You are just supposed to know certain things from the culture of wargaming. But it blew up way past that microculture.
The immediate casualty was the adventure. This has been my focus now for over a year. What went wrong? Why are the modules Gygax wrote good, while others that ape the style are so bad?
Keep on the Borderlands
Let's just start with the introductions.
"You are not entering this world in the usual manner, for you are setting forth to be a Dungeon Master. Certainly there are stout fighters, mighty magic-users, wily thieves, and courageous clerics who will make their mark in the magical lands of D&D adventure. You, however, are above even the greatest of these, for as DM you are to become the Shaper of the Cosmos. It is you who will give form and content to all the universe. You will breathe life into the stillness, giving meaning and purpose to all the actions which are to follow. The others in your group will assume the roles of individuals and play their parts, but each can only perform within the bounds you will set. It is now up to you to create a magical realm filled with danger, mystery, and excitement, complete with countless challenges. Though your role is the greatest, it is also the most difficult. You must now prepare to become all things to all people."-Gary Gygax, "Keep on the Borderlands"
"You are not entering this world in the usual manner" is literal. He presents this powerfully as descending not only personally into the realm of fantasy, but the, and I quote, "become[ing] the Shaper of the Cosmos. It is you who will give form and content to all the universe."
Let's look at the introduction of Return to Keep on the Borderlands by John D. Rateliff 1999, at the tail end of the dark ages of Dungeons & Dragons:
"Return to the Keep is an update of the classic adventure, detailing what has happened in the Caves of Chaos and the Keep itself in the two decades since brave adventurers cleaned out the monsters and departed for other challenges. The rules have been fully updated. . ., encounters have been fleshed out, and the section of advice to inexperienced Dungeon Masters expanded and rewritten. In the main, however, Keep on the Borderland remains what it has always been: A series of short adventures, distinct enough that player characters can catch their breath between each section, that smoothly segue together. Altogether, this adventure gives novice players and characters a chance to learn the ropes without getting in over their heads; characters who survive will have learned the basic tricks of their trade, just as players and Dungeon Masters will know the basics of good gaming."
What the f$% happened here? Do you see this shit? Apologies to Rateliff, but I try to edit my blog posts better then this introduction. There's just extra, redundant, words in excess of the words that are needed, for some reason that's a reason there's extra words for a reason. Right?
"A series of short adventures." is the short description of "Adventures distinct enough that player characters can catch their breath between each section". How about "In the main, however". What purpose does that equivocation serve?
An example from one of the worst printed module of all time, N2, The Forest Oracle. Although terrible, it's common in quality to the vast majority of material on RPGnow and DM's Guild. But I'd rather not punch down on amature creator, so consider this a stand in for the type of dross you find on onebookshelf.
"The Forest Oracle is an AD&D module for levels 2-4. It is an independent adventure, and not part of a series. It can be integrated into any existing campaign or played as a separate adventure to help initiate players into the world of AD&D." -Carl Smith Forest OracleEvery single word of the above introduction is patently obvious. The level range is on the cover. You can integrate any adventure into an existing campaign or play it as a separate adventure. This is literal wasted space. Compare with original borderlands text.
The point I'm driving at here, is Gygax used every word of the introduction to drive home a mind-blowing idea, the introduction was copied for the sequel by a writer who writes as if he gets paid by the word, and the worst adventure writers don't even understand the point of the introduction so they just say truistic generic comments. "This is a module." or one of my personal favorites "This module is for X level characters, but you can run it with higher or lower characters if you increase or decrease the difficulty."
Why did I pay? How does this help me? What does this do for me?
This text varies between each individual module.
Dungeon Master Text
Let's look at the original keep:
This module is another tool. It is a scenario or setting which will help you to understand the fine art of being a Dungeon Master as you introduce your group of players to your own fantasy world, your interpretation of the many worlds of DUNGEONS & DRAGONS Adventure. THE KEEP ON THE BORDERLANDS is simply offered for your use as a way to move smoothly and rapidly into your own special continuing adventures or campaigns. Read the module thoroughly; you will notice that the details are left in your hands. This allows you to personalize the scenario, and suit it to what you and your players will find most enjoyable.Which commits the sin of being obvious, but considering the dearth of modules at the time, this was good advice then. Is the pass I'm giving the above text unfair?
The DM should be careful to give the player characters a reasonable chance to survive.
Hopefully, they will quickly learn that the monsters here will work together and attack intelligently, if able. If this lesson is not learned, all that can be done is to allow the chips to fall where they may. Dead characters cannot be brought back to life here!Then, Gygax lines out his conception of Dungeons & Dragons:
The KEEP is a microcosm, a world in miniature. Within its walls your players will find what is basically a small village with a social order, and will meet opponents of a sort. Outside lies the way to the Caves of Chaos where monsters abound. As you build the campaign setting, you can use this module as a guide. Humankind and its allies have established strongholds—whether fortresses or organized countries—where the players’ characters will base themselves, interact with the society, and occasionally encounter foes of one sort or another. Surrounding these strongholds are lands which may be hostile to the bold adventurers. Perhaps there are areas of wilderness filled with dangerous creatures, or maybe the neighboring area is a land where chaos and evil rule (for wilderness adventures, see DUNGEONS & DRAGONS@ EXPERT SET). There are natural obstacles to consider, such as mountains, marshes, deserts, and seas. There can also be magical barriers, protections, and portals. Anything you can imagine could be part of your world if you so desire. The challenge to your imagination is to make a world which will bring the ultimate in fabulous and fantastic adventure to your players. A world which they may believe in.He is a priest, his sermon dense with meaning. Note particularly "will meet opponents of a sort" and "hostile foes of one sort or another".
|Jeff Dee's art is a treasure|
Of particular note:
To defeat monsters and overcome problems, the DM must be a dispenser of information. Again, he or she must be fair - telling the party what it can see, but not what it cannot. Questions will be asked by players, either of the DM or of some character the party has encountered, and the DM must decide what to say. Information should never be given away that the characters have not found out - secret doors may be missed, treasure or magic items overlooked, or the wrong question asked of a townsperson. The players must be allowed to make their own choices. Therefore, it is important that the DM give accurate information, but the choice of action is the players’ decision.It's bolded like that in the original text.
In Return to the Keep on the Borderlands, the text and advice is largely similar and fascinating. Perhaps Ratcliffe was just warming up earlier and needed a sharper editor for that paragraph. I'd like to quote things that indicate people carried true knowledge always with them, even as those who claimed to be kings had lost that knowledge. To wit:
"Boxed text can either be read out loud by the Dungeon Master, or simply paraphrased in his or her own words. Paraphrasing is often preferred by experienced Dungeon Masters. . ."
"Players have a habit of doing the unexpected; resist the temptation to force them to follow a particular track."
"For purposes of this adventure, the Dungeon Master is strongly urged to use the optional rule that grants experience points for treasure (at the rate of 1 XP per 1 gp value); this sends the message to the players that there are a multitude of right approaches to take (combat, stealth, negotiation), not a single preferred method of play."This was in 1999, before the release of 3rd edition, where traditional games of Dungeons & Dragons and Vampire were advising Dungeon Masters to invalidate their players choices, and modules consisted of badly constructed railroads of the sort a grade schooler might create. In the darkest moment the hobby of Dungeons & Dragons has experienced, light still shone.
Next time we're going to look at the background section of the adventures and dig into things both nitty and gritty.
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