Happy Valentine's Day to All!

To commemorate the day, I'll share two cartoons from my talented wife Jody Lindke. 

 

 

A Glimpse at the Downton Abbey SNES Game

To this day I'm still a big fan of the old style "adventure" games where your avatar is sent on a variety of often meaningless quests in order to complete a grand narrative. Every now and then, I'll reinstall one on my PC or download an updated version for my smart phone. They are quite fun.

Someone took the time to imagine what one of these games would look like if it were based on the popular brit-soap Downton Abbey.  The show is quite wonderful, and I think I'd like this game as well.

Now if only I could find an Eric Goldberg/Greg Costikyan designed "Paragraph Based" boardgame version of Downton Abbey to go along with my old Star Trek one and my copy of Tales of the Arabian Nights.

And before you ask, the answer is yes. I do own a copy of SPI's ill fated Dallas roleplaying game. Would you like to come over an play a game some time? We could film it and submit it to Geek and Sundry.

[Simulation vs. Playability] Villains & Vigilantes 2e -- A Look at Telekinesis and Force Field

As I mentioned in a background post recently, I will be doing a series of posts looking at roleplaying games  to analyze how they balance simulation and playability in the execution of their rules set. In that post, I asserted that every non-abstract game is a simulation of some central conceit. This is particularly the case in role playing games where the conceit is one of the major reasons for the selection of a given game. While some people might play a role playing game because it uses system a or system b, I would argue that more players buy a game because it has a certain conceit. How many people are buying the new STAR WARS rpg by Fantasy Flight Games because it uses a "narrative dice" mechanic, compared to how many people are buying it because it is the current STAR WARS rpg?

I would argue that while every game faces significant challenges in balancing simulation vs. playability, superhero roleplaying games face the largest challenge. This is largely because a superhero rpg must be able to handle almost any possibility in order to simulate its source material. Almost anything can happen in a comic book and that can be difficult to simulate.

The first superhero roleplaying game was Superhero 2044, and it was inspirational on many levels. It was also unplayable as written. Donald Saxman did a yeoman's job of simulating certain aspects of comic books -- superhero "patrols" for example -- but the combat system and character creation systems need additional tweaking to work. Many of the concepts of 2044 made their way into the CHAMPIONS roleplaying game, via heavy house rulings by Wayne Shaw. You can see 2044's influence in both the "point based" character creation system and in the CHAMPIONS combat system (click the link above to see the similarities in the combat system).

The first playable superhero roleplaying game was Villains & Vigilantes. The first edition of the game is playable, but has some very cloogy bits -- like the "to hit" matrix which makes the 2nd edition matrix look like child's play. The second edition was an improvement in every way over the first edition and is still a game I very much enjoy reading and playing. I recently had my regular gaming group roll up some V&V characters and look forward to a full fledged adventure in the near future. It's a fun system that falls heavily into the "abstractionist" rather than "simulationist" camp, but some of its design choices simulate comic book action better than others. To highlight this conflict, I'd like to examine how two powers are mechanically represented in the game: Force Field and Telekinesis. These are two of the three powers in the game I would need if I wanted to make Sue Storm Richards -- The Invisible Woman as a character. I understand that she she doesn't "technically" have telekinesis as a power, but she uses her force fields to mimic the effects of a traditional TK character.

In fact, let's stat up Sue Richards in the process.

In V&V, like in many super hero game systems, a character's primary statistics can affect how individual powers work. V&V uses the classic D&D system of 3 to 18 as the range of "normal human" statistics, and has five main statistics: Strength, Endurance, Agility, Intelligence, and Charisma. Most of these are self-explanatory. Only Charisma doesn't follow the normal definition. It measures not only what we would normally call Charisma, but also includes what degree the character falls on the side of good or evil. So a "very heroic" good hero might have an 18, as would a "very evil" villain.

In Sue's case, I believe all of her basic attributes fall within the normal range. If they didn't, we'd have to decide what her stats were before exposure to Cosmic Rays and deconstruct what her "initial" statistics were and how they are different from her "super heroic" statistics so we could know what attribute related superpower -- like "Enhanced Agility" -- we would need to give her. To limit debate -- though not eliminate it -- I'll be using the "Classic Marvel Forever" stats for the old TSR Marvel Game as a baseline. Since "weight" also matters in V&V, I'll also use the Marvel.com bio which tells us that Sue is 5"6" and weighs 120 lbs.

Below, I'll include her Classic Marvel Forever stat and follow it with my V&V translation. For Charisma, we'll assume that she isn't currently under the influence of the Fear Monger and give her a high Charisma.

Attribute	Classic Marvel	V&V
Strength	Typical	10
Endurance	Remarkable	18
Agility	Excellent	16
Intelligence	Good	14
Charisma	N/A	16

For the sake of argument, we'll make her a 7th level character. This will matter as things progress, and we'll also assume that her 6 level advancements have not been added to the stats above.

Now...let's have a look at those powers and see how they simulate various effects from the comic books.

Force Field

The Force Field power is pretty interesting and actually covers most of what Sue Storm Richards does with her Force Fields in the comics. It creates barriers that can comprise of x number of 1 inch "square planes" where x is the player's current number of power points (1 inch is the equivalent of approximately 5 feet). In the case of Sue Storm she has 58 power (starting power equals the sum of all stats except Charisma), so she is capable of making a pretty big force field -- Fifty-Two five foot "square planes" is a lot of surface area.

Force Field provides "Force Field defense," which in Villains & Vigilantes means that the player is very difficult to hit. Most powers need to roll a 0 or less on a d20 to hit someone in a Force Field. While that might seem impossible, players do get to add modifiers to that base number of 0 or less based on powers, stats, and level. The Force Field power also lets our Invisible Woman attach opponents doing damage equivalent to her "basic HTH damage." As you will see when you look at the character sheet below, this isn't very much. In fact, it's only 1d4.

There are a couple of interesting things to look at here.

First, it costs a number of Power Points to keep up a Force Screen equal to 1/2 the number of points of damage repulsed which originated from a list of powers. This is interesting because there is not a rule anywhere in the game for determining whether damage is repulsed or not. One might assume that "damage repulsed" is damage from an attack that would have hit the defender, but for the fact the defender was protected by Force Field. I think this is a reasonable interpretation.  Let's see how this ruling would work -- notice that we are already having to make a ruling to interpret the use of a power.

Ice Powers are on the list of powers that take energy to defend against using Force Field. Ice Power hits a character protected by Force Field on a 0 or less. A character with no defenses that work against Ice Power would be hit on a 14 or less (a 70% chance). Let's say that Blizzard is attacking Sue Storm. Normally, he would hit her on a 14 or less, but she has her Force Field up. He rolls to hit as normal and rolls a 13 and would normally hit Sue except for the Force Field, so he misses. With other defenses, this would be the end of the result. Because Force Field has a power cost related to "repulsed" damage, we now need Blizzard to determine how much damage he would have done and we subtract 1/2 that amount from Sue's current power score. If Sue were protecting someone else and the attack got past the Force Field, which in Blizzard's case would only be possible with modifiers from stats or level, she would lose power equal to the full amount of damage done. At least that's what I think would happen.

Let me just say, that if my interpretation is correct it seems like a pretty good simulation of how Force Fields work in the comics. We often see Force Field users straining to maintain the Field under pressure of attacks. How this power would work from devices, like Iron Man's suit for example, is another matter entirely as suits don't have "Power Ratings" and instead have a number of "Uses." This only adds to the number of rulings we must make to fill in cracks in the rules.

The second interesting thing here is that the Force Field's damage is based on the character's normal ability to damage someone when punching them. I don't know about you, but I think most Force Field attackers -- like say Hal Jordan or Sue Storm -- have this kind of attack because their hand to hand attack isn't very "superheroic." This aspect of the power doesn't seem very realistic as a simulation. I would recommend using a fix that I am going to be making for Telekinesis in a moment, and that is to use an alternate means of calculating base damage for this power. A normal HTH attack is based on a character's strength and weight. Force Field powers should have their "HTH Damage" based on an attribute that best simulates how the Force Field works. For Sue Storm, I would argue that the HTH damage should be based on her "Endurance" instead of Strength. This would still only give "Level 1" Sue Storm 1d6 damage, and isn't something that breaks the system. I would also argue that Hal Jordan's should be based on his Charisma score.

Reading through the Telekinesis power, we can see that it does essentially what Telekinesis should be able to do. It can move things, be used as an attack, and manipulate physical objects. Sound's right. What is interesting here though is the "telekinetic capacity" and how it is determined. The number of pounds a character can move is equal to Strength x Level x 10 pounds. In Sue's case, this would mean she could lift 10 (her Strength) x 1 (or 7 for our "experienced" version) x 10 pounds with her mind. So she could lift either 100lbs. or 700lbs. This would allow her to do either 1d4 or 1d8 damage with her TK. Not very impressive (okay, the 1d8 is almost in the right range for a primary attach, but not quite), and seemingly counter-intuitive. How many of the primarily TK oriented characters are known for their massive Strength? Most of the TK oriented heroes I can think of have average strength, and substitute TK for their Strength.

I think we should use an alternate means of Capacity Calculation. Normal carrying capacity is calculated as follows:

So for Sue we take one-tenth her Strength cubed (1 cubed) plus one-tenth her Endurance which is 1.8. This gives us a total of 2.8 which we multiply by 1/2 her weight or 60lbs. This gives us a total of 168 pounds. I think that looks right for her carrying capacity, but not her "Force Field" Capacity. If we substitute Endurance for Strength in this equation to determine "Force Field HTH", we get 458lbs and a 1d6 damage. While I still think this is low for a higher level Sue, it seems okay for 1st level Sue.  As for Telekinesis, I recommend making two changes. First, change the equation to (Key Stat x Level x 20 lbs = TK Capacity). Then I recommend selecting the appropriate key stat for the character's character concept. In Sue's case, I think it should be Endurance. At 1st Level, this would have given her a 360lbs. TK capacity. Not fantastic, and still only good for 1d6 damage which is about 1/2 of the average attack power, but I think it's well within reason for a starting character.

One thing that is possible in V&V is for a character to have a power "selected" multiple times. The recommendation V&V gives is to increase the effectiveness of the power if it has been "rolled" more than once. I would argue that Sue Storm rolled TK at least twice and would have that increase the multiple of x20lbs to x40lbs giving her a 1st level TK of 720lbs and 1d8 damage. That's all I need for her starting out.

One of the things that V&V allows characters to do is increase basic statistics with level increases. For the sake of argument, let's assume that modern Invisible Woman is 7th level and that she has put all of her advancements into Endurance.

Using our updated equations 7th level Invisible Woman would have a Force Field Capacity of 973lbs doing 1d10 damage. This is right in the sweet spot of between 1d10 and 1d12 plus stat bonuses damage (+1 in Sue's case). Her TK would be 6720lbs which does 2d8 damage. Given that this hits like a HTH attack, and HTH attacks are the least accurate in the game hitting on only a 5 or less, I think this is right in the sweet spot and puts her in line with most of V&V's "Bricks."

Notice that what constitutes a massively strong character in V&V is 3 tons, significantly less than the Hulk's 100 ton lift capacity. That would do somewhere in the range of 6d10 damage, a figure not likely to be "survivable" by most characters.

Just looking at these two powers it seems that V&V is a very good simulator of Comic Book style action, but that it still has a few cracks to fill in. Some are easy to fill in, like changing the TK equation or even I imagine coming up with a new Carrying Capacity to Basic HTH Damage chart (something I would recommend doing). Others are a little more difficult, like figuring out what is meant by "Damage Repulsed." The game was the first truly viable superhero role playing game. It is a fun game, but it does show some fraying around the edges of the rules. Some of these are legacies of being a kind of D&D derivative in combat, others are due to insufficient play testing.

None of them are game killers though, and all of them make for interesting combinations about how V&V tackles the problem of Simulation vs. Playability. With the exception of some of the equations required, and the clunkiness of the combat system, it's pretty clear that a lot of effort went into playability instead of simulation and where the designers focused too much on simulation -- the system's attack power vs. defense power attack chart comes to mind -- you end up with some of the more clunky aspects of the game.

I hope that Fantasy Flight Games Fantasy Games Unlimited and Monkey House Games are able to work out their legal issues in an amicable manner, and that we will be able to see a true 3rd edition of the game soon. It is one of the greats.

 Invisible Woman is Copyright Marvel Comics.

Joys of Being a Geek Dad #3167(a).1 -- Warhammer Thank You Letters

I run D&D Encounters at my Friendly Local Game Store in Burbank, CA once a week in the evening. Because my wife Jody works during the time I am running the game, I bring my daughters History and Mystery to the game store with me (that's them in the banner above). They play with some of "dad's little guys," color, watch movies, and come over to the table to ask questions while we play. At the end of most of these evenings the girls get a comic book "for good behavior."

This past week I was playing with my regular group and my daughters decided to write thank you letters to the game store. Here is what they did -- oh...and keep in mind that they are 4 years old.

The drawing above is by my daughter History. She's written the word Warhammer -- missing two Ms -- and drawn the game playing table where players can play Warhammer. I was pretty impressed by her inclusion of terrain on the table.

Next up is my daughter Mystery who tried to write Thank You -- that's the Thathe Uouu which is her own attempt -- she then asked me how to spell it. I told her and she wrote Thank You To Gome Stre which is her way of writing game store. All I can say is Yay phonetics!  Both History and Mystery are getting very good at figuring out the consonants in words. The vowels are sometimes tricky, but they seem to be catching those too.  

Last, but certainly not least, is this beauty were Mystery has repeatedly written Warhammer on a sheet of paper. I'm tempted to have this made into a T-shirt.

Simulation vs. Playability: The Background Discussion for a Blog Series

Over the course of the next few weeks, I will be discussing how some games balance their desire to simulate a certain activity with the need for a game to be playable. Most of the posts will be dealing with role playing games, but I might wander into wargame territory from time to time.

Let us take as a given for the purposes of our discussion that, with the exception of purely abstract games, most games are a simulation of some central conceit.

For example, both Chess and Men of Iron are to one degree or another simulations of medieval warfare. Men of Iron has what Elias, Garfield, and Gutschera (2012) would describe as higher "intensity" of the medieval warfare conceit than Chess, but both do share that central conceit. On the Elias, Garfield, and Gutschera "Scale of Intensity for Conceits," Chess is rated a 3 (Very Light Conceit) while Men of Iron would likely be rated around an 8 (Simulation, but with many sacrifices to gameplay).  As a further illustration Tic-Tac-Toe rates a 1 (Purely Abstract) and Squad Leader ranks a 10 (Full-on Simulation).  This might make one wonder where Advanced Squad Leader would rank, but I digress.

I understand that there are those who may disagree with the initial premise that "all non-abstract games are a simulation" either as a mere tautology, and others who completely disagree with the premise as an a priori. I believe it will prove useful for the series of discussions I hope to have about role playing games as simulations of the various subjects they address.

The framing of games, and in particular role playing games, as simulations should not be confused with Ron Edwards' GNS (Gamist, Narrativist, and Simulationist) system of game play analysis. As I interpret GNS Theory as a theory of play that can inform design and not a theory of system deconstruction and design. As Ron states in the above linked essay, "These terms, or modes, describe three distinct types of people's decisions and goals during play." These are player goals toward which games may be designed, but in my opinion a "Simulation" is not the same as a "Simulationist" game. 

To illustrate, the excellent Narrativist game The Extraordinary Adventures of Baron Munchausen is a simulation of storytelling as the good Baron himself might engage in it. It is not a simulation of the Baron's adventures, though James Wallis considered making a game where players could enact those adventures, it is instead a simulation of storytelling in a particular style. Another example of a game that is a simulation of storytelling is Tales of the Arabian Nights. Both Baron and Arabian Nights simulate the activity of storytelling within their conceits differently, but in the end the game play of both are best described by the stories created within the rules of the game. There is a reason that Wallis calls these kinds of games "Story-Making" games. So it's possible to have simulations of storytelling that results in story-making which in the end results in storytelling when the results with game play are shared.

Okay, enough of the metaphysics of games being simulations. Let's move forward please -- ed.

Games are also about fun, and to be fun games must be playable. This is as true of role playing games as it is for any other kind of game. As Robin Laws says in his masterwork Robin's Laws of Good Game Mastering, "Roleplaying games are entertainment; your goal as GM is to make your games as entertaining as possible for all participants." 

The key part of that statement is "as possible for all participants." Because players come to a gaming table with different "ideas of fun" as highlighted in Edwards' GNS theory, roleplaying game design must make decisions between the level of depth of simulation and the playability of the system. Some players find granular verisimilitude and accuracy of representation entertaining. For these players reading Chapter H of the Advanced Squad Leader rulebook is as much fun as actual game play. Other players might enjoy quick systems or systems that foster the creation of narratives.

Historically, one of the conflicts that has resulted from the attempt to design "good" games is a tension between "realism" and "playability." In Issue 8 of MOVES magazine (1973), Victor Madeja argued that "Commercial wargames fail to accurately represent modern war. Although no game will ever recreate the confusion, horror and destruction of war, we should at least expect a wargame to partly simulate the decision-making process involved in actual battle. Instead we have chess-like caricatures of reality. What semblance of realism we were led to expect is sacrificed on the altar of playability" (Emphasis mine). For Victor, there was a clear distinction between realism and playability and he thought that games at the time leaned too much toward playability and not enough toward actual simulation .

You can purchase access to the first 60 issues of MOVES magazine for the very reasonable price of $19.95 at Strategy and Tactics Press.

By Issue 14 of MOVES (1974) John Hill, the eventual designer of SQUAD LEADER, addresses the conflict by stating, "One of the hardest problems facing any war game designer is the careful balancing between playability and realism. Actually, any reasonably competent wargamer could probably design a realistic 'simulation,' but to design a good game is something else. As an example, 1914 was an excellent simulation of corps level fighting of that era, but as a game it was worthless -- it couldn't be played." John Hill would eventually go on to become an advocate of what he called "abstraction." This was a controversial game design philosophy in which the designer cared less about "what actually happened" and more concerned with the "effects" of what happened and how to model those effects. So, for Hill the fact that gunfire affected morale was more important than modelling the specific physical effects of bullet trajectories. Examples of "abstraction" designs in role playing games include D&D's "hit points" and the "effects based design" of CHAMPIONS.

The tension between simulation and realism is one that has been discussed in role playing games since the origin of the hobby. In the Advanced Dungeons and Dragons DUNGEON MASTERS GUIDE, Gary Gygax writes, "Of the two approaches to hobby games today, one is best defined as the realism-simulation school and the other as the game school." -- You can see in this discussion the origins of Edwards' GNS theory. -- "AD&D is assuredly an adherent of the latter school. It does not stress any realism (in the author's opinion an absurd effort at best considering the topic!). It does little to attempt to simulate anything either. ADVANCED DUNGEONS & DRAGONS is first and foremost a game for the fun and enjoyment of those who seek to use imagination and creativity...As a realistic simulation of things from the realm of make-believe, or even as a reflection of medieval or ancient warfare or culture or society, it can be deemed only a dismal failure...Those who...generally believe games should be fun, not work, will hopefully find this system to their taste."

In his paragraph on design intent, excerpted above, Gygax clearly puts himself in the "abstraction" design camp. His discussion of Hit Points in the DMG also makes this clear, whereas those who criticize hit points or how armor "makes it harder to hit and doesn't stop damage" fall more into the simulationist camp. I would like to say that I disagree with Gygax that his game "does little to attempt to simulate anything." I would argue that it is simulating heroic fantasy, but it is doing so from an abstractionist position. It's a small distinction, but not an unnecessary one.

As an aside, most gamers or designers are a combination of abstractionist/simulationist. Ken St. Andre, the designer of one of the most abstractionist rpgs I have ever played, doesn't like armor class systems because they don't simulate what he wants. This is the case even though his TUNNELS & TROLLS combat system sacrifices specificity for playability and speed of play.

When it comes to the tension between "simulation" and "playability" there is not a procedural definition of what is right or wrong. What is right or wrong doesn't even depend on what is being simulated. What determines whether it is better to favor simulation or playability is how that decision works within the rules set and the goals of the game itself. Sometimes it is important that a game be a good simulation of what it is trying to represent. CHAMPIONS is very much an "effects based design" system in character creation, but its combat system simulates the panel to panel flow of comic books extremely well. VILLAINS & VIGILANTES has a random character creation system that favors simulation -- though it also includes GM "rulings over rules" -- over abstraction as it defines specifically what Flame Powers and Ice Powers do and how they work rather than define effects and have you decide what matches what. Both are good games.

In the coming weeks, I'll be looking at some games and how they address the Simulation/Realism vs. Playability/Abstraction conflict. I'll be starting with VILLAINS & VIGILANTES and how it emulates Force Fields and Telekinesis in its simulation of super heroic conflict. While I think that the V&V system overall is quite good, I believe that the designs of these two powers demonstrate good "simulation" on the one hand and "awkward" simulation on the other.

I'd like to leave this conversation with two quotes for Will Hindmarch and Jeff Tidball from their Things we Think About Games.

1) Theme and gameplay are two different things.
2) Balance is not the same thing as fun.

Elias, George Skaff. Garfield, Richard, and Gutschera, K. Robert (2012), Characteristics of Games. Massachusetts Institute of Technology Press.

The Big Bang Theory and D&D: One Geek's Perspective

Those of you who visit this blog with any regularity know that I am not merely a fan of Geek Culture, but I'm a bit of an evangelist as well.  I want the world to have the same love for Geek Culture that I do.  So portrayals, and reactions to portrayals, of Geeks and Hobbyists are something that I pay close attention to.  I am also a big fan of the television show "The Big Bang Theory."  To my memory TBBT has had the cast play D&D on two occasions, the most recent being the December 13th episode "The Santa Simulation."  This episode has met with quite a bit of criticism on my Twitter and Facebook feeds.  One of the most mild criticisms was Chris Pramas' post on 12/14,  though the brief conversation that followed gives a glimpse at some of the ire that the show can engender from the Geek community.

Before I continue, I'd like to point out that I'm on friendly terms with two of the writers on the show.  This isn't to say that I'm close friends or anything that intimate, but that I and my Geekerati co-host Shawna Benson have done podcast interviews with both Executive Producer David Goetsch (in 2008) and Supervising Producer Maria Ferrari  (late 2012) on separate occasions.  Maria was one of the writers of "The Santa Simulation" episode, so my curiosity wonders if some small spark for the episode came from her participation in my little podcast.  My Shatnerian hubris tells me "Of course it did," while the person who has an understanding of production schedules and how Hollywood actually works says "Puh-leeze, get over yourself."  These facts make me predisposed to be favorable to the show, and I thought everyone should know that before they read further.

The fact is that I find the Nerd Rage being tossed at the creators of THE BIG BANG THEORY to be ludicrous.  I can understand not liking "The Santa Simulation" as an episode, though I liked it and will discuss why below, but to rage at the creators accusing them of "laughing at geeks rather than laughing with them" is unmerited.  Having forced two of the writers to endure marathon live-streaming runs on my podcast, I have learned two things.

First, the people on the show are geeks.  They don't all geek out about the same things you do, but they do all geek out about aspects of geek culture.  They have writers who are comic book fanatics, Star Trek fanatics, video gamers, and hobby gamers.  Have you ever noticed the games that the cast plays at the beginning of episodes?  While the "Ticket to Ride" game going on in a recent episode was a fairly mainstream demonstration, the playing of "Talisman" during an earlier episode points to some serious Hobby Gaming on someone's part.

Second, these people are nice.  Extremely nice.  David Goetsch's only failing as a human being is that he is a Red Sox fan.  Given that the Cubs likely threw the 1918 World Series to give the Sox their much discussed "pre-curse" World Series victory, I have a particular disdain for Red Sox fans.  The fact that David Goetsch is so nice that he overcomes my anti-SoxFan bias is a testimony to how nice he truly is.  Listen to the conversations Shawna and I live-streamed with the writers.  They not only put up with my asides, meanderings, and bad jokes, they join in.  When hanging out with "real geeks," they spend not one moment laughing at us and are instead laughing with us.

Now for a discussion of "The Santa Simulation" proper, as it is an episode that has fostered so much distracting discussion on my various social network feeds.

"The Santa Simulation" is an episode that has as it's "A Storyline" that the core cast -- minus Penny -- haven't been able to play D&D as much as they like over the past few years and want to play.  They want to play so badly that they are willing to prioritize it over night's out with the women in their lives, in Sheldon's case he "forbids" his girlfriend from participating.

The first criticism that leaps out at gamers, and the one highlighted by Chris Pramas in the tweet I linked earlier, is that the show "propagates the myths that only dudes play D&D and that it's either D&D or sex."  I think that this is a fair criticism of the episode, but I'd like to examine it a little further.  It is true as far as it goes, but it should be pointed out that a) it is only Sheldon who "forbids" his girlfriend from playing, b) that Sheldon has very peculiar ideas about societal norms, and c) that Sheldon's girlfriend very much wanted to play in the game.

I'd also like to share a quick anecdote with you.  This past year, the company my friends and I started up launched our first Kickstarter.  We funded a Cthulhu Claus Holiday Card project that was illustrated by my wife Jody Lindke and that contained greetings written by Gaming God Kenneth Hite.  When the project was completed and all boxes had been shipped to backers, I approached my Friendly Local Game Store and asked if they would be interested in carrying the cards.  I also had a retailer tier available on the project.  The manager/owner of the local store said, and I paraphrase here, "the customers at this store would likely not be interested in the project as they aren't very sociable and won't have people to send them to.  They'll look at them, think they are cute, but won't buy them." 

I am not kidding.  Additionally, ZERO retailers backed the project.

That store owner was harder on the hobbyists who frequent the store than TBBT has ever been to the geek community.  The fact is that "gamer are not social" is tried and true stereotype.  The fact that hobby gaming is itself a social hobby that requires social networks -- physical ones not digital ones -- in order to fully appreciate is beside the point.  The most sociable people I know are all gamers.  Are all gamers sociable?  No, but many are and all seem to enjoy the company of their friends while playing games.  TBBT's "The Santa Simulation" at least got that part right.

Back to Chris's point though, he's right that the show didn't break stereotypes and it would have been nice if they had.  It would have been fun seeing how Penny reacted during Leonard's "Holiday Themed" D&D adventure.  I think there was some real room for comedy gold just in that thought experiment, not to mention how it would drive Sheldon crazy.  This is especially the case given that Sheldon has yet to defeat Penny at any game, and an entire episode was dedicated to Penny besting Sheldon -- though sad to say that episode (The Re-Entry Minimization) didn't include any hard core hobby games.  So I think Chris is on to something with his reaction.  TBBT had a moment when they could have gone for the harder, but funnier, storyline and they didn't.  TBBT stuck with the easy gamers are boys assumption when they could have been narratively braver.

That isn't only due to meeting stereotypes though, or from a lack of ability.  It also has to do with screenplay structure.  TBBT -- like most modern shows -- has an A and a B storyline.  Sometimes they even have a C storyline.  Given that the majority of the cast was playing D&D and they only had 3 regular characters not in the game, what would be left for the B storyline if everyone was playing the game?  That's a challenge the writers had to face, and they came up with the episode they came up with.  It was essentially "boys night vs. girls night out."  And you know what, the "boys night" looked like more fun.

That's right, the D&D game looked like more fun than going out "clubbing."  Leonard's "Let's rescue Santa Claus" D&D adventure was exactly the kind of thing gamers do for the holidays.  Savage Worlds has a free Christmas Evening adventure -- and I should point out that a couple of years ago I ran a Savages Save Santa Necessary Evil game.  RPGNow is filled with holiday themed adventures for heaven knows how many game systems.  This year I ran a Call of Cthulhu holiday themed adventure -- and no it didn't involve Cthulhu Claus.  Next year's will.  The guys were all having a great time, the play looked engaging and fun, until Sheldon ruined the boys night out due to his personal history with Santa Claus.

Let me say something that was embedded in that last paragraph again.  It made playing D&D look fun.  It started off silly, but in the end it looked like a great time.  I can see someone saying, "That's what people where afraid of in the 80s?  Really?  It looks fun and I'm going to give it a try."

Do I think the episode could have been better?  Yes.  Having Penny and Sheldon battle it out over the fate of Santa Claus would have been amazing.  Showing non-gamers being recruited to gaming was a missed opportunity for D&D evangelization.  But the episode was fun, and it made me happy that I'd already planned a holiday themed Cthulhu game.

Roleplaying and Player vs. Player Conflict

Everyone who has played a role playing game has at some point experienced sessions, or even campaigns, that contain Player vs. Player conflict.  When it comes to MMORPGs, there are some who claim that Player vs. Player is their favorite mode of play.  There are even Pen and Paper RPGs that have Player vs. Player treachery as the primary motivating factor for the game -- PARANOIA I'm looking at you.  There is definitely a time and a place for PvP play, it can be highly rewarding.  Much of the game industry is based on the assumption that the players will be playing against one another and not cooperatively.

One of the major innovations of RPGs was that they stressed player cooperation rather than competition.  A fact that many DMs didn't take enough to heart in the early days.  Which brings to mind how important it is to understand what your players expect from a game, and how to set expectations to minimize disappointment if a group has decided to embark on a PvP campaign experience.  After all, who hasn't lost a friend or two over a game of DIPLOMACY due to a breaking of that game's "magic circle" when someone used real world commitments/obligations to shape outcomes in the game.




Which brings me to the point of this post.  Player vs. Player conflict can be great in a game, but "inner party" strife can ruin a game.  If the players of a game are expecting this: 

And they get this as a part of adventure design:

You can end up with some very disappointed players.

I recently had this occur during a recent season of D&D Encounters (The Council of Spiders adventure).  The module is set up so that the characters distrust one another and have conflicting objectives.  To add to the intraparty conflict, WotC released "Treachery" cards that can be used during play.  The treachery cards cause bad things to happen to your fellow players -- or take advantage of bad things already happening to them -- and give you a benefit.  The intention is to create a sense of paranoia and drama.  It's a decent goal, but it can end with disappointed players.

This is due to a couple of reasons:

1. Player expectations -- Many people play RPGs because they want a collaborative experience where they work with others to achieve objectives.
2. Mary Sue Syndrome -- The descriptor might sound derogatory.  Don't take it that way.  Many players are playing romanticized versions of themselves.  This is true even when they aren't playing a character who seems remotely like themselves.  Players care about their characters and they want control over them.  When PvP erupts in an RPG it often makes a player feel threatened...and by other players no less.  This can lead "at the table" conflict to leave the magic circle of play and bleed over into real life.  This isn't good, and unless you're playing PARANOIA this is a real risk.  Let me restate this again.  Players play characters again and again because they like them.  If they perceive that character is being directly threatened, they may take it as a slight against themselves.
3. Most Players Don't Really Suspend Disbelief -- What separates good actors from bad actors?  One trait is the ability of good actors -- even ones who aren't "transformed" in each role -- is there ability to immerse themselves in a role and completely separate themselves from the actions of the character.  Most gamers aren't good actors.  The veil of suspended belief is thin.  They are usually not roleplaying.  They often take "roleplayed" moments more seriously than they should.  As a DM, I have roleplayed NPCs who were jerks to one or more players.  I have often had to go out of my way to let players -- who thought I was beating up on them -- know that it was only the character behaving this way, that I was acting.  This surprises some players as they expect you to do something like say "so and so says" rather than for you to affect a voice and act it out straight.
4. Metagaming -- Players will use information they don't have against their peers.  Did the Evil High Priest secretly tell player A to plant evidence that player B was a member of an evil cult?  Guess what.  If there has been time between sessions, player B will begin looking for that evidence.  This is true even if player B would have no idea the planting of evidence is occurring.  They will act on player information and be hurt when they are called on it.  Why?  See #3 and #4. Ask me about a Vampire LARP experience regarding this kind of conflict where players teamed up against a storyteller's character -- an Antediluvian Settite -- because characters were acting on player knowledge.   They had a big gathering.  Every vampire in the session knew the guy was a Settite.  Everyone.  Even though his power was to make people do stuff without knowing who told them to or why.  They were supposed to think it was their own idea.  It took some very skilled ad libbing from a co-storyteller to transform the narrative into making this "trial" the key piece of action.  The action was supposed to be around the Prince.  But people didn't want to "hurt" their friends, so they acted on player knowledge and reworked a whole narrative.  It worked.  No one's feelings were hurt, but it was still a mess. 

In my opinion, Player vs. Player conflict can be a powerful narrative tool.  After all, the source of all DRAMA is conflict.  Thing is in player vs. player conflict -- that isn't entirely pre-scripted and then acted out line by line by actors but is actually played -- things can get messy.  They often do get messy.  I would argue that setting up cases of player conflict should be rare.  I might even recommend avoiding them altogether.  You'll have a happier table, even if it is one that misses out on some "dramatic opportunities."