World Tone / Feeling
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@Ominous I actually don’t play TT so that’s probably why lol
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I want a complex, consistent world with a lot of meaningful conflict that isn’t always Good vs Evil. I probably lean a bit towards the darker end of the setting, but I ultimately want the PCs to have a sense of humanity to them. PvE and PvP are both fine (although these days I lean away from PvP not because I don’t enjoy it when it works but because of player issues).
I want a setting with real problems that characters have to live with and carve out their own kinds of happiness within it. I like striving for something better, but I want it to be a long road with some wins along the way, but also some setbacks. Tragedy and joy in the right proportions.
And some room for fun, over-the-top coolness or big, splashy actions along the way, sure.
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An additional thought:
Verisimilitude. That’s what I really need to feel in the world. Bright, dark, whatever doesn’t matter so much as a level of truthiness – I can cope better with too much sugar or too much grit if the world feels grounded with some kind of internal logical consistency. I don’t need to be able to predict how things work, but I do kind of want them to be able to be predicted.
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@Pavel Yes, this. I like to feel grounded in my stories, even if the settings are fantastical or bizarre.
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@sao For me it’s not just grounding for my sake, but it gives me confidence that the people running the show have an idea how their world is supposed to work and how to tell stories in that world.
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I too am on the Grimbright or Nobledark train – if the world is dark, I want to be able to make positive change (even if it’s small); if the world is bright, I want there to be a little grittiness to it as well.
I want my characters to succeed somewhere between 51% and 70% of the time – if they succeed all the time, it doesn’t feel like the stakes are really there, and if they fail more than half the time, it gets frustrating.
In the last decade or so, the world has been grimdark enough, if the setting is going to be either grim or dark, I want to be able to punch it in the face.
Formerly known as Seraphim73 (he/him)
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@Roadspike said in World Tone / Feeling:
I want to be I want to be able to punch it in the face.
I also would like to punch most of the universe in the face. When and where do we start swinging?
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@Jenn said in World Tone / Feeling:
When and where do we start swinging?
I mean. Technically you’re part of the universe. One of the few known intelligent bits who would understand the impact of being punched in the face.
So.
You could start there. Or your nearest enemy-shaped human.
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As long as the ooc atmosphere is polite to cordial/friendly (prefer it closer to the friendly side), has some boundaries around public ooc/rl oversharing, and where staff helps people who are freaking out because they dont actually like the game leave, I am pretty genre flexible.
I like trying new things as far as theme/world/genre/ic feel!
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@Roadspike said in World Tone / Feeling:
if the world is dark, I want to be able to make positive change (even if it’s small); if the world is bright, I want there to be a little grittiness to it as well.
People seem to be saying this a lot, so I’m kinda curious what “touch the world” mean in terms of MUSH gameplay.
Can you share some concrete examples from a player perspective of what this looks like on a MUSH?
I know a lot of us have run games over the years and probably think we’ve done this from an admin perspective, but I’d love to hear some player-side examples of this in effect on a MUSH.
I’m much more of a storyTELLER than storyPLAYER, and I’d love to be better at making stories responsive.
On Dragon Wings · https://pern.gaslightswitch.com · pern.gaslightswitch.com port 4201
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@KarmaBum I have a few ideas and examples:
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One the private games run by friends, they started with authoritarian governments / police states locking down planets / settlement. Much of the stories were about breaking that down and overthrowing things. Literally overthrowing things.
One of the things that was particularly fun about one of them is how as the story changed, the entire page theme would change. New colors, new images, new CSS: all of it to reflect different settings, different places in the story.
It’s PROBABLY not super common, though. These were small games with a close GMing.
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Way back when, long ago in the misty days of @Roz, @sao, @Tat, and I running an X-Men game, players actually took part in shaping the world in terms of manipulating the outcomes of legislation. We (Sao) did a fair amount of announcements to reflect the IC news and updates as well.
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Everyone loves to see their actions reflected in game-wide updates and announcements. Firan and Arx both featured that to greater or lesser degrees. It’s cooler still in my opinion to see an actual shift of culture or laws. I’ve been working on my long-dreamed generational game where the ability to shift an in-game culture is a mechanic, somewhat modeled off Crusader Kings.
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I like temporary room descriptions that can be updated on public spaces to reflect events that have happened, but sometimes people forget and it loses its impact. Still, I like that as an idea: a grid that updates to reflect actions people have taken.
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@KarmaBum For me, “touch the world” means seeing my actions (or the results of them) spread through the IC world. Whether that’s something as simple as some slang that I created spreading to Staff-run NPCs, having the First Minister mention the brave, heroic actions of a group of knights who saved a puppy (“Hey, that was me!”), or having a Staff-run plot integrate something that I did as a player GM (the zeppelin that I had PCs defending just showed up in the midst of this big fight and saved the day!).
I want to know that what I’m doing has an impact on those around me, PCs and NPC, because if I’m not able to impact what others are experiencing, why am I playing a multiplayer storytelling experience/game?
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@KarmaBum said in World Tone / Feeling:
People seem to be saying this a lot, so I’m kinda curious what “touch the world” mean in terms of MUSH gameplay.
That’s something that’s always confused me as a game runner. If I’m playing a game, it’s because I like the setting. The idea of fundamentally changing the setting has always felt weird to me. Yet there are always players who want to civilize a Wild West game, create a superweapon that will defeat the Cylons in a Battlestar game, cure the zombie virus in a zombie game, etc.
Folks don’t seem to be satisfied by the more modest victories that don’t upend the theme: finding a supply cache, winning a battle, opening a store. To me, these are all things that touch the world, just in non-game-breaking ways.
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@Faraday said in World Tone / Feeling:
Yet there are always players who want to civilize a Wild West game, create a superweapon that will defeat the Cylons in a Battlestar game, cure the zombie virus in a zombie game, etc.
This bit caught my eye. You are absolutely right. Not every game or gamerunner has or even WANTS this scope. Even if they do, you may have players with very different ideas of what fixing feudalism means. Being clear about scope can help shape expectation.
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@Tez said in World Tone / Feeling:
@Faraday said in World Tone / Feeling:
Yet there are always players who want to civilize a Wild West game, create a superweapon that will defeat the Cylons in a Battlestar game, cure the zombie virus in a zombie game, etc.
This bit caught my eye. You are absolutely right. Not every game or gamerunner has or even WANTS this scope. Even if they do, you may have players with very different ideas of what fixing feudalism means. Being clear about scope can help shape expectation.
It’s definitely an interesting tension. Some aspects of a setting I tend to be fundamentally uninterested in changing, because they’re too foundational. I never wanted to just – somehow overthrow feudalism or cure class divide on Arx, for instance; it was too core to the structure of everything. But we did make some pretty big changes over the years, both in regards to regaining magic in the setting and in pretty notable cultural shifts, such as restoring the Lost Gods to the Faith and all the plots surrounding thralldom in the Mourning Isles.
So I’ve definitely experienced both sides of this: I like seeing the impact of my actions, but I’ve absolutely also get annoyed at players who seem to be attempting to just – change the entire setting.
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@Faraday said in World Tone / Feeling:
Yet there are always players who want to civilize a Wild West game, create a superweapon that will defeat the Cylons in a Battlestar game, cure the zombie virus in a zombie game, etc.Having had to deal with players wanting to wipe out the adversary in a world(s)-at-war game with an asteroid strike… I don’t get it either. The only thing that I can think is that some people just want to “win” the game, not realizing or not caring that if someone “wins” a MUSH, then the MUSH that exists is fundamentally over. Sure, something like it may be able to continue on, but it won’t be the same game that brought people to it.
Formerly known as Seraphim73 (he/him)
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I’ve got a few examples!
First, for when players try to do roleplay that’s outside of what the game’s theme supports:
Right on the front page of the Silent Heaven website is a handful of things that can’t change about the town of Silent Heaven. One of them is, “Silent Heaven isn’t in any set location. Outside contact within Silent Heaven will never happen. For what it’s worth, consider the town to be on an entirely different plane of existence.”
This didn’t stop the playerbase from wanting their first major plot to be building a radio and attempting outside contact. I told them, “Hey, this will probably end in failure. Do you still want to go through with it?” And I love my players, because they went all-in on this plan. While they scavenged all the items to build a radio, I got to brainstorming what sort of effect this could leave on the town.
When the event began a couple weeks later, they had assembled the radio at the highest point they could find in the town. With all that effort, I rewarded them with someone speaking on the other end. Someone who seemed to know exactly who they were. Someone who said they’d send some friends to their location to collect their bodies. After they dealt with that fallout, and the hostile monsters coming their way, it soon became apparent that they summoned a demon that loves putting on radio shows. And that there was likely a radio station somewhere in town!
That event set a precedent that attempting to go against the unchangeable boundaries of what the game can support will have unintended (and fun) consequences.
However, when someone wants to do something that tests the boundaries of what I’m comfortable roleplaying, I’ve had to say, “Unfortunately, we don’t have support for that kind of roleplay.” Someone here taught me that line a couple years ago and I’d encourage everyone to have that line in your repertoire when your players are going very far in the wrong direction.
In the realm of smaller changes, last year, the PCs successfully banished the campy lust demon from the town. They then proceeded to vandalize and desecrate his den of opulence, which was situated across a river that characters could only reach via raft or kayak. Given that nobody was there to stop them, we gave them a free-for-all and updated the room descriptions afterwards to reflect their destruction. One character even stole a king-size bed, but the player roleplayed the mattress slipping off their raft and sinking into the turbulent waters. There was no reason to do this other than the player thought it would be fun and realistic. I love rewarding self-induced losses, so now there’s a king-size mattress in the description of an underwater room, complete with bedsheets and pillows, that any character who can swim can see.
It doesn’t take much to give a player a sense that their character matters in the world. If they can point to something in-game and say “I made that happen,” that makes most players happy.
What makes them unhappy is if you undo what they’ve done. If a well-enjoyed Big Bad Evil Guy is assuredly dead, it makes players feel like they don’t matter if her hand rises out of the rubble sometime later. Recently, someone performed a ritual on what remained of a BBEG, causing echoes of the past to be broadcast briefly. Some characters interpreted this as the return of the BBEG and got really miffed about how their efforts didn’t matter, to the point that I had to tell folks that that wasn’t what had happened, and that’s she’s absolutely dead dead.
I hope this helps!
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@Roz said in World Tone / Feeling:
But we did make some pretty big changes over the years, both in regards to regaining magic in the setting and in pretty notable cultural shifts, such as restoring the Lost Gods to the Faith and all the plots surrounding thralldom in the Mourning Isles.
I’m curious if you can share any specific examples of player actions driving this. (NB: I don’t know if you were staff on Arx. I think no? But I am looking for player perspectives if people have them.) Was this something players started and staff facilitated? Was it part of the metaplot plan all along and waiting for players to engage with it? Genuinely curious.
@Tez Thanks for the examples. I love the idea of the visual look of the game matching the story and the temporary room descs.
@Roadspike Those are good conceptual examples. Can you share any specific examples from the perspective of you, as a player?
@Jumpscare Also thanks! I appreciate the examples. I’d be really curious to hear about it from the player side - not “they” but “us.”
Admittedly, as a player, this isn’t something that drives my RP (I don’t want my character to be the star of a plot; it makes me feel uncomfortable), but I do have an example to share of how I think it was done well.
On Horror 2, everything we did affected the apartment complex. We were really in charge of the scenery (other than Brett doing his Kool-Aid Man charge through the wall, but that just set the stage imo). Doors remained locked or unlocked, monsters directly responded to PC actions, and the tension of the story was at least partially predicated on the worry that the fellow PCs would do something dumb and get us all killed.
To bring this long post full circle: this is the world tone/feeling that I also prefer. I thrive in D A R K settings where the world seems bleak and the last glimmer of hope is dying right before our eyes… but it’s ultimately about a setting that creates a good backdrop for character interactions.
I want a world where I can have my Bar RP without actually having to set foot in a bar. We can talk about what happened in the last scene (“Me and @Pyrephox’s PC got into a fight 'cause that’s how we ROLL.”) while moving into the next one (…KB explains while painting a smiley on the ICBM she plans to use to retaliate.) without ever having to stop for exposition.
tl;dr thank you for the examples! Please keep them coming!
On Dragon Wings · https://pern.gaslightswitch.com · pern.gaslightswitch.com port 4201
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@Roadspike said in World Tone / Feeling:
The only thing that I can think is that some people just want to “win” the game
I was watching a video with Brennan Lee Mulligan, and he put it better than I could, but I don’t have a perfect memory, so the following is paraphrasing: My character wants the shortest road from where they are to where they need or want to get to. I as the player want that road to take as long as it can.
So if I’m in a game with a war, for instance, my character probably wants that war to end – preferably with his side “winning.” That’s his goal, to do whatever he must/can to see the war ends. But it’s up to me as a player and, to a greater extent perhaps, up to the game (via other players, staff, story building, etc, etc, etc) to put those rails up to make reaching that goal hard but with meaningful steps. If we win a battle, make that count for something just as much as if we lost it.
Naturally, this is a big part of the collaboration between player and game, and some players just don’t get it. But if you have a game where there’s an optimal or ideal result for the player characters (war end, Cylon peace, no more cholera or zombies or cholera-zombies), then in the planning stages you have to come up with how you’re going to railroad people around those goals.
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@KarmaBum said in World Tone / Feeling:
@Roadspike Those are good conceptual examples. Can you share any specific examples from the perspective of you, as a player?
Most of those were just generalized versions of specific examples. Here are – as best as I remember – the specific examples.
On BSGU, we ran into a Cylon snake, and my character made a quippy remark giving it a nickname. I don’t remember what it was, but as I recall, a GM-run NPC later used that nickname in a briefing (perhaps reluctantly, or with a sigh, or something, it’s been a decade, I don’t remember for sure). That made me feel like I was having an impact on the world.
On Realms Adventurous, Staff there was really good about putting out posts about the actions of players, and of mentioning them ICly in scenes. I remember a skirmish before a tournament and the herald or one of the marshals or something mentioned it, calling out the knights by name who had participated.
Oh! Here’s an even better one because it wasn’t all positive: on Steel & Stone, my character intervened in single combat to save his cousin from a death (it was like my second week on the game, and I didn’t want to be responsible for the death of another PC), and I heard about it for months from GM-run NPCs, including my character’s cousin and liege lord when the crew returned from the Iron Isles. But it came up in scenes where I wasn’t even playing, so it definitely felt like it had an effect.
As for the last concept, I’ve seen it happen enough times that I don’t know that I can come up with a specific great example, but the hypotheticals I mentioned before (a GM NPC mentions that they came in on a ship that the PCs saved from pirates or the zeppelin) should hopefully be concrete enough examples to be examples.
I don’t need my characters to change to metaplot or the setting wildly, I just want the actions of PCs as a whole to impact the game, I want my efforts to be recognized. One of my love languages is Words of Affirmation, and as far as I’m concerned, that’s how that happens in MUSHes.
@Pavel – I think that the distinction between the desires of the characters and the player is a fantastic one. Characters should want to win, players should want the game to continue to be fun for them and those around them. It’s the same way I think that players should approach PvP (at least when it’s OOCly friendly) – yeah, your character wants to win, but you as a player, you want to tell the best possible story with your fellow players.
I do think that it’s important to come up with ways to short-circuit attempts to end the setting/metaplot, but I also think that it’s fair game to OOCly tell someone “doing that would fundamentally change the game in ways that we’re not comfortable with, we’re happy to provide IC rationalization on why your character can’t succeed with this, but please don’t continue down this path as a player.”
