Vigil Pretty Much Plans Itself At This Point We Have So Many Juicy Plots Bubbling That Depending On Who's

Vigil pretty much plans itself at this point – we have so many juicy plots bubbling that depending on who's in the session, the scenario usually just ... presents itself. In this one ... well, this demon's been lurking since Vigil: Playtime. It was time.

Act One of Five: In which Persephone Byron’s centuries-spanning cold war begins heating up for the final clash.

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COMPERE: Matt Boothman

STARRING:

Ellie Pitkin as Persephone 'Percy' Byron, the Exile

Dave as Mick, the Mundane

Strat as Brier, the Monstrous

Chris MacLennan as Kincaid, the Professional

ROLEPLAYING GAME SYSTEM: Monster of the Week, designed by Michael Sands

MUSIC BY: Alexander Pankhurst

SOUND DESIGN BY: Matt Boothman

EDITED AND PRODUCED BY: Matt Boothman

butch fatale

The Neverafter Baba Yaga mini is the coolest thing I've ever seen, I'm in awe, I'm in love

The pleasure of actual play is twofold: there’s the elemental pleasure of being told a story, intertwined with the alchemy of watching that story be created in front of your eyes (or ears). It is about craft—not in the sense of the well-wrought urn, but in the ways that true chance, fueled by dice or teetering Jenga towers or cards or a coin toss, explodes ossified, clichéd narrative structures.

Who Owns Dungeons & Dragons? — Dr Emily Friedman, LA Review of Books

This chimes pretty much exactly with what we found at the Open Space on theatre and RPGs a few years ago!

i love being friends with bitches who won’t shut up. i never know what to talk about. please tell me your whole life story and then infodump to me about warrior cats or greek history

Why Dungeons and Dragons: Honor Among Thieves Didn't Use D&D Combat Rules (And Why They Were Right Not To)

The D&D movie was really fun, and since at this point most of my friends play D&D (or at the very least other TTRPGs), almost everyone I talk to on a regular basis has also seen it and liked it. The consensus is that even though there's no "meta" that the characters are controlled by players sitting around a table, or jokes about the DM, the movie feels like D&D. The jokes feel like jokes people would make while playing. The constant pivoting from Plan A to Plan B to Plan C feels familiar to anyone who has spent an hour at a table deciding what to do, only to have a roll go sideways and screw things up. Before I get too far, I should say this post contains some mild spoilers for Dungeons & Dragons: Honor Among Thieves.

What didn't feel like D&D were the fight scenes. In one scene, a Paladin quickly dispatches a group of enemies before any of the rest of the party even acts, showcasing that even though he's kind of a square, he's an incredible fighter. In another scene, the Barbarian grabs and wears a helmet in the middle of a fight, using it creatively to get the upper hand. During a fight against a gargoyle, the Bard blinds an enemy by throwing a blanket over their head, but gets pulled along with them when a loose rope wraps around his leg. These are all pretty big moments in the movie, and Rules as Written, would never happen at a D&D table, because D&D combat doesn't work like that.

Here's what I think is interesting. The vast majority of the rules of D&D revolve around combat. It's not all of the rules, but most class abilities, spells, items, and rules have a combat focus. So why does a movie that functions partially as advertisement for the game spend so little effort to replicate the bulk of the content of the base game?

In my opinion, it's because, Rules As Written (or RAW), combat in D&D is not, generally speaking, narratively satisfying. Let's look at a few reasons why.

D&D is a game where, RAW, things either happen, or they don't. If someone misses an attack, nothing happens. If someone misses a skill check, nothing happens. DMs can work with this, but in the base game, there isn't a lot of guidance for what to do when a player fails at something they're trying to do. This may seem trivial, but compare that to something like Powered By The Apocalypse, which is much more narratively focused. In those games, a full miss means the Game Master changes things up. The enemy gets the upper hand. A new danger surfaces. An NPC is put into peril. Not only does the player fail at what they're trying to do, but something else, bad for the Player Character (PC) but good for the story, happens. On a mixed success, the PC might get what they're after, but at a cost, or with a complication they weren't expecting.

This calls to mind the example of the Bard throwing a tarp over the gargoyle in the final fight of the D&D movie. That's a classic example of a mixed success. He succeeds at temporarily blinding the creature, but in the process, he gets caught up in the gargoyle's rope and is dragged along for a ride. This is a dynamic thing to happen in combat, but wouldn't happen in actual D&D. Instead, a PC would either succeed at what they're doing, and blind the creature, or fail and not blind them. You could argue that the Bard's action was the result of a Natural 1, but that also doesn't fit RAW, because the Bard does succeed as what he's trying to do, and with a Natural 1, he would have failed and been pulled along.

D&D doesn't really reward player creativity. Something like throwing a tarp over a creature wouldn't be likely to happen in a session at all, because in the actual game, it would take a full action to do that, and depending on the Difficulty Challenge (DC) the DM sets, there's a good chance of a wasted turn. Creative actions end up a huge gamble, and when you're playing a game where it could be 20+ minutes before you get to take another turn (more like an hour if you're playing with a Wizard, amirite), you're disincentivized from "wasting" your turn to do something less than optimal. You can describe what you're doing to add to the narrative, whether you succeed or fail, but that brings me to my next point.

I haven't been able to stop thinking about this question from Rise Up Comus since I read it a month ago. In D&D, a player can describe all kinds of flavor to what they're doing, and there's no change to the mechanics of the game. You could read this as saying "Oh, well that means you have the freedom to do what you want!" but if you look at game design through the lens of "what kind of play does this game encourage or discourage" the takeaway I have is that description just...doesn't matter to D&D. In my experience, that can lead to a few different unsatisfactory outcomes.

Both players and DM treat combat as purely rolling, and describing only what is required. A DM announces, "The enemy wizard casts fireball, roll dexterity save, take 25 damage. Turn passes to the Rogue." Sometimes players who describe what they're doing are seen as showboating or taking up too much time. Worst case scenario, the DM penalizes descriptive players.

Some players like describing what they do, others don't. This has no mechanical effect on the game. Players who aren't descriptive might be frustrated that an already slow process is slowed down even more. Descriptive players may become frustrated because there's no mechanical benefit to what they're describing, and spend time fruitlessly arguing with the DM that focusing on a weak point of the enemy should give them advantage. I think most tables fall into this category. It's not a bad game by any means, but not everyone is there for the same reason when it comes to combat.

Rule of Cool Table! Everyone describes whatever they want, the dice rolls don't really matter! Combat is generally pretty easy because fuck the rules, if it's cool for the dragon to die based on how the fighter described the attack, even if it's only the first round of combat, hell yeah let's do it! For players who like being more strategic and enjoy the confines of the rule structure because it makes things challenging, these tables can be frustrating. (If you're familiar with Dungeons & Daddies, this is essentially how they play D&D).

Because there's no guideline in the rules, people come to the table with different expectations. Some people want combat to feel like a strategy game, where following the rules in the most optimal way (or combining rules elements in an unexpected way) is mechanically rewarding (usually measured by damage output). Some people want to describe themselves doing cool stuff! Some people don't care about their characters looking cool, but want the story to be compelling. If everyone isn't on the same page, this can lead to players ending combat feeling unfulfilled, and when combat is the bulk of a rules set, it feels strange to me that there's no guidance for DMs or players as to how to incentivize the kind of combat your table is interested in.

This leads to a situation where combat in D&D is the part of D&D that takes the longest, that the majority of spells and abilities are focused on, but it is, narratively, the least satisfying part of the game, unless the table alters the base rules significantly.

If you're not familiar with other TTRPGs, you might be thinking "Okay, but that's why the DM is allowed to do whatever they want and make up new rules! My DM gives inspiration when we describe something cool, that solves this problem!" My critique isn't necessarily of individual tables. DMs and players come up with all kinds of mechanics that aren't in the rules. My critique is that D&D is a role-playing game that essentially has no incentives, and many disincentives, for role-playing during combat. For example, RAW, characters don't really have time to communicate during their turns, as each round takes about 6 seconds. There's no time for banter or negotiation between PCs and enemies. You can see this disconnect by the way people talk about D&D. How many times have you heard people say "I love D&D but I don't like combat?" How could this rift be rectified? Let's take a look at some other TTRPGs.

In 7th Sea, if you take the time to describe how your character is doing something, you get a bonus to your dice pool. In Thirsty Sword Lesbians, when you get a mixed success on a Fight roll, you and your opponent are given narrative prompts to build tension (like flirt with or provoke your opponent). In Kids on Bikes, you can fail or succeed rolls by different number ranks, which determines how significant the successes or failures are. In Wanderhome, you get a token when you "take a moment to bask in the grandeur of the world, and describe it to the table." In Good Society, each player gets a "monologue token" which they can spend to prompt another player to deliver their Main Character's internal monologue. I just played a bad-action-movie-themed game called Action 12 Cinema, where players can boost a roll if they call out the song that would be playing during this scene of the movie, and get an even FURTHER boost if anyone at the table sings it.

Each of those game mechanics gives you an instant understanding into the mood of the game, and the kind of stories its built for you to tell. Even if you've never heard of any of those games, I bet, based on the title and the move, that you could hazard a guess as to what playing the game is like. Dungeons & Dragons certainly has rules that add to the lore of the game, and prompt you to create characters that act a certain way. But when it comes to combat, players and DMs are left to their own devices. Some may see that as a strength of the game, but I see it as a source for a lot of disappointing play experiences.

And it seems as though, at the very least, the writers of Dungeons & Dragons: Honor Among Thieves thought the combat rules were narratively unsatisfying enough that they eschewed using any of them.