I am making a casino in a multilayer server and I don't have any idea what to build. I will have slot machines and the table thing with red and black but idk what else or what interior to make. That is it of the the help part and the games don't need to be made by Redstone.

TL;DR
I created a laundry list of high-level tenets that drive the game design of specific genre I coined the World game based on Brad's famous quote. These aim to be applicable to any game that would scratch my old school MMO itch.
What tenets would you choose?
Preamble
The MMO community is, to some degree, divided by the different expectations and desires of its player base. Even an MMORPG can mean so many things to so many different people. I wanted to get to the root of what a good MMO is to me, and in the process, I found that the ambiguous label of MMO is likely getting in the way.
Passionate players across the board seem to complain about the same issues. Ease of difficulty. Cash shops. Single-player focus. Theme park design. Players of these games either leave the genre, ultimately disenchanted with the thin veil over Skinner box design, or they continue to search for something better, because they know it is possible. Maybe this is intentional. Developers piggy back on the MMO genre to hook the player-base before extracting as much as they can from the whales in their glorified casino.
So, here, I present the tenets of a specific game genre: the World genre. The focus on world over game is not a new idea. Brad McQuad famously said, “I want to make worlds, not games.” That focus can be seen right there in the name of Visionary Realms. And without the right language to describe what we are after, the community is continually bit by games that fit the abstract label but disappoint in the details.
The goal with these tenets isn’t to create a template so much as it is to create rough guidelines. In fact, these guidelines probably wouldn’t do a game designer much good in creating a solid design. But they should help in evaluating different options and validating an existing design. Certainly, none of the tenets get as specific as the theme or even the existence of combat. They should apply equally well to a game set in feudal Japan, The Sims Online, or the next zombie apocalypse.
Some tenets are broad, while others more specific. Some tenets are rigid, others more malleable. Some tenets are critical pillars of the genre, while others are less important. Tenets frequently conflict, creating tension.
A note on intuition
The tenets below are driven by the principle that they should be intuitive. The World genre is trying to capture something deeply human, buried in our brains because of the way we have interacted with ourselves, each other, society, and our planet over millennia of evolution. There is no right or wrong answer. When in doubt, we err on the side of realism.
A note on ownership
Establishing reasonably prescriptive tenets on the World and gameplay highlights the necessity of strong ownership and vision for this style of game. This is particularly true given that many of these tenets go explicitly against what makes a great game in general. For example, how many games would actually benefit from less player matchmaking? This also does not lend itself well to player-generated content, where those tenets can be easily violated.
The tenets of immersion
TENET 1 The player should be directly represented in the World
The World genre requires the player to form a direct relationship with the World, not with the character. This is a key difference between Eastern of Western RPGs (both of which I love) and so this may be controversial. The player should be able to insert themselves into their avatar. On the flip-side, it precludes certain mechanics, such as squad-based designs.
TENET 2 The World should be realistic in both form and function
That is, the World should minimize the need for suspension of disbelief. It should pull the player in naturally. I have always felt conflicted by WoW’s appearance. I absolutely loved the cell-shaded look of Wind Waker, but instinctually disliked the cartoon-like nature of WoW. This goes back to immersion. That doesn't mean the visuals have to be photorealistic. They just have to pull you in. It may be possible to get around this through the setting. For example, if the setting is a digital afterlife, you may be able to get away with a more abstract appearance.
TENET 3 The player and World should interface only through the player character
The player should only be able to influence the World through their character. And the World should only be able to influence the player through the character. This means, respectively, no cash shops and a first-person camera. It also means no GPS — unless, of course, the setting supports it. Taken to an extreme, this precludes voice chat, at least without something like racial voice filters.
TENET 4 The player should directly engage with the World around them
The key here is “direct”. No minimaps, no waypoints, no fast travel. Of course, these are not absolute deal-breakers. The key is that the player is able to establish a connection with the World around them. The player should, over the course of the game, develop a strong mental model of the World and its relation to their character.
The tenets of freedom
TENET 5 The player should not be assigned a story
The World itself can (and should!) have a story to tell. But the player character’s story should be their own. The player must have the freedom to make their own place within the World, eschewing the rails that a story provides. Side quests are lesser evils, but still evils. The more choice the better.
TENET 6 The player should be able to pursue multiple forms of progression
The choice should not just be in how to progress. It should be in which ways to progress. The most obvious example is crafting, but this can also include loot, skills, the economy, faction, or even — maybe most importantly — growing in strategy and skill.
TENET 7 The World should be demanding, but not prescriptive
This is an extension of the idea of a lack of story. If the game is too prescriptive, it becomes a job. A chore. To combat this phenomenon, the player needs significant choice at all times. This may, in fact, be the primary draw of the World genre: to provide an environment where players are purely driven by their own will. It is equally important to avoid visibly and overtly influencing the player’s decisions. The player’s incentives and motivating factors should be an organic part of the World. No daily XP boosts, for example. Alternate forms of progression can help here, because even once a player is motivated to progress, they have the choice of which dimension of progress to pursue.
TENET 8 The World should encourage downtime
The player should not feel compelled to move forward at all times. There should be joy simply in existing in the World, experience it moment to moment. Even better, progression itself can require downtime; this is related to the notion that players should be encouraged to play any game in the most fun way possible. This can be accomplished with world design, such as guard-protected cities or social taverns, or mechanics, such as fishing, firework shows, and waiting in queue for a boat. This is effectively the white space of gameplay. And it is all but lost in modern MMOs.
TENET 9 The World should be dangerous
Choice is meaningless without consequence. With real, negative consequence, comes danger. This not only gives weight to the player’s decisions, but also helps to establish the intricate give-and-take relationship between the World and the player. Looking at you, death penalty. If a World game is about finding your place within that world, then danger and risk makes this a meaningful pursuit. If that tension between risk and reward does not exist, even at the start of the journey, it undermines those goals. Note that this is different than challenge — and challenge itself is not enough.
TENET 10 Players should be encouraged to explore the World
This doesn't mean that players are constantly seeking some never-before-seen point of interest, but it does mean that players get out and move. In other words, the world provides resources across its footprint, and you must seek those out. Most forms of progression should require you to get out and explore. This also does not necessitate baubles scattered around the landscape to find.
The tenets of impact
TENET 11 The player’s actions should be worn like a badge
You should be a product of your choices. Your reputation, gear, and skills should tell a story about where you have been and what you have accomplished. Your spoken languages can tell a story of what cities you have spent the most time in. As you spend time in different climates, you may develop a natural acclimation to those environments. Imagine you walk into town and one of the NPC gnomes recognizes the scent of the nearby crystal caverns you have been exploring. This is interesting because it relates to life; the player’s accomplishments should come with artifacts. This also means that auction houses should be limited, as they create an artificial divide between adventure and outcome.
TENET 12 Players should have something unique to offer
The ways that a player can help others in their progression should be relatively unique to that player. As much as possible, they should tell a story about adventures undertaken; e.g., a proc from an item dropped by a famous mob. Of course, classes and class-specific skills are one way to accomplish this, but the more ways the better. For example, if one form of progression is fishing, then fish should be useful to others in many ways. A cooking skill is obvious. More creatively, certain kinds of fish could be used as powerful but low-level weapons. A butcher could extract gills or eyes to, in turn, be used as reagents for spells.
TENET 13 There should be no end game
Even the name “end game” is problematic for several reasons. It suggests a hard limit to progression. It suggests a hard divide in the way the World is experienced once the player reaches this limit. It also suggests that the focus is no longer on the World, but on the game — which is to say, the core promise of the genre is lost. This doesn’t mean to eliminate raids or AA points. It just means that those things should be included in the game proper. This tenet also implies that progression should be relatively limitless. Skyrim is an interesting example of this. One way to accomplish this is to create exponential progress; for example, having each level take 10% more experience than the last. Granted, this is a much harder problem than the simple discussion here suggests.
TENET 14 The player should leave a mark on the World itself
Can a World be meaningful if there is no way to make an impact on it? Of course, their character is one such mark. It is easy to imagine statues erected in town, or NPCs chatting about the first character to hit max level. But there should be a means for all characters to leave some lasting impact. Given that players can already say whatever they want in chat, breaking immersion, a simple example is the ability to leave a journal. These could even be curated. Other possibilities include geocaching, naming items, plaques that can be erected in various places throughout the world. Player-owned housing is perhaps the most obvious.
TENET 15 Power, fame, and fortune must be possible
A world game should be able to provide all three of these drivers. As with reality, these should not be the only reason to play. Fame is largely supported by communication; fortune by economy and loot. Power can be found even outside the game, in the player’s mind, as they grow in skill and strategy.
TENET 16 The player should have a home
Can you have a world without a home? Some place in the world should feel like your own. Where even the NPCs tend to be supportive of you: merchants give discounts and trainers more assistance. This could simply be your birthplace, your hometown.
The tenets of socialization
TENET 17 There must be no explicit matchmaking
Players must find each other. In fact, a World game should ideally employ the opposite of matchmaking: some players should have barriers preventing that connection. This makes it all the more meaningful when these seemingly unlikely relationships form. There are many ways to accomplish this, including separating players by distance or climate or language. Allowing certain players to engage in PvP is another.
TENET 18 There should be risk in trusting others
Trust can only exist when that trust can be violated. Otherwise there is no trust — just a cold, lack of consequence. By allowing negative consequences through socialization, we enable trust, and so enable more meaningful relationships. For example, a player might grief the group, log out at the wrong time, or simply lack the skill to effectively play their character. They might steal your loot.
TENET 19 Players must be able to communicate with language
The purpose of having a World is to allow the player to tell their own story within it. And what story is worth telling that doesn’t involve real connection with others? Connection with others requires communication. And not just any form of communication, but with language. This communication should extend throughout the game, as much as possible. That is, it should be limited to the tavern, but should naturally extend out to the dungeon as well.
TENET 20 Players should be able to help each other organically
Those that have the means to help should find themselves naturally in proximity to those that might need it. For example, have high-level dungeon entrances in low-level areas. Have new characters start out near big cities.
TENET 21 Cooperation should generally benefit progression
For example, a blacksmith could gather all of her own materials or rely on other players. In some cases, a blacksmith might actually require an enchanter to lend a hand in creating the best equipment. This is not a difficult tenet to design towards; it is more a warning against designing forms of progression that specifically do not lend themselves to cooperation. In many MMOs, solo combat is so fast-paced and rewarding that there is little incentive to try to find a group.
The tenets of the World itself
TENET 22 The World should be persistent
Things can change, but not so frequently that it harms the connection the player has with the World. This is one reason why Minecraft may not work as a World game, and perhaps one reason why the focus on player-generated content in EverQuest Next did not lend itself well to a fun experience.
TENET 23 The World should be shared
There should be no instancing. If you need to come up with elaborate lore and mechanics to facilitate this, then so be it. For example, say all of the top tier raid bosses are spirits that can only be summoned by rare relics. And the spirits can only be hurt by those that share a clan sash with the one who summoned them. Obviously this is terribly contrived. But it demonstrates that it is possible to work backwards from the need of a shared world.
TENET 24 The World should be big
You should move slowly compared to the size of the world. It should always feel as though there is somewhere new to explore.
TENET 25 The World should be open
Big by itself is not enough. Theoretically, you could create a massive, linear world — imagine Ant Hill: The MMO. But that is not sufficient for a World game. Exploration is critical, and so the specific layout of the space is important. For another example, imagine Destiny but with hundreds of expansions. The game would be large by any standard, but it would not be a World.
TENET 26 The World should be alive
To some degree, the World should be the main character. Day and night cycles are a simple start. Other possibilities include transient events or even changes to the landscape over time. The World should be full of surprises, unpredictable. You should come across enemies not normally found in the local climate. You should discover loot normally reserved for much tougher mobs. Emergent gameplay can help here as well. The more mechanics and attributes that can be projected naturally to some underlying physics, the greater the chance for interesting and unique interactions. In the same breath, the World should have history. The best example of this is Hollow Knight, a game that tells the history of the World through visual storytelling, environments, enemy design, dialog, secrets, and journals.
TENET 27 The World should be consistent
The World should carry an underlying consistency through it. The World should feel congruent. Variety, also important, must be tempered.
TENET 28 The World should be varied
Different places within the World should have an identity of their own, through climate or culture or environment. Different environments should encourage different play styles and behavior, even downtime.
TENET 29 The World should have landmarks
The World should be defined by the interesting places within it. More than that, the World should have locations that pull players together. Breath of the Wild does an amazing job with this, whereas it is one of the weaknesses of The Witcher III. In EverQuest, the camps themselves often serve this role — think Treants — showing how landmarks can emerge from gameplay rather than, say, visual interest.

The promise of Grand Theft Auto: Online is an intoxicating one. GTAV’s world remains one of, if not the most remarkable in gaming history, and the idea that you and a group of friends can team up and wreak havoc upon that world seems too good to be true.
To some extent, it is too good to be true. GTAO suffers from a myriad of technical issues and limitations, including ridiculous loading times, crashes, game-breaking glitches, and terrible anti-cheat. It’s like a complicated, unwieldy machine with hundreds of unseen components. If it fails, your only two options are to start from scratch, or give up.
But when it all comes together, when you finally find your friends after five minutes of loading screens and ten minutes of yelling at each other on Discord to “go here”, the experience is unparalleled. The first few hours we spent roaming the world were violent co-op magic, like a depraved, extravagant Scorcese montage with a body count that would turn eyes at the ICJ. We did missions, did drugs, blew things up, got haircuts, bought clothes, bought cars, stole cars, shot police, shot pedestrians, and of course, shot each other. Being homebound due to Covid, our at-first daily, then weekly GTA sessions kept us connected, the first time a game had done so since our short-lived Minecraft phase in March of last year.
But yesterday, as we failed the same section of the Diamond Casino Heist for about the twentieth time, one of my friends broke the silence. “Is anyone having fun?”
Several months ago, I posted a rant on this subreddit about the singleplayer, bemoaning its weak story, poor gunplay, unnoticeable progression, and surprisingly empty open-world. I stand by what I wrote, perhaps even more so now that I see how much more compelling GTAV could have been if it had included online’s heists, vehicles, and properties as DLC.
That said, online is not without fault. While there’s a massive catalogue of things to buy, the grinding necessary to purchase these things is awful, making even Cookie Clicker feel productive. GamesRadar says the Heists, which themselves require expensive properties and a substantial initial investment to initiate, net you about 400k an hour, which isn’t all that much considering how much vehicles and properties cost.
We realized early on that the disparity between GTAO’s prices and its payouts was a manufactured pain point, the remedy being the game’s overpriced Shark Cards. Rather than dig out our wallets, we abided by GTA’s longstanding moral tradition and hacked ourselves enough money to buy every car, every property, and every weapon in the game. But even without the grind to worry about, GTAO had no qualms with wasting our time. The loading screens are the most obvious example of this, but these are, I believe, unavoidable given the scope of what you’re loading into. Where it’s less forgivable is in the tedious minutiae and the absence of systems that should be present.
The more we played, the more frustrated I became. Why can I only fast travel to my properties as a CEO? Why can’t I claim all destroyed vehicles at once? Why can’t I skip these stupidly long cutscenes? Why do I have to wait to spawn in a vehicle? In a way, it makes the same mistake as its singleplayer counterpart. Though it has incredible setpieces that you won’t find in any other game, the vast majority of your time is spent preparing for them.
I don’t believe games should have infinite longevity, so I don’t fault GTAO for losing its sheen after eighty-some hours. Overall, I had a good time. Tearing through hordes of cops in a pink Insurgent. The terrific Pacific Standard Heist. Getting picked up by my friend in a disgusting anime car that he claimed wasn’t his. Being repeatedly stalked and kidnapped over the course of several weeks by a hacker named “JOE BIDEN” who’d drive me around the map at light speed and drop boats on my head as I’d try to flee. And above all, having the opportunity to hang out with my friends during a pandemic. These are all experiences I’ll remember.
The hours I spent in loading screens, driving from one side of the map to the other for the hundredth time, and listening to Lester talk about skinny dipping? I’ll remember those too, though nowhere near as fondly.

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trap,sky,cheese,vine,clown,catfish,snowman,bowl,waffle,vegetable,hook,shadow,dinosaur,lane,dance,scarf,cabin,Tweety,bookshelf,swordfish,skyline,base,straw,biscuit,Greece,bleach,pepper,reflection,universe,skateboarder,triplets,gold chain,electric car,policeman,electricity,mother,Bambi,croissant,Ireland,sandbox,stadium,depressed,Johnny Bravo,silverware,raspberry,dandruff,Scotland,comic book,cylinder,Milky Way,taxi driver,magic trick,sunrise,popcorn,eat,cola,cake,pond,mushroom,rocket,surfboard,baby,cape,glasses,sunburn,chef,gate,charger,crack,mohawk,triangle,carpet,dessert,taser,afro,cobra,ringtone,cockroach,levitate,mailman,rockstar,lyrics,grumpy,stand,Norway,binoculars,nightclub,puppet,novel,injection,thief,pray,chandelier,exercise,lava lamp,lap,massage,thermometer,golf cart,postcard,bell pepper,bed bug,paintball,Notch,yogurt,graffiti,burglar,butler,seafood,Sydney Opera House,Susan Wojcicki,parents,bed sheet,Leonardo da Vinci,intersection,palace,shrub,lumberjack,relationship,observatory,junk food,eye,log,dice,bicycle,pineapple,camera,circle,lemonade,soda,comb,cube,Doritos,love,table,honey,lighter,broccoli,fireplace,drive,Titanic,backpack,emerald,giraffe,world,internet,kitten,volume,Spain,daughter,armor,noob,rectangle,driver,raccoon,bacon,lady,bull,camping,poppy,snowball,farmer,lasso,breakfast,oxygen,milkman,caveman,laboratory,bandage,neighbor,Cupid,Sudoku,wedding,seagull,spatula,atom,dew,fortress,vegetarian,ivy,snowboard,conversation,treasure,chopsticks,garlic,vacuum,swimsuit,divorce,advertisement,vuvuzela,Mr Bean,Fred Flintstone,pet food,upgrade,voodoo,punishment,Charlie Chaplin,Rome,graduation,beatbox,communism,yeti,ear,dots,octagon,kite,lion,winner,muffin,cupcake,unicorn,smoke,lime,monster,Mars,moss,summer,lollipop,coffin,paint,lottery,wife,pirate,sandwich,lantern,seahorse,Cuba,archer,sweat,deodorant,plank,Steam,birthday,submarine,zombie,casino,gas,stove,helmet,mosquito,ponytail,corpse,subway,spy,jump rope,baguette,grin,centipede,gorilla,website,text,workplace,bookmark,anglerfish,wireless,Zorro,sports,abstract,detective,Amsterdam,elevator,chimney,reindeer,Singapore,perfume,soldier,bodyguard,magnifier,freezer,radiation,assassin,yawn,backbone,disaster,giant,pillow fight,grasshopper,Vin Diesel,geyser,burrito,celebrity,Lasagna,Pumba,karaoke,hypnotize,platypus,Leonardo DiCaprio,bird bath,battleship,back pain,rapper,werewolf,Black Friday,cathedral,Sherlock Holmes,ABBA,hard hat,sword,mirror,toilet,eggplant,jelly,hero,starfish,bread,snail,person,plunger,computer,nosebleed,goat,joker,sponge,mop,owl,beef,portal,genie,crocodile,murderer,magic,pine,winter,robber,pepperoni,shoebox,fog,screen,son,folder,mask,Goofy,Mercury,zipline,wall,dragonfly,zipper,meatball,slingshot,Pringles,circus,mammoth,nugget,mousetrap,recycling,revolver,champion,zigzag,meat,drought,vodka,notepad,porcupine,tuba,hacker,broomstick,kitchen,cheesecake,satellite,JayZ,squirrel,leprechaun,jello,gangster,raincoat,eyeshadow,shopping,gardener,scythe,portrait,jackhammer,allergy,honeycomb,headache,Miniclip,Mona Lisa,cheetah,virtual reality,virus,Argentina,blanket,military,headband,superpower,language,handshake,reptile,thirst,fake teeth,duct tape,macaroni,color-blind,comfortable,Robbie Rotten,coast guard,cab driver,pistachio,Angelina Jolie,autograph,sea lion,Morse code,clickbait,star,girl,lemon,alarm,shoe,soap,button,kiss,grave,telephone,fridge,katana,switch,eraser,signature,pasta,flamingo,crayon,puzzle,hard,juice,socks,crystal,telescope,galaxy,squid,tattoo,bowling,lamb,silver,lid,taxi,basket,step,stapler,pigeon,zoom,teacher,holiday,score,Tetris,frame,garden,stage,unicycle,cream,sombrero,error,battle,starfruit,hamster,chalk,spiral,bounce,hairspray,lizard,victory,balance,hexagon,Ferrari,MTV,network,weapon,fist fight,vault,mattress,viola,birch,stereo,Jenga,plug,chihuahua,plow,pavement,wart,ribbon,otter,magazine,Bomberman,vaccine,elder,Romania,champagne,semicircle,Suez Canal,Mr Meeseeks,villain,inside,spade,gravedigger,Bruce Lee,gentle,stingray,can opener,funeral,jet ski,wheelbarrow,thug,undo,fabulous,space suit,cappuccino,Minotaur,skydiving,cheerleader,Stone Age,Chinatown,razorblade,crawl space,cauldron,trick shot,Steve Jobs,audience,time machine,sewing machine,face paint,truck driver,x-ray,fly,salt,spider,boy,dollar,turtle,book,chain,dolphin,sing,milk,wing,pencil,snake,scream,toast,vomit,salad,radio,potion,dominoes,balloon,monkey,trophy,feather,leash,loser,bite,notebook,happy,Mummy,sneeze,koala,tired,sick,pipe,jalapeno,diaper,deer,priest,youtuber,boomerang,pro,ruby,hop,hopscotch,barcode,vote,wrench,tissue,doll,clownfish,halo,Monday,tentacle,grid,Uranus,oil,scarecrow,tarantula,germ,glow,haircut,Vatican,tape,judge,cell,diagonal,science,mustard,fur,janitor,ballerina,pike,nun,chime,tuxedo,Cerberus,panpipes,surface,coal,knot,willow,pajamas,fizz,student,eclipse,asteroid,Portugal,pigsty,brand,crowbar,chimpanzee,Chuck Norris,raft,carnival,treadmill,professor,tricycle,apocalypse,vitamin,orchestra,groom,cringe,knight,litter box,macho,brownie,hummingbird,Hula Hoop,motorbike,type,catapult,take off,wake up,concert,floppy disk,BMX,bulldozer,manicure,brainwash,William Wallace,guinea pig,motherboard,wheel,brick,egg,lava,queen,gold,God,ladder,coin,laptop,toaster,butter,bag,doctor,sit,tennis,half,Bible,noodle,golf,eagle,cash,vampire,sweater,father,remote,safe,jeans,darts,graph,nothing,dagger,stone,wig,cupboard,minute,match,slime,garage,tomb,soup,bathroom,llama,shampoo,swan,frown,toolbox,jacket,adult,crate,quill,spin,waiter,mint,kangaroo,captain,loot,maid,shoelace,luggage,cage,bagpipes,loaf,aircraft,shelf,safari,afterlife,napkin,steam,coach,slope,marigold,Mozart,bumper,Asterix,vanilla,papaya,ostrich,failure,scoop,tangerine,firefly,centaur,harbor,uniform,Beethoven,Intel,moth,Spartacus,fluid,acid,sparkles,talent show,ski jump,polo,ravioli,delivery,woodpecker,logo,Stegosaurus,diss track,Darwin Watterson,filmmaker,silence,dashboard,echo,windshield,Home Alone,tablecloth,backflip,headboard,licorice,sunshade,Picasso,airbag,water cycle,meatloaf,insomnia,broom,whale,pie,demon,bed,braces,fence,orange,sleep,gift,Popsicle,spear,zebra,Saturn,maze,chess,wire,angel,skates,pyramid,shower,claw,hell,goal,bottle,dress,walk,AC/DC,tampon,goatee,prince,flask,cut,cord,roof,movie,ash,tiger,player,magician,wool,saddle,cowboy,derp,suitcase,sugar,nest,anchor,onion,magma,limbo,collar,mole,bingo,walnut,wealth,security,leader,melt,Gandhi,arch,toy,turd,scientist,hippo,glue,kneel,orbit,below,totem,health,towel,diet,crow,addiction,minigolf,clay,boar,navy,butcher,trigger,referee,bruise,translate,yearbook,confused,engine,poke,wreath,omelet,gravity,bride,godfather,flu,accordion,engineer,cocoon,minivan,bean bag,antivirus,billiards,rake,cement,cauliflower,espresso,violence,blender,chew,bartender,witness,hobbit,corkscrew,chameleon,cymbal,Excalibur,grapefruit,action,outside,guillotine,timpani,frostbite,leave,Mont Blanc,palette,electrician,fitness trainer,journalist,fashion designer,bucket,penguin,sheep,torch,robot,peanut,UFO,belt,Earth,magnet,dragon,soccer,desk,search,seal,scribble,gender,food,anvil,crust,bean,hockey,pot,pretzel,needle,blimp,plate,drool,frog,basement,idea,bracelet,cork,sauce,gang,sprinkler,shout,morning,poodle,karate,bagel,wolf,sausage,heat,wasp,calendar,tadpole,religion,hose,sleeve,acorn,sting,market,marble,comet,pain,cloth,drawer,orca,hurdle,pinball,narwhal,pollution,metal,race,end,razor,dollhouse,distance,prism,pub,lotion,vanish,vulture,beanie,burp,periscope,cousin,customer,label,mold,kebab,beaver,spark,meme,pudding,almond,mafia,gasp,nightmare,mermaid,season,gasoline,evening,eel,cast,hive,beetle,diploma,jeep,bulge,wrestler,Anubis,mascot,spinach,hieroglyph,anaconda,handicap,walrus,blacksmith,robin,reception,invasion,fencing,sphinx,evolution,brunette,traveler,jaguar,diagram,hovercraft,parade,dome,credit,tow truck,shallow,vlogger,veterinarian,furniture,commercial,cyborg,scent,defense,accident,marathon,demonstration,NASCAR,Velociraptor,pharmacist,Xerox,gentleman,dough,rhinoceros,air conditioner,poop,clock,carrot,cherry,candle,boots,target,wine,die,moon,airplane,think,pause,pill,pocket,Easter,horse,child,lamp,pillow,yolk,potato,pickle,nurse,ham,ninja,screw,board,pin,lettuce,console,climb,goose,bill,tortoise,sink,ski,glitter,miner,parrot,clap,spit,wiggle,peacock,roll,ballet,ceiling,celebrate,blind,yacht,addition,flock,powder,paddle,harpoon,kraken,baboon,antenna,classroom,bronze,writer,Obelix,touch,sensei,rest,puma,dent,shake,goblin,laundry,cloak,detonate,Neptune,cotton,generator,canary,horsewhip,racecar,Croatia,tip,cardboard,commander,seasick,anthill,vinegar,hippie,dentist,animation,Slinky,wallpaper,pendulum,vertical,chestplate,anime,beanstalk,survivor,florist,faucet,spore,risk,wonderland,wrestling,hazelnut,cushion,W-LAN,mayor,community,raisin,udder,oyster,sew,hazard,curry,pastry,mime,victim,mechanic,hibernate,bouncer,Iron Giant,floodlight,pear,sad,paw,space,bullet,skribbl.io,shirt,cow,worm,king,tea,truck,pants,hashtag,DNA,bird,Monster,beer,curtain,tire,nachos,bear,cricket,teapot,nerd,deaf,fruit,meteorite,rice,sniper,sale,gnome,shock,shape,alligator,meal,nickel,party,hurt,Segway,Mr. Bean,banker,cartoon,double,hammock,juggle,pope,leak,room,throne,hoof,radar,wound,luck,swag,panther,flush,Venus,disease,fortune,porch,machine,pilot,copper,mantis,keg,biology,wax,gloss,leech,sculpture,pelican,trapdoor,plague,quilt,yardstick,lounge,teaspoon,broadcast,uncle,comedian,mannequin,peasant,streamer,oar,drama,cornfield,carnivore,wingnut,vent,cabinet,vacation,applause,vision,radish,picnic,Skrillex,jester,preach,armadillo,hyena,librarian,interview,sauna,surgeon,dishrag,manatee,symphony,queue,industry,Atlantis,excavator,canister,model,flight attendant,ghost,pig,key,banana,tomato,axe,line,present,duck,alien,peas,gem,web,grapes,corn,can,fairy,camel,paper,beak,corner,penny,dig,link,donkey,fox,rug,drip,hunter,horn,purse,gumball,pony,musket,flea,kettle,rooster,balcony,seesaw,stork,dinner,greed,bait,duel,trap,heist,origami,skunk,coaster,leather,socket,fireside,cannon,ram,filter,alpaca,Zelda,condiment,server,antelope,emu,chestnut,dalmatian,swarm,sloth,reality,Darwin,torpedo,toucan,pedal,tabletop,frosting,bellow,vortex,bayonet,margarine,orchid,beet,journey,slam,marmalade,employer,stylus,spoiler,repeat,tiramisu,cuckoo,collapse,eskimo,assault,orangutan,wrapping,albatross,mothball,evaporate,turnip,puffin,reeds,receptionist,impact,dispenser,nutshell,procrastination,architect,programmer,bricklayer,boat,bell,ring,fries,money,chair,door,bee,tail,ball,mouse,rat,window,peace,nut,blush,page,toad,hug,ace,tractor,peach,whisk,hen,day,shy,lawyer,rewind,tripod,trailer,hermit,welder,festival,punk,handle,protest,lens,attic,foil,promotion,work,limousine,patriot,badger,studio,athlete,quokka,trend,pinwheel,gravel,fabric,lemur,provoke,rune,display,nail file,embers,asymmetry,actor,carpenter,aristocrat,Zuma,chinchilla,archaeologist,apple,hat,sun,box,cat,cup,train,bunny,sound,run,barrel,barber,grill,read,family,moose,boil,printer,poster,sledge,nutmeg,heading,cruise,pillar,retail,monk,spool,catalog,scuba,anteater,pensioner,coyote,vise,bobsled,purity,tailor,meerkat,weasel,invention,lynx,kendama,zeppelin,patient,gladiator,slump,Capricorn,baklava,prune,stress,crucible,hitchhiker,election,caviar,marmot,hair roller,pistol,cone,ant,lock,hanger,cap,Mr. Meeseeks,comedy,coat,tourist,tickle,facade,shrew,diva,patio,apricot,spelunker,parakeet,barbarian,tumor,figurine,desperate,landlord,bus,mug,dog,shark,abyss,betray

I don't really think this topic is a big deal. I'm risking some braincells just by putting my thoughts on reddit, but I still think it's worth it. This is all opinion and conjecture, don't crucify me.
I'm watching the stream, and what Ludwig doesn't seem to understand is the "meat and potatoes" section of his content, in the old Ludwig era, used to still be personalized by him. Even though the tik tok reacts were unoriginal af, he span his own jokes out of it. His Among us, and Rust stuff... It's mentioned all the time, but that's because that content has reached popular culture teir; poisoned by the mainstream... That's the difference between the new and old Ludwig. The more he engages with oversaturated ideas, we lose that unexplainable "Ludwig spice" that existed in the meat and potatoes of the oldwig era. I'll have to give it to Ludwig, his innovation in Minecraft with the casino was definitely something he doesn't get enough credit for.

Hello folks,
For my research analysis and writing class my professor let me pick any topic I want. (her mistake) So for my final term paper I chose to come up with a method of determining a guide to the use of the "rule of cool." I got a A on the paper so I figured I'd share it with you fine folks as well. It is rather lengthy so I've included the abstract first. The 8 tips for dungeon masters is near the end (third session), the first and second parts deal more with the philosophical and ethics of games. So, if situational ethics and a discussion on the Mechanics, Dynamics, and Aesthetics of Play are of use for you, be my guess.
I am a relatively new DM so I spent a long time researching and trying to absorb what would make me a "good DM". With that cavate please keep in mind I know next to nothing compared to a vast majority of the DMs here. I can think of no place better to have this paper peer-reviewed, picked apart and "rebutalled" to death than here. If you feel offended, challenged, or angry reading this... Please understand I am a moron borrowing the works and words of far smarter people. If you feel that "this is the WAY" again... I am a moron... so ... with out further ado.

Abstract:

The choice to be a stringent rule-follower without leniency using fanatical legalism in a game can be a source of contention between someone acting as a referee and/or “Game Master” and players of a game. Likewise, to approach games with a sense of fanatical antinomianism, or to completely ignore the rules and simply let players do whatever they want, tends to offer no challenge, and or reason to play that specific game. Using ethical theory frameworks such as situational ethics, natural law, and utilitarianism this paper seeks find the philosophical principles of what moments are acceptable and actually beneficial to bend the rules of a game. As such, it is important to define games, briefly discuss why games are played, and roles rules have on games. The game Dungeons and Dragons 5th edition will be used as the principal example. With “rule for rules” established, seven tips on how to implement it this rule using advice and guidance from some of the most well known “Dungeon Masters” in the modern era will be provided.
Much of this paper relies on the works of Joseph Fletcher, Sheila Murphy; Benard Suits, Robin Hunicke, Marc LeBlanc, and Robert Zubek for the ethical and philosophical discussions around games. For the practical advice, it relies primarily on the works of Matthew Mercer, Brennan Lee Mulligan, Benjamin Scott, Patrick Tracy, Kelly Mclaughlin and Monty Martin.
Players are your friends, or at the very least your fellow human beings. As such, seek out what is best for them. Games are about many things but principally about enjoyment. It’s okay if the player does not get exactly what they want, so long as they still had enjoyment. How it happens is up to the players, the one running the game, and whether the rules were used to enhance the experience or not. It’s possible to find that balance by asking these questions in order: “How will this decision affect: the final enjoyment of all at the table? the narrative? the rules in the future?”

**“Once upon a time, around a table…”

A man behind a cardboard screen sits across from a woman wearing a funny hat. He is frantically reading through the pages of the various books at his disposal. He finds the reference he is looking for, but it is not clear. “It is technically against the rules, it is barely within the realm of possibility, but the idea is so creative…” the man murmurs to himself. Exasperated, the man smiles a crooked grin and explains, “Well you can certainly try… give me an acrobatics check.” The woman throws a piece of plastic resin on to the table. The dice reads, “18.” The man sighs and then laments, “fine… how do you want to do this?” The table erupts in cheers, as high-fives are given from the others around the table. The woman adjusts her hat, as she gleefully explains how her character will use the momentum of several falling barrels to move across the map in a single turn without having to use all her character’s movement.
As a “Dungeon Master” (DM) for the tabletop role playing game, Dungeons and Dragons (D&D), I can say without a doubt that many DMs have encountered extremely similar events as the one described above. The choice to be a stringent rule-follower without leniency can be a source of much resentment between the DM and the players around the table. Likewise, to completely ignore the rules and simply let players do whatever they want offers no challenge, no reason to play. In terms of D&D rule enforcement, as is with many events in life, the choice of always being either a “Harsh Disciplinarian” or the lenient, “Laissez Faire Guide” is a false dichotomy. Instead, seeking balance between the two choices based first on the overall needs of the players, second on the needs of the story, and third on requirements and rules of the game should be the norm.

Session 1: What is the Relationship between, Players, Games and Rules?

The 19th century philosopher and founder of modern cultural history, John Hughes once wrote, “Play is older than culture, for culture, however inadvertently defined, always presupposes human society and animals have not waited for man to teach them their playing.” ¹ Why do humans play? Is it instinctual? Bernard Suits was a Distinguished Emeritus Professor of Philosophy for the University of Waterloo and his essays are in part responsible for the field of philosophy of games in the late 20th century. In his book, “The Grasshopper: Games, Life and Utopia,” Suits’ book uses Aesop’s fable about the grasshopper to argue that play is what we would do in a perfect civilization. He believed that in a world devoid of work, humans would still seek out challenges through play, suggesting that it is human nature to challenge ourselves.² But is that the only reason someone plays a game?
One YouTuber opined that “In a practical sense, games facilitate systemic thinking by getting us to view abstractions, but also engender creativity by getting us to play.”³ If true, these are essential tools for humanity to function as an intelligent race. This makes sense from an evolutionary level as to why humanity would develop play, but is there more to it than “games encourage outside the box thinking?”
The landmark paper titled, “MDA: A formal approach to game design and game research” is one of the earliest attempts to formalize the field of video game design theory and it is fundamental to how modern game designers look at these systems. It serves to define the importance of mechanic, dynamics, and aesthetics of play and is instrumental to helping understand what players will expect out of a game. We will discuss more about dynamics and mechanics later, but first let us focus on aesthetics.
Aesthetics of Play Defined

Term	Definition	Examples
Sense Pleasure	Enjoyment derived from how it stimulates the senses	The visuals of a game, sound, and music, feel of the dice, etc.
Fantasy	Enjoyment derived from the ability to step into a role that cannot be experienced in real life	Playing a game as a magic wielding sorcerer or rocks in the far flung reaches of outer space
Narrative	Enjoyment derived from game as drama, it is about the stories and experience gained	Heavily story driven games such as Last of Us, Dungeons and Dragons, Final Fantasy
Challenge	Enjoyment derived from overcoming an arbitrary obstacle	Platformers like Mario, or even drinking games like beer pong, or corn hole; social games like charades, etc.
Fellowship	Enjoyment from working cooperatively as a group to accomplish a goal	Team based or social games such as Among Us, the card game Spades; save the world mode on Fortnite
Competition	Enjoyment from showing dominance	Chess or Go, Battle royal games such as Fortnite or PubG or Call of Duty; Fallguys; darts Poker; Uno, Killer bunnies or Magic the Gathering;
Discovery	Enjoyment from uncovering the new or discovering news ways to play a game.	These can range from searching to find things to choose your own adventure Minecraft; Zelda Breath of the Wild; simple matching games; the board game Betrayal at the House on the Hill; or games like Fable; Dragon Age Inquisition; or Mass effect
Expression	Enjoyment from showing an aspect of one’s self; or games that allow full customization of characters	Creation games like Minecraft; role play games like fallout 4; world of warcraft or Fortnite
Submission (aka Abnegation)	Enjoyment from being able to “turn of the brain; and tune out the world” or what is also known as zone out factor.	Bejeweled; candy crush; the lever-pull games at casinos, solitaire, etc.
	(Source: Portnow & Floyd, October 2012)5

Aesthetics are things like sense pleasure, fantasy, the narrative of the story, challenge, fellowship, discovery, expression, and something called submission.⁴ There is an additional aesthetic that most game designers also consider when designing games termed as “competition”.⁵ These are all reasons people play games and it is important to keep all these in mind when acting as a DM.
The table above works to define these terms more appropriately and makes it easier to reference later. The reasons a player may want to play a game vary and change over time. If a DM can understand their players’ goals (i.e., what the player hopes to get out of the game) the DM will be able to understand why someone might want to perform a certain action, play a game, or want to ignore a certain rule in the first place.
On that note, what are rules in games? Think about it… Games are weird… well I should say the act of playing a game… is weird. Suits once wrote in his article, for the “Philosophy of Science Association Journal,” "To play a game is to engage in activity directed towards bringing about a specific state of affairs, using only means permitted by rules, where the rules prohibit more efficient [means] in favor of less efficient means, and where such rules are accepted just because they make possible such activity."⁶ In other words, to play a game we create rules that prevent us from achieving a goal through the easiest means available. Instead, we make something more difficult and we play a game. For instance, in basketball, it would be far easier to simply carry the ball all the way to the basket instead of dribbling it.
In D&D, there is a similar activity to dribbling. It is called a “dice roll.” It is something that players must make to see if they succeed or fail at a task. The player rolls a 20-sided die and tries to get above a certain score to succeed. Players can roll normal, with advantage, or with disadvantage. Rolling with advantage allows the player to roll the D-20 (the 20-sided die) twice and use the higher number. Rolling with disadvantage also has the player roll the D-20 twice, but they must take the lower number rolled instead. It introduces a chance of randomness, and players will find any excuse they can to avoid having to make a roll with "disadvantage." In his book, The Grasshopper, Suits argues that we do this because it is the act of overcoming that limitation that we find enjoyment. By taking on these restrictions and accepting these limitations, we take on what he coins as a "lusory attitude" which allows us to play the game as it is meant to be played.
Suits would argue that by not playing the game according to the rules as written, the player would have only achieved a “quasi-victory” not really worthy of achievement. He also goes on to say that even the act of “failing to win the game by virtue of losing it implies an achievement, in the sense that the activity in question -- playing the game -- has been successfully, even though not victoriously, complete.”⁷ So, according to Suits, it’s better to follow the rules of the game and loose than to not follow the rules and win. It’s important to point out that the aesthetics of play had not yet been defined and Suits’ work mainly focused on the “challenge” aspect of play. This is where many sports and game philosophers begin to find fault with Suits. In the “Journal of Philosophy of Sport,” a rebuttal of Suits’ work by David Myers asks, “What if the goal of the player isn't to follow the rules or even play the game?”⁸ For instance, what happens if the player is motivated by competition and doesn’t care about rules so long as “they win?” While an extreme example, this paradox isn’t out of the realm of possibility. Therefore, focusing on just the challenge aesthetic of game play and simply playing the game “rules as written” can lead to a disconnect between what the player desires and the game itself.
Jesper Juul, an Associate Professor in the School of Design at the Royal Danish Academy of Fine Arts, wrote in his textbook on video game design, “Rules specify limitations and affordances. They prohibit players from performing actions such as making jewelry out of dice, but they also add meaning to the allowed actions, and this affords players meaningful actions that were not otherwise available; rules give games structure”⁹ Basically, without rules we cannot even have play. However, if the player ignores the rules that player won’t be able to enjoy the full experience of the game, because the rules both afford the opportunity to enjoy the game and provide the obstacles in the first place.
How the rules affect actual game play is where Mechanics and Dynamics come into play. (See, I told you we would get back to it eventually.) Mechanics are the rules and systems that govern chance to create the game we experience. Dynamics are how those rules come together to govern the strategies of that game. In D&D, an example of mechanics is how a player would have to roll a 20-sided dice to see if an action would succeed. Dynamics are the actions the player takes to manipulate the situation and give themselves advantage in the roll. Some examples of this are using a spell caster’s familiar, flanking an enemy in combat, using the bend luck trait, or lucky feat. This is akin to how the rules of poker dictate that bluffing is allowed (mechanics); but how the bluffing player conceals their tells and bets is entirely up to that player (dynamics).
What happens when the player’s desired aesthetics and the mechanics don’t allow for the dynamics the player wants to use? This is where it falls on the DM to determine if the game can handle a little rule bending. In the Dungeon Master Guide’s introduction, it states “The D&D rules help you and the other players have a good time, but the rules aren’t in charge. You’re the DM, and you are in charge of the game…” However! It goes on to say, “The success of a D&D game hinges on your ability to entertain the other players at the game table.” What is a good way to approach this? Is it THE DM IS ALWAYS RIGHT, able to enforce their will on the players whenever it suits their need? Should the DM strictly enforce the rules and narrative of their planned story without the need to appease the players’ wants and desires?... well… The DM COULD do it, but it won’t be long before their players stop showing to game sessions. Just like the rules, without players, there is no game. Or as one notable professional DM and YouTuber once put it:

“The game you weave belongs to the players as much as yourself… so make sure to humor them every once in awhile by giving them a chance to be extraordinary" - Patrick "the Goddam DM" Tracy ¹⁰

Session 2: The Ethics of a Dungeon Master

So how does someone seek a balance between the rules and the players? Enter situational ethics. Situational ethics, first proposed by philosopher and first professor of ethics at Harvard Medical School, Joseph Fletcher,** is an attempt to seek a middle ground between two ethical schools of thought: Legalism and Antinomianism. In legalism, morality must come from a strict set of rules that must be obeyed at all times and cannot be deviated from or broken for any reason. Antinomianism, on the other hand, is the idea that there should be no rules, you should be able to do what you want, whenever you want (lawless society). ¹¹
In D&D terms, "Fanatical Legalism" would be similar to what many DMs would characterize as "Lawful Stupid," where a certain player's character enforces harsh judgement without ever showing mercy to those who would break the law regardless of the circumstances… even to the detriment of the party… or that small band of orphans who were stealing food out of desperation…
Likewise, in D&D terms, "Fanatical Antinomianism" would be similar to what DMs would characterize as "Chaotic Stupid," where a player's character completely ignores consequences an action would bring and simply act according to their whims… even when it's an obvious trap… that has a 100 percent chance to damage not only your character, but the other players as well.
Fletcher's work states that the morally right thing to do depends on the situation and can change throughout the situation, but at the same time, there is a universal “moral law” on which to base our actions that he called "Agape" love. Derived from the Greek word of similar pronunciation, Fletcher sought to define Agape as a means to show love for your fellow human. In his book titled “Situational Ethics,” Fletcher states, "All laws, rules, principles, ideals and norms, are only contingent, only valid if they happen to serve love."¹² Or to put it a different way, a desire to see your fellow human be happy is and should be the goal. It is not really a feeling, but an attitude to do what is best for others.
In terms of the D&D alignment chart, this would be easiest to define as whether someone is "Good" or "Evil." Whereas a “good character” is someone who acts for the betterment of others regardless of personal motivations, conversely an “evil character” acts out of their own self-interests regardless of how this action would affect others. Those that follow the concept of Agape would be “good characters.” Those that do not, would be evil.
This is where the so-called “Rule of Cool” comes into play. Mathew Mercer, an extremely acclaimed DM, comedian, and writer of D&D’s “Explorer’s Guide to Wild Mount,” and host of the show “Critical Roll,” defines the Rule of Cool as a trope in the D&D community that is “the willing suspension of disbelief for the sake of a cool moment.”¹³ It’s used in moments where the use of an certain object or action would be nearly impossible according to the mechanics of the game, but because it is a “cool dynamic,” the DM allows it. But what is “cool?” Is it a player that is normally too nervous to speak up being able to do something unique on time despite it being against the rules? Is it a player that has spent considerable time perfecting a skill and being able to perform a truly “epic task” (such as the jumping across barrels to effectively triple their movement distance)? Is it succeeding in persuading the main villain to befriend the party through a series of increasingly complex but successful rolls?
In all these situations listed above, there is a common theme that ties all the principles of what this paper is trying to address together in a simple phrase. As a DM, before making a ruling ask, "How will this decision affect the final enjoyment of all at the table?" Now a DM cannot give the players everything they want. Doing so cheapens the truly extraordinary moments. Finding the right balance can be difficult. That is why the flow chart above is suggested when trying to figure out whether it is a good time to “Remember the Rule of Cool.”
https://i.redd.it/f362ghdjlqf61.png

Session 3: “Well… You can Certainly Try”- Some Famous DM

Finally, we can discuss how the desire to make the most enjoyable experience for everyone at the table plays out using real-world examples and advice from some of the most well-known DMs in the business. Using the concept of Situational Ethics’ Agape, we can see how to work in the rule of cool using eight tips for Dungeon Masters.
Tip 1: It is advised to know your audience.
Not everything is as it seems, so be sure to pay attention to your players and look at them when you are describing the situation. Make note of how they react when tones or themes change. Remember those reasons people play games mentioned earlier? This is where those come into play. Additionally, while not something outright suggested, it is nevertheless important to take team dynamics into account.
The book “Four lenses unfolded” describes how various personality types can interact and work to solve problems. In it, the book describes four primary temperaments: Green (analytical), Blue (empathetic), Orange (adventurous), and Gold (goal oriented). Unlike most other personality tests, four lenses theory suggests that while we have a dominant personality at any given moment, other aspects of these personalities can manifest as well. Being able to draw on these aspects at will is the mark of a “mature” individual.¹⁴ As a DM/referee, coach, or manager, being able to do this and adapt to the needs of the players will take player engagement to the next level.
Tip 2: Establishing and Managing Expectations Early and Often, Works to Prevent Disappointment and Confusions
Mercer once put it this way, “Establish early on in your campaign how much of a level of crazy you're willing to allow. This allows for players to better understand what to try for and what not to try for.”¹⁵ Whether you are a teacher, referee, coach, parent, supervisor, or mentor, establishing expectations with those involved mitigates problems before they arise.
One of the main tools DM’s have for this is that is recommended by Mercer, as well as nearly every DM in existence on the internet, is the “Session Zero.” Session Zero is a term used to describe a session where no play occurs but instead rules that will be used and rules that will be ignored or bent is established. It also serves to establish a theme the players can expect from any campaign. Using the first chapter of the DMs guide will help considerably in establishing this. Additionally, one of the best guides for this is laid out by the DM YouTubers known as “the Dungeon Dudes” in their video titled, “How to Run a Session Zero for Dungeons and Dragons 5e.”¹⁶ But always keep Agape in mind throughout this process. In this step, it means actively listening to the players. The DM may want a gritty, tough, realistic, and challenging campaign. But if the players want a high fantasy power trip, some adjustments are going to need to be made to the campaign. Listening to players and changing the plans accordingly is not easy. It requires A LOT of humility and ego suppression. Especially when the DM has already designed how the game is going to go… which leads us to the next tip.
Tip 3: It is important to develop a healthy relationship with failure.
Celebrated author Orson Wells once wrote; “If you want a happy ending, that of course, is dependent of where you stop your story.”¹⁷ This applies to both the players and DM. There will be times when the DM is tempted to ignore the rules because the consequences seem dire. The player fails an athletics check trying to use a dynamic that had a high-risk, high-reward moment. Now the player’s character is doomed to fall several hundred feet down a ravine to what is likely certain doom in lava. But this isn’t the end. That player’s character is most likely dead, but their death could result in a moment of drama and tension for the players. It’s the very real chance of failure that encourages players to think critically about a situation and experience excitement and tension. Brennon Lee Mulligan, the DM of the D&D streaming show, “Dimension 20,” put it this way… “if you are not allowing for failure, you are essentially just telling a story,” and thus never actually playing a game (make-believe as Suits would put it). ¹⁸
Another thing to consider is that through failure, we can often find comedy as well as ways to encourage players to think critically and find new escapes, ¹⁹ at least according to the mind behind the “Replaying the Curse of Strahd” videos, Benjamin (Puffin Forest) Scott. Lastly, Mercer strongly advises that if a DM allows too many “rule of cool moments” to happen in succession, the weight of the moments and consistency of the game will be lost. ²⁰
Players that are afraid to fail will not try. Mercer explains that “Most role play games are designed to forge a heroic story (showing feats of legend) so let the players try! Let them fail, and occasionally succeed!” This is where his catch phrase “you can certainly try” comes from. ²¹
Tip 4: Whenever Possible, Avoid Taking Things Personally
In his lecture on not talking things personally, soccer referee and public speaker, Frederik Imbo, explained there are two sides of a coin to keep in mind when trying not to take things personally: “It is not about you,” and “it is about you.” ²² Look at the other person’s intentions not just yours. With that in mind, it is okay to give yourself empathy and speak up. When someone seems upset with you, ask what are they hoping to get out of this releasing of emotions? Additionally, ensure that your pride isn’t preventing you from making the correct call. Yes I am talking about Ego again; it is that important! It is the DM’s world, but it is the players’ game. Without both, the world and the game, you do not have D&D.
D&D has a weird paradox of being both a story and a game. It has both a narrative as its core premise, but it is, in fact, also a multi-player game. Without at least two people you cannot really have much fun. DMs should make sure that everyone at the table enjoys themselves.
Tip 5: Mechanics are important precisely because they are a means of delivering impactful story moments.
Remember that rule of cool concept? Extraordinary moments don’t happen often, and this is by design of the mechanics of the game. Humans remember the novel and unique way more often than the mundane. Mundane things tend to blend into the background. It’s the unexpected moments that highlight the more impactful story moments, especially if that moment is tied to strong emotions.²³
With that in mind, Mulligan suggests looking at where the players are putting their resources before deciding how to rule on a situation. Have they invested experience points/levels into a specific skill that is relevant to this situation instead of just something they can use in combat? If so, reward them for wanting to do something that is a part of the world you are creating together. ²⁴
Tip 6: Discourage metagaming but allow it whenever possible.
Look for any and every excuse you can to give advantage on an arcana check by setting the DC low (10 or higher). If the player succeeds, they can use what they know… they are going to anyway, but at least then they can talk about it with the other players.
According to the DM guide Chapter 8, metagame thinking means “thinking about the game as a game,” Examples would be thinking “the DM wouldn’t throw such a powerful monster at us so early in the game, so we will surely be saved and not have to take this fight seriously,” or “the DM spent A LOT of time describing that door… maybe we should search it again!” ²⁵
The problem with metagaming isn’t really about what advantage the players are getting in the game. The problem is that manipulation of the dynamics, when used to extremes, can spoil the plot line of the cumulative story being told. This can lessen the drama and tension elements resulting in decreased enjoyment of those involved. Additionally, it can create a dynamic where the DM is constantly having to escalate encounters to challenge the player, encouraging a potentially toxic “DM vs player” mentality.
For instance, how would a street orphan barbarian with no formal education and a wisdom of …let’s say very low…be able to know that liches phylactery is the source of their power. The solution here depends on why the players are playing this specific game. Is it the narrative of the story? Is it discovery? If these aren’t anywhere close to the reasons these players came to the game table in the first place, the narrative is not going to take as much of a factor into decisions. Metagaming in this instance isn’t going to be much of a problem.
Tip 7: Keep in mind, the ending is “A” destination, but the story is about how you get there.
A DM may hold off the extra cool moments for the final parts of the game, keeping their players in complete darkness and grit the entire way. However, without at least some levity along the way, some “water for the weary travelers,” as Mercer put it, they may not make it to the end.²⁶ So, do not be afraid to relax the rules from time to time to give them those cool moments, but do so sparingly lest the destination lose its luster as well. Always keep in mind it’s about the enjoyment of crafting and playing in the world together that makes this, or really any game, fun.
Tip 8: When all else fails… take a break and have the Tarrasque attack the party.
When all else fails, roll two D-20s out of players’ views… fake a worried expression… role a D-100 (also out of player’s view) look over the score concerned as you pour through your notes… then explain sorrowfully… “I’m sorry… The Tarrasque has risen and has attacked the party. Everyone roll initiative.” This is actual advice from the DM manual. It is right under “faking illness and running away.”²⁷ The point is this: never be afraid to pause or call a game when it’s over or needed.
Maybe something incredibly uncomfortable for a player has happened. Maybe the DM has reached the end of what they were able to prepare for that session. Perhaps everyone is hungry or needs a bathroom break. Maybe the entire table has gotten to a point where no one can agree on anything and team dynamics are breaking down. That game world will always be there… but your friends won’t. Cherish that moment and make as many good moments as possible. Additionally, taking breaks both in-game and in the real world allow for quiet moments. These allow for the greater moments to shine through and the players will enjoy their experience more.
https://i.redd.it/1ncu361zlqf61.png
The graphic above serves to summarize the eight tips above and show their relationship with the narrative, enjoyment, and the rules when put in the context of situational ethics. From this graph, the relationship between the eight tips and how they play into the narrative, enjoyment, and rules of the game can be seen. Each of the tips can influence many parts of the game but they are intended to primarily influence the aspect of the game they are adjacent to. “Knowing the players” should influence the narrative and what kind of enjoyment the players receive. What mechanics are used to enable the game is causally related to how the rules are used and so on. Please note that Agape is at the center as, with every decision a DM makes, considering what is best for the players should be central to the experience of any game.
The Epic Conclusion
Through crafting a game-world together with your players, a DM has the potential to tap into one of the greatest traditions humanity has: camaraderie with friends. At the end of the day, these players are your friends, or at the very least your fellow human beings. As such, you should want what is best for them. Through trials, hardships, and drama, we get to put the punctuation on the moments of excitement, joy, happiness, and bliss. It is okay if the player does not get exactly what they want, so long as they still had enjoyment. This is because getting everything we expect is sometimes boring. However, always keep in mind that at the end of the day, games are about having fun. How that happens is up to the players, the DM, and whether the rules were used to enhance the experience or not. It’s possible to find that balance by asking these questions in order: “How will this decision affect: the final enjoyment of all at the table? the narrative? the rules in the future?”
1 Huizinga, Johan . "Homo Ludens". Routledge & Kegan Paul Ltd. (1980), pp. 1., accessed January 19, 2021. http://art.yale.edu/file_columns/0000/1474/ homoludens_johan_huizinga_routledge_1949.pdf
2 Suits, Bernard, “The Grasshopper: Games, Life and Utopia,” Broadview Press. Ed. 3. (November 29, 2005): 54–55. Accessed December 31, 2020. https://www.goodreads.com/book/show/803547.The_Grasshopper
3 The Game Overanalyzer, The Aesthetics of Play | Why We Play Games, and the Search for Truth and Beauty in Game Design. The Game Overanalyzer. (January 11, 2020), accessed 6 January 2021. Video 18:44. https://youtu.be/lONsZwjVDzg
4 Hunicke, Robin, Marc LeBlanc, and Robert Zubek. "MDA: A formal approach to game design and game research." Proceedings of the AAAI Workshop on Challenges in Game AI, vol. 4, no. 1, p. 1722. (2004). Accessed January 11, 2020 https://www.aaai.org/Papers/Workshops/2004/WS-04-04/WS04-04-001.pdf
5 Portnow, James; Floyd, Daniel; Aesthetics of Play- Redefining Genres in Gaming. Extra Credits; (October 17, 2012), Video 9:13. Accessed December 30, 2020. https://www.youtube.com/watch?v=uepAJ-rqJKA&list=PL3N9QD4_yI-BlnwWUL8hhjpKgqRul3xAa&index=11
6 Suits, Bernard. “Discussion: Games and Paradox.” Chicago University Press. Philosophy of Science Association Journal, Vol 36, no. 3 (September 1, 1969). pg 316–.321. Accessed December 30, 2020. https://www.jstor.org/stable/186226
7 Suits, Bernard. “Discussion: Games and Paradox (1969)
8 Myers, David. “Game as Paradox: A Rebuttal of Suits.” Journal of the philosophy of Sport 39, no. 1 (May 1, 2012). Accessed December 30, 2020. https://search-ebscohost-com.ezproxy2.apus.edu/login.aspx?direct=true&AuthType=ip&db=s3h&AN=87342252&site=ehost-live&scope=site.
9 Juul, Jesper. "Half-Real: Video Games between Real Rules and Fictional Worlds", MIT Press, (Aug 19, 2011) pp.57-59
10 Tracy, Patrick. DM Tips: The Rule of Cool. Fantasy Bango. (October 20, 2017). Accessed December 30, 2020. Video 2:23 https://www.youtube.com/watch?v=x8aAIFalx6s
11 Fletcher, Joseph F. Situation Ethics: The New Morality. Westminster John Knox Press, (1997). Page 17-26 (accessed January 20, 2021) http://bit.ly/Googlescholar_SItuational_Ethics
**Please note that just because Fletcher’s Situational Ethics is used prominently, this is not an endorsement of all his views. Fletcher’s work has been used to justify terrible atrocities, such as eugenics, this should serve to point out that any philosophy taken to extremes can lead to terrible outcomes
12 Fletcher, Joseph F. Situation Ethics: The New Morality. (1997)
13 Mercer, Matthew. The Rule of Cool! (Game Master Tips). Geek & Sundry. (February 16, 2016). Accessed December 30, 2020. Video. 5:52 https://youtu.be/fWZDuFIYkf0
14 Bryce, Nathan K., “Four Lenses Unfolded: A Deeper Understanding of Temperament Values,” Insight; (January 29, 2002,).
15 Mercer, Matthew. The Rule of Cool! (Game Master Tips). (2016).
16 McLaughlin, Kelly; Martin, Monty. "How to Run a Session Zero for Dungeons and Dragons 5e". Dungeon Dudes. (September 3, 2020), Accessed 12 30, 2020. Video. https://youtu.be/2MA-z5Ai-bQ
17 Wells, Orson, "The Big Brass Ring." Santa Teresa Press (1987, January 1) 1-148
18 Mulligan, Brennan; Scott, Benjamin. “Animating Your Table (with Benjamin Scott) | Adventuring Academy Season 2 | Ep. 16 |” Adventuring Academy. Dimension (2020, December 28). Accessed December 30, 2020. Video 1:24:18 https://www.youtube.com/watch?v=4IbVxEKpipo
19 Mulligan, Brennan; Scott, Benjamin. “Animating Your Table (with Benjamin Scott) (2020)
20 Mercer, Matthew. The Rule of Cool! (Game Master Tips). (2016)..
21 Mercer, Matthew. The Rule of Cool! (Game Master Tips). (2016)
22 Imbo, Frederik, "How not to take things personally? | Frederik Imbo | TEDxMechelen" TEDx Talks; (March 4, 2020) accessed 10 Jan 2021, video 17:36 https://www.youtube.com/watch?v=LnJwH_PZXnM&t=381s
23 Kensinger, Elizabeth. Remembering the Details: Effects of Emotion. US National Library of Medicine National Institutes of Health. (May 4, 2009) Accessed 2021, January 30 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2676782/
24 Mulligan, Brennan; Scott, Benjamin. “Animating Your Table (with Benjamin Scott) (2020)
25 Mearls, Mike, and Jeremy Crawford. "Dungeons Master's guide". Renton, WA: Wizards of the Coast. (2014) accessed 29 January 2021 https://www.dndbeyond.com/sources/dmg/running-the-game#MetagameThinking
26 Mulligan, Brennan; Mercer, Matthew. Building Your Own Campaign Setting (with Matthew Mercer) | Adventuring Academy. Dimension 20. (2019, April 3) Accessed December 30, 2020. Video 57:01 https://www.youtube.com/watch?v=sig8X_kojco&t=2867s
27 Mearls, Mike, and Jeremy Crawford. "Dungeons Master's guide". Renton, WA: Wizards of the Coast. (2014)-accessed 20 January 2021. https://www.dndbeyond.com/sources/dmg

My long-ish 'rant' that is borderline full on psychoanalysis; Feel free to tl;dr and answer the title in comments.
As usual I spent more time thinking about packs than making one. There are quite a few types of packs but for this discussion I will list a few; Obviously #1 is kitchen sink, though it's not really an abstract category because being all rounded it's a combination of playstyles. And obviously really any pack, even highly specific, will have a combination of aspects.
Crafting is exemplified in things like skyblocks - nothing to explore, just craft. Basically it emphasises the Skinner Box aspect; make thing A to make more of resource A to make machine B to make resource B, automate, etc. And an obvious subset of this is questing like Sevtech - while it has the other elements, it's still centred around this loop.
RL Craft (yes I know it's overrated) and Valhelsia are on the combat and building ends of 'Adventure'. And then you have dedicated 'Adventure' packs like Journey to the Core or Regrowth or Survival Islands, Crash Landing, Exoria, etc, etc. - what I will respectfully call gimmick packs, being the broadest category. They are all wildly different yet the common thread is some sort of intrinsic limitation that provides meaning. And really this area is pretty endless in that you could have the entire overworld covered in snow, ocean, spawn in the nether, Galacticraft with tweakers and custom gen, etc. And of course things like Hostile Worlds, Storms and Tornadoes, Tough As Nails, etc. These radically change what it means to exist in the world by undermining something (almost always safety) that is taken for granted. Though here is also TerraFirmaCraft - undermining the vanilla system almost entirely (and obviously stuff like Pixelmon, Craft to Exile).
Perhaps the pack has this change in mind specifically, like "Safety Lost is a survival focused mod pack, focusing on challenging survival through mechanics rather than enemy difficulty or expensive recipes. Rather than just trying to make everything a slow and painful grind Safety Lost tries to make things tense by using mods like Hardcore Darkness and Tough As Nails to add new pressures and dangers rather than filling the world with monsters and increasing resource costs and tedious amounts of work. "
And finally on the other end of the spectrum are townys, harvest moons, stuff like Peace of Mind, etc. and any sort of play that is centred around building. Are these types an exhaustive list? Probably not.
I personally think that a combination of these leads way to a 'purposeful' pack - i.e. something that moves away from the degenerate fantasy escape / slot machine with extra steps. Though we can completely remove singled out elements like combat (e.g. Peace of Mind) or exploration (skyblocks), and that's perfectly fine. But if you were to remove most ~ all but 1 element it feels more and more like a fabricated game that just happens to use Minecraft as the game engine. It stops being a world / simulation and starts being a casino.
Take Factorio as a simpler example. If you remove the threat of combat then it becomes a crafting loop and is edging closer and closer to being like a dressed up idle game or something. Similar can be said for SkyFactory, and if we are going to be cynical we could say that the major game loop is basically the same as an idle game, who's saving grace is complexity of automation and not merely just clicking upgrade.
Personally I've struggled with the addiction that comes. Nothing can feel better than sitting down to start a new world a build a little cabin, when life is stressful and you don't feel like you're going anywhere. That's what I mean by enjoyment and purpose - like actual enjoyment and purpose.
In a way it's actually hard to conceive of any instance of Minecraft that isn't ripe to be extremely addictive and psychologically regressive. After all it's designed to be a 'children's game' (despite the median consumer being well older). We can point the finger at Minecraft as a base or the mods themselves as a game that is inherently designed into addictive and often shallow loops; but I don't think that's completely true. And obviously it's entirely up to how someone chooses to spend their time in a healthy way. In saying that I think it's largely just how the potential of modded has developed. For instance the massive popularity of SkyFactory can be attributed simply to the fact that it's the most obvious direction to go with the modded feel, e.g. rf feels very modded as opposed to vanilla. SkyFactory is simply the top piece of a pyramid which at the bottom are mechanics like pipes, rf, etc. Likewise with RL Craft, and so on.
One solution is to see Minecraft as a simulation as opposed to a game. What I mean is that all of the above analysis is analysis of Minecraft as a game. If we analyse it as a simulation, then primarily Minecraft is about spaces and form, and the primary factors are things like movement and block types. From this perspective we could say Minecraft is quite underdeveloped. You can walk, sprint, swim, and that's about it. Modded tends to opt for obtaining something close to creative flight. And block types are largely trivial (maybe Mojang had a similar idea with powder snow).
When I think about the ways Minecraft was constructive or 'served its purpose' as opposed to being a drug, it's when I stepped back and learned the more broad principles about what I was doing - like how to build in a way that's open to future needs, 'functional aesthetics', or simply viscerally feeling that a 100x100x100 cube really is made up of a million blocks - something that while we know mathematically is hard to appreciate until you're placing them.
Some of my memorable experiences in Minecraft: Building my first shelter, building a nice shelter, completing the crappy cobblestone stair case down to bedrock the first time, realising I could just jump into a water pool and get down in 3 seconds, building a tower near my base so I could find it because I didn't know about F3 coords, connecting a river to the ocean, creating a waterfall and ridding it down in the boat (we've all done this, right?), laying minecart track when I was still blissfully unaware how useless it is, nether highway, building a wall around a village and then having a zombie spawn inside and kill everyone anyway. Setting a modded fan to max vertical push and using it as my hand glider launch pad, etc. etc.
Clearly I'm biased towards building but don't get me wrong I love melting my dopamine receptors on Omnifactory as much as the next guy. I said most memorable, not most enjoyable. If anything I love automation, resource amassment and power creep cause it's addictive af and appeals to what nerds are good at.
We could say that Minecraft is doomed to be degenerate because there's no nuance in crafting or building. Plugging Lego pieces together. And on the other hand we would say: Why ruin Minecraft's simplicity. I mean you could literally make a pack where people have to learn to program Lua just to progress. (and I'm pretty sure something like that exists already). I think it's less about adding legitimate barriers to dopamine as it is removing the necessity of quick shallow dopamine loops to progress in the game. Paradoxically, making things easier and moving away from Avaritia would actually make the game harder.
​
What all of these memories have in common is they gave the adult lego blocks an in-world purpose. OK, towny is the best? Clearly not. Obviously towny can be basically just as bad because it can be it's own power creep. It's not merely in-world mechanics over magic box.
One continuation is heavier platforming; to have more block types and movement. Here we can give more movement abilities by default or easy to renew, like double jump, leap, side step mods (these already exist). Different move speed on different blocks is tempting but it could easily kill the fun. Or make all the blocks slippery like ice, speed up the mobs, hilarity ensues. It's not the platforming that's important. The general idea is to just 'be' in the world is more pleasing - to 'incentivize' building of projects that are fun to test, not fun to complete, caving because it's fun, not because you need ore W for magic box P, etc. In vanilla these might be the many carnival style games seen on SMPs and so on. My point isn't that this is what would make a 'better' pack - just one example of a pivoted philosophy. And to, immediately contradict myself, a big appeal of modded is obviously, exactly; Get ore W for magic box P. It appeals to the git r' dun mentality.
Previously I would fuss over various 'psychopathic' aspects of the game - As many have pointed out, Survival should really be called Conquest. You are the pillager of the villages, not the hero. You're the one that desolates the environment for consumption. It's a power fantasy. So you have mods like pollution of the realms, Nature's aura, etc. Yet it's hard to see these as anything more than chores and minute hurdles to be automated over. And it's impossible to remove the Mine out of Minecraft even with mods like Harder Branchmining, Heat & Climate (makes you suffocate in underground airblocks). These will all simply be interpreted as chorelike things to be overcome with more power. Speaking of - that's the exact 'issue' with things like Tough as Nails and Hardcore Darkness. (I'm not saying they're not part of a solution, just that they aren't the secret sauce).
I'm not sure exactly what this would look like. Prospecting and adventuring for biomes can be boring, on the other hand if it is varied enough it's a lower dopamine, higher engagement activity. I also had the thought that mods like Bountiful and Vending Machine more accurately resemble the reality we live in. The question becomes; On the one hand playing the game exists as an extremely accelerated version of tangible success (which we can learn from and/or get addicted to) on the other hand it exists as a realm for the things that we would never do in real life - an outlet or sharpening stone. And then there just the simple fact that the purpose of the game is be an extreme fulfilment of the natural drives.
Tl;dr I don't think it's things that need to be added to the game, rather a minimalism that avoids certain dopamine high activities, such as grinding for ore tripling or unlocking heavily gated content. That way players can be in the moment as opposed to chasing some addictive completion curve.

Hello folks,
For my research analysis and writing class my professor let me pick any topic I want. (her mistake) So for my final term paper I chose to come up with a method of determining a guide to the use of the "rule of cool." I got a A on the paper so I figured I'd share it with you fine folks as well. It is rather lengthy so I've included the abstract first. The 8 tips for dungeon masters is near the end (third session), the first and second parts deal more with the philosophical and ethics of games. So, if situational ethics and a discussion on the Mechanics, Dynamics, and Aesthetics of Play are of use for you, be my guess.
I am a relatively new DM so I spent a long time researching and trying to absorb what would make me a "good DM". With that cavate please keep in mind I know next to nothing compared to a vast majority of the DMs here. I can think of no place better to have this paper peer-reviewed, picked apart and "rebutalled" to death than here. If you feel offended, challenged, or angry reading this... Please understand I am a moron borrowing the works and words of far smarter people. If you feel that "this is the WAY" again... I am a moron... so ... with out further ado..

Abstract:

The choice to be a stringent rule-follower without leniency using fanatical legalism in a game can be a source of contention between someone acting as a referee and/or “Game Master” and players of a game. Likewise, to approach games with a sense of fanatical antinomianism, or to completely ignore the rules and simply let players do whatever they want, tends to offer no challenge, and or reason to play that specific game. Using ethical theory frameworks such as situational ethics, natural law, and utilitarianism this paper seeks find the philosophical principles of what moments are acceptable and actually beneficial to bend the rules of a game. As such, it is important to define games, briefly discuss why games are played, and roles rules have on games. The game Dungeons and Dragons 5th edition will be used as the principal example. With “rule for rules” established, seven tips on how to implement it this rule using advice and guidance from some of the most well known “Dungeon Masters” in the modern era will be provided.
Much of this paper relies on the works of Joseph Fletcher, Sheila Murphy; Benard Suits, Robin Hunicke, Marc LeBlanc, and Robert Zubek for the ethical and philosophical discussions around games. For the practical advice, it relies primarily on the works of Matthew Mercer, Brennan Lee Mulligan, Benjamin Scott, Patrick Tracy, Kelly Mclaughlin and Monty Martin.
Players are your friends, or at the very least your fellow human beings. As such, seek out what is best for them. Games are about many things but principally about enjoyment. It’s okay if the player does not get exactly what they want, so long as they still had enjoyment. How it happens is up to the players, the one running the game, and whether the rules were used to enhance the experience or not. It’s possible to find that balance by asking these questions in order: “How will this decision affect: the final enjoyment of all at the table? the narrative? the rules in the future?”

**“Once upon a time, around a table…”

A man behind a cardboard screen sits across from a woman wearing a funny hat. He is frantically reading through the pages of the various books at his disposal. He finds the reference he is looking for, but it is not clear. “It is technically against the rules, it is barely within the realm of possibility, but the idea is so creative…” the man murmurs to himself. Exasperated, the man smiles a crooked grin and explains, “Well you can certainly try… give me an acrobatics check.” The woman throws a piece of plastic resin on to the table. The dice reads, “18.” The man sighs and then laments, “fine… how do you want to do this?” The table erupts in cheers, as high-fives are given from the others around the table. The woman adjusts her hat, as she gleefully explains how her character will use the momentum of several falling barrels to move across the map in a single turn without having to use all her character’s movement.
As a “Dungeon Master” (DM) for the tabletop role playing game, Dungeons and Dragons (D&D), I can say without a doubt that many DMs have encountered extremely similar events as the one described above. The choice to be a stringent rule-follower without leniency can be a source of much resentment between the DM and the players around the table. Likewise, to completely ignore the rules and simply let players do whatever they want offers no challenge, no reason to play. In terms of D&D rule enforcement, as is with many events in life, the choice of always being either a “Harsh Disciplinarian” or the lenient, “Laissez Faire Guide” is a false dichotomy. Instead, seeking balance between the two choices based first on the overall needs of the players, second on the needs of the story, and third on requirements and rules of the game should be the norm.

Session 1: What is the Relationship between, Players, Games and Rules?

The 19th century philosopher and founder of modern cultural history, John Hughes once wrote, “Play is older than culture, for culture, however inadvertently defined, always presupposes human society and animals have not waited for man to teach them their playing.” ¹ Why do humans play? Is it instinctual? Bernard Suits was a Distinguished Emeritus Professor of Philosophy for the University of Waterloo and his essays are in part responsible for the field of philosophy of games in the late 20th century. In his book, “The Grasshopper: Games, Life and Utopia,” Suits’ book uses Aesop’s fable about the grasshopper to argue that play is what we would do in a perfect civilization. He believed that in a world devoid of work, humans would still seek out challenges through play, suggesting that it is human nature to challenge ourselves.² But is that the only reason someone plays a game?
One YouTuber opined that “In a practical sense, games facilitate systemic thinking by getting us to view abstractions, but also engender creativity by getting us to play.”³ If true, these are essential tools for humanity to function as an intelligent race. This makes sense from an evolutionary level as to why humanity would develop play, but is there more to it than “games encourage outside the box thinking?”
The landmark paper titled, “MDA: A formal approach to game design and game research” is one of the earliest attempts to formalize the field of video game design theory and it is fundamental to how modern game designers look at these systems. It serves to define the importance of mechanic, dynamics, and aesthetics of play and is instrumental to helping understand what players will expect out of a game. We will discuss more about dynamics and mechanics later, but first let us focus on aesthetics.
Aesthetics of Play Defined

Term	Definition	Examples
Sense Pleasure	Enjoyment derived from how it stimulates the senses	The visuals of a game, sound, and music, feel of the dice, etc.
Fantasy	Enjoyment derived from the ability to step into a role that cannot be experienced in real life	Playing a game as a magic wielding sorcerer or rocks in the far flung reaches of outer space
Narrative	Enjoyment derived from game as drama, it is about the stories and experience gained	Heavily story driven games such as Last of Us, Dungeons and Dragons, Final Fantasy
Challenge	Enjoyment derived from overcoming an arbitrary obstacle	Platformers like Mario, or even drinking games like beer pong, or corn hole; social games like charades, etc.
Fellowship	Enjoyment from working cooperatively as a group to accomplish a goal	Team based or social games such as Among Us, the card game Spades; save the world mode on Fortnite
Competition	Enjoyment from showing dominance	Chess or Go, Battle royal games such as Fortnite or PubG or Call of Duty; Fallguys; darts Poker; Uno, Killer bunnies or Magic the Gathering;
Discovery	Enjoyment from uncovering the new or discovering news ways to play a game.	These can range from searching to find things to choose your own adventure Minecraft; Zelda Breath of the Wild; simple matching games; the board game Betrayal at the House on the Hill; or games like Fable; Dragon Age Inquisition; or Mass effect
Expression	Enjoyment from showing an aspect of one’s self; or games that allow full customization of characters	Creation games like Minecraft; role play games like fallout 4; world of warcraft or Fortnite
Submission (aka Abnegation)	Enjoyment from being able to “turn of the brain; and tune out the world” or what is also known as zone out factor.	Bejeweled; candy crush; the lever-pull games at casinos, solitaire, etc.
	(Source: Portnow & Floyd, October 2012)5

Aesthetics are things like sense pleasure, fantasy, the narrative of the story, challenge, fellowship, discovery, expression, and something called submission.⁴ There is an additional aesthetic that most game designers also consider when designing games termed as “competition”.⁵ These are all reasons people play games and it is important to keep all these in mind when acting as a DM.
The table above works to define these terms more appropriately and makes it easier to reference later. The reasons a player may want to play a game vary and change over time. If a DM can understand their players’ goals (i.e., what the player hopes to get out of the game) the DM will be able to understand why someone might want to perform a certain action, play a game, or want to ignore a certain rule in the first place.
On that note, what are rules in games? Think about it… Games are weird… well I should say the act of playing a game… is weird. Suits once wrote in his article, for the “Philosophy of Science Association Journal,” "To play a game is to engage in activity directed towards bringing about a specific state of affairs, using only means permitted by rules, where the rules prohibit more efficient [means] in favor of less efficient means, and where such rules are accepted just because they make possible such activity."⁶ In other words, to play a game we create rules that prevent us from achieving a goal through the easiest means available. Instead, we make something more difficult and we play a game. For instance, in basketball, it would be far easier to simply carry the ball all the way to the basket instead of dribbling it.
In D&D, there is a similar activity to dribbling. It is called a “dice roll.” It is something that players must make to see if they succeed or fail at a task. The player rolls a 20-sided die and tries to get above a certain score to succeed. Players can roll normal, with advantage, or with disadvantage. Rolling with advantage allows the player to roll the D-20 (the 20-sided die) twice and use the higher number. Rolling with disadvantage also has the player roll the D-20 twice, but they must take the lower number rolled instead. It introduces a chance of randomness, and players will find any excuse they can to avoid having to make a roll with "disadvantage." In his book, The Grasshopper, Suits argues that we do this because it is the act of overcoming that limitation that we find enjoyment. By taking on these restrictions and accepting these limitations, we take on what he coins as a "lusory attitude" which allows us to play the game as it is meant to be played.
Suits would argue that by not playing the game according to the rules as written, the player would have only achieved a “quasi-victory” not really worthy of achievement. He also goes on to say that even the act of “failing to win the game by virtue of losing it implies an achievement, in the sense that the activity in question -- playing the game -- has been successfully, even though not victoriously, complete.”⁷ So, according to Suits, it’s better to follow the rules of the game and loose than to not follow the rules and win. It’s important to point out that the aesthetics of play had not yet been defined and Suits’ work mainly focused on the “challenge” aspect of play. This is where many sports and game philosophers begin to find fault with Suits. In the “Journal of Philosophy of Sport,” a rebuttal of Suits’ work by David Myers asks, “What if the goal of the player isn't to follow the rules or even play the game?”⁸ For instance, what happens if the player is motivated by competition and doesn’t care about rules so long as “they win?” While an extreme example, this paradox isn’t out of the realm of possibility. Therefore, focusing on just the challenge aesthetic of game play and simply playing the game “rules as written” can lead to a disconnect between what the player desires and the game itself.
Jesper Juul, an Associate Professor in the School of Design at the Royal Danish Academy of Fine Arts, wrote in his textbook on video game design, “Rules specify limitations and affordances. They prohibit players from performing actions such as making jewelry out of dice, but they also add meaning to the allowed actions, and this affords players meaningful actions that were not otherwise available; rules give games structure”⁹ Basically, without rules we cannot even have play. However, if the player ignores the rules that player won’t be able to enjoy the full experience of the game, because the rules both afford the opportunity to enjoy the game and provide the obstacles in the first place.
How the rules affect actual game play is where Mechanics and Dynamics come into play. (See, I told you we would get back to it eventually.) Mechanics are the rules and systems that govern chance to create the game we experience. Dynamics are how those rules come together to govern the strategies of that game. In D&D, an example of mechanics is how a player would have to roll a 20-sided dice to see if an action would succeed. Dynamics are the actions the player takes to manipulate the situation and give themselves advantage in the roll. Some examples of this are using a spell caster’s familiar, flanking an enemy in combat, using the bend luck trait, or lucky feat. This is akin to how the rules of poker dictate that bluffing is allowed (mechanics); but how the bluffing player conceals their tells and bets is entirely up to that player (dynamics).
What happens when the player’s desired aesthetics and the mechanics don’t allow for the dynamics the player wants to use? This is where it falls on the DM to determine if the game can handle a little rule bending. In the Dungeon Master Guide’s introduction, it states “The D&D rules help you and the other players have a good time, but the rules aren’t in charge. You’re the DM, and you are in charge of the game…” However! It goes on to say, “The success of a D&D game hinges on your ability to entertain the other players at the game table.” What is a good way to approach this? Is it THE DM IS ALWAYS RIGHT, able to enforce their will on the players whenever it suits their need? Should the DM strictly enforce the rules and narrative of their planned story without the need to appease the players’ wants and desires?... well… The DM COULD do it, but it won’t be long before their players stop showing to game sessions. Just like the rules, without players, there is no game. Or as one notable professional DM and YouTuber once put it:

“The game you weave belongs to the players as much as yourself… so make sure to humor them every once in awhile by giving them a chance to be extraordinary" - Patrick "the Goddam DM" Tracy ¹⁰

Session 2: The Ethics of a Dungeon Master

So how does someone seek a balance between the rules and the players? Enter situational ethics. Situational ethics, first proposed by philosopher and first professor of ethics at Harvard Medical School, Joseph Fletcher,** is an attempt to seek a middle ground between two ethical schools of thought: Legalism and Antinomianism. In legalism, morality must come from a strict set of rules that must be obeyed at all times and cannot be deviated from or broken for any reason. Antinomianism, on the other hand, is the idea that there should be no rules, you should be able to do what you want, whenever you want (lawless society). ¹¹
In D&D terms, "Fanatical Legalism" would be similar to what many DMs would characterize as "Lawful Stupid," where a certain player's character enforces harsh judgement without ever showing mercy to those who would break the law regardless of the circumstances… even to the detriment of the party… or that small band of orphans who were stealing food out of desperation…
Likewise, in D&D terms, "Fanatical Antinomianism" would be similar to what DMs would characterize as "Chaotic Stupid," where a player's character completely ignores consequences an action would bring and simply act according to their whims… even when it's an obvious trap… that has a 100 percent chance to damage not only your character, but the other players as well.
Fletcher's work states that the morally right thing to do depends on the situation and can change throughout the situation, but at the same time, there is a universal “moral law” on which to base our actions that he called "Agape" love. Derived from the Greek word of similar pronunciation, Fletcher sought to define Agape as a means to show love for your fellow human. In his book titled “Situational Ethics,” Fletcher states, "All laws, rules, principles, ideals and norms, are only contingent, only valid if they happen to serve love."¹² Or to put it a different way, a desire to see your fellow human be happy is and should be the goal. It is not really a feeling, but an attitude to do what is best for others.
In terms of the D&D alignment chart, this would be easiest to define as whether someone is "Good" or "Evil." Whereas a “good character” is someone who acts for the betterment of others regardless of personal motivations, conversely an “evil character” acts out of their own self-interests regardless of how this action would affect others. Those that follow the concept of Agape would be “good characters.” Those that do not, would be evil.
This is where the so-called “Rule of Cool” comes into play. Mathew Mercer, an extremely acclaimed DM, comedian, and writer of D&D’s “Explorer’s Guide to Wild Mount,” and host of the show “Critical Roll,” defines the Rule of Cool as a trope in the D&D community that is “the willing suspension of disbelief for the sake of a cool moment.”¹³ It’s used in moments where the use of an certain object or action would be nearly impossible according to the mechanics of the game, but because it is a “cool dynamic,” the DM allows it. But what is “cool?” Is it a player that is normally too nervous to speak up being able to do something unique on time despite it being against the rules? Is it a player that has spent considerable time perfecting a skill and being able to perform a truly “epic task” (such as the jumping across barrels to effectively triple their movement distance)? Is it succeeding in persuading the main villain to befriend the party through a series of increasingly complex but successful rolls?
In all these situations listed above, there is a common theme that ties all the principles of what this paper is trying to address together in a simple phrase. As a DM, before making a ruling ask, "How will this decision affect the final enjoyment of all at the table?" Now a DM cannot give the players everything they want. Doing so cheapens the truly extraordinary moments. Finding the right balance can be difficult. That is why the flow chart above is suggested when trying to figure out whether it is a good time to “Remember the Rule of Cool.”
https://i.redd.it/f362ghdjlqf61.png

Session 3: “Well… You can Certainly Try”- Some Famous DM

Finally, we can discuss how the desire to make the most enjoyable experience for everyone at the table plays out using real-world examples and advice from some of the most well-known DMs in the business. Using the concept of Situational Ethics’ Agape, we can see how to work in the rule of cool using eight tips for Dungeon Masters.
Tip 1: It is advised to know your audience.
Not everything is as it seems, so be sure to pay attention to your players and look at them when you are describing the situation. Make note of how they react when tones or themes change. Remember those reasons people play games mentioned earlier? This is where those come into play. Additionally, while not something outright suggested, it is nevertheless important to take team dynamics into account.
The book “Four lenses unfolded” describes how various personality types can interact and work to solve problems. In it, the book describes four primary temperaments: Green (analytical), Blue (empathetic), Orange (adventurous), and Gold (goal oriented). Unlike most other personality tests, four lenses theory suggests that while we have a dominant personality at any given moment, other aspects of these personalities can manifest as well. Being able to draw on these aspects at will is the mark of a “mature” individual.¹⁴ As a DM/referee, coach, or manager, being able to do this and adapt to the needs of the players will take player engagement to the next level.
Tip 2: Establishing and Managing Expectations Early and Often, Works to Prevent Disappointment and Confusions
Mercer once put it this way, “Establish early on in your campaign how much of a level of crazy you're willing to allow. This allows for players to better understand what to try for and what not to try for.”¹⁵ Whether you are a teacher, referee, coach, parent, supervisor, or mentor, establishing expectations with those involved mitigates problems before they arise.
One of the main tools DM’s have for this is that is recommended by Mercer, as well as nearly every DM in existence on the internet, is the “Session Zero.” Session Zero is a term used to describe a session where no play occurs but instead rules that will be used and rules that will be ignored or bent is established. It also serves to establish a theme the players can expect from any campaign. Using the first chapter of the DMs guide will help considerably in establishing this. Additionally, one of the best guides for this is laid out by the DM YouTubers known as “the Dungeon Dudes” in their video titled, “How to Run a Session Zero for Dungeons and Dragons 5e.”¹⁶ But always keep Agape in mind throughout this process. In this step, it means actively listening to the players. The DM may want a gritty, tough, realistic, and challenging campaign. But if the players want a high fantasy power trip, some adjustments are going to need to be made to the campaign. Listening to players and changing the plans accordingly is not easy. It requires A LOT of humility and ego suppression. Especially when the DM has already designed how the game is going to go… which leads us to the next tip.
Tip 3: It is important to develop a healthy relationship with failure.
Celebrated author Orson Wells once wrote; “If you want a happy ending, that of course, is dependent of where you stop your story.”¹⁷ This applies to both the players and DM. There will be times when the DM is tempted to ignore the rules because the consequences seem dire. The player fails an athletics check trying to use a dynamic that had a high-risk, high-reward moment. Now the player’s character is doomed to fall several hundred feet down a ravine to what is likely certain doom in lava. But this isn’t the end. That player’s character is most likely dead, but their death could result in a moment of drama and tension for the players. It’s the very real chance of failure that encourages players to think critically about a situation and experience excitement and tension. Brennon Lee Mulligan, the DM of the D&D streaming show, “Dimension 20,” put it this way… “if you are not allowing for failure, you are essentially just telling a story,” and thus never actually playing a game (make-believe as Suits would put it). ¹⁸
Another thing to consider is that through failure, we can often find comedy as well as ways to encourage players to think critically and find new escapes, ¹⁹ at least according to the mind behind the “Replaying the Curse of Strahd” videos, Benjamin (Puffin Forest) Scott. Lastly, Mercer strongly advises that if a DM allows too many “rule of cool moments” to happen in succession, the weight of the moments and consistency of the game will be lost. ²⁰
Players that are afraid to fail will not try. Mercer explains that “Most role play games are designed to forge a heroic story (showing feats of legend) so let the players try! Let them fail, and occasionally succeed!” This is where his catch phrase “you can certainly try” comes from. ²¹
Tip 4: Whenever Possible, Avoid Taking Things Personally
In his lecture on not talking things personally, soccer referee and public speaker, Frederik Imbo, explained there are two sides of a coin to keep in mind when trying not to take things personally: “It is not about you,” and “it is about you.” ²² Look at the other person’s intentions not just yours. With that in mind, it is okay to give yourself empathy and speak up. When someone seems upset with you, ask what are they hoping to get out of this releasing of emotions? Additionally, ensure that your pride isn’t preventing you from making the correct call. Yes I am talking about Ego again; it is that important! It is the DM’s world, but it is the players’ game. Without both, the world and the game, you do not have D&D.
D&D has a weird paradox of being both a story and a game. It has both a narrative as its core premise, but it is, in fact, also a multi-player game. Without at least two people you cannot really have much fun. DMs should make sure that everyone at the table enjoys themselves. Tip 5: Mechanics are important precisely because they are a means of delivering impactful story moments.
Remember that rule of cool concept? Extraordinary moments don’t happen often, and this is by design of the mechanics of the game. Humans remember the novel and unique way more often than the mundane. Mundane things tend to blend into the background. It’s the unexpected moments that highlight the more impactful story moments, especially if that moment is tied to strong emotions.²³
With that in mind, Mulligan suggests looking at where the players are putting their resources before deciding how to rule on a situation. Have they invested experience points/levels into a specific skill that is relevant to this situation instead of just something they can use in combat? If so, reward them for wanting to do something that is a part of the world you are creating together. ²⁴
Tip 6: Discourage metagaming but allow it whenever possible.
Look for any and every excuse you can to give advantage on an arcana check by setting the DC low (10 or higher). If the player succeeds, they can use what they know… they are going to anyway, but at least then they can talk about it with the other players.
According to the DM guide Chapter 8, metagame thinking means “thinking about the game as a game,” Examples would be thinking “the DM wouldn’t throw such a powerful monster at us so early in the game, so we will surely be saved and not have to take this fight seriously,” or “the DM spent A LOT of time describing that door… maybe we should search it again!” ²⁵
The problem with metagaming isn’t really about what advantage the players are getting in the game. The problem is that manipulation of the dynamics, when used to extremes, can spoil the plot line of the cumulative story being told. This can lessen the drama and tension elements resulting in decreased enjoyment of those involved. Additionally, it can create a dynamic where the DM is constantly having to escalate encounters to challenge the player, encouraging a potentially toxic “DM vs player” mentality.
For instance, how would a street orphan barbarian with no formal education and a wisdom of …let’s say very low…be able to know that liches phylactery is the source of their power. The solution here depends on why the players are playing this specific game. Is it the narrative of the story? Is it discovery? If these aren’t anywhere close to the reasons these players came to the game table in the first place, the narrative is not going to take as much of a factor into decisions. Metagaming in this instance isn’t going to be much of a problem.
Tip 7: Keep in mind, the ending is “A” destination, but the story is about how you get there.
A DM may hold off the extra cool moments for the final parts of the game, keeping their players in complete darkness and grit the entire way. However, without at least some levity along the way, some “water for the weary travelers,” as Mercer put it, they may not make it to the end.²⁶ So, do not be afraid to relax the rules from time to time to give them those cool moments, but do so sparingly lest the destination lose its luster as well. Always keep in mind it’s about the enjoyment of crafting and playing in the world together that makes this, or really any game, fun.
*Tip 8: When all else fails… take a break and have the Tarrasque attack the party. *
When all else fails, roll two D-20s out of players’ views… fake a worried expression… role a D-100 (also out of player’s view) look over the score concerned as you pour through your notes… then explain sorrowfully… “I’m sorry… The Tarrasque has risen and has attacked the party. Everyone roll initiative.” This is actual advice from the DM manual. It is right under “faking illness and running away.”²⁷ The point is this: never be afraid to pause or call a game when it’s over or needed.
Maybe something incredibly uncomfortable for a player has happened. Maybe the DM has reached the end of what they were able to prepare for that session. Perhaps everyone is hungry or needs a bathroom break. Maybe the entire table has gotten to a point where no one can agree on anything and team dynamics are breaking down. That game world will always be there… but your friends won’t. Cherish that moment and make as many good moments as possible. Additionally, taking breaks both in-game and in the real world allow for quiet moments. These allow for the greater moments to shine through and the players will enjoy their experience more.
https://i.redd.it/1ncu361zlqf61.png
The graphic above serves to summarize the eight tips above and show their relationship with the narrative, enjoyment, and the rules when put in the context of situational ethics. From this graph, the relationship between the eight tips and how they play into the narrative, enjoyment, and rules of the game can be seen. Each of the tips can influence many parts of the game but they are intended to primarily influence the aspect of the game they are adjacent to. “Knowing the players” should influence the narrative and what kind of enjoyment the players receive. What mechanics are used to enable the game is causally related to how the rules are used and so on. Please note that Agape is at the center as, with every decision a DM makes, considering what is best for the players should be central to the experience of any game.
The Epic Conclusion
Through crafting a game-world together with your players, a DM has the potential to tap into one of the greatest traditions humanity has: camaraderie with friends. At the end of the day, these players are your friends, or at the very least your fellow human beings. As such, you should want what is best for them. Through trials, hardships, and drama, we get to put the punctuation on the moments of excitement, joy, happiness, and bliss. It is okay if the player does not get exactly what they want, so long as they still had enjoyment. This is because getting everything we expect is sometimes boring. However, always keep in mind that at the end of the day, games are about having fun. How that happens is up to the players, the DM, and whether the rules were used to enhance the experience or not. It’s possible to find that balance by asking these questions in order: “How will this decision affect: the final enjoyment of all at the table? the narrative? the rules in the future?”
1 Huizinga, Johan . "Homo Ludens". Routledge & Kegan Paul Ltd. (1980), pp. 1., accessed January 19, 2021. http://art.yale.edu/file_columns/0000/1474/ homoludens_johan_huizinga_routledge_1949.pdf
2 Suits, Bernard, “The Grasshopper: Games, Life and Utopia,” Broadview Press. Ed. 3. (November 29, 2005): 54–55. Accessed December 31, 2020. https://www.goodreads.com/book/show/803547.The_Grasshopper
3 The Game Overanalyzer, The Aesthetics of Play | Why We Play Games, and the Search for Truth and Beauty in Game Design. The Game Overanalyzer. (January 11, 2020), accessed 6 January 2021. Video 18:44. https://youtu.be/lONsZwjVDzg
4 Hunicke, Robin, Marc LeBlanc, and Robert Zubek. "MDA: A formal approach to game design and game research." Proceedings of the AAAI Workshop on Challenges in Game AI, vol. 4, no. 1, p. 1722. (2004). Accessed January 11, 2020 https://www.aaai.org/Papers/Workshops/2004/WS-04-04/WS04-04-001.pdf
5 Portnow, James; Floyd, Daniel; Aesthetics of Play- Redefining Genres in Gaming. Extra Credits; (October 17, 2012), Video 9:13. Accessed December 30, 2020. https://www.youtube.com/watch?v=uepAJ-rqJKA&list=PL3N9QD4_yI-BlnwWUL8hhjpKgqRul3xAa&index=11
6 Suits, Bernard. “Discussion: Games and Paradox.” Chicago University Press. Philosophy of Science Association Journal, Vol 36, no. 3 (September 1, 1969). pg 316–.321. Accessed December 30, 2020. https://www.jstor.org/stable/186226
7 Suits, Bernard. “Discussion: Games and Paradox (1969)
8 Myers, David. “Game as Paradox: A Rebuttal of Suits.” Journal of the philosophy of Sport 39, no. 1 (May 1, 2012). Accessed December 30, 2020. https://search-ebscohost-com.ezproxy2.apus.edu/login.aspx?direct=true&AuthType=ip&db=s3h&AN=87342252&site=ehost-live&scope=site.
9 Juul, Jesper. "Half-Real: Video Games between Real Rules and Fictional Worlds", MIT Press, (Aug 19, 2011) pp.57-59
10 Tracy, Patrick. DM Tips: The Rule of Cool. Fantasy Bango. (October 20, 2017). Accessed December 30, 2020. Video 2:23 https://www.youtube.com/watch?v=x8aAIFalx6s
11 Fletcher, Joseph F. Situation Ethics: The New Morality. Westminster John Knox Press, (1997). Page 17-26 (accessed January 20, 2021) http://bit.ly/Googlescholar_SItuational_Ethics
**Please note that just because Fletcher’s Situational Ethics is used prominently, this is not an endorsement of all his views. Fletcher’s work has been used to justify terrible atrocities, such as eugenics, this should serve to point out that any philosophy taken to extremes can lead to terrible outcomes
12 Fletcher, Joseph F. Situation Ethics: The New Morality. (1997)
13 Mercer, Matthew. The Rule of Cool! (Game Master Tips). Geek & Sundry. (February 16, 2016). Accessed December 30, 2020. Video. 5:52 https://youtu.be/fWZDuFIYkf0
14 Bryce, Nathan K., “Four Lenses Unfolded: A Deeper Understanding of Temperament Values,” Insight; (January 29, 2002,).
15 Mercer, Matthew. The Rule of Cool! (Game Master Tips). (2016).
16 McLaughlin, Kelly; Martin, Monty. "How to Run a Session Zero for Dungeons and Dragons 5e". Dungeon Dudes. (September 3, 2020), Accessed 12 30, 2020. Video. https://youtu.be/2MA-z5Ai-bQ
17 Wells, Orson, "The Big Brass Ring." Santa Teresa Press (1987, January 1) 1-148
18 Mulligan, Brennan; Scott, Benjamin. “Animating Your Table (with Benjamin Scott) | Adventuring Academy Season 2 | Ep. 16 |” Adventuring Academy. Dimension (2020, December 28). Accessed December 30, 2020. Video 1:24:18 https://www.youtube.com/watch?v=4IbVxEKpipo
19 Mulligan, Brennan; Scott, Benjamin. “Animating Your Table (with Benjamin Scott) (2020)
20 Mercer, Matthew. The Rule of Cool! (Game Master Tips). (2016)..
21 Mercer, Matthew. The Rule of Cool! (Game Master Tips). (2016)
22 Imbo, Frederik, "How not to take things personally? | Frederik Imbo | TEDxMechelen" TEDx Talks; (March 4, 2020) accessed 10 Jan 2021, video 17:36 https://www.youtube.com/watch?v=LnJwH_PZXnM&t=381s
23 Kensinger, Elizabeth. Remembering the Details: Effects of Emotion. US National Library of Medicine National Institutes of Health. (May 4, 2009) Accessed 2021, January 30 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2676782/
24 Mulligan, Brennan; Scott, Benjamin. “Animating Your Table (with Benjamin Scott) (2020)
25 Mearls, Mike, and Jeremy Crawford. "Dungeons Master's guide". Renton, WA: Wizards of the Coast. (2014) accessed 29 January 2021 https://www.dndbeyond.com/sources/dmg/running-the-game#MetagameThinking
26 Mulligan, Brennan; Mercer, Matthew. Building Your Own Campaign Setting (with Matthew Mercer) | Adventuring Academy. Dimension 20. (2019, April 3) Accessed December 30, 2020. Video 57:01 https://www.youtube.com/watch?v=sig8X_kojco&t=2867s
27 Mearls, Mike, and Jeremy Crawford. "Dungeons Master's guide". Renton, WA: Wizards of the Coast. (2014)-accessed 20 January 2021. https://www.dndbeyond.com/sources/dmg

Bundles take priority. I'd love to get rid of this stuff.
New Stuff
Switch Lite - Gray. Comes with aftermarket charger & carrying case. No memory card or games. The right stick has a strange issue seen in the video here, I've ordered a new analog stick to replace it with but I believe this could be considered drift and Nintendo would replace it under warranty. Either way, happy to find a good solution. Edit I’ve replaced the right analog stick and it’s working like a charm now.
GameCube bundle - Of the few pickups I've been able to get in on during the last several months, this one is my favorite yet. Comes with a black GameCube with original box (the box is a little beat up), all OEM hookups, a black OEM controller, and the following games: Super Smash Bros. Melee (CIB), Mario Party 4 (CIB), Mario Kart Double Dash (disc & case - the case is the bonus disc holder but doesn't actually include the disc or any manuals/inserts), Timesplitters 2 (CIB), Avatar (CIB), Star Wars Rogue Leader: Rogue Squadron (CIB), Hunter: The Reckoning (loose) and The Legend of Zelda: Twilight Princess (CIB, however the disc isn't reading in this console. I'm going to try a couple other ones and see if I can bring it back to life. It looks like it's in perfect shape, so I have no idea what the problem could be). Edit Twilight Princess worked in both Wii’s I tried it in as well as 3/4 of my personal gamecube consoles. While it seems like there’s an issue that makes it takes a stronger laser to read it, it works as shown here.
I also have a loose Pokemon Emerald. It's authentic, I've soldered in a new battery as well. The label isn't great, though. Pics here
I picked up a red GBA SP - AGS-001. Works just fine, scratched up a bit on the outside shell, comes with aftermarket wall charger. Also came with a bunch of loose GBA games: Zelda: A Link to the Past/4 Swords Adventures; Namco Museum; Pokemon Mystery Dungeon: Red Rescue Team; Kingdom Hearts: Chain of Memories; Spyro Orange: The Cortex Conspiracy; Sonic Advance 3; Star Wars Episode 3: Revenge of the Sith. Same pickup I got a crimson & black DS Lite that needs a new inner top housing to keep it from flapping about. Still works great, but that's the common fatal problem with these consoles. I've ordered a new shell for it and am planning to re-house it, but if you're interested as-is, just let me know.
Nintendo Collectibles

Title	Condition	Notes
Paper Mario: The Origami King Origami Set	Sealed	They are these ones
Super Mario 3D All-Stars Poster Set	New	They are these ones
Super Mario Bros. 35th Anniversary Pin Set #1	Sealed	They are these ones
Super Mario Zipper Case	New	It's this one

Nintendo Switch

Title	Condition	Notes
Console Switch Lite	Used	Gray console, very nice shape. Includes aftermarket charging brick and carrying case, as well as a spare screen protector. No memory card or games included. The right stick has a strange issue seen in the video here, I've ordered a new analog stick to replace it with but I believe this could be considered drift and Nintendo would replace it under warranty. Either way, happy to find a good solution. Edit I’ve replaced the right analog stick and it’s working like a charm now.
Atelier Ryza: Ever Darkness & The Secret Hideout	Sealed	Picked up an extra copy to keep sealed during the recent restocks. Figure if someone else will open & play it, might be a good token to trade.
Ys VIII	Cart & Case Only	Adventurer's Edition, however it doesn't have any of the inserts. Just the case and the cartridge.

Nintendo Wii/U

Title	Condition	Notes
Console WiiU	Used	Black 32GB console. Very nice shape. Includes the OEM power supply & sensor bar, gamepad (in excellent condition -- no stylus or original charging brick, but it will come with a USB-to-gamepad cable. It doesn't work nearly as well at charging the gamepad, I'd recommend picking up an OEM charging brick/cradle if you don't already have one).
Console Wii RVL-101	Used	Black console. Later model that doesn't have GC controller ports or back compatibility. Comes with all OEM hookups. Tested & works great. I'm happy to softmod it too, if you'd like.
WiiMote	Accessory	3 OEM Wiimotes - 2 white (one original, one with Motion+ built in), and one black (has Motion+ built in). The two white Wiimotes have wrist straps, and each seems to have at least some minor little puppy bite marks (?). One of the white ones has a silicone sleeve, and the non-M+ one has a black silicone sleeve with the M+ adapter. They're all tested and work great.
Birthday Party Bash	Loose	Tested, reads at least past the title screen. Can't say I've done any more birthday party bashing after that.
Just Dance 3 (Wii)	CIB	Nice shape
Just Dance 4	CIB	Nice shape
Just Dance 2016	CIB	Nice shape

Nintendo (3)DS

Title	Condition	Notes
Console Black DS Lite	Used	Nice overall condition, bottom screen has some scratches that I've tried to capture in the pictures. Comes with OEM charger. Pics
Console Black DS Lite	Used	Excellent overall condition. Tested & working. Doesn't have the GBA slot cover, but does include a stylus and aftermarket charger. Pending swap
Console Zelda Edition DS Lite	Refurbished	Nice overall condition, the top hinge was cracked so I had to replace the top housing, but everything else is original. I'll include the original top housing if you want it, too. Pics
Console Parts DS Lite	FPNW	This is a bag of leftovers from a couple of housing swaps. Bad top casings, cracked top LCD, broken power slider. Surprisingly, the other things all work great on one of them. Lots of decent parts to harvest. Battery, cartridge reader, metal hinge, bottom housing, bottom screen, etc. Pics. I also have the housing and buttons leftover from the other one I shell-swapped, it's black & blue. Ok condition overall.
Console Black DSi	Used	Nice condition, has CFW installed.
Action Replay Max DS	Loose	No cable included
ATV: Thunder Ridge Riders/Monster Trucks Mayhem	CIB	Dual-pack
Goosebumps: Horrorland	CIB	Nice condition
Mario & Sonic at the Olympic Games	Loose	Tested & working
New Super Mario Bros	CIB	Nice condition Pics
Nintendogs: Best Friends	Loose	Tested & working
Orcs & Elves	CIB	Nice condition Pending swap
Scribblenauts	Loose	Tested & working
Spyro: The Eternal Night	Loose	Tested & working
Transformers: Autobots	Loose	Tested & working
Warioware D.I.Y.	Loose	Tested & working
Yoshi's Island DS	Loose	Poor condition but tested & working. Looks like a dog got to it at some point.

Nintendo Gamecube

Title	Condition	Notes
Console Black DOL-001	Used	A little bit dirty but I'll see if I can clean it up some. It's the early model with the digital AV out. Tested & works great. Comes with OEM hookups & a black OEM controller. Also has the original box with precautions booklet, although the box is a bit beat up.
Accessory Action Replay	Loose	No disc or cable
Avatar: The Last Airbender	CIB	Nice condition, tested & working
Extreme-G 3	CIB	Nice condition Pics
Hunter: The Reckoning	Loose	Tested & working
Legend of Zelda, The: Twilight Princess (FPNW)	CIB	The disc isn't reading in the console I just picked up. I'm going to try a couple other ones and see if I can bring it back to life. It looks like it's in perfect shape, so I have no idea what the problem could be Edit it works in the 2 Wii’s I tried it in as well as 3/4 of my personal gamecube consoles. It seems like it has an issue that makes it need a stronger laser to read, but it’s not a lost cause.
Mario Kart Double Dash	Case & disc only	Tested & working, the case is the bonus disc holder but doesn't actually include the disc or any manuals/inserts. Sold elsewhere
Mario Party 4	CIB	Great shape, tested & working
Super Smash Bros. Melee	CIB	Tested & works great. Original case art, not best seller or other variant. Pending swap
Star Wars Rogue Leader: Rogue Squadron	CIB	Tested & working, nice shape.
Timesplitters 2	CIB	Tested & working
Ty the Tasmanian Tiger	Case & disc only	Tested & working Pics Pending swap

Nintendo 64

Title	Condition	Notes
Legend of Zelda: Majora's Mask	Loose	Case-swapped with a gray cartridge, the other was completely busted. I'll include it if you want it. Original label has been glued on to this one. Pics for reference are toward the end of this album. Pending swap

SNES

Title	Condition	Notes
Mario All Stars + Super Mario World	Loose	Top of label has a couple of peeled off parts, like someone took a fingernail to it at some point. Pics
Super Mario World	Loose	Tested & working

Game Boy

Title	Condition	Notes
Console GBA SP AGS-001	Loose	Red, tested & works great. Includes aftermarket charger.
Castlevania Adventure, The	Loose	Some tearing on the label. I can get pictures if needed. Tested & working.
Finding Nemo	Loose	Tested & working
Kingdom Hearts: Chain of Memories	Loose	Tested & working
Legend of Zelda, The: A Link to the Past/4 Swords Adventures	Loose	Tested & working
Namco Museum	Loose	Tested & working
Pac Man Special Color Edition	Includes cart, box, manual, and cardboard tray	Great shape (Game Boy Color)
Pokémon Emerald	CIB	Hard trade. Includes poster. Only looking to swap this toward similarly valued items. Pics here
Pokémon Emerald	Loose	Soldered in a new battery so the clock-based events will work. Label isn't great, but is at least still intact. Pics here
Pokémon Mystery Dungeon: Red Rescue Team	Loose	Tested & working
Pokémon Pinball	Loose	Missing battery cover
Pokemon Red	Loose	Good condition with some label wear. Battery holds a save.
Power Rangers: Dino Thunder	Loose	Tested & working
Power Rangers: Wild Force	Loose	Tested & working
Sonic Advance 3	Loose	Tested & working
Spyro Orange: The Cortex Conspiracy	Loose	Tested & working
Star Wars Episode 3: Revenge of the Sith	Loose	Tested & working
Super Mario Advance 2: Super Mario World	Loose	Tested & working
Super Mario Land	Loose	No label.
Teenage Mutant Ninja Turtles III: Radical Rescue	Loose	Nice shape. Tested & working.
Tetris	Loose	Nice shape. Tested & working.
Tom & Jerry: The Magic Ring	Loose	Tested & working
Tony Hawk: Pro Skater 2	Loose	Tested & working
Game Boy Carrying Cases	Accessory	I have a bunch of these. If you're interested, I can grab pics.

NES

Title	Condition	Notes
Bandai Golf: Challenge Pebble Beach	Loose	Tested & working
Big Bird's Hide & Speak	Loose	Tested & working
CONFLICT	Loose	Tested & working
Demon Sword	Loose	Tested & working
Fester's Quest	Loose	Tested & working
Ikari Warriors	Loose	Tested & working
Kid Kool	Loose	Tested & working
NARC	Loose	Tested & working
NES Play Action Football	Loose	Tested & working
Teenage Mutant Ninja Turtles 2: The Arcade Game	Loose	Tested & working
Top Gun: Second Mission	Loose	Tested & working
WCW Wrestling	Loose	Tested & working

PlayStation PS4, PS3

Title	Condition	Notes
2 DualShock 3 controllers – Black and camo – PS3	Accessory	Both OEM, both work great.
Killzone 3 Rifle Peripheral - PS3/4	Accessory	Tested & working
PS Move Eye Camera - PS3	Accessory	Tested & working
PS Move Controller - PS3/4	Accessory	I have 1 of these available, no strap.
Just Dance 3 – PS3	CIB	Tested & working
MLB The Show '16 – PS3	CIB	Tested & working
Resident Evil 2 – PS4	NIB	New in plastic
Rocksmith (no guitar included) – PS3	CIB	Tested & working
The Outer Worlds – PS4	NIB	New in plastic
Tiger Woods PGA Tour '12 – PS3	CIB	Tested & working
Uncharted - Drake's Fortune – PS3	CIB	Tested & working
Uncharted 2 – PS3	CIB	Tested & working
Uncharted 3 – PS3	CIB	Tested & working

Playstation Portable, Vita

Title	Condition	Notes
Console PSP 3000	Used	Tested & working. Now it has a new battery as well as battery cover on the back. It also includes a Sony M2 Duo adapter, and a 4GB M2 card. The screen has some scuffs on the left side, not visible while playing but they're definitely there. Also includes an aftermarket charger.
3rd Birthday, The - PSP	CIB	Tested & working, very nice condition. Pending swap
Blazing Souls – PSP	Loose	Tested & working
Coded Arms – PSP	CIB	Nice condition
Darkstalkers Chronicle – PSP	Loose	Tested & working
Disgaea Infinite – PSP	Loose	Tested & working
God of War: Chains of Olympus – PSP	Loose	Tested & working
God of War: Ghost of Sparta - PSP	CIB	Tested & working, very nice condition.
Hard Rock Casino – PSP	CIB	Nice condition
Kingdom Hearts: Birth By Sleep - PSP	CIB	Tested & working, very nice condition.
Madden '06 – PSP	Loose	Tested & working
Marvel Ultimate Alliance 2 – PSP	CIB	Tested & working
Midnight Club 3 – PSP	CIB	Nice condition
Little Big Planet - PSP	CIB	Tested & working, very nice condition.
Lord of Arcana - PSP	UMD & Case only	Tested & working, very nice condition.
Spectral Souls – PSP	Loose	Tested & working
Star Wars Battlefront 2 - PSP	CIB	Tested & working, very nice condition.
Valkyria Chronicles 2 - PSP	CIB	Tested & working, very nice condition. Pending swap
Wild Arms XF – PSP	Loose	Tested & working
Worms: Open Warfare – PSP	CIB	Nice condition
Persona 4 Golden - Vita	Loose	Tested & working

SEGA Dreamcast

Title	Condition	Notes
OEM White controller	Accessory	Tested & working
Intec Purple Controller	Accessory	Tested, works fine
Buzz Lightyear: Star Command	Disc only	Tested & working
Centipede	Disc only	Tested & working
Chicken Run	CIB	Great shape
Dave Mirra's Freestyle BMX	CIB	Great shape
Disney's Dinosaur	CIB	Cracked case edge
Jeremy McGrath Supercross	Disc only	Tested & working
NFL Blitz 2001	CIB	Great shape
Quake III Arena	CIB	Great shape
Resident Evil: CODE Veronica	Discs & aftermarket cases	Tested & working
San Francisco Rush	CIB	Great shape
Sega Bass Fishing	CIB	Great shape (Sega All-Stars)
Sega Smash Pack: Volume 1	Disc & case, cracked front lid	Tested & working
Sno-Cross Championship Racing	CIB	Great shape
Super Runabout: SF Edition	CIB	Great shape
Tomb Raider Chronicles	CIB	Great shape
Vigilante 8: Second Offense	CIB	Great shape
Virtua Fighter 3tb	Disc & aftermarket case only	Tested & working
WWE Royal Rumble	CIB	Great shape

Xbox One, 360, OG

Title	Condition	Price
OEM Wireless Controllers - 360	Accessory	I have 4 spares, 3 black and 1 white, as well as a couple of charging cradles & rechargeable battery packs. Missing the actual battery covers, though.
Rock Candy Wired Controller - 360	Accessory	Comes with the USB breakaway cable but it's kind of janky.
Microsoft Kinect - XBO	Accessory	Model 1520 for Xbox One
Speed Wheel - 360	Accessory	Tested & working.
Gibson Xplorer - 360	Accessory	Tested & working. Comes with stickers pre-installed and a shoulder strap.
Batman: Arkham Asylum (Game of the Year Edition) - 360	CIB	Tested & working
Batman: Arkham City (Game of the Year Edition, 2 disc setup) - 360	Disc 1 only	Tested & working
Burnout 3: Takedown - 360	CIB	Tested & working
Call of Duty 3 - 360	CIB	Tested & working
Chromehounds - 360	CIB	Tested & working
Disney Pixar Cars - 360	CIB	Tested & working
Elder Scrolls, The: Skyrim - 360	Disc only	Tested & working
Elder Scrolls, The: Oblivion (Game of the Year Edition, 2 disc setup) - 360	Disc 1 only	Tested & working
Fallout 3 (Game of the Year Edition) - 360	CIB	Tested & working
Gears of War - 360	CIB	Tested & working
Gears of War 3 - 360	CIB	Tested & working
LEGO Batman/Pure Dual Pack - 360	CIB	Tested & working
LEGO Batman (same dual pack as above, but doesn't include Pure) - 360	CIB	Tested & working
Lost Planet: Extreme Condition - 360	CIB	Tested & working
Madden 09 - OG	CIB	Tested & working
Madden 11 - 360	CIB	Tested & working
Marvel Ultimate Alliance - 360	CIB	Tested & working
Minecraft - 360	Disc only	Tested & working
MotoGP - 360	CIB	Tested & working
Naruto Shippuden Ultimate Ninja Storm 3 - 360	CIB	Tested & working
NBA Live 2005 - OG	CIB	Tested & working
NBA Live 06 - 360	CIB	Tested & working
NCAA Football 09 - 360	CIB	Tested & working
Skate 3 - 360	Disc Only	Tested & working
Splinter Cell: Blacklist - 360	CIB	Tested & working
Star Wars: The Force Unleashed - 360	CIB	Tested & working
Transformers: Dark of the Moon - 360	CIB	Tested & working
Triple Play 2002 - OG	CIB	Tested & working
Walking Dead, The: Survival Instinct - 360	Disc only	Tested & working
Zoo Tycoon - 360	CIB	Tested & working

WANT
Chrono Trigger (SNES) - I have my childhood cart already, but I'd be interesting in picking up the box & all the inserts if you have them
Pulse Headset (PS5)
Borderlands Legendary Collection (Switch)
Original hard case for PS Vita Slim - my kid broke the hinge on mine and the Amazon replacement is... not good.
Castlevania (GBA) - Looking for all 4 games: NES, Aria of Sorrow, Harmony of Dissonance, Circle of the Moon. Double pack would be great, too.
Mega Man Battle Network games: Network Transmission (NGC), MMBN 2 (GBA), Battle Chip Challenge (GBA), MMBN 4 : Blue Moon (GBA), MMBN 5: Team ProtoMan & Team Colonel(GBA) & Double Team DS (NDS), MMBN 6: Cybeast Gregar (GBA)
Dreamcast OEM Memory Card, Quality Games (Sonic Adventure 2, Skies of Arcadia, etc.)
Pokemon: SoulSilver (Bix box & cardboard tray only, already have the game & case. The Pokewalker & its' manual would be a plus, but not a requirement)
NES/SNES/N64/GameCube/Switch Offers Note: I currently have most first-party/major release Switch games. Feel free to still offer, though. No interest in Amiibo or Amiibo Cards.