First, let me just say that the word narrative is terribly overloaded in the game industry. Turn it this way, it means story. Turn it that way, it means the events in a game. Turn it yet another, and it’s a play style. Here, I’m using it to talk about genre. About the kinds of stories we tell with role-playing games. There are an almost innumerable number, each with a different narrative space.
Month: May 2011
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Modeling with Mechanics
Hello all. Long time no write. We are hard at work on Et in Arcadia Ego these days, and that’s been the subject of many trips to the Baker Street Pub. While all of us had a feel for the genre and had our source material in mind, we kept having problems modeling that material with game mechanics. The problem wasn’t that the mechanics were bad—in a certain way, they actually accomplished the goals we set out to achieve. But we kept iterating on them, trying to make them match our inspiration, only to have them twist in our hands like so many fae promises. Last night we had a lot of progress stemming from applying some old-fashioned questioning our assumptions.
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An Overwrought Mechanic
Don’t overwork a mechanic.
For the purposes of this post, a mechanic is a set of procedures, defined by the game, that players go through at a table to resolve a conflict of player interest with respect to the world of the fiction. It may rely a lot or a little on randomness, but that’s not the point. The point is that this is something that the game designer has laid out as the way to sort out cruxes in the game’s story.
Right now, I’m working on Et in Arcadia Ego, a game about magicians in Regency England. It owes a lot to Susanna Clarke and Jane Austen. I’m trying to work out how to make the conflict mechanic work well. Like in any design process, I’ve been through many iterations of it. At this point, the mechanic has come back around to looking more like it did at the beginning than it did in the middle, but there have been a few darlings to kill along the way—tying the mechanic to various period card games, for example. At each step of the way, though, the changes I’ve made have made perfect sense to me, as they are responses to things I found to be wrong with a previous iteration. Sometimes the flaws were seen instantly, just on thinking about the mechanic, and sometimes they were seen only after playing with the mechanic a bit to get a feel for it. In any case, the changes grow out of the previous mechanic.
There’s a real risk here. The final mechanic, whatever it may be, makes perfect sense to me in terms of the history I have gone through to get there. I will be able to point to each bit of its design and say “the mechanic is this way because…”. But to someone who has just picked up the game, and who reads it, that mechanic may look very strange. Avoid this! (more…)