Game Design of Powered by the Apocalypse

game_design_pbta.md

• Powered by the Apocalypse, part 1
  • Baker lay's out Apocalypse World’s philosophy and foundation, described the fit and purpose of its systems, and talked about which features are central to its workings and which aren’t.
    • The article emphasizes that Powered by the Apocalypse (PbtA) is not a single game system but an approach to game design.
    • Baker outlines the philosophy of PbtA, which is based on the idea that game design is a cycle of drafting, playing, revising, and iterating.
    • The goal of the design process is to create a playable outline of the game. The final product might be a PbtA game or something entirely different, which is deemed as a success either way.
    • The article encourages designers to trust their game and iterate on it, implying the openness of PbtA as a design philosophy
• Powered by the Apocalypse, part 2 – lumpley games
  • Baker walks through the beginnings of taking Apocalypse World’s parts and using them as the basis for a whole new game.
    • Baker discusses the "historical accidents" of the system, which are the features that have become prominent in PbtA games, even though they were initially specific to Apocalypse World.
    • He highlights three such "accidents": playbooks, the 2d6+Stat mechanism and the GM never rolls rule, and the stat highlights and marking XP.
    • Despite these features becoming common in PbtA games, the author states that these are just conventions and not rules. He encourages designers to decide whether to follow, ignore, or defy these conventions based on what best serves their game.
    • The article also presents a step-by-step process for designing a game using the PbtA approach, including identifying the game's genre, characters, their qualities, basic moves, GM stuff, and additional systems.
    • Finally, Baker suggests drafting a playable document and testing the game through play to start the iterative design cycle​
• Powered by the Apocalypse, Part 3 – lumpley games
  • Baker dives back into Apocalypse World’s basic moves. I went through them one by one to talk about how and why they work the way they do.
    • Apocalypse World introduces the concept of clarifying conflicts in addition to escalating and resolving them.
    • Apocalypse World has eight basic arenas of conflict: Honest Negotiations, Commitments & Obligations, Negotiation in Bad Faith, Implicit Threat of Violence, Explicit Threat of Violence, Outbreak of Violence, Nonviolent Physical Striving, and Weirdness.
    • These arenas of conflict are not exhaustive or definitive, and game designers can choose the arenas that suit their game's genre.
    • The principle of giving players choices when escalating conflicts is emphasized in Apocalypse World.
• Powered by the Apocalypse, Part 4 – lumpley games
  • Baker talks about playbooks, by request. What are they, do you want them in your game, and what are the alternatives?
    • Apocalypse World offers a flexible framework for designing roleplaying games, allowing creators to outline, draft, and potentially finish their own games.
    • The game design process is iterative, involving multiple cycles of play and revision to refine the game.
    • Roleplaying game characters in Apocalypse World combine fictional content and game content, with character creation involving both aspects.
    • Playbooks serve as a map for characters, outlining what needs to be established to begin play, what remains constant, what changes, and what players are playing to find out.
    • Playbooks in Apocalypse World show the character's starting point, trajectory, and possibly their ending point through the game's arenas of conflict.
    • Characters in Apocalypse World navigate conflicts and make choices that shape their trajectory, with the ultimate goal of resolving conflicts and making something of their character's world.
• Powered by the Apocalypse, part 5 – lumpley games
  • Baker taks quick aside to talk about some different ways that moves can fit into the conversation of play.
  • Apocalypse World provides a powerful and flexible framework for designing roleplaying games, allowing creators to outline, draft, and potentially finish their own games.
  • The game design process is iterative, involving cycles of play and revision to refine the game and eventually create a full draft.
  • The goal of this series is to make something playable, focusing on the initial stage of game design.
  • The article discusses the different ways moves can be integrated into the gameplay, such as "action" moves, where the player chooses the move and the character takes action to make it; "check" moves, where the character triggers the move, but the GM chooses and calls for it; and "save" moves, where the GM chooses and calls for the player to make the move regardless of the character's action.
  • Examples of moves from a fictional D&Desque adventure and monster fighting game are provided to illustrate the different types of moves and how they fit into the gameplay.
• Powered by the Apocalypse, Part 6 – lumpley games
  • Baker uses an Ursula K. LeGuin quote — you probably already know the one! — as an outline for alternative models to Apocalypse World’s model of conflict.
    • The goal is to design moves and playbooks that create emergent ways of behaving, including conflict as just one among others.
    • The focus is on creating a playable outline and quickly getting the creative vision into a playable form.
    • Apocalypse World's design is based on a model of conflict between characters, with systems and rules designed to clarify, escalate, and resolve conflicts.
    • The design of Apocalypse World fosters unity of interest between players while creating and escalating conflict of interest between their characters.
    • The article raises questions about how moves and playbooks can be designed to create emergent ways of behaving and relating, beyond conflict.
    • An example is given of the game "Under Hollow Hills," which focuses on a relationship cycle instead of implicit conflict.
    • In "Under Hollow Hills," characters are poised to give and receive, help and be helped, and change and be changed by others.
    • The game emphasizes the cycle of relationships, where characters meet, learn about each other, develop mutual understanding, make choices that change the relationship, and continue to learn and evolve through changing circumstances.
• Powered by the Apocalypse, Part 7: Q&A Round 1 – lumpley games
  • This is Part 7 of the series, which is dedicated to a straightforward Q&A session.
  • The break in Apocalypse World for the result curve is 2-6, 7-9, 10-12 instead of 2-5, 6-8, 9-12. This is because the average stat in Apocalypse World is +1, and centering the result curve on 8 instead of 7 makes the players feel above average.
  • Modifier moves, also known as setup or specialized decisions, are fine as long as they are built on the foundation of the basic moves. Different playbooks in Apocalypse World have varying numbers of modifier moves, which create unique character abilities and enhance the game experience.
  • Working on the graphic design of the character sheet and player reference material is suggested alongside game design. It helps in considering how players will encounter and interact with the game systems, and ensures that there is conceptual room for the rules based on the visual representation.
  • Violatory games, which maximize hostility among players, are discussed in terms of their impact and ethical considerations. They range from figure-out-the-rules games to addictive and exploitative games, with scratch tickets and the lottery being the most malignant.
  • When considering the arena of conflicts in a genre like sword and sorcery, there are two perspectives: the first views genre as a conceptual form with specific arenas of conflict, while the second sees genre as an accumulation of creative works that evolve and expand over time. Rather than focusing on the correct arenas of conflict, it is more important to think about what arenas of conflict can create exciting and new experiences within the genre
• Powered by the Apocalypse, Part 7: Q&A Round 2 – lumpley games
  • Baker discusses their interest in Blorb, a disciplined approach to old-school GMing that emphasizes the reality of the game world and provides constraints on the GM's improvisation​1​.
  • Baker defines Powered by the Apocalypse (PbtA) as a school of design, not limited to a single system or philosophy. PbtA is defined by a body of work that is always growing and changing. The author encourages exploring different PbtA games and seeing how they are the same or different, rather than trying to define what PbtA is​2​.
  • Baker discusses the choices players have in the lead-up to harm in PbtA games, such as deciding whether to back down or fight back when another character goes aggro. However, in the aftermath of harm, there is no explicit move that gives players a choice. The author notes that there are no mechanical penalties associated with harm unless it reaches the point of becoming untenable​3​​4​.
  • Baker acknowledges not knowing the reason why Blades in the Dark and similar games use relatively detailed settings. They speculate that the tension between the resolution rules and the game world structure may require such settings to maintain balance​5​.
  • Baker discusses the concept of "fiction first" as a guideline for PbtA moves, where fictional content triggers the move. They consider the benefits and drawbacks of breaking from this guideline in certain cases
• Powered by the Apocalypse, Part 7: Q&A Lightning Round! – lumpley games
  • PbtA is considered suitable for any media genre, including superheroes, science fiction, and horror, among others.
  • The most common question about PbtA is permission to use the PbtA logo in new games.
  • The designer enjoys when the unique vision of a game's creator shows through in PbtA games.
  • Pre-defined maps, tokens, and assets for PbtA games are acceptable and can enhance the experience when used thoughtfully.
  • Advanced moves in PbtA games are meant to help bring the game to an end.
  • The system's biggest weakness is that it encourages creating new games rather than adapting or expanding existing ones.
  • There is no fixed number of moves in a PbtA game; it depends on the game's needs.
  • It is considered a real session of PbtA even if the MC has prepared a backstory beforehand, as long as they don't prepare a storyline going forward from the start of play.
  • The apocalypse produces power through psychic brain energy.
• Powered by the Apocalypse, Part 7: Q&A Round 4 – lumpley games
  • GM advice: PbtA advice, principles, and moves vary between games. A mix of general advice, principles, and moves, along with specific ones tailored for a particular game, is recommended. Reading each game's GM section carefully can help understand the differences between games.
  • Handling scale: The post-apocalypse genre often calls for characters operating at different scales, such as immediate, short-term, long-term, personal, interpersonal, and communal. To handle this, game designers should be intentional with their underlying model, ensuring characters' contributions build on each other and creating moves that switch and refocus between scales.
  • Playbook design: The author constantly brainstorms lists of playbooks, selecting ones that speak to them at any given time. Developing the core idea of a playbook into moves and other elements involves brainstorming and refining ideas. The author typically works on multiple playbooks at once and finalizes them only after all have been completed.
  • Power dynamics: To help players feel in control of their characters, the author recommends familiarizing new players with their moves and having them use the moves explicitly by name. This approach aims to give players informed, explicit, and reliable control over their characters' actions and consequences.
  • He emphasizes the importance of knowing as much as possible about a game and its audience before playtesting. He shares his own playtesting timeline, which involves several steps and gradual improvements to the game.
  • Baker discusses when to use abstract resources versus descriptive mechanics, suggesting that abstract resources are useful for bridging gaps between descriptive mechanics when cause and effect aren't immediate.
  • He explains how Apocalypse World fosters both alignment and conflict among characters, resulting in a dynamic play experience.
  • Baker acknowledges that some question-based moves can be difficult to reconcile with character knowledge, but he focuses on providing players with information they need to make good decisions.
  • He differentiates between agendas, rules, and principles for GMs, explaining that agendas are always pursued, rules are always followed when applicable, and principles provide guidance on how to achieve agendas within the rules.
  • Baker provides examples from his games to explore the idea of incorporating players' imaginations into play without direct communication.
  • Lastly, he discusses the ongoing impact of PbtA on game design, suggesting that its legacy is still actively being created as it continues to influence new designs and reach new audiences.
• Powered by the Apocalypse, Part 8: 6 Tricks for Drafting Moves – lumpley games
  • These tricks serve as guidelines for drafting effective moves in Powered by the Apocalypse games, enhancing player engagement and contributing to a cohesive and enjoyable gameplay experience
    1. The Moving Target: Moves should be open to iteration and revision based on playtesting and player feedback.
    2. Fictional Alignment: Moves should align with the fictional positioning of the characters and the world, considering the narrative context of the game.
    3. Explicit Consequences: Clearly define the consequences of success and failure for each move to guide player actions and decision-making.
    4. Trigger Transparency: Make the trigger of the move transparent and easily recognizable to the players, ensuring clarity on when the move is triggered.
    5. Focus, Focus, Focus: Keep moves focused and concise, avoiding unnecessary complexity or excessive detail.
    6. Involve the Player: Allow players to make meaningful choices and decisions through the moves, empowering them to shape the narrative.
• Apocalypse World: Custom Advancement – lumpley games
  • Players can play the same playbook potentially forever by creating custom moves for advancement.
  • Custom moves only need to work for the specific player and character, not across different groups or games.
  • Apocalypse World characters have three experience levels, each corresponding to a level of influence in their world.
  • Custom advancements can be based on any rule or subsystem in Apocalypse World, with original limits no longer applicable.
  • Custom moves don't have to be bound by conventional move structures or call for a roll.
  • Custom moves can refer directly to characters and events in the game.
  • Aim to create custom advancements that both the MC and players would like to see in play.
  • Examples of custom advancements include taking over another hardhold, controlling drug and med traffic, developing a powerful reputation, discovering mysteries of the past, and constructing watchtowers.
  • Keep in mind the increasing scale of character influence, and as an MC, think one step bigger when creating custom advances.