1
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Introduction to this edition
Inter*action lasted one issue. By the second issue both the magazine
and the publisher had changed names: Inter*action had become
Interactive Fantasy, the ‘journal of game design and criticism’, and
Crashing Boar Books had transformed into Hogshead Publishing,
the company that later published Warhammer Fantasy Roleplay, Nobilis
and the New Style line of games. The magazine’s key staff remained
the same over its short run: the editor was Andrew Rilstone and the
publisher was James Wallis.
vvvv
Over the years, many people in the industry have told me how
important Interactive Fantasy was in shaping their thoughts and
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approaches to game design, and they’ve all had the same question:
why did it fold? The answer is simple: it was losing money. Lots of it.
We didn’t break even on a single issue.
vvvv
vvvv
James Wallis
james.wallis@gmail.com
London, 2012
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INTERvACTION
The Journal of Role-playing and Storytelling Systems
Issue 1
CONTENTS
3 Editorial
OVERVIEWS
10 Role-Playing Games by Andrew Rilstone
16 Live Role-Playing: the meta-play by Jay Gooby
21 Freeform Games by Andrew Rilstone
25 Re-enactment as Interactive Narrative by Nick Middleton
28 Solo Gamebooks by Marc Gascoigne
36 Improvisation in the Theatre by Michael Cule
40 Psychology and Psychotherapy by Keith Hurley
RECREATION
50 Where We’ve Been, Where We’re Going by Greg Porter
59 Do The Right Thing by Allen Varney
66 Realism vs Playability? by James Wallis
84 CAR-PGa by Paul Cardwell, Jr.
ANALYSIS
90 The Hidden Art by Robin D. Laws
98 Interactive Fiction and Computers by Phil Goetz
REVIEWS
118 SLA Industries reviewed by James Wallis
122 Casalana City Guidebook reviewed by Andrew Rilstone
IA 01
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INTERvACTION
The Journal of Role-Playing and
Storytelling Systems
Issue 1
Published by:
Crashing Boar Books
29a Abbeville Road All contents are copyright ©1994
London SW4 9LA by their original creators. Short
Great Britain excerpts are permitted for the
(+44) (phone number removed) purposes of review or reference.
2 intervaction
Editorial
Avyseth yow, and put me out of blame
And eke, men shall nat maken ernest out of game.
Chaucer
You hold in your hands the first issue of a magazine that we believe
should have been launched a decade ago.
In the last twenty years, role-playing has grown up a lot—crawled
out of the dungeon where it was born and clambered onto comput-
ers, onto television screens, and now hovers on the brink of virtual
reality and who knows what else. And yet, we believe that much of
the hobby media has remained firmly in the nursery. Inter*action in-
tends to take interactive narrative—role-playing and story-telling sys-
tems—with due seriousness: to focus on the cutting edge of the field.
It will concentrate on systems that encourage creativity, exploration,
and story-telling, and promises to neglect the slaying of goblins and
the stealing of gold pieces.
The astute reader may have observed that we have kept the word
‘game’ off the cover of this, our first issue. Do not despair: you will
find lots of discussion of role-playing g*mes, computer g*mes and
solo g*mebooks in this magazine. Nevertheless, we prefer the term
‘interactive narrative’. That may sound intimidating, but ‘game’ is a
loaded term.
When we talk about ‘games’ we usually mean sports, or abstract
games like chess or monopoly, or something frivolous and silly, ‘fun
and games’. Frivolity and competitiveness do not seem to us to be
very appropriate words with which to describe the complex, time-
consuming, subtle and creative pastimes that go by the name of ‘role-
playing games’.
The word ‘play’ is a lot more promising, since it has a double
meaning. It means ‘to engage in a sport’, but it also means ‘to en-
gage in a theatrical performance’. People play Hamlet, but they also
play football. Small children seem to use the word in both senses at
once. ‘Let’s play soldiers!’ they say, which means—let’s play a game in
which we pretend that we are soldiers, a game that might degenerate
into ‘tag’ or ‘hide and seek’ at any point. Etymology is on the side of
the children. In Middle English, the word ‘game’ and ‘play’ were in-
terchangeable. ‘Let’s play a game of the nativity’ meant ‘Let’s stage a
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nativity play’. Freud tells us that, for children, the opposite of play is
not ‘what is serious, but what is real’. The child knows the difference
between playing at being a monster and actually being a monster, but
the play world may seem every bit as important to them as the real
one.
Desmond Morris talks about the exploratory function of play. A
child, he says, like a monkey, enjoys making marks on a piece of pa-
per; exploring what can be done with shapes, discovering what lines
and colours can do. Gradually, they realize that they can use their
crayon not merely to make patterns, but also to make shapes—faces,
cars, trains, whatever. They can use art to represent reality: what they
started out doing for fun has become useful. This representational
function takes over from the purely exploratory function.
‘It was an act of discovery,’ says Morris, ‘of invention, of testing
the possibilities of graphic variability. It was activity painting, not sig-
nalling. It required no reward—it was its own reward, it was play for
play’s sake... Photography and its offshoots have rendered represen-
tational information painting obsolete. This has broken the heavy
chains of responsibility that have been the crippling burden of adult
art for so long. Painting can now once again explore, this time in a
mature adult form. And this, one need hardly mention, is precisely
what it is doing today.’
This is exceptionally well balanced advice. Rediscover, says Mor-
ris, the childish experience of play for play’s sake, but do it in a ma-
ture, adult form. ‘Gaming’ sometimes seems to be an almost self-con-
sciously childish pursuit. Gamebooks are published by juvenile im-
prints; computer adventures are aimed at adolescents, fantasy stories
take their source material from fairy stories. Role-playing games can
involve ‘toy soldiers’ ‘dressing up’ and ‘play fighting’ and the cry that
‘role-playing is let’s pretend with rules’ goes up from the first page of
nearly every role-playing game.
And there is the other cry, one that this magazine, with its stated
intention of treating gaming in a mature, intelligent, critical manner
will doubtless provoke from some quarters: the cry that ‘It’s only a
game!’ Players, some players at any rate, seem to want gaming to re-
main a childish, frivolous, marginal pursuit: not worthy of serious con-
sideration and therefore, of course, immune from serious criticism. At
the other extreme, there are those who—equally self-consciously—try
to legitimize what they do. They are keen to emphasize that ‘role-play-
ing isn’t just for kids.’ If they play with toy soldiers, they are careful to
call them miniatures. If they play live-action, they worry that their cos-
tumes and rubber swords might give people the wrong impression.
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But why worry? While gaming remains intimately connected with,
say, Dungeons & Dragons, The Warlock of Firetop Mountain and Treas-
ure Trap, there has been no shortage of products that claim to be
artforms, to be methods of self-exploration, to be realistic historical
simulations. Indeed, one might wonder whether the complex—some
would say over-complex—rules systems associated with, say, Advanced
Dungeons & Dragons are part of this legitimization process. The ado-
lescents who play the game have just grown out of ‘playing soldiers’
or ‘playing with dolls’. Perhaps they need complex, difficult rules to
escape the suspicion that what they are doing might be rather child-
ish, whereas many adult games, more confident in their maturity,
are willing to embrace much simpler—perhaps more playful—rules.
‘When I became a man, I put aside childish things: including the de-
sire to appear very grown-up’.
If the editors of Inter*action were forced to make a decision, they
would place themselves in the second camp. We think that role-play-
ing and other forms of interactive entertainment are worth taking
seriously. We intend to bring the full force of whatever learning or in-
telligence we have to bear on asking basic questions about our hobby.
What is that we do? Why do we do it? How can we do it better? What
effect might it have? But we also recognize the tension, the paradox
even, in taking a ‘game’ seriously: in being mature about something
that has its origin in quite such a childish impulse.
It was the same impulse that attracted most of us to the hobby in
the first place, whether our point of entry was Dungeons & Dragons,
Warhammer, Fighting Fantasy or Gauntlet. An infatuation with Tolkien,
Star Wars or cyberpunk. An attraction to fantastic imagery. A vague
feeling (fundamental, surely, to being adolescent) that you are not
quite at home in this world. Some games might almost have been
written with this adolescent world-view in mind. The sad, gaunt vam-
pire, tormented by urges he can barely understand. The faceless
space-marine, all but helpless in a crazy, hostile universe. The root-
less adventurers, in the wilderness at the edge of their society, seeking
aimlessly for ‘experience’.
Role-playing games seem to appeal to a basic sense of discontent.
‘Leave your world behind!’ they say. ‘YOU can become a hero’. ‘Be
part of the legend’. ‘Relive the glories of King Arthur’s court’. Escap-
ism is what sells role-playing games, but escapism of a very specific
kind. RPGs offer the discontented adolescent—or the bored, over-
worked adult—the possibility of becoming part of a different world.
‘Other people read about imaginary worlds,’ role-playing games
seem to say, ‘but we can take you there.’
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However, the can’t. Role-playing games fail, almost by definition,
to deliver what they offer. No amount of dice, computers, or costumes
can give you the firsthand experience of another world that so many
of us crave. That may be one reason why the publishers’ claims be-
come so hyperbolic.
‘Not just a game,’ claims every single computer adventure ever
published, ‘a complete world.’ And we buy them, and discover—of
course—that they are just a game. When live-action role-playing first
appeared on the scene, we were told that this was the next step to-
wards reality: finally, it was said, you could actually experience a fan-
tasy world at first hand. It failed, of course, to deliver: it merely re-
placed the artificial constraints of dice and miniatures with the artifi-
cial constraints of poor costumes and inadequate special effects. Peo-
ple are now muttering that Virtual Reality may achieve this dream of
unmediated access to an imaginary world. When that fails, they will
start talking about direct sensory input or the holo-deck.
Role-playing games fail to deliver what they offer, because what
they offer is something that can never exist. But they deliver some-
thing good: something fascinating, worthwhile and interesting in it’s
own right. Rather than retreating behind clichés of ‘it’s like let’s pre-
tend’ and ‘it’s only a game’ we should be examining, analysing and
promulgating this fascinating new thing, this strange and complex
and still-growing new way of telling and reading and writing stories.
Morris says that painting was freed from the chains of represen-
tation, and that artists therefore recaptured something of the child’s
wish to explore colour and shape in its own right. But he adds an
important rider: modern non-representational painting does so in a
mature form. The painter does not attempt to forget what he knows
of colour, of ink, of the world. But still he plays and explores. It is in
this sense that we believe that interactive narrative should be seen as
‘play’. The sooner we get rid of the sense that role-playing and com-
puters are a type of ‘game’, a type of competition with winners and
losers and complex rules, the happier we will be. But we should never
lose the sense that it is play: play in the sense of the free play of ideas.
Play in the sense of asking ‘What if?’, ‘Why?’ and perhaps most dan-
gerously ‘Why not?’
And play, perhaps in the most important sense. The child knows
that whatever happens in their game of soldiers, they won’t be killed:
that they can break the game off whenever they like. Play gives you
great freedom to experiment, because what happens in a game
doesn’t matter. When Alan Ayckbourn’s (largely hostile) play about
role-playing games was reviewed in the left-wing Tribune newspaper,
6 intervaction
the reviewer commented: ‘The fantasy game emerges as a triumph of
private space in a dreadful world: more people play dungeons and
dragons (sic) than go to political meetings.’ Just so.
There has been a movement to get role-playing legitimized in
some sense as ‘serious art’. In so far as ‘art’ means ‘a person express-
ing, and playing with, what is most important to them as well as they
know how’, then this is an idea that we can wholly endorse. But occa-
sionally one hears people suggesting, say, performance role-playing
(great actors as characters, a great writer as referee, and a TV audi-
ence witnessing the result) or else what might be called ‘consumer
role-playing’: role-playing where great writers or games designers
have pre-ordained what can happen. We are suspicious of these ide-
as. Part of the point of role-playing games is that no one is watching,
no one is listening apart from the people playing. And this frees them
to explore, to investigate, to discover, to say new things and tell new
stories.
Joseph Campbell speaks of the need for, and the loss of ‘sacred
space’: somewhere of your own to inhabit and do what you want with,
and who cares what the rest of the world says? Salman Rushdie visual-
izes the novel as something so ultimately unimportant that it provides
the imaginative space to explore the most important ideas. Role-play-
ing has, perhaps, some affinities with both these notions. That, then,
is our project. To look at the entire field of interactive literature—of
role-playing and story-telling systems—of grown-ups at play. To con-
sider it with all the critical rigour that films, theatre and the novel
have enjoyed. To criticize commercial products, and to be aware of
what the grassroots of the hobby is creating. But never to loose sight
of the fact that it is only a game. And therefore, the most important
thing in the world.
Welcome to Inter*action. We intend to be here for a very long time.
Andrew Rilstone is one-third of the design team of Once Upon a Time, the
story-telling card game that has been loved by everyone from college dorms to
elementary classrooms. He was briefly half of the editors of Gamesman maga-
zine, and is still liable to start to whimper if you ask him for the details. He
was all of the editors of Aslan, an influential fanzine that pioneered concepts of
freeform role-playing, systemless play, improvisational gaming and very long-
winded debates. He is currently writing a gamebook, a novel, a radical new
SF role-playing game, and a lot of short stories in which he whinges about bad
clergymen and teachers.
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Overviews
by Andrew Rilstone
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Role-playing games by Andrew Rilstone
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Overviews
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Role-playing games by Andrew Rilstone
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Overviews
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Role-playing games by Andrew Rilstone
Notes
1
I cherish the idea that when little Charlotte, Emily and Anne Brontë started to pass the
time in Haworth vicarage by spinning an elaborate fantasy world around a collection of
lead miniatures that they found in the attic, they not only changed the direction of the
English novel, they also invented the first role-playing game.
2
The only exceptions I am aware of are Alma Mater, (which deals with American teen
culture) and the licensed Dallas game, which was only borderline role-playing in any case.
Steve Jackson’s monumental GURPS meta-system has provided background books on a
large number of historical settings, but even here, the reliance on SF and fantasy themes
is striking.
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Overviews
Live Role-Playing
The meta-play
by Jay Gooby
Imagine a play where the benefit of the performance is for those par-
ticipating. This performance has no audience and occurs not on a
stage, but in castles, woodlands and manor houses. The actors have
no scripts, instead, they create the story, change and develop it by
their own actions. This is live role-play: a meta-play with the singular
purpose of entertaining and educating its performers.
Live role-play (LRP or LARP), emerged about twelve years ago in
1982, with its roots firmly planted in the soil that bred table-top role-
playing games such as Dungeons & Dragons and Runequest. That first
LRP system, Treasure Trap, held many similarities to the role-playing
games of the time: the idea of taking on the persona of certain (by
now) stereotypical ‘character classes’ and races; the fantastic world
possessed of inherent magic where adventuring was a viable career
option. The vocabulary of early LRP was almost entirely derived from
that of table-top role-playing ideas and principles: the ‘adventuring
party’, the ‘encounter’, the ‘monster’.
The innovation of Treasure Trap was to take the mechanics of ta-
ble-top role-play and to make them ‘live’. Instead of rolling a die to
see whether you succeeded or failed in a particular action (e.g. fight-
ing with someone, casting a magic spell, running, leaping or hiding),
with live role-play these dice rolls became real actions. Sword fighting,
running, leaping and hiding actually took place. Spells were ‘cast’ by
quoting a line followed by the effect of the spell: ‘By the power of the
fire elements—Fireblast!’ Those having the spell cast at them reacted
appropriately, role-playing its effect upon them. Physical combat oc-
curred by way of ‘safe’ weapons. These were swords, axes, maces, etc.
all constructed from high-density foam glued over a rigid central core
and covered with appropriately coloured tape1.
Certain conventions were also introduced to simulate the impos-
sible: a hand in the air signified invisibility, a call of ‘Time-freeze’
indicated that the players in a game should shut their eyes and halt
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Live role-playing by Jay Gooby
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Overviews
and costuming exist primarily for the benefit of the audience, not the
actor. Live role-players however, crave these things. They are an es-
sential part of the ‘performance’, if you will.
Characterization is further aided by ‘character sheets’, anoth-
er hangover from table-top role-play. Character sheets describe
what skills that particular persona has. They let the player know the
boundaries of their ability, and go some way to giving an idea of what
kind of person that character is: are they illiterate, do they know how
to fight, are they dextrous? They are a curriculum vitae of sorts.
One final legacy of table-top gaming normally found on an LRP
character sheet, is that of ‘hit points’. These are the gauge by which
physical combat is measured. For years, combat was of principal im-
port in LRP, a game often consisted of little else but meeting and
then fighting with things, and as such its importance has perhaps
been overestimated. A character will therefore have a list of skills and
a set of statistics stating how many ‘hits’ or blows with a weapon they
can take. One hit with a sword equals one hit removed from your hit
point total. Different weapons may do differing amounts of damage,
thus simulating heavier, sharper or more skilled attacks. Combat is
simple. To inflict a hit on someone, you really do hit them (with a fake
weapon), but ‘pulling’ your blow (i.e. not putting anywhere near your
full force into it). The person under attack attempts to parry or to hit
those attacking, in a game that
hearkens back to fencing with branches and sticks. Futuristic or mod-
ern-day scenarios employ much the same principle, but with fake,
replica or blank-firing guns instead. You simply point and shoot, just
like a game of Cowboys and Indians.
The extent to which characters interact and develop is largely de-
fined by the kind of game they are playing. In linear adventures, the
emphasis is on action and combat. The story of the scenario is very
rigid, the path through it leading directly from A to Z. At each point
along this path, there will be an encounter, where the characters must
overcome or defeat a problem or enemy. Ultimately they will reach
point Z, the goal of the story, and will face a final battle where they will
either succeed or fail. They won’t lose the game itself, because it is not
a win/lose situation, but there is the chance that the characters will fail
in some personal goal or quest, which they accepted by undertaking
the challenge in the first place.
Linear adventures can be thought of an exploration of someone
else’s narrative—it has been planned from start to finish, the influ-
ence of the characters within the story exerting only a ‘defeat or be
defeated’ attitude to the plot devices within it. They are often based
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Live role-playing by Jay Gooby
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Overviews
by other people that they have actually met and interacted with, or
will do so at some point. Progression is not measured by gaining new
skills or levels, and certainly doesn’t occur as quickly. It is a slow, grad-
ual process, involving the making of new friends and acquaintances,
it is a process much like that in real life, of maturing and gathering
knowledge.
Live role-play today encompasses many, many different genres. It
would be pointless to list them, but suffice to say that you could try
anything from modern-horror through to high-fantasy. It is also far
more than just a game. Corporations test their employees through
role-play, youth rehabilitation explores concepts that would be other-
wise alien to the participants, and friends can explore their relation-
ships and perceptions of one another at a tangent. The combination
of role-play and dressing-up is how, as children, we learnt a great deal
about the world around us. It is perhaps one of the most powerful
narrative tools we possess.
Notes
1
Today it is rare to see a ‘gaffa tape’ sword, with far more advanced techniques and materials
such as casting, injection moulding and liquid latex being employed to achieve realistic
‘fantastic’ weaponry.
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Freeform Games
An overview
By Andrew Rilstone
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Overviews
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Freeform games by Andrew Rilstone
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Overviews
Notes
1
Just to confuse the issue ‘freeform’ is also used much more generally, as an adjective, to
refer to any game that de-emphasises rules and formal structure as in ‘Ghostbusters has a
freeform approach to character design.’ The editor promises that these terminological
inconsistencies will be ironed out by issue six at the latest.
2
Morgana Cowling’s Freeform Book, published by The Australian Games Group (TAGG),
and White Wolf ’s over-packaged box set Vampire: Minds Eye Theatre. The popular Host Your
Own Murder sets bear some affinities with freeforming, but are beyond the scope of this
article.
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Audiences, Actors
and Enactment
Re-enactment as interactive narrative
by Nick Middleton
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Overviews
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Re-enactment by Nick Middleton
Nick Middleton has been involved in the Stafford household of Livery and
Maintanance, and other Tudor and Wars of the Roses re-enactment groups,
for the past five years.
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Solo Gamebooks
Introductions to interaction
By Marc Gascoigne
28 intervaction
Solo gamebooks by Marc Gascoigne
saying that they were crude in printing, layout and artwork; Judges
Guild was famous for it) but did spread the concept of solo gaming
to different game systems. In the UK, meanwhile, fanzine author Bri-
an Asbury self-published his Solo Dungeon, which was the most con-
sistently balanced and playable adventure yet. And, of course, fairly
sophisticated adventure games were being written for every type of
home computer there was, though these, often more concerned with
puzzles and jokes than ‘the stuff of heroic fantasy’, would not always
capture the atmosphere of a proper fantasy role-playing game.
All of these products, many distributed by their own company,
Games Workshop, inspired Jackson and Livingstone to realize that
solo adventures could, if handled properly, be very popular. Build-
ing on what had already been done with the form, they knew to keep
the rules short and flexible; the more complex your rules, the more
paragraphs you used up trying to cater for all eventualities rather
than advancing the plot. Also, they did away with the misconception,
common to earlier adventures, that the directions given to the reader
should be so accurate they could map the adventure, having to in-
clude directions along the lines of ‘the tunnel runs 12 metres due west
then turns north for 3 metres’ detracts from the heroic atmosphere
that one is trying (emphasis on the ‘trying’, perhaps) to summon up
for the reader.
When Jackson and Livingstone attempted to interest publishers
in their idea, they met with universal incomprehension, even despite
Ian’s previously published guide to role-playing games, Dicing with
Dragons. Eventually, however, after more than a year of indecision,
Puffin Books took the plunge, and was rewarded by large sales. The
success of The Warlock of Firetop Mountain can be put down to many
things: it was the first mass-market example of something that was
inevitable, true, but it was also done well: it was compact and simple,
managing to encapsulate all the appealing ideas of more complicated
role-playing games in one handy (and cheap at only £1.25) introduc-
tory paperback. Besides, with the promotional weight of both Pen-
guin Books and Games Workshop behind it how could it fail?
This first gamebook was soon followed by sequels. In Steve Jack-
son’s The Citadel of Chaos (FF#2), published at the beginning of 1983,
magic was introduced for the first time, using a very simple system
of known spells that had to be re-learned (at various opportunities
through the adventure) to be re-cast. It was plain that the gamebooks
became very popular very quickly; this particular book was reprint-
ed to meet demand nine times in 1983 alone. In Starship Traveller
(FF#4), the location moved logically to the other popular setting for
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Solo gamebooks by Marc Gascoigne
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Overviews
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Solo gamebooks by Marc Gascoigne
various different items which would prove the keys into different
parts of an adventure, or the means of gaining vital pieces of infor-
mation from encountered characters. Unlike many computer adven-
ture games, however, the gamebooks still insisted upon total internal
consistency. Puzzles were logical; answers, characters and events were
consistent with the adventure’s fantasy background and the world of
Titan as a whole.
Despite the increased sophistication and quality of the adven-
tures, it was obvious that the law of diminishing returns had set in,
just as it had in the general field of gaming as a whole. In simple
terms, the craze had died down, and what was left was the hobby.
Those publishers who had leapt onto the bandwagon initially wound
up their series; those who had been late (like Allen & Unwin, with
their Fatemaster series) jumping on had missed the boat and were
being rewarded with poor sales. Joe Dever’s popular Lone Wolf and its
associated, magic-based GreyStar series were nearing their end, and
were now being superseded by novelizations set in the same world.
For Puffin and Fighting Fantasy this decline was less noticeable.
World-wide licensing of the titles was proving popular, especially in
Japan. Puffin, too, tried novelizations, though an interrupted sched-
ule did not help their sales. A need to push a more sophisticated side
of the game had led to Dungeoneer, the first volume of Advanced Fight-
ing Fantasy, which was a brave attempt at producing an introductory
role-playing game that was very easy to understand yet sophisticat-
ed enough to be entertaining and long-lived; two further volumes of
AFF rules and adventures have now appeared. Ultimately, however, it
was the gamebooks which continued to be the backbone of the range,
and these were now becoming very sophisticated, while still remain-
ing true to the very rigid strictures of the form.
In the summer of 1992, the Fighting Fantasy series celebrated its
10th anniversary and its 50th (regular) gamebook with Return to Fire-
top Mountain. A discreet flash on the back cover of that book noted
that the series had achieved more than 12 million world-wide sales.
There was some discussion about whether the series would stop there,
but levels of sales—the ultimate arbiters for any publisher—have
meant that the series is continuing. Recent titles have pulled back a
little from the experimental edge, perhaps, but continue to push gen-
tly at the boundaries of what can be done within the strict format of
the genre. Paul Mason’s forthcoming Magehunter (FF#57), for exam-
ple, is based around a dimension-hopping, form-swapping renegade
sorcerer; to succeed, the hero must not only track down and find his
prey but must make sure he is in the right body before he transports
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Overviews
himself back to his home plane. All this is some way from beating up
some orcs and finding the right three keys to open the final treasure
chest, as one must do in The Warlock of Firetop Mountain, yet still oper-
ates firmly within the areas defined by the Fighting Fantasy series.
Puffin are also trying to lure in new readers. Tying in to the video
game explosion, gamebooks based upon Sonic the Hedgehog and Eter-
nal Champions are being presented as a cheap and easy way of contin-
uing one’s adventures with one’s favourite heroes. It is possible that
these will see the start of a new trend so that alongside any successful
multimedia project one will see tie-in gamebooks alongside noveliza-
tions, comic books, T-shirts, et al. It’s equally possible that potential
readers will save their pounds for buying the real thing. For younger
readers, Puffin are about to launch First Fighting Fantasy, using plen-
tiful illustrations and simplified rules to attract very young gamers at
an age far younger than that of the average FF reader; again, this is
an experiment that will have to be very carefully handled and mar-
keted if it is to work.
More generally, other publishers have decided to take the plunge
again and have initiated something of a renaissance in gamebooks,
most especially with Dave Morris’s Virtual Reality gamebooks. Perhaps
there is a new generation who, whether through prolonged exposure
to and acceptance of the idea of role-playing games, or the popularity
of computer games, want to try gamebooks again; perhaps publish-
ers have just forgotten how many failed to make a profit out of the
craze the last time round. In the US, TSR are preparing a new range
of Dungeons & Dragons gamebooks, though once again they seem to
have decided to forego most of the gameplay in favour of easy op-
tions and long passages of description.
In 1994, the gamebook format is rigidly defined, and all pub-
lished works within the field fall into this very narrow band. While
individual books within the different series, and various series them-
selves, are pushing back some boundaries of what can be done us-
ing the form, such innovations remain firmly within the formats of
mass-market paperbacks targeted at young readers. As it stands, in
terms of doing something new and potentially exciting and enlight-
ening, the gamebook form is most definitely not being used to its full
potential, but the tension between innovation and the need to actu-
ally sell enough copies to make them attractive to a book publisher
prevent most different attempts from making it past the pipe-dream
stage. If anything more interesting can be done using the solo ad-
venture form, it is unlikely that it will occur in the gamebook field. In
the future, it will surely be in the field of immense stylized computer
34 intervaction
Solo gamebooks by Marc Gascoigne
Marc Gascoigne is a freelance writer and editor, and has written a number of
solo gamebooks, novelizations and related works.
one 35
Improvisation in the Theatre
As Discipline, Tool, and Political Statement
by Michael Cule
And let those that play your clowns speak no more than is set down for them
Hamlet, by W. Shakespeare. III.2
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Improvisation in the theatre by Michael Cule
the ball, playing off each other and the audience. How much new ma-
terial would be included in each evening’s performance would vary
with the standard of the troupe.
The characters were traditional and the players wore standard-
ized costumes and masks (except for the young lovers who were bare-
faced). We might see the origins of ‘archetype’ character generation
systems in the characters of commedia. There were the madcap serv-
ants or zannis, (from whom we get the word ‘zany’), the boastful sol-
dier who runs at the sight of a mouse (usually a Spaniard in Italian
commedia), the doddering, rich man Pantaloon (originally a Venetian
merchant); the learned doctor whose patients always die; the young
maiden and her lover, the maidservant. You can see the origins of Star
Wars’ character prototypes here.
But although the characters were old favourites and audiences
wanted to see them again and again, there was a tendency for them
to become more and more individualized and distinguished from
one another. Actors would take a stock character and give them more
and more of a personality, making a name for themselves in the pro-
cess. And when they died, the character they made would become
part of the repertoire of the commedia everywhere. From among the
zannis came Arelecchino/Harlequin and the hunchbacked Pulcinella
who became Mr Punch. The boastful Capitano developed into Scar-
amouche, a trickster figure who starts fights and lets others finish
them.
But then, as commedia spread and mutated (into Harlequinade,
into the Punch-and-Judy show, and eventually into the English pan-
tomime) it began to become rigid. The routines and characters that
had been springboards became traps, no longer changing and flow-
ing to fit the talent of a particular actor at a particular time, but be-
coming straitjackets. Also, there was an attempt in the early nine-
teenth century to reclaim the theatre for literary virtues. Commedia, al-
ways a rare and difficult art, died out and its remnants were absorbed
by low ‘illegitimate’ theatre. Purely improvised theatre is very rare
nowadays and probably will always be so. The technical complexity of
theatre in the twentieth century also militates against unplanned per-
formance.
There may be a moral here: role-playing as an artform. We’ve
started to throw off the shackles of overly complex game systems that
we inherited from wargaming. But perhaps we should be worried
about the upcoming expansion of computer systems and Virtual Re-
ality. It may be that the artform will be bent to do what the technical
systems are good at.
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Improvisation in the theatre by Michael Cule
cision even if it isn’t necessarily the best one. If the director doesn’t
like what you’re doing then you do it their way or get replaced.
But some people don’t like this. There have been all the way
though the twentieth century attempts to make theatre by a collec-
tive process. This isn’t the return of commedia: the final production is
fixed, not improvised afresh every night. But the material is created
by the company in rehearsal. Everybody has an input, there is no sole
author. The director becomes less of an autocrat and more of a secre-
tary to the committee. At least, that’s the theory.
You may have gathered that I’m not entirely in sympathy with this
approach to the theatre, which is unfair of me since I’ve not really
done any since I was at school and had to suffer in the back row of the
dreadful ‘collective’ piece that drama teachers tended to put together
when they had huge number of stage-struck pupils to deal with. It’s
partly the memory of these dreadfully bathetic production and partly
the experience of committees of actors (in Equity general meetings
and at a co-operative agency I was once involved in) that puts me off:
there’s nothing I loathe more than a bunch of egos in a small space
all crying, ‘Mr Chairman!’ It’s also partly that such hyper-democratic
approaches don’t appeal to my political prejudices.
But I don’t suppose that such prejudices of mine will stop the
movement from resurfacing. It produces some good theatre and has
produced one masterpiece: Theatre Workshop’s Oh What a Lovely
War.
Sometimes, role-playing seems like this also. But there is a pecu-
liar combination in the role of the GM that makes total democratiza-
tion of RPG unlikely: the GM is a performer, the writer, the director of
the troupe and the referee of a wargame. And that last power (which
I don’t think can be taken from him) ensures that the vestiges of hi-
erarchy cannot be removed. The final moral is: the GM has the last
word. And that is how it should be.
one 39
Uses of Role-playing
Within Psychology and
Psychotherapy
by Keith Hurley
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Psychology and Role-playing by Keith Hurley
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Overviews
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Psychology and Role-playing by Keith Hurley
Assessment
Apart from actual therapies, role-playing has also been used with
some success as an assessment tool. For example Rehm and Marston
(1969) developed a method of assessing heterosexual anxiety in
males. This consisted of an audio tape which presented ten different
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Overviews
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Psychology and Role-playing by Keith Hurley
Keith Hurley was born in Coventry in 1972. He lives in Cork, Ireland and is
studying Applied Psychology at University College, Cork. A role-player since
before his parents care to remember, he has written articles for the now-defunct
RPG Quarterly fanzine. Enjoys roleplaying, gore movies, scuba diving and
bitching about censorship.
Bibliography
Bellack, A. S., Hersner, M. & Limparski, D. (1979). ‘Roleplay tests for
assessing social skills: Are they valid? Are they useful?’ Journal of Con-
sulting and Clinical Psychology 47, 335-342. As cited in Goldfried, 1982.
Bellack, A. S., Hersner, M. & Turner, S. M. (1979) ‘The relationship
of role-playing and knowledge of appropriate behaviour to assertion
in the natural enviroment’. Journal of Consulting and Clinical Psychology
47, 670-678. As cited in Goldfried, 1982.
Bellack, A. S. & Morrison, R. L. (1982) ‘Interpersonal Dysfunction’.
In Bergin, A. E. & Garfield, S. L. (eds) Psychotherapy and Behaviour
Change: An Empirical Analysis. New York: Wiley.
Chandler, M. J. (1973) ‘Egocentrism and Antisocial Behaviour: the
assessment and training of social perspective-taking skills’. Develop-
mental Psychology 9, 326-332. Cited in Mussen et al. (190)
Culbertson, F. M. (1957) ‘Modification of an emotionally held atti-
tude through role playing’. Journal of Abnormal and Social Psychology
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Overviews
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Psychology and Role-playing by Keith Hurley
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Recreation
one 49
Where We’ve Been,
Where We’re Going
A preliminary taxonomy for role-playing games
by Greg Porter
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Where We’ve Been, Where We’re Going by Greg Porter
showed that this wasn’t enough. For instance, Ars Magica is perhaps
typical of an earlier generation for its mechanics, but is far ahead of
most other games in that generation for its depth of background de-
tail. Is it one generation, or the other? To differentiate, each ‘species’
of game has two overriding characteristics:
Rules: The ‘realism’ quotient, both in an absolute sense (‘can
you be decapitated by a single blow from a two-handed axe?’), and
in a subjective context, i.e. whether the rules encourage play that
is true to the genre (silly cartoons, caped crusaders, grim merce-
naries, etc). In general, low-generation rules have more loopholes,
inconsistencies and dead-ends that interrupt the role-playing or
detract from the enjoyment of play. Higher generation games may
use the same basic concept but in a more elegant way, or with more
flexibility. For instance, a rigid character class in a low-generation
game might mutate into a flexible character template in a higher
generation game.
Background: Does the world have a consistent rationale behind
it? Do the societal, technological and paranormal (i.e. magic, etc.) un-
derpinnings of the game world stand up to close scrutiny, or are they
cardboard cut-outs that only work if you are too busy killing things to
notice their flimsiness? For instance, I have yet to understand why the
technology behind Star Trek replicators hasn’t caused a fundamental
change in economics (‘Captain, would you like your pay in replicat-
ed Hope Diamonds, or replicated gold ingots?’). Or for that matter,
why isn’t the normal phaser setting ‘wide-beam vaporize’ whenever
you aren’t worried about taking prisoners? In general, a low-genera-
tion background makes it harder for the referee to build a workable
‘world’.
These are the things under consideration. Things like ease of use,
indexing and other traits may be more common in a particular game
generation, but not define it. Any game can be poorly indexed, have
typos or other problems regardless of when it was produced. Also
note that ‘generation’ is independent of publishing date in this case.
An earlier game can be of advanced generation, while a later game
can be an evolutionary throwback.
I don’t expect this taxonomy is going to be perfect. For instance,
I can see the need for a subspecies to cover ‘beer & pretzels’ role-
playing games, but I am not sure if they should follow the normal
sequence, but with a different audience, or be a non-consecutive gen-
eration all their own (Generation X?). But this system is a start, and a
way to provide an objective comparison of different games.
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Note
Examples given of particular games are those the author is familiar
or had experience with, and are not meant to imply that the system
was the first to display a particular characteristic, just that it is a rep-
resentative sample of a particular generation.
Generation 0
Freeform, rule-less role-playing. There are no formalized systems,
no good way to arbitrate disputes. It also includes any incidental
role-playing that is used for strategic or entertainment value in other
games, such as playing a general in H. G. Wells’ Little Wars, etc. The
latter end of this generation includes such proto-rpg campaigns that
were going on in the late 60s in Britain and the U.S. (for example,
Tony Bath’s Hyborean Campaign, as chronicled in the various issues
of Slingshot from that time). It can also include structured events like
historical re-enactment groups, or semi-structured events like tour-
naments, feasts and fairs held by the Society for Creative Anachro-
nism.
Game Mechanics: None, both objective and subjective realism are
based on the knowledge and tastes of those playing the game.
Background: Varies from none to extraordinary, depending on the
people involved in the game. Obviously a serious interactive fiction
effort will have more detail than a group of children playing Cops &
Robbers.
Examples: Cowboys & Indians, Cops & Robbers, Social Democrats
vs Tories, etc.
Generation 1
First formalized rule set, i.e. Dungeons & Dragons (or the fantasy sup-
plement to Chainmail). The concept of fixed characters, specific at-
tributes and the use of dice to cover the aspect of random chance
when attempting to perform a difficult action are introduced.
Game Mechanics: Character generation is characterized by rigid
character classes, character levels, strict personality alignments. Ob-
jective realism factor is negligible, genre-based realism is drawn from
a very limited fictional subset and is often lacking as well. Rules are
entirely on a special case basis, with no intuitive or extrapolatable
functions. Often uses a plethora of dice types (i.e. d3, d4, d6, d8, d12,
d20, d100 and combinations or multiples of same).
Background: World background is nebulously defined, if at all.
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Where We’ve Been, Where We’re Going by Greg Porter
Generation 2
Mutation of Generation 1 games. Other people have played enough
that they have modified the Generation 1 game extensively, and in-
corporated these new ideas and concepts into their systems as a re-
sult of this experience. Generation 1 influence is still strong, either in
what is included, or what is excluded from the rules.
Game Mechanics: Usually includes classes and levels, but not so
strictly defined. Makes some attempts to be realistic, or fix perceived
flaws in Generation 1 systems (including but not limited to: Level-
based ‘hit points’, armour that affects chance to hit rather than dam-
age, alternate types of magic systems). May be extremely detailed, al-
most always in a ‘special case’ sense, leading to thick, often poorly in-
dexed volumes, or volumes with numerous supplements, each cover-
ing an uncommon rules situation. Subjective realism is usually much
improved over Generation 1 games as well, either through closer at-
tention to detail, or as a side effect of a better campaign reference
frame (see Background).
Background: Generation 2 backgrounds always have some overall
background, which is covered in detail either directly (overall history,
maps, campaign reference notes) or indirectly (personal history, soci-
etal norms, legal systems). Generation 2 games evidence a shift from
‘dungeon crawls’ to plot-based adventures and non-hostile interac-
tion with non-player denizens of the game world.
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Generation 2a
Refinement of the Generation 2 concept. Often includes elements
transitory between Generation 2 and Generation 3.
Game Mechanics: More realism and internal consistency, some abili-
ty to extrapolate new rules from existing ones. May abandon the class
or level concept entirely, or make it flexible enough that it approach-
es what might be expected in the ‘real world’. For instance, Traveller
character generation is based on professions which give certain skills
and bonuses, but one can change careers, and the skills and bonuses
are often available in more than one career path.
Background: Basic rules will include enough game world detail to
allow the GM and players to understand society and the basic geo-
political situation. For systems which become successful, this detail
often improves markedly with introduction of new material in sup-
plements.
Generation 3
Introduction of ‘meta-rules’, a rule system that is designed to be
used with more than one genre, and which has a solid, expandable
base. Another Generation 3 idea is the game whose genre reality is
an overriding concept. Such a game cannot be a meta-system, but
can work much better for a narrowly defined genre than any meta-
system can.
Game Mechanics: May not be perfectly objectively realistic, but is
usually internally consistent, and with guidelines on how to expand
the rules set to cover situations not explicitly mentioned. Subjective
realism is often good, but is limited by the multi-genre nature of the
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Where We’ve Been, Where We’re Going by Greg Porter
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Generation 3a
Generation 4 games go in radically different directions, and Genera-
tion 3a games begin this trend. They cling to the core of Generation
3 ideas, but often have some element that begins to question funda-
mental game and game-world design tenets.
Generation 4
Introduction of some entirely new game mechanic that alters the nor-
mal flow of play in an RPG. Examples include overt plot change in
the middle of play, dice-reduced or diceless resolution systems, aban-
donment of traditional attribute or skill systems, or overt emphasis
on story and plot rather than tactics and combat resolution. While
generations 1-3a are linear descendants of each other, generation 4
games are like branches off the trunk of the same tree, spreading in
different directions. Systems may or may not be ‘meta-rules’, depend-
ing on their origins, but most Generation 4 systems are geared to-
wards working extremely well in a particular genre.
Game Mechanics: Both objective and subjective realism are high
when the two are compatible, otherwise subjective realism usually is
better. Rule mechanics may be designed expressly to create a ‘feel’ for
the game setting, inherently rewarding or punishing certain types of
character behaviour.
Background: If a meta-system, this depends on the level of support
given, but even if ‘genre-less’, the game will still provide extensive
notes on the various aspects of creating a game-world, running a cam-
paign and other details required for good game-mastering. If a genre-
specific game, it will provide all the level of detail of a Generation 3
game, but may have a twist, such as allowing buyers of the game some
input on the direction of future events published for the game world.
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Where We’ve Been, Where We’re Going by Greg Porter
Generation 5+
There isn’t any Generation 4a or 5 yet. Presumably, these will be vari-
ations of Generation 3-4 games, taken in some direction not possible
for strictly pencil and paper role-playing. One can imagine rule sets
being computerized to the extent that players and GMs no longer
need to know them, but can simply describe their actions, and the
computer figures out the rest based on character abilities and situ-
ational modifiers, whether it be a casual encounter on the street or a
complicated fire-fight. This lets the GM get on with being a referee,
story-teller, or whatever, instead of being a human index to a set of
arbitrary laws for an imaginary universe.
On the other hand, a character and set of rules could be placed
on a personal digital assistant, which each player and the GM would
have. Messages could be passed between units by infra-red link,
whether text, secret information or alterations to character abilities
due to game-world effects (damage, drugs, etc.).
With information storage increasing by leaps and bounds, and
multimedia PCs becoming more common, an entire adventure could
be placed on CD-ROM, with a built-in ‘computer GM’. The sophisti-
cation of this would vary based on the programming and computer
(what is not possible today might be easy five years from now). The
game would tread the thin line between interactive movie, role-play-
ing and video game, with elements of each.
If the information networks become more sophisticated, live role-
playing by Net might become more common. Already, role-playing
by email or bulletin board system is common. Using a common net-
work and a central computer, video conferenced games could take
place between widely separate groups.
This could gradate into Virtual Reality role-playing, or with the
proper combination of hardware and software, many groups could
conceivably play a game in the same universe at the same time. Im-
agine playing a superhero in a Virtual Reality city where anyone you
meet could be another player, where several professional GMs man-
age the background details, but the plot moves itself through the ac-
tions of the players, rather than being driven by a pre-arranged plot.
Is this going to happen on a large scale anytime soon? Doubtful.
But it is worth thinking about.
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Do the Right Thing
A commentary on morality in role-playing games
by Allen Varney
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does not describe what kinds of adventures to run, the tone or con-
ventions of its genre, appropriate character types or short-term goals
beyond brute survival. In place of such valuable campaign advice it
offers little more than the final message from HQ (‘You’re on your
own. Good luck!’) and that distant goal: getting home.
‘That isn’t amoral. That goal is completely natural.’
So said reviewer Rick Swan in a 1985 Space Gamer review of the
first edition: ‘I’ve yet to come across a more engaging premise for a
role-playing campaign. And a war-based game that still retains such a
strong sense of humanity is an accomplishment by any standards.’
Humanity? The game leaves the means to its goal utterly open.
T:2000 offers no imperative or restriction on how the PCs may act,
but here’s how they sometimes do act. Heavily armed and backed
by game mechanics that keep PCs alive far longer than NPCs, the
soldiers loot, ransack, and strong-arm their way across Poland. Why
shouldn’t they? Who will tell them not to?
Certainly not GDW. I do not find ‘a strong sense of humanity’
in Twilight: 2000 or most of its supplements. With a few honourable
exceptions, such as Loren Wiseman’s Bangkok: Cesspool of the Orient,
its supplements focus relentlessly on hardware and practical surviv-
al techniques. Scenarios meticulously describe devastated landscapes
with a neutrality that mirrors the game as a whole. Timelines describe
the collapse of world civilization briefly, clinically, as though this were
just a pretext for matters of real interest: all those equipment guides.
‘There’s nothing wrong with equipment guides. Nearly every
game has them. And would the text be improved by obvious hand-
wringing? Can’t we safely assume that the designers disapprove of
world catastrophe, without requiring ritual displays of Political Cor-
rectness?’
The text’s wording is not the issue. Rather, examine its focus, the
matters it emphasizes as important.
T:2000 adventures take place all over Europe and America, but
the ruins of the indigenous culture evoke only passing interest. Goals
usually emphasize gaining valuable equipment. (The notable excep-
tions here include several adventures that send the PCs to overthrow
one or another minor dictator, or to oust Cuban invaders from Tex-
as.) Adventures seldom present NPCs as unique members of a unique
society; more often, they are generic allies or antagonists, simple in-
struments, their motives drawn from a deck of playing cards. Again,
the Bangkok supplement stands out among the few that treat locals
as anything but targets, henchmen or information sources.
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Do The Right Thing by Allen Varney
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Do The Right Thing by Allen Varney
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The morality of the setting need not be the designer’s own code of
behaviour. Quite the contrary. But the designer should convey ideas
of right and wrong appropriate to the setting and its adventures.
‘Sounds like American President Dwight Eisenhower’s assertion
that everyone should have a religion, and he didn’t care what it is.
What specific RPGs express a morality, then? What kinds of games
would you call immoral?’
Among moral games, Chaosium’s superb Pendragon game of Ar-
thurian Britain stands out. Both mechanics and campaign material
define the code of chivalry that guided the Knights of the Round
Table. Then there are any number of games with less sophisticated
(‘mind-numbingly simplistic’?) good-versus-evil conflicts, such as
West End’s Star Wars RPG and all the superhero games. Any game
with an alignment system must also qualify, though I find these prim-
itive and narrow.
Morality advanced for didactic rather than dramatic purposes ap-
pears in the old Dragonraid game, explicitly based on Christian val-
ues and Bible knowledge. This, however, is not the approach at issue
here.
At the other end of the spectrum some would place the grow-
ing category of ‘dark’ RPGs: the White Wolf games (Vampire, Werewolf,
Mage); the Swedish horror game Kult; In Nomine, a French design re-
cently translated and published by Steve Jackson Games, that gives
players that so-long-awaited chance to play punk demons; and the
honoured precursor of them all, Chaosium’s Call of Cthulhu. Some
lists would include FASA’s Shadowrun and other near-future games.
Of the dark RPGs I have seen, I wouldn’t label any immoral, as
opposed to amoral (a subtle distinction). But opinions vary, and I see
how the seeming nihilism of Vampire or Call of Cthulhu might persuade
a reader that the designers advocate contempt for humanity. For me,
immorality lurks in less obvious places: for instance, in openly sexist
games that promote objectification of women. In this vein I have heard
of, but so far have avoided seeing, farcical games like Macho Women
With Guns and a recent superhero(ine) RPG called Superbabes. The al-
leged humour in these games exempts them from this discussion.
Designers of campaign settings should create a moral framework.
Individual disagreements with the nature of specific frameworks
make up part of the industry dialogue, but here this is a side issue.
‘Some settings and games are amoral. Why is that bad? Lots of
people play them and have fun. Do these settings somehow corrupt
players?’
No, they don’t. If the players have fun, that’s great.
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Do The Right Thing by Allen Varney
Alan Varney has freelanced for companies such as TSR, FASA, West End
Games, Hero Games and Steve Jackson Games. He reviews RPGs for Drag-
on magazine. He recently completed an expansion set for Magic: The Gath-
ering, and is writing a novel for FASA’s Earthdawn line. In 1992 and
93 he took a seven month trip around the world that included a stay with
Inter*action’s publisher.
one 65
Realism vs Playability?
Rules, environments and characterization
by James Wallis
66 intervaction
Although styles of role-playing have changed since 1977 and D&D
is no longer the only game in town, the two sides remain the same:
the divide between them may have moved but itis still just as wide.
Inter*action is more interested in the more narrative approach to
RPGs but both styles of play are equally valid, and both have their
roots in similar fundamental principles of role-playing system design.
The pursuit of either an ideal simulation system or an ideal story-
telling system is a short-term fix in the quest for a long-term goal:
the creation of a believable and enjoyable role-playing environment2,
where characters who are also believable and enjoyable to play can in-
teract with each other and with the environment itself.
Environmental projection
All forms of role-playing are based on the idea of the creation of an
environment: an area in which the participants can assume other
roles and behave genuinely as if they were in that role, rather than
just acting it out. Its two central features are a suspension of disbelief
and a suppression of the true self, both of which allow and encourage
the participants to assume and act out their temporary roles in a sup-
portive atmosphere. Some forms of role-play require that the partici-
pants in the role-play should be aware of their true selves as well as
their assumed selves (’characters’) while the role-play is in progress,
but in most cases any analysis or out-of-character action should wait
until the role-play is over.
A successful role-playing environment is defined by comfort and
believability: the participants must feel secure in what they are doing
and in the roles they are taking on, and they must be able to believe in
what they are doing and in the simulated background against which
they are acting out their roles. The environment should also have
some kind of internal coherence; some set of rules, whether explicit
or assumed, that define the way in which it functions. The most obvi-
ous of these coherent structures is ‘reality’, meaning the background
to the role-play behaves in exactly the same way as our own world
does.
In role-playing game terms, an environment is the complete game
experience, the blending of the background, rules system, style and
characterization. They differ from normal role-playing environments
because of the much tighter structure of their rules systems (most
non-game role-playing uses no formal rules at all) and backgrounds.
RPG environments need several factors not present in most role-
play. Their sense of internal coherence must be much more explicit
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since RPGs are very rarely set against a backdrop of our own reality.
They must also have a sense of permanence and process, the impres-
sion that if the players’ characters were to disappear, the background
world would continue to exist and function without them. They must
contain a sense of free will, allowing the players’ characters the im-
pression that they can do anything, provided it is within the limits of
the background. Most importantly they must be believable, not nec-
essarily in a rational ‘this is a possible past/future’ way, but in a way
that lets the players lose themselves within it. The best role-playing
experiences are the ones in which the participants are able to forget
that they are taking part in a game; when the fiction becomes, howev-
er temporarily, more important and more true than external reality.
Most RPGs manage to create a successful environment for their
role-playing, but usually this is through the imagination and work of
the players and referee rather than down to good design. Most RPG
systems seem to be unsure of where they stand on the issue of story-
telling versus simulation and so tend to try to straddle the fence, be-
ing all things to all gamers, rather than aiming down a single design
path. This, combined with the way that most new RPGs are based on
ideas taken from earlier RPG designs, rather than from any projec-
tion of the way that role-playing might work or an analysis of the way
it does work outside the RPG hobby, has led to a state where the ma-
jority of games have a muddled structure and no clear idea about why
they work the way they do. Even White Wolf ’s so-called Storyteller
system makes so many concessions towards simulation gaming styles
that it ends up perched uneasily between the two sides, rather than
explicitly aiming towards a narrative style of role-play.
It’s impossible to understand how a role-playing game should
work simply by looking at other role-playing games: the field is still
too young to have produced any beacons of great design that all other
systems should follow, and the shadow of the original D&D rules can
still be seen lurking darkly behind the tables of almost every RPG sys-
tem on the market. To best analyse the structure of a typical RPG, it
should be compared to the other forms of role-play that exist outside
the gaming hobby.
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Realism vs Playability by James Wallis
others deal with the near future and far future in all its possible per-
mutations, history, themes licensed from books, television or film, or
even realities which bear no resemblance to anything we would rec-
ognize. Even when the setting is contemporary Earth, the game will
always focus on one aspect that drags it away from the conventional:
superheroes, horrors, improbable secret agents, the undead or a Bur-
roughs-esque hyperreality.
The reason is obvious: role-playing a character just like yourself in
a world just like this one would be very boring. People role-play rec-
reationally for a number of reasons. In his book Shared Fantasy, Gary
Allen Fine lists four primary justifications given by gamers for their
hobby: ‘the educational components of gaming; gaming as an escape
from social pressure; games as aids in increasing one’s sense of per-
sonal control or efficacy; and games as aids in dealing with people’3:
Ignoring the social and educational aspects, we are left with escapism
and catharsis, both of which are much more widely available in a fan-
tasy world than in one set in a concrete and all-too-familiar reality.
The important difference between these fantasy worlds and our
own is that the fantasy worlds all depend on at least one ‘hook’ that
makes them different from our own—magic, technology, superpow-
ers, general weirdness—which requires a detailed description so that
referee and players can understand how it works and how to use it.
This kind of description is usually best put in the form of rules, which
I call ‘background rules’. Just because they’re rules does not neces-
sarily mean that they are mechanics or use mechanics: a background
rule can be as simple as a description of the game-world’s currency
system, or a note that gravity in the game is slightly weaker than in
real life.
The other way that RPGs differ from other role-playing activities
is in their narrative structures. Non-RPG role-playing is typically in-
tended to last only a single session, sometimes only a few minutes and
usually not more than a few hours. RPGs, by contrast, are designed
to build game narratives that can sometimes continue for years, even
decades. This has two effects on RPG design: it means that the game’s
background must be defined in enough detail to provide a believable,
consistent and complete setting for a narrative of that length; and it
means that some system must be provided for defining the characters
who participate in the creation of that narrative, and in particular de-
fining the ways in which those characters can interact with each other,
and with the rest of the background.
Historically this has meant that RPG characters tend to be de-
fined in terms of their abilities: what they can do and how well they
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ment of it. Not all games are trying to simulate a realistic background,
but they are all trying to create a complete environment. To do that,
the background and the rules must work together to lay the founda-
tions for the environment, and that means ironing out any potential
conflict between the two at the design stage13.
In the final issue of Imazine, Paul Mason described the way that a
good games system will blend background and rules to create a joint
effect, in terms of the process of designing a new game.
How do you go about preparing a game design? One way is to begin
by writing impressionistic notes on the type of game you want. For
example: ‘Dharanye twirled his rapier with a flourish and somersaulted
over the ponderous bulk of the Yygarr to strike its controlling
Itsiccikin’... In the course of this you’ll find yourself automatically
making the decisions necessary to game design...
While the details of the background are emerging from your
initial notes, the requirements of the game system should also become
apparent. Any game system is an attempt at simulation. The important
distinction is in what it attempts to simulate. Some games pretend
to simulate ‘reality’ unadulterated by any dramatic interpretation,
and these are usually described as ‘realistic’. This just means that
the designer has not admitted his or her assumptions about the
background. Some games simulate the game designer’s personal
vision of how reality ought to work more often than they reflect the
world. I believe game designers should admit that their creations are
subjective and make use of this rather than claiming objectivity.
The nature of the artificial reality simulated by the same will dictate
certain characteristics of the system. If it is a ‘heroic’ background then
the game system must allow characters to do ‘heroic’ things... If it is a
gritty, hard-edged background then the rules should describe events
in gritty, hard-edged terms.’14
And, by extension, it should allow characters to do gritty, hard-edged
things. Perhaps it should also actively prevent them from doing ‘he-
roic’ things, if such actions are out of keeping with the genre. If, in
Mason’s example, Dharanye is going to be able to ‘twirl his rapier
with a flourish and somersault over the ponderous bulk of the Yygarr
to strike its controlling Itsiccikin’ without breaking a sweat, then the
game mechanics must let him have the right skills, the ability to use
them all at once, and a reason for being the sort of guy who’d want
to do that sort of thing; and should accomplish those three without
breaking a sweat either.
This brings in the concept of characterization, and where it fits
within the game background. Game characters must not only be
interesting to play, they must also fit within the game background.
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play on their own terms, not the terms of the game system. The days
of characters being generated by dice rolling are largely behind us;
today most RPGs demand that players follow a step-by-step process
through character creation, either having created a character con-
cept before they start, or coming up with one as they work through
the stages. This means that players either have to fit the character
they want to play within the limits of the system, or let the system
create the character for them.
Both of these approaches are undesirable: they create the charac-
ter from the outside in, rather than from the inside out. RPG charac-
ters are currently defined by what they can do, not by who they are.
We know the limits of their physical and mental abilities, their areas
of expertise and exactly how many stab-wounds to the stomach they
can take. Sometimes we know a little of their personal history and
experiences through programmed life-charts, which help to give the
character a sense of being grounded within the game-world; but very
rarely does the game give the player a concrete sense of their char-
acter as a pre-existing personality. Instead they are presented in the
same way as they were by the early role-playing games: as proxies,
empty shells for the player to enter and possess.
The result of this is that most characters in role-playing games
are two-dimensional, and players often have a hard time getting ‘un-
der their skin’, preferring to remain outside the character’s mind
and push them around like some kind of Barbie doll with scar tissue.
Since part of the enjoyment and purpose of narrative role-playing
is not just to put oneself in the position of a person in an alien envi-
ronment but to actually examine the world through another being’s
mind-set, this is a pity. It also hampers the possibilities for plotlines:
if a character has no real personality or personal history, how can
they have a personal stake in the outcome of a mission?
Granted, it’s much easier to define a character objectively, in
terms of what they can do, but this just shows that most RPG systems
have taken the easy way out. To play a character subjectively requires
a reasonably detailed knowledge of who they are and why they’re
that way, and that is one thing that conventional RPG rules have
consistently failed to provide for characters. In this respect they are
several decades behind the other uses of role-playing. Something
often overlooked is that it’s actually harder to role-play a character
based on abilities than it is to play a character based on a personality.
Moods and emotions are universal human experiences and anyone
can mimic them or act them out, but it is far harder for a player to
understand what it must be like to be, for example, more intelligent
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or less attractive than they are, and any attempt to role-play these
different characteristics tends to be two-dimensional at best. Playing
a character with superior abilities to one’s own is one of the escapist
aspects that draws players to role-playing games, so removing it al-
together is probably a bad idea, but clearly some rethinking needs to
be done about the way role-playing systems define characters.
As mentioned above, at present most role-playing characters
defined by game systems tend to be two-dimensional, lacking per-
sonality and direction. The only personal growth they tend to do
is around the biceps. Their closest analogy in fiction are charac-
ters from low-grade ‘pulp’ fiction in which action and adventure are
more important than believable characterization; where characters
tend to be little more than stereotypes or archetypes.
Earlier on, I suggested that the existence of two-dimensional
characters was all right at present because most RPGs are currently
based on backgrounds in which two-dimensional characters are the
norm. Ultimately it is not the state of the backgrounds or the role-
playing game environment which will change that status quo, it is
the way that player characters are created and played. Two-dimen-
sional characters can happily exist against the most complex back-
grounds, but more complex characters will demand a more coher-
ent, cohesive environment (not necessarily background) to support
them and their actions and interactions. If we can begin to come up
with character generation systems which can create personalities as
rounded, as interesting and as motivated as those found in more
upmarket works of fiction—plays being a particularly good exam-
ple—then perhaps the state of role-playing game design can be bro-
ken out of its current deadlocked embrace with the worst excesses of
genre fiction.
Conclusions
If there are any conclusions to be drawn from this article, they are
downbeat ones. I have dwelled mostly on the state of commercial
RPG design, which is still hanging on to its roots in wargames, un-
able to make a clean break into its own design field. Home-brewed
and shareware systems are becoming more available, especially as
desktop publishing and electronic means of distributing such games
become more accessible, but these games tend to slavishly follow de-
signs already on the market, and seem to have even less of a coher-
ent design philosophy than the commercial game systems created by
committees working to a deadline.
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James Wallis is the publisher of Inter*action, and has been writing and pub-
lishing about role-playing since 1982. He served his apprenticeship writing
game supplements for Palladium Books, is a co-designer of the story-telling
card game Once Upon A Time and is currently designing the Bugtown
role-playing game for Wizards Of The Coast. He has also written solo game-
books, and earns a living writing fiction for children and teenagers.
Notes
1
Lewis Pulsipher, ‘D&D Campaigns’, from White Dwarf 1, 16-17,
June/July 1977. See also Chris Crawford, 1994, ‘Objects Versus Peo-
ple’, from Interactive Entertainment Design vol. 7 no. 4, 13
2
Yes, ‘environment’ is a rotten word for it. A better phrase would be
‘game experience’, but unfortunately ‘experience’ is already part of
the RPG world’s vocabulary, and means something quite different to
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Do The Right Thing by Allen Varney
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CAR-PGa
The Committee for the Advancement of Role-playing Games
By Paul Cardwell, Jr
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the proposer goes solo or abandons the project. Other times it ends
up as a formal study and a published paper. Generally, it continues
until the subject or the researchers are exhausted and only the inter-
im material remains.
One project, with the working title The Gamer’s Survival Kit, kept
expanding in scope until it would have been a full-scale book. It was
cut up into a number of smaller booklets for lower cost, ease of revi-
sion and faster publication. Several have already been published and
more are in production. A few were abandoned because other pub-
lications covered the subject already, sometimes with CAR-PGa’s as-
sistance. CAR-PGa does not get its collective feelings hurt easily. The
research was done and disseminated to the world. Sometimes CAR-
PGa or some of its members got credit, sometimes not, but the work
was done and that is considered the important thing.
CAR-PGa is totally non-profit-making. No one gets paid for any-
thing. It takes no official position, but serve as a clearing-house for
information coming in and a distribution system for information go-
ing out. All statements are bylined and are the responsibility of the
person making them. In this CAR-PGa also serves as a peer-review
system on the work of its members.
Membership is dues-free, but work is expected from members.
This can include a number of things: the writing of a letter to the
editor of a local newspaper; a peer-reviewed paper for a scholarly
publication; keeping watch on the media for any story that may affect
gamers; collecting material from anti-game organizations; appearing
on local TV or radio; finding CAR-PGa a grant; recruiting more ac-
tive members; conducting a convention seminar; and so on. Beyond
that, the only membership requirement is that members keep the
Chair informed of what they are doing, sending in copies of material
produced or found so it can be made available to the rest of the group
and the general public, and keep the membership form data updated
when it changes.
While the monthly newsletter is optional, it is CAR-PGa’s main
system for the exchange of information. All literature that comes in
is listed in it. This way, members needing any of these references can
either look them up on their own at their local library, or order copies
from CAR-PGa. Game-related issues are discussed. The subscription
is $7.50 per year in U.S and Canada, $12.00 elsewhere.
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For further information, send two IRCs with your name and address to CAR-
PGa, 1127 Cedar, Bonham, TX 75418, USA. The information pack will in-
clude the application form, the academic and women’s surveys, the Literature
List and the current issue of the Newsletter.
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by Robin D. Laws
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Analysis
films came in, the job of the literary film critic became easier. Now
there was dialogue to analyse, much like the dialogue from literature
and drama.
I think a parallel can be found between this stage of film criticism
and current attitudes towards RPGs. On one hand, we have the argu-
ment as to whether they are an art form at all, even though writing a
game product or moderating a game session clearly involve the same
sorts of decisions about plot, characterization, pacing, atmosphere,
imagery and so on that creators in other narrative artforms use in
their work. Interestingly, those denying the seemingly obvious fact
that RPGs more closely resemble story-telling or theatre than they
do chess or bridge are most often the practitioners of the form: gam-
ers themselves. Perhaps the reasons for this are primarily sociologi-
cal; gamers are disproportionately composed of people educated in
math-, science-, and engineering-related fields. Many of these folks
have traditionally been suspicious of pretensions associated with the
humanities, and aren’t comfortable thinking of themselves as artists.
It is possible that we shouldn’t spoil things by convincing them that
they are. To get back to the film analogy, most of the great directors of
the Hollywood studio era—still the most fertile single period and mi-
lieu in film history—were deeply reluctant to accept the label of artist,
preferring instead the self-image of the hard-working craftsman.
Those currently working in the RPG field who wish to consider
themselves artists, and RPGs an artform, can be seen as similar to ear-
ly, literary-oriented film critics. They consider a successful or ‘artistic’
game session to be one that most closely imitates novelistic or cine-
matic structure. I submit that if RPG criticism becomes an active and
growing field, that it will likely identify unique criteria that mark high
achievement in gaming. Like the glossy, over-serious Hollywood liter-
ary adaptations that once won praise from critics, games that win ac-
claim today for their adherence to criteria from other narrative forms
may eventually come to be regarded as dated and naive.
However, we have no choice but to go through a period of na-
ivety and searching if we are to arrive at that point. It took years for
a visually oriented approach to film to develop, one that attempted
to discover a new vocabulary to describe the visual grammar of film.
The artistic decision behind the making of a film was not confined to
the writing of its dialogue, but also included editing, set design, shot
composition, camera movement, and many other elements that had
previously been considered only subliminally. At the forefront of this
movement were French critics, who had an advantage of distance.
Most often working with unsubtitled prints of the films from the Hol-
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a pop genre may be in its favour. The allegorical mode of genre, with
its broad characterization and its constant reiteration of the same nar-
rative structures, lends itself to this sort of symbolic interpretation.
It would be interesting to see a Marxist critique of Advanced Dun-
geons & Dragons, for example. An enterprising critic could have a field
day with the way its experience point system primarily rewards killing
enemies and stealing their gold. Its hierarchical character develop-
ment system, with characters going up ‘levels’ and thereby becoming
more effective at killing enemies and stealing their gold, would be fur-
ther grist for the academic Marxist’s mill. Although I’m certain that
the furthest thing from the minds of Gary Gygax and Dave Arneson
when they developed Dungeons & Dragons was to create a training kit
for the budding robber baron, a politicized critic might argue that the
game is significant not for any aesthetic reasons, but because its suc-
cess in the marketplace makes it a barometer of social and political at-
titudes, even those held at a subconscious level. The same critic would
also find a lovely Brechtian resonance in Ray Winninger’s overtly sub-
versive Underground RPG.
Finally, wrapping up our woefully simplified survey of the history
of film criticism, we come to semiotics, the study of pop culture for its
constituent images. Semiotics takes Marxist criticism to a new level of
Byzantine complexity, reading pop culture’s use of imagery as a new
language in need of decoding. In my own personal opinion, semiot-
ics seems to be a procedure for taking images we all understand on a
visceral level and then rendering them incomprehensible. However,
while undertaking an introductory overview of this sort, I’d be remiss
in not pointing out that the RPG field is an untouched smorgasbord
for the semiotician hungry for more signs and tropes to freeze-dry
and pin to the butterfly board.
These modes of criticism should provide enough entry points
from which potential RPG critics can start their examination of gam-
ing. If the form is indeed a unique one, it will soon force those critics
to diverge from these borrowed criteria and hammer out new ones
suited specifically for it.
However, before doing so, an interesting obstacle remains to be
surmounted. Interactive gaming is in its very essence highly resistant
to critical analysis. This is because the gaming experience itself is not
set up to be observed by outsiders. Unlike the other traditional narra-
tive forms we have been drawing analogies to, gaming does not draw
a line between artist and audience. In a gaming session, all partici-
pants are creators. They are not passively watching a predetermined
work of art unfold before them. They are collaborating together to
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create a work that exists only for a moment, without the eyes of non-
participants upon them. (It is true that a rare few RPG events at con-
ventions permit or even encourage spectators, but this is the excep-
tion to the rule.) RPGs are not set up so that other people may watch.
Most sessions occur in peoples’ living rooms, or at gaming clubs, or
in classrooms, far from the analytical eye of the critic. If critics do take
the unusual step of arranging to watch a session, they will change its
very nature. The participants are likely to either change their session
to add some entertainment for the passive viewer, or be cowed by the
unaccustomed attention. Criticism of the actual RPG experience is
the Schrödinger’s Cat of art criticism. Lift the lid to look at the cat,
and you may well destroy it.
What is available for study are second-hand sources. Participants
may make written records of sessions played; these are known among
fans as ‘write-ups’. If published at all, they’re likely to be found in
Amateur Press Associations (APAs) like Alarums and Excursions or The
Wild Hunt. Write-ups are about as representative of the original gam-
ing experience as the press kit for a film is of the film itself. They may
be entertaining in themselves, or even artful. But they have certainly
been arranged in a new way for the benefit of outsiders, and are by
no means a reliable portrayal of the nature of events that transpired
during the game session.
Reviews in the gaming field are most often of new games and
supplements and adventures published for them. But these too are
second or third-hand sources, not the actual art-making experience
themselves. They are a mere part of a collaboration, written by au-
thors who do not know who their collaborators will be, and are un-
likely ever to meet them or communicate with them directly.
To return to the ‘game mechanics as cameras and lighting equip-
ment’ analogy, studying a game book to evaluate the RPG experi-
ence as art is rather like using a technical manual of cinematography
to write about Rashomon instead of actually watching Rashomon itself.
Rules mechanics are the virtual equipment for the story creation pro-
cess, but are not the process itself. Sourcebooks, which provide addi-
tional information on the fictional settings in which game narratives
are to be set, aren’t the experience either, though those of us who
write them for a living endeavour to make them readable and enter-
taining in their own right. They are perhaps analogous to the notes
made by an author of speculative fiction before sitting down to write
a novel set in an imaginary world; they are not the novel itself.
It is interesting that even the writer’s guidelines for this very pub-
lication propose that game books will be reviewed, and that supple-
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Interactive Fiction
and Computers
by Phil Goetz
History:
Hypertext fiction
Hypertext is text with links. Links take you from one text to another.
Sometimes there is a default linear path which the reader can follow
through the narrative, and the links are optional.
For instance, say you were reading the hypertext version of Hamlet
on an Apple Macintosh. After reading Act II, you might be prompt-
ed, ‘Should Hamlet (A) kill his uncle, (B) leave the country, or (C)
mope about life and death?’ You type ‘A’, and read a considerably
shortened version of Hamlet. (This exhibits one problem with interac-
tive fiction—sometimes the action which builds up to a more dramat-
ic climax is not the action which a goal-oriented reader would take.)
It is possible to do this on paper by letting the reader decide at
each crisis what the protagonist would do next, and telling them
a page to turn to depending on her decision. This is like the pro-
grammed learning textbooks from the 1960s, e.g. Schagrin, 1968.
Now there are many juvenile novels written this way (Brust, 1987).
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Jorge Luis Borges described such a book (though he did not write
one) in ‘El jardin de senderos que se bifurca’ (‘The garden of forking
paths’) in 1941 (Fishburn, 1990):
In all fiction, when a man is faced with alternatives he chooses one at
the expense of the others. In the almost unfathomable Ts’ui Pen, he
chooses—simultaneously—all of them...
Fang, let us say, has a secret. A stranger knocks at his door. Fang
makes up his mind to kill him. Naturally there are various possible
outcomes. Fang can kill the intruder, the intruder can kill Fang,
both can be saved, both can die and so on and so on. In Ts’ui Pen’s
work, all the possible solutions occur, each one being the point of
departure for other bifurcations. Sometimes the pathways of this
labyrinth converge. For example, you come to this house; but in
some possible pasts you are my enemy; in others my friend. (Borges,
1944)
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Computer adventures
Suppose that, instead of giving the reader two or three choices at eve-
ry branch point, you give them hundreds. And suppose that branch
points came not every page, but every sentence. The resulting hyper-
text would be too large to list in a tree fashion. Instead, the effects of
each choice must be computable. This means that the fictional world
must have a representation which can be altered in detail and in ways
not foreseen by the author. Furthermore, the list of possible choices
is too large to present as a menu; it must be presented implicitly; for
instance, by allowing choices to be specified using a subset of English.
The resulting hypertext is an adventure.
You are standing at the end of a road before a small brick building.
Around you is a forest. A small stream flows out of the building and
down a gully.
That is the first line that greets you upon running Adventure, which
was finished in early 1977 by Willie Crowther and Don Woods. The
first version, in 1975, was simply a map of Mammoth Cave, Kentucky,
which let the player walk from room to room. Commands were add-
ed to pick up, carry, and use items in various ways. The player’s goal
was to find treasure. Various problems presented themselves, ranging
from the obvious (a fierce green dragon bars the way) to the subtle (a
gold nugget is too heavy to carry up the stairs to the treasure room).
Objects or information that could be used to overcome these obsta-
cles were also waiting to be found. Each treasure gained or problem
solved added to the player’s score.
Since Adventure was written in FORTRAN, which everyone had, it
spread rapidly over the Arpanet. It may have set the entire computer
industry back two weeks: when it reached a site, work was suspended
until everyone had solved it (Anderson & Galley, 1985).
The way this world was constructed has remained the same in all
adventures: the world consists of things contained in other things.
For instance, at the start, you are contained in a location described
in the above quote. If you enter the building, you will find a lantern
in the building. Pick it up, and it is in you. The world is discrete, not
allowing you to be ‘in transit’ between locations, nor (generally) for
an item to be in two locations at the same time, even if it should be
(e.g. a rope). Each command you issue takes one unit of time; events
between moves occur all at once rather than continuously. Your com-
mands are issued by typing a sentence (in Adventure’s case, a verb and
a noun) at the start of each turn.
>DOWN STEPS
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Analysis
You are at one end of a vast hall stretching forward out of sight to the
west. There are openings to either side. Nearby, a wide stone staircase
leads downward. The hall is filled with wisps of white mist swaying to
and fro almost as if alive. A cold wind blows up the staircase. There is
a passage at the top of a dome behind you.
>NORTH
You are in the hall of the mountain king, with passages off in all
directions.
A huge green fierce snake bars the way!
>RELEASE BIRD
The little bird attacks the green snake, and in an astounding flurry
drives the snake away.
Unlike almost all traditional fiction, adventures use second-person
present. This is because they are immersive: the player projects their
self into the role of the protagonist with an immediacy not possible in
static fiction. Years later, Brian Moriarty designed Trinity so that the
player had to kill a lizard. In an interview, he said,
I was amazed to see how many people were actually bothered by the
scene with the lizard, because it was them doing it. It’s nice to know
that interactive fiction could do that, make you feel uncomfortable
about killing things. In no other media could I make you feel bad
about killing something. Because there is only one medium where
I can make you do it, and make you feel empathy for a thing that
doesn’t exist. It’s only with interactive fiction that you can explore
these emotions. (Rigby, 1991)
After playing Adventure, many people wanted to write their own. In
a few months Tim Anderson, Marc Blank, Bruce Daniels, and Dave
Lebling of the Dynamic Modelling Group in the MIT Artificial In-
telligence Lab created Zork (Anderson & Galley, 1985), which was
famous for its sense of humour, its anticipation of actions the play-
er might try, the cleverness of its puzzles, and (eventually) the com-
plexity of its parser. Zork was the first adventure which could parse
complete imperative sentences, plus a few questions. Zork was also
the first adventure whose non-player characters had personality. The
Thief was a gentleman gone wrong, with good manners, a cynical
sense of humour and the willingness to slit your throat in a moment.
Zork, like the Apple Computer, got its name because no one came
up with another. ‘Zork’ was a nonsense word; the Dynamic Modelling
Group usually called its programs ‘zork’ until they were ready to in-
stall. Since Zork never was officially installed, it was never named (An-
derson & Galley, 1985).
Zork was written not in FORTRAN, but in MUDDLE, a LISP vari-
ant which was not very widespread. Zork gained fame because, al-
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Analysis
Graphic adventures
Roberta Williams, co-founder of On-Line Systems (now Sierra Soft-
ware), was hooked on Adventure, and wrote her own adventure which
took place in a Victorian mansion with a killer on the loose. Her hus-
band and co-founder Ken told her she needed a new angle to sell it,
and she thought it would be great if a game had pictures as well as
words.
The result, Mystery House, was released in 1980. It had a picture
for every location. Despite the fact that its pictures were monochrome
line-drawings with stick figures for people, it was an instant success
(Levy, 1984).
From then on, the trend was towards graphics adventures. Even
Scott Adams rereleased all his adventures with accompanying pic-
tures, and found he could charge twice as much as he did for the
text-only versions. Fans of text-only adventures complained about the
smaller scenarios, concentration on graphics to the exclusion of other
issues such as plot and ease of use, and the limitation of the imagina-
tion. But pictures sold programs. Infocom included some in Zork Zero
shortly before the company was dissolved in 1989.
Publishers used Infocom’s failure as proof that text adventures
were dead (Goetz, 1987). But Infocom’s failure was not because their
text adventures weren’t selling, but because their relational database
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Analysis
Betty was famished. Betty wanted to get some berries. Betty wanted
to get near the cranberries. Betty walked from her cave down a
pass through the valley across a meadow to the bush. Betty took the
cranberries. Betty ate the cranberries. The cranberries were gone.
Betty was not hungry. The end. (Meehan, 1980)
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Analysis
player would never take the actions, dictated by the character of the
protagonists, which make those stories what they are.
Unless players can find reasons to play other than to win, IF will
not escape the literary ghettos of genre fiction. Even some traditional
adventure-genre stories would lose their charm under the imposi-
tion of a different character; imagine The Hobbit with a self-confident
and aggressive Bilbo Baggins, or an interactive Father Brown mystery
played by a Humphrey Bogart fan.
In particular, truly tragic fiction might never work in IF. I’m not
referring to ‘tragedies’ such as Hamlet, which are merely sad. I’m re-
ferring to works such as 1984, Brave New World, Lord of the Flies, Heart
of Darkness or Deliverance, in which it is dramatically necessary for the
main character to be psychically crushed. The IF player might feel
that giving them the freedom to choose how to act had been a cruel
farce.
One way to keep players from identifying too closely with the pro-
tagonist might be to have them interact with several characters. They
might change viewpoints, or might simply have a display panel with a
point-and-click interface controlling the emotional responses of each
character (level of anger, contentment, fear, urgency, etc.) and see
how the story unfolds. But this defeats the intimacy of IF.
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Interactive Fiction and Computers by Phil Goetz
Simulated characters
Joseph Bates says we don’t need to create intelligent characters, just
ones that aren’t obviously stupid (Bates, 1991). He calls them shallow
but broad agents. They need some knowledge in many areas, to avoid
acting unbelievably, e.g. standing in the path of a steamroller. This
brings to mind reactive agents as popularized by Rodney Brooks’ sub-
sumption architecture (Brooks, 1985).
At the other extreme, we would like characters to reason about
‘symbolic’ statements. A word in English is a symbol for a concept;
hence reasoning about statements like those in English sentences is
called ‘symbolic reasoning.’ The rules that tell how the world works
are usually stated procedurally in IF. That is, if the program control-
ling the IF world wants to know whether a character can unlock a box,
it calls a subroutine which returns a ‘yes’ or ‘no’. If instead you stated
the rules declaratively, e.g. ‘if a box is locked, it cannot be opened’,
then characters could apply standard AI symbolic planning tech-
niques to form plans on the fly, adjusting them when problems occur.
Then, if you asked Jack to fetch a pail of water, he could figure out
how to do it.
There are two difficulties. It’s difficult to come up with a represen-
tation powerful enough to say all the things you want to but simple
enough to apply these techniques. It’s also not known if the standard
techniques will work in a world as complex as an IF world, or if there
will be too many things for the computer to ‘think about’ in a reason-
able amount of time (Goetz, 1994).
SNePS, a Semantic Network Processing System (Shapiro and the
SNePS Research Group, 1994), has a component called SNeRE, the
SNePS Rational Engine (Kumar, 1993), which unites planning and
acting in one formalism. This lets it integrate reactive behaviour with
symbolic reasoning, since a reaction can be expressed as an action
taken whenever the agent finds itself in a certain type of situation.
This may be useful for creating broad and shallow (reactive) agents
with particular deep and narrow (symbolic) capabilities.
one 109
Analysis
Future Directions:
Virtual reality interactive fiction
Real-time 3D rendering is still beyond the capabilities of person-
al computers, as is thorough real-time 3D physical simulation. Sili-
con Graphics claims they will provide real-time rendering in late
1995 for around $5000 (as opposed to $100,000 today) (Simerman,
1993). Real-time polygon-based 3D is already available for personal
computers, and some systems, such as Autodesk’s Cyberspace Devel-
oper’s Kit, Sense8’s WorldToolKit, and Robert Grant’s Multiverse,
provide some aspects of physics simulation (friction, gravity, and
elasticity) in real-time (Autodesk, 1993; Brill, 1993; Grant, 1993).
Knowledge Revolution’s Working Model is a detailed real-time 2D
graphical simulation of physics on the Macintosh, taking into ac-
count velocity, mass, inertia, gravity, collisions, static and kinematic
friction, elasticity, electrical charge, and torsion, among other things
(Schaff, 1993).
As it becomes easier to render good 3D graphics on personal com-
puters and to simulate physics for a 3D world, graphical IF will ap-
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one 111
Analysis
Conclusion
It is inevitable that future IF will have more real-world knowledge
and more realistic interfaces. It is not clear whether authors and play-
ers co-operating can communicate the same range of emotions and
thoughts to the players as in traditional fiction, whether a theory of
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Interactive Fiction and Computers by Phil Goetz
Notes
1
Based on a demonstration of ‘Afternoon’ by Michael Joyce at the
University of Buffalo in 1992
2
Based on the contents of the interactive fiction archive held on com-
puter at ftp.gmd.de:/if-archive
Bibliography
Adams, Scott (1980). Pirate’s adventure. Byte Dec 1980, p. 192-212.
Anderson, Tim, and Galley, Stu (1985). The history of Zork. The New
Zork Times vol. 4 nos. 1-3.
Appelo, Jurgen (1993). Posts to rec.arts.int.fiction.
Autodesk (1993). Press release for Cyberspace Developer’s Kit.
Bates, Joseph (1990). Computational drama in Oz. In Working Notes
of the AAAI-90 Workshop on Interactive Fiction and Synthetic Realities, Bos-
ton, July 1990.
Bates, Joseph (1991). Broad agents. In SIGART Bulletin, vol. 2, no. 4,
Aug. 1991, p. 38-40.
Borges, Jorge Luis (1944). Ficciones. NY, NY: Grove Press, 1962.
Brill, Louis (1993). Kicking the tires of VR software. Computer Graphics
World Volume 16 No. 6, Jun 1993: 40-53.
Brooks, Rodney (1985). A robust layered control system for a mobile
robot. Technical Report 864, MIT AI Labs, MIT.
Brust, Steven (1987). Dzurlord. NY: Tom Doherty.
Coover, Robert (1993). Hyperfiction: Novels For The Computer. New
York Times Book Review, Aug 29 1993, p. 1.
Cortazar, Julio (1966). Hopscotch. New York: Pantheon Books. Trans-
lated from the Spanish by Gregory Rabassa.
Elmer-De Witt, Philip (1983). Computers: Putting Fiction on a Flop-
py. TIME, Dec 5 1983, p. 76.
Fikes, R. E. and Nilsson, N.J. (1971). STRIPS: A new approach to the
application of theorem proving to artificial intelligence. Artificial In-
telligence 1 (2).
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Analysis
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Reviews
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Reviews
and trades almost anything, pri- its society, SLA Industries makes
marily weaponry and anything its focus clear but the back-
else that can be used as a weap- ground comes together in the
on. Under the company’s con- reader’s mind somewhat like a
trol, Mort has degenerated into join-the-dots picture: lots of little
a quagmire of depravation, a particles of information, joined
civilization where outlaws, crimi- by an initially vague but slowly
nals, cannibals, rogue aliens and expanding net of interconnec-
serial killers run rampant, and tions.
where the mass of the unem- The slightly odd organiza-
ployed population are kept sub- tion continues into the game
dued by never-ending televised mechanics. SLA Industries puts
violence, usually of SLA opera- its game mechanics before its
tives hunting down the afore- description of character genera-
mentioned outlaws, criminals, tion, so at the point the reader
cannibals, rogue aliens and serial is learning about combat modi-
killers, plus civilians, rival com- fiers, they’re still not quite sure
panies, news crews and occasion- what their place in the World
ally each other. of Progress is meant to be. To
The background oozes with Nightfall Games’s great cred-
dark grey atmosphere. It goes it the designers have managed
into some depth about the his- to fit a very flexible dice-based
tory and growth of SLA Indus- game system built around a sim-
tries, information which is not of ple and intuitive skill mechanic
great relevance to the game itself into seventeen pages; but it says
but which does make the narra- a lot about the game that twelve
tive feel more coherent. The set- pages of that are taken up with
ting itself has inconsistencies: for the combat system, a complex
example, the World of Progress web of figures, modifiers and ta-
is supposed to be over nine hun- bles which reminds me more of
dred years old, yet most of the the boardgame Car Wars than of
mundane technology is present- any other RPG system. It’s very
day: telephones, fax machines, simulation-based, and entering
TV sets. If this is meant to be combat completely changes the
ironic, it doesn’t show. The back- pacing of the game narrative. It
ground provided of the World seems a pity to have devised a
of Progress is complete yet feels basic mechanic as elegant as SLA
somewhat disorganized and is a Industries’, only to burden it with
little hard to follow; by starting this. Vampire made the same mis-
with its history, then focusing on take and was heavily criticized
working for SLA Industries, and for it; and that combat system
only then describing Mort and only took up five pages.
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Reviews
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one 121
Reviews
offworld, although there is a de- utes on Mort. The second one is:
scription of the way that space- if I showed a completed charac-
ships are powered, and there is a ter sheet to my mother, who has
‘space navigation’ skill. The only no interest in RPGs, how much
descriptions of other worlds are would she be able to work out
very brief, and I smell a supple- about that character? The an-
ment in the works to cover this swer here is very little: there are
rather obvious gap. The eco- far too many numbers and TLAs
nomic set-up is also interesting: (three-letter acronyms) involved.
if everybody works for one com- Thirdly, how much of the rules
pany, and buys everything from and background can I remember
that company, that company a week after reading the rule-
is not going to have much of a book? Much of the background
profit margin. is still clear and I can remember
I’ve been trying to work out the basic skill system, but all the
what SLA Industries’ potential other rules have blurred into the
market is. The presentation and morass of miscellaneous game
background are both very ma- mechanics that squelches untidi-
ture, not just in subject but in ly somewhere in the back of my
tone and outlook as well; yet skull.
the main aspect of gameplay as SLA Industries is not a game
presented in this book would for newcomers to role-playing. It
seem to revolve around big guns, does what it sets out to do and it
weird powers and killing people, does it well enough: it’s a perfect-
which most mature gamers have ly usable game despite its prob-
outgrown. While its game sys- lems, which can mostly be put
tem is perfectly competent and down to inexperience. There are
effective, it lacks a clear design no role-playing or story-telling
philosophy, which means that innovations here, but as a first
it doesn’t always mesh with the product from a new company it’s
background to provide a coher- an impressive debut. Many estab-
ent environment for the gaming lished games companies could
experience. learn a lot from this product,
I have three acid tests for a especially in terms of produc-
good, clear games system. The tion values. In two years, assum-
first one I’ve mentioned already: ing that they escape the curse of
can I generate me as a player British role-playing companies,
character? Yes, I can, although Nightfall Games will be a design
‘I’ would last about fifteen min- team to be reckoned with.
122 intervaction
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one 123
admirable state of affairs was printing press (600 a year!) that
achieved, no clue is given. Al- worry me: it’s the two hundred
though medicine is quite ad- and seventy thousand hand-writ-
vanced by the standards of the ten tomes: each representing
fifteenth century: we are still several man-years of work. (In
talking leeches and stuffing you 1388 the College of Sorbonne
with garlic to find out if you have had 1,722 books.) Who copies
a ruptured intestine. There is no the bally things, given that the
hint of the premature discovery church isn’t said to have a mo-
of the Pill or even of a brisk trade nastic wing?
in sheep-gut Johnnies. Nor do Finally, Casalana imports salt-
we hear anything about what af- ed herring from the far north, at
fect this state of equality has had least several hundred miles away.
on society. We know from the This despite the fact that the city
description of the public baths is built on an island with many
that these people share our ta- varieties of fish, including her-
boos about nakedness. So how ring, in the surrounding waters.
do men and women co-exist on
a ship or in a barracks? Frightening?
Secondly, even the poor- The publishers of Casalana as-
est people live in flats rented to sert that there is no real need for
them by the various noble hous- evil races, orcs, and dragons in a
es. All these flats have running fantasy world. Human greed and
water (or a pump if you’re on an jealousy can be quite frightening
upper floor) and indoor toilets enough. Except that they aren’t.
‘which are kept hygienic by hav- Not in Casalana, at any rate.
ing running water to clean them’. Casalana is the sort of place
(page 45) The last big plague you’d like to go for your holi-
was 260 years ago. That’s to say, days, full of people who are ‘in
if we treat Casalana as equivalent general, kind and friendly’ (page
to 1450 earth time, they sorted 15.) Wine houses are one of the
out their public health problem main places that these kind and
in 1190. friendly people to socialise, but
Next, the printing press has ‘few people drink to excess’
been around for 50 years (page (page 2). And they all love the
44). The city library ‘has about arts: so much so that a glass stat-
three hundred thousand books... ue, erected in a public place, has
only about ten per cent of the never once been vandalized.
collection is printing’ (page 59). This is the sort of authentic
Right. It’s not the thirty thou- medieval city that has a full-time
sand books published in the 50 police force, called the Wardens.
years since the invention of the The very enlightened legal sys-
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tem has no corporal punishment of 90,000 I reckon we’re talking
or mutilations, and only enforc- 20,000 kids: that’s twenty large
es the death penalty for murder, comprehensives in a city of four
rape and treason. If you are un- or five square miles. We also not
fortunate enough to go to pris- given any clues about who runs
on, you will be relieved to find all these schools. I don’t think it
that ‘conditions are good’, that can be the Church because Sep-
‘the ultimate sanction is solitary tism—a sort of polytheist Angli-
confinement’, that ‘food is ba- canism—doesn’t believe in sully-
sic but wholesome’, that you get ing its hands with temporal pow-
a regular bath and that special er. This means that it can retain
rooms are put aside for visiting. the respect and affection of the
There is also a university, said population, and the moral au-
to be the biggest in the world, thority to criticize those in pow-
complete with four faculties and er. Yeah. Right.
an on-site zoo. The description While we’re talking about
of the college with a friendly universal education, we might as
porter always ready to help the well mention that this is the sort
visitor, where ‘the staff and stu- of realistic, hard edged medie-
dent are polite and friendly and val city that has got ‘a full pub-
willingly lead a guided tour of lic medical service—treatment
the place’ (page 71) and where available to all citizens’ (page 26)
students sit in green leafy court- ‘jointly funded by the city and
yards with ponds and fountains the university’ (page 58). Scary
in the middle to discuss ‘lectures stuff, I’m sure you’ll agree.
and theoretical points’ or their
social lives makes Shadowlands Entertaining?
look like a hard edged, cynical What would you do if a Japanese
portrait of campus life. friend asked you to explain Tra-
You might think that only falgar Square in a paragraph?
the rich got to enjoy this aca- Summarize the history of the
demic idyll: but no, not in sunny Napoleonic Wars? Tell him to
Casalana. Two of the noble hous- take his own birdseed if he wants
es have invented a system of (wait to feed the pigeons? Explain that
for it) student grants! And lots of its a traditional place for political
people will be taking advantage demonstrations, and where the
of them, too because Casalana Poll Tax riots started five years
has a system of universal prima- ago? Or describe the appearance
ry education up to age 10 (page of the lions and the columns?
15). We aren’t told who pays for It is this latter approach that
it, or where all the schools are we get in Casalana. Reading it,
on the map. Given a population I had the impression of a small
one 125
child, running around a room, can’t go and visit in the prison
trying to touch everything in it. without ‘a signed and stamped
Provided we have stated some certificate’. Not sealed, you un-
facts about as many important derstand: stamped. Why not just
places in the city as possible, go the whole hog and give them
then we have made the city into police cars?
a realistic place and one that will Jonathan Miller once said
be fun to role-play in. It ain’t that doing a modern version
necessarily so. of Shakespeare was like going
To make matters worse, this to Spain and living off fish and
barrage of factual information chips. We play fantasy games to
isn’t presented in a clear way. It experience a different world.
was only on a second reading of Casalana looks like a pseudo-
the book that I twigged that this historical world on the surface;
was meant to be a Mediterrane- but the disguise is paper thing.
an town, and only because of a We have world full of people in
list of the sort of fruit that they medieval dress, walking around
grow there. The first thing you a modern police force, modern
see when you come into town is university, even, God help us, a
an eighty-foot bronze statue of modern fruit market.
the goddess Kassala, knee-deep And there is no sense that
in the harbour: but the first we the authors have got a ‘big pic-
read of this is on page 71, buried ture’ of the city: no sense of it as
in the gazetteer. a coherent entity. The introduc-
tion mentions that Disenchanted
Medieval? Games set out with the intention
I could probably forgive all this of ‘producing a sourcebook’ and
if the city had some sort of medi- settled on the non-fantasy ap-
eval atmosphere. But it doesn’t. proach to avoid competing with a
Casalana is a modern city, full satiated market. The best fantasy
of modern assumptions. Anach- worlds are usually derive from a
ronisms fall thick and fast. The house-campaign (Tekumel, Glo-
Wardens, for example: they have rantha, Greyhawk, even Ars Mag-
an Office of Special Investiga- ica in its original form.) Casalana
tions and a Secret Investigations seems to have been conceived as
Branch. An NPC warden ‘was re- a ‘product’, and lacks that ‘lived
cruited into the Branch twelve in’ feel of a played campaign.
years ago. When raring to go af- If this is what the British role-
ter extensive training, she found playing small press thinks of as
herself sat at a desk for two years, a radical and original product,
processing information...‘ They then I think we are all in very
carry ‘night sticks’ (page 31). You bad trouble.
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