Interactivity. If I wanted to write "standard fiction," it would be straight prose. Role-playing fiction is meant for a player/GM to use in their games. While one could certainly take standard fiction characters and drop them into a game, I'm interested in making settings that one would want to *play* in, not just *read* about. Go to Comment
This is well formatted and clearly written. I admire that a great deal. I also don’t think there is anything wrong with the use of GM voice. But I get the impression that you are more of a writer than a GM.
As a story/ piece of writing:
Someday a literary scholar will undertake a study of roleplaying writing (if they haven’t already), and in that contrived and irrelevant thesis the scholar will be forced to recognize the existence of a novel and modern literary voice or perspective: the GM VOICE
In the GM’s voice the speaker or narrator is addressing simultaneously the player and the character. If this voice occurs as it does here, in a GM supplement, the voice is both addressing a traditional audience which is following the story in a linear fashion, it all addressing the GM who plays the role of a writer or co-author and in this case it also addresses the “in game” or in story world as it if were real and independent. Let us consider the description of the first encounter.
Dozus starts with a limited third person present tense perspective
“After two days of steady traveling, the archaeologists cheerfully announce that the Sanctuary is but a few miles away. As they top the next dune, however, there is a distressing sight: an encampment of nomadic lizardmen. Notorious bandits native to the Inhap, the lizardmen are no pushover, especially given their ability to dive into and "swim" through the sand, making them difficult to track. As one of the archaeologists - a slender woman with a heavy accent - unhelpfully points out, the encampment is directly over the site of the temple.”
In these line we are told of events that happen to the characters from thei character's perspective: The lizard men are notorious from the character’s perspective, their presence is distressing from the character’s perspective, the archaelogists comment is unhelpful from the character’s perspective
This tells us what is happening almost as if it is story, but then we switch to a future tense: “Unless one of the party is lucky enough to speak Inhapi, the lizardmen will have to be removed by force. Expect strong resistance from the dozen of the tribe…”
Next we return to a more traditional narrative: “The three nod to each other and the old archaeologist begins to chant in a strange tongue. For several minutes, nothing seems to happen. Then, suddenly, the archaeologist slams the base of the staff into the ground.”
Later on Dozus will start to address the story tellers themselves: “so some knowledge of Sumuho’s history would be valuable”
You, the readers and member of the Citadel prefer this type of writing. Why?
Why didn’t Dozus just write this up as story? What do we gain from this write up that we would not gain from a direct story? This already a very linear narrative, there are few asides or maybes. If this had just been written up as a story would the Citadel be more or less inclined to give it as much love? Writing this as a linear traditional story would not make it any less useful as a roleplaying adventure template, in part because except in the climax section were are not forced to deal with any encounters that could have truly different outcomes.
As roleplaying encounter:
1) The lizard men: It is stated that the perhaps talking to the lizard could be a solution, but we know nothing about their style of communication. We can assume that they are violent gnome slaughtering bandits, so their motivation seems clear, but what if you are characters are not inclined to go slaughter a group of intelligent beings that have done nothing wrong to them. A simple solution would be have encounters with the lizard men that would generate specific animosity between the players and the lizardmen. Otherwise perhaps the lizard men could be developed a bit to make them more than just “monsters”. What if the players fail or reach a stalemate with the lizardmen? Why wasn't that considered implicitly by the author?
2) The puzzle: Here the players just need to repeat what the NPCs tell them is important. This is interesting in that makes sure your players understand where they are going, like a backstory pop quiz, but it doesn’t dig into the players either. The most efficient method for solving this puzzle is to make the character puppets for the NPCs. Not fun. Could the players talk the door into opening by teaching it phenomenology?
3) Setback: It is saving throw and set piece. Again the players are not strongly involved.
4) Climax: Did the archeologist really need the PCs? To make this more powerful their should have been some event that forced the PCs to bond with archeologist prior to this. A GM could insert one, but it should have been in the write up. Did the archeologist give off clues that they intended to betray the PCs? The PCs are no more than passengers in this plot.
5) Twist: I like the picture of the talking head. At least this has some open ended stuff going for it.
"Interactivity. If I wanted to write "standard fiction," it would be straight prose. "
Most modern fans of speculative approach the medium as spring board for their own ideas not as place to genuinely pursue or absorb the art. They are less concerned with the actually material than they are with the personal fantasies and possibilities that the story offers. Thus sci-fi and fantasy fans don't are willing to except bad writing or poor acting if there is an interesting idea behind the story. That has always been true, but I think that has shifted away from philosophical or political dialogs and focused on personal escapism. So called golden age Sci-fi/fantasy such as "We", "Anthem" and the Lord of the Rings were allegorical for political or social issues. Post Star Wars speculative fiction deals more providing a context that would appeal to the readers own fantasies. "Ender's Game" is the dream of every weak scared awkward kid. So I see modern fantasy and sci-fi writing as something written for the audience to play in.
Are you making the argument that story telling is less engaging than the story suggesting of RPG writing because in story telling the audience is just receiving and in story suggesting they are participating? Go to Comment
Hmm, this is cool. I had read the same news item (or one almost like it) and immediately started a new In Work. Of course, I never finished it, so I'm thrilled you did! I like val's thought here, some great tragedy unleashing a swarm of these creatures. They will drink your sorrows away! Go to Comment
One of the PCs comes across a magical ring that grants some power but has odd aura as if cursed. Yet this curse is different than the standard curse. When the PC puts on the ring he/she suddenly feels married. There is now an illusionary woman, who he/she cares deeply for but who is also always very critical of the PC. The wife is demanding of attention and constantly giving the PC directions. The PC wearing the ring is the only one that can see and hear the bride. The curse can never completely be lifted. Even if the PC takes off the ring and somebody else puts the ring on; the PC will still be visited by the ex-wife at least once a month. During this visit she will demand money and apologies.