You Are Empowered: Mastering Dungeons & Dragons Adventurers League

A little over a year ago I decided to get back into RPGs. I quickly gravitated to the role of Dungeon Master for D&D's Adventurer's League (AL) and I've kept that up running games once or twice a week in local stores.

In that time, I've refined my system for running games. I thought I would share my advice for getting the most out of your games in D&D's Adventures League.

You are Empowered

Adventurer's League is Dungeons & Dragons. The role of the Dungeon Master is not fundamentally changed in AL. There are restrictions on what character players can bring to the table. The rewards the players can walk away with are limited by the adventure and AL rules. Within the adventure, you are the DM. You have all the powers and responsibilities that come with the role.

Your first responsibility is to the story. Everyone is there to have fun. Everyone should be there for an adventure. You have the power, but also the obligation, to challenge the players. You have a sacred mandate to make them sweat. Work with the players to shape the best story that you can. In pursuit of that goal you can (you should!) improvise, surprise them, and reward creativity. You have the power to interpret any situation and adjudicate the rules however you see fit. Use this power wisely. Use it to enhance the story.

 There is plenty of on-line advice on dos and don't. Like all advice (including this post) it's up to you to decide what guidance to follow and which you will not. Find a style that works for you. Your guiding principals are the pursuit of adventure and fun.  

The Adventure is the Script. You are the Director.

I enjoy the creative aspect of DMing. Initially, I was worried about being restricted to stories written by other people instead of coming up with my own. Now I really embrace it. There are a ton of wonderful, creative, adventures available. Running them doesn't limit my creativity. It unleashes it.

I think of each session I'll be running as a movie I'll be directing. I treat the adventure as a (rather rough) script. I want to respect and take advantage of the creativity, talent, and inspiration of the author. But, like any good director, I also want to make my mark on it. I want to use these ingredients to tell the best story that I can.

Generally, I know what adventures I'll be running several weeks in advance. I download, print them out, and read them long before I intend to run them. I'm running an adventure or two each week. So, I usually have several adventures lying around, in my queue, at any given time.

I read over the adventure. Then I let it marinate for a while. I think about them at work, when I'm in the car, washing dishes, going about my day. What's special and unique about this adventure? What genre is it? What's the story? Who are the antagonists and what do they want? Who are the NPCs and what are they like? What are our action scenes? What's the best pacing for this story? How challenging will it be? 

What I want to do is figure out what is cool and interesting and unique about this particular adventure. Then I want to lean into that - figure out how show that, use it and enhance it. 

I also consider things that the adventure, as written, maybe doesn't do so well. How well does it tell it's own story? How well defined and interesting are the NPCs? Can I make them more interesting? What does it do to surprise the players? 

I think about how I can bring out the greatness of each adventure. I think about what I can do to address the weaknesses of the adventure. I incorporate those ideas into my adventure planning.

Prep Doesn't Have to Be Work

Most of my adventure "prep" time is really in the noodling, daydreaming, and thinking through the adventure. It's not work. It's the opposite. It's fun. 

Over the days and weeks, I'll go back and skim the adventure a few times and maybe do a close re-read of a few sections. Within a few days of my "run date", I'll have mapped out in my head how I want things to go. I'll have a handle on the characters, scenes, and action sequences and how I intend to run them. 

At that point, I'll prepare my notes. I prepare a single piece of paper, in two columns. I write down names or characters and locations. I'll do quick reminder of each scene. For fights, I'll note the types and number of each adversary. For traps, I'll note the saves and damage. Typically, I can fit everything I'll need to remember on a single piece of paper. 

If the adventure involves fighting spell-casters (and most of them do), I'll have given thought to which spells are likely to be cast. I'll look up those spells and paste the description into my notes. I'll also separate out the stat blocks for the adversaries from the rest of the adventure, and put those with my notes as well.

With that packet - notes, spells, monsters - I tend to have everything I need. I'll have the adventure print-out if I need it. But generally, I won't be spending much time looking at it. I've got my plan. I've got my notes. When the unexpected happens, I can look it up, or make it up. 

For the final steps, I'll grab the maps and minis I'll need from my collection and set those aside. I have a reasonable collection of both, but they are something of an afterthought. I can comfortably make do as needed.

Maps, minis, notes, plan. I'm ready to run.

Breeding a Love of Board Games

I’m an avid gamer. So, with my own children, I launched a concerted and sustained effort to impart my love of board and card games. I wanted to make them into good gamers. That effort has yielded spectacular results. Here is my proven system for getting the most out of playing games with children.

Start Early

You can start very early. As soon as my kids could speak we were playing games. At age 2 we got plastic holders that little hands could use to hold a hand of cards. We played many games of Loot and other simple games.

Early on, you’re really just introducing the concepts. Wait for your turn. Take your turn. Participate in a structured activity. Understanding the concepts of rules and restrictions. You don’t need to worry about strategy or who’s winning. That’ll come soon enough. Start by getting them used to playing games, participating, and having fun.

Don’t Emphasize Winning and Losing

Playing games means winning games and losing games. Playing lots of games means winning a lot and losing a lot. These things should be treated as inevitable parts of playing games for everyone. The important thing is not the winning or the losing but that you have fun playing. Like so many things, you’re better off modeling this truth than explaining it.

Have fun playing. Get in character. Provide color commentary. Praise the clever play. Recognize when you’ve been outmaneuvered. Engage in some good-spirited gloating when they’ve fallen into your trap. Cherish the tension of the tight game when the outcome hangs in the balance.

When it’s over, you can acknowledge who won and who lost. But it should almost be an afterthought. The play's the thing.

Games should be fun. Part of making a game fun is being gracious in victory or defeat. For children who have trouble with either, make it clear that good sportsmanship is a requirement. If they want to play games with you, they need to do their part to make the game fun for everyone during and after the game.

Play to Win. But Level the Field.

When I taught my kids to play chess I started by taking away my own rooks and my queen. Then I played to win. Early on, I taught them useful lessons about protecting your pieces and the power of a promoted pawn. It wasn't long before I really needed to be in top form or a blundered move would cost me the game. Soon after that I was reintroducing my pieces to avoid certain defeat. When my son reached kindergarten he became a competitive member of the 5th grade chess club.

Kids should earn their victories. But playing games where they are at a huge disadvantage isn't fun for anyone. Start by choosing games that involve a lot of luck, or that rely on skills like pattern recognition, or memory - where adults don’t have a clear advantage. When you go for the strategy game, stack the odds in their favor to make sure your victories are well-earned as well.

Don’t Explain the Rules

With most adults it’s considered unfair to start a new game until everyone is familiar with all aspects of the rules. Often this will lead to lots of context-free explanation of arcane and unfamiliar systems. This often concludes with an agreement to “just start playing and figure it out as we go”.

With kids your best bet is to skip to the just-start-playing part. Give an overview of the point and very basics of the game. Then deal out the cards. Go first. Play with an open hand. Explain what you’re doing, and why, as you do it. When it’s the next player’s turn, explain their options. But let them make their own choices. Until everyone gets the hang of it, don’t worry about optimal plays and good strategy. Make a “bad” play if it helps introduce a new rule. Your focus is on getting players to understand the game. Dive in, and have fun. Cutthroat can come later.

Come Prepared

If you’ll be introducing a new game, make sure you come to the table prepared. Read the rules. Make sure you understand them. Think about how you’ll be teaching the players to play.

If a question comes up during the game, you can spend a few seconds looking it up in the rules. But if you don’t find it quickly, make a ruling. You can come up with your ruling by consensus, by your best guess off the designer’s intention, or by giving the younger player the benefit of the doubt. But make a decision. After the game you can look up the real rule (returning to the rulebook or looking it up online). Make sure to explain if you ruled incorrectly and how you’ll handle it next time.

If you’re less comfortable with your own game-design skills then stick with the rulebook. But experienced gamers can consider modifying games for younger players. Many games can streamlined, simplified, or rebalanced to make it a better game to play with little kids. If you’re going to do that, make your modifications beforehand, and explain any changes to players before you begin.

Choose New Games

Monopoly is not a good game. Chutes and Ladders is not good. Battleship is OK. Clue has some really clever bits and some pointless, tedious bits. Stratego is still great.

Over the last 15 years or so there has been a renaissance in board and card game design. There are now ridiculous numbers of games you can choose from. There are game appropriate for every taste and age group. Game designers have learned a lot of lessons about the different means and mechanics to create a fun experience. There are more games available today. There are better games available today.

Check with your friendly local game store for suggestions. Here are a few of mine:

Loot by Gamewright. - Loot is my-all-time favorite game to introduce to little kids. It’s got simple rules, fun artwork, a jolly pirate theme, supports most any number of players, and has enough depth to make it fun for all ages. The publisher GameWright is also my favorite publisher of games for kids and their catalog is good pace to look if you’re looking for a new game.

Survive: Escape from Atlantis! by Stronghold Games :  The object of Survive is have member your little tribe escape on the last boats from an ever-shrinking island. You want strand your opponents in the hopes that the ground will disappear beneath their feet and you can send sharks to devour their little people. Good family fun for all ages.

Forbidden Island - Gamewright again! Another game about about escaping from a sinking island. Unlike the cutthroat Survive, Forbidden Island is a cooperative game. Everyone is working together to escape with the loot and their lives. Co-op games can also be a great way to play games with kids. The trick is to work together while still letting younger players makes their own choices rather than playing the game for them.

Villains and Vigilantes Card Game - Superhuman Games - Ok. Villains and Vigilantes isn’t really designed for young children. It was designed by me. My kids were the lead playtesters and really enjoy it. But it is a “gamer’s game”. When you’re ready for some superheroic action, with a little complexity, check it out.

Be Careful What You Wish For

These days it seems like every room in our house is overrun with gaming paraphernalia. Dinner-time conversation inevitably revolves around the merits of some obscure card. Our Sunday afternoons are spent at Magic: the Gathering tournaments. “Dad. Do you want to play a game of something?” is a constant refrain. I don’t get together with my friends as much since I get more than enough gaming at home.

Once the seed is planted it may grow beyond your control. Enjoy.

Building a Better Superhero MMO

My experience with DC Universe Online has me daydreaming a bit more about what would make a great Superhero MMO. So, I decided to write down my design notes. If I ran the circus, here is what I would do...


Design the heroes and villains that will populate this world. Create about a dozen of each. Give each a name, an origin, an identity, a bit of back-story, and a general power set. Each character also gets a general arc. The character’s destiny may be to become earth’s greatest defender, or to have his revenge, or to rule the world, or to become king of the underworld. Each character starts at the beginning but has a different destination. Players will be able to edit their costumes, and choose how a character’s powers evolve. But you you choose to start as one of these predefined heroes or villains.

There is also a set of core NPCs that operate in the world. Some of them might be mob bosses, and dark overlords. But mostly they will be the normals: kindly neighbors, classmates, love interests, brilliant scientists, dogged detectives, intrepid reporters, hired muscle, and other reoccurring characters.

The game runs a number of these worlds in parallel. When a player signs into a game session he gets added to one of the worlds. The engine has the general mandate to get one (and only one) of each of the predefined characters into each instance. Social networking algorithms would be used to keep groups of players together and let you play with your friends. But your Mongoose is the only Mongoose. On a given day, your archenemy the Master Mime might be a low-level frustrated artist being played by a new player. Or he might be a high level criminal mastermind holding the city hostage.

In-game missions are generated by pulling players together with a matchmaking algorithm. A villain is given the chance to embark on some criminal enterprise. Selected heroes are alerted via sky signal, news bulletin, or thought bubble. They can decide to take the case and try to stop her. There would be some environmental adversaries run by the game - thugs, mercenaries, security guards etc.. but they would all but added as part of a dynamic ongoing mission, and not as an eternally respawing part of the scenery. The core of the action would be when the player-piloted heroes and villains square off. Then they succeed or fail, stand or fall. No dying and respawning for them either.

Because the game knows the hero’s name and identity, the NCPs can be woven into each of the missions as informers, hostages, and plot devices. The game can track the each character’s relationship with each of the other characters. It can go beyond costumed adventuring and explored the characters underneath the costumes as well.

Most MMOs pit a vast supply of bland characters against an unchanging environment. The game isn’t about the characters because it doesn’t know who they are. The rich potential of an MMO comes from the interaction and relationships between the players. I want a game that combines engaging characters, played by real people, with an actual storyline that recognizes these characters and lets them tell the story of their journeys together. That game might not exist yet. But I can dream.

Adventures in DC Universe Online

A few weeks ago I got an email invitation to join the DC Universe Online beta. This gave me the (free) opportunity to take the game for a spin before it became publicly available. For all my game playing I’ve never spent a lot of time with a massively multiplayer game. Here are my impressions, playtest notes, and wish-list.


At first I was quite disappointed by the MMOness of it all. It feels very much like World-of-Warcraft-with-tights. There are lots of fetch quests and beat up X guys missions. There are loot drops and raids. Weak character development and very weak story all around - even by deeply diminished video game standards. The well-populated persistent world mean nothing really changes. I’m supposed to beat up Scarecrow’s thugs and rescue my fellow citizens from his fear gas. But an infinite stream of bad guys and infected bystanders keep showing up as fast as I deal with them. I knock out baddies and free bystanders to make my quota and leave the rest for the next guy. It doesn’t feel very heroic.


Character generation is flexible and fun. You choose hero or villain and have a wide variety of costume and appearance options. Choose a power set, a weapon, and how you get around. Choose your awesome super-name. Realize that your awesome super name was already taken. And your first 6 somewhat less awesome backups are also taken. Settle for some kind of vaguely appropriate but available name. Now you’re ready for action!


The graphics and combat are only OKish relative to their single-player counterparts (like Prototype or Batman: Arkham Asylum). But they are solid and enjoyable for a game of this scope. Combat feels more more kinetic, twitchy, and action-oriented than what I would expect. Giant spring-loaded boxing gloves send characters flying. Attacks can be dodged with a quick acrobatic roll. Rhythmic button combinations lead to spectacular, leaping, flourishes of Demon Fist’s deadly power-quarterstaff. At its best it feels like you’re playing a fighting game or a brawler.


Many of the MMO conventions are present. To a superhero fan and MMO novice like me they can seem out of place or are simply baffling. Having loot drops seems odd for heroes. The appearance changes are kind of fun. But the stat changes you get from the super-pants you got from beating up Doctor Psycho are too subtle to really get excited about. Having decaying equipment seems pointless. And facing the Queen Bee with a bunch of busted gear can be especially frustrating. Collecting money seems inappropriate for the genre (if you’re a hero). And there’s not that much to buy. So I’m not really sure what the point is.


Characters can have different roles (Damage, Control, Tank, and Healer) that seem like nods to knowing WoW fans. But I wish they were more intrinsic to the characters rather than different roles my character is supposed to take on from mission to mission. Character generation provides a wide variety of power and weapon selections. Fire and ice. Flying and super speed. Magic and brawlers. But then, they all get kind of homogenized in the name of balance. Everyone seems to wind up with similar offense and defense options to work out to the same amount of damage points per second.

The biggest advantage a MMO has over a single player game is the availability of all these other players as heroes and villains. This remains my greatest disappointment with the game. I hate chat windows and can’t imagine spending my precious gaming time typing in one. All my players interactions so far have been incidental, brief, shallow and random. I wish the game did much more to encourage player interaction and helped form enduring partnerships and rivalries between the players.

If I’m dong a mission and another hero is doing the same mission right next to me, the game should ask us if we want to work together. If we do, scale the mission, open a audio chat channel, and make us a team. If we complete the mission, ask us we want to be friends. If we say yes, let us find each other and team up in future sessions.


If a villain comes along and beats me up, offer me a revenge mission that let’s me track him down. If I succeed at the revenge mission, ask us we want to be enemies. If we do, let us track each other down and do battle in future sessions.


Instead of a “Tank” mode, I want a “Social” role. When in social mode characters should not be able to attack or be attacked. Their controls  should allow them to strike a variety of poses and make a number of canned, context relevant, statements. Before a battle (or even in the middle of one) heroes and villains should be able to target each, go “Social” other to swap some banter and strike poses for a few seconds before the action resumes.


What I really want is more, deeper, more personal mission-based PvP. Give a villain a mission to go rob a bank. Tell my hero that I need to go stop the bank robbery. We both have to get to the bank and get sent to the same instance. I fight my way through henchmen. The villain fights through the guards. We meed in the middle and only one of us can be the victor.


Unfortunately, DC Universe Online doesn’t offer much of that kind of social-engineering. It does offer a lot of flash,  fireworks, power progression, and different ways to be super. I think it’s probably a good MMO. It's just too conventional for my taste. I might buy it when it comes out. But I’ll continue to look to the skies and search the rooftops. Someday a real hero will come. Someone will serve up some real stories and save us from MMO grinding and drudgery. But who? And will they be too late?

Story of the Storyline

Vampire: the Eternal Struggle Storyline events have traveled down some dark and dangerous roads. They have explored sinister conspiracies, infernal pacts, desperate power struggles and terrible secrets. Only now can I tell the deepest and darkest tale: the story of the storyline itself.

Well, maybe it’s not that dark. Or deep.

The story of my path to VTES storyline coordinator starts with my work on the Player’s Guide. Robert Goudie was coordinating that effort. I was asked to edit a version of an article I had written on strategic postures for the guide. I said the article could be included on the condition I was allowed to submit ideas for other pieces. Robert agreed and my persistence was rewarded with more assignments. I was also willing to pitch in with whatever was needed. So, I received a variety of assignments like: write 300 words on strategy for the True Brujah (Step 1: Make a good deck. Step 2: Add a True Brujah).

By the time the manuscript was complete The Powers That Be were generous enough to bestow me with a co-author credit. I was able gaze proudly at my name on the cover of that fine volume, search for myself on Amazon.com, and check out our Amazon Best Sellers Rank at any time (#2,183,000!).

After the book, Robert and I exchanged a few emails where I pitched some storyline theme and plot suggestions. When a request came along for someone to write up the Millennium Cultist aftermath fiction, I was happy to pitch in and take that on. When it came time to prepare and design the next event, the torch was passed to me.

I was excited to take on the VTES Storyline. It’s a great, unique format - a series of design and narrative experiments that bring together the strategic depth of VTES with the rich World of Darkness source materials. Robert deserves a lot credit for conceiving of the series, making it real, his great designs, and running all those events in the early years.

When I took over as coordinator my lofty goals were:

• Make storyline events a more frequent, predictable, integrated supplement to VTES
• Coordinate the themes and timing of the storyline with the core sets
• Establish the setting for VTES and it’s relationship to the (defunct) old World of Darkness
• Create some character and story continuity between the events (and include prior events in that continuity)
• Raise the stakes and explain how the events of the storyline are important to the game setting

My tenure as storyline coordinator got off to a slow start. I got my first sense of the long lead times involved in game production. By the summer of 2008 I had been coordinator for a year and still hadn’t run my first event. I did learn the set themes for 2009. So, before Anarchs & Alastors started I had a road-map in place that would take the storyline through to Battle Lines.

Searching for a common meta-plot that might run through the storylines, I settled early on the legend of Lilith a useful theme. In the source materials Lilith is presented as a powerful, counterpoint to Caine - sometimes an equal sometimes and enemy. Her role was significant enough to serve as a useful foundation and vague enough to suite a wide variety of my purposes. The Bahari proved to be useful device- versatile enough to applied to event themes including anarchs, Montreal, and Africa. Initially those purposes would be mysterious and in the background - the shadowy cult sought by the anarch gang or the force motivating the power struggle in for the Kaymakli Fragment. In Battle Lines the Lilith followers stepped to the forefront. I was especially pleased to come up with an event concept that could encompass all (and only) the diverse bloodlines.

The peculiar structure of the storyline means that the coordinator writes the introduction to the story. Then players around the world play the middle. Then we have to take all those results and produce an outcome. The aftermath fiction should reflect the actions of the players, and be the story of their games. But it also needs to make sense in the story. No matter what the players chose, the ending should read like that was the plan all along.

In terms of sticking to the script, storyline players were remarkably generous. Infernal Helena reunited with her lover and rival Menele and claimed victory in the Montreal event. A Black Hand Seraph lead the anarchs to their destination, lending the series a bit of intrigue. I had no expectation that Count Germaine would return to play a prominent role in the Imperator. And it was a pleasant surprise to find the source materials implying Germaine’s rival Karsh was also a pawn of the infernalists. We established Dmitra Illyanova as a key Germaine supporter (and thus a likely Bahari). She conveniently reappeared to lead the Brujah in an effort to ignite Gehenna in Eden’s Legacy.

In Battle Lines, a new set of characters came forward. The dilemma facing the Kiasyd had been in the introduction. The rise of the Baali within the Bahari conformed to the overall storyline arc. This provided a reason to revisit the ideas introduced in the Infernal Plague and an excuse to bring back Nergal. With each event, member of the Lilith cult claimed victory. The faction grew in power as the storyline progressed. For continuity purposes, this was a happy outcome.

While I was deeply involved in the overall story, I recognized that VTES is at heart a strategy game. I have always loved the narrative aspect of VTES game - they way the card interactions lend themselves to storytelling. But ultimately it’s card game, not an RPG, and many players care more about the mechanics than the “fluff”. Storylines are also about introducing strategic experimentation and mechanical variety. In that regard, I thought the storyline designs worked well.

I was most worried about the Anarchs & Alastors event. That was my first storyline event. And I wanted to start off on a solid footing. White Wolf had requested a sealed league format. My design focused on the anarch and trophy mechanics. Each of these could fall under the heading of “things VTES players think suck”. I added in some Assamites to complete the set. But the auction mechanics were an interesting addition to the format. Among the players willing to try a draft league at all, the event went over well.

The original plan for Rise of the Imperator was to sell a fixed Imperator deck as part of the kit. But, for art-rights reasons I couldn’t get permission to reprint most of the cards I wanted. No one seemed overly upset that organizers were asked to construct their own decks for the event. And the the mixture of decks added variety. In the rules you could use a master phase action or a discard phase action to cycle a card out the deck. Players focused on getting rid of cards that hurt them over finding cards to play. If I were to do it again, I would still say you can do a discard during either phase. But I would add a rule that a player can’t do both in the same turn.

I was pleased with the Eden’s Legacy rules. The Laibon had enough of a boost to encourage their use, but didn’t dominate the event. The four motivations were well balanced in the standings. I expected the Jyhad-bleed boosting motivation to be the strongest, but it came it last, far behind a dead-heat of the others.

Battle Lines ended up as the least well balanced of the events. I was pleased by the outcomes of the bloodlines-only rules. And the relaxing of the slave and scarce mechanics allowed for some novel deck opportunities. I was surprised by the strong showing of the Baali given their general lack of defense. Maybe removing the infernal cost only after they because Bahari would have been a better rule.

A greater source of the imbalance was difference in the relative strengths of Lilith’s Blessing and Guide and Mentor. Earlier versions of Lilith’s Blessing were used during the untap phase and cost a pool for each use. I didn’t fully comprehend the changes until they were pointed out to me during the second round of the event I played in (“Why are you paying a pool?”). I should have been more observant. At the very least, the printed pool cost of Lilith’s Blessing should have been maintained and paid for at the start of the event - which might have encouraged players to choose loyalist by default.

Overall I was pleased with the events and their reception. I was glad to be able to complete the initial arc I had envisioned. At this point, it is not clear if the storyline can or will continue. But I hope it does. The storylines played an important role in establishing the VTES setting after the RPG ceased its run. With White Wolf ceasing production the need for something new will be stronger than ever. Being storyline coordinator was a lot work and a lot of fun. It was a great experience for me. But all great things end.

Perhaps it is time for the storyline torch to be passed once again.

VTES Storyline Credits

A lot of work went into creating and running the VTES Storyline Events. It was an all volunteer effort, and I’m proud of what we were able to produce. I want to thank those donated their time and talents to make it all possible. This is all going to come off like a cheesy awards show. But hey. This is my blog, and these people deserve an award.


Todd Banister registered, designed, and hosts the storyline web site. At my request, he built it to mimic the core VTES site. We wanted our site to be part of the core VTES web experience and while still being under our control. Without Todd’s help, if I had been reliant on the notorious White Wolf web maintenance team, the storyline wouldn’t have been possible.

When I saw Greg Williams gorgeous Whispers in the Dark storyline design I was immediately envious. I’m grateful that Greg agreed to extend his talents to core effort. And I’ve tried not to be too jealous when the document layouts themselves gathered more praise than the words I carefully selected to place upon them.

I was not the only one writing those words. Daria Patrie offered her assistance just as the storylines were getting under way. We met for the first and only time at the NAC in Montreal where we plotted out the overall story and how we might collaborate on it. Daria wrote the aftermath for Black Miracles and Lies, the aftermath for Anarchs & Alastors, the introduction and aftermath for Rise of the Imperator and the introduction to Eden’s Legacy.

The storyline fiction is not an easy format to write for. I had very specific demands for the plot points I wanted the fiction to express. And the strange requirements storytelling-by-spreadsheet mandated for the aftermath pieces could drive any writer to insanity. Daria handled it all with great skill and patience. Her storyline writing established characters, action, scenes, and settings with a level of quality, detail, an emotion I could not match. I’m truly grateful for her work and what her writing brought to the series.


I also want to thank Eric Chiang. He might prefer to have his role remain obscured but I’m going to drag him into the light. Eric was a great help, always engaged, whispering in my ear with excellent suggestions, fixing my many egregious errors, and keeping me on track. Thanks Eric.

While I’m here, I need to thank the makers of the great game itself. Thanks to Oscar for being the defender and advocate of the storylines and to White Wolf for letting me play in their big, scary sandbox. Thank you LSJ. Thank you for having that unique, curious combination that make you a an intensely creative game and set designer, the pedantic precision that makes you an excellent card text and rules designer, and for having the patience and commitment to be such a responsive issuer or rulings and the ultimate net-rep all these years. Thanks for using your powers for the good of VTES.


Last of all, thank you to all the friends and players and everyone who took part and helped forge the storylines. Thanks for all your feedback and criticism. I hope you’ve had half as much fun as I did.

At the End of the Eternal Struggle

Yesterday White Wolf announced that they have ceased production of the Vampire: the Eternal Struggle (VTES) card game. VTES has been a preoccupation of mine for many years now. The news marks, for me, of the end of an era. Production of the greatest game ever has ceased.


“Greatest game ever” may sound excessive. But it shouldn’t come as a surprise to people who know me. I’ve been in involved as a player, playtester, designer, writer, author, international competitor, and fan of VTES for 16 years now. If there was a game I regarded as superior, I like to think I would have had the good sense to play that instead. But no. It’s been VTES. I’ve spent a lot a time, creative energy, and no small amount of money on this game. And my efforts have been rewarded.

I remember my first game. It was 1994 shortly after the game was introduced. It was called Jyhad then. The name was wisely changed to Vampire a year later. Erik had a bunch of cards and taught me and few friends how to play. I brought out Don Cruez, the Idealist and Dre, Leader of the Cold Dawn, and got ousted quickly. I left the game with my head swimming, attempting to come to terms with its complex mechanics and deeply intrigued by it’s endless permutations, enthralled by the creative and strategic possibilities.

The core group of friends from that first game-- Jeff, Keith, Matt got hooked and we stuck with it. We each built up a card collection. We alternately cursed and saluted the player fortunate enough to own a Dreams of the Sphinx or a Torn Signpost. We developed our signature decks and play styles. Gangrel-Malkavian hybrids and Toreador-Ravnos team-ups were reoccurring themes. Individual cards came to invoke little songs and catch-phrases “Igo to torpor”. “He makes me Ig-nauseous”. We only played against each other. We were a closed ecosystem developing our own mutations and eccentricities, playing in isolation - unaware of the wider VTES world. When Wizards of the Coast stopped publishing the game in 1996 we just played on. For added variety, we designed our own leagues and rules variants. After these games we wrote bits of fiction to explain the outcome, celebrate the victor, and taunt the vanquished.

In the year 2000, as my sister is still fond of reminding me, I declared myself the Vampire Prince of Portsmouth, New Hampshire. My regular group had dispersed. White Wolf had acquired the game and was printing cards again. VTES was back and I wanted to play. The prince system, in addition to bestowing gamers with a goofy title borrowed from the source materials, serves a useful purpose. With any group activity someone needs to organize, schedule, promote it, run events and resolve the inevitable disputes. The Princes takes on these duties and have been crucial to the game's longevity.

I wasn’t much of a prince. My interest are in the playing and designing. Not so much in the organizing and promoting. I spent a few lonely evenings a a local game store - waiting and demoing the game. I ran a few events. The chief benefit of this was that a few players from Boston showed up. I because aware of the the vibrant community there and, through them, the wider world of VTES.

I quickly abandoned my local organizational duties and became a regular player with the Boston group. I began a routine that continued for almost a decade. During that time, I changed jobs four times. My second son was born and grew to be a formidable gamer himself. But my routine was constant. Most every Monday night I drove for over an hour down to Davis Square in Sommerville, grabbed a burrito at Anna’s Taqueria and then headed over to Your Move Games to play VTES. I would play as many games as I could until the store closed at midnight. Then I headed home, typically arriving something after 1am. I got a few hours sleep and got up, bleary-eyed, for work the next morning.

One day the system administrator at the tiny technology company where I work mentioned that, on-line, she had met “the Prince of Pittsburgh?”. I blessed their union and they were married shortly thereafter. When John Eno moved to town there were suddenly two hard-core VTES players in Portsmouth and John joined me for our weekly gaming expeditions. We swapped news, game and movie reviews, newsgroup gossip, and deck-building theories during our many long trips to Your Move Games.

The Boston group has grown and shrunk over the years, with an interesting cast of characters coming and going and coming back. It also maintained a remarkably stable core of players, good friends with whom I’ve shared innumerable games. Something about the combination of complexity, depth, and social interaction means that the people drawn to VTES tend to be interesting, fun, well-adjusted and intelligent. We’re definitely on the nerd spectrum but, as a rule, VTES players a quite high-functioning. Around the world, the game draws a consistently enjoyable crowd. These good people crowd my Facebook lists and have been crucial to my enjoyment of the game.

Early in my competitive VTES career our family vacation to Paris was fortuitously scheduled to coincide with the VTES European Championships. Upon meeting the French side of Christine’s family for the fist time, I had to explain to them why I would be abandoning them for several days. It’s a card game. It has a vampire theme. No we don’t dress up. No, I’m not going to win any money.

“These are the moments that make up a fulfilling life. This is the thing that dreams are made of.” That’s what I told Christine a few years later, trying to explain why I should fly off to Budapest for an extended weekend of card games. I was right. It is wonderful to have a hobby that takes you to other countries and allows you to meet interesting people. To compete in a European Continental Championship, to strive to be among the best in world at a competitive activity, however obscure- these are worthwhile pursuits, memories I hold with pride.

Earlier this summer Your Move Games closed it doors, uprooting the old Boston VTES group. Now, the game has been canceled. The last Vampire card has been printed. It is the end of era. But 16 years is one hell of a run. I’m glad I was part of it, and grateful for the little card game that became part of my life.

Building a Better BioWare Game

The search for Kasumi's stolen memory has brought me back to Mass Effect 2 and back to the topic of stories in video games. I've been bemoaning the limitations of video games. BioWare, the studio behind Mass Effect and other excellent games, has been pushing against those limitations. In this post I'll take a look at the BioWare approach to game design.

I want to be able to shape a story in two different ways. I want be able to influence the plot and I want to be able to influence, and be influenced by, the characters.

BioWare provides some illusion of plot control, but this is limited. You have missions and objectives. You can skip some missions and have options regarding the order you'll undertake them. But the story is their story. Most players will end up doing the same things.

We're a long ways away from (and may never see) a game world where the consequences of all your choices have real ripple effects. The studios have a story to tell you and they don't want you to ruin it. There aren't an infinite number of writers devising an infinite number of exciting paths to follow. But they could, and should, design a few inflection points where you have real choices and deal with the consequences. Some of those consequences should be dire. The game should let you screw up and force you to fight your way back.

It's amazing BioWare games are as good as they are given the limitations of their engine. Most glaring is the absence of characters that can move outside of cut-scenes and combat. BioWare worlds are populated by people rooted to a single spot. Some mobile bystanders would make the worlds less sterile.

The engine limitations are also apparent in the combat missions. But some of the limitations maybe be just limitations of imagination. Mass Effect does a reasonable job of presenting some tactical variety and variation to its firefights and action sequences. But far too many missions devolve into corridor crawls. You move from one conveniently-placed spot of cover to another. Enemies pop-up, four at at time, to be dispatched with biotic blasts and head-shots.

Every mission should have some wrinkles. Some options:

• Have enemies approach from all directions
• Take away some or all of your weapons
• Add non-combatants to be saved or imperiled
• Have swarms of enemies
• Have stand-off situations where combat can be avoided or risked
• Neutralize powers
• Add time constraints
• Use 3-dimensions with enemies coming from above and below
• Undertake missions alone with 1 or 3+ companions.
• Go without Shepard
• Tactical retreats where escape is the only option
• More environmental dangers and effects
• Reduce visibility
• Deal with character injury and limitation
• Enemies that can't or shouldn't be killed and must be trapped or evaded
• Take away the cover
• Limit or remove ammunition
• Limit or remove medi-gel

These variations can be mixed and matched for even more variety.

The old BioWare injury model is overdue for redesign. Your companions go down in a hail of blaster fire. Wherever you are, you push a button, lose a dollop of the mysterious medi-gel and your friends bounce back. Even if you can't be bothered with the medi-gel administration, as soon as the last enemy in the room falls, everyone immediately gets up suffering no ill-effects from taking those mass-accelerated metal slugs to the face.

This model lacks a certain verisimilitude. It also lacks drama. It would more interesting if Shepard had to play medic, fight her way over to the injured companion, and apply the medicine in person. After their revival, downed characters should suffer a bit -- make them sit out a few missions in sick-bay while they recuperate.

When Shepard takes a hit players are treated to the old Game Over screen. Mass Effect should never show a game over or reload screen. They are tired, drama draining, and unnecessary. What are space-faring friends for if not to help up a Shepard when she's down? Your companions could revive you. Or Shepard could be shown to summon the strength to apply her own medi-gel. Or team members from the mother-ship could come bail you out. Or you you could fail. Very few of the Mass Effect missions are essential to the core plot. Letting you fall short on a few and face the consequences would be more interesting than the string of endless do-overs and successes.

Game Over is a crutch. Players and designers lean on too much. It's time to throw it away.

BioWare has built its reputation on the strength of its characters and quality of your interactions with them. Good character interaction rests on three requirements:

• Characters that are interesting and fleshed-out enough to care about
• Having some ability to define and control the relationship between you and your companions
• Allowing your choices and actions to determine the fate of other characters

BioWare does a solid job with the first requirement. They've created a number of interesting and memorable characters over the years and are getting better at it with each release. Mass Effect 2 also allows you to have an impact on your relationship with you shipmates. More than any other game, you get to opportunity to explore their past, shape their destiny, and get them killed. But here again there is vast room for improvement.

The loyalty system is fun but should more flexible and less binary. Every action, choice, and conversation should make your various party members more or less loyal. And that loyalty should have a significant impact -- influencing how effective, aggressive, accurate, and helpful they are.

The inclusion of so many character-based missions is great for the game and an excellent device for developing the characters. I was saddened when one of my party members started to shun me. And Jack, you never gave me the chance to tell you this, but I'm sorry. I'm sorry I didn't confront Miranda about how Cerberus tortured you and made you a psychotic, biotic killer. That was wrong. And I'm sorry that big rock fell on your head during the cut-scene and killed you.

The character-based missions worked and I want more of them. Every mission should have one or more characters volunteer to take part. Including the ones who step forward might be optional, but would offer the opportunity for extra dialogue, scripted awesomeness, and heroic sacrifice.

BioWare is notorious for their in-game romantic options. I was torn. Do I choose the bland but anatomically compatible Jacob or grizzled Garrus. In my heart of hearts, do I go for the black guy or the green guy? Garrus won me over and the inter-species liaison was handled with remarkable tact, humor and affection.

I want to explore a deeper relationship with all the characters. Offering a few romanceables should be just the beginning. Every relationship should have a next level. And there should be more variety. I want jealous rivals, greedy high-maintenance mercenaries, subtle betrayers, zealots following their own agenda, moral beacons, reliable right-hands, jilted lovers, and manulative lotharios.

These relationships shouldn't just be incidental to the game but central to it. BioWare's given us a tiny glimpse of the possibilities of character-driven computer games. I love them. Now it's time to take them to the next level.


Part of the Game Design Workshop series.

(GDW) Failure is Not an Option: Storytelling in Video Games

The only disappointing Christmas that I can recall is the year everyone got an Atari 2600 and I didn't. I think my mother still gets guilt pangs. She shouldn't. In the nearly 30 years since then I've more than made up for any lost hours of my youth that weren't spent staring at a flashing screen.


I was there at the birth of video games and never stopped playing. They retain their allure and continue to consume embarrassing amounts of my free time. Over the years the games have grown. I remember when moving around white blocks was the height of sophistication. Today characters can leap from rooftop to rooftop and freely explore a simulation of 15th century Florence modeled in astonishing scope and detail.

As the technology has improved video games have started to come into their own as a storytelling medium. Their promise is that these are interactive stories. Rather than just observing the story unfold you can inhabit the character. You are the hero.

Interactivity is the secret to the magic of video game stories. It is also its bane. The author of a book or film has complete control over their protagonist. The hero follows the author's arc without fail. Video game designers walk a fine line between telling the story they wish to tell and giving the player freedom to steer their own path.

The task of the game designer is further complicated by the limitations of technology and the complexity of human relationships. Entire cities can be modeled and populated with all manner of objects and individuals. But actually establishing a non-trivial relationship between the inhabitants of this virtual world is more difficult. Worlds can be simulated. People are much harder.

The byproduct of this constraint is that designers typically choose points A and B and constrain players to deciding how dispatch the hordes of enemies found in between. The questions of whether and why they journey is taken is out of the players hands-- as is the relationship between the player and characters met along the way. The player controls the action but not the plot. Love, revenge, betrayal, hope, fear, loss and growth may be components of the story. Rarely can they be chosen or avoided. They are simply watched.

In most every game you are called upon to perform some heroics and save the day. A good game will work to set the stakes and ratchet up the tension. Inevitably, failure in not a option. And this is literally true. The story and scenes progress until all adversity has been overcome. When you fail, you go back and do it again until you succeed. Boredom, frustration, tedium, and abandoning the story to go do something else are all options. Failure is not an option. A good game will end with enough spectacle to create a sense of accomplishment. But since perseverance was the only criteria, victory feels hollow.

The idea of interactive stories holds immense promise. I spend so much time with computer games because even the limited interactions of games have a powerful allure that non-interactive media such as books, movies, and television can't match. But I recognize the older forms as vastly superior storytelling mediums. For now.

Some game designers are pushing against the medium's limitations for character and story development. They endeavor, within the structure of the game and hero's journey, to include options and questions of morality, romance, friendship, and loss. In my next post I'll look at what the best of them are doing and explore how to do it better.


Part of the Game Design Workshop series.

Game Design Workshop

In addition to politics and policy another obsession of mine is gaming. Board games, card games, computer games. I play a lot of games. I spend a lot time thinking about games in general and aspects of game design in particular. Like any true gamer I've got some words of advice for the people making games today.


To further feed the gaming beast I'm starting a new feature on this blog: the Game Design Workshop. This will be an intermittent series where I'll analyze some aspect of a particular game, pitch game designs and explore the arcane art of making something fun.

Posts in this series will be marked GDW in the title. I'll keep this post updated with links to the other posts in the series.


Posts in this series:

Failure is Not and Option: Storytelling in Video Games
Building a Better BioWare Game

Do Vampires Believe in the Supernatural?

Recently, I was writing a fiction piece for the Vampire CCG Storyline. In the story there is, naturally, a dark and twisted conspiracy of unspeakable evil that goes all the way back to the Garden of Eden. And I wanted to depict a character, a vampire by the name of Angelo, as a skeptic. I wanted Angelo to be someone who didn't believe in this mythical mumbo-jumbo. But this got me thinking. If someone is essentially supernatural wouldn't that influence their views of the supernatural? Wouldn't an undead vampire have to believe in God or magic or something?

Suppose an individual possesses superhuman strength or has the ability to transform into a bat. They would be well aware the existence of forces beyond their ken. There must be something in his world that allows Angelo to merge with his fellow Blood Brothers into a coagulated entity -one monstrous heap of undead flesh. Is that force necessarily divine? What else could it be?

What about us? I can't borrow the limbs of my brothers and use them to smite my enemies. My powers are much more mundane. I can ponder vampiric epistemology while folding laundry. Still, the hows and whys of what makes this feat possible are beyond my understanding.

In his wonderful book "A Short History of Nearly Everything" Bill Bryson tries to describe a single living cell.

"The cell has been compared to many things, from "a complex chemical refinery" (by the physicist James Tefil) to "a vast, teeming metropolis" (the biochemist Guy Brown). A cell is both of those things and neither. It is a like a refinery in that it is devoted to chemical activity on a grand scale, and like a metropolis in that it is crowded and busy and filled with interactions that seem confused and random but clearly have some system to them. But it is a much more nightmarish place than any city or factory that you have ever seen. To begin with there is no up or down inside the cell (gravity doesn't meaningfully apply at the cellular scale), and not an atom's with of space is unused. There is activity everywhere and a ceaseless thrum of electrical energy."

I can't spontaneously grow limbs. But if I cut my finger, I do expect the trillions of cellular nightmare-cities that comprise me to recognize the trauma and coordinate the reconstruction effort. And I expect them to get this done while they flawlessly carry on with the pumping of my blood, the digestion of my food, moving of my limbs and every other task involved with the business of being me.

The composition and coordination of cells may be mind-blowingly complex. But at least here we have physicists and biochemists who can observe what's going on and offer explanations. We can't really understand the explanations, but we we're happy to know they are out there. If we step up to the big question of what makes us us we don't even get that. Nobody has a good explanation for human consciousness. And nobody seems to be on the verge of finding one. It just is.

I have no idea how we manage to do what we do. The more I learn about it the more absurd and impossible it all seems. And yet, we exist. Therefore there must be some set of circumstances that make this possible.

So, maybe we're not so different from dear Angelo.