So when I started this blog I gave two basic reasons for doing this. The first (and primary) reason was to discuss the thoughts and decisions that make up a design for a professional RPG product and the second was to just share my random thoughts.
Looking over this blog, one might come to the conclusion that what I think about when I work is... not work. The "what I'm thinking" posts have the "work process" posts so flanked they get an attack of opportunity for making their attacks of opportunity.
So, to even things out a little, let's look at the state of Legends of the Samurai.
One of the things that makes up a big part of any design process is the back and forth between the designer and the developer.
The role of the developer is one that's really misunderstood and is often invisible to the reader of a book.
In part this is because the developer is part of the background. You see the words, and the art and the layout. They immediately leap off the page as integral parts of the work and if one of them sucks then you know who to flame on your favorite board, cause his name is in the front.
However if the developer does his job badly then you might just end up flaming the wrong person.
When you work on a project, each member of the design team has his head in his own piece of the puzzle. This is a good thing. Writing, art, cartography... these things are pretty hard and the people doing them need to bring all the talents they have to bear to make them as lights out as possible.
What this means, however, is that these people also have blinders on. The developer is there to watch over the whole process and make sure it gells. He keeps his eye on all the people working on the book and makes sure they're all moving toward the same goal.
Here's an anaology. You're in a maze. There are 4 other people in the maze too. There are 4 seperate ways out of the maze, meaning that you all stand a great chance to make it through to the other side. However, you all need to exit by the same door for maximum results. Maybe only one of the maze's exits have cheese behind them. Maybe one leads right to a moustrap. Who knows.
Now the developer isn't in the maze... he's there to make sure everyone reaches the right exit at the right time. Since he isn't running the course, but is watching from above, he can track things.
Ok... for those of yelling "enough with the fucking mice" in your best Tony Soprano, here's a more concrete example.
Say you have hired a top-notch cartographer to work on a book. He's doing a map of a primary campaign setting to be included in that book, along with several smaller maps of churches, a town, a city.
These maps are nice eye candy, but if the writer provides detailed descriptions of them, they become a much more useful piece of the art budget than some random line art. The developer can make sure the designer knows he needs to provide some map descriptions and can give him a detailed look at what areas the maps are going to cover.
In the case of RPGObjects, a small company, everyone tends to wear multiple hats. Chris Davis, the owner and guy who signs my checks (and a wonderful, wonderful person) does the layout and also serves as the developer for almost every project I write. We have a great working relationship and our back and forth (the bouncing of ideas and concepts between designer and developer) is a big part of the synergy that makes our books click.
Sometimes the back and forth is about something big. Armor as DR? Might be too different from the mainstream. Why is that important? Well the more easily things work together the more utility the book has. In the case of Legends of the Samurai, for example, we want people to be able to adapt OA adventures from Dungeon as easily as possible. So even if Armor as DR is a better option overall, it might be the best option here.
Sometimes the back and forth is about something... not so big. Maybe the book needs to be a few pages longer or a few pages shorter. Maybe a complicated rule needs an example.
These things might not always be apparent to me as a writer. Im too invested. Nothing needs more explanation, my writing is clear. It is beautiful. It is art.
As I get back into the flow of finishing Samurai, I'll have more thoughts.
Chuck
Monday, March 28, 2005
Friday, March 25, 2005
Spirit of Trek II: To Boldly Go
I have to say I was skeptical of Star Trek's return to television.
One thing about Gene Roddenberry and company, they don't lack in balls. Star Trek: the Next Generation was an attempt to prove that Roddenberry hadn't just lucked into some great characters and a great, gun-blazing, wagon train to the stars premise.
He was going to prove that he had created a universe. A place where an endless series of adventures could be set.
And in many ways, Next Generation (hereafter referred to as TNG) was about as different from the original series as possible. A Klingon stood on the bridge of the Enterprise. The women dressed as same as the men. The Captain really *did* come in peace and actually asked the opinion of those around him. In fact, the ship was run by committee.
It was jarring, and it took some getting used to. In the meantime, however, the eye candy sure helped. Special effects had come a long way, and TNG brought that new technology to bear week after week.
For me, however, three things really stand out about TNG: the development of Worf (and Klingon culture in general), the Borg and the beginnings of the development of the Trekiverse.
Ronald Moore (now departed from the franchise and fuck you too Berman and Braga) deserves a lot of the credit both for the development of Worf and the culture of his race. If watch the credits you'll find that Moore wrote a lot of the episodes with a military bent and a lot of *those* featured our sullen, ridged-headed friend (naturally).
The Borg started out as an "alien of the week". They were the really big stick used by Q to bash a little of Picard's arrogance out of him (very little, but there was a lot of arrogance there you have to admit). However, the "Best of Both Worlds" they came back with a vengeance.
Now Trek has always longed for that "recurring villain" factor. In fact the origin of the Klingon race was an edict from Paramount to give the series a recurring villain. In TNG this lesson was taken to heart and a nemesis (Q) was built into the show from its very inception. Some other faltering attempts at a recurring villain had been tried (anyone remember when the Ferengi were introduced as the big, bad, mysterious villain?) with mixed results. However, Best of Both Worlds brought a whole new dimension to the table: the Cliffhanger.
And not just any cliffhanger, possibly the best one in television history. I still remember watching the clock and thinking to myself (this is cool and all, but there's 5 minutes left in the show, time for Data to pull something out of his ass and get this over with). And when I realized that they were going to make me wait till next *season* to find out what happened... well let's just say I was hooked.
Lastly, TNG really took to heart the concept that there was a whole universe out there and set to exploring that concept. Through the "alien of the week" mechanic, long built into the show, they began to add pillars to the universe. Weight-bearing ones too. The Ferengi, the Cardassians, the Bajorans and the Trill all were created by the TNG writing staff.
Minor, "lower decks" characters also served to fill out the show and the universe. Not everyone was a bridge officer, and actors were hired for short term commitments to show different elements of the ship and different sorts of characters. Ensign Ro, the Bajoran with a bad attitude (and template for Major Kira). Chief O'Brian, proving what we all knew all along, that Star Fleet, like all military organizations, really *was* run by the enlisted men. Barkley, the brilliant, but thoroughly introverted and Holodeck-addicted engineer. Ensign Lefler, a Star Fleet brat and party girl who lived her life by a series of obscure laws (and played by a smoking hot 20-something Ashley Judd at that).
These seeds took root and really showed just what could be done by treating the Trekiverse as a living, breathing place. When the crew left a world or an alien spacecraft at the end of an episode, you never knew if that was the last time they would be seen (as opposed to TOS where recurring characters were... well there were the Klingons, Romulans and Harcourt Fenton Mudd).
To be continued...
One thing about Gene Roddenberry and company, they don't lack in balls. Star Trek: the Next Generation was an attempt to prove that Roddenberry hadn't just lucked into some great characters and a great, gun-blazing, wagon train to the stars premise.
He was going to prove that he had created a universe. A place where an endless series of adventures could be set.
And in many ways, Next Generation (hereafter referred to as TNG) was about as different from the original series as possible. A Klingon stood on the bridge of the Enterprise. The women dressed as same as the men. The Captain really *did* come in peace and actually asked the opinion of those around him. In fact, the ship was run by committee.
It was jarring, and it took some getting used to. In the meantime, however, the eye candy sure helped. Special effects had come a long way, and TNG brought that new technology to bear week after week.
For me, however, three things really stand out about TNG: the development of Worf (and Klingon culture in general), the Borg and the beginnings of the development of the Trekiverse.
Ronald Moore (now departed from the franchise and fuck you too Berman and Braga) deserves a lot of the credit both for the development of Worf and the culture of his race. If watch the credits you'll find that Moore wrote a lot of the episodes with a military bent and a lot of *those* featured our sullen, ridged-headed friend (naturally).
The Borg started out as an "alien of the week". They were the really big stick used by Q to bash a little of Picard's arrogance out of him (very little, but there was a lot of arrogance there you have to admit). However, the "Best of Both Worlds" they came back with a vengeance.
Now Trek has always longed for that "recurring villain" factor. In fact the origin of the Klingon race was an edict from Paramount to give the series a recurring villain. In TNG this lesson was taken to heart and a nemesis (Q) was built into the show from its very inception. Some other faltering attempts at a recurring villain had been tried (anyone remember when the Ferengi were introduced as the big, bad, mysterious villain?) with mixed results. However, Best of Both Worlds brought a whole new dimension to the table: the Cliffhanger.
And not just any cliffhanger, possibly the best one in television history. I still remember watching the clock and thinking to myself (this is cool and all, but there's 5 minutes left in the show, time for Data to pull something out of his ass and get this over with). And when I realized that they were going to make me wait till next *season* to find out what happened... well let's just say I was hooked.
Lastly, TNG really took to heart the concept that there was a whole universe out there and set to exploring that concept. Through the "alien of the week" mechanic, long built into the show, they began to add pillars to the universe. Weight-bearing ones too. The Ferengi, the Cardassians, the Bajorans and the Trill all were created by the TNG writing staff.
Minor, "lower decks" characters also served to fill out the show and the universe. Not everyone was a bridge officer, and actors were hired for short term commitments to show different elements of the ship and different sorts of characters. Ensign Ro, the Bajoran with a bad attitude (and template for Major Kira). Chief O'Brian, proving what we all knew all along, that Star Fleet, like all military organizations, really *was* run by the enlisted men. Barkley, the brilliant, but thoroughly introverted and Holodeck-addicted engineer. Ensign Lefler, a Star Fleet brat and party girl who lived her life by a series of obscure laws (and played by a smoking hot 20-something Ashley Judd at that).
These seeds took root and really showed just what could be done by treating the Trekiverse as a living, breathing place. When the crew left a world or an alien spacecraft at the end of an episode, you never knew if that was the last time they would be seen (as opposed to TOS where recurring characters were... well there were the Klingons, Romulans and Harcourt Fenton Mudd).
To be continued...
Miller Time II: Electric Boogaloo
Ok, Blood and guts II Special Ops is really *really* done this time.
As for the delay, about two dozen NPCs have been added to the doc, serving both to illustrate the system and provide the ever-harried GM with some drag and drop NPCs for his campaign.
As an aside, I really love saying "drag and drop".
Chuck
As for the delay, about two dozen NPCs have been added to the doc, serving both to illustrate the system and provide the ever-harried GM with some drag and drop NPCs for his campaign.
As an aside, I really love saying "drag and drop".
Chuck
Saturday, March 19, 2005
The Spirit of Trek Part I: The Originals
Well, for the first time since the premier of Next Generation, there is soon to be no Star Trek on TV, as this season will be Enterprise's last. This has got me ruminating on Star Trek, the state of the franchise, and my relationship with that franchise throughout my life.
Anyone who knows me knows that I love Star Trek.
One of my earliest childhood memories (back in the primitive 1970's) was watching the original series on Saturday mornings. That's right, in the midst of the "Creature Feature" (bad horror/50's sci-fi fest where I saw many I *thankfully* would not see again until Mike and the bots had their way with them) and the cartoons was this live action sci-fi show.
I'm not exactly sure how early this was in my life, but to give you an idea of how early it was in my development it was during one of these broadcasts (an episode I had seen several times) that I realized the show wasn't happening live. That's right, I thought Bill and the boys were putting them on live every week.
I didn't even know what sci-fi was, but I knew the show had aliens and spacecraft and a whole bunch of other stuff I wasn't seeing anywhere. This sparked a love for science fiction of the adventure variety (as opposed to the kind that reads like a combination of a physics textbook and stereo instructions) and led to me reading a ton of cool books, including the Burroughs John Carter of Mars and Hollow Earth books.
And during the 70's the love affair continued in the theaters. The first time I remember standing in line at a theater was to see Star Trek: the Motion Picture. The FX blew me away. I loved it. It wasn't till years later I actually realized the movie was kind of plodding (though I'd be willing to bet it's a MUCH nicer experience on the big screen).
And then of course, there was Wrath of Khan. Now this was what Trek was all about. Ships were blowing up, creatures were placed in bodies to control minds, Kirk was screaming, McCoy was pissed and Spock had a plan up his sleeve.
The movies were fantastic. The Search for Spock introduced the best Klingon villain ever (I still think Christopher Lloyd is the best bad-ass Klingon, although Duras, Lursa and B'tor are close), and the Bird of Prey is easily one the best starships ever seen on the shows (top 5 starships: Original Enterprise, Bird of Prey, Defiant, Exclesior, Original Klingon).
Still, as good as these movies were, and as well as the original shows held up to the passage of time, it was hard to describe Star Trek as an actual universe or setting. We always saw it through the eyes of Kirk, Spock and the crew of the Enterprise.
What was the rest of the universe like? Was everyone in Star Fleet above the rank of Captain insane? Was every starship commander a maverick? Why the hell did a "peaceful" organization like Starfleet have standing general orders a ship's Captain could give to wipe out all life on a planet?
Well, when the show returned to the small screen, we were about to find out how well this vision Gene Roddenberry had of the future would hold an audience's interest without Kirk there to kick ass and take names 5 seconds after announcing that he came in peace.
To be continued...
Anyone who knows me knows that I love Star Trek.
One of my earliest childhood memories (back in the primitive 1970's) was watching the original series on Saturday mornings. That's right, in the midst of the "Creature Feature" (bad horror/50's sci-fi fest where I saw many I *thankfully* would not see again until Mike and the bots had their way with them) and the cartoons was this live action sci-fi show.
I'm not exactly sure how early this was in my life, but to give you an idea of how early it was in my development it was during one of these broadcasts (an episode I had seen several times) that I realized the show wasn't happening live. That's right, I thought Bill and the boys were putting them on live every week.
I didn't even know what sci-fi was, but I knew the show had aliens and spacecraft and a whole bunch of other stuff I wasn't seeing anywhere. This sparked a love for science fiction of the adventure variety (as opposed to the kind that reads like a combination of a physics textbook and stereo instructions) and led to me reading a ton of cool books, including the Burroughs John Carter of Mars and Hollow Earth books.
And during the 70's the love affair continued in the theaters. The first time I remember standing in line at a theater was to see Star Trek: the Motion Picture. The FX blew me away. I loved it. It wasn't till years later I actually realized the movie was kind of plodding (though I'd be willing to bet it's a MUCH nicer experience on the big screen).
And then of course, there was Wrath of Khan. Now this was what Trek was all about. Ships were blowing up, creatures were placed in bodies to control minds, Kirk was screaming, McCoy was pissed and Spock had a plan up his sleeve.
The movies were fantastic. The Search for Spock introduced the best Klingon villain ever (I still think Christopher Lloyd is the best bad-ass Klingon, although Duras, Lursa and B'tor are close), and the Bird of Prey is easily one the best starships ever seen on the shows (top 5 starships: Original Enterprise, Bird of Prey, Defiant, Exclesior, Original Klingon).
Still, as good as these movies were, and as well as the original shows held up to the passage of time, it was hard to describe Star Trek as an actual universe or setting. We always saw it through the eyes of Kirk, Spock and the crew of the Enterprise.
What was the rest of the universe like? Was everyone in Star Fleet above the rank of Captain insane? Was every starship commander a maverick? Why the hell did a "peaceful" organization like Starfleet have standing general orders a ship's Captain could give to wipe out all life on a planet?
Well, when the show returned to the small screen, we were about to find out how well this vision Gene Roddenberry had of the future would hold an audience's interest without Kirk there to kick ass and take names 5 seconds after announcing that he came in peace.
To be continued...
Monday, March 14, 2005
Miller Time
Well I just wrapped BNG II USSOCOM which means... its that time of day, when I can head for the mountains.
And in related news (ok not really)... China passed a law that they will go to war to reclaim Taiwan today. The US has had a law for quite awhile that WE will go to war to stop China from retaking Taiwan.
Well fuck.
Here's hoping the Organians show up.
Chuck
And in related news (ok not really)... China passed a law that they will go to war to reclaim Taiwan today. The US has had a law for quite awhile that WE will go to war to stop China from retaking Taiwan.
Well fuck.
Here's hoping the Organians show up.
Chuck
Friday, March 11, 2005
Inflation
A post on the ENWorld boards (where I probably spend time I should spend working- but I call it "advertising" and "connecting with the fans" so it feels more productive) raised an issue that I tried to address in Blood and Guts, 2nd edition and that I have spent a lot of time thinking about.
See, the first Blood and Guts was good, but it was TOO MUCH.
What do I mean by that?
Its like inflation. Have you ever noticed how Greenspan at the Federal Reserve juggles inflation rates around every now and then? Sometimes he raises them, sometimes he lowers them... he's looking for that sweet spot.
You want the economy to be hot, but not TOO hot.
Before you think this has turned political, I do think that anology applies.
BNG had good classes, but too many. Good skills, but too many. Good feats, but too many.
I was once of the opinion that you could never have too much STUFF. If you recall, back in an earlier post in this very blog I promised my books would always have nice crunchy STUFF. And they will.
However I am beginning to realize that if one new class is a good thing, 15 new classes is not 15 times better.
Here's an example: In BNG there was one development path that would allow you to enter Delta Force by level 10. One.
And that meant you had no class or feat choices available until 10th level.
That's too much of a good thing.
In some ways, Blood and Fists and Blood and Guts, my 2nd and 3rd Modern books respectively were experiments. I had taught myself the game writing and running Blood and Relics, and now I was ready to take it for a spin.
Looking at BNF and BNG its hard to imagine they were written by the same guy. I was experimenting with different types of design. BNF was very modular... very adaptable. Sure it has a few classes, but they're optional. You can ignore the classes and make use of the other 95% of the book.
BNG was very tightly woven together. You couldnt make use of one part of the book without the other parts of the book.
While this allowed you to run certain kinds of campaigns well, it forced you to either ignore the military or make it central. You couldn't take a little of the book and use it to make your Blood and Vigilance character have a more military feel (say a Capt America wannabe).
After using the books for over a year, I started to notice that BNF was always out, in my player's hands to add a feat or a skill use. BNG wasn't and I started to see the interwoven nature and complexity (dare I say density) of the rules as an impediment.
Basically, the flexible martial artist and rigid soldier fought and the martial artist won. So now the soldier is adapting
Chuck
See, the first Blood and Guts was good, but it was TOO MUCH.
What do I mean by that?
Its like inflation. Have you ever noticed how Greenspan at the Federal Reserve juggles inflation rates around every now and then? Sometimes he raises them, sometimes he lowers them... he's looking for that sweet spot.
You want the economy to be hot, but not TOO hot.
Before you think this has turned political, I do think that anology applies.
BNG had good classes, but too many. Good skills, but too many. Good feats, but too many.
I was once of the opinion that you could never have too much STUFF. If you recall, back in an earlier post in this very blog I promised my books would always have nice crunchy STUFF. And they will.
However I am beginning to realize that if one new class is a good thing, 15 new classes is not 15 times better.
Here's an example: In BNG there was one development path that would allow you to enter Delta Force by level 10. One.
And that meant you had no class or feat choices available until 10th level.
That's too much of a good thing.
In some ways, Blood and Fists and Blood and Guts, my 2nd and 3rd Modern books respectively were experiments. I had taught myself the game writing and running Blood and Relics, and now I was ready to take it for a spin.
Looking at BNF and BNG its hard to imagine they were written by the same guy. I was experimenting with different types of design. BNF was very modular... very adaptable. Sure it has a few classes, but they're optional. You can ignore the classes and make use of the other 95% of the book.
BNG was very tightly woven together. You couldnt make use of one part of the book without the other parts of the book.
While this allowed you to run certain kinds of campaigns well, it forced you to either ignore the military or make it central. You couldn't take a little of the book and use it to make your Blood and Vigilance character have a more military feel (say a Capt America wannabe).
After using the books for over a year, I started to notice that BNF was always out, in my player's hands to add a feat or a skill use. BNG wasn't and I started to see the interwoven nature and complexity (dare I say density) of the rules as an impediment.
Basically, the flexible martial artist and rigid soldier fought and the martial artist won. So now the soldier is adapting
Chuck
Wednesday, March 09, 2005
Quick Update
Not to be confused with a quick hit!
Late tonight or early tomorrow, reliable sources indicate that the first installment of Blood and Guts II, the Military Training Manual will be released. This book will give you everything you need to make a character with a military background, whether the military is going to be a primary focus of the game or not.
Work continues on the second book of the series, Special Operations Command. This book will give you everything you will need to make a character with a special operations background.
This is such a big project and will cover so many of our products in the coming year that Blood and Guts now has its own page, so go check it out for info on all things BNG.
http://www.rpgobjects.com/index.php?page=bng
Late tonight or early tomorrow, reliable sources indicate that the first installment of Blood and Guts II, the Military Training Manual will be released. This book will give you everything you need to make a character with a military background, whether the military is going to be a primary focus of the game or not.
Work continues on the second book of the series, Special Operations Command. This book will give you everything you will need to make a character with a special operations background.
This is such a big project and will cover so many of our products in the coming year that Blood and Guts now has its own page, so go check it out for info on all things BNG.
http://www.rpgobjects.com/index.php?page=bng
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