Tag Archives: dungeonsanddragons

5 Things PR Professionals Can Learn From Roleplaying Games

7 Oct

13th Age at PAX 2013Originally posted on the Weber Shandwick Seattle blog.

Over Labor Day weekend I spent fours days at PAX Prime, gaming with dozens of incredibly talented improvisational storytellers. All around me groups of complete strangers were gathering at tables to make up compelling scenarios of greed, betrayal, revenge and redemption. We were playing tabletop roleplaying games–a type of game whose mass popularity peaked in the 1980s with Dungeons & Dragons, and which is experiencing something of a Renaissance today with recent releases such as Numenera, HillfolkDungeon World and 13th Age. Playing these games, you can spend an evening telling great collaborative stories in any genre: whether it’s fantasy, horror, spy thriller, interpersonal drama, or the dark humor of a Coen brothers movie.

It struck me that tabletop roleplaying gamers do as a hobby what we do professionally. They invent rich personas, plan creative multimedia campaigns, engage in real-time collaborative storytelling and make rapid adjustments based on continually changing circumstances.

So grab a handful of dice—here are five best practices that we can learn from tabletop gamers:

#1: Always remember that storytelling is a collaborative process.

I’ve been in game sessions where the Game Master (AKA the GM, the person who plans and runs the game session) saw his players as a passive audience whose job was to sit quietly for hours while he dazzled us with his creative ideas. These sessions were not just dull, they were frustrating. We showed up to participate, to be co-creators of the night’s story. If we’d wanted to watch a performance, we could have gone to the movies.

Similarly, today’s audiences show up to participate in PR and advertising campaigns—either directly, when the campaign is designed for audience collaboration, or by commenting on it through Twitter, Facebook and other social channels. We need to plan for an active audience, which means giving up some control. The extent to which we share narrative control with our audience depends on the campaign. It can range from adapting and modifying the story we’re telling based on their feedback, to simply presenting the audience with brand materials that they can use to tell their own stories.

#2: Know your players, and what they want out of the game. 

Everybody comes to a gaming table for slightly different reasons. Some want to participate creatively, through acting or storytelling. Others want to think through complex and realistic problems. Some don’t care much about the game at all: they just want to hang out with friends, and the game facilitates that. Giving each member of a gaming group a satisfying and entertaining experience requires understanding what motivates each of them—and setting aside some of your own desires and preferences.

Likewise, PR professionals planning a campaign or promotion need to understand their audience’s motivation. Once you know who you’re trying to reach, get your hands on any available research on what motivates that audience. If there’s not enough research out there, do your own. What do they care about? What language and images do they pay attention to, and what causes them to tune out?  What will they, and won’t they, take action on?

And then comes the hard part: pushing your own motivations and tastes aside, and creating something they’ll care about—even if it’s something that wouldn’t speak to you. Unless you happen to precisely match the target audience (and it’s unlikely that your client is trying to reach communications professionals) you need to understand and empathize with your audience in order to engage it.

#3: Deliver the emotional kick. 

Once you understand your gaming group—or the audience you’re trying to reach—you can identify the emotional content of your campaign. Even in business-to-business PR, where you’re inviting your audience to make a rational decision based on data and consensus, there’s still an emotional “kick” that your customer seeks out.

Does your audience want to feel competent and in control? Do they want to feel like a hero to the people they care about? Do they want to feel like their lives and work have greater meaning in the world? Or do they want to have fun with their friends, and your client’s branded photo-hunt sounds like a good way to pass the time? Your campaign, whether it’s run on a gaming table or across multiple media channels, must provide emotional kicks for each type of person you’re trying to reach.

Yes, you must deliver substance. But without the kick, it won’t engage or motivate.

#4: Know the mechanics. 

If you’ve never played Pathfinder Roleplaying Game, the time to learn the rules isn’t when you’re running it for your players. You want to provide them with as seamless and immersive an experience as possible—and pausing for fifteen minutes while you flip through the pages searching for a specific rule shatters that experience. You need to know at least enough to effectively accomplish what you want to do for the evening.

It’s the same with video production, SEO, Web design and the other tools of our 21st-century trade. We like to talk about how any teenager with a smartphone can potentially inspire an audience of millions. But that doesn’t mean we should outsource video work to teenagers with smartphones, or SEO to someone who’s done 15 minutes of online research on it, or Web design to someone who can “probably figure it out along the way.” Yes, expertise requires resources: time, effort and budget. But the results are worth it.

#5: Prepare to be spontaneous. 

Having to improvise in a tabletop game can be scary, whether you’re a GM or a player. But you can prepare for that moment beforehand—and it’s not as hard as it sounds. If you’re a player, you can create a character with a handful of bullet points describing their motivation and personality (“Wants to be part of a family,” “Sworn enemy of the Lich King,” “Can’t resist a wager”) that you can use as a foundation for role playing. As a GM, you can create a ready supply of named people and places for your players to encounter in the course of their adventure.

Because (post)modern PR campaigns are participatory and interactive, odds are good that you’re going to have to do some improvising along the way. Give yourself access to options and resources you can draw upon quickly if you have to make an unexpected turn. This could include everything from a video crew who can be available to shoot something at a moment’s notice, to knowing who has a subscription to a stock photo service. Plan for things to get weird. And when they do, you can act immediately.

If you’re a game enthusiast in the communications industry, what experiences have you brought with you from the table?

Thanks to Robin D. Laws and his eBook Robin’s Laws of Good Game Mastering for inspiration.

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On Beholders, and personal and communal responsibility

18 Aug

Back in 1981, I played a game of Dungeons and Dragons where a member of our party was bewitched by a Beholder.

The monster had bobbed out from behind a large rock while we were trekking across the countryside. Shortly after we approached it, the Dungeon Master rolled some dice, then leaned over and whispered into a player’s ear. Suddenly that player’s character announced that the Beholder was his best friend, and that he was going to leave the party and go off with it.

What we obviously should have done was attack the Beholder and free our companion from its evil spell. What we actually did was ask our friend whether this was really his choice. Because who were we to judge? Sure, maybe we thought that going off with an evil monster who can control minds was foolhardy and dangerous; but you can’t make life decisions for other people, right?

Our companion said that yes, he was sure he wanted to go off with the Beholder. He even became prickly over the matter and insulted us. Fine, we said. Go off with the monster. See if we care.

Our companion followed the Beholder to the other side of the large rock. A few seconds later we heard him scream. When we ran to help him we found him on the ground, near death, with a Beholder-size bite taken out of his side.

We sheepishly healed him, and resumed our journey.

The incident still troubles me. Why, even in a fantasy game, did we lack the courage to stand up for what we knew was right and help a friend who was in trouble?

Were there times when I could have helped someone avoid certain trouble, but didn’t because I was afraid to rock the boat?

I don’t know. Anyway, once, about 30 years ago, I and a bunch of other guys let someone go off with a Beholder; and we felt pretty stupid about it.

My notes from the Art of the DM panel at PAX 2008

10 Nov

Panel:
Mike someone (didn’t catch his last name or company)
Chris Perkins: Wizards Of The Coast
Chris Pramas: Green Ronin
James Wyatt: WOTC
Mark Jessup: WOTC

What do you look for when picking a DM?

Someone who listens to players, knows the rules, keeps the focus on the player. Also: has a good cloak.

Perkins: Someone who watches a lot of episodic TV.

Pramas: Need to be creative and improvisational, but also a good manager.

Wyatt: Is this someone I want to hang out with? I don’t care if the DM knows the rules. (Rejoinder from another panel member: “I do.”) We can adjudicate the rules communally.

How do you know when your players are disconnecting from the game?

Pramas: When people are bored, they become more selfish in their play. (“I go off to the tavern and start a fight.”)

Wyatt: People start stacking dice on top of each other when they’re bored.

Pramas: The backstories people create for their characters will tell you what kind of campaign they want.

How do you encourage engagement?

Jessup: Use the “say yes” rule of improvisational acting.

Mike: Talk it over beforehand. What kind of campaign do we want? Dramatic? Funny? Combat-heavy? Make it totally collaborative.

Perkins: The rules be damned — when a player wants to do something, give them a shot.

Pramas: Devise the main plot, then ideas for side stories that players can run with or not. Weave it in with characters’ individual narratives.

Wyatt: Playing D&D with my son taught me a lot about listening.

Steal ideas from your players during the game. Listen to their speculations about what is going to happen, and make that thing happen. It makes them happy because they were right.

How do you adjudicate?

Wyatt: Saying “yes” is not the same as saying “you succeed”. If you want to try something, go ahead. I used to fudge die rolls, but with 4th Edition I’m now convinced that the system’s math is robust enough that you can let the dice fall where they may.

Pramas: When the rules get in the way of the story/momentum, throw ’em out or make up a quick and dirty rule. I’ll fudge non-key die rolls. But I always roll in front of my players.

Perkins: I DM as a friend to the players, not as an opponent. I’m rooting for them to win.

Mike: I’m harsh but fair. I ask the players whether THEY want a looser or stricter game.

Do you warn players when they’re about to do something stupid?

I’ll ask, “You do realize that showing a severed head around town WILL get you arrested, right?”

(Unrelated) I do a TV-style episode recap at the beginning of each session, to get the players’ excitement up and get them back into the world. “Previously…”

Top 3 things any GM could do?

Perkins: Do funny voices. Write down which voice goes with which NPC. Cast the NPC parts with actors you like. In my campaign, all Drow speak with French accents. Keep a drawer full of maps at the ready, for when players go off on tangents. Don’t spend days developing weird details. Hand players a 3-10page description of the campaign setting beforehand.

Wyatt: Don’t over-prepare in general.

Pramas: Be prepared to change your plans.

Mike: Ask yourself why you’re a DM. Recognize that you’re there to provide a good time. Give players a good villain they can hate. Use props — I once used a plastic T-Rex from Archie McPhee.

Pramas: Actually, a lot of the original D&D monsters — like the Rust Monster — were based on Chinese toys that Gary Gygax and his friends had lying around.

Wyatt: Loot hugely. Play up the fantasy aspect of the game — blow their minds.

Pramas: Let the players DM the game once in a while. Make it a shared world. This keeps it fresh.

Perkins: Regarding villains, look for ways to demonize them and ways to humanize them. I had a villain once who was a blind female orc. Her blindness made her sympathetic, but it also conferred certain advantages — she was immune to illusions, and she could hear through players’ lies. This made her intimidating.

What do you do with a party that can’t cooperate, or argues?

Ask them, “Why are you here?” Invite that conversation. “What do we need to do?” If necessary, boot a player.

Remind them that they’re all on the same team. Everyone will get cool stuff.

Pramas: Actually, Green Ronin is doing a game based on Game Of Thrones where the players plot against each other.

Perkins: Assign minor quests to individual characters that benefit the whole party.

How do you balance fantasy and reality in the game?

Pramas: We once wrote a campaign set in the Old Testament. It was really cool, but people were put off. It didn’t sell.

Perkins proposes a campaign like Jonathan Strange and Mr. Norrell — a familiar historical setting, but you never know what’s around the corner.

How do you handle a group consisting of different types of players: actor, storyteller, instigator, power gamer?

Be patient with each other. Pretend to have fun while the others are having their turn.

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