Category Archives: Level One Wonk

noun
: a person preoccupied with arcane details or procedures in a specialized field
broadly : NERD
: a TTRPG wonk
: a game design wonk

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The intent of RPG reviews

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It’s another new year, and I am once again asking, in one form or another, the same question I’ve asked myself in January for several years now: Why am I here? Why do I want to be here, writing about roleplaying games? Now, I’m not asking this question because the spark is gone or it feels futile (it does some of the time, but hell if that’s going to stop me). Instead, I’m checking in on myself. What am I trying to do? Am I succeeding in that?

This year, I’m also asking: Why are you here? I don’t necessarily mean at this site specifically, but why are you reading about RPGs online? More specifically, why are you reading RPG reviews? I know for a fact that the reason many go to read reviews is not exactly aligned with the reason I write them, and that’s likely why I felt the need to discuss the intent of RPG reviews.

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Level One Wonk Holiday Special: 2024

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Happy holidays to gamers here and around the world! It’s that time again where I settle in at the end of the year, make a comforting hot beverage and review what’s gone on in the last twelve months. And, to be completely honest, it’s been a doozy. In the gaming world, 2024 was a year of D&D, the game’s 50th anniversary being a banner event that led to the release of the new 2024 version of the 5e handbooks (I guess we’re not supposed to call them 5.5e, but come on). At the same time, the goliath that is D&D has taken some licks; the self-inflicted wound that was the OGL fiasco led to significant fragmentation in the high fantasy subgenre defined by, well, D&Ds. Daggerheart, Draw Steel, and Tales of the Valiant all brought forth new takes on the 5e formula, and were a double-edged sword in terms of D&D’s monopoly: On one hand, that version of fantasy, the swords and sorcery slash Tolkien mashup that existed nowhere except D&D in 1974 and now exists everywhere, is still the most popular RPG genre in the world. On the other hand, a wide range of 5e players took a look at other games, and if D&D didn’t end up being their first choice for D&D things, they definitely ended up looking at other games for other genres.

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Network effects make you play D&D

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As children of the social media age, we’ve heard the term ‘network effects’ before. Network effects are the observation that, for certain goods and services, their utility (benefit to the user) increases the more people are using them. The classic example is a social network like Facebook: The more of your friends are on a social network, the more useful it is to you. Services with strong network effects are also built with strong switching costs; a network effect is only defendable if there’s a disincentive to join multiple networks at once, and if leaving one network for another is difficult. This is why extracting your data from a service like Facebook is a pain, and why these services try to prevent you from exporting your contact list at all costs. Make the service more useful by getting more people on it, but then make it hard to leave so these people stay.

What does this have to do with RPGs? There are few direct network effects or switching costs involved with the act of playing a game: You find a group of your friends who are willing to play (and maybe learn) the game, then you play it. If you want to play something else, you put it down. For better or worse, though, roleplaying games are a hobby which involves multiple points of interaction and modes of social signaling. And while the hobby may not have switching costs, it does have barriers to entry. These are both real barriers, like finding a group of people you play well with, scheduling multiple game sessions, and spending a fair amount of time prepping campaigns and characters, as well as imaginary ones, like the amount of effort it takes to learn the next new system, and the risk of playing the ‘wrong game’. It’s important to acknowledge perceived barriers to entry because that’s where network effects within the hobby begin to affect your behavior; specifically, indirect network effects are quietly encouraging you to play D&D.

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On Escapism

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I think I’m getting tired of cyberpunk.

I’ve been deep into the cyberpunk genre since at least high school, reading, watching, and playing everything I could find. It was science fiction that actually resonated with me; computers and body modification and AI all seemed much more pressing, more real than space travel and distant planets, let alone magic and wizards and vampires. When I played Cyberpunk 2020, something I started doing at about 16 years old, I embraced the dystopia of the setting and leaned into the idea that a better way to play the game was a grittier, grimier way to play the game. Even as I lightened up a bit about black market modifiers and blunt trauma damage, the game was an inherently grim one. One of my gaming friends in college reflected on a Cyberpunk game we played where his character was killed at the hands of another PC, the second of a series of exchanges that killed half the party in the span of two sessions. It was actually a great ending for how much intrigue had built up between the characters, but it could still be summed up in three words:

“The future sucks.”

Those are the watchwords of not just Cyberpunk 2020, but arguably the entire genre. Neuromancer is not a book about a hero who changes the world, it’s about a character who, through acting in his own self-interest, releases one of the biggest existential threats the world has yet seen and then nothing happens. William Gibson, Neal Stephenson, George Alec Effinger and other preeminent cyberpunk authors were at their best when writing characters who accepted the worlds around them even as the readers were drawn in to how alien yet upsettingly familiar they were. Good cyberpunk made you think because, like all good science fiction, it was the issues of the present cast upon a vision of the future. The problem is that those visions of the future are here, and yeah, the future sucks.

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Guide for the Perplexed: Scandinavian Game Stores

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As some of you may have noticed, I took two weeks off at the end of September. During that time I was traveling, walking and taking trains in Scandinavia with my parents, my brother, and my partner Emily. We started in Stockholm, then visited Göteborg and Malmö before crossing the Øresund to go to Copenhagen. We also took a day trip to Uppsala in there; my parents were impressed at my initiative in planning to visit the city, but in all honesty 85% of my reasoning was that Vaesen is set there. Nevertheless. We visited some incredible cities, ate some incredible food, saw fantastic bicycle infrastructure, and spent two weeks doing something very different.

Not entirely different, though. Sweden is the home of Free League and Denmark is the origin country of LARP camp, so of course I couldn’t take a trip like this one without visiting some gaming stores. What I experienced was quite a bit different than the norm in the US…and to be honest, better in a lot of ways. Given that I had just gone over the landscape of RPG retail maybe a month before, this seemed like a perfect opportunity to bring the Guide for the Perplexed series to Scandinavia for a little bonus.

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Guide for the Perplexed: Retail Institutions

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Welcome to the second installment of Guide for the Perplexed! Last time I introduced three of the largest RPGs that aren’t D&D, games with long enough histories and big enough communities that they’re easy to get into and find players. Now I’m going to talk about a different angle for finding games and finding players: The places you go to shop for games.

I’ll be the first to admit that it’s a lot easier to find games online; between DriveThruRPG and itch.io virtually every game imaginable is one click away (and the two publishers that don’t use these sites are huge and have their own). That said, the ‘friendly local gaming store’ can not only give you access to games, but also advice and even networking. Admittedly the reputation of the game store has been pretty negative for a lot of the hobby’s history; game stores were historically seen as unfriendly to women and minorities and the progenitor of many horror stories as a result. Luckily this is changing, and as even D&D itself is aiming to become more welcoming and accessible, few stores are going to stay in business without putting some effort into the ‘friendly’ part of the moniker.

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Guide for the Perplexed: Biggest Names

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Imagine for a moment that you’re a recent entrant into the tabletop RPG hobby. In all likelihood you entered via D&D; the longest lived brand in the hobby almost certainly holds a majority share of hobby sales and definitely of hobby mindshare. If you wanted to stay in the realm of D&D, that’s easy; the game has the largest community by far, the volume of official supplements is solid, and the third party support is massive. Even if you tire of D&D 5e itself, there are a number of directly comparable games to play; you can go Pathfinder if you want something more granular and more complex, or go to the OSR for something more imagination-and table-driven. But let’s say you want something different. How do you figure out what’s going to appeal to you?

Guide for the Perplexed is going to be a series of articles looking at finding new games outside of D&D. The key angle here is accessibility: These games will be easy to find and it will be easy to find other players. To that end, I’ll be looking at three different approaches to finding new games: Games which have the outright largest player bases, games which are easy to find at your local game store, and games with active communities online. As the series progresses the discussion will not only be about the games, but also about the channels that the games come through. Gaming at your local gaming store isn’t just about what books you can find on the shelf, it’s about the events being offered. The same goes for local gaming cafes or even your local library. Similarly, ‘online community’ can mean a lot of different things, but it’s important to see which ones are welcoming and support gameplay, including subreddits, forums, and living communities.

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Victoriana Third Edition: Last Chance Review

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I’m not going to hide that I have a dim view of games made using D&D Fifth Edition as their base system. D&D has always been a more specific game than Wizards of the Coast makes it out to be; even TSR made separate games instead of a unified ruleset. When I see a game made for 5e my first question is always if the designers had any thought to what rules would best suit the game they’re making rather than what rules more people are already playing.

If there’s a company that has a chance to make me eat my words, though, it’s Cubicle 7. My review of Doctors and Daleks detailed how impressed I was at what they did to make a good Doctor Who RPG out of 5e, including some massive changes to how the game works. Cubicle 7 is now campaigning another 5e game on Kickstarter, the fourth edition to their Steampunk game Victoriana. Victoriana has already seen some ruleset changes over the years; the game started out using Fuzion, a revision of the rules to Cyberpunk 2020 co-developed by R. Talsorian and Hero Games. By the third edition, though, Victoriana is built out using a d6 dice pool system and a wholly custom ruleset.

My questions about 5e Victoriana run rampant. Beyond my ruleset partisanship, this version of the game has been limping along for years, first announced in 2021, re-announced in 2023 using a custom 5e modification that was being called C7d20, and finally making it to Kickstarter earlier this month with the C7d20 nomenclature absent, simply called “Victoriana for 5th Edition”. The campaign is ongoing, and though it’s met its funding goal it’s currently sitting below $75k, a tough number to swallow for a campaign that has stretch goals out to the $200k mark.

What is this new edition of Victoriana going to get us? To attempt to answer that question, I’m going to crack open my copy of Victoriana third edition. Released in 2013, the game has the polish of a title both released by a major design house as well as one from late in the ‘big book’ era of trad games. The question is, given the sort of game Victoriana is, will it work using 5e rules? And in the pantheon of Steampunk RPGs, is it one worth saving, 5e or not?

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The TTRPG Fleet

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If you hang around in bicycle spaces long enough, you’re going to hear someone say ‘n+1’. This is a joke among the cycling community: “The correct amount of bikes to own is n+1, where n is equal to the number of bikes you currently have.” Needless to say the collector’s impulse in the cycling hobby runs strong, and even if you aren’t interested in trying all the brands or vintage frames or anything like that, you still may find yourself in the throes of n+1. After all, you start with a mountain bike, want to try a road bike, then you need a gravel bike, and a cross bike, and an endurance road bike, a climbing bike, a pub bike, a fixie…

It’s no wonder the collector’s impulse is even stronger within RPGs; you can get twenty hardcover sourcebooks for the price of a relatively cheap bike. And yet, collecting RPGs comes with a stronger risk of missing something. There are many, many bikes out there to enjoy, but at the end of the day you’re still going to be riding bikes, and the forty miles you put down on one bike will still help your legs when you pull out the next bike. The TTRPG hobby is a bit different; playing Masks and playing Pathfinder aren’t going to be similar experiences or pull in the same direction.

While RPG reviewers such as myself are often the ones most liable to try and catch all the RPGs like so many Pokemon, there is another way to consider approaching RPGs and actually playing them, and it comes right from bicycling. N+1 may be a joking mantra, but most cyclists have neither the money to acquire a collection of bikes nor the time to ride them. Instead, most cyclists end up with their ‘fleet’, a group of two to eight bicycles that cover the range of disciplines and experiences they want to have. While having twenty Italian road bikes may not amplify your understanding of cycling, having both a road bike and a mountain bike is something that pretty much every cyclist can understand, collector or not.

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Nostalgia, consumption, and D&D

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I am not too proud to admit I’ve watched every episode of Netflix’s That 90’s Show. Unlike the first attempt at a spinoff, That 90’s Show is nakedly and obviously a sequel to That 70’s Show while also fishing in the shallow pool of 90s nostalgia, including groaningly obvious musical numbers and cameos specifically meant to induce memories of going to high school in the 90s. I’m technically a bit too young for the target market, as well as someone who thought themselves too aware of tropes and psychological ploys to get sucked into this kind of TV. And yet, get sucked in I did. It’s a blatant comfort-watch, calling back to the original series, the magical time before social networking, and also the bygone era when multi-camera sitcoms were still the bulk of network TV programming (remember network TV?).

Nostalgia plays aren’t limited to TV, and of course in the TTRPG world we see them all over. There’s arguably two angles to nostalgia within TTRPGs: The RPG as nostalgia tendril, where the game is simply the marketing device used to exploit the audience’s existing love for Star Wars, or Marvel, or My Little Pony. These games can be good or bad, but they’re built around their existing property and serve that property (and its licensors) first. There’s also nostalgia for the TTRPG itself. While a cynic may call the OSR solely a nostalgia play, there’s much more obvious examples at play here; Goodman Games is clearing half a million dollars in crowdfunding for what is effectively a reprint of a module from 1979. They’re making a t-shirt as part of this campaign, so it’s definitely at least a little bit for the money. That said, I don’t think the Caverns of Thracia reprint is entirely indefensible. Goodman is doing a service by taking a great old module and keeping it available, including updating it for new rulesets; it’s still arguable whether that’s worth half a million dollars and t-shirt sales. And that’s the primary issue with nostalgia: Where do we draw the line between archiving and reviewing the past, and wallowing in it?

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