(Gaming) Finding My Path

The first game I ever ran was a Changeling: the Dreaming campaign way back in high school. My players were an eshu, satyr, redcap and sluagh, and somewhere in there I ended up crossing things over with The X-Files because I was young and didn’t know any better. Do you remember those metal spikes they killed people with by stabbing it into the back of their necks? It was cold iron given to government agents to snuff out faeries. Yeah. I know.

I’ve run sporadically since then — mostly Dungeons and Dragons in its various incarnations or Pathfinder. This latest campaign was an old idea that I dusted off and spruced up, thinking that I would finally get to tell it right this time. I quickly discovered, though, that Pathfinder can be just as crunchy with numbers as D&D, thank you, and that if you don’t really understand the system home-brew rules will seriously fuck you up.

My players are a bunch of wonderful people — they’re smart, creative, passionate and fun. I’m not ashamed to admit that there is a huge amount of performance anxiety around running something for them. I want to do something that makes one friend feel like a bad ass, gives another friend the chance to explore psychological terrain he finds interesting, provide another friend with the political drama he’s discovering an affinity for, and let another friend find an ingenious way out of a difficult situation. All while keeping a whole set of rules and story beats in my head, improvising characters and plot details on the fly, and struggling to keep track of what has happened, what needs to happen, and what CAN’T happen. Running a tabletop RPG is really difficult you guys, especially if you have good players.

I’m also not ashamed to admit that I often let that anxiety get the best of me. I’ve snapped at players once or twice for trying to tweak their characters to maximum benefit when really, that’s just how they find enjoyment in the game. I’ve taken feedback badly, and let constructive criticism blow my perception of how poorly things were going out of proportion. I take storytelling very seriously, and perfectionist tendencies, chronic anxiety and an unfocused, disorganized ADHD brain is quite possibly the worst mix of traits to tell an improvised and collaborative story with people who are in all likelihood way smarter than you.

Now that I’m diving back into the pool, I’m trying to ease off the idea of telling a perfect story. I’ve learned a great deal about the way the story delivery mechanism influences what works best, and with tabletop RPGs I’ve found it works best to keep things a bit simpler. We’ve trained ourselves to think medieval fantasy has to have these sprawling, complicated worlds with rich societies and a gigantic number of characters, but when you’re getting together with a bunch of friends for six hours once a month there is no way people can hold these little plot and story seeds in their heads. Dense, sprawling mythologies work well in stories that are a bit more permanent — TV shows, novels, even movies. But I’ve found they work less well when you’re basically sitting around a campfire.

The direct approach tends to work better. The immediacy of creating the story around the table lends itself to scenes and situations that grab your emotions by the throat. The games that are most memorable and fun are the ones where you have a bad guy you clearly hate, a tough struggle that you barely make it through, and a reason for triumph that’s personal and reaffirming. The patience required to lay down a complicated story, brick by brick, is better spent parsing how characters can grow, change and excel within the confines of the system and the world you’ve built. Making sure your story is clear enough that your players know the next thing they need to do and why they need to do it goes a long way towards making sure they can get invested in what’s going on. Shadowy figures and mysterious conspiracies work for a few games, but at some point there needs to be clear progress and a strong sense of momentum pulling the characters from scene to scene.

So what I’ve focused on with this latest attempt at verbal storytelling is crafting scenes that make for fun jumping-off points for the characters while having hooks that appeal to my players or at least their characters. It’s been fun taking the metaplot, distilling it down to a series of actions, and then breaking up those actions into progressable goals from scene to scene. It makes the skeleton of the story strong but flexible, capable of carrying us all along but bending to suit the needs of the people around the table.

I’m so nervous about running this weekend, but really excited as well. I can’t wait to put what I’ve learned to use and see how I’ve progressed as a storyteller. Wish me luck for this Saturday, folks!