A person is going to make a cake. They have five or ten pounds of really good, premium quality cake flour. However, something inexplicable happens in their head when they’re putting it together, they think: “Sure, I can use this really good flour and have a really good cake, or I can stretch it a little and make it only a little less good by substituting a cup of sand for a cup of that really valuable flour…”
Corrollary disease: “This flour is soooo good that if I add a lot more of it, the cake will be that much better.”
DADHACKER
(2002/12/30)
I’ve said it before, but it bears repeating: The meme that D&D is all about “killing monsters and taking their stuff” is a caustic one.
In recent years, however, this meme has only gotten stronger, largely due to the design methodology flowing out of Wizards of the Coast. (Although there’s certainly a feedback-loop between WotC and the echo-chamber CharOp branch of the fandom which exacerbates the problem.) Pointing to the core design of 4th Edition is trivial, but it can also be clearly seen in the growing predominance of My Precious Encounters(TM) in WotC’s adventure design both before and after the switch to 4th Edition.
Wizards clearly thinks they’ve identified some really awesome flour, and they’re just going to keep pouring more and more of it into their cake mix.
In Treasure Maps & The Unknown I mentioned that setting “kill all the monsters” as the default goal of an adventure inherently funnels everything in the game through the combat system, drastically narrowing the range of potential gameplay. More generally, I’ve talked in the past about the fact that D&D used to support a “big tent” of playing styles and gameplay options and that WotC’s quest to “fix the math” and “find the sweet spot” has systematically shrunk that tent.
Unsurprisingly people left outside of D&D’s shrinking tent have been turning to other games in droves, reportedly allowing Pathfinder to tie or out-sell D&D in recent months. (A level of competition D&D has never experienced except when it was briefly out of print during TSR’s near-bankruptcy.)
But I digress. For right now, I want to delve a little deeper into the significant, debilitating effects of setting “kill all the monsters” at the sole pinnacle of D&D gameplay.
EXTRA CREDIT: CHOICE AND CONFLICT
Let me start with this:
The video is very well done, but if you don’t want to watch the whole video, allow me to summarize the key points. It’s talking about the importance of choice (“good games feature choice at every moment”), and in order to better understand choice it breaks player actions down into several categories:
1. Autonomic Actions. (Breathing, keeping your heart beating, etc.)
2. Reactions. (Pulling your hand away from a flame.)
3. Calculations. (Decisions based solely on reason: A choice between options in which there is a clear correct answer. For example, buying a game for $40 instead of $60 when it’s the exact same game. Or, in a more complicated fashion, choosing not to place your hand on a hot oven.)
4. True Choices. (Requiring the overcoming of internal conflict.)
“Without internal conflict there is no choice, only decisions.”
Or, to put it another way, true choice requires you to have two objectives which are put into conflict with each other. You have to choose whether to pursue Objective A while risking or abandoning Objective B, or vice versa.
The problem with many games, as the video points out, is that the player is frequently presented with only a single objective (or several objectives which don’t conflict with each other). At that point, there is no choice: There is only the calculation of the best possible method of achieving your objective and/or the testing of physical skill in order to achieve that outcome.
One type of choice you see in many game is an “incomplete information problem” — where calculations are turned into choices by forcing the player to make the decision before they have enough information to make a reliable calculation. (Tangent: You’ll occasionally see discussions where people claim that you can’t have meaningful choice unless the players are completely informed about what each choice means, but this is not generally true. And it’s only specifically true in the case of a complete tabula rasa in which the choice is nothing more than a random number generation — but such tabula rasa states are so utterly unlikely in any sort of real gameplay that it’s not really worth wasting our time fretting about them.)
The other type of choice, and the one I’m most concerned with here, is the “incomparable”. This is often found in character creation systems, where you have to choose between two options which cannot be directly compared with each other.
“The problem with many games,” as the video says. “Is that they mask calculations as incomparables.”
The example they point to is World of Warcraft, in which the talent trees of character advancement appear to contain a multitude of choices. But experienced players know that these talent trees conflate down to just a handful of “best builds”. Why? Because virtually all of your choices on the talent tree are aimed at increasing your DPS or your healing output.
In other words, the “choices” on the talent trees are not fundamentally different. They are all ways of achieving one particular goal, and therefore there will almost certainly end up being one or two “best ways” to achieve that goal (calculation).
CONFLICT
You see where I’m going with this, right?
When you focus the entirety of D&D on combat mechanics, you are simplifying the game down to a single goal. The effects of this are clear:
First, it creates a market for “best builds”. More than that, when certain builds become sufficiently “best” they effectively break the game: You either play those builds or you’re being outclassed by those who are playing those builds. (If you’re supporting multiple goals, on the other hand, the problem is lessened: There may be a “best build for X”, but since X isn’t the totality of the game it doesn’t invalidate other character builds. Which isn’t to say that you need to toss concept balance out on its ear, but it does significantly reduce the pressure to turn everything into identical, bland pablum.)
Second, you can “fix the math” all you want in an effort to make all builds equal. It doesn’t change the fact that you’ve eliminated meaningful choice from the core mechanics of your game. (It should go without saying, of course, that you can eliminate large swaths of meaningful choice while still leaving some choices intact.)
In short, you are reducing your game to a mere calculation.
CHOICE
In considering the importance of choice in game design, take a moment to ponder the meaningful distinction between Chess and Tic-Tac-Toe. (The former has meaningful choices; the latter is a mere calculation.) Or the distinction between War and Poker. (The former is pure chance; the latter has meaningful choice.)
With that being said, of course, choice isn’t necessarily the be-all and end-all of game design. For example, we embrace an element of chance in poker just as we embrace it in a typical RPG’s combat system.
But I do believe that, when compared to other games, choice is peculiarly important for roleplaying games. Because, in my opinion, choice is the defining quality of roleplaying games. I think the best definition of “roleplaying” is, in fact, “making choices as if you were your character”.
So when you begin removing choice from a roleplaying game, you are removing the entire reason for playing an RPG in the first place.



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