The Alexandrian

Why Power Gamers?

October 25th, 2023

There are many different types of RPG players. There have been many different attempts to categorize them, often reflecting the culture of gaming at the time. One category of gamer which has been around since at least the 1980’s and proven remarkably durable is the concept of the power gamer.

The power gamer seeks to make their character as powerful as possible. They analyze the rules and seek optimization: Character builds, mechanical tactics, party synergies — whatever it takes. Or, to flip that around, whatever will make them more powerful, they’ll take it.

Why does the power gamer exist?

Roleplaying games are fundamentally about exploring player choices. By creating characters who are powerful within the game system — i.e., who are more likely to succeed more frequently and/or at a larger range of tasks — the power gamer:

  1. Maximizes the odds that their choice will be meaningful instead of being negated by failure.
  2. Diversifies the number of game situations in which they can participate, thus increasing the number of meaningful choices they’re making.
  3. Reduces the chances of their character being killed, which would result in a complete loss of agency for the character and often results in wiping out the significance of past choices.

Various factors can vary the importance of these motivations — for example, #3 is a lot more significant in lethal old school games — but a lot of this is fairly fundamental to virtually all RPGs, which is why the behavior so reliably crops up across different games and different GMs.

Another factor here is that the power gamer effectively turns an RPG system into a puzzle, which they solve by maximizing power. Solving a puzzle, of course, is an incredibly satisfying experience, and is a fundamental part of what makes games fun. In a game like Chess, the puzzle is usually, “How do I win?” RPGs, of course, usually don’t have winners or losers, and so the power gamer creates their own challenge.

DEGENERATE POWER GAMERS

There’s nothing wrong with power gamers. After all, a lot of RPGs — including the vast majority of the most popular ones — are built around the acquisition of power, which would be really weird if there was something fundamentally wrong with players seeking power in the game.

In some cases, however, a power game can degenerate into behaviors that are disruptive or debilitating to the group and the game.

For example, there are leeches. These are gamers who try to make their character the most powerful at the table by preventing the other players from having any power of their own. This might mean hogging the spotlight, stealing magic items, or even killing other PCs.

There are also munchkins. These are power gamers who want the power, but don’t want to work for it. What they want is for the DM to hand their 1st-level character a +5 holy avenger. Or they’ll want to play a clearly broken homebrew sub-class. Munchkins are mostly harmless and can often have a ton of fun in a campaign with other munchkins, but they can be problematic in other campaigns if they feel entitled and become toxic when their wish-fulfillment isn’t granted.

(Munchkin campaigns also tend to have a lot of ire directed at them from gamers who are affronted that they didn’t “earn” their power or who believe that there’s a “right” or “balanced” way to play the game and that the munchkins are somehow “cheating” because they’re more powerful than they’re “supposed to be.” This tension, of course, can cause other interpersonal issues.)

Some power gamers will also become rules lawyers. There are a lot of different types of rules lawyers and a bunch of different reasons that people become rules lawyers, and I’m not going to dive into that here. A rules lawyer, though, is different than a rules expert. A rules expert is great: They have a mastery of the system, and that mastery can enhance both their play and the quality of play at the whole table.

A rules lawyer, on the other hand, is constantly trying to interpret the rules in whatever way gives them an advantage. (This will often include interpreting the same rule in different ways at different times, depending on which interpretation would be best for them in each situation.) Mild rules lawyering isn’t the worst thing in the world, but it can quickly degenerate into a situation where the game becomes overwhelmed without constant squabbles over the legalese of the rules, creating a bad experience for the entire table.

Finally, there are monomaniacal theorycrafters. Theorycrafting is when you’re building characters, experimenting with rules, or otherwise analyzing the mechanics of a game in the abstract (rather than in relation to actual play). There’s nothing wrong with theorycrafting — it’s a great way to explore and appreciate a game — but the monomaniacal theorycrafter becomes fixated on the idea that there’s a single “right” way to play the game, to the detriment of the actual game.

The root of the problem is that, in order to have the most powerful character in theory, you first have to nail down the key question of: Powerful at doing what? Because a character who’s optimized for solving mysteries is going to look very different from a character who’s optimized for running a Thieves’ Guild.

The most common answer monomaniacal theorycrafters tend to land on is combat, and it’s pretty typical for this to degenerate even further into a very specific type of combat encounter. I talk about this more in On the Slaying of Spherical Cows.

These degenerate forms of power gaming, unfortunately, can give all power gamers a bad rep. In my experience, though, having a good power gamer in your group is far more likely to improve your game than hurt it.

Review: Alice is Missing

October 23rd, 2023

Alice is Missing - Spenser Starke

Alice is Missing is a stunningly beautiful storytelling game that delivers an utterly unique and unforgettable experience. I’ve played it twice, with different groups, and each game was profound. Every player was deeply affected, and several texted the group the next morning to say that they’d dreamed about the events of the game.

The premise of Alice is Missing is in the title: A high school student named Alice has gone missing, and the players will take on the roles of her friends as they try to figure out what happened while dealing with the emotional trauma of her disappearance.

The central conceit of the game is this: You don’t talk. Instead, all of your interactions — all of your roleplaying — takes place via text messaging.

HOW IT WORKS

You can play with three to five players and you’ll start by each selecting one of the five broad, archetypal characters provided. These are quickly fleshed out with Drives, which provide Motives (a key personality trait) and two Relationships, which you’ll assign to two different player characters. It’s a fairly quick process that creates a remarkably broad dynamic of play while keeping the structure of play focused.

Now the Facilitator will start a group text message with all participants by sending a text with their character name in it. All the other players reply by sending their character name, at which point everyone should create a contact for that number (if they don’t have one already) and change its name to the character’s name.

At this point play begins: The Facilitator will open an Alice is Missing video which provides both a soundtrack and a 90-minute timer. From this point forward, no one speaks: The Facilitator will send a message initiating the game, and then everyone will spend the next hour and a half texting.

The core mechanic of the game revolves around Clue cards. These are synced to the timer — so, for example, there’s an 80 minute clue card, a 70 minute clue card, and so forth. There are three different cards for each time interval, and these can be freely intermixed, resulting in thousands of potential game states.

Each Clue card contains a prompt for the player who draws it:

  • Reveal a Suspect card. This person shows up at your door acting suspicious. What weird question about Alice do they keep asking you?
  • Reveal a Location card. You dig up some weird or unexpected history about this location. What do you learn about this place that would make it the perfect spot to hide?

The player creates the answer to this question and introduces it into the group chat, pushing the narrative of the game forward.

As you can see from these examples, the game also includes Suspect cards and Location cards. These help shape the mystery of Alice’s disappearance, and a number of clever mechanics are used to make sure that the narrative in the back half of the game evolves logically and naturally from the foundation laid down in the first half of the game, even as it’s ultimately being guided by the player’s creativity.

Finally, the game provides a deck of Searching cards which are more flexible: Whenever a PC decides to go somewhere without being prompted by a Clue card, they should draw a card from the Searching deck to reveal what they discover there. (Examples include “a drop of blood in the fresh snow” and “a loaded firearm.”)

SOME GRIT IN THE GEARS

Overall, Alice is Missing does an excellent job of walking a new player through the rules. The rulebook is actually split into two parts: The first is an in-depth explanation of the rules, and the second is a Facilitator’s Guide which walks the Facilitator (most likely the game’s owner) through the exact steps they should take to explain the rules to the other players (including short scripts they should read at every step).

This is crucial to the game’s success, because if everyone at the table isn’t completely onboard with the rules, the central conceit of silent gameplay won’t work and the game will fall apart. Spenser Starke, the designer, deserves major kudos not just for a great game, but for making sure the presentation of the game was everything it needed to be.

With that being said, there are a few places where grit gets into the gears, and I’m going to point them out so that when you play Alice is Missing you can hopefully benefit from my experience and avoid them.

First, the game comes in a lovely box that suggests completeness. Unfortunately, the box is missing components. There are no character sheets, for example, and there’s also supposed to be a stack of missing person posters that isn’t in the box. These are all easily downloadable from the publisher’s website (at least for now), but these aren’t just optional supplements: The rulebook will tell you to, for example, select a missing person poster, and you won’t be able to. (So make sure you track these down ahead of time and print them out.)

Speaking of the character sheets, they’re too small. For example:

Alice is Missing - Character Sheet Sample

In the half-inch by three-inch space between “Charlie Barnes” and “Dakota Travis,”you’re supposed to write down their physical description, favorite class, home life, etc. plus the answer to their Background question plus more… You can’t do it. The character sheet should have been designed as a full-page sheet and probably also double-sided to work properly.

After everyone picks their characters, they’re encouraged to specify their character’s pronouns. This is great in principle, but Alice is Missing completely flubs the execution by constantly referring to the characters by predetermined pronouns (and even baking this into the mechanics). Points for trying, but beaucoup negative points for failing. (A close edit of the rulebook to remove predetermined pronouns and, most especially, removing gendered identities from the character roles would be the minimum required to fix this. Ideally, I’d also want all the character names to be gender neutral.)

On a similar note, every character has a Secret. These are listed on the character cards, and so when the Facilitator is instructed to lay the character cards out in front of the players and have them select which characters they want to play, all of the players are going to read every single character’s Secret. The Facilitator’s script then almost immediately says, “Do not share your Secret — it should come out in play.”

This is not actually a problem: The players are not their characters, and what the rulebook means is that the answer to your Secret prompt question should not be included in your character introduction, but instead revealed during play. But every single group I’ve played this with has immediately gone, “Wait. Did we screw up? I read the Secrets!” It’s a very minor thing, but it’s a consistent irritation and it’s probably worth thinking about how you want to tweak that particular point of presentation to sidestep it.

My final critique of Alice is Missing is more significant: The rulebook sets things up so that the Facilitator is always playing the character of Charlie Barnes.

I can understand why they’ve done this. (It allows them to script specific examples into the scripts in the Facilitator’s Guide.) But it makes for a really bad experience if you’re the one who owns the game and is, therefore, always the Facilitator introducing new players to it. Fortunately, it’s pretty easy to fix this and let the Facilitator play any of the characters. (But it will require some edits to the guide and its procedures.)

WHAT MAKES IT BRILLIANT

I took the time to highlight all these little minor bits of grit in the gears of Alice is Missing because you’ll want to know about them when you play the game.

And you will want to play this game.

Because it’s brilliant.

The mechanics are elegant, easily grasped, and expertly tuned by Starke to effortlessly guide almost any group to a powerful story which is nevertheless unique every time. It’s a true exemplar of storytelling game design.

The novelty of the experience certainly helps to make it memorable, but the true brilliance of Alice is Missing is more than that. It’s a game that effortlessly immerses you in your character: The experience of play — focused through your text messaging app — is seamlessly identical to the character’s own experience.

You know how the world can sometimes sort of drop away when you get focused on your phone? Starke leverages that fugue state — everything else drops away, and the only thing you’re truly experiencing is the world of the text messages. A world where you’re not talking to your friends; you’re talking to Charlie and Dakota and Julia. (This is why it’s so important to change your contact names before playing.)

In addition, the text-based medium automatically leads the player to create the game world through a creative closure which is nigh-indistinguishable from the closure you perform every day in the real world. When Julia, for example, texts you to say, “There’s someone outside my window!” you immediately imagine that scene in exactly the same way you would if one of your actual friends texted that to you.

The power of that in a roleplaying experience really can’t be underestimated.

Either of these two things — the near-flawless mechanical design or the novel genius of the text-based roleplaying — would make the game worth checking out.

The two together?

Alice is Missing is one of the best storytelling games ever made.

Grade: A+

Designer: Spenser Starke

Publisher: Hunters Entertainment / Renegade Game Studios
Cost: $21.99
Page Count: 48
Card Count: 72

Arcane Runes - samirami

Astonishingly dense arcane runes cover every side of incredibly complex origami structures. In some places, translucent onion-skin has been layered over the paper, creating sections in which the runes are overlaid with each other, forming inscrutable and ever-shifting patterns.

A proper understanding of the origami folds — and the multiple orientations in which they are designed to be read — allows one to begin unraveling a truly innovative method by which glyphs of warding can be interwoven.

INTERWOVEN GLYPHS

Interweaving glyphs of warding requires an Intelligence (Arcana) check (DC 10 + the total level of the interwoven glyphs). Interwoven glyphs of warding are:

  • Simultaneously triggered.
  • More difficult to find and disable, increasing the DC of the checks to do so by +2 per additional glyph.
  • More difficult to identify, requiring an Intelligence (Arcana) check of DC 10 + the total level of the interwoven glyphs of warding.

Each glyph of warding must be cast in sequence and without interruption. If the sequence is interrupted or the Spellcraft check fails, the glyph of warding spells are all lost to no effect.

The total level of glyphs is based on the level of the casting of glyphs of warding for explosive runes, or the level of the stored spell for spell glyphs.

ADVANCED SYMBOLOGY

Among the origami notes describing the interweaving of glyphs of warding, there is also an incomplete treatise analyzing how symbol spells could also be interwoven (both with each other and with glyphs of warding).

If completed, this advanced methodology would also raise the saving throw DC of all interwoven glyphs or symbols to the highest DC among all of the interwoven glyphs and symbols.

However, because the research has never been completed, a PC interested in these techniques would need to finish perfecting them as a downtime research project. (See p. 338 of So You Want To Be a Game Master.)

 

This material is covered by the Open Game License.

The DM Lair - New GM Advice with the Alexandrian

Tonight at 6pm ET, I’ll be appearing on The DM Lair with Luke Hart! If you don’t see this until later, that’s okay! The interview will be archived on Youtube and you can watch any time!

Justin Alexander of the Alexandrian joins us in this live stream to offer our top new GM advice and answer your questions. Check out Justin’s latest book, So You Want to Be a Game Master, here!

Watch now!

Phandalin Region Map

Phandalin and the surrounding region of the Sword Coast have featured in three D&D adventures:

Each of these adventures have featured a slightly different versions of a region map drawn by Mike Schley. At the moment, I’m specifically interested in the various versions of the map designed to be given to the players as a handout. The best of these is probably the poster map found in the D&D Essentials Kits (to accompany Dragons of Icespire Peak), but all of them are fatally flawed as player maps because they spoil the adventures — not only showing locations that the PCs don’t know about yet (“Boy, I wonder if Icespire Peak — the only mountain labeled on this map — will be significant at some point…”), but frequently showing hidden sites that the PCs are supposed to go on adventures in order to locate.

NPC: But where could Cragmaw Castle be?! Nobody knows!!!!

Players: It’s right there.

NPC: If only someone could find it!

Players: It’s right there.

NPC: It’s a mystery wrapped in an enigma, baked into a souffle!

So I wanted a version of the map I could actually give to the players. I also, for purely personal reasons, wanted a version of the map without the hex grid.

Fortunately, you can purchase a digital map pack from Mike Schley that includes multiple versions of the map, including one with no grid and no labels.

The only catch, though, is that I don’t want NO labels… I want some labels: The roads. The major cities. And so forth. And I suspect I’m not the only one.

So what I’ve done is to create label layers that will let you control exactly which labels you want on your version of the map:

  • Roads & Cities
  • Regions
  • Mountains
  • Thundertree & Helm’s Hold
  • All Layers

To use these labels:

  1. Download the files below.
  2. Buy the map pack from Mike Schley (also linked below).
  3. Load the no-label map from the map pack into any graphic program that allows you to easily add and edit layers. Then add the PNG layers you want.

The layer files should line up perfectly with the map and with each other.

Alternatively, I’ve included a PSD file that you can use with Photoshop. (You’ll still need to add the no-label map from Schley as the background layer.)

Download the Layer Pack

Download the PSD File

Buy Mike Schley’s Map Pack

ALTERNATIVE MAPS
Phandalin Hexmap
Reveilled’s Phandalin Player Map

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