The Million Worlds:COTEC - The Rumours Of My Death ......

[RobMuadib]

-"The Rumors Of My Death Have Been Greatly Exaggerated" ,
     Samuel Clemens

Greetings, long suffering readers. It is true, I am not dead, nor is
The Million Worlds: Chronicles Of The Eternal Cycle. Though I have
been away, I have not been unfaithful. Instrumentality continues, so
to speak. I have not forgotten the mandate of my ancestors to unite
all under heaven! (Yes I am overly fond of movie qoutes.)

So, let us recap. Where does the TMW:COTEC stand at this moment.
Mechanically, I am still in the midst of the combat system, and still need
to rewrite the core rules document to be player friendly, and less of a
rigorous engineering design document.

Conceptually, I have been refining my vision of the game. This is in part
due to the catalyst of the recently published game, Universalis, by
Ramshead Publishing, designed by Ralph Mazza and Mike Holmes (should
have my copy soon:) ), and the design work of Fang Langford with his
game Scattershot. (Information on both of which can be found here at the
forge.) It also builds upon the ideas I had described in my posts on indie-
rpgs about rewards and the thrust of the system. Which can be reviewed
at
TMW:COTEC Rewards And the Thrust OF the System


In this thread I saw alot of "congruent" thinking in terms of the design
concepts being discussed in these games, although Mike and Ralph not
only finished there game but up and published it as well. However, I find
it interesting how the games differ in their focus though they share a
similar design concept.


Which leads us to TMW:COTEC as it now stands. The Million Worlds exists
as a Role Playing Game toolset, mechanics and methods to stage a
gameplay. However, the approach and focus of this is significantly
different from what has come before.

The focus of The Million Worlds is for the players to create the worlds
upon which they stage their gameplays, creating, in detail, the various
peoples and nations, Meta-Abilities and Special Effects, weapons, vehicles
and equipment that give the world its particular rich flavor and distinctive
feel.


This focus is built upon the ideas presented in Aria: Canticle Of The
Monomyth, Ars Magica, and the design oriented modules of several
games, such as Traveller, GURPS, HERO System, and CORPS.

This creation is grounded in a rich substrate of rules and mechanics. A
strong design process and mechanics base that provide
concrete,  "exportable, extensible" game detail that can be shared among
different  players and play groups. That is, it provides a detailed,
concrete  "gearhead" rules base from which they players can create the
cool toys and great special effects of the game worlds they imagine.

To capitalize upon this rules base, the game is designed to reward and
encourage the players to use the creation systems in designing the
elements of any particular world in which they may be playing. This is
done by moving beyond the typical RPG play style of one GM, and  
several players, where the majority of the design elements, and the
control "mechanics" are reserved to the GM.  


In The Million Worlds: Chronicles Of The Eternal Cycle, each player is  
empowered to create elements of the game world, and is rewarded for
doing so in terms of "Nomenar", the super-meta currency of the game.
These points allow the players with the means to introduce created
elements and entities into the game narrative/situation. To
exercise "Narrative" control over events of a particular production, and
otherwise shape and drive the game towards the scenes/set-pieces that
interest them.

This power has checks and balances among all the players, by
means of a "Point Economy" and "Spending Rules" that limit how
and when a player may spend these points to affect the game.

This "Design Economy" is further supported by the games background
setting, it's "universe", The Million Worlds. The game is posited
to take place against a single vast universe of an infinite number
of worlds, each related among this dynamic persistent universe. This is
supported by the universes mythos, which provides for a commonality
of travel and a codification of "reality" among these different worlds,
as well as an explanation of the constant creation and destruction of
new worlds, the Eternal Cycle mentioned in the games title. It also
allows for a "meta-plot" elements of eternal characters and universe
spanning entities and situations.

To summarize, the game system provides a rules system with which the
players are expected to learn. By using the "Design Architectures"
provided the players collaborate to stage a "Production". Creating a
particular world cooperatively, deciding upon and designing, and
detailing through the mechanics the particular elements of that world,
it's peoples/nations, magic and mysteries, and technologies. By taking
part in this design process, each player is rewarded with "Nomenar"
which grants him points to spend to influence the ongoing production.
The players are also rewarded for facillitating other peoples play
through acting in a Guide capacity, as well as helping along play.

Thus, I believe TMW:COTEC will stake out an interesting niche in the new
generation of "shared creation/control" games, as evidence by
Universalis, Scattershot, and my own game. One based more in an
interest in "gearhead" details and "simulation" with an ongoing showcase
for the players cool toys and great special effects ideas, created in
collaboration and explored in cooperation.

Any comments or questions you might have are appreciated.



Thanks for your interest,

Rob Muadib
Kwisatz Haderach of Wild Muse Games
(C) 2002 Wild Muse Games/Robert A Mosley

(P.S. It's good to be back, and oh, ordered a copy of TROS too.:) )

[Mike Holmes]

Hi Rob, good to see you back. Wherya been?

How far along is the text of the game?

Mike

[Valamir]

Hey Rob...the earliest versions of Universalis were far more crunchy than the final version.  If you like what you see when you've had a chance to look them over I can probably get you an early version or two for you to peruse if you'd be interested in it.

[Ron Edwards]

Hi Rob,

I was just wondering what had happened to you. See, I'm hoping to pull together some points and perspectives on quality Simulationist play and design, and your project was involved.

Here are some thoughts I was hoping to examine.

1) The Million Worlds is similar to Universalis and Scattershot insofar as it's about customizing cool stuff and applying the mechanics to multiple settings, but it differs sharply from them as it's highly focused toward Simulationist design goals, in my view.

That means that ease of creation and customization takes on a different priority - in TMW, the point is that the system of creation should have ... oh, what to call it, a multiplicative effect for every new unit added to the picture. If you

2) Given that the settings are the stars, basically, the other main issue becomes making them "sing" ... so instead of internal socioeconomic consistency and plausibility being the top priority (which is how Aria falls over, in my opinion, in getting all caught up in that stuff), instead, the key becomes Color: having each new detail be all the more powerful given that X-Y-Z details already exist, and simultaneously X-Y-Z may all be considered more Colored-in by this new detail.

To some extent Color serves this purpose in any role-playing experience, but I'm thinking that perhaps some attention could be turned toward making it a central feature of Sim/Setting/customizable play.

3) I've come to think that System, historically, has a way of fighting Setting during play, in games of this sort. Basically, the point is for a situation in play to ... well, to become part of a setting, in terms of in-game-world history. We run a fight scene here, and from now on, the setting is amplified and given "power" through the events of that fight, in that place, at that time.

Yet attention to the detailed and linear plausibility of the events of the fight scene often has a "game within a game" feel, such that we are fighting *A GURPS Combat* (tm) no matter whether it's on a red Martian dust-plain, in a Renaissance boudoir, or on top of the Sears Tower. Somehow, the more consistent/plausible the combat in minute detail, the less we're paying attention to the setting (and the reciprocal "power" given to it by the fight and vice versa).

I'm looking forward to your thoughts on this and most especially regarding any possible solutions to #3.

Best,
Ron

[RobMuadib]

Hi Rob,

I was just wondering what had happened to you. See, I'm hoping to pull together some points and perspectives on quality Simulationist play and design, and your project was involved.

Mike, Ron

Hey guys, I kind of got caught up in doing the social gamer thing, playing Magic The Gathering of all things, writing a few magic articles and otherwise obessing over it, and actually doing a LOT of regular gaming. Then I have had some health concerns. But everything is back to my old isolated ways, so I can return to my -- older, colder dreams.

Speaking of which, I have tons of miscellaneous design notes/texts, but only a 100 pages or so of text, most of which is in need or rewriting. So long way to go still. I have rock solid core mechanic, though it is probably on the heavy side for most people. Though people who appreciate the flexibility of Hero/DC will appreciate this after using it, I hope:)


Ralph

I will probably take you up on that offer after I get the chance to dissect my copy of Universalis. Game is definitely getting some great online press, congrats.

Here are some thoughts I was hoping to examine.

1) The Million Worlds is similar to Universalis and Scattershot insofar as it's about customizing cool stuff and applying the mechanics to multiple settings, but it differs sharply from them as it's highly focused toward Simulationist design goals, in my view.

That means that ease of creation and customization takes on a different priority - in TMW, the point is that the system of creation should have ... oh, what to call it, a multiplicative effect for every new unit added to the picture. If you

This is definitely a reasonable conclusion. The game focuses on sharing power such that all the players are able to create the cool toys, great special effects, and just plain cool shiat that interests them. Further, they are rewarded for creating it, and are encouraged to stage their games around those elements.

Currently I see the system as requiring a bit of work, along the lines of Hero System/DC Heroes. However, this creation also supports a rich amount of detail, allowing the players to create engaging elements that are directly integrated into the game world. The rules also provide for plenty of hard numbers, such that these creations can be shared among players, and play groups, even over the internet or such.

Kind of like adding Lego sets to your collection, what you can create and portray greatly increases with each additional set, with each set, in general supporting the overall theme/style of what the players are building.

2) Given that the settings are the stars, basically, the other main issue becomes making them "sing" ... so instead of internal socioeconomic consistency and plausibility being the top priority (which is how Aria falls over, in my opinion, in getting all caught up in that stuff), instead, the key becomes Color: having each new detail be all the more powerful given that X-Y-Z details already exist, and simultaneously X-Y-Z may all be considered more Colored-in by this new detail.

To some extent Color serves this purpose in any role-playing experience, but I'm thinking that perhaps some attention could be turned toward making it a central feature of Sim/Setting/customizable play.

This is another consideration I have applied some thought to. It is more about a bit of shiny, slick, clever quanity, over finely detailed, subtle, brilliant quality, in that if a particular element gets glossed over, the overall work doesn't lose as much impact, so to speak.

This concept of "Color Highlights" is built into the system through the games universe of the Spheres. In that the underlying mythos frames the nature of the spheres. Such that certain considerations of conflict, travel, relation to the rest of the universe, nature or reality/Meta-abilities, technology etc are hardwired into each sphere, though changeable over time. Meaning that part of defining each world with the game system is defining the world in terms of these "highlights". Torg, and Multiverser, are both influences here. But with more emphasis and making your creations enthralling and engaging, instead of encylopedic and detailed.

Also, the game stresses considering "Panoramic", "Speculative", and "Mythic" elements of each world, and how they relate to other worlds in the universe. Again the game focuses on making enthralling, intriguing worlds, without agonizing over tons of minor details and such.

Get to whats cool about the Sphere, focus on that, define it in game terms, and have some fun romping around in your new sand box. At least that is the concept and thrust I have for it. Anime's style of vast action, epic visuals, and BIG climaxes has also played a part in the shaping of my vision of the game. Cool, engaging, lush "visuals" that draw you in and make you say whoa, are a lot of my focus in defining the Designing Architecture. But with a touch more than Verisimilitude, allowing time to stop and smell the roses and obsess like a fan-boy on all the cool stuff you have created.

3) I've come to think that System, historically, has a way of fighting Setting during play, in games of this sort. Basically, the point is for a situation in play to ... well, to become part of a setting, in terms of in-game-world history. We run a fight scene here, and from now on, the setting is amplified and given "power" through the events of that fight, in that place, at that time.

Yet attention to the detailed and linear plausibility of the events of the fight scene often has a "game within a game" feel, such that we are fighting *A GURPS Combat* (tm) no matter whether it's on a red Martian dust-plain, in a Renaissance boudoir, or on top of the Sears Tower. Somehow, the more consistent/plausible the combat in minute detail, the less we're paying attention to the setting (and the reciprocal "power" given to it by the fight and vice versa).

I'm looking forward to your thoughts on this and most especially regarding any possible solutions to #3.

Best,
Ron

This is a good point here. And is a major consideration in how my system differs from pure universal settings. In that we provide for different levels of resolution/control by the players, and different experiences of the world the players create, other than the player to character to setting model. Instead we have player to meta-character to setting, or player meta-character versus player meta-character, Or Player as director to players as audience, etc.

At the far end will be the tactical combat system, for example. This is most often used when you want to experience the "reality" of the setting as conveyed by the rules and the game elements that have been designed.

Playing this way means you want to feel the rumble of the 80 ton mecha, know the fear of the lowly infantryman and be in awe of the hideous firepower. Thus, things are reduced to detailed system work. This is experience of the setting by being there, as conveyed by the system.

This is most often used for "set-pieces" the players have set-up when the focus is on putting their toys through their paces.  

At the other end, you have the use "Numenar" allowing  for narrative details added to an ongoing storyline, or more interesting the use of Meta-characters such as Aria's perpetual genealogies and other meta-character's played in historic time for creating the history of peoples, etc.  Shaping history and legend.

Consider World War 2 as the perfect example of this dichotomy, you can deal with the 82nd airbornes holding off the german's assault while unsupplied. Dealing with the overriding themes and legendary reputation. Or you can go in small detail, playing out the last day of bravo company as the german's overrun their position. Feeling their fear as they bleed out in the snow, etc.  It is how you want to treat and portray the world elements you have created as to how you can deal with them.

Again, I am drawing from some of the novel ideas of Aria, as well as Ars Magica's idea of Covenant cycles, etc. It is up to the players as to how they wish to portray any particular bit of action. They could even run several different accounts. Playing out the tides of the Moortheerian campaign in the third Brigsenkii war, or they can deal with the struggle of the crippled ship Argos to make it home after a devastating engagement.

The idea is to provide for these additional levels of play in defining various setting elements beyond just single characters. Again, I am following Aria's lead in forging new ground here in how you can "role-play".

Wheh, that's enough to digest for a while


Rob

P.S. This is the game as I conceive of it currently, I still got a fair ways to go to get there, but it was I am desinging and building towards.