Runaway Train

I have friends who compare running RPGs to hanging onto the front of a freight train and trying to quickly lay down track before they derail completely. I find that this comparison is only true for people who are just starting out writing this type of game. After a few sessions, the GM will get better at writing stories that aren’t so rigid and strict. In fact, people smarter than I have written very informative articles on how to structure an adventure for maximum playability.

When I first started writing, I very much over-thought the whole process. I had a complicated array of if/then “switches.” Completing quest A would yield different results if the players had previously completed quest B, and still different results if they'd completed quest C and B together. In time I learned that I was exerting myself for no meaningful gain. Work smarter, not harder, as the saying goes. Anyway, wasn't this supposed to be fun? Programming a game in a word processor is laborious and draining. Many times, content was skipped completely, meaning that I'd wasted effort. Something had to change!

This is another big departure for regular writing vs. RPG writing; the fact that stuff can get skipped. Only in an author's wildest nightmares might a whole chapter get overlooked. So much character development and plot, gone. Just like that. How could a story retain its shape? How could you have a finale? What if somehow the finale was skipped? This is why RPG writers have to employ something called nonlinear writing.

It's not as strange as it sounds. If you've ever thought about the process of writing a script for a movie, it merits comparison.

A few years ago I was completely in love with the idea of becoming a big-shot Hollywood film director. Because my obsessions are a little more “advanced” than some people, I like to learn everything about something before I move forward. During my research (a fancy way of saying watching every “making-of” on every DVD ever made), I learned that most movies and television shows are shot completely out of sequence. That is, the script is carved up into discrete, filmable chunks and then shot out of order. Lord of the Rings is famously known (by me anyway) to have filmed the very last shot in the whole movie during the first few weeks of principle photography. The actors hardly knew each other at that point, and now they had to act as if they had just finished throwing the ring into the Crack of Doom.

"Was your name Shane or Sean?"

Like movies, it helps if the author can think of the story as a series of discreet scenes. Unlike movies, RPG scripts are not written as a whole and then carved up later. It's much easier to have a strong overarching narrative that connects separate “scenes” together into a whole. This way the players can visit the scenes in almost any order and still get a grip on the overall story. So what if they skip the fight with the cave troll that was supposed to happen early on? The GM can just make it come in later and use it for the last fight of the game. Problem solved.

Movie Review: Cowboys and Aliens

As I have done in the past, I've decided to review a movie. To quote myself in my review of Daybreakers: “Perhaps the most prevalent and popular form of writing today is the kind we see in movies. While many people simply "hate books," nearly everybody watches movies.”

Cowboys and Aliens is a 2011 movie directed by the same guy who made both Iron Man films. It earned a 44% from Rotten Tomatoes, which means it's quite rotten. It also means that it's rated lower than Daybreakers (67%) but much better than 2005's Doom (20%).

Remember his name? I sure don't.

I like to think that the title of the movie was invented when a parent watched his children play with action figures. When I was a kid, I'm pretty sure I made Batman fight aliens. Maybe they'll make that into a movie!

On the surface, the film seems to offer everything I like about Summer movies: Action. Explosions. Harrison Ford. What went wrong? Films that mash up two genres are rare but not unheard of. According to this series of captioned photographs, “[Bladerunner was a] sci-fi and hardboiled film noir; Alien was a haunted house movie [in] outer space.” So it's not like this kind of thing is new.

The problem lies in the way the movie was created, it doesn't blend two films; it is two films. Like dysfunctional siblings, these two movies fight it out to be dominant almost the whole time. In the beginning, it's a fairly boring Western starring James Bond. Halfway through, there's a transition from Western into a pretty serious sci-fi flick. Then for the rest of the movie each genre ruined the suspension of disbelief for the other. Worse still, I got flashbacks of Krull.

If you're not familiar with Krull, watch this trailer.

Like most films with a bloated budget (Matrix 2 and 3, any Star Wars prequel), character development takes the backseat to what Hollywood executives would excitedly refer to as “the Action.” Unfortunately this means that there's no character development of any kind in the beginning of the movie. James Bond wakes up with no memory, so we as the audience are left to solve this “mystery” for ourselves as the film progresses. This is not a J.J. Abrams mystery that leaves the audience with an “I MUST KNOW” desire. This is a slow, plodding and ultimately unimportant side plot that seems to get in the way of the Action.

This explosion is more important than the characters.

In fact, this veiled "mystery" trickles down throughout the entire production (Spoilers ahead). Why are the aliens abducting people if they're only visiting earth to harvest gold? If Olivia Wilde is an alien who can take the form of a human, why can't the other aliens? Is she the last of her race? How come the Indians speak exclusively Chiricahua but can clearly understand English? Was this all an excuse to give Harrison Ford a Chewbacca-like Indian sidekick? Why do the aliens seem so evil?

In a weird twist of fate, the writers of the movie tried to make an ensemble cast of characters, but they don't take the time to develop any of them beyond an initial archetypical doodle, and this includes the main character.

The main character: Jake Lonergan, a mysterious amnesiac who turns out to be just an outlaw with James Bond's prowess for hand-to-hand combat.

Harrison Ford's character: A rich cattle rancher who learns something about himself through the eyes of a young boy while chasing down the aliens.

Olivia Wilde: A mysterious young woman who looks like she wears pajamas for the whole film.

The Preacher: A caricature of what Hollywood thinks ministers in the wild west were like, except he's both Catholic and Christian, but with some distinct humanist vibes.

...And three or four other people whose names you won't know until you read the credits on IMDB!

Probin' time.

This movie was basically a 1.5 million dollar Freddy Wong video, except without the fun Freddy Wong bits. Instead of watching this, watch True Grit and District 9, two much better films that do their genres justice.

The Good:

Great explosions, aliens, effects

James Bond's wrist gadget

The Bad:

The plot is boring

The movie is never as cool as the title made it sound

The characters are undefined and shallow as a hastily-dug mafia grave

The end was much like Krull

It didn't mash up the two genres well
This list of mistakes

Overall: 2/5

The Master is a Slave

This image is blatant pandering to
my sister in law

Continuing from my previous post, another thing that makes RPGs so different from board games is the notion of a Game Master. I realize that phrase might make some people shudder away in disgust and exclaim, “that's just too nerdy for me!” but I implore those people to continue reading anyway.

As far as I can think, there's nothing quite like having a game master (or GM) running the game. In video games the player is limited by the bounds of the game itself. If you walk to the furthest reaches of the map, you'll find an invisible wall that blocks the way. Books and movies are different because the reader or viewer is effectively on rails for the entire duration. The experience is passive instead of active. This doesn't make it better or worse; just different. The audience has no control of what does or doesn't happen on the screen; they're simply along for the ride.

Meanwhile, sitting at a table with a person who is the author, narrator, voice and personality of the characters is something to behold, especially if it's done well. If a player decides to travel to the farthest reaches of the planet, it's the GM's responsibility to have something suitably surprising waiting there for him to find. This is why I keep stressing the importance of imagination in games. If imagination is limitless, the world is limitless.

Now you can start to see where the difficulty of creating this kind of game can be. In a previous blog I mentioned that RPGs come in books. Most of the time a portion of the book is devoted to explaining the world (also called a “setting”). Essentially a setting is an elaborate list of Do's and Don'ts. A setting could take place in the Wild West, except with strange and grungy magic. It could be like Men in Black. It could be based on My Little Pony.

This guy knows what I'm talking about.

However, people are wild and unruly creatures who desire above all things to get their own way. This was one of the first things I learned when I jumped headfirst into running my first game. It can be frightening; I had spent hours trying to anticipate what a group of three players might do inside a single tavern. Within two minutes of playing they were already doing things I hadn't thought of. This is something I think every writer should experience just once; people like to break things. Look at what happened within a few weeks of the new Star Wars game coming out; people got inside the game and found ways to break it, giving themselves an advantage.

You see, when a person sits down to write a story, they have time to ponder and caress their words and characters. They can carefully sketch and sculpt their style and narrative to suit a certain purpose. This is one of the reasons it takes so long to write things. Compare this to RPGs, where the writer can prep as much as they want but still be fairly unprepared for the game. It doesn't matter how much time an author spent describing the perfect woman; when suddenly asked by a player if she's ever killed a man, all preconceived ideas are quickly called into question and the author has to stop and think. It's this very unpredictability that makes the game both a blessing and a curse.