RPG Insights #23 - Vibes do matter

Welcome back to the newsletter, everyone! Apologies for the hiatus; my day job has been quite demanding recently, and I've been grappling with a touch of imposter syndrome during my absence from gaming. However, having just wrapped up a thrilling 'monster of the week' one-shot (details to come in the next update, fingers crossed), I'm excited to reconnect with you all.

Monte Cook is a name that resonates in the gaming world. His contributions to the later AD&D 2nd edition were just the beginning. As the mastermind behind D&D 3e, he shattered traditional design boundaries, setting a new standard in the 2000s. But he didn't stop there; he went on to craft the Cypher System, infusing it with a unique essence and bringing it to life through the mesmerizing world of Numenera. And now, with him penning a design Substack, it was a given that I'd be tuning in.

The latest post, titled "Understating the Vibe," doesn't formally define 'vibe,' but it suggests that it's the impression the game book leaves on the reader or player. To summarize the article:

• Vibe can shape gameplay: if a designer aims for a particular atmosphere, they can utilize various non-game elements.

• MorkBorg embodies vibe: its art and design are pivotal in setting the tone.

• Mechanics should align with the vibe (or can be employed to establish it, though this is somewhat ambiguous).

• Choosing specific vocabulary can establish a vibe: the selection of words can convey information about the setting and genre.

• Initially, game text wasn't utilized in this manner; it was formal, akin to an instruction manual. Some writers continue this tradition.

• In 2024, being cognizant of the vibe is a crucial skill for designers. It's a significant instrument in our toolkit.

Upon first reading, I found myself in complete agreement. It's evident how potent vibes can shape gameplay, even with minimal system support. I witnessed the release of Vampire: The Masquerade firsthand. The commentary on MorkBorg is spot-on. The game's essence is conveyed not just through its design elements but also through the seamless alignment of all third-party products. The conclusion is unmistakable: designers must consider this in their writing in 2024 and beyond. Upon a second reading, I began to interpret it through the lens of various theories.

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Cook's initial argument suggests that 'vibe' can generate gameplay. However, when viewed through the MDA framework, this seems to be a total reversal of logic. The MDA theory posits that mechanics (M) lead to dynamics (D), meaning that the rules shape the gameplay or how the game unfolds in action. Subsequently, these dynamics give rise to the aesthetics (A), or the emotional responses of the players, to put it simply. I have previously written about this in greater detail (RPG Insights #18: From rules to aesthetics (substack.com)).

The primary critique of the theory is that, in practice, it doesn’t work so cleanly; causation flows freely among the elements. From this perspective, Cook's article discusses utilizing aesthetics, including mechanics, to generate dynamics. After all, design, art, and reading precede playing.

GNS theory may be considered outdated by some, as it has been around for a while and its principal creator, Ron Edwards, has since developed the Big Model theory. However, I believe it still holds valuable insights for current design practices. The cornerstone document, in my view, is Ron Edwards' article "System Does Matter". In it, Edwards contends that mechanics are crucial to the gaming experience. He identifies three play agendas—gamism, narrativism, and simulationism—and maintains that game rules should bolster the selected style of play.

In the more than twenty years since it was written it faced a lot of criticism, that these categories are limiting, that designers don’t have all this power etc but the big lesson for me is that coherent design is desirable. In that way, system matters, yes it does. It’s just not the only thing.

Cook's article really resonates when it talks about the importance of "vibe". It's true that through the vibes conveyed by art, typography, graphic design, fiction, and writing style, a designer can significantly influence how a game is experienced at the table. Edwards pointed out Vampire as an incoherent game, and he wasn't wrong. However, it's not that vibes can't shape a game; it's that a game needs both solid vibes and mechanics working in harmony, and that's something no contemporary designer can dispute.

So, putting these two things together, system and vibes matter. Both contribute to the overall gaming experience. Are they the only ones, or even the most important? I don’t know but we’ll keep exploring these themes in the next months. Thanks for reading, and keep spreading the news!

Gabriel Kerr