Source: K-On! Wiki
So what do you do when your little four-panel comedy manga gets picked up as an anime series and blows away all expectations, becoming a huge hit– even if that success has more to do with the anime studio than with your own talent?
…You cash in, of course! Which is what the creator of K-On! attempted to do with K-On: College and K-On: High School. Spoiler alert: it didn’t really work, but you can’t blame the guy for trying. But what I’m really interested in here is the attempt, because I’ve found a lot of interesting applicability to my work on Suburban Jungle.
I won’t go quite as far as Digibro and say that “the K-On! manga suuuuuuucks” because I don’t think it does. I mean, everything in the manga is also in the anime. It’s just that the anime is also so much more. Reading the K-On! manga feels like an outline, or a very rough draft storyboard of the anime series.
To fault the manga for this is kinda pointless. K-On! the manga never professed to be anything more than what it was: a disposable four-panel comedy strip. Imagine if Zootopia was a licensed version of a Garfield-style comic, and you might see what I’m getting at.
To that end, I don’t envy the position Kakifly (the creator of K-On!) found himself in. The story of K-On! had a definite end, and there were only two real ways you could carry on: either you follow the older four off to college, or you stick with Azusa and do the next year of high school. I don’t know if he was unable to decide which, or he wanted to hedge his bets, or what, but he went with “do both,” running two different series simultaneously with alternating chapters… effectively dooming himself to not doing either one well.
More of the Same, But Differently
Of the two branches, the High School storyline works better, if only because the characterization is stronger. Azusa, Ui, and Jun were already established by the original series, and Nao is an interesting new addition in her own gothy way. Sumire… eh… the less said about Sumire the better. But the storyline, as far as it goes, focusing on Azusa’s quest to create her own Light Music Club rather than living in the shadow of the previous one, does at least have a spark.
The College storyline, by contrast, just falls flat. The only new character who makes an impression at all is Akira, the lead guitarist of “rival band” Only Girlz– but even she was clearly created to merge the roles of Yui’s caretaker and tsundere glomp-target into a single character. It’s as if Kakifly tossed Ui, Nodoka, and Azusa into a blender to create Akira… and then had no more ideas for the rest of the cast. As for storyline, there isn’t any to speak of beyond a vague “battle of the bands” one-sided rivalry on Akira’s part that even the members of Hokagou Tea Time barely even notice.
In short, the follow-up manga series disappoint for two major reasons: the first being that the manga was never as good as the anime in the first place, and the second being that the follow-ups needed to be more removed from the original series and allowed to be their own thing. (The fact that a big Yui/Azusa reunion moment keeps being hinted at, but never appears, doesn’t help either. I’m guessing this was being set up to be the highlight of some future chapter that never materialized.)
When You Come to the End, Stop
As I say, I don’t envy Kakifly’s position… because I was in a similar one myself. When I decided I wanted to return to The Suburban Jungle, there was a lot of pressure from people wanting me to just pick up where it left off and basically do more of the same, with variations. Some people wanted Leona to become the new star, some people wanted Drezzer, many people just wanted it to keep on going the way it had.
And Suburban Jungle was a mid-tier webcomic! I can’t imagine the kind of pressure I would have felt if it had been made into hugely successful TV series.
But at the same time, I have studied enough sequels, spin-offs, and reboots to know that just tacking on more chapters after “the end” just feels anti-climactic. It didn’t work for Babylon 5 (twice!), it didn’t work for M*A*S*H or Are You Being Served? or even The Three Musketeers and it wasn’t going to work for me.
That’s why I took such pains to separate Rough Housing from Starring Tiffany Tiger. There is some of that “combine characters from the previous cast to make a new character” thing going on… Charity, besides being the combination of Dover and Comfort one would expect from their child, also has elements of Tiffany, for instance. But it was important to me from the beginning that there not be any absolute corollaries, and not simply repeating the same story or gags with a different skin.
In the case of K-On!, my armchair advice would have been first to let a few years pass in the real world in order to gain some distance from the work, and then to have made a stronger break. If you absolutely wanted to continue with those five characters, which I think could have worked, then fast forward past college and reunite them as adults. My suggestion: make them the stars of a TV show about a band, a la The Monkees, and having to deal with wanting to be For Realz Serious Musicians in a world that just thinks of them as being a corporate cash-in. That could open whole new avenues of humor and would crank up the recurring theme from the original of serious musicianship vs. fluffling off in new and interesting ways. Just imagine Ritsu trying to manipulate studio execs, or Mio finding a website full of fanfiction about herself, for starters…
Dammit, now I want to develop this show. ¬.¬ Anybody got the phone number for Kyoto Animation?
PS: There’s still more I have to say about K-On! and in particular what effect it’s had on how I think about and approach Suburban Jungle, but that will have to wait for another post. In the meantime, the rest of the series is here: Zen, Music, and So. Much. Tea. (My K-On! Obsession, Part One) and K-On! the Anime v. the Manga, Part One.
In the my first post about K-On!, I mentioned that the anime series was considerably stronger than the manga, and that it is something I do intend to post about in the not-too-distant future.
In the meantime, however, YouTuber and anime-critic-at-large Digibro has posted a video on this very topic. Digibro and I are on the same page about a lot of things in re: K-On!, and I think he covers a lot of ground here. So if you’re interested in my K-On! obsession (and why wouldn’t anyone be?), it’s worth a watch.
My own particular thoughts on the topic have more to do with the followup series (K-On: College and K-On: High School) than with the manga-to-anime journey itself, so that’s what I’ll be concentrating on my own post, when the time comes.
For all I bag on 4E, it did have some cool stuff in it, and one of the coolest things was the Warlord class… which is conspicuously absent from 5E. I mean, it’s kinda-sorta there, in the Battlemaster Fighter, or possibly in a Valor Bard, but neither of those are really as robust as the Warlord was. Some of that may be intentional as part of the “We’re not with that guy!” treatment of 4E generally, but I think a big chunk of it is just a matter of focus. The Warlord class was really tied into the “miniatures skirmishing with a roleplaying game grafted on” nature of 4E, and with 5E‘s push to return to “theater of the mind” style gaming, they have a tougher time finding a place.
In short, Warlords as presented in 4E made combat crunchier, which is anathema to the 5E style. The question of whether there is a 5E-friendly way to make a Warlord is one that’s been discussed at length in the community. I think it could be done, and I think that the Battlemaster Fighter probably fills a good 65-75% of the gap, but I’d really like to see it fleshed out.
So what is a Warlord, exactly? Well, they’re a support class, who buff, heal, and provide tactical options for the rest of their team, but without using spells to do it (and without the religious baggage of the Cleric or Paladin, or the fantasyland rockstar thing that Bards have going on). Frankly, I always thought “Captain” would be a better name; in various incarnations across other games they’ve also been called “Nobles,” “Leaders,” “Standard Bearers,” etc.
In D&D the first thing that looks kinda like a Warlord– assuming you don’t just take it as read that every fighter above 9th level is one thanks to old-school level titles– is AD&D‘s Cavalier class, which was kind of a poor man’s Paladin. (Ironically, Paladin was revised to be a subclass of Cavalier when it came out) The Cavalier was intended to be a mounted warrior first and foremost (hence the name) and had all kinds of mount-related stuff going on, but they also provided a few team buffs, such as immunity to fear.
The real antecedent to the Warlord, however, came out in the Miniatures Handbook under the name Marshal. That class had auras (an extraordinary ability in 3.x/PF terms, and therefore explicitly not magical) that added various bonuses to allies within a small radius and could grant actions to other members of the party. They couldn’t do any healing, but by buffing party AC and hit points, they effectively “pre-healed” their allies. This was followed by the Noble in Star Wars Saga Edition, who combined some of the Marshal’s buffs with the Bard’s debuffs, basically rolling all the “leader” abilities into a single (again, non-magical) class.
Why is the emphasis on not being magical important? Well, that’s pretty much the appeal of the Warlord class when you get down to it. The Warlord is an inspiring leader, a masterful tactician, or even just the grumpy drill sergeant who tells you to rub some dirt on it and get back into the fight. Basically, it’s the Captain America class for D&D. This is both its appeal and its drawback, unfortunately. D&D already has a class for that role, to wit, the Paladin.
But the Paladin has baggage. Oh so much baggage. From idiot players who gave Paladins the reputation of being Lawful Stupid, to asshole DMs who create their whole campaigns around putting Paladins into no-win situations and then gleefully stripping their powers because they couldn’t find a lawful good way to prevent the demon-possessed king from slaughtering children in the first round of combat (or whatever), Paladins have a long history of being a problem class. On top of which, they have a “knights templar” semi-religious overlay which just doesn’t suit every heroic leader. Just like Robin Hood never cast a spell, Boromir never went searching for the Holy Grail.
So yeah, as far as I’m concerned the Warlord absolutely has a place in D&D as an archetype and as a class (or sub-class), although as I say I still prefer the name “Captain.” 😉 And it needs to be a little more interesting than the “+1d6 to do a not-attack thing” model of the Battlemaster. What that might be, while still fitting in the 5E mold, I’m not sure. I’m still working on that idea.
Once upon a time, I wondered Whither the Rogue?  Today I’d like to talk about the rogue’s more fighterey-wildernessey brother, the ranger. 
Like the rogue, the ranger has been around since before D&D was D&D (first appearing in Strategic Review, which in gaming terms is like saying it appeared in the Upanishads). My own experience with the ranger didn’t come until AD&D, in which they were a slightly-more-interesting fighter with 2d8 hp at first level for no apparent reason, got bonuses to fight all “giant class” humanoids (which, for some peculiar reason, basically meant all humanoids including kobolds), and had vague talk of an animal companion who would wander around somewhere in the general vicinity of the party and maybe kill some monsters for you by accident.
But from the beginning, rangers have had a strange place in the game. Are they Aragorn? Are they Robin Hood? Grizzly Adams? What the heck is a bear doing wandering around the Tomb of Horrors, anyway???
For rangers to work thematically, you have to have a campaign in which tromping around the wilderness is a thing. For them to work mechanically, you have to have a campaign in which whatever the ranger’s enemy-of-choice is a thing. And that opens a whole other can of worms. D&D has always had a very uncomfortable “racial enemies” thing going on, where dwarves are better at killing orcs because reasons, that kind of thing. The ranger makes that into a whole feature of a person’s profession. Originally it was simply a matter of experience: if you’re defending the frontiers of human civilization, the reasoning goes, you will fight a lot of goblins/orcs/kobolds/giants, and thus know how it’s done. Later, in an effort to deal with the “your campaign might be at sea or underground instead of the forest” problem, your choices were expanded. These days, rangers are just randomly better at killing… something. You pick.
(This is one of those rare occasions where 4E actually did something better than other editions. 4E rangers mark a target, and everyone in the fight has a chance to “cash in” on that. In other words, your “favored enemy” is whichever one you’re focusing on right now– usually the biggest and baddest thing in the room. Not that 4E rangers didn’t have other problems. Everything in 4E had problems. :P)
But this weird space that rangers inhabit in the context of D&D has made them suffer a never-ending stream of tweaks, revisions, and re-imaginings, because while everyone has a vague idea of what rangers should be like (Crocodile Dundee is totally a ranger, for instance), nailing down the specifics gets really tricky.
Do rangers have spells? Aragorn was famously a healer, but that was because Middle-earth has a divine-right monarchy thing going on. None of the other Dunedain could do that, so it hardly seems a “class feature,” and Robin Hood never so much as said “bippity boppity boo.” Crocodile Dundee can hypnotize kangaroos and has preternatural senses, does that count?
Oh, and what about fighting methods? Aragorn used a greatsword and eventually rode into battle in heavy armor. Robin was the greatest archer in England. Where did the two weapons thing come from? Legolas wielded a pair of long knives in melee, but was he a ranger, a fighter, or a rogue? Is two-weapon fighting just there to make Drizzt work?
Oh yeah, Drizzt. There’s another another can of worms. For those who don’t know (and I’m only barely aware of him myself), Drizzt is a rare (for sufficient values of rare) good drow ranger, who appeared in Forgotten Realms novels in the late ’80s and became a breakout character in the ’90s when Gothy Angst was at its height. Mechanically he was a 2E ranger who wielded two scimitars thanks to a fighter splatbook ability. Which was fine, except that with his crazy popularity, suddenly the Drizzt tail began to wag the ranger dog. In every edition since, the first thing that devs seemed to look at when making the ranger was “Does it look like Drizzt?”
Finally, we come to 5E, in which ranger wins the award for “Most Dysfunctional Right Out the Gate” from the start hands down. And really the 5E ranger is not that bad, it’s just… lackluster. And stuck in the past, in that it doesn’t model “what rangers should do,” so much as “what rangers looked like in earlier editions of D&D.” You get a smattering of fighter stuff, a smaller smattering of rogue stuff, and you’re back to trying to guess what is the right “favored terrain” and “favored enemy” for the campaign (or alternatively, forcing the DM to put whatever you’ve favored in). If you take on an animal companion, you have to use your own bonus action to make it do anything as part of the “action economy” (i.e., so that you don’t effectively get two turns per round for everyone else’s one turn). If you forego the animal companion and choose the “hunter” archetype, you essentially get to choose from a random set of combat feats.
Honestly, for almost everything that rangers are supposed to do? In 5E there’s probably a better way of doing it. Do you want to be a mobile archer, running around the field peppering your foes with arrows? Take two levels of rogue (for Cunning Action) with Survival as one of your expertise choices, and then Champion fighter with the archery style forever. Do you want to be a mystical protector of the wild? A Totem Warrior barbarian, Oath of the Ancient paladin, or any flavor of druid is probably closer to the mark. The only thing the 5E ranger can do that the other classes can’t, really, is have a pet, and they’re not real good at that.
This situation has led to WotC floating multiple fixes via its Unearthed Arcana articles, and they are better…ish, but they’re mostly patches to buff math holes rather than the serious rethink that the class really needs, and worse they still are focused on “How do we keep the companion from breaking the action economy?” and “Does it look like Drizzt?” more than “Does this look, feel, and act like a ranger should, while sticking to the ease of play and flexibility that 5E excels at?” (To which I would say the answer is “Not really.”)
So, yeah. Sorry rangers, back to the wilds for you.
 In the time since then, Tribality has posted an in-depth series tracking the rogue’s development from proto-D&D days (Supplement I: Greyhawk, baby!) through 5E, which you can read here:
 You guessed it, Tribality did a series of articles about them too, and its a doozy. Vis.:
(To the tune of “We Didn’t Start the Fire…” by Billy Joel)
Arshan’s always kinda mad
I haven’t played you for a while
Obsidian kills her foes with style
Maedhroc gives his foes the boot
Elsa’s tough but awfully cute
1E rules are dumb and hard
but they made my super-bard
Referees don’t get to play much
We get all excited, tho we try to hide it
Referees don’t get to play much
But there’ll be no game, if I’m not DM
Playing Lachwen was a blast
but MMO fun doesn’t last
I don’t wanna spend the cash right now
to play my panda monk in WoW
But oh on tabletop to play again
Or just once for my paladin
The 3E rules were quite a cage
for Theran, my poor fighter-mage
My halfling ranger doesn’t have a name
I’d love to play him all the same
My human ranger had a plot device
but tough luck I suck at rolling dice
Natural 1’s all day!
No foes I’ll slay!
What else do I have to say?
Referees don’t get to play much
We get all excited, tho we try to hide it
Referees don’t get to play much
But there’ll be no game
If I am not
The recent Keep On the Borderlands game I’ve been talking about so much has been taken up largely for the purpose of showing the ropes to a new player who wants to eventually be a GM and asked me to give them a working example. Get me, being all mentorey!
In any case, as I’ve been examining gamemastery from the ground up as part of this whole rope-showing exercise, I decided that now would be a propitious time to re-examine my Gamemastering Credo.
This was a concept I first heard from The Angry GM.  As the name implies, a Gamemastering Credo is simply an explicit list of underlying principles that guide you as you create, plan, and run games. I had a whack at it near the beginning of my last campaign, but we’re two years on now and both the group and the venue have morphed, as have my priorities. Time for another round!
- Specific trumps general.
- The rules provide a framework for interacting with the game world. The “book” (whatever book that may be) is the baseline, and any variations from that baseline (i.e., “house rules”) will be made clear before a player is required to make a decision.
- I will use game systems that use the minimum possible complexity for the desired effect.
- As referee, my job is to understand the rules, and to interpret them when there is ambiguity. Rulings at the table will be treated as house rules going forward.
- When I present a game to the group, it is a proposal, not a dictum. I will do my best to run the game the players want to play. Also: I am one of the players.
- The world is “my character.”
- I will not take away players’ freedom of choice without their consent.
- I will not create “guessing game” situations.
- I don’t know how any given scenario will end, and I have at best an educated guess about how the middle will go.
- I will not allow players to wander into deadly peril without warning.
- I will present multiple hooks that are reasonably easy to find. Player characters can always say “no.”
- Some players “build” a character; some “discover” the character through play. Therefore, I will not require back-stories, disadvantages, or similar character flags to begin the game.
- It’s okay to take the game seriously.
- “Spotlight Time” is the real currency of any game.
- I am running for the group, not for any individual player.
- The players and the characters are reflections through a clouded mirror.
- However: NPCs are speaking for themselves; they are not the GM wearing a mask.
- I will roll dice in the open.
- If there is a choice between the players rolling dice, or NPCs/monsters rolling dice, the players will roll the dice.
- I will not show you things you can’t have, although it may require effort to acquire it.
- If it takes more than three sentences to describe your surroundings, I need to simplify.
- I will override the game system if I feel there’s a compelling reason to do so.
- I will allow group override.
For instance, if we are playing a game where your party are members of an organization and given assignments, that supersedes the usual principles of providing multiple hooks.
A game system that cannot easily be played without computer assistance (or at most a pocket calculator), is an undesirable game system. I didn’t realize just how sick I was of 3.x/PF until I started messing with 5E.
House rules are always subject to evaluation and debate between sessions. During a session, if we can’t come to an agreement within a few minutes, I’ll pick a ruling and go on, subject to debate later.
This used to be multiple items on the list, but really it should all be in one bucket. Until we’ve all agreed to a campaign premise and its attendant house rules, it’s up for modification or veto. There’s no point in trying to run a game we don’t all want to play. If as time goes on, the campaign evolves, or the players would like to take it in another direction, that’s fine, as long as we’re all on the same page about it. Of course, you have to let me know what that is! I am occasionally shocked to find out there’s something that’s been bugging someone for ages and I had no idea. The whole point of the item above is that we should all be expecting more or less the same thing out of a game. Also, keep in mind that as the GM, I’m one of the players too. I can’t run a game I hate!
(Lifted from the Angry GM, but a good corollary to the above.) I create the world and I control it. I often invite input from others, but ultimately, I have to run the world and therefore, it has to be a world I want to run. Nothing becomes a part of the world without my say so. Just as one player couldn’t tell another that his elf has to speak in rhymes because obviously all elves do that, a player couldn’t tell me that there are Pokémon down in my dungeons if I don’t want there to be.
Player Choices and Scenario Structure
This one was kind of “baked in” to my last draft, but really deserves its own heading. In a good game, player choices are what drives the narrative. Although I can make educated guesses about the players’ likely course of action, if I have a set outcome in mind already, I might as well be writing a book.
There are specific temporary exceptions to this. A character who’s been dominated by a vampire has very little freedom of choice, for example. But even then, when possible, I will present the player with: “You have been compelled to achieve goal X. How do you wish to go about it?”
This is a corollary to the above item. It doesn’t mean that I’ll telegraph the result of relatively minor choices (“turn right or left at the end of the hall”); what this does mean is that you will always either have the information you need to make an important choice, or knowing that you lack information, you’ll be able to get it, even if that’s by asking me directly. (Of course, if asked directly, I may answer with, “Perhaps you should look for clues.” That’s part of gaming, after all!) If you ever feel like a life-or-death decision might as well be the flip of a coin, I’ve done something wrong.
This is another corollary. I will create scenarios, not scenes. Scripted events (“if player kills cult leader while he’s chanting, summoned monster will go berserk”) may occur, but I will not force their appearance (“no matter how long it takes the players to get to the summoning chamber, the priest will be just about to finish his chant”). A scripted in medias res moment might be used to kickstart a campaign or a session, as appropriate for the campaign, but those will not be done in a way that takes away the players’ freedom of choice, as described earlier.
If players choose to put themselves in deadly peril, I will not shield them from it, either. Note that going to an adventure site (however that may be defined for the game at hand) is by default “being in deadly peril” unless you have reason to believe otherwise. In a combat situation, the opposition will be playing to win.
Hooks are there to provide some kind of structure beyond “You are here, and here’s a map, what do you do?” They are designed to help avoid “decision paralysis” and give you something to work with. They are not there to proclaim, “There’s the plot, go get it!” and then punish you if you don’t.
The issue of multiple hooks is also a matter of player choice: if you are completely free to do anything you want (as long it’s follow the only hook presented), you aren’t really free, are you? The consequences of following/not following one hook over another might be more or less desirable to your character– that’s just the way the world works. Deciding not to take the Ring to Mordor might suck for the world, but it’s still the players’ choice to make. But I have failed in my role as an impartial referee if there is a “right” or “wrong” answer to the question of “What do you do?”
It’s important to note, not all campaigns work this way. Joining a campaign in which you are given a mission at the start of each adventure means that you have already agreed to accept and attempt to perform said missions from the start– or at the very least, refusing a given mission would represent a major event within the campaign framework. Thus freedom of choice is maintained.
(Names are still necessary for all characters, however. You are not playing chess pawns.) Be aware that this may leave your character seriously “underpowered” if the game system selected for a campaign builds such things into character creation (e.g., Savage Worlds). If all else fails, you could always use the 5E method and roll dice to pick something!
For those players who enjoy it, I will do my best to provide opportunities for your characters to pursue their own goals, tie their back-stories into the broader campaign, and so forth.
Again, this assumes that you let me know what those are. This is my favorite part of roleplaying games, so obviously for me the more the better; but it’s not everybody’s thing, and I don’t want it to be a requirement for participation the game.
Considerations At the Table
It’s also okay to not take the game seriously. The important thing is knowing when to do which. I will always try to create a coherent world that operates by a recognizable set of rules, but those rules will vary from world to world. The spooks in Ghostbusters are going to have a different level of “seriousness” from a cursed wraith in Dungeons & Dragons.
The real currency of the game is not gold pieces or experience points, it’s each player’s “moment to shine” at the table, and that must be distributed equitably. What that moment is, will vary from player to player. Some players love to chat up NPCs. Some players want to kick butt in combat. Some players want to make the other players laugh at their corny jokes. As long as any given player’s desires don’t invalidate anyone else’s, there’s no reason not to try to make it happen. However…
If this means saying, “Okay, that character goes off on their own adventure, please create a new character who will work with the group,” so be it. I will not start a session until the group has established a reason why the team exists and will work together. This can be as simple as “We are friends and want to go exploring” or “I own a ship and hired these guys to be my crew.”
(Also lifted from The Angry GM.) The characters are not direct reflections of the players. They do not have to say exactly the same things as each other. A character’s words and actions should be the players choices filtered through the lens of the world. But the characters and the players are reflections of each other at heart. If the players have stopped taking actions and are standing around talking, so are the characters. The characters may be saying different words and different characters may be contributing differently than the players are, but the characters and the players are having the same type of conversation about the same topic at the same time.
This will vary depending on circumstances, of course. I don’t mind inter-player “coaching” as long as it’s reasonable, so even if your character is unconscious or dead, it’s perfectly okay to suggest another player use ability X on creature Y or whatever. “Shut up, you’re unconscious!” is not my thing.
Like most humans, most NPCs are relatively honest, but there’s always the chance they may be wrong, they may be lying, or they may simply be making noise. But I’m not going to use NPCs to send you messages. As the GM, it’s my job to play “the rest of the world” based on what those people would do. If the barbarian hireling says “I’m bored, let’s go kill something,” it’s because the barbarian hireling is bored, not because I want to goad you into a fight scene.
I used to be a big ol’ fudger; I have since come to the conclusion that far from “making the game more fun,” this actually hurts the game in the long run, because the players can never know if they overcame a challenge on their own merits, or because the referee was “home cooking.” This in turn leads to the assumption that the PCs will win or lose due to GM predestination, which puts me right back in the role of having “written” the story before the players ever get to the table.
This may give the players metagame knowledge their characters could not reasonably have; I will trust the players not to abuse this.
For example, in a situation where the party is being tracked by a foe who intends to ambush them, rather than rolling the monster’s Stealth against the players’ passive Perception, I would instead say something like: “An owlbear has been stalking your party through the forest for an hour, and is closing in for the kill. Everyone make a Perception check against its Stealth to avoid surprise.” If the owlbear rolls really well and the players all roll badly the net result might be the same, but it will at least make the players active participants instead of simply receiving a bucket of damage out of the blue.
Note that this doesn’t mean I never roll dice. I’m not going to have players “roll their AC against the monster’s attack” for instance.
An artifact of the 3.x/PF system and its “magic economy” was that there were shops full of super-wifty magic items, that you could never be able to afford. The idea was supposed to be that you’d be inspired to go out and find treasure to get these things (and to restrict access to them until such time as they wouldn’t completely unbalance the game), but due to the “wealth-by-level guidelines,” the likelihood of finding the piles of money you’d need in any given adventure was vanishingly low.
That sucks, and I don’t want it happening in my games. However, as some of my players want the option of being able to take their bulging sacks of treasure back to town and buy cool new toys, the 5E assumption of “no magic shops” also doesn’t solve the problem. To that end, I will include opportunities for these “candy store” moments, but not include things you just can’t have on the shopping list.
This same principle holds true for other genres: if a player in a Star Wars game wants to get ahold of Boba Fett-style armor, I will find a way to make it available to them, and so forth. With the recognition that some players always just want MOAR BETTER STUFF, and that they may not always be the best judges of how it will impact a game, this may require metagame discussions to make sure the player’s wishes don’t interfere with the rest of the group’s or throw the campaign into disarray, etc. See also “I will try to run the game the players want to play” and “I’m running for the group, not any one player.”
Honestly, this is a note to myself. I tend to go purple in my room descriptions when I’m at the computer, and then regret it at the table when I find myself reading walls o’ text out loud.
If you’re in a fight with something that has a giant bag of hit points but that cannot possibly escape its doom, I’ll just say, “Fine, four rounds later it’s dead,” rather than make you sit there rolling dice. If we’ve had a long, grueling session and we all just want to call it a night, I’m not going to mess with random encounters as you trudge back to town.
Similar to the point above, if everybody agrees that something sucks, I will allow it to be altered. If everybody agrees that something would be awesome, I will let it happen. Note that “everybody” includes me.
I think that’s everything? As always, I’d love to hear everyone’s questions, comments, or suggestions.
 One of the most useful gaming blogs out there, along with Gnome Stew and a few others. His style is abrasive, which may or may not float your boat, but the content is rock solid.
Since I’m running a 5E adaptation of The Keep On the Borderlands, I was tempted to go EVEN MOAR OLDSCHOOL by following it up with a 5E adaptation of Dungeon of the Bear, the one really complete module (as opposed to solo adventure) released for Tunnels and Trolls. I’ve had this on my shelf for over 30 years, complete with my hand-scribbled notes in the margins from running Lee and Jamie through it in T&T a babillion years ago.
Like everything for Tunnels & Trolls, DotB not only embraces the abstract strangeness of dungeon delving, but revels in it. The dungeon is like an evil funhouse, where each room is its own strange thing that has little to do with the next room over– goblins here, vampires there, and a random trap that locks you in, floods the room, and fills it with piranha in the next.
But then, and this where it gets weird, DotB layers a backstory on top of that (written by Michael Stackpole back before he was the Michael Stackpole) and tries to pretend it makes sense. In days of yore, the backstory goes, in order to keep monsters from coming up out of the infamous Dungeon of the Bear and rampaging the countryside, a lord and his lady (who was a prodigious wizard) sealed it shut and built a castle over the entrance. But then, when they noticed that no more adventurers came down into the dungeon to get eaten, the monsters swarmed up and wiped out almost all the castle’s inhabitants. The only survivor was the wizard, who blasted them to bits and forced a retreat, then summoned demons to guard the various entrances, buried the dead (including her late lord), and left, never to return. So the first “level” of the dungeon is actually exploring the ruins of the castle and trying to figure out how to get into the Dungeon of the Bear proper.
Which, admittedly, sounds cool, and I wish I’d thought of that when running my original “Castle Strongstone” megadungeon back in the day. But when you then look at how the actual dungeon works… the story doesn’t make sense.
First of all, like I say, there’s no coherence to the monsters in the dungeon, especially on the upper levels. It’s a bunch of random traps and rooms that basically stand in stasis waiting for adventurers to arrive and be sprung. While there are larger and more organized groups of monsters in the lower levels who might go on the type of raid described in the backstory, there’s no way they could get to the dungeon entrance without setting off half the traps themselves!
Seriously, there is only one way to get up to the 1st level from the 2nd level, and it requires going through a room on a pivot that turns 90° when someone enters and releases a pack of hungry lions. (This might lead one to wonder, “How does a pack of lions survive in a 20′ x 30′ room for the hours/days/weeks/years between room pivotings?” The answer seems to be, “It’s just a dungeon, you should really just relax.”) So for the army of orcs down in the lower levels to swarm up into the keep, they have to pass through this damn swivel-room trap in small groups and deal with the lions, then work their way through the various catacombs without setting off any of the traps or getting attacked by vampires and so forth.
The only way it works as a narrative, short of assuming the entire dungeon is some mad god’s fever dream (which, admittedly, could be a good way to approach it), is to assume that the orcs are actually maintaining these traps… feeding the lions just enough to keep them alive, cleaning and oiling all the pivoting wall mechanisms and loaded crossbows hidden behind secret panels, and so on. But even that only just barely makes sense. If orcs only care about murder and plunder, what strange obsession is leading them to create these Rube Goldberg environments in the hopes that some adventurers will finally show up one day rather than, say, digging out another hole and raiding the countryside?
The answer, of course, is that Tunnels & Trolls is Heroic Fantasy by way of Saturday Morning Cartoon and trying to make sense of it is Doing It Wrong. But at the end of the day, this is another aspect of why the old school got old. If you’re going to expect players to use their wits to engage in the world in a way that makes sense, then the world itself has to make sense in return! The dungeon-as-a-boardgame model where each room is the next bit and the map of the location might as well be a flowchart of which puzzle comes next instead of depicting an actual place is fun for a while, but in my case at least leaves me wanting more.
Don’t get me wrong, I loved Tunnels & Trolls when I was 14 and I do think compared to the wild flights of fancy it led to that there is a certain blandness (and lack of story innovation) to much of what’s floating around the RPG scene currently. But somewhere we’ve got to find a happy medium between “throw everything at the wall to see what schticks” and “repackaging TSR’s greatest hits– again.”
ME: “You open the door and see– 200 orcs!”
JAMIE: “I shut the door!”–D&D session, c. 1983-1984
Working on my 5E Keep On the Borderlands conversion last night, I put in a room that’s CR 13. That is to say, it’s “a good fight” for a party of 13th level characters. Just, y’know, sitting there, where a first level party could easily just waltz into it. And this is an introductory module! Y’know, for people who’ve never played the game before.
Now I see why this module has so many tales of TPKs associated with it! If you blunder into the Caves of Chaos “room by room” style, you’re gonna get killed. But of course, that’s how ol’ Gary liked it. Master Gygax had very exacting standards of what constituted “good play” or “bad play,” and his view was that player characters, especially at low levels, were disposable, like lives in a video game. Bob the First (level one fighter) gets killed? You roll up the next one and try again. The fact that Bob the Second instinctively knows that the bugbears have placed a deadfall trap behind the door to their cave doesn’t matter. Besides, Bob was smart enough to hire NPCs (doubtless wearing red shirts) to bring along and go first, right?
So yeah, there’s a CR 13 room just sitting in the Caves of Chaos, minding its own business. The thing of it is, you’re not intended to wade into the room, any more than Bilbo pulled out his sword and assaulted Goblin Town. The Caves are not a series of set piece encounters to be “beaten,” they’re a dangerous environment in which the PCs become wild cards in the ongoing situation.
Basically, Keep On the Borderlands is Yojimbo, with orcs. A lot of Gary Gygax’s adventures particularly are like this, the most famous example being The Temple of Elemental Evil, where the monsters are powerful and numerous but broken into factions, and crafty players can use that to their advantage.
But the adventure doesn’t tell you this other than a throwaway paragraph buried in some establishing text, and certainly doesn’t tell the newbie players who have just strapped on their swords and learned their first magic missile and are eager to smite the badguys. There are no guardrails, and nothing like the modern concepts of “encounter balance” to provide a safety net. The Caves of Chaos are dangerous, and it is assumed that not everyone will be coming home.
I wonder how many modern gamers, reared on strings of perfectly-balanced-encounters, walk into this module and just get creamed. “The DM wouldn’t put something down here we weren’t intended to fight” definitely does not apply to 1E modules. Which honestly? I kinda like– but it’s a dangerous way to run the game. Lots of players don’t want to take “no” for an answer, and lots of players don’t seem to be able to sense when they’re in over their heads… and lots of players get really bummed when their character dies. And honestly, as the DM I get bummed too. I’ve killed my share of player characters over the years and I’m usually very reluctant to do so, but you just can’t always pull their fat out of the fire. (I’m looking at you, Jamie.)
The thing of it is, within the context of Keep On the Borderlands, this CR 13 room is there for a perfectly good reason, balance be damned. I’m not an OSR grognard who wants those damn ’90s kids to get off my lawn, but I will say that the 1E mindset was a lot more flexible in this regard. “Why are there 40 orcs in this cave?” “Because communal living makes sense for cave-based nomads.” “But an encounter like that will slaughter six PCs!” “So be it. Maybe the PCs shouldn’t go in there.”
A more modern adventure might still have those 40 orcs, but they’d be in eight rooms with five orcs each instead of all in one giant pit. (Well, no, now I think of it, modern design would consider that monotonous. There’d be 16 orcs in four rooms with four orcs each plus a boss with a fire drake. But I digress.) That one relatively minor shift in scenario design philosophy makes a big difference, tho! Small clusters of enemies, you can take on in bunches at your own pace, are easy pickings for players with a modicum of tactical sense. 40 orcs, all on alert that surface invaders are in their caves? You might want to run. Or at least wait until you can come back with a fireball or two at your disposal.
I can’t honestly say how I would have run this adventure “back in the day,” I never tried. I was nine when I first read Keep On the Borderlands and its subtexts and design ramifications were lost on me, but it did inform my own “Castle Strongstone” dungeon design, including Jamie’s infamous 200 orcs encounter. Running this as an adult with more sophisticated sensibilities, the dungeon looks like a very different place to me. But in a strangely Campbellian way, it’s kind of neat to have come back around to it.
- "Every time we come across a Genji..." –Inkblitzer. (We need to figure out counters!)
- "I don't wanna be out of my mech again!" -Me. Yeeeah. I gotta work on staying alive and not diving into so many bad situations.
- "1v1 vs Zarya = lose." –Me. Same as above.
- "I need to do melee!" –Me again. I don't remember to melee until I should have already done it.
- Plotline did a good job w/ both Genji and Reinhardt. Blitzy did a good job of gathering intel.
- Blitzy + Gneech taking out Bastion was a good gameplay/teamwork moment. We need to do more of this!
- "I've gotta remember, when I'm playing the healer, they're not picking on me, they're trying to take out the healer." –Me. Tilt avoidance.
- "It's like getting pecked to death by ducks." –Inkblitzer :D :D :D
There's probably more, but I've got way too much footage to review it all right now. XD
In which Inkblitzer, Plotline and I try to analyze and identify what we’re doing wrong, and look for ways to fix it. This is a “before” and “after” video, showing two matches where we play badly, then two matches where we play well, and the analysis session in between.
ETA: Inkblitzer put up his POV of this match! You can see it here https://youtu.be/R9Xs26_c26I Interesting to compare/contrast.
This one is a bit long, I realize. But there’s a lot of substance to it, so I hope you’ll dig in!