Showing posts with label criticism. Show all posts
Showing posts with label criticism. Show all posts

Friday, 27 June 2025

Reviewn June 2025 part 3: Game books

In which I review the books I read in the first half of 2025

Part three: TTRPGs and game content

 

What games have I checked out in the last six months? Here I'm including published books and files, commercial or free, but not blog posts (which I read too many of).

It's Reviewn June!

 

Tiny Spaceship

An alien exploration to understand Planet Earth 

By Tanya Floaker (https://floaker.itch.io/tiny-spaceship)

A wholesome diceless three-page mini-RPG about a spaceship that's come to visit us, and the dangers it faces (from other players, in the roles of e.g. "a big flock of birds"). Has a beautiful cover by August Charters, and the layout is nice (although it would benefit from a proofread and a looser line spacing).

I appreciate the extensive endnote about inspirations and mechanical sources, and the use of CC0. 

Mechanically this is a collaborative story-building game with simple natural-language rules. The tiny spaceship plays off exploration (drawing attention to itself) against understanding (thereby resolving problems). With the caveat that I haven't yet played this, I would call it story-telling gaming done right: a game at a high level of abstraction should be fuelled by simple, abstract, broadly-interpretable rules. Looks fun.

 

RPG Design Zine 

A how-to zine about tabletop roleplaying game design

By Nathan D. Paoletta (https://ndpdesign.itch.io/rpg-design-zine)

Published 2019, it's 28 pages of quite abstract, but useful, advice. The thesis is "I'm not here to tell you which [design decisions] to make, but I do want you to know why you’re making them." That's largely borne out. The content covers pragmatic approaches to, and implications of, various design angles: articulating inspiration, interplay of structures, roleplaying-as-conversation, iteration, etc.

Overall, the zine doesn't align perfectly with my own conception of TTRPGs, but I found it all the more useful for that. For example, it makes some interesting points about granularity and utility, different to my usual approach of complexity is a cost you pay, and left me with lots to think about.

The scan quality had me squinting a few times. Corrections were made to the physical paper, which adds to the zine aesthetic, but a fair number of typos stayed in. Also, a lack of cite marks on the pasted text might have played well with the aesthetic, but meant the works cited list was less helpful than it could have been.

I'm looking forward to reading the 2025 edition to see how the author's approach has developed.

 

Sinister Hovering Orb

(Sinister Hovering Orb)

By David J Prokopetz / Penguin King Games (https://penguinking.itch.io/sinister-hovering-orb)

A single-page solo mini-RPG (plus title) which interested me because of the complete lack of strictly-flavour text: all the themes, implied goals, and flavour are purely wrapped in game mechanics. We have to learn the game to find out what it is about (to the extent that it can be said to be about something in particular).

For example, the reader discovers in the rules that they have four choices of activity/situation, used variously "when you are simply and suddenly present", "when your very presence brings down calamity", "when those who ponder you know what they must do", and "when you radiate a palpable sense of doom".

There are no player goals, high-level structures, rules about direction, best practises or suggestions to serve as connective tissue: only a series of game elements, presented with a sense of finality. I played a quick game and found it quite a compelling story generator, though a very open-ended one.


PUBLIC GUEST 5

Living With The Certainty of Death by the imminent explosion of our orbiting artificial planet PUBLIC GUEST 5

By Turtlebun (https://turtlebun.itch.io/public-guest-five

A solo RPG on a poster, with a delightful visual style. It's about, well, exactly what the subtitle says. It's a sort of journalling game, meant to be played a sentence at a time over the course of a long real-world period (probably about a month on average).

The diary mechanics are very simple, with two dice informing how you spend a week on your doomed world. When you roll boxcars, PUBLIC GUEST 5 explodes. (I broke the rules and played through in a single sitting, for a fairly melancholy experience.)

PUBLIC GUEST 5 and Sinister Floating Orb were interesting diversions. Together they're inspiring part of my approach to some upcoming projects which will explore themes of cosmic doom, inscrutability, inevitability, and loneliness.


Writing With Style

An editor's advice for RPG writers

By Ray Vallese / Rogue Genius Games (https://www.drivethrurpg.com/en/product/217525/writing-with-style-an-editor-s-advice-for-rpg-writers)

A 44-page book of advice for TTRPG writing. It had some tips and reminders I found useful. For someone without a background in technical writing, I bet this book is absolute gold.

There's plenty of generic advice, but plenty is specific to RPGs: sins to avoid (like read-aloud text that dictates the players' choices), lists of RPG-specific overused and confused words, writing to a game publisher's specification, etc. My only criticism is with the visual design: some odd typeface choices and the line spacing is too tight.

Worth the $5 on DriveThruRPG, especially for a new writer.


Dwarf Mine

A mapping game of adventure 

By James Hron / Paper Dice Games (https://paperdicegames.itch.io/dwarf-mine)

Perhaps not strictly an RPG, but a 25-page tabletop exploration game. You play as the location, and instead of levelling up, you add levels further down. It sort of feels like how Dwarf Fortress felt ~20 years ago: one plane, inscrutable dwarf characters, simple mechanics, inevitable doom, etc. But the cutaway is cross-section, not top-down.

There's a points (prestige) system for scoring, and a huge block of random tables. My trial game was quite enjoyable, and I definitely want to come back and give it a more thoughtful treatment.
 


The presentation has some rough edges, with typos, misplaced page references, inconsistent capitalisation, and the font size varying between tables.

A few of the rules could do with a rewrite:

  • I'm a bit confused about multiple attacks vs entering combat multiple times, with persistent enemies who attack back.
  • The connective geometry is mostly explained by example, not rules. Some of the rules contradict the examples, as in: "The walls of rooms, hallways, and ladders must all have at least a 1x1 square separating them", and also in "Rooms must be built in the orientation shown".
  • Goblin invasion mechanics seem underdetermined.
  • The appendix leaves the crucial word 'once' off the end of the sentence for Trap room. 

There's lots of neat mechanics, especially with the big monsters. I like that the Cave Wurm can damage the map itself.

The First of the Stone Folk puzzles me. It must be entombed in a 6x6 room – internal dimensions 4x4, so you only need to make 16 squares. Using 21 dwarves per square to minimise deaths, you will lose on average 168 dwarves. But I don't get the impression that total population is ever going to be over 100. Am I off the mark there? Or are you meant to wall this monster off really slowly? 

The dwarf leader ability adds a little more strategy. More inheritance tracking with the 'Bloodline' system would be interesting. I do like the idea of the Achievements list giving all future leaders a title. The room name generator appendix is clever, although wacky; you could get a barracks named "Bottom Watch" or a tomb named "New Trophy".

The author has written lots of official expansions and supporting content to keep the game fresh.

 

GURPS "Discworld Also"

A companion book for the original GURPS Discworld RPG

By Steve Jackson Games, Terry Pratchett, Phil Masters. Generally good, but most of the best stuff made it into the new edition (which I already read, and wrote some reviews for last year). So because I'll focus on the stuff that didn't, this review may sound more negative than I feel!

Sean Murray's illustrations feel quite Discworld-y, sketchy pen/pencil pictures that don't try to rip off Kidby's or Kirby's style. I like them. I'm not a fan of the book's layout, though. There's weird stuff going on with the kerning and text wrap. The column breaks are terribly confusing when there's a subheading (e.g., p 48 reads left to right then top to bottom, but p 49 reads top to bottom then left to right).

It's poorly copyedited for a professional product. For example, on just one page (29) I noticed

  • A mangled seven-clause sentence
  • "almost" should say "always"
  • "could" should say "would"
  • "fall off" should say "falling off"
  • "unaging" / "ageing" spelling inconsistency
  • "They not" should say "They are not"

The alternative troll stats, and the extra information on elfkin and gnolls is good to have. There's a nice robust peasant character template, with various background skills. We get a 'sentient animal' template, a disappointing miss on terminology (it should of course be 'sapient animal').

Translation of Discworld magic is done well. The additions are a bit uninspired, e.g. a magic item which replicates an air conditioner, with maybe a subtle joke about Maxwell's Demon.

The book provides some campaign settings. I mostly already read this content in the new edition GURPS Discworld RPG, with a couple of exceptions: Smarlhanger and Fourecks get more space here.

  • Smarlhanger is a frontier boom town in sheep country. It doesn't commit to some details ("there may or may not be changes made", p 86), which is frustrating in a setting guide. Lots of other details to work with though.
  • Fourecks cart races is a new subsystem, a spin-off of the GURPS Vehicles rules. The Mad Max pastiche from The Last Continent is fleshed out to a whole societal thing here. (It doesn't say so, but Fourecks definitely has a bunch of ultra-hardwood trees that would be used for the highest tier of armour.)

The book also has three adventures and three 'adventure seeds'. Again, I mostly already saw these in the newer edition. These seem pretty good, barring some vague patches.

'Walking the Spiral' is an adventure with an excellent idea: druids come to look for megaliths in Ankh-Morpork. (I really liked that the mouldering records were in the form of an ancient school essay.) The problem is that the implementation is painfully linear, with very little for the PCs to actually do until the setpiece fight. Especially if the druid emissaries are NPCs. The adventure also implies that the University's NPC wizards are perfectly capable of saving the day by themselves at the end, making this an adventure that doesn't need player involvement at all. The adventure premise is good enough that it's worth rescuing by redoing the structure, though.


Highland Vice

System-neutral Martian cowboy hexcrawl

By Strange Ian (https://ianstrange.itch.io/highland-vice

A 'kitchen sink' futuristic setting that meshes well. The concept: Mars has been scarred by poorly-thought out terraforming projects. It's reminiscent of Red Dwarf and Fallout and Futurama and Borderlands and Charles Stross, with extra Tibetan, Mongolian, Peruvian, Japanese, and Weird West elements. The goal is to find and retrieve a chunk of computer megabrain.

A 100-entry hexcrawl in 28 pages. With four hexes per page and system-neutral style, Highland Vice favours high-level terse description over gameplay details.

There's a great density of evocative ideas, which is what I want most out of content like this. An algae plantation heiress hunting with an overtuned laser rifle. The electromagnetic rail launcher used by wire-crowned shamans to send captives into orbit. A buried chest full of mismatched halves of different treasure maps. A hillbilly cyanobacteria moonshine shack guarded by a truck-sized amoeba. A monk riding a solar-powered robot turtle terrarium. An android executive assistant living for years impaled on a mammoth's tusk. A colossal mining engine meditating in the middle of a mountain, trying to free itself from the material. Gauchos duelling over a holographic pop idol in a field of cherry blossom. The primitive town built by a crashed trainload of plush robotic cuddle dolls.

Many of the hexes are linked, but some of the conceptual through-lines could be highlighted. For example, 'satellite shamans' come up in 0006, 0104, 0107, 0307, 0408, etc. If I ran this I'd make a quick setting overview using key concepts as subheadings, and add relevant pointers to/from each hex:

  • Satellite shamans
  • Teratorns, poebrothers, and other revived megafauna
  • Robot prosthetics
  • Hive drones 
  • Sky bandits
  • The Spinal War
  • Sindovar
  • The Maze 
  • Josung (game)
  • etc 

Definitely worth a look. It's recently published and free on Itch.
 

In progress

By my quick count, I have six different rulesets and splatbooks bookmarked and partially read. Possibly there's more, lurking in browser tabs or forgotten on the desktop.

I'd like to put some real effort in there. My ambition is that when I next fling reviews together, my "unfinished list" will be completely different!

Reviewn' June 2025 comes to a close.

So how'd I do? I didn't read as much as I hoped, but overall, not bad. For me, reviewing is ultimately about self-accountability, but hopefully you got something out of it.


Monday, 23 June 2025

Reviewn June 2025 part 2: Fiction books

In which I review the books I read in the first half of 2025

And pick out some ideas you could put in a game

Part two: Fiction 

 

It's Reviewn June! 

In the modern melange of media that blurs the line between traditional and web publishing, it's hard to say what's a 'book'. For the sake of a clean division, I'm looking here at the physical fiction books I read in the first six months of 2025.

...But now that I come to write them up, I find that means very few are left after I take out webfiction, manga, poetry collections on Project Gutenberg, books on archive.org, and ebooks. We're left with:


A bunch of John Allison's superb comic books

Maybe ten or twelve of them: volumes of Solver, Bad Machinery, Steeple, The Great British Bump-off, etc. Most of these I'd read in webcomic form; having them in print is a little luxury and a way to support a great artist. I wish that Conan and the Blood Egg hadn't been taken down since I'd have liked a physical copy of it. I also wish there was a nice, straightforward timeline of all of John Allison's creative outputs; he has a long history of different interlocking series and I have a completionist spirit.

Game-ready ideas: This stuff is just riddled with inspiration for modern settings. There's lots of semi-supernatural stuff going on. Especially check out the mystery-solving comics; you could lift one of the premises wholesale for a game of Kids on Bikes or maybe Fiasco.


Guards! Guards! (1989) and Men At Arms (1993). Terry Pratchett

Discworld re-reads after looking at GURPS Discworld last year, and reading GURPS Discworld Also this year. I've read every book in this series about a dozen times, apart from the last few. Pratchett in his best years remains unparalleled.

Guards! Guards! and Men at arms are comic fantasy detective books that I think anyone who likes even just one of those genres would enjoy.

Aside: I noticed there's a few lines in Guards! Guards! that appear almost verbatim in Shrek (the movie, not the book) in what one must charitably assume is convergent evolution.

Game-ready ideas: It's hard to make a comic fantasy TTRPG. Comedic elements develop in practise, at the table, unless everyone involved makes a dedicated effort to prevent that. Part of Pratchett's comic genius was taking ideas to their humorously logical ends (retrophrenology, the rate of million-to-one chances coming true in genre fiction, animal responses to their own reflections, etc).

I think 'taking ideas to their natural conclusion' always helps with verisimilitude, including in TTRPGs. Suppose X is a fantastic element true of your setting. Then you really ought to take what we know about how worlds / people / processes operate, puzzle out as many consequences that follow from X as possible, then add those to your setting or modify X to remove the ones you dislike. Otherwise some of these will inevitably be explored in play and come up short, revealing the world as shoddy papier-mâché.


Pick of Punch. William Davis (ed). (1975)

Punch had a surprisingly long history. I have a few of the really old compiled volumes, so old that they don't list dates (I'm guessing early 1900s), which I should dive into some time. This particular book is comparatively recent. It suffers from a boatload of unfortunate 'signs of the times' (racism, classism, misogyny...)

Game-ready ideas: Reading this was being immersed in British culture of a specific period; it was not always easy to parse. It's interesting that even things close to you in time (less than a century ago) and culture (English-speaking Commonwealth country) can end up almost incomprehensible; you don't need huge gulfs for a text's meaning to become eroded and for a different culture to seem strange. Corollary: If you pick up a book like this and discard the parodic and inappropriate elements, you'll be left with a mass of very specific setting content and tone you can borrow.


More

There's a few novels on my table that I have no hope of finishing before the end of June. Fingers crossed for getting them over the finish line by Christmas!

I may have to change how I approach reviewing in the long term, if my slow shift towards reading more digitally continues.

That's been especially true of my TTRPG reading, so next time, as I wrap up with part 3 (game books reviews), I'll be looking at digital publications too.

Saturday, 21 June 2025

Reviewn June 2025 part 1: Non-fiction books

In which I review the books I read in the first half of 2025

And pick out some ideas you could put in a game

Part one: Non-fiction 

 

I read a medley of materials.

The modern melange of media blurs the line between traditional and web publishing. Most books are available online; many bloggers edit their writing into self-published volumes; plenty of web texts are book-length or longer. News and commentary and user content and blog posts and tutorials and metafiction all start blurring together.

For the sake of a clean division, I'm only going to look at the physical books I read in the first six months of 2025. It's Review[i]n[g] June!

 

Five books piled up.
I externalise my memory by writing reviews every so often. 

 

Games and decisions: Introduction and Critical Survey. R. Duncan Luce & Howard Raiffa (1985)

A game theory textbook.

Do you ever dive into something thinking you'll be able to hack the technical writing because you have semi-relevant education? One of my majors was in formal logic, but I still couldn't really parse large chunks of this book.

Game-ready ideas: Any sufficiently technical work can be a good source of esoteric jargon to cram into a wildly different domain, like wizardry or mythos occultism or sci-fi engineering. By the way, a dryad and their tree are a dyad: https://en.wiktionary.org/wiki/dyad


A brief history of mathematical thought. Luke Heaton (2015)

An introduction to maths through a history lens. 

Brilliant, but dense going in parts. The rare book where I wish it had been twice as long so that some of the inferences and arguments could be laid out in more depth.

Game-ready ideas: Everything is weirder than you thought. 'Non-Euclidean' has a specific meaning which is not just synonymous with 'unknowably eldritch'. Geometry was useful to ancient societies for e.g. recalculating field boundaries after seasonal flooding moves markers. Mathematics has historically intersected massively with religion and spirituality.


Paradoxes from A to Z: Second Edition. Michael Clark (2007)

An encyclopedia of paradoxes with a weird design.

The gimmick is that the paradoxes are arranged in alphabetical order; this makes it almost impossible to read. The introductory entry on 'paradox' is under P, more than halfway through. The implication is you should be using this as a reference work, but the audience for that has to be miniscule! Reading it cover to cover, I was told constantly to flip elsewhere to get necessary background information, because of course all the formal approaches to paradoxes are interlinked. There are no page references. 😡

Seriously, why not just present the paradox in a sensible, mostly-chronological order? Introduce concepts as needed and build from there? Luke Heaton's book may have spoiled me.

Aside: It's interesting that many famous paradoxes are either resolved by the things mathematicians do to make mathematics useful (define countable and enumerable infinities, specify axioms of set theory, etc), or become trivial once you understand that human language isn't and can't be some perfect mirror of reality.

Game-ready ideas: I'm not a 'riddles' guy when it comes to puzzles. Don't use paradoxes for that. You could reskin some paradoxes as challenges that academics in a fantasy world are working on. Preference intransitivity might be turned into an interesting game challenge, e.g. some group prefers A > B > C > A under certain circumstances.


Zeus grants stupid wishes. Cory O'Brien (2013)

Myths from various cultural traditions, retold.

Absolutely redolent with early 2000s internet era writing style, down to ending with an insufferable take on science and religion. There's a line break after almost every sentence clause, like a text conversation or a certain type of free verse.

The author admits to having two orthogonal premises, and vacillates between them. Paraphrasing:

  1. "Modern retellings of myths are bowdlerised; I will tell you the weird nasty original bits [implied: and lean into the troubling stuff by making unpleasant jokes]"
  2. "I will just make stuff up to make myths more exciting"

Can't recommend it. I counted seven jokes that actually got a grin, out of (~20 'funny' lines × 275 pages) maybe 5500 stabs at humour. (Lots of typos, too.)

Game-ready ideas: When a cultural tradition is admired, it can end up reflected through massive gulfs of history into art, scholarship, etc. I also like (a) a more adversarial relationship with one's pantheon; (b) living in a magical gourd; (c) a sun that's capable of making mistakes and suffering retaliation for them.


Battle castles: 500 years of knights and siege warfare. Dan Snow (2012)

The story of a set of specific castles.

This was written in the wake of a TV series, and reads like television travelogue narration. The prose is sort of breathless and sometimes borders on legitimising tyranny (letting all the 'divine right of kings' slash 'conquering warlords should have a monopoly on violence so that they can govern' stuff go unexamined).

A useful primer on castles. The actual history content is decent, e.g., addressing the common misconception that a fight goes until you're dead or the enemy is wiped out. But I noticed a few absolute howlers too, old debunked canards like: "Beer was then a basic necessity of life because, unlike the water supply, it could be trusted not to cause disease."

Game-ready ideas: Castles are a specific response to a specific kind of socio-military-economic situation, and might not plausibly crop up in your fantasy world. If they do, there's enough info here you could just lift out a castle and its context entirely.


How to. Randall Munroe (2019)

Pop science with a twist: silly ideas taken seriously. 

'The xkcd guy' has written some books, and now I think I've read them all. Pretty light reading until the physics gets heavy. Covers how to play tag (against champion sprinters and marathon runners), how to power your house, how to decorate the world's tallest tree, how to land a plane on various surfaces, etc.

Fairly interesting stuff, but not the sort of thing that geared my mind up to go down some research rabbit hole. If I had any criticism, it's that it's a little America-centric.

Game-ready ideas: A lava moat is surprisingly near-feasible in real life, so in fantasy it should be even more of a staple.

 

AI Morality. Edited by David Edmonds (2024)

A modern collection of philosophical essays looking at AI and its implications.

The essays are about AI in the broad sense, not just 'generative AI' or 'LLMs', as people are increasingly misapplying the term (which is bewildering to me, like if some specific advancement in orthopedy for hockey injuries led to an explosion in popularity and people just started using the umbrella term 'medical care' to mean 'orthopedy for hockey injuries').

The book's anchors – philosophy, computer science, and writing – are at the intersection of my university study and brief academic career. I picked up a few places where a writer just obviously didn't know what they were talking about, but those were few and far between, so it didn't sap my respect for established academics too much. The book covers a lot of interesting topics, but I found myself skimming a lot due to the curse of existing familiarity with them.

Game ready-ideas: Nothing specific, but lots of inspiration for near-future science fiction. The ethics of insurance denial, cyberattacks, and Asimov's Laws. The chapters on faceless algorithms might be good for Cyberpunk / Shadowrun.


Tune in for Reviewn June parts 2 (fiction I've read) and 3 (game books I've read).

Friday, 1 November 2024

Discworld RPG: Concludium

In this Octobereview, I wrap up the Discworld Roleplaying Game (powered by GURPS), by Terry Pratchett and Phil Masters. Last time, I talked about the setting chapters.

This time, I'm reviewing the remaining parts of the book (pp 367–408), all the juicy running-the-game stuff!

This is probably the most important section to me. Although the 'GURPS rules' parts are necessary for running the game, and the 'Discworld review' parts are necessary for understanding the canon world, this is where the authors are handed the reins to really extrapolate, develop, and get creative.

The Discworld RPG.

Part 11: Bad food, no sleep, and strange people

We start the section with Running for your laugh, guidance for game/campaign management. There's some good general structural advice here. They also managed to get a chuckle out of me (p 368):

If anyone really wanted, they could use the setting for an old-fashioned game in which heroes and wizards beat up monsters and take their treasure. Or they could create gloomy sagas about angst-ridden vampires on the streets of Ankh-Morpork. There's no obvious reason to do so, but nothing to stop anyone, either.

The authors talk about managing tempo and pace (p 369). This advice is generally good, but some lines jumped out to me here: "a fight that lasts mere seconds in the game world can take much of the session to run [...] The GM should avoid combat if the current aim of the game is to get to the next important plot point quickly." Emphasis in original.

I must admit, this – and some similar language scattered throughout the book – rubbed me the wrong way. It practically admits that the underlying engine is too slow to be useful. It also suggests a view of the GM as fundamentally a linear storyteller, which might be appropriate if this was, you know, a story-telling game, rather than a traditional TTRPG with a smattering of story-telling elements.* Pesto and chocolate milk are both tasty, and maybe you could find a recipe to combine them complementarily, but it's been 368 pages of rules for chocolate milk and now I'm being told to sprinkle pesto on top.

* The implication, here and elsewhere, is that the GM's role is to decide "the next important plot point", disregarding choices and rules to shepherd the player (character)s towards it. I'm not a fan.

The text goes on to add, "In general, Discworld games should run fast and light. [...] A roleplaying game, humorous or not, is a cooperative project, and if the GM takes too much power from the players, they'll ultimately become frustrated. Everyone should be allowed input." Again, this sentiment seems out of place for a simulation-heavy TTRPG

"Everyone should be allowed input" ...into what, exactly? This pretty clearly doesn't just mean the truism, "don't take away for non-diegetic reasons the exactly one way players can affect their environment in a classic TTRPG, i.e., their power to make their characters' decisions".

Even with a generous reading it seems to mean, "import story-telling-game elements into how you run this TTRPG, by having aspects of the world/outcomes decided by an unspecified collaborative process with the players." And in 408 pages there are no rules for doing that, and little to no advice for dealing with the dissonance of players having to break out of the making-decisions-as-if-they-were-their-character headspace to make decisions about the world as if they were its creator. Shrug.

One little thing that caught my attention, on p 371, is that "The Colour of Magic contains several RPG references". This surprised me; maybe I need to read it again.* It definitely contains a lot of references to the sort of 1960s-70s pulp adventure and sci-fi/fantasy fiction on which early D&D was built, but if there are direct TTRPG aspects, I never noticed them.

* The game the gods play throughout has miniature tokens representing characters and creatures, but I remember it being in much more of a "European boardgame" style.

Sample campaign setting

The book's main sample setting (essentially, pirate adventure in the Brown Islands*) is quite good! It covers a region that sits largely outside of the Discworld canon, and it hits a lot of the right notes in terms of descriptiveness and usefulness to a GM. The islands are presented as a sort of semi-policed melting-pot wilderness borderlands, which is an excellent background for RPG adventure.

* A pastiche of Hawaii, mostly.

I'm pretty sure that Llapffargoch-Wokkaiiooii is meant to extend the Hawaiian pastiche to include some of the Pacific Islands and New Zealand, which (as a New Zealander) feels a bit forced, but that's pretty much always going to be the case when you're reading an outsider's view.

I've got to say, the idea of hiring the PCs to "break into an enemy's home or workplace and rearrange the furniture to bring bad luck" is great. That's completely outside of the classic RPG scenario space, and I'd love to use it some day. (The book also gives it pretty thorough mechanical support.)

The Discworld RPG presents several other settings in short form, and all of them seem like they could be a good time. For example, there's advice for a Fourecks "road warrior" setting.* I should note that this book is somewhat old-fashioned in places, but it could be worse when it comes to things like colonialism and female empowerment. The Brown Islands is run by foreign governors... but the indigenous people don't much care what they say. There's a Klatchian setting with a harem... but the women are comfortably running the town. Et cetera.

* I was expecting the waterless regatta from The Last Continent, given this book's reluctance to extend canon. I suspect road warrior was chosen just for the cart wars / car wars joke.

Sample scenarios

The book presents three adventure scenarios; two about fruit and one about herring historical justice.

In "Lost and Found", the PCs investigate a banana shortage and discover a magical jungle lab emitting reptilian monsters. In "Full Court Press", the PCs get involved in the succession politics of an apple-growing duchy. In "Sektoberfest in NoThingFjord", the PCs set out to rescue a skald (storyteller) from a huge troll and probably end up settling a historical injustice.

I want to say off the bat that the underlying ideas are great. I'd run a scenario based on the first or third scenario without hesitation. 👍

And the implementation of those ideas is mostly good. 👍

Unfortunately, the presentation of the scenarios is undermined by two major issues.

Issue 1: Failing to help the reader

The authors commit one of the cardinal sins of RPG scenario design: presenting the adventure as a fun little mystery for the GM to be puzzled by until they've read to the end. None of the important parts are explained up front. The authors want the players to feel like they're experiencing a story? Sure. Writing the scenario as if the GM trying to read the thing also has to experience it as a story? Excruciating.

So in Lost and Found, the GM reading isn't told why there's a banana shortage, which is the entire basis of the scenario. Without a precis sketch up front, they won't find out for many pages. Long after they encounter a text box which says: "remember that the problem lies hundreds of miles distant, and is somewhat peculiar, with a certain amount of unconventional magic involved." The reader can't "remember" those three things. They haven't been told any of it!

So the GM who just wants to know if they like this adventure enough to study it and run it has to read the whole thing through to find out, then reread it with the basis facts required to actually plan how to use the scenario. It would have been trivially easy to provide the necessary information in a text box or paragraph at the start.

In Full Court Press, it's worse. The scenario writers simply didn't finish their job. Who killed the old duke, and why? What do the various described activities indicate? Well, it "depends on what the GM has decided about the true history and motivation of the NPCs" (p 394). "Matters should culminate in the revelation of some truth".

This is a cop-out, and one which particularly stings because not only does the text lack a disclaimer up front ("this scenario is incomplete"), it actually claims a GM can use the scenario "as is"!

If the problem was space, why not just write even less of the adventure and put it with the other incomplete scenario ideas at the end of the book?

The "failing to help the reader" issue comes up somewhat in Sektoberfest in NoThingFjord, too. The PCs are in a cave complex chasing after an abducted skald (p 396). They hear a deep voice relating things that happened in the past (something a skald does), and then they see the abductee. Seven paragraphs and a section break later, the reader discovers that it's not the skald who's been talking! I'm fairly sure this was just sloppy editing rather than a deliberate mystery, but again, a paragraph at the start sketching the overall scenario would have avoided the problem.

Issue 2: Implied culture of play

The other issue I'll freely admit is subjective: The scenarios advocate for a culture of play which makes me uncomfortable. It's similar to the problem I had with some of the tempo/pace advice (above).

We're told that the GM should just veto a PC's advantages from putting points in Wealth (p 386). The GM should fudge dice results and move things behind the scenes and ignore creature traits (p 391) so that things happen as they envisaged. There's this expectation for the GM to have an idea of "the way things ought to go" and covertly change things to make that happen. Is it railroading? It's at least railroading-adjacent.

Reading Sektoberfest in NoThingFjord, I started to believe that the authors just fundamentally disagree with what I would consider the deepest TTRPG loop: mentally simulating a world, seeing what the characters try to do, and then arriving at plausible outcomes using rules + good judgment + knowledge of how the world works.

  • Instead of referring to rules for light, it's "reasonable" to "penalise" explorers for not taking equipment such as lanterns.
  • Instead of referring to rules for navigation, "there's only a limited amount of fun to be had by getting them lost, and having them completely lost and starving to death is dull. But the players might pay more attention if they sense that the GM is thinking about that possibility."*
  • Players get to "make IQ rolls to grasp the subtleties of" an issue once the GM has described it, instead of engaging their brains.
  • After the script says a troll gestures at the wall, "visitors should make Per rolls to notice the general shape of the walls on the far side of the cave." Implicitly, characters can't notice a secret until the "right" story beat, no matter what they do.

There are numerous references throughout the book to the GM feeling "kind" or "sadistic".

Again: The Discworld RPG has very few story-telling-game mechanics, and the ones it has (like Riding The Narrative) are limited and optional. But there are all these little asides telling a GM not to run the game as the crunchy traditional GURPS TTRPG it has been built as.

I understand that occasionally a GM might end up with the donkey up the minaret, and have to choose between (a) cheating to create a fun play experience, or (b) letting the chips fall where they may. But note that this is a choice.

If you play it without cheating, yes, you might have an early TPK or an anticlimactic ending or have to split a session because you run out of time. Yes, it might be less fun.* You at least won't be teaching the players lessons like "the PCs can't lose" or "the PCs can't win early with cleverness" or "there will be x amount of conflict per game session no matter what" or "the GM doesn't care about the rules of the game".

* But you don't know for sure.

If the GM finds that they need to cheat to "save" a fun play experience, something brought them to that point. It's almost certainly down to a failure of the system, a failure of the scenario, or a failure of the GM. Two of those things were within the purview of the authors to fix, and in a book of this size they could have advised on the third. Instead, they keep calling for a thumb on the scale within the scenario design. My personal opinion is that it's a bad look. Rant over; my apologies.

Other scenario possibilities

Fortunately, we don't have to end the review on a sour note! The final part of the chapter ends with a half a dozen scenario seeds, for a GM to take and run with. These are all very ideas-dense and a great fit for the canon, and I enjoyed reading them.

If I were to run the GURPS Discworld RPG, I'd pick one of these to start with – probably Plumbing the depths. If PTerry hadn't suffered his health disaster, I think we were cued up for a book about the Undertaking in Ankh-Morpork, and this offers a chance to explore what that might have been.

Remainder

There's some end matter, too! It consists of a slightly absurd glossary of Disc terms, the inevitable Discworld + GURPS bibliography (which sums up the books fairly pithily), and a comprehensive index which almost never just redirects the reader to another index entry (D&D, take note).

Final thoughts

I began this book as a Discworld fan and GURPS outsider. By the end of it, I had a better grip on GURPS and an itch to go back and read through the Discworld books. I consider that a win!

I'm also backing the new Modiphius game, Terry Pratchett's Discworld RPG: Adventures in Ankh-Morpork. I can't wait to see the difference in approaches to this large (and for many reasons difficult-to-translate) corpus of creative material.


Tuesday, 29 October 2024

Discworld RPG: The setting

In this Octobereview, it's another look at the thick tome that is the Discworld Roleplaying Game (powered by GURPS), by Terry Pratchett and Phil Masters. Last time, I talked about the magic system.

This time, I'm reviewing all the setting stuff
(pp 220-366)! Lands, environs, NPCs, scenarios, and so on.

I mentioned when I cracked this book open for the first Octobereview that there's really no winning in TTRPG book layout. To wit, this book splits its setting guide into a hefty Part 1 (in case you're unfamiliar with Discworld) and then comes back to it in Parts 6–11 (in case you're only somewhat familiar with Discworld). It's an inelegant split, but better than any alternative I could think of.

A lot actually happens from the start of a given Discworld book to the end, and although the chronology is muddled, there were substantial overall changes to the setting over the course of the series. The Discworld Roleplaying Game does a pretty good job of accounting for all the different points in time which players might play in.

Discworld RPG.


Part 6: Life and Lands

I think PTerry had a particular Theory Of History And Society which shone through in his work. It's been interesting to see the GURPS authors' take on it. I think they do a pretty good job, with some exceptions.*

* For example, I wonder if re-framing dwarf vs troll conflict as being about 'vertical real estate' as the 'source of the problem', p. 228, was meant to have the undertones it has.

This chapter, p 220-267, is 'Life and Lands' information: a fairly thorough Discworld physical/cultural geography primer with very little game-specific content, just a minor 'adventuring lens'. It's all Discworld and not much game, so it's hard for me to evaluate its usefulness to the average GM.

All this could have come straight out of the Discworld Companion, and maybe it did. The book has diamond trolls emitting light (p 230), which I think is a misunderstanding. My only other note here is that the similarity of the phrases 'Octarine Grass Country' and 'Ultraviolet Grasslands' left me thinking about a crossover for a while.

Part 7: Ankh-Morpork

This continues being more 'setting overview' than 'gameplay aide'. I don't have much to say that wouldn't just reflect Discworld itself.

One rough spot shows on p 257, which lists a watchman's equipment. The GURPS rules say the watch officer will necessarily be at Light encumbrance or higher; the book takes pains to point out unencumbered PCs can therefore just run away from the watch. It advises that if they do, they can be penalised by running into specific Named Characters. The bottom line to me is that it's true of this fictional world that a watchman can't catch a fleeing perp (PC or NPC). That's a broken mechanic and the authors just chose to slap a crude patch on it.

I also spotted the very first typographical error after 259 pages of quite dense text: an extra comma in the 'orphans' box.* I used to be a copy-editor; that's a frankly superb hit rate. The whole book is very professionally made.

*A missed opportunity to do some extremely rare and on-the-nose grammatical irony.

A few other slips in the section were, I think, American writers not quite nailing British English, e.g., 'gasoline' for 'petrol' (p 270).

Part 8: Supernatural wotsits

This section offers a bit more advice about magic and its uses, including keeping PCs in line. Like the 'watchmen can't catch you' problem in Part 7 I think some of this should have been solved at its source instead of having a patch slapped on top.

There's discussions of gods and so on; not much in the way of game mechanics. A serviceable chapter.

Part 9: NPCs et al.

With NPCs we return (p 305) to the really GURPSy bits for the first time in a while. Here we get, for almost every major character in the series, either some abbreviated character attributes or a full GURPS character stat block.

We also get some advice for using canon characters in play, which amounts to "don't overdo it". Of course, it's damned-if-you-do,-damned-if-you-don't: the Disc books and humour are extremely character-driven. But as the Discworld RPG points out, hitting the right tone for a well-established, well-loved character from a different form of media is necessarily going to be difficult for pretty much any GM. If you're going to try it, this book is determined to give you 45 pages of stats to fall back on!

Part 10: Critters

We also get stats for Discworld animals – including the Disc 'versions' of regular animals (superintelligent camels, occult cats, sapient dogs) – and monsters.

There were some interesting choices about which beasts to include. Of the classic swords-and-sorcery slash-em-up monsters which show up in Discworld, very few are mentioned. Basilisks, yetis, ice giants, and the avatar of Bel-Shamharoth aren't statted up, to name a few. But some one-note, one-book, harmless and uninteresting creatures like curious squid are there.

Side note: It's always interesting to see how much an RPG values a horse. Especially, say, a warhorse vs a riding or draft horse. Historical warhorse sale prices / valuations are notoriously all over the place, even in similar places and times, often for reasons that weren't preserved in the historical record.

  • OD&D: 3-7× the price depending on weight
  • D&D 5e: the price
  • J M Davidson's "Universal Price List"*: 46× the price

* Which I remember getting a lot of traction in the TTRPGsphere back in the day

In the Discworld RPG, an "expensive" warhorse is just the price of a draft horse, waaaay at the cheap end of the scale!

The creatures, like the NPCs and the setting guide, are in the necessary-but-not-intrinsically-interesting box for me. By contrast, the final section of this massive book is the juiciest part: the methods for actually running a Discworld RPG game. I write about it here!

Thursday, 17 October 2024

Discworld RPG: Doing stuff and casting spells

Another Octobereview! We're looking at the Discworld Roleplaying Game (powered by GURPS), by Terry Pratchett and Phil Masters. Last time, I read the hefty character creation rules.

This time, I'm reviewing Part 5 of the book (pp 164-219), which is all about doin' stuff and castin' spells.

Part 5: Doing stuff

These chapters have a running example of criminal mime cultists in over their heads and summoning a horrible Thing. I quite like it. I doubt PTerry had much if anything to do with writing this book,* but it feels really right for the canon.

* The first version of the GURPS Discworld book was back in 1998, but I don't know to what degree he was involved to begin with, and then to what degree any of that text got passed on down the lineage of books to this one.


On p 164-191 we get that standard GURPSy core of the rules. It all seems solid; nothing jumped out at me as being Discworld-specific. Then we get to...

The magic system (messin' with reality)

I'm a sucker for reading and comparing magic systems. The Discworld RPG magic rules (p 191-217)  seem like about the softest magic system that a crunchy rules engine could have. Spells aren't codified by default, and the Skill/MP/power guidelines are very vague compared to the rest of the GURPS framework. The GM's rules/rulings balance shifts dramatically here!

The chapter structure is a little messy, going from 'general magic rules' to 'wizardry rules' to 'general magic rules' again to 'witch rules' to 'general magic rules' a third time.

This order is, I think, due to the designers' decisions to make witchcraft and wizardry ultimately the same kind of spellcasting, with surface differences.*

* Mostly just whether they name their spells (p 210).

I like this magic system as a TTRPG component. I'm sure it makes things easier at the table, too. But I don't think this is a particularly good fit for Discworld.

Witches and wizards

On the Disc, witch magic and wizard magic are very different. The canon is inconsistent over the course of the series, but generally...

  • Wizard magic is formulaic and codified (spells are mostly named, are discrete entities, and wizards have specific magical rituals). Witch magic mostly isn't (spells are completely improvisational, with the exception of 'tricks' like Nanny Ogg's man of straw).
  • Wizards need skill, but they and/or their staves also have expendable 'juice'. Witches don't have any resource like that (apart from a few examples with broomsticks early in the series).
  • For witches, casting a spell is a matter of skill and consequences and unstated costs, and is such a big deal that Not Using Magic is essentially the entire apex of their art. Witches use very little magic, very sparingly, and almost never do some 'big' work of magic. It is very unusual for them to do anything like casting a spell.
  • For wizards, casting a spell is, if not something they do every day, then something close. It's still unwise to use much magic, but there's nowhere near the level of aversion that witches have. The main risk seems to be the Dungeon Dimensions.

Even this book admits that there is a fundamental difference in kind, e.g., regarding the Dungeon Dimensions, "Witches are also tempting, but their magic tends to be subtler and less prone to making holes [in the fabric of reality]" (p 269).

The witch rules (p 196) just don't capture the idea that a witch's capacity and willingness to perform magic are tied up in costs, personal accountability, and consequences. A generic spellcasting flub table doesn't cut it here. "Not all magic is magic" is a Discworld trope, but it shouldn't apply to the actual spell rules as this book tries to. The bits in the series about the importance of the hat, tradition, style, disposition, and so on clearly refer to the overall art/trade of witchcraft, not to the relatively tiny bit of witchcraft that is 'casting spells'. It's a mismatch.

The other bits of witchcraft (medicine, community, herbalism, headology, respect, fairness, narrative, social work, etc) are much more important to them than magic is in the canon. There's a box for Headology on p 274, but apart from that, the book misses the mark. It has all these detailed rules for medicine, socially influencing people, knowing about bees, influencing narrative, etc, but it doesn't seem to understand that those things should be 95% of being a witch and only 5% should involve magic, whereas being a wizard on the Disc is probably 50% magic at least. In GURPS terms, almost none of a witch's points should come from magic skills.

This RPG mentions some of the witch "spells" we see in the books (delay a cut; draw heat from a bonfire to melt snow; cast a spell by putting in a lot of exacting research witchcraft work; make tiny changes). But it doesn't draw the right lessons from them.

And 'Riding the narrative' as a rule for witches to specifically get MP back just doesn't map onto the books at all. It's never been about running out of numeric mana.

Discworld witches aren't generic RPG spellcasters.

What would I have liked to see? The magic system as presented is fine for wizards (perhaps it could be more codified). Witches, though, should have something else: a system where you can't get something for nothing, where you have to be the fulcrum, where you get occasional opportunities to make a difference with subtle bits of magic and you still have to decide whether or not to make use of them. Enormous magical effects aren't necessary; actual full-on witch spells* are such outliers in the series that the book could have just ignored them and it would have felt "right".

* Like the big one in Wyrd Sisters.

If you're going to say witch magic can create the same major effects that wizard magic can, then the main thing is that there needs to be some huge specific disincentive for a witch to use more than the faintest trace of magic.

Could you make that fun? I don't know. But it's necessary for a Discworld feel.

Other bits of the magic system

There are lots of additions. Simple rules for using HEX, for witches' cottages, and so on, all of which I like just fine. I think it's a bit of a cop-out to say that a wizard's staff can be mended quickly just by sort of pushing magic into it, though.

It's interesting that there are only a few general magic constraints on the Disc (iron being unaffected, and needing to know a true-name). Both of those get mechanical support in the rules. But we also know that witches need solid bedrock under their feet to do magic; no rule is provided for that.

Counterbattery Magic (p 199) lets spells collide. It's a great rule and is supported by the books (Sourcery, The Light Fantastic).

Overall the magic system seems more powerful and useful than I would have expected. GURPS has translated magic into an effective tool in many situations, instead of something to be avoided. Later on, 'Uses and Abuses of Magic' (p 273) advises about adding layers of punishments for players who want to use that tool widely.

Gameplay

Page 218 provides pretty good basic running-the-TTRPG advice.* I don't really like the notion that "players don't have to know the rules, but it helps", especially with a system like GURPS that dumps so much stuff onto the character sheet; I guess it works for some people. It's always going to happen sometimes, but I don't think a rulebook should be encouraging it.

* I think the authors' definition of railroading is a bit off, and as a result the corresponding advice isn't as helpful as it could be.

It does state an important notion: "A strength of tabletop RPGs is that they aren't computer games; the GM's brain is more powerful than any computer and should be capable of adaptation and adjustment, even on the fly". I'd go one step further. The only absolute advantage that tabletop RPGs have over all computer games is that the GM's and players' brains are more flexible and creatively adaptable than any computer. That's why it's an important aspect to lean into!

The remainder of the book could be summed up as "all the setting stuff". I write about it next time!

Tuesday, 5 September 2023

Consider other viewpoints!

There are perhaps 20 or 25 TTRPG blogs I read regularly, and three among them stand out because of something unique I get out of them.

  • One is the column of a well-established, respected and successful RPG advice blogger who I have only ever agreed with on the most simple and obvious matters. The majority of the writing recommends doing things in ways I would not consider, either because they are incompatible with my usual playstyles, or because the blogger says they will achieve goals which I do not want to achieve (because I'm confident that achieving them would make my play experience worse).
  • Another is a blog containing articles largely about a range of game systems that I don't run or play, or playstyles I don't engage with. They're informative, interesting even, but not immediately useful.
  • A third has elaborately-argued articles whose conclusions almost always rest partly on premises I think are false (or, again, just aren't applicable to my preferred playstyles). Just once or twice, I have agreed with all the starting axioms, and thereby received food for thought.

Obviously, the common link is that these are blogs within my sphere of interest which there is little obvious benefit to me reading.

So why bother?

It's not 'I hate your blog' masochism.

It's because any of these (kinds of) writer could change my mind about something at any time. I've been floored by various jaw-dropping revelations from writers who appeal better to my sensibilities – but those could be considered particularly loud echoes in my personal echo chamber. I think it would be strictly more impactful to experience a major insight by reading these bloggers' work, if it does happen.

And it's because I think it's mentally healthy to be well-read and well-rounded.

And it's because sometimes there is the germ of a transmissible idea, a spark which I can work with. You can get creative sparks anywhere, of course, but getting them from an unexpected source has, I think, a certain distinctive valence or flavour or quiddity or je nais se quoi.

And it's a useful little reminder that other people think differently and like different things and that that's fine.

And it's possible that I'll be persuaded, changed, diverted, and that's not something we should automatically close ourselves off from.

If you're going to try to find work you don't like to start reading, I recommend picking some that is, at base, well-written. Also, focus on writers who seem to have acquired a reasonably large audience and seem to be popular rather than notorious, so you can be more confident that they're not just a crank. (And if they have a large readership, many of their ideas will propagate, so you get the added benefit of being better able to follow the zeitgeist.)

Important caveat #1: Don't go overboard. We live in a world of endless opportunity costs, and life is short. Three viewpoints that seem irreconcilably antipodal to mine seems like a fine number for my main hobby; ten would certainly be too many.

Important caveat #2: There's no need to engage with people with genuinely objectionable views.

This is about TTRPGs, but I'd like to think that the same applies to all hobbies, and probably many other spheres of life.




Saturday, 22 July 2023

Reviving the village witch (Or: Worlds Where The State Can't Hoard All The Magic)

Here's another extra-long post, following on from the recent one (https://periaptgames.blogspot.com/2023/07/how-is-there-village-witch-or-states.html) which laid out in eyeball-blistering detail the following argument.

  • When something is available, usable, useful, and repeatable, that's a technology, and people will use it to make their lives better.
  • Pre-industrial states try to control the levers of power (organised violence, useful military technologies, useful people, wealth, etc). None are perfect at this but the ones that are bad at it will have a competitive disadvantage compared to the ones that are good at it (and inter-state competition is the default state of the world).
  • Historical states use positive incentives, coercion, and cultural programming - or Benefits, Blackmail, and Brainwashing (BBBs) - to control the human component of the levers of power.
  • In classic fantasy, magic-users have somewhat predictable/consistent magic, and notable benefits to using it in at least some circumstances; therefore magic is a useful technology. Usually it's a very useful technology with major military, economic, and administrative applications.
  • We generally prefer TTRPG fantasy settings with the following elements: verisimilitude; magic is a modestly scarce resource; the state doesn't control all (or even most) magic; magic-users themselves don't (necessarily) run everything.
  • The premises seem to preclude the preferred setting details.
  • States poured enormous amounts of investment into useful military technologies like 'mounted knights' or 'foreign mercenaries', which you needed a bunch of to help win a battle. If one magic-user can turn the tide of a battle via a localised rain shower, a conjured barrier, better military signals, subverting the enemy command, flying over a castle's walls, or whatever, then the state's best strategy is to switch from training men-at-arms to training mages even if the cost of that is very high. Analogous arguments apply for economic use of magic, medical use of magic, infrastructure-developing use of magic, etc.
  • If magic-users are powerful enough to avoid being compelled by the state's various methods, then almost by definition, magic-users are powerful enough to become the state, and that being the norm is not necessarily what we want in a fantasy milieu.
  • If they're not powerful enough to avoid the state, then we have these weird worlds where each village witch, reclusive warlock, or adventuring wizard represents a failure of the state to carry through with what should be one of its main objectives. The same applies to magic-users specialising in kinds of magic that aren't useful for the state, magic-using outlaws (implicitly threatening the state), magical training not regulated by the state, etc. Again, not what we usually want in a fantasy milieu.


I wanted to add a couple of things after writing the original post, based on the idea that we're mainly talking about TTRPG settings.

THING ONE

If you think this isn't a problem because you model people in the past as doing certain things differently, or you fundamentally disagree with my characterisation of pre-industrial states, remember that TTRPGs are played by modern people. If the NPC rulers for some reason aren't amassing magical power and control over magic-users, the players are likely to notice there's an unexploited power vacuum and start trying it, at least in games where their characters can reach that level of power/influence. What are you going to tell them? 'No, actually, your character doesn't have the idea to do that thing which will significantly further their interests'?

THING TWO

Something I didn't specifically call out is that it just feels 'off' for magic to be exploitable in the way that mundane technologies are, for most fantasy settings. It feels like the argument that Superman can do maximal good by spending all his time forcing heads of state to pass better laws for the good of humanity, or by generating clean electricity for the world. It's inappropriate to the tenor of the main source texts.

But once something is useful and repeatable, it seems inevitable that people will start treating it as a technology, even if it is originally spooky and mysterious. They'll start looking at their records and doing calculations like: "I usually make ten florins on the days that I prepare all plant growth and weather spells, and I usually only make five or six florins on the days that I also prepare levitation and transport spells. Preparing fireball spells has never paid off for me. I should look into specialising further in spells for improving crops." That kind of thinking is just how people work; it's not a modern thing.

This is all the more obvious in a setting running on TTRPG-friendly rules, where magic comes pre-systematised (so it can easily be resolved at the table) and is seldom really dangerous for its wielder (so players can be wizards). The problem of retaining a sense of the mysterious/fantastic in magic for TTRPG play is a separate one and demands a series of posts of its own.

ENOUGH OF ALL THAT

On to the possible solutions! I thought of a dozen of them, although some are variations of one idea. Thank you to the various commenters and conversationalists who helped sculpt my thinking on them.

1. THE MOST OBVIOUS SOLUTION: THERE'S A SWEET SPOT

Take the question 'How powerful and useful is magic?' and the question 'How likely is it that a successful state spends resources trying to maximise control of magic?'. The former implies a continuum of possibilities which fairly directly answer the latter.

At one end of the continuum, we have the answer 'Magic is not powerful or useful at all'. The answer to the second question is 'no successful states wastes resources maximising control of magic'. States will only care about magic to the degree that pre-industrial states are largely indistinguishable from their individual rulers, and some of those rulers may be curious about this little meaningless part of the world.

At the other end of the continuum, we have the answer 'Magic is more powerful and useful than any other technology / instrument of control'. Now the answer to the second question is 'all successful states put everything they have into maximising their control of magic, vying for control over the literal only way for them to maintain themselves'. This is the extreme case where, say, a wizard can snap her fingers and remove people from existence halfway across the world.

In the vast middle of the continuum, it seems axiomatic that the more powerful and useful magic is, the more important it is to the state.

The solution, then, is to say that there's a 'sweet spot' in the continuum, a point at which magic is powerful and useful enough to be worthwhile learning for some people, but not powerful and useful enough for the state to invest much in it. That is, it looks like this:



And not like this:



Note that as the continuum progresses to the right, we expect the state to become increasingly desperate for magic, and then at some point far enough along, instead of 'the state' there is 'the magocracy' (and then possibly just 'anarchic groups of loosely affiliated all-powerful wizards' all the way at the right end). But in the first diagram, there's a point where magic is powerful enough to serve some use in individual people's lives, but it's challenging enough for the state to get hold of that the payoff isn't always worth the effort.

I think most of the people who were unconvinced by my original post will have already had something like this solution in their heads: they may conceive of that 'sweet spot' as being very large indeed. If that's the case, the implication is only that some states will seek to control some magical power instead of other kinds of power, which matches what we usually want in a fantasy setting.

Verdict:

Your mileage may vary. To me personally it still indicates a magic which is far weaker / costlier / less useful / less exploitable than we usually see in TTRPG magic systems.

2. VARIOUS BAD SOLUTIONS (ABANDON SOME OF THE ARGUMENT'S AXIOMS)

It's possible to dissolve the problem by getting really weird with your fantasy. Any of the following will do the trick:

  • "People are different to people in our world: the nice, altruistic ones outnumber the ruthless ones so overwhelmingly that the latter never amass power (and we're willing to apply this to player characters too)."
  • "People are different to people in our world: they are completely irrational and are unable to notice and adopt useful technologies (and we're willing to apply this to player characters too)."
  • "People can't do magic (even player characters)."
  • "All the effects of magic are completely unpredictable. Maybe sometimes people do magic just to see what will happen but it's an absolute roll of the dice every time, and not even in an exploitable way where the state can radicalise magic-users and have them creep into the enemy camp and create a bunch of random spell effects as a kamikaze attack."
  • "Magic can only accomplish the same things as mundane feats, and it's always the same cost (or costlier) on every axis as doing things the mundane way."
  • "States are just different to the states we're familiar with from pre-modern history. There's no monopoly on violence, or they aren't mostly just individually powerful wealthy people, or they don't maximise making things nicer for themselves. And if a state like that arises, it doesn't outcompete other states even though it should."
  • "The world has no scarcity of magic, actually. Everyone can be a magic-user if they want to."
  • "The world doesn't have to make sense, and for things like this it doesn't."

Verdict:

Yes, these solve the problem, but not really for the kinds of fantasy worlds that we're most interested in (except as intellectual exercises! I'd actually love to see some of those written up - I just wouldn't want to run a game in them). e.g., if you replace people with 'people' who don't work like the way we know people work, then your world is going to feel like science fiction with fantasy trappings.

I do want to call out that last one in the list, "The world doesn't have to make sense", as an odd duck. It's certainly possible to just not have a self-consistent, understandable, plausible world, and for a Friday night chips-and-beers tabletop game, it might be completely fine. I don't want to yuck anyone's yum, here. Personally, I find it unworkable, for settings that players are going to spend a lot of time in (especially if you are lucky enough to have clever, curious, really engaged players). So as solutions goes, it amounts to "I don't think this will be a problem for me and my players". And that's fine if it's true.

3. RUINOUS COSTS: DANGER, POLLUTION, DISFIGUREMENT

Now this is an interesting attempt at a solution! For certain game systems, especially OSR ones like GLOG but also some others like (some classes in) WFRP, magic is a troubling, dangerous, unstable power. The implication is that magic can be so dangerous or disfiguring to the caster, or ruinous or polluting to the surrounding area, that it's not worth the state getting involved with it. Usually it's a risk (chance of catastrophe) rather than a cost (the following nasty things consequently happen), although the latter is possible.

I think this is a variation of the 'sweet spot' solution that is actually a really difficult needle to thread. It's just saying that magic has both upsides and downsides. If it didn't have any upsides, then we're at the 'nobody uses magic / unsuitable for TTRPG' end of the spectrum again. If magic has meagre upsides and massive downsides, then it will only be used in times of desperation or not at all, unless the magic-user is deranged. By the time we're talking about magic having useful upsides (coupled with those downsides), then we're in the realm of the state wanting the upsides and finding workarounds for the downsides.

And I think the default position is that the state will find workarounds. For a start, it's possible (albeit more difficult) to exert control over people at a distance. The state can get control of (and direct the labour of) magic-users at arm's length, via proxies and patsies and hierarchies, so that those who bear the brunt of the downsides are the magic-user and the people near them who the state doesn't care about. To put it another way, if every magician is dangerous in the same way a suicide bomber is dangerous, that doesn't actually change the state's military interest in sending bombs against its enemies. It just changes the methodology.

In practice I think that in a well-thought-out world the 'ruinous danger' angle might have the opposite effect from the one we want, actually increasing the ratio of magic in the hands of the state compared to 'private magic-users'. There are two reasons:

  1. The state can use BBBs to get control over magic-users and then require them only use their magic when directed. Assuming this kind of leash makes a mage less likely to cast a spell and therefore less dangerous to themselves, then it's trivially true that magic-users outside of state control will destroy themselves at a higher rate than magic-users under state control. We could even speculate that if this is publicly visible, magic-users might desire to come under the control of the state under the false impression that 'official mages' always suffer fewer catastrophes.
  2. If it's at all possible to combat, ameliorate, or prevent the 'ruinous danger' in whatever form it takes, then it is the people in power who can amass the resources to do so. Imagine the case of the private country mage accidentally summoning up a horde of fire imps. His chance of survival is going to be lower than that of the mage in the king's service who does her magic in a flooded, lead-lined, well-mortared stone room with armed guards and a priest on standby (having read the book of 'best practices' that the state has slowly developed through trial and error).

Verdict:

It's hard to make this workable on its own; I think it works best in tandem with other solutions. It's a flavourful extra reason for states to usually look at magic and say "yeah, let's just stick to having the one court magician for emergencies".

4. RUINOUS COSTS, VARIANT (i): CRITICAL MASS

One notable variant of 'magic is too dangerous' is that having too many magic-users in close proximity is automatically dangerous in some way (e.g., rifts in reality). This leads to a natural distribution of wizards over small towns and lonely towers, and we can imagine it sparking local modulating action (persecution, execution, exile, etc) if there get to be too many in one area.

Verdict:

I like this variant of 'ruinous costs' a lot.

  • It makes it somewhat harder for states to acquire magical power.
  • It makes it a lot harder for the state to consolidate magical power geographically, which is pretty key in settings without mass transit, portals, or such.
  • It makes it impossible for the state to replace armies with massed magic-users, which was one of the big concerns

But I think it's still best used in conjunction with other solutions, otherwise it doesn't stop the state being the main employer of wizards.

5. RUINOUS COSTS, VARIANT (ii): METAPHYSICAL CHAIN REACTIONS

The main problem with 'magic is ruinously dangerous' is that the people in charge can find ways to avoid the brunt of the danger. This solution asks: what if that's not true?

Magic is disfiguring, polluting, potentially catastrophic, commits you to the bad afterlife, or whatever, and the negative consequences can and do reach up the chain of command!

Let's say a magic-user (and by this metaphysical transitive property, their liege lord) has a 1/1000 chance of imploding per spell cast. That's fine for individual mages using spells rarely, and works well with magic-users being superstitious, ignorant, risk-takers, etc. But if the king is in the habit of sending out brigades of 100 mages to lay siege to castles, and they each cast a couple of spells in the process, then it's not very many castles captured before the king's odds of survival aren't looking so good. The outcome doesn't have to be self-implosion, but sufficiently nasty consequences make for a big disincentive for rulers to take advantage of magic.

It does raise questions for the GM or game designer about what it means for something to be done at someone's command, i.e., what's sufficient for ruinous consequences to get passed up the chain.

  • What if the queen gives the order to her seneschal who gives the order to his commander who gives the order to her mage soldiers?
  • What if the king pays a proxy 100 florins to "do what's best for the kingdom" and that proxy pays 10 florins each to nine suspected mages to "do what's best for the kingdom" and never follows up?
  • What if the emperor is known to often give enormous rewards to wizards who do things that the state likes, such as assassinate imperial enemies and perform medical miracles and make ships safe at sea, but the emperor never promises anything and sometimes delays the reward or never gives it and always refuses to reward a wizard who approaches expectantly?
  • What if there's a 'master of mages' position in the royal court with a high turnover rate, and the position operates completely autonomously?

Verdict:

This solution works (once you've delineated the mechanical consequences), but I personally find it unsatisfying/contrived without a really good in-setting metaphysical reason for why the spooky action at a distance happens.

One outcome that I do like is that this variant of 'ruinous costs' doesn't strictly remove the incentive to have a magic-using servant or two, and they don't have to be kept at arm's reach. It makes some sense for, say, a risk-taking monarch to have one seldom-consulted court magician, and that's a useful conceit.

6. MAGIC STAYS AWAY FROM THE STATE

This is like the last solution, except that instead of negative consequences, magic just stops working properly when used to benefit powerful people.

One way to implement this would be to say that spells which are used on behalf/command of someone who has amassed power (in terms of wealth, soldiers, legal protections, other kinds of magic, etc) become weak in proportion to the amount of power amassed. In practice, adjusting magical effects on a continuum sounds like a headache.

Another way would be to say that when a magic-user becomes powerful enough, or serves (or agrees to serve) a powerful enough person, all the magic leaves their body forever (and maybe goes and turns some random commoner or newborn into a mage). This is very direct and to the point, but has enormous setting implications, and isn't well-suited to TTRPG play. It could also create a new kind of caste hierarchy amongst people not quite powerful enough to trigger the 'magic escapes' outcome, but wealthy enough to pay for magic. And you need that clause that prevents magic-users themselves becoming too powerful, otherwise you risk a constant cycle of magic-users overthrowing the state, becoming the state, and losing their power.

In both cases the GM or game designer would also have to make a lot of decisions about what different kinds of power are 'worth', how much an individual really 'has', to what degree direct and indirect control of things matters, etc.

I'd still want a good in-universe reason for this being the way the metaphysics works.

Verdict:

This has all of the problems of 'magic is ruinously dangerous to state control' with few of the upsides. So, pass. Except...

7. MAGIC STAYS AWAY FROM THE STATE, VARIANT (i): LESS METAPHYSICS

In this variant, the affordances of the magic system - the crunchy bits that people interact with, like spells and magic items - are themselves unusually oriented towards escaping state control.

That is, there is an inherent, self-perpetuating disparity, based on the nature of magic itself, between powerful people's ability to acquire more magic and magic-users' ability to escape being acquired.

I can imagine a magic system that's chock-full of readily available effects along the lines of 'hide from authority', 'become rational', 'teleport to home', 'escape notice', 'remove brainwashing', 'change focus of target's attention', etc. It would need to have no effects like 'find mage', 'subjugate person', 'detect magic', 'persuade other', etc (or makes those effects unusually high-tier), because those could be used to enhance BBBs. With this kind of magic system, the state would still want control over magic, but would be limited in its ability to use coercion and indoctrination to do it, leaving it with just positive incentives.

A stronger way to implement this would be to say that when a person learns to use magic, part of the process is becoming psychologically or emotionally affected by it, in a way that they are made extremely averse to authority and powerful people, always resist coercion, are paranoid of positive incentives, etc. This is more impactful, but is tricky, because it has major roleplaying implications and you'd have to be careful to make it sufficiently difficult that the state can't find clever workarounds (getting control of magic through proxies, regulation, reverse psychology, market forces, other kinds of magic that override the mental effect, etc).

Verdict:

This does put additional constraints on worldbuilding and/or roleplaying, precluding certain kinds of fantasy setting. Apart from that, seems workable.

7. MAGIC STAYS AWAY FROM THE STATE, VARIANT (ii): MORE METAPHYSICS

Suppose magic is sophisticated and autonomous enough to supervise its own use according to some coherent ideology/aesthetic. Or equivalently, magic is directly overseen by super-powerful force(s) with a particular ideology/aesthetic.

And suppose that this ideology/aesthetic amounts to, basically, "shape the world into the kind of classic fantasy world that we like".

Let's set aside the meta-fictional interpretation of this metaphysics where the force accomplishing this is the GM. The obvious textual interpretation is that this fantasy world has interventionist gods or godlike entities, and those omnipotent meddlers hate it when states achieve huge consolidated control of spellcasters, magical armies, magical production lines, and so on. The tastes of these entities run to hedge wizards and travelling thaumaturges, village witches and hermit warlocks, heirloom magic and dabbling thaumaturgy. So that's what there is in the world.

Different mechanisms would accomplish this. If you want it to be something that feels really 'present' in the world, then the gods prevent magic working when used by or for the powerful, and maybe enact some huge flashy punishment for those who try. If you want it to be something subtle in the background, then the gods make innumerable tiny interventions to invisibly change the course of history, and you have to puzzle out in-setting why it is that states haven't dominated the magic business.

Or it can be done mostly through mortal instruments - powerful clerics who understand and agree with the ideology/aesthetic of their deities, and mostly use their magic to implement it; hordes of druids who stand in opposition to the very idea of states and seek to destroy them.

Verdict:

It's sort of tautologically true that you can get exactly what you want out of a setting by invoking all-powerful superbeings who also want that... Unless what you want in your setting is 'no all-powerful superbeings'. I am probably further in that direction than most GMs, my personal taste being towards massively inconsistent and varied religious practices, 'silent' gods, and little to no magical evidence of the divine.

Still, of all the solutions I've looked at, I have to admit this one is amongst the best, since it's very easy to explain ("there are interventionist gods and they have tastes"), very easy to implement (just do whatever you were going to do anyway), and exactly gets you whichever fantasy setting you want (aside from that one superbeings requirement).

8. THE CAMERA LENS IS NARROWLY FOCUSED

This one expands on someone's comment on the first article. Suppose that the argument so far holds: states which amass control over magic do tend to outcompete states which don't, and this is obvious within the world, so most states in most places and times are trying to control as much magic as they can.

Even if this is the case, by massaging the details we can come up with a workable section of the setting to play our game in.

For example. There's a reason the classic witch or wizard is so old: it's because magic-users almost all serve 'the usual' twenty to thirty years in the army or bureaucracy or similar apparatus (compelled by the state's BBBs) and then the survivors are rewarded for their service with a plot of land out in the country where they can't cause trouble. This is analogous to the Roman Legion approach, where together some positive incentives, strong cultural expectations, and a mild element of coercion result in the amassing of a useful resource (fit young men) where the state wants (the army).

So now assume that the actual tabletop gameplay all takes place in the hinterlands and dangerous wildernesses, away from the locuses of power where mass use of magic is going on at the state's behest. That means any mages the adventuring party encounters are mostly the retired ones - old, moderately powerful, fairly wealthy, in possession of a plot of land to build their farmhouse/tower/lair/bakery/inn/manor, and finally able to specialise in whatever strange and fantastical kind of magic they're interested in which the state doesn't care for.

Verdict:

In some ways this is a variant of the 'sweet spot' solution. It definitely seems workable for many games and many settings, and it also seems like it would work well in tandem with some of the other solutions. There are still a few questions to resolve, like 'what about PC spellcasters?' and 'what about when they visit the big city?' and 'what about when the state is losing a war and goes to muster its veterans and stragglers?', but on the whole I really like this one. Thank you anonymous commenter.

9. MAGIC IS ACQUIRED SUDDENLY AND SPECIFICALLY

Say magic comes about like this: people are born with, or develop, a knack for a certain type of wizardry that can't be transferred to a different type which would be more useful to the state. You can't learn, say, volcano magic by studying or going to volcanoes (things that the state could control and optimise around); it just happens to a random person.

The outcome is that there's less pressure from the people in power to create specific kinds of magic-user (although no less pressure to control the ones who do exist). So there's magic-users in all the nooks and crannies of the world - just ones whose powers aren't too useful to the state. A thousand confection-mages can plausibly be spread out over the kingdom, in small market towns or on the road or inexplicably delving a dungeon, with only a few working for the state (serving manorial estates, creating wealth in big cities, etc).

Unfortunately I don't think this works very well, for two reasons.

  • Most kinds of magic are still desired by the state, because the state is just the people in charge, who want most of the things magic can offer. It's just that some are at the 'we want this' level and others are at the 'we really want this' level. Even little party trick stuff is still going to be desirable for individual rulers, just not a high priority. TTRPG settings tend to have lots of the high-priority kind which can produce wealth or military advantages or longevity or whatever.
  • Players are usually going to want their PCs to be the kind of magic-user with sweeping combat and utility powers, i.e., the kinds the state really wants to get control of.

Verdict:

This is at best a partial solution. It constrains the kind of magic in the setting quite a lot, too: If there's this spontaneously acquired magic but also other kinds of magic that are, say, acquired by study in a particular sphere, the state would just be able to invest in the latter.


10. MENTAL GYMNASTICS

Suppose to learn (or otherwise acquire) magic, you need some set of mental characteristics. Let's say, wisdom, compassion, a distaste for institutions, a preference for local over regional interests, an elevation of the abstract above the mundane, and maybe - let's just come right out and say it - a lack of interest in statecraft. Then, as long as magic itself is really powerful, states will fail to get control over magic-users most of the time.

Verdict:

This is really just an instance of solution 7(i) dressed up nicely. It has the same issues - roleplaying implications and potential workarounds - and also requires individual (or small collectives of) magic-users to largely be more powerful than states (otherwise the state can still compel its use through coercion).

Overall, it demands too much of characters for me to use it. You could perhaps apply it to certain kinds of magic (wise clerics, non-worldly hermits) as part of a patchwork solution.

11. RESCUED BY INSTITUTIONS

Fantasy milieus commonly have at least a pretense that society is organised in a classic high medieval power structure, i.e.,

Peasants < A local lord (knight or baron) < His liege, an aristocrat < Possibly a higher ranking aristocrat < The monarch

Separate from this is the "First Estate", ordained clergymen, who had a hierarchy of their own. And in urban settlements with a charter (most cities, some towns), the power structure tends to cut out the aristocrats.

So maybe we can have institutions other than states which shelter magic practitioners and allow them to flourish outside the state's purview? It seems like there's three good candidates for that:

  1. Guilds
  2. The First Estate (church or comparable religious institution)
  3. A Fourth Estate (something unique to magic-users)


RESCUED BY INSTITUTIONS, ATTEMPT 1: GUILDS

I think there's a misconception that guilds were somewhere between modern labour unions and MMORPG 'guilds' for collaborating on activities. Not really. At least in Western Europe between the Crusades and industrialisation (a pretty common touchstone for fantasy worlds), guilds tended to have some quite specific characteristics:

  • They tried to keep prices high, to their own benefit, via various means (principally squashing competition from outside the guild via political action).
  • They tried to keep quality high, or at least high enough not to ruin the guild members' reputation; to do so they met regularly, policed themselves, stamped marks on their work, and often regulated teaching.
  • They were almost always small, selective bodies. By deliberately keeping their membership low with a "dead men's shoes" type system, each individual member could get more trade, charge more, have more prestige, and so on. Plenty of historical people diligently apprenticed in a trade and never got to practice it as a guild-accredited artisan - usually because guild members' children were preferentially elevated into the guild!
  • Guilds usually were officially associated with specific religious, moral, or charitable causes - this was a deeply pious time, and often the guild would have a specific religious purpose, a patron saint, would collectively give to the church, sponsor the building of new churches, etc.
  • Guilds sometimes had an additional civic purpose - they might sponsor the construction of civil infrastructure like bridges, organise festivals, etc. They might be formal divisions of the town militia, and the guild would bear the responsibility of arming and organising their members.
  • Guilds often acted as an informal social safety net for widows and children of deceased guild members.

Successful guilds also tended to amass wealth and be politically important. Whereas outside cities, society was often arranged in the hierarchy of vassalage mentioned above, inside towns, the power structure might look more like:

Townsfolk < Wealthy and successful burghers < Aldermen/mayor < The monarch

In many cases, guilds would weigh heavily in the two middle tiers.

All of this could apply to magical arts. If magic did develop through a system of powerful guilds, would that be enough to keep it safe from grasping states?

  • Guilds flourish under a system where cities can have municipal charters, so their townsfolk are 'free'... but 'free' mostly means 'free from the tyranny of aristocrats', not 'free from the tyranny of the monarch', which is to say, city charters don't prevent the state from meddling.
  • Having a close-knit collective of magic-users definitely helps prevent the "if magic-users are too powerful to be controlled by the state, magic-users will overthrow and become the state" problem. It means that individual mages can be quite weak compared to the state's knights/assassins/armies/etc, which is desirable for most settings. It only works as long as the guild has strong bonds and weak ambitions, though; you need to find the sweet spot where magic guilds stop their members defecting to the state, but also don't grow to become de facto state powers.
  • Mage guilds need to have an extremely high rate of membership and a tight grasp on teaching magic, otherwise the state can still bypass it by spending resources to create and/or hire its own magic-users and slowly consolidate power.

Verdict:

I think this is borderline workable, as long as you don't mind the constraints it places on the setting. It still allows for a small number of court magicians and war wizards, and princes complaining about the ruinous rates the Guild charges, which are nice situations to have in the pocket. Unfortunately there's a weird implication that most of those small-town witches / dungeon-delving sorcerers / wandering illusionists / reclusive sages / etc still have deep guild affiliations (otherwise the state would be finagling them into its service).

RESCUED BY INSTITUTIONS, ATTEMPT 2: THE FIRST ESTATE

In this version we're saying that something directly comparable to the Medieval West European Christian Church is in charge of magic. It's a big, important, hierarchical, highly respected institution with major (but not complete) autonomy and a lot of accrued wealth.

A large part of the reason the Church survives (and mostly thrives) outside the secular system of fiefdoms and vassalage is that everybody of the era is highly religious, so acting against the Church gets "you are violating God's will" added to the normal list of reasons it's a bad idea to act against powerful institutions.

There's two issues with this solution.

First, why is the First Estate in charge of magic? It's extremely restrictive to world-building to have all magic be divine magic, or be non-divine magic that is nevertheless sheltered by or structured around the Church.

Second, we have historical counterexamples to the Church's ability to protect its own interests. The infamous one is Henry VIII of England, married to Catherine and wanting to marry Anne instead. He destroys the institutions of the First Estate, gets excommunicated, divorces Catherine, marries Anne, starts looting the wreckage of the Catholic Church in much of England, and replaces the local religion with his own new version. This was all done in pursuit of a personal goal, and frankly a minor one compared to some of the benefits that magic can usually offer.

Verdict:

This solution's plausibility really depends on setting details. If it's the kind of fantasy milieu where interventionist gods literally exist, then no earthly ruler is going to succeed in replacing the First Estate a la King Henry. But in that case you're probably better off just going with Solution 7 (ii).

RESCUED BY INSTITUTIONS, ATTEMPT 3: A FOURTH ESTATE

Not 'Fourth Estate' like the modern media. Magicians.

The three 'Estates' were, in their historical context, viewed (by the people who put stock in the framework) as deeply different things. It's possible that if magic actually existed, it would be thought of as so fundamentally different that magic-users would end up structured as another Estate, separate from those who ruled, those who toiled, and those who prayed. This might be especially true if magic is of a weird and otherworldly kind which changes the person who wields it.

But I think this probably oversells how weird magic is if you grew up in a world where it existed. Imagine saying 'if metallurgy actually existed, it would be thought of as so fundamentally different that blacksmiths would end up structured as another Estate'. Or 'if literacy actually existed, it would be thought of as so fundamentally different that scribes would end up structured as another Estate'.

Verdict:

Maybe a long, ancient, ingrained tradition of "mages are just a different class of folk, and we let them govern their own" is doable. But it's not like rulers didn't try to meddle in the affairs of the Church, a different class of folk who were meant to govern their own.

And, as I've said before, all you need is for one state to find a path to controlling a bunch of magic (in this case by busting down the traditional setting-aside of the Fourth Estate). Then it starts to outcompete its neighbours, its successors learn from its success, and soon there's a new normal.

12. SOME STATES, SOME OF THE TIME

One of the rejoinders I heard to the original argument was that it makes its own case too strongly. In particular, we do have what amount to counterexamples from our own history - cases where states had the ability to seize additional power and failed to do so.

For example, someone mentioned Genoese engineers in the late medieval/early modern period who built cannons for anyone with the cash. From Wikipedia, we get examples like "Orban [...] was an iron founder and engineer [...] in the Kingdom of Hungary [...] who cast large-calibre artillery for the Ottoman siege of [Byzantine] Constantinople in 1453. [...] He had offered his services to the Byzantines in 1452, a year before the Ottomans attacked the city, but the Byzantine emperor Constantine XI could not afford Orban's high salary nor did the Byzantines possess the materials necessary for constructing such a large siege cannon. Orban then left Constantinople and approached the Ottoman sultan Mehmed II, who was preparing to besiege the city. [...] Orban was given abundant funds and materials by the sultan."

The implication is that in some cases a skilled magic-user might just exist outside the state system, and offer their services to anyone rich enough... and some states say "yeah, that's fine. We'll call you back if we get money."

Of course, it's not a perfect analogy. For a start, magical power tends to be both more wide-ranging and more tightly linked to the individual than engineering power. We also usually want settings where spellcasters of various capabilities and specialisations might be wandering around in every little corner of the world; I get the impression that this was not historically the case for cannon-founders.

(Also part of the Wikipedia entry points out that the Byzantines didn't actually have the materials to make a large siege cannon, which in the analogy is like a state with no access to parchment failing to put effort into getting a maker of magical scrolls under its control. Still, a sufficiently ruthless state might have imprisoned or killed Orban just in case he took an offer to their enemies, as he ended up doing.)

To generalise, though - yes, I think it's fair to say that there are forces and incentives opposing the ones which should drive states to invest heavily in magic power. Systems are complicated, people are motivated by things other than perfect rationality, information is obscure (especially before the Information Age), circumstances can change, outside factors can intervene, and winning strategies are seldom obvious before the competition takes place.

And maybe all this can lead to a 'fantasy mess' milieu where different states have different levels of, and methods of, investment in getting the useful technology of magic under their control - and even when they try, sometimes fail due to all sorts of messy reasons.

Verdict:

This is again quite similar to the 'sweet spot' solution, implying that yes, some states, some of the time, should be investing heavily in magic, but for many states much of the time, there are good reasons for them not to. Things often are messy and inefficient. I think it's a fair view, enough so that it actually makes me feel that the problem is less of a sticking point for verisimilitude.

So... sure. From time to time, states can emerge which hate magic, or overvalue military power, or rely on a different kind of power base they've built up, or accidentally drive all their citizen mages into hiding, or whatever. If you have a sufficiently cynical view of people's basic competence, this could even be the norm. Expect that if there's a well-run, thoughtful, wealthy state, it will be grabbing up a disproportionate numbers of magic-users - but nothing like all of them.


FINAL VERDICT

So, what are the winners?

The obvious 'out' is [#7 variant (ii), 'superpowers keep things the way they like it']. As long as you have all-powerful interventionist gods in your setting, you can directly import this rationale and pretty much never worry about verisimilitude again.

I think my own preference, at the end of all this, is to combine [#1, 'sweet spot'] with [#12, 'some states, some of the time'] and [#8, 'narrowly focused camera lens']. In conjunction, you get a glorious mess where yes there are lots of sorcerous mercenaries and manor mages and court magicians and so on, in some states more than others, but whichever state(s) the game is taking place in are the ones that happen to be lower on the magic-investment end of things, so that there are plenty of magic-users choosing their own paths as individuals. On reflection, I think that works okay.

And my personal favourite, which I'd throw into the mix just for flavour? The partial solution where mages tear apart reality if you stack them too tightly in one place: [#4 variant (i), 'critical mass'].


ANY OTHER SOLUTIONS?

I'm excited to hear whether other people thought up other ways to address this world-building problem, or picked a hole in one of these solutions. Comment if you did!

Tuatara Deliquescence

If you were around the tabletop games hobby 20 years ago, you probably remember the infamous game-that-never-was, Tuatara Deliquescence. A p...