Tuesday, January 30, 2024

Unearthed Arcana PHB Testing "Done"

 In a video released today, Jeremy Crawford went over the survey results of UA Playtest 8, noting that the scores have been extremely good (with the Monk averaging in the 90s in terms of satisfaction - noting that they typically consider 70% to be where they think things are working pretty well) but also that testing for the Player's Handbook has moved entirely to internal testing.

Another important note is that the May release date seen on the Fighter class art from the PAX Unplugged panel he hosted was both a surprise to him and also fully inaccurate - he says that they will still be working on the book in May, so there's no chance we're going to see it release that month (or, as I understand it, for months after).

Frankly, I think this puts the release date probably some time in the fall. I think they probably want to get all three of the core books out this year if only to hit that 50th anniversary window, but I don't know what we can expect in terms of the cadence.

As I've said before, I think it's most likely that we're going to see the PHB come out first, likely followed by the Monster Manual, and then the DMG. But whether there will be two months between those releases or just a week or two, I don't know.

One thing of note that Crawford suggested might get put out as a later UA is a new encounter-building system that is meant to be more streamlined. Personally, I've been using MCDM's system from Flee, Mortals! recently, which simply gives a CR budget-per-party-member based on the difficulty you're looking for - so if you have, for instance, four 5th level characters, and you want a standard difficulty encounter, you get 1 1/2 CR per player, so a total of 6 - meaning you could have three CR 2 monsters, a CR 4 and two CR 1 monsters, six CR 1 monsters, etc. (There are somewhat different rules for solo monsters, and there's a CR cap - just because you have six players doesn't mean you should use a monster that's going to insta-kill them).

The system that was introduced in Xanathar's Guide to Everything was a big improvement on the one in the DMG, but had a couple of issues - one was that there was no difficulty variation in it - you sort of had to eyeball what you needed to do to reduce or increase the challenge - and it also had somewhat skewed scaling - if you had a slightly less powerful monster you could suddenly have twice as many in an encounter, for example, even if that made the fight way harder in reality.

Frankly, I expect that this will look very similar to the FM! version (I have to imagine that the folks at WotC follow what MCDM is up to, which is only fair).

Still, the upshot here is that we're not going to be seeing any more playtests for classes and subclasses for the 2024 PHB. That's a little bittersweet, as I've really enjoyed the bi-monthly treat of going through all the proposed changes, but I'm also eager to see these become official.

Testing overall isn't done - the team at WotC is going to be doing a bunch of internal testing - but the overall goal of the UA process, which is basically to ask the audience "hey, are we on the right track with these things" has been accomplished, and the tweaking and fine tuning is going to go back to the closed doors of the sausage factory.

What I don't know is how extensively they plan to test stuff in the DMG and MM. Can we expect to get more "One D&D" playtests, or is it going to be a dry spell from here until the new books are out?

    Now, looking ahead, I'm also curious to see what new things we have on the horizon. Between Monsters of the Multiverse and these new books, there has been a lot of revising and redesigning of game elements.

Given that we're not going into a full new edition of the game, there's a lot that is already covered. Even if there are a handful of things I'd like to see revamped (like the Necromancer Wizard) I think it'd be best if the game goes in the direction of the new.

Sunday, January 28, 2024

The Wind Temple

 Well, I did the first real "dungeon" of Tears of the Kingdom. And I have to say that this was a big improvement over my biggest complaint about Breath of the Wild - the dungeon had its own personality and vibe.

Now, just to be nitpicky, the design of the Wind Temple, which is essentially a giant flying airship, was fairly simple compared with previous Zelda dungeons. You hold this up to the Yeti's House or the Forest Temple and it's not quite the same.

But, unlike the Divine Beasts in Breath of the Wild, this felt like the mechanics and look of the temple were really tailored to the specifics of the story the dungeon was telling. This might be a premature assessment - after all, I haven't seen the other ones. But I'm just going to say that this one felt like fun, and I felt clever for figuring out how to take down the boss.

The Wind Temple is the dungeon associated with the Rito in the northwest of the map (it's been long enough since I played BotW that I don't know if the map is exactly the same, but the overall layout is still clearly meant to be. This is one of those unusual Zelda games that is a direct sequel to the previous one, similar to how Majora's Mask has the same Link as Ocarina of Time, but unlike that one, this is set in Hyrule once again).

There's an endless blizzard freezing the area, and so you go with a young Rito named Tulin up a massive complex of sky-islands until you finally get high enough to dive down into the heart of the storm, where you find a legendary sky-ship that was a big part of Rito culture but thought to be a myth.

The dungeon itself is basically one big multi-part puzzle, where you need to activate a number of wind turbines that Tulin's special ability lets you do. Thus, the dungeon can be completed in any order. The place has berserk Zoltai constructs and some Keeses and a few automated turrets that can ruin your day (thankfully if you're knocked off, you can teleport mid-air to the main deck.

One of the minor challenges here is that it's cold enough that you'll likely need some consumable cold resistance gear - I only ever got a set of warm leggings and boots, which was fine for most snowy areas but not here, so I had to eat up a bunch of consumables I'd made to avoid taking damage from the cold. Luckily, the interior spaces of the ship are warm enough that you can get by (at least with those leggings) so it's only a concern when you're in the outside areas.

So, once you activate all the turbines, you can open up a big gate in the main deck, and this releases a boss. The boss is a giant sky-serpent with three circular segments. The tops of these are all covered in scales, but when you fight it, the updraft lets you float up or descend, and you can shoot the icy undersides of these segments with your bow (the dungeon is very generous with arrows and doesn't seem to require using them a lot, but Din, Farore, and Nayru help you if run out.) I found myself using up a lot of Keese wings on the arrows to give myself the range to hit the icy segments - with a powerful bow I was able to crack the ice in one or two shots and then hit the tender underside.

The boss then summons whirlwinds that can knock you out and damage you, but I didn't find them too hard to avoid. And bing bang, with enough arrows the fight was over, and Tulin gained a sacred tear that allowed him to become the Sage of Wind, which included letting him create an avatar that now follows me around in the world and lets me use his special ability. I suspect that, similar to the Divine Beast-derived abilities in the previous game, you'll collect one of these from each of the dungeons.

Much as I look back with frustration at Breath of the Wild, I do remember actually enjoying it to a certain degree. And I'm having fun in Tears of the Kingdom. I'm a little worried, though, that Nintendo has effectively said that earlier styles of Zelda games are now extinct, and that this very narrowly specific Breath of the Wild-derived version is the only thing to stay. This game, from the sound effects to the cooking mechanics to the combat mechanics to the look and aesthetic of it, are all basically unchanged from BotW.

See, when they did this with Majora's Mask, I didn't have an issue with it because that game came out like a year and a half after Ocarina of Time - a, frankly, absurdly quick turnaround.

Again, I think there's a good chance that the thing hardcore fans of this style of Zelda game will always love is the ability to screw around in the game world. I suppose it might be my age, but while I definitely remember causing mayhem in various Grand Theft Auto games for hours on end, these days I want to feel like I'm getting a complete experience in a game simply by playing through the main story.

Anyway, I'm old. Grumble grumble, newfangled kids these days with their Minecrafts and their Fortnites.

Resonance, Polaris, Hedron, and the Hiss

 So, before we begin: a caveat. Control is a work of Weird Science Fiction, the weird label meaning that we're straying into the realm of fantasy and horror and should accept that there are some things that can't be rationally understood. Indeed, as we've seen in the Remedy Connected Universe, the very nature of some of the planes of existence seems to balk at the idea of rationalism - Darling needs an artist to understand the Dark Place because the Dark Place changes based on Darling's theories about how it works.

But there's an interesting question to be asked about how Hedron/Polaris and the Hiss interact.

Here's what we know (as best as I can summarize).

In 2002, when Jesse and Dylan were 11 and 10, respectively, they found an Object of Power called the Slide Projector, and used it to visit a number of other worlds. In one of those worlds, they encountered a being that kind of connected to them in their heads and which they called Polaris (side note, she pronounces it "Po-lahr-is" but I always thought it was "Po-lair-is." Am I crazy? Actually, Odin Anderson/Marko Saaresto pronounces it my way in Take Control, but then again, English isn't Saaresto's first language so maybe I'm wrong, or maybe this is just Courtney Hope's mispronunciation or are both acceptable or... I don't know).

After a being called the Not-Mother warped and corrupted many of the bullies in Ordinary (seriously, Jesse's backstory could straight up just be a Stephen King novel) Jesse burned most of the slides that came with the projector, cutting off the various worlds, with the exception of the one that led to the world where they had found Polaris.

Later, when the FBC took the Slide Projector (along with Dylan,) Director Trench and Dr. Darling went on an expedition to "Slidescape 36" where they found the same entity, but Darling named the thing Hedron (again, pronouncing it sort of strangely - when you're talking about a three-dimensional shape I tend to pronounce it "poly-HEE-dron," rather than "head-ron." Could it be that weird pronunciations are part of the nature of this thing?)

The exact relationship between Polaris and Hedron is not spelled out exactly - are they just the same thing with different names? Or is Polaris specifically the node of resonance inside of Jesse? Because when Jesse finds the Hedron chamber, she speaks and acts as if she has found Polaris - like she's simply had Polaris on the phone all this time but now they're seeing each other for the first time in 17 years.

In the game's "plot point two" before the climactic final act, Jesse finds Hedron but is unable to prevent the Hiss assault from destroying it/them. I wonder, however, if Hedron knows what is coming and knows that things will work out anyway, or if it's truly just a catastrophe - still, either way, Jesse winds up discovering Polaris remains within her, despite the destruction of Hedron. That said, I don't think we hear her address Polaris as some other personality following that moment.

Still, what Hedron and Polaris share (aside from potentially "their entire identity") is that they counter-act the Hiss. Jesse's connection to Polaris makes her immune to the Hiss corruption, which tries to take her over shortly after she exits Trench's office but is rebuffed. The HRAs that Dr. Darling distributes as best as he can to everyone at the bureau (but clearly didn't have enough time to do so, and also came up against resistance from Trench - for reasons we'll touch on below) would act as signal boosters to Hedron, giving each person wearing their HRA the counter-tone to block the Hiss resonance and thus prevent their own corruption.

During the FBC's expedition to Slidescape 36, while they did take Hedron back to the Oldest House, Director Trench was infected by the Hiss. Unlike the fast-acting version we see during the game, the Hiss worked on Trench slowly, and does not appear to have been contagious in the same way (though the words of the Hiss Chant did start to work its way into his vocabulary). This likely went on for years, and gradually preyed upon Trench's paranoia, convincing him that Darling's research with Hedron would lead to disaster.

Fascinatingly, Trench seems to expect that Darling's work with Hedron is going to lead to the exact kind of parasitic, contagious madness that the Hiss is working into him. And it's his paranoia that Darling cannot be trusted that ultimately leads him to using the Slide Projector to open the way through one of the slides Jesse burned, which seems to kick off the Hiss Invasion.

The timeline here is not totally clear, but I'm inclined to believe that it's only shortly before Jesse arrives at the Oldest House that this all goes down - Trench opens the way to the Hiss, FBC agents start getting infected, and Trench makes his way back to his office from the Nostalgia Department before the Board (maybe) forces him to shoot himself - which we know happens seconds before Jesse walks into the office (Trench is alive in the first minutes of the game).

So, a couple questions arise:

Isn't it fascinating that Trench sees Hedron as the big interdimensional invader? It does give the writers a narrative tool - all of Trench's Hotline monologues talking about preparing for an oncoming invasion allow you to spend most of the game thinking he's one of the good guys (or "good" compared with The Hiss). But I also think it's curious when you consider what it means for resonances to cancel each other out.

If we think of HRAs as basically noise-cancelling headphones, this might give us pause about Hedron/Polaris. See, the Hiss is treated as something like a malevolent sound (even the name implies this). And do you know what sound noise-cancelling headphones create to cancel out noise?

The exact same sound.

To be clear, it's the exact same sound but inverted. What our ears and brains interpret as sound is actually pressure waves in the air (or water or whatever medium we're hearing in). Complex sounds have complex wave forms, but at a fundamental level they're just like other waves - ripples in a pond. These waves involve peaks and valleys - high pressure and low pressure, alternating between them to create different sounds. So, to cancel a sound out, you find the wave form of the sound and then you create the inverse - low pressure where the primary sound is high pressure, and high pressure where the primary sound is low pressure. The result is that the net pressure change is zero, just as if it were silent. This, incidentally, is why these headphones are better at cancelling very regular sounds like the drone of a jet engine but will typically not be very good at canceling out something like human speech, which is changing its wave form with each sound in sequence. You need a moment to record a wave cycle in order to create it inverse.

The thing is: if you were to record that inverse sound and play it back independently, you know what it would actually sound like? It would sound exactly like the original source.

That means that, if we assume that Hedron resonance and Hiss resonance cancel one another out in a similar way, then Hedron is literally the same as The Hiss.

Now, narratively that doesn't really seem to be the case, and again I think here we need to consider that the sonic interpretation of The Hiss and Polaris/Hedron is ultimately a metaphor, and one that might not be a perfect analogy.

Because as far as we can tell, Hedron/Polaris does not impose itself on others against their will.

What it does do is that it appears to act as a solid defense against The Hiss.

But what does it do in isolation?

Jesse carries a bit of that resonance with her, which is reinforced after she nearly falls to the Hiss. It's even possible that the vessel that was Hedron was only a vessel, and that its "death" merely meant that the source of that power entered Jesse instead. By the end of the game, Jesse is the source of the resonance that is keeping the rest of the FBC staff from getting taken over by the Hiss (which means no one goes home until the whole labyrinthine building is utterly cleansed, which seems to still be going on as of Alan Wake II - I don't even know if Estevez knows about the new Director yet).

And then there's Darling.

Trench utterly gives himself over to the Hiss, but in a similar way, Darling utterly gives himself over to Hedron. And the results are mysterious to say the very least.

By the time we get to the Oldest House, it seems Darling has vanished from our plane of existence. That is actually not too hard to imagine happening given that the Oldest House is home to many Thresholds to other worlds (oh, did I mention it's probably just the modern form of Yggdrasil?) But my sense is that Darling didn't just walk through some door - instead that he kind of transcended his corporeal form.

And he seems to have wound up in The Dark Place, but that's beyond the purview of this post.

It certainly seems as if we've got a "good" and an "evil" resonance, and from basically all human perspectives I think we can be confident that the Hiss is evil (even if it might not have any real conscious intent). Hedron/Polaris, as a protector, thus seems to be good, but there's a lot of ambiguity as to what that means, precisely.

The other question all of this raises is this:

Did Jesse accidentally create the Hiss?

This one's a long-shot, of course, and there's arguably more evidence that Alan Wake was the one who created the Hiss (as a sort of equivalent to the Dark Presence to set Jesse up as a hero) but while Alan's role in all of this remains unclear, what we do know about Jesse is that she burned the slides from the Slide Projector.

She chose not to burn number 36, presumably because she knew this is where Polaris came from, and either couldn't stand to cut Polaris off or thought that 36 would still be useful in some way.

But let's look at this:

Trench got infected by the Hiss first in Slidescape 36. But it was a subtle thing. Maybe a weak signal? Maybe Hedron was blocking out most of it. Interestingly, Slidescape 36 is said to be a place with no sound. Were Hedron and the Hiss actually both at full volume there, but entirely blocking one another out? Maybe there was a momentary slip that allowed the Hiss to enter Trench?

Still, during the Fadens' explorations of the slide worlds, they never encountered the Hiss - they certainly came across the monstrous Not-Mother. But it was one of the burned slides that Trench used to "let the Hiss in."

How? Why did that work?

Well, let's consider a visual clue: when we die in-game or when the Hiss is shown to be wielding its influence in cutscenes, the image we get is of this chaotic, goopy red, which is often dispelled by the kaleidoscopic green pattern of Polaris, such as when we cleanse a Control Point.

You know what that goopy red stuff looks like to me? It's a bit like melting, burning plastic. It's a bit like... well, a projector slide burning.

See, I wonder if Jesse's burning of the slides somehow corrupted the worlds that they connected to - or at least corrupted the slide's connection to those worlds. Maybe the warping of the slide caused it to connect to a version of the reality it was meant to connect to in which this monstrous warping of minds and reality took place.

There is a big asterisk to this theory, of course: Trench was first infected in Slidescape 36, which was the only slide that hadn't been burned. How did the Hiss get there in the first place if it was created by the burning of the slides?

There's also a big wild card in all of this: Dylan.

Dylan is the only person we know to have been infected by the Hiss but survived being "cleansed" by Jesse. Now, we could chalk this up to a number of things. First off, Dylan seems to be the only one who was knowingly and willingly infected with the Hiss. His resentment of Polaris and Jesse was so strong that he wanted to rebel by taking on this opposing force (the whole Prime Candidate program was utterly fucked on a moral and ethical level - much as I love Dr. Darling, he's got to answer for that). Furthermore, we can probably assume he's on par with Jesse as a parautilitarian, so that might also account for his relative resilience. (Though he was still physically affected by the Hiss - we see that his hair grows out while in a coma following the DLCs, which means that his cueball look was probably Hiss-related, and is actually a pretty good sign that he's truly been cleansed).

Polaris was a constant source of hope and resilience for Jesse, but it appears that it/she was more like a constant reminder of Dylan's feeling of abandonment, being forced to grow up watching Threshold Kids (also, consider that Dylan was 10 when the FBC took him in, meaning that even if Threshold Kids were not utterly terrifyingly creepy, it'd still be a pretty condescending style of show for a kid who would be heading to middle school pretty soon).

Control 2 doesn't have an announced release date, and given how recently we got Alan Wake II, I wouldn't expect to see it until 2025 at the absolute earliest. But I'm curious to see if some of these ideas are explored further. The one piece of concept art seemed to show floating, wrapped bodies on the streets of New York, which could mean the Hiss break out of the Oldest House, but I'm hoping we see the FBC in action against some other challenge.

Also, as a side note, I think at some point Sam Lake talked about how he'd like to make a medieval fantasy game. How cool would it be if you're playing some magic knight fighting dragons and stuff and you pick up some legendary sword and suddenly have a vision of a great inverted black pyramid?

Saturday, January 27, 2024

Hey, Playtest Nine Coming Soon?

 It feels like it's been a long time since we talked about the 2024 Core Rulebook revamp and the Unearthed Arcana testing required for it. While I'm excited to investigate other RPG systems like Stillfleet and MCDM's as-yet-unnamed project, I have few illusions that I'm going to be playing D&D for many years to come, and I expect "converting" to this "5.5" or "5.0.5" edition will be relatively simple and easy to do, which means far less friction for my players (who don't all have their own obsessive gaming blogs where they break down everything WotC does with the game).

Playtest Eight came out almost precisely two months ago (likely precisely by the time I finish this post, given that it's almost midnight,) which has tended to be the interval between playtests.

The big question, though, is what the playtest will entail. WotC announced that the classes not featured in Playtest 8 had moved on to internal testing only - that the big questions of what the community was looking for seemed to be answered and that they were now ready to address concerns and balance things with enough confidence not to check in again with the community.

Now, we might presume, then, that the three classes featured in Playtest Eight might have hit that point as well - the Monk received a glowing reception from those who felt it had been unfairly hampered by its 2014 design. The Barbarian's new Brutal Strikes feature feels like a real winner, and solve the biggest remaining issue following the quality-of-life changes in previous versions (though the wording needs to be made clearer). The Druid... well, I think we're always going to have a big disagreement between the folks who want the flexibility of using lots of different stat blocks versus those of us who want sleeker, bespoke templates (just templates that don't utterly suck like the first playtest used).

But let's suppose WotC feels they have a good enough sense of what players like of the new design and what they don't. Meaning that we're done with classes.

I think we also need to consider the following: a leaked image suggested that the 2024 Player's Handbook would come out in May. That doesn't seem super soon here in January, but given that they want to print out physical books, I actually think that they maybe needed to have the final proofs for the PHB set up possibly before even now (maybe even last year) so it might not even be a question of if they want to keep testing PHB features than whether that's even a possibility.

I cannot recall the order in which the 2014 books came out, but I suspect that it's PHB, Monster Manual, and then DMG, if only because the PHB is the absolute core to the core rulebooks and really defines the way you actually play the game. The Monster Manual is technically just "content," but it's a big set of material to use if you're running the game. The DMG is the least "essential" of the Core Rulebooks - it has useful stuff to be sure (I'm a big fan of the Dungeon Master's Workshop chapter, and hope we'll see an update to that) but it's the one that you can most easily ignore if you're a seasoned DM.

As such, what I'm really hoping (oh, and it's past midnight now, so it's precisely two months) is that we get some stat blocks to test out.

I don't think anyone can argue that the revamps to the classes we've seen have been a buff. Maybe the Paladin got nerfed, but if we assume they didn't nerf a bunch of spells (Fireball isn'd doing 6d6 now - which... hot take, would probably be pretty reasonably balanced for a 3rd level spell) all the "quality of life" buffs and straight up power buffs are going to make for tougher adventurers.

That means that we probably need to see tougher monsters. It's a delicate touch, though - buffing low-CR monsters could make tier 1 games a nightmare (I consider it a DM's job to try not to wipe the party when they're level 1 - by tier 3, don't worry about it).

In a certain way, though, we've seen high-CR monster design in books like Morte's Planar Parade and Bigby's Glory of the Giants. And while I haven't done a ton with those, I can tell you that a Cradle of the Frost Scion does feel appropriately scary for a group of 5 level 17 characters.

In a sense, then, it might be more exciting to see what iconic monsters will look like in their spruced up mode. The Lich, in particular, is one that I'm eager to see (I've used the one from Flee, Mortals!, which was fine except for the lack of disintegrate and the players' use of Wall of Force to put him in a bubble - they didn't get his phylactery, so next time he's going to be prepared for that).

I'm also curious to see the handling of "monstrous races" that have subsequently been made playable - for example, Orcs are very coded around being murderous Gruumsh-worshippers in the 2014 MM, but with Orcs becoming a PHB species option and the overall movement away from in-born alignments for humanoids, I'm eager to see how this will look (I think to a certain extent you're going to need to have an Orc Eye of Gruumsh, but your standard Orcs and Orogs and such will presumably be "any alignment.")

What I think needs playtesting, though, are new philosophical concepts surrounding monsters - for example, we've seen that a lot of newer monsters don't have Legendary Actions anymore, and instead get multiple reactions per round that play a similar role.

I'd actually love if they stole MCDM's version of legendary resistance - in which the villain monster can change a failed saving throw to a success, but in this case taking some detriment like slowing their movement or reducing the number of attacks they can make, so it becomes a real choice for the DM and the players will feel like they're making progress even if they don't get to, say, Entangle them. Unlikely, but a boy can dream.

Overall, though, I don't really know what to expect from Playtest Nine except that I think it's unlikely we'll be getting any new class revisions. Fingers crossed it drops soon so we can dissect it and obsess like the nerdy little gremlins we are.

Thursday, January 25, 2024

Lessons from Alan Wake II for Control 2

 Last year's Alan Wake II came out in a year that was huge for video games, but I think it's the one that made the strongest impact on me, personally.

I think this is one of those games we're going to be talking about for a long time, and so if you're sick of my posts about it... uh, sorry?

I'm a recent inductee to the Cult of Remedy (thankfully I was not required to dump any bodies in a well/air shaft next to a movie theater - all that was required was playing a few video games) and so there are elements of their oeuvre that I have yet to experience (I'm given to understand there are remakes of the Max Payne games in the works, so I might hold off to experience these in a more updated incarnation).

I've spilled a lot of digital ink over Alan Wake II, but I think it's all justified because it's a game that really swings for the bleachers and knocks it out of the park.

But, if there's one confession that I have to make here, it's that in terms of genre, I kind of like Control better.

I think in the grand scheme of things, Alan Wake II is the greater achievement. In this day and age, I think that the argument that video games cannot be art has more or less died out - there might be some filmmakers who got established in the 1970s (and please don't take this as a dismissal - in a lot of cases these are still brilliant, talented artists) who will never be convinced, but I think as generations of people who grew up playing video games and seeing them not as some novelty to entertain children but a genuine medium in which to experiment and invent have become the creators and the voices in this world, we're seeing that potential unlock.

I mean, let's be clear: Super Mario Bros. is still a work of art. But just as the discipline of painting had to gradually invent vanishing points and shading techniques to bring about the stunning works of, say, Caravaggio, the medium of games has needed those in-retrospect-obvious innovations to progress (I could be wrong, but I think before Super Mario Bros., the idea of a game even being "beatable" was unheard of, with most video games based instead on the ever-ascending, looping difficulty of the arcade to try to squeeze quarters out of those playing them).

Games have matured, I'd argue, very quickly as a medium, in part getting a boost from other media. And Alan Wake II is something of a mixed-media experience. Games have, for a long time, had cutscenes, but AWII makes use of many forms of them - from fully animated to fully live action, to in-game-superimposed-live-action (pioneered in Control).

I also think that we can't ignore the fact that Alan Wake II took a very long time to come out. The first game released in 2010, and for thirteen years the makers of the game struggled and often had to start over with earlier drafts of the project.

In a brilliantly meta way, this is reflected in the story of the game, where protagonist Alan Wake has spent those same thirteen years trying to actually get the right draft of his story finished to allow him an escape from the horrors of the Dark Place.

Control came out in 2019, nine years after Alan Wake, and with the benefit of other medium experimentation that Remedy had done with 2016's Quantum Break. (I'd be interested to play said game, but I think it's a Microsoft exclusive and we've been a Playstation house the past two console generations).

Control was the first game to make a "Remedy Connected Universe" explicit - an endeavor that could be seen as dangerous given that 2019 was the year of Avengers: Endgame, and what seemed like the last hurrah of the massive success of Marvel's experimentation in connected properties.

Still, I'm more optimistic here, because I think that Remedy's embrace of this intertextual connection has not diminished their narrative and thematic ambitions.

Alan Wake II is a mature story, genuinely interested in exploring the human psyche and eschewing easy answers.

So, what about Control?

I think Control has always been a somewhat more straightforwardly heroic narrative - Jesse Faden, unlike Alan Wake, has a more sympathetic inner conflict. We witness her entrance into a world beyond the veil - beyond the "poster on the wall" hiding a tunnel - and her emergence into mastery of that world, with the status of guardian and hero.

Jesse is a younger protagonist than Alan (even if only by a couple years if we consider Alan's age in the first game) but more than that her conflict and journey is, I think, more that of a younger protagonist. Alan is forced to confront the darkness within him and atone for the way he has been, while Jesse must find a way to emerge from the shell of her childlike innocence.

In terms of gameplay, Alan Wake is one of desperate survival. Control is not trivially easy, but the rhythm of it encourages risk-taking - you expect to come out of a fight at full strength, thanks to how the system has no ammunition to track and how defeating the enemy directly allows you to heal.

Comparing the game to Alan Wake 1, Control looks immensely polished. But it's also an evolutionary step toward the kind of masterpiece that Alan Wake II is.

What, then, would it take for Control 2 to get to that point?

Alan Wake II made some significant changes to the game mechanics. The first game is horror-themed, but plays a little more like an action game - your flashlight battery recharges, and it's rare that you fully run out of ammo. The second game leans fully into survival horror - every excursion into dangerous regions (which is most of the game's world) is a calculated risk - can you make it to safety with more than you left? 

In terms of gameplay, I think Control's combat already feels incredible, if perhaps in need of some tweaking (the Launch ability you get early on is wonderful but perhaps too powerful in comparison with everything else you have). There is also, I think, a bit of bloat when it comes to "loot," where the game creates all of these materials and mods that are a bit of a solution in search of a problem.

I think the rhythm of combat and traversal needs very little changing - playing as Jesse feels great. Even when I finished the game and both DLCs, I found myself sometimes just wandering around the Oldest House hoping to bump into Hiss so that I could just have some more exciting fights.

But I could imagine streamlining or just replacing the mod system. It's fun to progress in power, but I don't know that this is the genre for comparing 12% versus 13% boosts in damage to head shots when you're floating in the air.

One of the things that was teased in the original game but never really accomplished was Building Shifts. I don't know that I want to spend Control 2 still locked in the Oldest House, but given the amazing effects of both the Angel Lamp and the Writer's Room in Alan Wake II, I suspect the technology to create these jarring environmental shifts happen in the Oldest House exists now.

Narratively, I think we've got a lot of threads to pull on:

The first is that the FBC is in this strange state - given the nature of the "paranatural," something like the FBC does need to exist. But it's clear that under the leadership of Trench and Northmoor before him, the FBC did not have a great deal of concern over matters of ethics when containing its threats. We get a sense that under Jesse's leadership the FBC is going to begin acting a bit more humanely, but we haven't really seen A: that in action and B: what repercussions that will have.

Jesse is made Director much like Arthur is made King (indeed, it's possible that the Service Weapons he picks up is literally just Exaclibur in another form). Might we then see what it is like to wear that heavy crown?

Naturally, the Blessed Organization seems like a possible antagonist down the road - there seems to be evidence that they might actually be backed by the Board, and as the Foundation DLC showed us, the Board is a pretty petulant, untrustworthy entity/group of entities. But would it be too much for us to oppose them directly?

Then, of course, there's the question of Dylan. Dylan Faden is the only person to be "cleansed" of the Hiss resonance and not die, but we don't know the degree to which that cleansing actually worked. He's comatose.

The Ordinary AWE might simply serve as backstory for Jesse and Dylan - it might, in fact, be best to simply leave it as that to establish that yes, these things happen all the time, and these two kids just happened to be the only survivors of that particular one in 2002.

I guess it's a question of how much here will be deeply significant versus merely background.

I think the danger of going to broad and general, perhaps in the interest of setting up other Remedy stuff, is the trap that the MCU fell into in the post-Endgame world (and every other would-be connected universe fell into almost immediately). Control 2 has to feel significant and real on its own terms.

Thankfully, Alan Wake II accomplished that even while drawing big bold lines of connection to Control and likely setting stuff up further down the pipeline. I have confidence in Sam Lake and the folks at Remedy to tell a story that works on its own even with these connections.

I hope we'll see further experimentation with live-action, but with an in-universe justification. We presumably won't have Dr. Darling presentations to watch anymore (or if they do, they'll be way weirder) but I think the use of live action does lend events a kind of special significance if used well.

They key here, I think, is ambition with restraint. Ambition to try for the big, bold, bright idea but restraint to ensure you're not doing it just to be cool and weird. I'll concede that another player might have argued that ambition outweighed restraint in some elements of Alan Wake II, like making an entire short film in live action, all in Finnish, that players might accidentally walk away from without viewing. But personally, I think the impact of Yöton Yö is huge, and even if I can't tell you exactly what it means, it felt vital to the game.

Is it asking too much that Remedy blows me away again with Control 2? Maybe. But I guess high expectations are the price you pay when you make such a staggering work of art as Alan Wake II.

Wednesday, January 24, 2024

How's No Attrition Going to Work in MCDMRPG?

 One of the big stated goals of the MCDM RPG is going to be a system that avoids attrition-based gameplay.

To define terms:

D&D's 5th Edition has a number of ways in which, over the course of an adventuring day, your powers diminish. Spell slots, superiority dice, psionic energy dice, uses of Bardic Inspiration, Ki/Discipline Points, etc. are all limited resources that are spent to fuel player power. A Wizard can cast Fire Bolt all day long, but that 1d10, 2d10, 3d10, etc. is going to progress you somewhat slowly through a dangerous monster encounter - if you're facing off against a dozen battle-hardened orcs, you're going to get far closer to safety and a concluded fight if you burn that third level spell slot and fireball those guys rather than gradually picking them away 16.5 damage at a time (when you hit).

But there are a couple big consequences for this type of design:

First, you're incentivized to get to the "main event" as quickly as possible. Every side-path, every optional room, will drain your resources and make victory against your ultimate foe that much harder to attain.

Secondly, it means that the beginning of a fight is when the most impressive stuff goes off. In our orc scenario, getting off a fireball when they're all clustered together and your front-line fighters haven't engaged them in melee is great, but on the second round, you might find yourself hesitant to burn another 3rd level spell slot when these things are already weak enough to go down to one or two swings from the Paladin or are too enmeshed with your allies to make it feel safe.

So, the MCDM RPG intends to combat this in a couple ways:

The first is that you can't use your big, cool ability right at the start of a fight. From the Tactician, Fury, and Shadow that we've seen in playtesting, you need to amass some significant number (5 Insight for the Shadow's Assassinate ability) of your resources to do your big, flashy ability, which inevitably means that it's going to take a little while for you to get something like this off.

The other thing is, on a broader level, you come into a fight stronger based on how many fights you've been in during that adventure: Each encounter you win (including exploration, social, and combat encounters) will contribute to your Victories, and these will both give various class-based bonuses and also let you start a fight off with more resources.

Which actually means I kind of lied: if you are going into some big fight with six victories, you will be able to start things off with some nasty, expensive ability. And that's still going to probably be ideal because killing a monster will still be a good decision.

See, I think describing the game as it has been presented to us as not attrition-based isn't strictly true.

Health will still diminish as you fight monsters - they don't have to roll to hit either, and while classes have various triggered actions that can diminish the damage they take, I think it will be extremely unlikely and in some cases truly impossible not to take damage during a fight.

Still, there's a smoothing mechanic here, which is recoveries. Each character starts an adventure with a large number of Recoveries (I believe I saw one character sheet that, at level 1, had 10). You can spend these out of combat and, with the aid of certain abilities or taking your full turn, in combat, and they heal a flat third of your max health - a significant heal.

The idea, I think, is to make it easier to get back to full fighting strength and go into these fights in top shape.

But, this is an aspect of the game that does, truly, use attrition to create tension. With Recoveries allowing significant healing and resources being generated largely in-combat, the finite number of Recoveries you have becomes the limiting factor on your adventuring day (or period - the system tries to make the period between rests a less strictly circadian one).

We haven't seen this game's version of the Talent, but the 5E version also has an attrition system - as you build Strain, you get closer to the point where more strain will kill you, and thus unless you've got a death wish, you're going to want to slow down on your use of higher-order powers. In this game, it's been suggested that victories will allow you to reduce your Strain at the start of each fight, but if we assume the system works similarly, Strain will act as a kind of attrition on your power.

I think this is all balanced by the fact that there are factors encouraging you to push on - Victories will be a driving force that gets you to push onward, with their conversion into XP almost like a consolation prize more than an incentive to retreat (even if, in the long run, you'll want to level up).

But that got me thinking: is it even possible to do a tactical game with no sense of attrition?

One of the other TTRPGs that I've got a solid number of sessions under my belt with is Kids on Bikes. But KoB is basically not tactical at all - its mechanics are very simplistic, with ability checks to make but nothing like HP to track. The game's designed I think more to craft an improvised narrative with just a little bit of randomness built in. There's no obvious way to lose (though failing a Grit roll when an enemy attacks you can be bad - still it's entirely up to the GM and the tone of the story whether that means you get a black eye or you get disemboweled) but there's also no obvious way to win. So it's not the most useful point of comparison.

To stray into video games - I think a lot of the "build and spend" heroic resources in this system likely take some inspiration from Blizzard games like Diablo and World of Warcraft. In WoW (which readers of this blog know I have tons of experience with - this year will mark my 18th playing the game) many classes have "build and spend" mechanics, but also use cooldowns to limit powerful abilities. But that makes sense in a game that is very much a real-time system - where when you use your two-minute cooldown at 2:01 and 39 seconds PM, you'll be able to use that thing again at 2:03 and 39 seconds.

The "recover on a rest" thing in TTRPGs is a way to implement this kind of cooldown, but it lacks granularity. 4E (and this game) had "once per combat" abilities that were meant to be more freely useable but still limited, but I think D&D players didn't love the "gameiness" of it - physically how do we justify the fact that we can do this in the middle of a battle but not in some other tense, non-combat scenario?

5E lets everything work in and out of combat, though this does lead to some oddities: the Inquisitive Rogue, for example, gets a bonus on perception checks when moving at half their speed - but when is anyone tracking speed outside of combat? 

But, returning to the idea of attrition:

I think it's definitely better to look at this game's approach to attrition less as a total removal of it than a de-emphasis on it. In 5E, and I think most D&D editions, there's a strong incentive to rest as much as possible. As a DM, you kind of need to create conceits to prevent players from, say, leaving the dungeon and camping after clearing every room (well, in theory - luckily I have some very RP-focused players such that I sometimes need to remind them that it's ok to take a break from the action to get a rest in).

What I think is brilliant and innovative is that this is the first system I think I've come across that actually creates an incentive for the players to keep pushing forward - where you might actually do better against the big scary boss monster if you come in bloody and bruised from the fights you've had against their minions.

Tuesday, January 23, 2024

A Little Farther in Tears of the Kingdom

 So, I'm concerned.

There are definitely new elements in this game, and there does seem to be a greater variety of monsters to fight, but I've got to say: Tears of the Kingdom was clearly built for people who already loved Breath of the Wild, and feels as if it's changing as little of that basic style of gameplay as possible.

Which puts me, as someone who doesn't love that game, in a sort of underwhelmed position.

I'm still very early, but that also tells you something: progression through the game is a slow task. Traversal of the environment is a lengthy thing, and there are difficult encounters (I died like a dozen or more times to a Battle Talus with three Bokoblins riding it) that sort of pop out of nowhere.

I'm pushing forward in the main story in the hopes of finding a cool dungeon, but... well, again, I fear this game just might not be for me.

Which is a shame, because it means it's been nearly twenty years since I've loved a new Zelda game (Twilight Princess, to be precise).

I expect I'll stick with it for a bit, let the game reveal its charms and secrets. Indeed, in Breath of the Wild I actually did all four of the divine beast "dungeons."

See, I don't think I even dislike the grand open world. I think it's just that this is such a survival simulator rather than an adventure game. Maybe I should try to build more strange Zonai devices like I've seen on YouTube (which genuinely seems like the coolest new part of the game, but I wonder if I just need to find places with the right materials or if I haven't unlocked all the potential capsules yet.)

I think there's this really delicate balance that open world games in particular need to strike - between freedom and tedium. For example, Elden Ring has a big crafting system, and you can definitely get lots of useful things through it, but it's also something that you can kind of live without - if you treat the game as just a Dark Souls sequel with an utterly massive and less bleakly monochromatic world (and, if I may be so bold, a more interesting set of background lore) you'll be fine.

But I'm still sitting here missing the more "curated" experience of the Zelda games I grew up on, like Ocarina of Time.

Oh well, I guess this is what it feels like to grow old.

Saturday, January 20, 2024

Getting Vertical in Tears of the Kingdom

 I was hesitant to get Tears of the Kingdom. Breath of the Wild was, for many, the ultimate expression of what a Zelda game could be, but this massive acclaim left me, and others who liked the more structured format of previous Zelda games, feeling lonely and left behind. When it was announced that the next Zelda game would look similar to Breath of the Wild, and even furthermore that Zelda games moving forward would, I was disheartened.

I haven't made my mind up about this one.

But that's due in part to the fact that the tutorial is freaking long. I think I played for three or four hours, and only now have I finally reached the ground level of Hyrule Kingdom.

Like Breath of the Wild, you're given a ton of abilities right at the start, earned by completing a number of Shrines. The abilities from Breath of the Wild are gone (largely) and so here we learn the Ultrahand, which lets us pick up big objects and stick them together with magical glue, the Fuse ability, which lets us combine weapons and shields with various objects in the world (including other weapons). We get Ascend, which lets us leap up into any flat surface above us to come out on top of whatever is up there. And we get Rewind, which lets us cause an object to start moving in reverse for a limited time.

Once again, it becomes a lot to learn all at once. But I do think that in this case, the features are somewhat easier to grasp (except maybe Fuse). We also get an energy capacitor that powers various Zonai (the new ancient civilization) devices, including fans that we can stick onto constructed vehicles to travel around.

This game seems to be a direct sequel to Breath of the Wild, but there's a justification for Link losing all but three heart containers and the de-powering of the Master Sword.

Weapons will still break after a small number of uses, but the good news is that if you use the Fuse ability to construct your own weapons, these seem to last significantly longer.

Still, despite coming out several years after Breath of the Wild, this feels very much like how they did Majora's Mask - many of the assets and gameplay systems are the same, like Korok's giving you little "seeds," the same kind of sound effects, the same volume and temperature gauges, the same stamina meter, and the same use of shrines to get the equivalent of heart pieces (that I assume can also be used eventually to increase Stamina).

So, to me the proof in the pudding will be whether we have more distinctive monsters in different regions and particularly if we have unique-feeling dungeons.

Still, if this is how long it takes to get through the tutorial section, I feel like this is a game that is going to expect me to pour a ton of hours into it. I'm no stranger to playing games that require a big time investment (see World of Warcraft, Elden Ring) but I wonder if this game is geared more toward people who enjoy things like Minecraft - where the game's stated objectives aren't really as important as building the cool thing you want to make, which is a format I'm less inclined toward.

Kits and Genre-Bending in MCDMRPG

 We still don't have a name for the MCDM RPG - I almost think it would be funny if they called it "Masters of Combat, the Domains of Magic" so that we could all just call it MCDM, but that would be a terrible title.

Anyway, as readers of this blog will no doubt ascertain by now, I'm an anti-purist when it comes to genre. While I do love a good medieval fantasy or sci-fi space opera, I'm happiest when these genres blend into a delicious soup with a bit of horror to taste. Indeed, most of the fantasy fiction I've written has zealously insisted upon a more modern setting (though the book I'm currently writing is primarily in a Regency-England-inspired setting, there's plenty of incursions into it with more modern ideas and technologies).

This has been something of a challenge to me in the way that I run D&D. D&D is, of course, primarily based in a kind of quasi-medieval/renaissance era by default, where swords, axes, and bows are the typical weapons. The game is flexible enough to make it relatively easy to "skin" your game with less traditional fantasy iconography - indeed, the Eberron setting really plays up a kind of 1930s pulp adventure vibe, with a somewhat Noir-ish city of Sharn, for instance.

But something occurred to me regarding the way that MCDM's RPG is going to work:

Equipment, outside of notable magic items (which are something you'll probably only get like one or two per character in a campaign, if I understand correctly, and which will "level up" with you so that you aren't tossing that priceless magical artifact once you get the +2 version of it) is handled with "Kits." And Kits are less of an itemized inventory of pieces of equipment than they are an overall "vibe." For instance, we're given two examples of Martial Kits, with the "Shining Armor" kit giving you more defense, but also implying that you've got the classic heroic knight look and feel. Meanwhile, the "Whirlwind" has you in light armor and swinging around a big barbed whip.

I don't have enough of the rules in front of me to figure out quite what it means that the Shining Armor kit has "heavy armor" and the Whirlwind has "light armor," other than that the Shining Armor kit increases your HP by 20 while the Whirlwind does only by 5.

But it also strikes me that, at least from what we've seen so far, the classes themselves, and the abilities that they use, seem to be pretty broad, conceptually. The Tactician is simply built around maneuvering on the battlefield and working as an effective battlefield commander. The Fury is driven by Rage and recklessly taking on waves of foes. The Shadow is sneaky and stealthy.

None of these, I think, are going to feel totally restricted to pure medieval fantasy.

We know that they're intending to release three official campaign settings - one a classic fantasy world with wilderness and villages and dungeons, one a grand city of intrigue, and one a kind of "space fantasy" setting.

That latter one I think has a big opportunity, if they take it.

See, one of my biggest problems with Spelljammer as a D&D setting (setting aside how underwhelming the 5E box set was) is that it really nixes any of the science fiction tropes - making space itself work differently in order to justify tall ships sailing from planet to planet.

Even if a part of me wishes that the entire franchise had just closed shop after Return of the Jedi came out, Star Wars is far closer to the balance of fantasy and science fiction that I'd actually like to run games in. I might err a tad more on the side of fantasy (basically the only supernatural stuff in the films at least is all Jedis and Sith, and I think we could expand on that a bit for a more D&D-derived game) but I still think no one really does space battles and starships like Star Wars (I'm also a big Star Trek fan, but I don't know that that series lends itself as well to a combat-heavy game, given that Star Trek is most interesting when it's dealing with complex political, interpersonal, and philosophical ideas that are hard to gamify).

But while we'll need to see how the MCDM RPG develops, and, for example, how flavor-specific the subclasses will be, kits could be a great way to let you hop genres while retaining familiar rules - what if there's a Martial Kit that is something like "Space Marine," which gives you an armored space suit and a heavy blaster rifle as your weapon?

Furthermore, Kits could enable more esoteric genres - my Holy Grail would be to make a tactical, progression-based RPG that has the vibe and genre of Control. Could we get a Kit that is "Paranatural Agent?"

If Kits are easy enough to homebrew, that might make it a lot easier to play around in genre.

Now, there are a couple more things that might need help:

One issue when converting D&D to a more sci-fi setting is that the skill proficiencies are really geared toward medieval fantasy. There's no "technology" proficiency, nor is there any kind of "piloting" proficiency. Paizo's Starfinder, built on the bones of Pathfinder, just straight-up changes which proficiencies you can get (well, Skills - they don't have proficiencies because that's more of a 5E thing, and Pathfinder was built on 3.5E).

I don't know what the total list of skills in the MCDM RPG will be, so maybe we'll have some genre-flexible ones.

That being said, I know Matt Colville's philosophy is geared more toward specificity - he likes purpose-built games and game concepts to fit as specifically to the one thing they should be doing well as possible, and that's been a guiding philosophy to this game's entire design.

That said, I also think the whole reason why TTRPGs are fun in the first place is the way that players and GMs/DMs/Directors/whatever can express themselves creatively through the games. Too little flexibility and you're basically just playing a board game.

Friday, January 19, 2024

The Final Draft - The True Ending of Alan Wake II

 Well, I overcame my FOMO about the side-quests and items I was unable to sweep up due to some little bugs and just played through to the end of the game.

The Final Draft is Alan Wake II's New Game Plus mode, and allows you to collect more Words of Power, more Manuscript Pages, and tackle the game anew with the non-story progress you made from the first game. There are also some differences - while the story plays out almost exactly the same way, there are a few differences, like new videos, a new intro monologue, and an expanded ending. It's the latter than I'm going to focus on here.

And, well, Spoilers, obviously.

Poet's Theatre

 The final level for Alan's side of Alan Wake II is Poet's Theatre, for the chapter called Zane's Film. Like Caldera Street Station and the Oceanview Hotel, we enter this dilapidated space and follow the echoes of Alex Casey's investigation of a murder, but there are a few things that are a little different about this one.

In the previous levels, the echo/flashback stuff seems to be telling the story of how the Cult of the Word managed to kill people who are essentially the "Elite Taken" that Saga encounters in the game - Robert Nightingale in her first chapter and Cynthia Weaver in her third (I still don't have anything to really say about the fact that these chapters don't happen in the same order). There's a story in the theatre that connects to the Thornton and Mulligan, the dirty cops who, in the Cult of the Word version of the story, have sought to join the cult for some kind of personal gain, and are dumping the bodies of the cult's victims into a vent of some sort in an alley out back of the theater, all in the hopes of this act earning them a spot in the cult.

But the echo story gets... weird. And perhaps that's perfect: rule of three says that this third level should bring a change to the formula, and wouldn't you know it: the character being ensnared by the cult winds up being Casey himself.

While we do ultimately find Thornton and Mulligan's corpses in the projection room with the deer mask, arranged like the figures on the float commemorating the Huotari murders in Watery (the vent they dump bodies down feels connected to the Huotari Well - also, do we think that "Watery" is just a bastardization of the name "Huotari?") Casey seems to become the target.

And when we get to the final part of the level, something else strange happens: Alan winds up in an Overlap.

Now, you'd be forgiven for thinking this is true of all the levels - when we get to the big concrete chamber in Caldera Street Station with Nightingale's corpse we see flashes of Cauldron Lake, and when we enter Room 108 to find Cynthia Weaver's body, we see flashes of the bunker beneath Valhalla Nursing Home. But beyond merely getting flashes of the Huotari Well and Coffee World, Alan is forced to go through the same kind of looping landscape that Saga does when she enters her Overlaps - she goes through the woods near the Witch's Ladle when chasing down Nightingale, through a ravine and past the Watery Sauna and past the Huotari Well when chasing Thornton and Mulligan, and through the bunker while chasing Cynthia.

But Alan doesn't have to do these loops in the train station or the hotel - once he gets access to their area, he just walks right in.

Why, though?

Ok, we're not done talking about all the weird stuff, though:

We hear Casey chasing after the cult's "Grandmaster," but he seems to encounter a new version of himself in each iteration of the loop - like each loop is layering on top of itself, so that he's hearing echoes of himself but mistaking them for the grandmaster.

And then, in perhaps the most baffling part of the level, we find not Alex Casey, but Sam Lake (the performer, or the real-world Creative Director of Remedy Entertainment and primary author of these games?) tied to a chair and strongly hinting to us that we should stab him in the heart, but fleeing as soon as we get the knife to do it.

Finally, when we investigate the last echo here, the masked Grandmaster (who I believe is Tom Zane) addresses us directly, pushing aside the idea of Alex Casey to instead focus on Alan.

From there, we find the bodies of the dirty cops and can then descend into the theater to view Yöton Yö (Nightless Night) in... its entirety?

It feels as if there's something significant about this one's placement as the final chapter for Alan to play through before the game's ending. Tom Zane describes his film as the "companion piece" to Return, and thus perhaps it makes sense that this is the most directly personal to Alan of all his levels.

The film itself (which I've delved into pretty deeply) implies that there's some attempt to more or less have Alex Casey take his place in the Dark Place - Tom is playing Alan Wake in the movie (or the Finnish version of him). It's interesting, then, that in the game's ending, the Dark Presence takes over the real Alex Casey when it leaves Alan, but Alan decides to follow him and not simply run after escaping the Dark Place for the first time in 13 years.

Still, let's put forth a crazy hypothesis:

Why does Alan have to go through a looping Overlap?

What if he's connecting to some third place? What if, just as Saga is connecting to the Dark Place by going through her looping landscapes, Alan is touching on some place beyond? He goes through a massive cinema attic filled with film reels, and given the Grandmaster's likely identity, he seems to be connecting with Tom Zane.

Tom Zane remains, as always, an enigma. I've suggested in previous posts that he might be, in some way, a co-creator of Alan Wake. But let's throw out another, crazier possibility:

In Yöton Yö, Tom, playing Alan, has Alex Casey sacrificed to take his place in the Writer's Room. Alan has "taken the role of the detective" by picking up Casey's gun and flashlight. So, in an ironic sense, the "Alén Veikko" of the film is not really Alan, and instead Alex Casey is the character that Alan is tied to, with Tom usurping Alan's means of escape (there's a less sinister interpretation where Tom intends to "play" Wake in order to piggyback onto Alan's own escape, but this still likely involves the sacrifice of Alex Casey, which nearly happens in the end of the game).

Is it possible that Tom's similarity in appearance to Alan is not because of some previous connection between the two, but a method that "Tom" is trying to use to better align with Alan?

See, when we encounter Thomas Zane in the first game, he doesn't sound anything like Alan and, well, we never see his face. But "Thomas Zane" has been cosmically retconned into being a "character" that Tom played in his "most famous film," Tom the Poet. I'm inclined to believe that the filmmaker is not, actually, the "real" Zane, and that the poet was the real one before he wrote himself out of existence.

But if Thomas has become just a character in one of filmmaker Zane's films...

Isn't that exactly what Tom is doing to Alan by making Yöton Yö?

In other words, is "Tom" actually some entity that is leapfrogging from artist to artist, stealing their identities?

Now, if you'll forgive me, there's one last batshit idea I have to throw at the wall like so much spaghetti:

We know from emails from Barry Wheeler to Alice Wake that Barry has moved out to Hollywood to manage the Alex Casey film series - acting as an executive producer to advocate for the studio not to butcher his best friend's and client's novels.

It's in Hollywood that Barry encounters Chester Bless, whom we know from Control to be somehow associated with (likely the kingpin of) the Blessed Organization, an enigmatic paracriminal group that has killed FBC members and seems to be unleashing altered items upon the world (including, it should be noted, a film camera).

So, this is a real Hail Mary of a hypothesis, but:

What if "Tom Zane" is actually Chester Bless?

I'll walk this back a bit immediately, of course: the connections are tenuous. Bless seems based in Los Angeles, but I don't know if there's any strong evidence that he has ties to the film industry. Instead, I suspect that things like the Blessed Wellness Center are likely meant to evoke Scientology, the high-profile cult that worked very hard to ensconce itself in Hollywood. For those of you who don't live here, you might be surprised at the massive properties the cult has, like the "Celebrity Center" across the street from Upright Citizen's Brigade (I have friends who do improv and sketch comedy, so I've been there a few times). While often seen as something of a punchline about how weird Hollywood is, historically the Scientologists were nevertheless responsible for one of the largest infiltration of US Government agencies in something called "Operation Snow White" in the 1970s - with 5000 agents of the church infiltrating and stealing from various offices and agencies.

In the current version of history in which Zane (the filmmaker) had the house that is now Valhalla Nursing Home built, he's described as being something of a cult leader, with the house serving as the kind of cult headquarters. In the Dark Place NYC, Poet's Theatre is the headquarters of the Cult of the Word. Now, its connection to the Huotari Well could simply mean that it's really more connected to the Cult of the Tree's headquarters in the Kalevala Knights workshop, but I think Zane's influence and impact on all of this cannot be discounted.

So - a tenuous connection with Chester Bless to be sure, and I'll happily drop this theory if new evidence arises to separate the two figures.

Still, something about the Poet's Theatre feels special.

Thursday, January 18, 2024

The Oceanview

 In Control, I believe our first encounter with the Oceanview Motel and Casino is when we need to cross the gap in the Executive Sector to reach The Hotline. The Oceanview is one of the FBC's most consistent known Places of Power, and has been used by agents even just to rest for a while in a comfortable bed.

Practically speaking, the Motel is a transitory place - which makes sense, as it takes the form of a classic American roadside motel.

When I was a kid, we did a number of cross-country road trips from Massachusetts to California, and we stayed in many of these generic motels en route. These are places you visit and stay for the night but forget about shortly after you leave them. The Oceanview seems to be a kind of archetype of those sorts of motels.

The Motel is reached by pulling three times on a light switch cord, found initially while the FBC was investigating an AWE in Butte, Montana in 1992. But the cord started appearing in the Oldest House. Pulling the cord three times causes you to appear at one end of the motel, where a bunch of doors that have strange symbols on them flank you. There's a small lobby, and then another hall with conventionally numbered doors.

In the game, the numbered doors are typically part of a puzzle - you ding the bell at the counter and one of those doors will open - each door opening and closing in sequence. Solving the puzzle grants you the key that opens the door with the inverted black pyramid on it, and another cord will take you back to the Oldest House - either to the same spot but with a change (such as a bridge appearing) or to the place you were trying to go.

This is a strange and eldritch place. The FBC doesn't know where the Oceanview Motel is located, if it even has a location, though one time we visit it, we can hear voices from outside knocking at the door and deciding it must be closed (we cannot see the people out the windows). Another time, blood seeps from under one of the doors on the numbered side. When Jesse is nearly taken over by the Hiss following the destruction of Hedron, it is into the Oceanview Motel that she escapes the Hiss-induced nightmare and where she is able to find/reignite Polaris within her. And finally, we visit it one time during the AWE expansion, and find a darkened Oceanview, seemingly affected by the Dark Presence.

Now, flash forward four years to Alan Wake II.

Alan is trapped in a nightmarish, grimey version of New York City. But in his second main chapter, Room 665, he is directed to explore the Oceanview Hotel.

Superficially, this Oceanview is utterly different. Where the Motel and Casino was the kind of place you'd find out on a remote highway in the Western United States, the Oceanview Hotel is a water-damaged ruin of a fancy old New York hotel. The place holds a kind of faded glory - once a luxury hotel, the wallpaper is now peeling off the walls, and the signs of a terrible murder mark the place.

But there are ample hints that these two places are connected, and indeed might actually be the same place in a metaphysical sense.

The first is that the address to the hotel is 3 Cord St. The second, and perhaps more compelling hint is that the very same symbols appear on the doors of the hotel - including the inverted Black Pyramid and the Spiral (which we do actually see elsewhere in Alan Wake II). And, of course, there's the name.

I think another element of note is the presence of Tom Zane - as we talked about in a recent post, Tom Zane should perhaps be thought of as separate from Thomas Zane, the poet and "Light Presence" from the first game. Tom Zane's nature is a huge enigma, but in Alan Wake II, he sort of inhabits the Oceanview Hotel.

Or does he?

Alan gets phone calls from Tom Zane, but never do we see Tom in the world of the game - instead, he appears in live-action filmed segments (performed by Ilkka Villi, who also provides the motion capture and live-action visual performance for Alan, though Tom is Villi in both appearance and voice). He "inhabits" Room 665 (the neighbor of the beast, and running gag throughout Remedy games - honestly, it shows up like 19 does in Stephen King's Dark Tower series) but it's a little weird: When Alan makes it into the Oceanview and goes to meet with Tom, Room 665 is only an empty square room, but within that room is a film projector. Turning it on starts a scene that we can enter similarly to how we enter the televisions at Mr. Door's talk show. But in that film, Alan goes into a different Room 665 and meets his Finnish doppelganger, who welcomes him to "The House of Zane."

And that Room 665 is more of a luxury hotel suite, with a little couch area with a TV and a big bed.

One of the key features of The House of Zane is that there's a big painting of a black-and-white spiral above the TV.

Back in Control's AWE expansion, when Jesse gets a glimpse through the spiral door at the Oceanview Motel and Casino, she spies on Alan speaking with Tom (though in this case both are rendered in video game graphics, and look identical to one another, including facial hair and clothing) in a lodge room with that same painting.

The fact that Jesse is peeking in while Alan and Tom speak does allow an interpretation that Alan's first encounter with Tom in Room 665 is, in fact, another "draft" of the conversation from AWE - with Jesse's face appearing on the television as an interpretation of her peeking in through the door.

But we don't know.

Still, it does lend some credibility to the notion that the Oceanview Motel and Casino and the Oceanview Hotel are just two forms of the same thing - that perhaps it looks different depending on who is looking at it and in what context.

Now, let's consider the symbols.

The Spiral certainly seems associated with the Dark Place, and specifically with Alan's Writer's Room there. The inverted pyramid seems very likely to refer to the pyramid from which the Board contacts the Director of the FBC. Supposedly, the other symbols are affiliated with other Remedy projects, like Vanguard.

It would stand to reason, then, that the Oceanview connects with all of these different planes of reality, and might be a transitory space that one passes through to get from one to another.

But that leaves some questions:

First, the Oceanview is one of the three major locations for Alan's part of the game. It's a murder site, where the catastrophic performance of The Cult takes place. Now, already, the reality of these murders is a big question: Did the real Alex Casey investigate real Cult of the Word cases in New York, or are these just symbolic versions of the cases surrounding the "Elite Taken" in the Bright Falls area?

In other words, on a certain level, the Oceanview Hotel is just another "level" like Caldera Street Station and the Poet's Theatre.

The other oddity is that there's a third Oceanview.

Near Bright Falls, during World War II, a bunker was built to defend against a potential attack on the west coast by the Japanese. This, of course, never got used, and was abandoned after the war. Later, Thomas Zane (not Tom? I think?) had a house built over it, and after his disappearance, the house eventually was purchased to become the Valhalla Nursing Home. But teenagers would sneak down into the bunker to drink and get high and have sex. And the teens called it, as an inside joke, the Oceanview Hotel.

Now, our in-game experience of this bunker is weird.

We're told the bunker is beneath Valhalla, but we only descend into it via an Overlap, going down into the little pond between the main house and the medical center - so we never actually find a hatch or door or stairway into it. Instead, we only see it as a looping Overlap through which Saga is chasing the now-Taken Cynthia Weaver and trying to rescue her grandfather.

The connection with the Oceanview Hotel in the Dark Place is mostly apparent - we find Cynthia's body in room 108 of the hotel, evidently as the target of "The Devil" in the performance of The Cult, and we are able to send the record of "Anger's Remorse" to the real world for Saga to use and open the Overlap.

But this Oceanview, even if it's a surreal, looping Overlap, doesn't share the distinguishing features of the Control version or the Dark Place version. To my knowledge, the symbol doors are not there and there's no front desk.

The one possible exception is if we include the upper floor of the house, where there is a single door with the Spiral shape - which is key to the very end of the game (and seemingly guarded by Ahti, whose room at the home is next to this door).

Ultimately, I suspect that the true nature of the Oceanview is going to remain a mystery. I'm inclined to think that the "real world" version - the Bunker - is, while not quite "coincidental" in its naming, likely not possessed of the true "Place of Power" nature as the versions found via the Light Cord and within the Dark Place.

Wednesday, January 17, 2024

The Component Pieces of the Man, Alan Wake?

 Now that I'm back after my winter holiday and have had a couple days of downtime to get back into my playthrough of Alan Wake II's New Game Plus mode, The Final Draft, I've been theorizing. I just finished Zane's Film, which means that I've basically just got the final battle at Cauldron Lake - though I'm still vainly hoping that I can wait for a patch or fix to let Saga collect all of the Cult Stashes and the second inventory upgrade (interestingly, I was able to get the third one in Bright Falls after some update/reset).

The Final Draft has definitely made some additions and changes, even if, for the vast majority of the game, it plays the same. But I wanted to talk about a particular pair of videos that appear in it whose descriptions themselves are somewhat spoilery (though they are teased in the Final Draft trailer).

But let's put this behind a spoiler cut anyway. Spoilers for Alan Wakes 1 & 2 and Control

Friday, January 12, 2024

Stillfleet Overview: Premise and Basics

 Stillfleet is a relatively new TTRPG, the core rulebook of which I received for Christmas. Full disclosure, the game's chief editor is a friend of mine.

Stillfleet is a far-future, sci-fi, class-based RPG, but one that downplays fighting monsters (though you can do plenty of that) in favor of having a wide array of abilities that can help with traversal, social encounters, and other such things.

Set hundreds of millions of years in the future, Stillfleet is a post-human world. There are "humans" that you can play as, but these are more accurately the descendants of modern humanity in most cases. There are also various strange life forms, including some synthetic kinds and some that are extra-dimensional - one rare option is a being whose three-dimensional "shadow" that we would see is like three elephant legs and a sphere.

The game is meant to be weird, and readers of this blog and my other ones will recognize that I am someone who has become very interested in the New Weird literary movement.

The main setting for the game is upon a space station known as the Spindle, which is an utterly vast structure that has within it various tunnels that act as teleportation portals. Decades ago, the Spindle was a hub for a vast empire across known space, but after the portals stopped working, contact with the rest of the cosmos was cut off, and their recent reactivation has led to a wide-scale effort to re-establish ties and lay the groundwork for a re-establishment of this imperial control.

Players work for the Worshipful Company of Stillfleeters, also known as "The Co.," which is explicitly an evil, proto-colonialist entity comparable to a far-future version of the Dutch East India Company. The degree to which the Co. exploits those on the various planets and ships you explore, as well as your characters - the "Voidminers," becomes a big part of any story in the game.

In terms of gameplay, you'll pick a race and class, much like other RPGs. These include the Banshee, who specializes in operating archaic technology (known as "arcahetech,") and are needed to activate the "Malkovich Tunnels" that allow you to travel to other worlds, or the Witness, a kind of anthropologist who specializes in connecting and understanding the alien cultures you encounter, to the Stillrijder, which is the arms specialist whose job it is to defend the rest of the party.

Like other RPGs, you have various broad attributes, but rather than getting a modifier to a d20 roll, you'll assign different dice to these various attributes instead (you can also sometimes get little bonuses to these rolls, but the main thing is figuring out which thing you have a d12 in versus which you have a d6 in).

Classes begin at level 1 with various signature abilities, but as you level up, rather than getting a steady progression of new features, you choose from various lists that your class enables you to pick from. In other words, you'll get a little harder to kill as you gain HP, but every feature can be picked at level 1, so you don't have to wait very long to get your super cool stuff.

While this is a science-fiction game, there is a vague equivalent to spellcasting, which is known as "The Hell Sciences." These are areas of study where empiricism has kind of taken a back seat to superstition, and is themed around cosmic horror entities, like the King in Yellow.

One of the core mechanics of the game is "Grit." As you level up, you'll have a Pool of both Health and Grit. The former works as you'd expect it to, but Grit is essentially the fuel you use for your abilities. Your abilities cost different amounts of Grit, and often a somewhat randomized amount of it (an ability might cost, say, 10-dMov, which means you'd roll your Movement die and subtract the result from the cost of the ability). Grit is also what keeps you alive if you are reduced to zero hit points, so it becomes a bit of a gamble when you use different grit-spending features.

    I'm still only around halfway through the core rulebook, but I think that the overall intent of the game is to be one where you're making strategic decisions about your character build, but which doesn't force combat to be the be-all and end-all of what your Ventures entail.

As I go through the rules, I'll post more about how different systems work, such as technology levels and complexity and the structure of the Co.

Wednesday, January 10, 2024

The Potential and Possibilities of MCDM's Combat System

 So, I am not on MCDM's Patreon, so I don't have access to the playtest rules for their new, still-unnamed RPG. I pledged some money on Backerkit to get the rules PDFs when they come out, but unless I throw some more money their way to become a Patron, I'll be getting their playtest stuff second-hand (unless they throw the test open to the general public, which could happen but will probably only come later in the process - for a game that isn't due to come out until 2025).

In a previous post, I talked about the impressions I got from the video of James Introcaso (MCDM's lead designer, and kind of second face of the company after founder Matt Colville) running an encounter for two guys from The Character Sheet.

There are many videos talking about how this game might be particularly appealing to people who have only played 5th Edition, and while that's technically not true for me, it is close to the truth, as my experience with other TTRPGs is limited.

(Incidentally, I'll likely be digging deeper into Stillfleet in the coming year, but need to finish reading the core rulebook.)

Still, what others have identified is that MCDM's game seems aimed at doing a better job than 5E does at being the sort of game that 5E players want to play - in other words, to shed the vestiges of older D&D editions that Colville believes are only there for the sake of nostalgia, and instead embrace the style of story-forward, heroic adventure that today's D&D players are into.

As a contrast, Colville argues that D&D began its life as something more akin to survival horror - a dungeon was a dark and terrifying place where death lurked at every corner, and where having ten-foot poles to trigger traps before you stepped into that particular hallway was crucial, and where tracking rations and torches was part of the challenge of surviving the dungeon's challenges.

Players these days, though, are looking for a chance to fight monsters in epic encounters and as part of a cinematic narrative, and he feels that there are several ways in which 5E, and indeed most D&D-derived RPGs, fall short of this.

In my mind, there are two key things that distinguish the game from 5E - they aren't the only differences, but they're what I think are the real cores of how this game should feel different.

The first is the removal of attack rolls, which has a few cascading effects:

The good thing is that, no matter how your turn goes, you'll at least accomplish something. That said, there are exceptions: for example, Banes, which are kind of the equivalent of disadvantage, require you to reduce your rolls (including damage rolls) by a number of d4s equal to the banes (you might get one from being webbed up and another from being poisoned, or something). Thus, if you have a very unlucky roll, you could wind up subtracting so much from your damage to reduce it to zero - say, if your attack usually hits for 2d6+3, and you roll snake eyes, but then also have two banes and get a 2 and a 3, that means zero damage. But that's pretty rare (people who have tested the game say that at this stage it's rare to get a net boon or bane that's more than 2d4 - any boons you get cancel out a bane, and vice versa).

The idea here is to remove the frustration of waiting fifteen minutes to come around to your turn and then missing with your attacks. And that appears to be working.

But there are a couple things this also requires you to re-think.

Monsters also don't have to roll to hit - which means player health will be dropping constantly. Now, classes each have their own Triggered Action, and some of these can help you avoid damage. A Tactician, for example, can halve the damage they take from an attack, or the damage a nearby ally takes. They can also spend 1 Focus (and we'll get into these resources in a bit) to further reduce that damage with a roll (I believe it was something like 1d6+3, which might be based on their Might score - bumping it to 4 could mean some more damage reduction). In other words, it's possible to reduce that damage to zero with lucky rolls. But, like a reaction, you only get one such triggered action per round, so it becomes a tactical choice on when you want to use it - probably best to save it for if the big scary boss monster hits you.

The other implication of this is that, with no more concept of Armor Class, armor doesn't actually make you harder to hit anymore. Instead, it becomes a flat increase to your Hit Points.

Mathematically, of course, AC is basically going to put a (below-1) coefficient on the damage you take on average - if your AC is 18 and the monster has a +7 to hit, that means that more or less you'll be taking 50% as much damage. You could just give yourself twice as much health and would take, on average, the same amount of time for the monster to knock you to zero HP.

If attack rolls were the only way to take damage, that is.

See, I think there's room here for mechanics that can make up for this, but in 5E, you can have a character who is better-equipped to handle different kinds of attacks. In my long-running game where I played an Eldritch Knight, he was extremely well-equipped to face off against foes that made attacks, as I could boost his AC to 27 with the Shield spell - a creature with a +9 to hit would only be hitting me on a roll of 18 or higher. But his Dexterity was 10, so something like a Fireball or a Red Dragon's Breath would usually do full damage against me (this is why I also had Absorb Elements, but that would be less useful against something that did, say, Necrotic damage). But my friend's Monk, of course, had a lower AC (even with Bracers of Defense he probably only had an AC of 18 or 19) but when that Fireball came, he'd be extremely well-equipped to handle it, with a high chance to succeed on the save and, thanks to Evasion, taking zero damage when he did.

In other words, there's some nuance that is lost here.

But I think there are ways to add this back in.

For example, the Tactician's Parry Triggered Maneuver/Action/whatever is, I believe, based on weapon attacks - I don't think you can parry a spell. I could imagine the Elementalist (who seems to be a kind of Wizard/Sorcerer analogue with a focus on stuff like fireballs and lightning bolts) has a Triggered Action that deflects or otherwise reduces incoming magical damage, you might find different heroes shining in different scenarios - which is good for a game with classes.

It should also be noted that not all Triggered Actions are defensive - the Fury (MCDM's Barbarian analogue) instead gets to attack back against the foe that hit them - which should account for significantly more damage dealt. And, of course, killing the enemies faster is a tried-and-true way to reduce the overall damage you take.

Also notable is that your Recoveries, which are the main way you regain hit points and seem to be the one major limiting factor on how long you can go on adventuring without resting, will heal you for a flat 1/3 of your maximum HP. And when you consider that, raising your HP is, in fact, more or less identical to reducing the damage you take, because we can kind of think of damage purely in terms of the fraction of your health that is reduced. (This is not the case in D&D, where healing is stuck at relatively flat rates - a standard Healing Potion is always going to heal you for 2d4+2, which is about 7, regardless of whether you're a level 1 Wizard with 8 HP or a level 10 Barbarian with 105, meaning that the relative value of damage reduction - such as via Rage - will vary greatly depending on your healing-to-HP ratio).

What we have yet to discover is how AoE damage will affect this, and also how things will look at higher levels.

2d6 takes the place of the d20 when it comes to resolving checks and such in this game, but it's also the standard damage of attacks, whether with a longsword or a dagger. In the Backerkit sample Tactician, we see that their Basic Attack, called "Precise Attack," deals 2d6+Reason damage (Reason is essentially Intelligence, and Tacticians automatically start with 3s in Might and Reason, and can choose two 2s and two 1s to put into the other four stats.) If you pick "Cleave" as a Stratagem (a menu of options for special attacks that Tacticians get at level 1) you'll deal 2d6+MGT (Might) damage, which, we'll note, is the same damage as our Precise Attack given that we have 3s in both stats (though Cleave will also hit a an additional nearby enemy for damage equal to our Might, and it also generates 1 focus - which makes it seem strictly better than Precise Attack unless I'm missing something).

Now, it appears that the Shadow (Rogue equivalent) is also doing 2d6 plus some modifier - and these modifiers can be altered by Kits, which come with their own special abilities (though these can only be used once per encounter).

As of yet, the only testing that has been available to the public is at level 1. And, frankly, this level 1 stuff looks quite exciting and interesting. But I don't really have a great sense of how things will scale. In addition to Boons and Banes, we'll also be seeing Impact Dice, which are d8s - meaning that with two impact dice, they're now contributing more on average to your damage than your base 2d6. The system so far appears to only use d4s, d6s, and d8s (meaning I really need to invest in some of those pill-shaped d4s). But I don't know how damage is going to scale up at higher levels - I'm not sure the designers have even cracked that yet.

Moving on, though:

The other big signature mechanic for this game will be the different resources used by each class. We saw Tacticians use Focus, Shadows use Insight, and Furies use Rage. We can also pretty confidently guess that Talents will use Strain, but likely it will work differently than it does in their 5E version of the class.

In I believe all three of the testable classes, these resources go away when combat ends - meaning that they only play a role in combat. Then again, this is a combat-heavy system. What I've seen praised about this is that it does make for interesting choices in a fight. In D&D's attrition-based resource system, the first round of combat is usually the one in which the most exciting stuff is happening. The "Nova" is a popular strategy that takes my aforementioned "killing enemies faster is a great way to reduce incoming damage" to its logical endpoint, ideally burning through resources quickly to wipe out half the foes in a fight and make the rest of it go much easier.

Heroic Resources are designed to make this kind of play less likely. Insight, for the Shadow (the Rogue equivalent,) is generated, I believe, by using certain Insight-generating attacks. Assassinate, one of the core Insight-spenders, costs 5 Insight, meaning that you'll need to take some time building up to it before you can let loose with this big attack, which I think adds two impact dice to your damage (so 2d6+2d8+some modifier).

So, already this requires some ramping up, meaning that the fight gets more exciting in the later rounds. I also think that by using resources that go away when combat ends, you're incentivized to unleash your big moves to finish the fight off - if all your Insight is going away at the end of combat, you'll want to blow your big Assassinate ability even if it's just on that last surviving Kobold. And that means that you're not conserving and doing minimal damage just because you want to save your big stuff and figure one monster isn't going to be dealing much damage to you.

By letting resources drain at the end of combat, as well, it doesn't incentivize keeping a monster alive to torment long enough to build up resources for the next fight.

Instead, accruing Victories empowers you for future fights. Each time you complete a combat encounter, or do other various victorious things like solving a tough puzzle or navigating a deadly trap, you get a Victory. These will then let you start off future fights with some resources (likely for most classes, an amount of your resource equal to your Victories, though with the Talent probably reducing your Strain by that amount), and have some passive benefits as well. In other words, your Shadow might have to wait a long time to use their Assassinate ability during the first fights of an adventure, but once they're deep into it, they might be able to pull one off in the first round.

This will incentivize seeking out more monsters to fight. But I don't think that's entirely a bad thing: This game is not about dungeon-crawling. You might have a dungeon to explore, but the combat encounters are more likely to be set-pieces than random encounters meant to drain your resources.

The tension, thus, becomes between going into battles with a bunch of victories, or retreating in order to rest and regain Recoveries.

Now, another note that was mentioned in a roundtable by the Knights of the Last Call is that these resources also sometimes come with passive effects. One of them, who played a Fury, noted that Rage gave a passive damage reduction for each point of Rage they had - which created a tactical judgment for them to make - they had an ability called Whirlwind, which cost a bunch of Rage and deal damage to multiple enemies. But was it worth losing the damage reduction they had from the Rage?

And I think this is the sort of decision that's interesting to make - risk versus reward.

Where I think this does remove some tension, though, is in combat-versus-noncombat uses of resources. As an example:

In D&D, if I'm playing my Wizard, and I have the Fly spell, it might be a good idea for me to use it (or something like Levitate) to fly up a shaft and tie a rope off at the top that will allow my party to ascend the shaft. I spend a spell slot to do so - one of my precious resources - that could otherwise have been, say, a Fireball. But I've made the strategic choice to expend one of those slots. Perhaps if I hadn't, my allies would have risked failed Athletics checks to climb the shaft and taken fall damage - even if the slot meant I didn't have the Fireball to kill all those Mud Mephits we encounter later on, it might wind up being better overall for the party.

With all resources (or at least the ones we've seen so far) so combat-focused, I wonder if we'll lose some of the tension in out-of-combat situations.

We also don't really know how magic classes are going to work. I suspect they will use similar Heroic Resource systems. Will we see a giant selection of spells, or will each class get its own bespoke magical abilities that are no greater in variety than the Stratagems of a Tactician.

I honestly don't think the latter scenario would be so bad - one of the problems with D&D, in my opinion, is the vast versatility that any spellcaster gets over any non-spellcaster. Indeed, the way that 5E does spells also creates a lot of overlap in class capabilities. Oh, you can Detect Magic? Cool, so can nearly any other spellcaster.

    It's early days on the MCDM RPG. And I do think that my overall impression has been positive. I could very much imagine running this game for my D&D players, and so far at least, I think that (at least at level 1) the game system doesn't seem too overwhelmingly complex. It looks like you'll have some real decisions to make, but with a curated list of options to make making those decisions fairly well-informed. Again, we'll have to see how higher levels look, and perhaps if things are this complex at level 1, we might need to be worried about how much an additional nine levels will pile on complexity.

Still, I think a great deal of effort is being put into the feel of the game, and I suspect it will be very satisfying.

Tuesday, January 9, 2024

Getting a Look at MCDM's Combat

 Well, I finally watched a video of MCDM's new RPG's combat in action. Lead Designer James Introcaso ran a two-player combat encounter for the folks over at the Character Sheet and I got a sense of how the mechanics of this game function.

The players were a Shadow and a Tactician. These are the analogues for the Rogue and Fighter, but with the Shadow pushing for a more mystical angle that includes teleportation and the Tactician leaning into the battlefield-commander idea that in D&D is similar in flavor to the Battle Master.

The game works differently from D&D in several ways, but still looks familiar in terms of what a battle map looks like and the overall vibe and goals.

First, let's talk dice:

The game is a 2d6 system rather than a d20 system, and so the vast majority of rolls you'll be making will be 2d6 plus some modifier. In addition to these, there are d4s an d8s that can get thrown into the mix. D4s represent "boons and banes," which fill the roll of Advantage or Disadvantage - if you're, say, webbed up by a giant spider, your attacks will have a bane on them, requiring you to subtract the result of a d4 from your attacks, but if you have, say, a skill, you can add a boon of a d4 on top of the base ability you're using, such as combining the Athletics skill with a Might test (the equivalent of a Strength check).

Famously, the game does not use attack rolls - if you attack a foe, they will take damage, and it's just a question of how much damage. Regardless of what kind of weapon you're using, you'll be rolling 2d6 and adding a modifier. Enemies will also attack in this way, but in this example, the Shadow and Tactician each had a Triggered Action (akin to a reaction) that they could use to reduce the damage they took - the Tactician could be hit for as much as 22 damage and, with their class-specific defensive ability, reduce that to as little as 3 and even on occasion to zero - but you need to choose which attack to reduce, because you only get one of these per round.

Gear is handled in broad terms with "kits." A Tactician might pick up a kit that gives them heavy armor, which simply increases their max HP, and provides a few other scattered bonuses. But other than magic items, it doesn't look like you'll be tracking a whole lot of things like individual weapons, shields, helmets, etc. Example kits we've seen have also added new abilities.

The Shadow and the Tactician each have unique resources, and at least from the perspective of the video, these seemed to build up in similar ways. Shadows gain Insight, which they get when they use their basic attacks, and gain additional Insight when they have a boon on their attack (remember, that d4 bonus). Tacticians have Focus, which seems to build at the beginning of each round and might be generated faster by certain abilities. These resources can be spent to perform more powerful attacks. For example, the Shadow can spend 5 Insight to perform "Assassinate," which adds a d8 (maybe 2d8?) to their normal 2d6 and modifiers. The Tactician used 5 Focus to perform "Hammer and Anvil," which let them make an attack and then also let the Shadow make a free basic attack on the Tactician's turn.

Initiative is looser - the party rolls a d6 against the monsters, so it's "side initiative," but with alternating turns. When the fight began, the party was two adventurers versus five goblins, so they started with one of the players, then one of the goblins, then the other player, and then the remaining goblins. The party and the Director (GM) choose who on their side goes in what order, which is intended to encourage players to think tactically about what order they want to take their turns - you might have some cool attack that deals damage to enemies in a line, so you wait for your Tactician buddy to go first and try to push one of the monsters into a line between two others.

    So, what do I think?

I love this a lot conceptually, but I do see some challenges that might present themselves:

First, players will need to be paying close attention - you can't really just look at your phone when it isn't your turn. Furthermore, there's definitely more bookkeeping - with resources that are generated in combat, you'll need to be tracking their generation as well as their spending, which means I can imagine some players forgetting to do so when a round starts and getting confused as to how much of a resource they have. Likewise, I can imagine that, especially in big encounters, a Director might have a hard time remembering which of their monsters have gone in a given round.

Something I like, though, is that because every attack is a guaranteed hit, you don't really need something like Extra Attack, whose primary utility (other than just doing more damage) is smoothing out your chance to hit - it sucks to miss, but if you have a 50% hit chance, getting Extra Attack reduces your chance to miss overall to 25%. Now, it's fine to just pile on the damage as you get more powerful.

It's also clear that, from level 1, you're going to have cool things to do, but unlike some systems I've found a little overwhelming, it doesn't seem like you'll be bogged down too much in complexity. In other words, I suspect that building a character will be relatively quick - perhaps even quicker than 5E, but that you'll have interesting choices from the get-go. I often try to start my 5E campaigns at a higher level these days because of how limited it feels at levels 1 and 2 (and honestly, I like to get to tier 2 as soon as possible).

I think they're only now starting to get the higher levels figured out, but the core playtesting has been to ensure that level 1 is fun, and I suspect that it will be.

At the same time, this game is very clearly aiming to be the kind of game that D&D is as most people playing it these days play it. That creates a big hurdle for them to clear - can they convince players that they should learn a new system to run the same kind of game they've been running already?

So far, the rules appear simple enough that you can learn it without too much difficulty, but I'll be curious to see how complex things get at higher levels. Part of this will also just involve resetting our numbers values, like how 20 degrees Celsius is comfortable but is frigid in Fahrenheit. So, for example, the Tactician in this video, at level 1, had 60 hit points - which most 5E Fighters wouldn't get until level 6 or 7. Likewise, in D&D, getting a 10 on an ability check is only rarely a success, whereas here it's a pretty reasonable "moderate difficulty" target. Oh, and DCs are now TNs (Difficulty Class versus Target Number - which is actually a clearer term, not requiring any adage like "meets it beats it").

Going back to the Kit idea, one thing I liked was how the Shadow fought with daggers. There aren't different damage dice for different weapons, so unlike in D&D where you'd be better off with, say, shortswords or a shortbow in most situations, these daggers could be used in a fully effective way. I believe that a kit that includes daggers might include a special attack that is flavorfully linked to them, but it looks like you're going to be able to have a lot of flexibility in the overall vibe you're going for.

The benefit of this all being heroic fantasy is that it should take very little effort to play this game in a setting you've already created for D&D - or even to play in an established D&D setting, if you've been wanting to play, say, a Ravenloft campaign.

I also think that it's possible it'll be easy to homebrew kits that can let you step outside the genre a little - a "Tactician" could, I imagine, easily work with a kit that includes modern body armor and an assault rifle, or a Shadow might work with a kit that includes cybernetics and laser swords. Currently, the plan is to have three linked official settings, which include a standard fantasy setting, an urban intrigue and politics setting, and a space-fantasy setting called the Timescape. I'm eager to see how they'll handle these, and ideally, if the rules will be robust and flexible enough to let us play around in genre.

The proof in the pudding will be to see how complex the game gets as you ascend through the levels. There are only ten levels, but the folks at MCDM claim that a level 10 character in their game should be comparable to a level 20 character in D&D - only that you should actually be able to hit level 10 in most campaigns.