiously, observe from afar, set up a trap, and be ready to run.

Seventh Rule of Monsters
Monsters are not balanced for fun. They're faster than you. They're tougher than you. They hit harder than you. You don't understand their powers, and maybe you can't.

Friday, April 3, 2026

2d6 TTRPG

First Rule: Fiction First
The difficulty of actions is based on realism. If something can reasonably succeed, it does. If something is genuinely impossible, no die roll will allow it. If the rules of the game conflict with a believable fiction, the fiction beats the rules.

Core Mechanic
When an action needs to be simulated, the Game Master (GM) may call for a die roll. Otherwise, resolve actions with roleplay and rulings.
  1. Roll two six-sided dice (notated as 2d6)
  2. Add one attribute
  3. Add one combat skill (if in combat)
  4. Add one vocation (if out of combat)
  5. Add any situational bonuses or penalties
  6. Roll 9 or higher to succeed. The GM may raise or lower this number to suit the difficulty
  • Double 1's automatically fail.
  • Double 6's automatically succeed. If attacking, this is a critical hit.
Procedure
The game is played through conversation, and the game has a procedure. First, the Game Master (GM) describes a room, scene, or situation. Second, the players, either freeform or clockwise around the table, describe what their characters do or say, and how. Third, the GM calls for dice rolls if needed, determines what happens, and describes it. Repeat until the scene is resolved, then establish a new scene.

Character Creation
Each player except for the Game Master (GM) creates one player characters (or PC). PCs must suit the tone and setting of the game.
  1. Start with an adventuring goal. Your character must have a goal to pursue in play.
  2. Divide 4 points among your attributes: Strength, Agility, Intellect, and Willpower. 0 describes an average attribute. Starting attributes cap at 3.
  3. Divide 4 points among your Combat Skills: Brawling, Melee, Range, and Defense. Starting combat skills cap at 3.
  4. Choose four vocations and divide 4 points among them. There is no catalog of vocations. This is DIY. It replaces fantasy race, background, character classes, social status, and is a soft skill system in this game. Starting vocations cap at 3.
  5. Choose traits and flaws to distinguish your character with flavor or mechanical bonuses or penalties.
  6. Determine your maximum health. It's 10 + your Strength.
  7. Magic-users determine your maximum ether. It's 10 + a suitable vocation (example Mage).
  8. Determine your carrying capacity. It's 10 + your Strength.
  9. Choose starting equipment. You begin with one weapon, one armor or shield, 6 Supplies, and 10 currency. You may also begin with a memento of your past or other personal item that has no market value, and a toolset or kit of one trade that suits one of your vocations.
  10. Name your character.
Attributes
Attributes measure your characters abilities. For character creation only, you may buy just one attribute down to a -1 in order to put another point somewhere else.
  • Strength describes your physical strength and conditioning. You use Strength to lift and carry, push and pull, climb, swim, wrestle, resist fatigue, disease, poison, and make attacks with melee weapons. Strength is applied to both attack rolls and damage rolls with brawling and melee.
  • Agility describes your balance, coordination and reflexes. Apply to 2d6 rolls to dodge traps, to tumble after a fall, to act first, to 2d6 attack rolls to hit with a ranged weapon like a longbow, firearm, or throwing weapon. 
  • Intellect describes your knowledge, crafting, skill with tools, and in some cases your sensory perception; You can roll Intellect to avoid surprise.
  • Willpower describes intangible things, like your leadership ability, resistance to mental effects like fear, stress, magical confusion or charm, faith, and your potency with magic. Apply to reaction rolls and loyalty checks, and the number of followers you can lead.
Combat Skills
Combat skills represent your competency with different forms of fighting.
  • Brawling is for attack rolls for punching, kicking, and success with grappling. If you spend your action to defend, you can subtract brawling from attack rolls made against you instead of Defense.
  • Melee is attacking with swords, spears, sticks, axes, or other striking weapons. If you spend your action to defend and you're holding melee weapon, your melee skill is subtracted from attack rolls made against you instead of Defense.
  • Range is for attack rolls with guns or projectile weapons including throwing weapons.
  • Defense as a combat skill describes your personal skill at dodging and blocking attacks. Your Total Defense is 9 + your Defense skill; This is the number needed to hit you with brawling, melee, ranged, and some magic or special attacks. Track both numbers.
    • Note that if a character is unable and unwilling to defend themself, attacks automatically hit!
Vocations
Choose four vocations and divide 4 points among them. Your vocations are DIY, but they must suit the setting and concept for your character. If you can justify how a vocation applies to a non-combat die roll, you can apply the bonus to the roll. Some vocations are specialized, and so a GM can rule that if you don't have a vocation, you may not attempt certain actions (like magic or alchemy). Discuss vocations with the Game Master.

Sample Vocations: Ranger, Barbarian, Soldier, Thief, Mage, Priest, Sailor, Noble, Merchant, Beggar, Entertainer, Laborer, Servant, Scholar, Tradesman, Hunter, City Watch, Herbalist, Undertaker, Surgeon, etc.

Vocations are generally for non-combat actions, but you can make exceptions if reasonable. The combat skills do not include magic attacks. If you have a vocation that can reasonably grant you a bonus to a magical attack, you can apply it to a combat roll.

Traits and Flaws
At character creation, you can choose one trait for free. You can choose two additional traits at character creation, but each additional trait costs one flaw.

Traits
Attractive: When in the lead, +2 to reaction rolls with members of the opposite sex.
Brute: Add one bonus die to melee weapon damage.
Diehard: Add +1 to 2d6 die rolls against disease, fatigue, or poison.
Hardy: Your base maximum health is 12 + Strength rather than 10 +Strength.
Lucky: You automatically succeed by rolling double 5's or 6's.
Magic Bloodline: You bloodline grants you use of magic. Discuss with GM.
Quick Reflexes: You add +2 to die rolls to dodge traps and act first in combat.
Resist Inclement Weather (choose either heat or frigid weather): Resist Heat means heat does not affect your daily water requirements. Resist Frigid means a lack of shelter does not force a roll vs fatigue. 
Strong Back: Your base carrying capacity is 15 + Strength rather than 10 + Strength.
Sharp Senses: You add +2 to avoid surprise.
Weapon Specialty (specify one): Add +1 to attack rolls with this weapon.
Other (diy): discuss with your game master.

Flaws
Addiction (specify): Satisfy your addition once per day or you are penalized by -2 on all actions.
Bad Temper: What is something you will always fight for?
Compulsion: You have a compulsive behavior like flipping a coin or wringing your hands. It may make you distinguishable, frequently occupy a hand, distract you, or keep you from being ready.
Distinguishing Mark: You are easily recognized by a distinguishing scar, birthmark, or etc.
Dull Reflexes: You roll a -2 to dodge traps or act first in combat.
Easily Distracted: You are not always alert. -2 on rolls to act first in combat.
Fear: What are you afraid of? In the presence of this, you have a -2 to all actions and you make a willpower roll or you are stunned for one round. 
Feeble: Base maximum health is 8 + Strength rather than 10 + Strength.
Honor Code: You have a restrictive code or ethos. What is it? How does it restrict you? What happens if you break it?
Obsession (specify): You are obsessed with one particular thing or quest and are easily influenced by it. You also are impatient with other matters.
Ugly: You're kind of ugly. -2 on reaction rolls when you're in the lead.
Other (diy): discuss with your game master.

Health
Health represents your body's capacity to sustain wounds or injuries. Any lost health abstractly represents a wound or injury and so health should not be deducted for trivial sources of harm. At 0 health, you are KOed; Any successive attacks automatically hit and count as deathblows. You recover 1 lost health per day representing natural healing.

Ether
Ether is the substance that spirits and magic are made of. There are trace amounts in everything. Your ether represents stamina for using magic or extraordinary powers. All spells cost a minimum of 1 ether to cast. At 0 Ether, you are spellburned and can do nothing but scream and writhe on the ground in pain for one hour. You recover all spent ether after a night of rest with adequate food and water, else you recover a half, or a quarter if you are already fatigued.

Carrying Capacity
You can carry a load of 10 + Strength items. This number assumes you have a backpack. Some small, light items can, in multiple quantity, be tracked as one item. You're considered encumbered if you're carrying your maximum load, and your speed is slowed to 15 ft per round.
  • Supplies (x6) is a type of quantum item. One supply can be expended as a day's rations, a day's water, or first aid supplies.
  • Torches (x6) are produce light for a radius of 30 ft. Light is essential.
  • Currency (x100) means coins.
  • Ammo container (of x20 pieces of ammunition) such as a quiver of arrows.
Starting Equipment
There is no catalog of weapons and armor. If you want a sword, write down Sword. If you want a specific sword, like a rapier or a greatsword, write that down instead. Same for armor.

Barehanded strikes do 1 + Strength points of damage. Daggers, clubs, and improvised weapons do 1d3 + attribute damage. Proper martial weapons do 1d6 damage + attribute damage. For variety, small, lighter weapons do 1d6-1 (minimum 1) + attribute damage, and large, heavy, and two-handed weapons do 1d6+1 or 1d6+2 + attribute damage.

In this game, armor works by reducing damage. This is called damage reduction or DR. Subtract your DR from an opponent's damage. If the result is 0 or less, you take no damage. Light Armor offers 1 DR, and so does a shield while held in your hand. Heavy Armor offers 3 DR but is tracked as if it were two items and penalizes Agility and Defense by 1.

Improvement
Players earn 2 experience points (exp) per adventure. Exp can be spent to improve characters. Improvements should suit the story that emerged in play.
  • Increase an attribute, combat skill, or vocation. The cost is equal to the new value. For example, if you have 3 Strength, it costs 4 exp to raise it to 4. These stats cap at 5!
  • Add a new trait or vocation for 2 exp. New vocations start at 0.
  • Buy off a flaw for 2 exp.
  • Optional: Increase max Health or carrying capacity by 1 for 1 exp up to a cap of 20 + Strength.
Exploration: Wilderness
When traversing large-scale areas like wildernesses, each 24-hour day represents a turn. The wilderness is divided into 6-mile hexagons (hexes) which players move across like spaces on a boardgame board.

The GM may choose or roll for weather each day, and they describe the kind of hex that the players are in. They roll a six-sided die once per day and once per night for random encounters. A random encounter occurs on a 1, or a 1-2 at night or when in more dangerous areas. The GM then chooses or rolls an encounter.
  • Marching: Players choose a direction and march, and they must declare a marching order. Hexes of difficult terrain such as swamps or mountains are trickier to traverse and effectively require 12 miles to cross one difficult hex.
    • March: 12 miles (2 hexes).
    • Forced March: 18 miles (3 hexes), but the party must succeed a 2d6 Strength roll vs 9 or suffer fatigue. Camping is skipped for the day. The difficulty goes up by 1 for each consecutive day that a forced march is made.
  • Camping: The players make camp for a night (about 8-10 hours) or longer if the specify. Players should describe how they make camp. The wilderness is assumed to be dangerous at night and so the players should work out watch shifts.
    • Campfires must be tended to all night. In most environments, characters are assumed to gather enough firewood for the night as part of making camp.
  • Alternatives to Marching: Each action listed below may be conducted in lieu of marching 6 miles (one hex); max two of these per day.
    • Foraging, Fishing, Trapping, Hunting: Players may engage in activities to gather resources.
    • Search (or Scout): The party automatically discovers any major locations (such as a settlement) in a hex by entering the hex unless there is heavy concealment by bad weather or dense woods. Otherwise, they can use the search action to make a dedicated search of the any hidden feature of the hex. 
    • Other (specify): Treating sick or injured characters, crafting tools or complex items, mending broken equipment, etc. 
Exploration: Dungeons
Characters explore small-scale environments like dungeons in turns. Each turn represents 10 minutes of in-world time. Characters are assumed to move quietly, slowly and cautiously in dungeons to avoid danger, and so they can move about one room per turn; else they are traveling recklessly and cannot spot traps or danger.
  • Searching (general): A party can search one small or modest sized room or hallway per turn. Each player can make a 2d6+Intellect roll vs 9 to find hidden or secret things.
  • Searching (targeted): A player who chooses a specific feature of a room and specifies how they examine it can automatically find something hidden or secret if their description would reveal something hidden.
  • Forcing Open Doors: Stuck or locked doors can be forced open or broken down by making a successful 2d6 + Strength roll. This is considered loud and the GM makes an extra wandering monster check.
  • Picking Locks: A character who is knowledgeable about picking locks who has proper tools may attempt to pick a lock. They roll 2d6 + Intellect vs 9. A failure means this costs two turns.
  • Disarming Traps: If a player can satisfactorily describe how their character disables a trap, they succeed. Else, they can roll 2d6 + intellect to disarm it. Failure means the trap is triggered.
Lighting
Dungeons are dark, and so is the wilderness at night. PCs need light sources to see (but monsters don't). In the dark, you are effectively blind. While blinded, attacks made against you hit automatically, and your attacks automatically hit an adjacent ally on if doubles are rolled, except double 6s. Light sources occupy a hand.
  • Torches burn for 6 turns (or 1 hour) for 30 ft.
  • Lanterns burn a flask of oil for 24 turns (or 4 hours) for 30 ft. Can be covered without being doused or extinguished, and do not give off smoke.
  • Candles burn for one day, but only for 5 ft.
  • Campfires must be tended to all night. In most environments, characters are assumed to gather enough firewood for the night as part of making camp.
Wandering Monsters
Dungeons are occupied with foes (men, beasts, or monsters), and they wander around. Every two dungeon turns, the GM checks for wandering monsters by rolling a 1d6. A 1 means a wandering monster is encountered. Any time PCs are noisy, this can also prompt a wandering monster check.
  • Choose an encounter or roll from a table.
  • Place the encounter 2d6 * 10 ft away from the PCs.
  • Determine their direction of travel and activity.
  • Make a Reaction Roll if encountered.
  • Parley if possible. If parley fails and hostilities occur, go to combat procedure.
Combat
Combat is structured into rounds. Characters do not take individual combat turns one at a time. Each round, one side acts, then the other side acts.
  1. Roll surprise (if applicable) for PCs individually, or for the NPCs as a group: 2d6 + Intellect vs 9. Failure means the character is surprised and does not act on their first round.
  2. Act First. The side that initiates hostilities acts first! If the NPCs act first, go to step 3. If the PCs act first, go to step 4. If there is uncertainty about who acts first, the PCs may make a 2d6 + Agility roll vs 9. PCs who succeed act first, then go to step 3.
  3. All NPCs act, then roll dice, and then their actions are resolved.
  4. All PCs. All players declare their action. Once declared, an action cannot be taken back.  Then all PC dice are rolled and their actions are resolved. Note that combat rounds represent seconds, and so once combat has begun, strategizing is breaking character and is metagaming.
  5. Check Morale for NPCs as a group only twice per combat. Check when NPCs have taken their first casualty. Check when the NPCs have been reduced to half their numbers or about half their collect Health.
  6. Repeat steps 3-6 until combat is resolved.

Reaction Rolls
When introducing NPCs to the PCs for the first time, the GM rolls a reaction roll to randomly determine their starting disposition or attitude towards the PCs. It's a 2d6 roll, and you add the Willpower of the closest PC who is sometimes but not always the first in marching order. Optionally, the GM may apply a modifier (ordinarily ranging from -2 to +2) depending on the PCs local reputation if they have earned one.
  • 2 or less: Hostile. Monsters will immediately attack. Other NPCs may refuse services or actively sabotage PCs.
  • 3-5: Unfavorable. Steep demands or bribes. Withold help.
  • 6-8: Neutral. Indifferent to PC needs.
  • 9-11: Favorable. Lenient on demands or bribes. 
  • 12 or more: Ideal disposition, possibly friendly.
Morale Check
Not all characters and monsters want to fight to the death. Roll 2d6 roll equal to or greater than the NPCs morale score to determine if the NPCs continue to fight. The GM should assign a morale score representing their bravery based on the NPC. 7 represents an ordinary bravery. The lower the morale score, the braver; the higher the morale score, the more cowardly. Mindless creatures do not check for morale. Roll once when the NPCs take their first casualty, and roll once when the NPCs are reduced to halve their number or about half their collect Health.

Improv Magic
Use of magic is typically permitted only by a vocation such as wizard or a trait like a magical bloodline. Magical objects may also permit use of magic or very specific spells. There is no catalog of spells. Instead, players must choose a theme for their magic. Discuss the limitations of your theme with you GM. When players want to use magic, they must describe the spell they cast, and it must suit their theme. The spell is cast automatically, and the character makes a 2d6 + attribute + vocation roll to determine if they hit with the spell. I assume Willpower is for magic, but your setting may assume Intellect is for magic.

Spells are fluid. All spells cost 1 Ether to cast per die (of damage or healing) or effect, and per additional target, up to a maximum or 3 Ether. Damage or healing is instantaneous. Effects persist for the duration of the encounter. If spells can hit additional targets, the caster chooses one target and the spell effects adjacent targets.

Sample Spells:
Healing Hands, 1 Ether. Touch one character and restore 1d6+willpower health.
Magic Dart, 2 Ether. Conjure and throw a magical dart for 2d6+willpower damage.
Flammeria, 3 Ether. Create an area of flame on one character + two adjacent, 1d6+willpower damage each.

Actions in Combat
On your turn, you can make one dedicated action. You can move up to your movement as part of your action. Actions must be taken during your round. There is no option to delay or hold an action, or to otherwise disrupt turn order.
  • Attack: Roll 2d6 + Attribute + Combat Skill +/- any other situational modifiers vs the opponent's Total Defense (9 + Defense skill). If you hit, roll Damage and subtract the opponent's DR (damage reduction). On a critical hit, ignore DR add an extra 2d6 to your damage.
  • Defend: You dedicate a round to dodging, blocking, or parrying. Add +2 to your effective defense.
  • Use an Object: You may draw and use or draw and throw an object from a pocket or pouch, open a door, operate a lever, reload a mechanical weapon, etc. 
  • Cast a Spell: Spells are cast automatically, but the caster rolls 2d6 + Attribute + Vocation +/- any other modifies to hit or successfully effect the target or opponent.
  • Other (specify). Maybe you offer first aid or drag an unconscious character to a safe spot. Maybe you run and tackle a foe. Maybe you brace a spear or polearm against the ground and aim it at a charging opponent. Rely on your creativity. Avoid game terminology. Use descriptive language.
  • State your action in first person, use present tense. Say it like you are reading a line from a book! Example "I run for the troll and attack by aiming the point of my sword for his gut!"
Abstract Space
We don't use precise or literal space. Distances, speeds, and ranges are abstracted for simplicity. All characters can move about 30 ft per round, or one pencil length if you're playing with miniature figurines (minis) on a tabletop. To use a pencil to measure distances, place one end of the pencil at the base of your mini. You can move your mini to the end of the pencil, but not past the pencil.
  • Close means you can touch something without moving (within 5 ft). This is the reach of hand-to-hand or melee weapon attacks.
  • Near means you are one move away from something (5 ft to 30 ft away). This is the effective range of many throwing weapons.
  • Far means you are multiple moves away (30 ft to 120 ft away). This is the effective range of slings, bowshots, and firearms.
  • Distant means you may not see or hear something clearly (greater than 120 ft).
Moving and Movement Speed
Player characters and humans can move as part of their action up to one of the speeds below. There are no double moves! Characters can move either slow, normal, or fast. You can drop from standing to prone for free, but changing your posture otherwise costs half your movement.
  • Slow means 15 ft or half a pencil per round. Characters move slowly when crawling, climbing, swimming, sneaking, crossing hazardous ground, wading through waist high water, or when encumbered.
  • Normal means 30 ft per round.
  • Fast means 45 ft per round. Fast movement means the character is dedicated to moving and nothing else. Fast movement allows characters to safely withdraw from melee and retreat in a direction away from their opponent, make a charge attack in a relatively straight line, run-and-bump, tackle, and long jump or high jump, but at least 10 ft of movement must be spent in a relatively straight line towards your target.
Cover
Cover means that an object or character acts as an obstacle or obstruction between you and an attacker. To determine cover, draw an imaginary line from the attacker to the defender. Anyone or anything that obstructs that line provides either partial or full cover. Small characters or objects provide partial cover. If partial cover, attacks and spells are penalized by 2. If full cover, you cannot attack that character directly. On double 1s or double 2s, you automatically hit the closest obstacle even if it's a character!

Non-Player Character (NPC) Opponents and Monsters
NPCs stats do not need to work by the same logic as the players. Consider that movement speeds previously listed for player characters apply to humans, where 30 is typical movement, but other creatures that are faster than humans can move 45 feet per round and still make attacks.
  • Health: Consider these values as typical. Low-tier opponents have 3 Health. Mid-tier opponents have 5 to 10 Health. High-tier opponents have 20 Health. Very high tier opponents have 30 or more Health.
  • Hit Bonus: This is the number added to their 2d6 roll. It represents both the attribute and the combat skill. Low-tier opponents have 0 to 2. Mid-tier opponents have 2 to 4. High-tier opponents have 6. Very High-Tier opponents have 8 to 10.
  • Damage: Consider these values as typical. Small opponents do 1d3 damage. Human sized opponents do 1d6 damage. Large sized opponents like bears, lions, or ogres do 2d6 damage. Giant sized opponents do 3d6 damage.
  • Defense (Def): Defense is the number players need to roll to hit. Consider these numbers as typical. 9 represents an opponent with average defense or a low tier opponent. Some foes may be easier to hit than a 9, like sluggish zombies or near-immobile plant monsters. 10 to 12 represents a mid-tier opponent, 12 to 14 represents a high tier opponent. 15 to 19 represents a very high tier opponent. Consider that 19 is the cap for characters who can be harmed. Beyond that, godly things who cannot be harmed.
  • Damage Reduction (DR): For simplicity, you may assume low tier opponents always have a DR of 0 as this is unnecessary math for a game. Creatures without armor or a thick hide or a hard shell do not typically possess a DR. If DR is not present in the stat block, assume its 0.
Sample NPCs
Alchemist: HP 10, Hit Bonus +2, Grenade damage 1d6 splash, Def 10. The alchemist carries several glass containers of dangerous compounds that could crack open and erupt, killing him and splashing adjacent characters.

Bear: HP 10, Hit Bonus +3, Bite or Claw 2d6, Defense 10

Dragon: HP 30, Hit Bonus +8, Bite + grapple, claw + throw, or fire breath an area 3d6, Defense 16, DR 3. Players must make a Willpower roll once per encounter or they are frightened, and the effects of this is they suffer a -2 penalty to all actions.

Goblin: HP 3, Hit Bonus +2, Weapon or Bite 1d3+1, Defense 9.

LionHP 15, Hit Bonus +4, Bite or Claw 2d6, Defense 12

Mage: HP 8, Hit Bonus +2, Spell damage 2d6 vs 1 or 1d6 AOE, Def 9

Ogre: HP 15, Hit Bonus +3, Weapon 2d6, Defense 11

Slime: HP 5, Hit Bonus +2, strike with pseudopod for 1d3 or grapple for 1d6, Defense is 7 but damage from mechanical sources of harm are ignored. Its acid body degrades all weapons and armor that contact it by -1.

Troll: HP 15, Hit Bonus +4, Damage 1d6+2, Defense 11. If slain, resurrects in 24 hours with full health and an extra point of Strength and Health unless burned or beheaded.

Warrior: HP 10, Hit Bonus +4, Melee weapon 1d6+2, Defense 11, DR 2

ZombieHP 10, Hit Bonus +0 or +2 if grappled, Unarmed 1d3, Bite 1d6-1, Defense 7. Moves at slow speed only. Thrusting and Bludgeoning damage is ignored, as the creature must be hacked to pieces.

Sunday, March 29, 2026

Managing Expectations in TTRPGs - Discussing What We Do and Don't Like

When it comes to TTRPGs like D&D and Pathfinder (pronounced pat-h-fin-der), I think the trickiest part is managing expectations. That is to say that I have had a lot of personal experience with trying to run one kind of game, and players trying to play another kind of game, or vice versa if I'm a player. For me, it's very unsatisfying to tell players, "I'm running a game for heroic characters", and someone still brings a joke character, and someone else still brings a character of neutral alignment and needs some extra motivation to do anything. Ugh.

This article is my attempt to work out a way to manage these expectations. The first thing is to identify the motives, experiences, interests and influences of the participants. Some people's only exposure to fantasy might be Adventure Time. You might think I'm making that up, but I'm not! I have played with that guy. He didn't know any of the classic fantasy conventions and he played like it.

We're going to start with some useful vocabulary. Ask and discuss these questions:
  • Influences or Interests: What movies, books, comics, video games, tv, etc. have you seen? that you like? What do you like about them?
  • Disinterests: What do you dislike about TTRPGs, genres, literary conventions, etc. Some people are open to anything, some people aren't! For people with discerning tastes, this is as important.
  • Experiences: Previous experiences with TTRPG(s). What did you like about them, what did you not like? Players may have learned some things that you would like them to unlearn.
  • Motives: Why are you interested in TTRPGs? What about this hobby is fun for you? What makes you want to play a TTRPG?

My Interests: My favorite work of Fantasy might just be Kentaro Miura's Berserk. Let's discuss why. The art is badass. The dark themes are interesting. The scenarios are interesting. There's a sort of cosmic horror to it. Guts is just this regular guy who manages to become above average by sheer effort and a will to survive. He has an extraordinary tenacity for survival in the face of overwhelming odds. His opponents are often otherworldly and nightmarish in power and scale but they have such simple motives like eating people or avoiding boredom. He even earns their respect with his will and fortitude. What else? It's otherwise a low-magic, earth-like setting. The horror elements almost replace the fantastic elements, and I think that's really cool!

I also like Vampire Hunter D for some similar reasons, and because I think it's stylish as hell. In this setting, Vampires became the rulers of the earth. To the extent that the word noble became synonymous with vampire and few people use the word vampire. Humans are cattle. That's pretty dark. The titular character is D, and he's a Dhampir. That means he is a half human half vampire. Because of this, he's rejected by both humans and vampires. He's also secretly the most badass character in the setting. The question is what does he want and why? It seems to me that the author intends to leave these things up to interpretation or inference, but we are to come away believing that this is not a character with ordinary motivations.

Tim Burton's Sleepy Hallow was pretty fucking stylish too. In this movie, everyone's dressed in a period era outfit, there's only one monster and he's an absolute badass, no one understands the monster or magic, and the fantastic elements are not casually accepted by anyone. They're all as wild as if you went out for a walk and met an extra-terrestrial.

Generally, low fantasy settings or earth-like settings where the supernatural or extraordinary are rare and maybe even intrusive upon the ordinary world are interesting. Monsters are monsters! Magic is dangerous or even forbidden. The elements of the fantasy that make fantasy unique are kept low so that they when they are used, they have a greater effect, like a guy who never says curse words finally dropping an f-bomb. I also like the low fantasy, dark fantasy Campaign Diaries of Professor DM on the Dungeon Craft YouTube channel!

Disney's Pirates of the Caribbean is cool for similar reasons. The fantastic elements are presented as curses, and they present the supernatural as dangerous and mysterious. If you had to assign all the characters in that movie a D&D class, they would either be fighters or thieves (rogues). 

My Disinterests: You might think I don't actually like fantasy, and there might be something to that, but I don't like pure horror and I'm not into the horror TTRPGs because in those you play as a survivor or a victim. I do want to be a hero. Fantasy can be pretty @#$%^ nerdy. The way nerds use wizards, vampires, demons, and lycanthropes can be really cringy because they make it mundane and ordinary. Monsters aren't monsters anymore, they're just like cat people or something. And then there's people who think it's racist to kill monsters and take their stuff, and those people are just detrimental to the hobby. I don't like elves, dwarves, hobbits, and some of the other fantastic races that have become standard like Tieflings, half-orcs, and dragonborn (dragon people). These things make me feel like I'm watching the Muppets. I don't like that magic is common and ordinary, like a skill or an art that people can just pick up and learn. What's so special about magic if everyone can do it?

My Experiences: I have mostly played 5e D&D. It's pretty lame. There's furries. There's scalies. Goblins, bugbears, and other monsters are humanoids or goblinoids, and so they're treated like an exotic people. I don't like that. Demons from the Christian hell are not people. Even goblins should be monstrous. D&D makes me feel like I'm Eddie Valiant in Who Framed Roger Rabit. Tonally, it's lame. Players play these goofy characters, or they make characters who are kind of goofy conceptually but are intended to be played serious. It makes it difficult for me to care. I don't care about non-humans, and I don't care to humanize the non-humans. I'm hoping for something more serious, but this can't help but feel cartoonish. Besides that, the player characters get pretty powerful, and after a while they play like they know they are. Powerful player characters are antithetical to horror. I have played mostly in Faerun and Eberron, and slightly in Draconlance, Spelljammer, the Underdark, and Greyhawk; but I think 5e modernized it all made it all lame. It's casual and accessible and safe. Even the modern Ravenloft setting is kind of watered down and plebian. I also hate chaotic and evil player characters! They're dicks and they spoil someone's fun. I want PCs who can play as a damn team. And I don't want to be a villainous character, and I don't want to be a character who would particularly tolerate villainous companions or allies. But when you play D&D, this game permits evil and chaotic player characters, and so do most GMs, so I have to put up with it.

Motives: I have lost interest in tv, movies, comics, anime, and books because I think it used to be good, now it's not; but I still want to indulge in some narrative entertainment. I want an outlet for creativity, I want to socialize, and I want to play a game!

I think this was a particularly interesting exercise and I recommend you all do the same.

Here's what I learned about myself: I am not down for any game.

I want an earth-like or low fantasy, human-centric setting where magic and monsters are rare and dangerous. The line between fantasy and horror is blurred. Monsters are not people, they are monsters, and they are opposed to humanity. Magic-users are rare, maybe even feared and hated. Stakes are low, not epic. Characters are generally relatable; scenarios are generally plausible; environments are generally realistic. Your character is an ordinary or above average person. You are not great, but you can earn greatness. You have a chance to become a hero, and I want you to aspire to be, but if you become a villain, I take your PC and make them an NPC in my setting, and they become the property of the me, the GM. Don't do anything you wouldn't do in real life. Play your character like you care what happens to them. This is low, dark fantasy.

Types of Fun (MDA Framework)

I want to give you some GM advice that no one teaches except for the Angry GM. Go read his article(s)  on his website on this subject if you think I suck at it. The subject is MDA Framework and how you can use it to make your game appeal to different players.

You every hear that condescending "having fun wrong" comment on the internet? Sure you have. Usually in internet conversation where someone tells someone else that "all fun is valid". Ugh. Look man, I'm sure some people have fun punching puppies or kicking kittens. That's an extreme example, but I'm not going to work out an intelligent example right now, I'm trying to sell you on an idea. You might understand what you have fun doing, and you might understand why it's fun for you, but can you say you understand how other people have fun or why that stuff is fun to them?

Let me introduce you to a concept called MDA Framework. MDA means Mechanics-Dynamics-Aesthetics, and it's a concept that tries to explain how video game players have fun. Here's the simplest break down. The Mechanics of a game are what the designers see, but the player doesn't perceive the mechanics, they perceive the Aesthetics (or sensations). In D&D 5e for a very specific example, the game designers have worked out the math so that the players succeed about 65% of the time at things their character is good at. Those are the mechanics. The player doesn't recognize this though because the mechanics are not explained like that in the official books; instead, what the players recognize is that they succeed an amount of time that feels just right. Not too much so that the game isn't too easy, but not too little that the game is too hard. It's an aesthetic; a sensation or a feeling.

What about the Dynamic in MDA? Shut up. That's a stupid question. Ahem.

What is the value of the MDA Framework? Because the people who invented the MDA Framework came up with a list of different ways that players have fun. This is a pretty clever idea. There's a list of eight different ways (or sensations) that people have fun, with other ways being less common but also identified.

One aesthetic is called challenge. That's a pretty easy to recognize concept. Fun comes from challenge when people derive pleasure by succeeding based on choices they made when failure was a possibility. That's easy to understand, right? Now, how about the aesthetic of fellowship. Fellowship is a type of fun that is derived from a sense of belonging. To simplify this, there are people who like to play multiplayers because they like being included in a group or team. Belonging is more valuable to them than the activity.

So, go look up the list of eight MDA aesthetics because it's worth having an understanding of the different ways there are to have fun. Different people have fun in different ways and being able to identify those ways are going to make you better at social forms of play or producing a product intended to entertain an audience.

Then there's also GNS Theory. GNS stands for Gamism, Narrativism, and Simulationism. I think these words are pretty self-explanatory. GNS Theory is simpler than MDA and a bit less useful. One difference is that GNS theory uses Simulationism to describe a person who wants an experience that they can be immersed in. Something that disrupts immersion, like a game mechanic that feels arbitrary for the sake of using a game mechanic and that does not adequately simulate the make-believe world, spoils immersion. That's a fine and dandy concept! But MDA describes fantasy as an aesthetic of wanting a make-believe world, expression as wanting to create a character to express yourself and narrative as an aesthetic of a satisfying story, and MDA presents these as distinct where as GNS's Simulationism might lump these kinds of fun but not adequately describe them as separate.

MDA is more complicated than D&D's attempt to explain different kinds of players: Problem Solvers, Hack-n-Slashers, and Actors. D&D will cause you to overlook sensations, like fellowship. How many of you have seen GMs asking for help engaging certain players in their games? Some players are engaged even though they don't look it. They're having fun just being included. Where D&D says actor, MDA says expression, narrative, and fantasy, which are not the same, and may cause you to fail to engage certain players by misidentifying the ways they have fun.

So let's look at a real example of how all of this knowledge could help me to provide a more satisfying experience as a Game Master.

I think one of the ways I like to have fun is discovery. Discovery is the satisfaction of finding something that was hidden based on choices I made. This can be a secret door, a secret fortress in the woods, or learning a about the castle's steward secret arrangement of selling the lord's wine to the thieves' guild. One thing that discourages this kind of play is a game mechanic! Let's say that I as a player describe examining a bookshelf in a dusty old room. I say I slowly, thoroughly read all the titles on the spines, and if a book doesn't have anything written on its spine, I pull it out and read the front cover or on the inside pages for a title. I say I'm looking for a book about magic, the occult, or the arcane, or something mystic and weird. Because I'm a magic-user, duh. You as the GM could say that I find a book called "The Interstice: The Space Between Spaces". I think that sound interesting and I would like to take that book. Cool, done! But if you instead make me roll dice to see if I spot that book, that feels arbitrary and failure discourages me from engaging in that kind of play again. Why do you think that there needs to be a mechanic to see if I spot this book?

Rolling dice to find something in plain sight also ruins the aesthetic of submission (or immersion) because it makes no sense that I could miss something that I think should be obvious and have no chance of failure! This also spoils the sensation of narrative because my character is not stupid, but you've made me doubt the competency of my own character. I should not have a chance to fail at discovery for something that's in plain sight if I take my time, but you introduced random chance where it shouldn't factor. For some situations, you use the logic of the narrative, not the game mechanics!

So, learn these ideas. Teach them to others. This will help you to communicate your needs to others, and it will help you to help others to communicate their needs to you. This has been a public service announcement brought to you by the letter Q. All hail Q, the most useless letter of the English alphabet. We could literally replace you with K and no one would miss you. I hope you die in a fire you lame ass letter.