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

What actually happens when your group switches games?

It’s known that table dynamics affect play as much as (and some argue more than) what game you’re sitting down to play. And although both game and player are important, player aims often get talked about less or even disparaged through ‘taxonomies’ which typically valorize the playstyle of the author instead of providing objective analysis. Games are simply easier to discuss and critique; even movements which seemingly downplay the primacy of mechanics end up spending a lot of time discussing written material in the form of modules and settings which rarely if ever lead to the best gaming experience (because of, once again, player dynamics).

I started puzzling over this a few weeks ago, and wanted to return to the discussion at hand because I think it’s an important part of figuring out what you actually want to play. Needless to say, the ‘what’ in this sentence must necessarily be broader than what book you aim to pick up and puzzle through, but that’s always been the case: Even within a single game, editions, supplements, and pre-written material would always enter consideration before a single person sat down at the table. And, of course, the play outcome is still wholly dependent on the group even after the material choices are made.

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Gaming groups and the social ‘system’

Moreau Vazh wrote an excellent post on their blog Taskerland, entitled “System Matters, Explicit Mechanics Less So”. Framing the debate on rules density historically, the post points out that gaming groups end up behaving in patterns similarly seen in many groups of people who have come together to do something creative. Of course, given that the norms of roleplaying are a great deal younger than, say, the social conventions of playing music in a group (an activity which is highly delineated and has many, many titles associated with said groups), there’s still a lot of push and pull in terms of figuring out how everyone actually wants to roleplay. Many of the norms we do have were developed either from prior art (often wargames) or came up simply because they were written into D&D back in 1974 (or perhaps a few years later, depending on the actual rule). Either way, these norms are still evolving, and as Vazh correctly points out, the hobby spends way more time agonizing over mechanics than attempting to understand the social dynamics which lead to game preferences and styles of play. And this leads to the core thesis of the Taskerland post, that ‘system’ is so wrapped up in the social norms and conflict resolution approaches of a group that the way a group plays games often transcends mechanics.


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Diegesis, Mimesis, and You

The term ‘diegesis’ (and derived adjectives ‘diegetic’ and ‘non-diegetic’) comes from film criticism, but has been used recently in RPG critique. In essence, diegesis defines the narrated world relative to the viewer (or in our case, the player). This is somewhat of a heady, academic definition, so let me give an example. In a movie, the soundtrack is typically non-diegetic. That means that the music playing that the audience hears does not interact with the narrative, with what’s going on on the screen. In some cases, though, the soundtrack is diegetic, meaning that the events of the narrative do interact with the music. The perfect example of that would be musicals: The soundtrack you hear is in fact the characters breaking into song, that is part of the narrative and the world.

And just like musicals, roleplaying games are creating assumptions about their worlds that do not align with the real world. You are never going to suddenly hear a musical cue and break into song while waiting for a bus; similarly you will never find yourself suddenly able to rebuild an engine or speak Mandarin because you were able to invest ‘skill points’. These aren’t bad things: both dramatic works and games are designed in service to their goals as art and entertainment, not to be ‘realistic’ or ‘grounded’. On the other hand, there is a vast world of critical opinion around how much the conceits of both films and games live in either diegesis or exegesis (the realms of the narrative and the audience, respectively); calling musicals divisive would be putting it mildly, and the same can be said about RPG mechanics which treat the characters more like narrative game tokens than extensions of the player.

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The intent of RPG reviews

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

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

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

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

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

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

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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