This entry is a little scattershot. I have a few things to let you know before I delve back into meaty essays on specific topics.
Speaking of topics, I have plenty. However, in my first post, I asked what folks might like me to write about. A commenter pointed out, wisely, that I should tell you what I’m interested in. Maybe that list will help you pick something you want to know. Maybe I’ll even be able to give a decent answer.
Years ago, I wrote about canon as it applies to tabletop RPG settings. I still believe what I wrote back then. Canon serves as a framework for a setting, but after that, strict adherence to and advancement of canon along an official timeline is harmful to the setting and its audience. This latter specific type of canon is called a metaplot, an overarching story line imposed by the designers of a setting, creating official events in the setting up to and even drawing the setting’s timeline to a close. Because of recent experiences I’ve had, talking with some interesting folks and applying to be White Wolf Publishing’s new Editor (1), I’ve been thinking about metaplot a lot.
When it comes to expressing intellectual property (IP) in media, metaplot can be a complicated issue. For tabletop RPG settings, metaplot, as canon, is useful only insofar as it underpins players’ starting point and furthers adventures (story-based products that the players experience through sequential play). Beyond that, metaplot can be damaging to an RPG setting. However, if the intent is to focus on wider transmedia storytelling, the rules change. Then, a coherent metaplot, which is really a plan for a shared audience experience over time, is vital (although not for a related tabletop RPG setting).
With tabletop RPG settings, such as Forgotten Realms or World of Darkness, the necessary part of the metaplot is that which forms the myth and history of the setting. From the place defined by this initial canon, a setting becomes unique over time for each group that uses it. The publisher can continue to use metaplot in adventures, because adventures, unlike any other game supplement, are an experience of time’s forward arrow for the players. The current Dungeons & Dragons brand strategy uses this approach with adventures that describe the ongoing, player-centered drama in the Forgotten Realms. (According to Chris Perkins, the core intent for products that occur outside the Realms, such as Curse of Strahd, is to showcase the wider D&D multiverse.)Read More »