Take Five: Episodic vs Serial works

In modern continuous works (largely tv shows at this point in time, but also comic books and other media) there are few ‘one-shots’ anymore. Obviously, books are the largest exceptions, but even many movies nowadays feel like they’re all either remakes, reboots, prequels, or sequels. Everything is linked to something else because why spend all of the money to make one of something when (if people like it) they’ll pay to come see another with less advertisement? And I’m sure that’s how a lot of consumers have come to see it. But from the perspective of a writer, it’s fantastic. Why? Because serial works have something that episodic works tend not to have. What is the difference between the two? I’m going to use TV shows as my ‘medium’, but you can apply this to any form of media.

A serial work is one where each episode builds off of previous episodes, and sets up future episodes. Episodic works, on the other hand tend to just rehash the same setting, but with a new plot. Rather than try and strictly define a midpoint, I’ll just say that it’s a vague continuum; everything is a little bit episodic and a little bit serial, but some works are way more episodic (Whose Line is it Anyway?) and others are way more serial (Lost). If you tune into a random episode of Whose Line is it Anyway? odds are you’ll understand it just fine. You might miss a few of the jokes that are more recurring jokes, but they’ll probably still be funny. On the other hand, the first time I tuned into Lost, I was — pardon the pun — lost. They were on an island, and an unknown monster — I was hoping they’d crashed on a prehistoric island and it was a dinosaur –was attacking them, and I had no idea why they were hiding in trees from a boar, and why the boar couldn’t be seen and then the next episode I tuned into I think there was a ghost or something and they were living in a bunker and pressing this button and all I could think was WHAT HAPPENED TO THE MONSTER? WAS IT A DINOSAUR? IS THAT WHY THERE’S A BUNKER? AND WHY ARE THEY PUSHING THAT BUTTON?

So I understand why TV shows are at least somewhat episodic. Who has the same chunk of time open EVERY day? Who will NEVER miss an episode? What about that random guy who sits down and turns the show on, is he going to keep watching if he can’t figure it out? Books on the hand, are inherently serial. You don’t sit down, pick up a book, flip to a random page, and start reading. So if somebody criticized a book for not making sense when you started halfway through, we’d laugh at them. But we do sort of expect that to be possible with TV (less so in the age of TiVo, which I think explains the success of shows like Game of Thrones). And I think we understand that book series’ and comic book series’ are part of one ‘book’, so to speak. Nobody buys just book 2 of a series.

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Spoilers

Sorry, illness delayed today’s post. It’ll go up Saturday, but I can promise you that the delay will be worthwhile (for one, I’ll have a voice to record the accompanying videos). So instead, spoilers!

What do Final Fantasy VIII, Chrono Chross, and Chrono Trigger all have in common?

  1. Plot
  2. Music

And does Doctor Who Series 11 share any of those things?

What does Dave Brubeck have in common with a feathered beast of burden?

Am I the only one who hears this Dave Brubeck song and thinks of this Final Fantasy song?

And let’s not even talk about this song.

If you’re a music nerd, you may think you already know what my next post is going to be about.

But actually, it’s about the contrast between episodic and serial media, using the topic alluded to above as an analogy of sorts.

Any thoughts?

Deathstalker

If you ask me what my favorite fantasy series is, I probably won’t have to hesitate too long before churning out a list of 5, debating with myself as to the respective merits and flaws of each series, and ultimately saying ‘if I have to pick…no, I can’t’.

But if you ask me what my favorite sci-fi series is, especially if you ask for an epic series, there won’t be much doubt. Sure, I might hem and haw over I, Robot, and whether it qualifies as a series, and I might linger briefly on the formative nature of the Foundation series, but while I’ll stop here or there on the way, I know exactly where I will end up: Deathstalker by Simon R. Green.

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Let the Heroes be Strong

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Ultimately, campaigns, much like movies, are about your protagonists. Much as Henry said in his previous article on Screen Time, “by running a game you are agreeing to give the PCs the stage”. Of course, by ‘the stage’, he meant something akin to ‘camera time’. But not only should the camera follow them (mostly), but they should also be the movers and shakers of the universe. Of course, there are some exceptions: villains will often be stronger than PCs, especially in games with elements of horror. And there may be campaigns in which the PCs have limited agency (or are a part of events bigger than themselves). But in those cases, they should still, ultimately, be the agents of the events they ARE privy to.

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What Makes a Good Game?

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It may seem strange to hit this topic now; I haven’t even defined what I think a game is! For now, I’m going to put that question off, but say that there are three types of games:

  1. Puzzles – These games involve one (or more players) trying to solve some system. These games can be played with some goal: ‘how do I solve the puzzle?’ or in a more exploratory manner: ‘what exactly can I do?” Games that are puzzles include:
    • Computer Games: Platformers, Adventure Games, Simulations (Civilization/Sim City)
    • Physical Games: Rubik’s Cube, Mind-Benders, Logic Puzzles
  2. Competitive Games – These games involve multiple players competing against each other within the constraints of some rule system with defined victory conditions. Some of the players CAN be AI simulated; as such, these games can be played as puzzles.
    • Computer Games: Starcraft, League of Legends, Street Fighter, HALO, Simulations (Civilization/Sim City).
    • Physical Games: Chess, Basketball
  3. Collaborative Games – These games involve multiple players working together (potentially somewhat competitively) to create something.
    • Roleplaying Games
    • Team-building games?

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Delays

I thought I’d give a quick update; our weekend adventure proved to be more excitement than we could handle!

I ended up succumbing to the heat with a fever and earning a wounded knee, while Jason lies stranded in Spokane, Washington. We will return to regular posting shortly.

Plans and Celebrations

Hello readers!

This post is under my name, but really, it comes from all of us here at Fistful of Wits! How can I say that? Because Henry and Jason are in town! We’re here to help some old college friends celebrate the completion of their theses and their imminent graduation, but while we’re here, it’s time for a little bit of collaboration! So here’s a sneak preview of what you can expect to see next week!

Next week, we’re going to be focusing a lot on the idea of games as cinematography, through discussions of narrative tools such as ‘cameras’, ‘focus’, schticks, and more. I also hope to put out my first short story! There also might be a first recorded RPG going up; if not, maybe just snippets of one. And finally, select clips from our first few planning sessions (over Skype)!

But expect next week to be spotty as we recover from our revelry.

Training Exercise

Ultimately, roleplaying is a game of imagination and improvisation. Some people find that they have trouble with these faculties. I feel forced to credit my own proficiency in these areas to a number of games I played as a kid, and still occasionally play, as well as a few hobbies of mine. I think it should come to no surprise that most roleplayers are also writers or actors; in fact, I noted the similarity between the three media in previous articles, and many actors are famously in support of D&D/credit it with stimulating their mind.

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Putting Power in Players’ Paws

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Ok, so your players probably have hands, not paws, but I liked the alliteration.

The traditional roleplaying game, D&D, is very much structured in a specific way: the GM has a specific game/plot/monster that the players have to beat. In this way, D&D is structured much like a computer RPG, it just happens to be played with multiple players (and so can Baldur’s Gate 2, not to mention World of Warcraft).

There is value to this model; if you have one GM who is particularly good at plotting stories and taking care of all of the details of the world, and a lot of players without a knack for world-building, well, why not run a game like this? Labor gets divided up appropriately, and everybody gets to do what they’re good at.

Typically, however, everybody has something to offer to the story if given the chance, and 4 minds can probably come up with better ideas overall than just 1. This is why, typically (especially if I really trust the players), I prefer to run games that are much more player-driven. For me, good player-driven systems are those which have narrative elements built into them. The most obvious examples would be any game with a Fate point system. Such systems tend to give fate points to the player, and they can narrate something about the world that is unlikely but still possible by expending a Fate point. However, for me, the pinnacle of player-driven games is Apocalypse World. I understand that there are MORE player-driven games, but I find that the lack of a solid authority in completely player-driven games tends to leave most people feeling unsatisfied. Apocalypse World is the perfect balance: it lets the players help create the world and orient the plot, but doesn’t give them too much power to determine results.

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Mechanics Guiding Playstyle

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Earlier, I discussed how certain roleplaying systems exemplified certain gaming orientations. To an extent, this is a very peculiar notion. More specifically, it’s a very basic shorthand. After all, mechanics can never force your actions. But the way mechanics are set up can really impact the way the players think about the game.

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