Why Buy?

 

RPG  R&D  & Development Notes / Why Buy? 


I showed a prototype for my role-playing game product to a local game store. 


The feedback was that nobody is gonna buy it because nobody knows me. A suggestion that I come into the store more often, so that people get to know me.


I identified the guy recognises the role-playing games industry is about people, as in, individuals. 


I did start to go into the store more often, where I was told by the same guy there’s no point sitting in the store distracting people, I might as well be painting miniatures. This would involve purchasing miniatures from the store. 


Clever store owner. 


Attempting to arrange sessions to play the game in the store, his advice was they don’t like miniature-free, imagination-based group rpg sessions because although it brings a lot of people into the store, most of them are not buying anything. Also, it means they have to keep the store open later. It’s a hassle for them. 


They can charge per-seat-at-the-table which in my experience is 1) at an extortionate rate and 2) the demand outweighs the service, resulting in game-lag due to too-many-players. 


It’s boring waiting an hour for your turn to roll a combat dice taking up the whole session. No actual character-based roleplaying can develop in those conditions.


Going back to the original point. “Nobody is going to buy my product because nobody knows me.” 


I’m willing to bet most people who read this will have heard the name Gary Gygax. Some fans of old school might even have heard of Dave Arnoldson, and almost all original oldschool generation will know the names Larry Elmore and Tracy Hicks and Margret Weiss. There is a large list here who all deserve mention. 

  

None of those names know me and why would they? I do not use my real name for the purposes of this of anyway because I am reclusive and prefer anonymity. 


That’s not my point. 


The point is this: 


How many people who bought role-playing games industry products this year, off the top of your head name the person who created that product.  


I am willing to bet the answer is within one percent. Even were at 10 times that Number, 10% is a minority, not the vast majority. 


On this principle, the vast majority of people who buy role-playing game products do so not because they are loyal fans of a name of an individual person who created it, but for other reasons.


What those reasons are is very much worthy subject matter for more than one dedicated blog. Suffice to say it, the reasons are many. 


So, why do people buy RPG products? 


A Game Around A Game

 

A Game Around A Game


D&D and the OGL (open game license). 


A lot of hype has been made about the promotion and retraction of an idea known as Open Game License. 


I studied contract law. Contract Law comes down to two factors;


“No Contract, No Comply” 


and 


“Always Read The Small Print.” 

Also known as; 

“The Devil Is In The Details.” 


A contract is a contract. 


Those who sign it are bound by what it says, as a formal agreement exists that both parties will do as they agreed to do by signing the contract. 


In USA law ‘a game system cannot be patented’ and ‘only specific orders of words can be copyrighted’.


A game rule system can not be patented (owned) on the legal and moral premise that game rules are owned by everyone, otherwise people would not be allowed to play games without consent of the copyright owner, consent is automatically given to everyone as a human right. 


However, the order of words used to instruct how to play that game, can be copyrighted (privately owned). As such, therefore can be sold, leased, lent or given to others to use. 


WTF is the relevancy of the OGL within that legal framework? 


The idea of an OGL where an attempt is made to put people into a contract by not having a contract, is technically an offence to the intention of Law. 


It creates an arena of confusion where black and white are replaced by tones of grey. This is not a healthy thing to become entangled with. It is a manipulation. 


Why would any party be periodically promoting and then retracting such a thing? 


Because they are exhibiting diagnostically controlling behaviour. 


Because they are creating hype to advertise their associated product.


Because they are attempting to maintain an illusion of control, by attempting to extend their remit to beyond the legal remit. 


Black and White:


You can write a book teaching how to play a game (eg; chess or the banging the rocks together game) only if you use your own words. 


You can not write a book teaching how to play a game (eg; chess or the banging the rocks together game) if you use somebody else’s words, which they used in their previously published book on the same game. 



Black & White and Red (Additional Content):


If a third party makes a product compatible with a game rule system and does not use the copyrighted order of words (to instruct the game rules) or any copyrighted content (such as names of specific characters and monsters made up specifically for that product), no law has been broken. It is legal. 


If a third party makes a product compatible with a game rule system and does use the copyrighted order of words (to instruct the game rules) but does not use any copyrighted content (such as names of specific characters and monsters made up specifically for that product), copyright infringement of intellectual property has occurred; it is illegal. 


If a third party makes a product compatible with a game rule system, and does not use the copyrighted order of words (to instruct the game rules) but does use any copyrighted content (such as names of specific characters and monsters made up specifically for that product), copyright infringement of intellectual property has occurred; it is illegal. 



You can make a game compatible with everybody’s favourite roleplaying product so long as you do not directly copypaste its content or use any bugbears, or they will troll you like an imp. 


Any indie RPG product aimed at the System Agnostic market containing generic staples and yet which contains character stats specific to a game system rules falls under the category that game system rules cannot be copyrighted. It’s legal. 


An indie RPG product which is an unofficial bolt-on to an established campaign setting, including or not including monsters and characters specific to that franchise, is likely illegal. 



On this principle; 


The future of the RPG industry is customisable worlds and adaptable adventures for system-agnostic generic products. 


The community of rpg players, Gamesmasters, world-builders and game-designers are encouraged to do this in a modular system, so that modules can be tweaked and sequenced (connected together) by the wider community. 


This distillation process of play-testing and improving upon what is already out there occurs inevitably, regardless how much anyone tries to control or limit it. We may as well be honest about that and build from it with awareness. 


One lesson I can promote from a lifetime of games design is this: 


“The more complicated any rules system, the more open it is to manipulation.” 





5 story arc plot generator

Five-Point Plot Generator

Five-Point Plot Generator

IDENTITY SERIAL NUMBER

IDENTITY SERIAL NUMBER

IDENTITY SERIAL NUMBER

Player Drop Out


How to Stop Player Dropout and Keep Campaigns Alive


Player dropout kills campaigns. Once people stop showing up, the game dies. Simple as that.


How do you stop it?


You either make it worth their time or make them feel like they can’t afford to miss it.


The Two Ways to Keep Players Hooked


1. Financial Buy-in: The Paywall Solution


People value what they invest in. If players are paying for a campaign, they’re more likely to show up—because their money is on the line.


But this only works if you provide something worth paying for.

The experience must justify the cost.

This raises the bar for the GM—expectations will be high.

But it also weeds out flaky players. Those who stay want to be there.


If a paywall isn’t an option, you go with the second approach—


2. The Psy-Op Approach: Keep Players Emotionally Addicted


The goal? Make the campaign something players need to come back to.


Every session delivers a dopamine hit—through action, suspense, personal investment. Players should leave each session feeling something—excitement, curiosity, satisfaction.


How?

In-game: One-on-one character interactions that make every player feel like the main character.

Out-of-game: Build a social connection. People are more likely to commit if they feel like part of a group, not just a game.


Making Players Feel Irreplaceable


Players drop out when they feel like their character doesn’t matter. If they believe they’re just an extra in someone else’s story, they’ll walk.


Fix this by reinforcing, over and over:


“You are part of the crew/tribe/family/party. It cannot function without you.”


This isn’t just a line—it’s the foundation of the campaign.


Every event, every story arc, every interaction should reinforce the idea that each player’s character is essential.


Story Structure: The ‘Show, Don’t Tell’ Method


The world itself should demonstrate that the players matter.


Each session should feel like an episode in an ongoing series:

Storyline One: A goal that gets resolved (satisfaction).

Storyline Two: A larger conflict that doesn’t get resolved (reason to return).


A simple way to structure it:

Session one: Players deal with a corrupt sheriff.

By the time they win, they realize the sheriff was just a puppet of a bigger power.

Now, there’s a wider world problem to solve—giving them a reason to keep going.


The key? Reveal the bigger picture only after players are already invested. Too much background info upfront kills momentum.


Keeping Players Active


Every session must guarantee that each player:

Gets a moment in the spotlight.

Makes meaningful choices.

Feels an immediate connection to what’s happening.


A quick fix for this? Player questionnaires during character creation:

1. “What do you want to experience in this campaign?” (Player engagement)

2. “What motivates your character?” (Character-driven goals)


This gives you everything you need to tailor the story to them.


Fast-Paced Play: Cutting Out the Waiting Game


The golden rule: keep turns moving fast.

Instead of slow, one-at-a-time resolutions, go around the table quickly:

“What is your character doing right now?”

Once everyone gives their action, resolve it all in one dramatic moment.

Keeps energy up. Keeps everyone engaged.


Combat: Drama Over Dice


Combat kills pacing if handled mechanically. Instead, describe the action in a way that keeps everyone hooked.


Example:

“The Orc lunges across the room, swinging its club wide. Shocked pedestrians stumble backward, clearing a path between you and the massive creature. Its red eyes lock onto yours, burning with pure hatred as it lets out a roar of fury.”


This method does five things:

1. Action: Something happens that changes the scene.

2. Immersion: Descriptive details make the world feel real.

3. Impact: NPCs react—showing that player actions affect the world.

4. Emotion: The Orc’s rage makes the threat personal.

5. Player Investment: The locked gaze forces a reaction.


At this point, the player has to respond. They’re engaged.


And instead of playing out the fight turn by turn:

Move to the next player. “You see the Orc charging at the Elf. What do you do?”

Let each player react, then resolve everything in one go.


No waiting around. No boring, drawn-out mechanics. Just fast, engaging action.


Conclusion: Make the Campaign Unmissable


A campaign that keeps players hooked isn’t just a game. It’s an experience.


To achieve that, you need:

Validation – Players must feel like their character matters.

Engagement – Fast pacing keeps everyone involved.

Emotional Hooks – A balance of resolution (satisfaction) and mystery (anticipation).

Social Connection – Players need to feel like they’re part of something bigger than just a story.


If you do this right, players won’t just want to show up.


They won’t want to miss it.




This is an experimental article where ChatGPT-4 was used to rewrite the original text. Take note: to rewrite, not to write. The process was to copy paste the original text into ChatGPT-4, instructed it to write the text more professionally, With a better structure, then to copy paste that back into ChatGPT-4 and instruct it to rewrite that text in my own original writers voice.


The original text as follows:




Player drop-out kills campaigns 

Sounds familiar? 

How to fix this? 

Either put it behind a pay wall so they feel they are investing in themselves

This means providing value for money entertainment 

It’s a level of quality is demanded and expected

This can pressure a GM

In any case, whether you do that or not; 


Run it as a psy-op 

Keep the gamers interested enough to keep coming back for more 

A dopamine hit in every session

Actively integrating them 1-1 through character interaction (during the game) and possibly a social (outside the game) getting to know the players as people 


The psy-op involves this:


“You (your character is addressed in first person during the gameplay) are part of the crew/tribe/family/party. It cannot function without you.”


This gives the player the emotion of being valued, fitting in, albeit to a fantasy dynamic, of belonging. 


Next: ‘show, don’t tell.’


Build everything in the experience around this concept, to reinforce it. The story itself is defined by this. 


Next: each session is one episode which even when it resolves a problem, it ends in a cliff-hanger or ongoing plot-hook. A feeling of satisfaction of accomplishment (storyline one) and a feeling of wanting to return to continue it (storyline two).


A useful way to achieve this is that the accomplishments per episode are steps in the process of resolving the ongoing (storyline two). Storyline two is only ever resolved after a third even greater storyline is introduced involving the wider world (eg; the evil sheriff overtaxing the peasants and ruling through brutality is only a symptom of the wider issue the kings war against the invading orcs is very expensive). However, this level of expansion into the background world is potentially too much to introduce as story until the immediate issues at hand are resolved. 

The immediate issue at hand is maintaining player interest sufficiently they will return for every session as the highlight of their life. 


Air-Time during each session for every player to make decisions or at least to react to the situation at hand, to provide them the duality of feeling satisfaction of resolving a personal problem (story one) and yet hooked on the ongoing plot (story two). 


Make it immediate to their character. 


On the character sheet there needs to be a section written by the player describing;


1 their primary interest in what they want to experience from the game, “what do you want to experience for the game?” 

and 

2 their characters primary interest “what motivates your character?” 


The story-round should be quick. Ask; “What are you (your character) doing right now?” 

The player replies. 

Ask every player in turn and then provide the response of how that plays out. 

Do not resolve each characters action individually because it causes the other players to have to wait for too long before their turn. 


Avoid combat. Combat is for tabletop games with miniatures. Roleplaying is about playing roles. It is about collaborative storytelling. 


If you have to deal with combat, described it. Not graphically (blood splats) but rather dramatically. There is a very important difference. 


“The Orc lunges across the room, swinging its club wide through the air causing shocked pedestrians to topple backward to get out of its way, carving a path between the Orc and yourself. The massive creature lets out a terrifying bellow of rage as its angry red eyes focus directly on you, locking into a gaze you feel the burning with pure hatred.”


1 - a basic movement - the Orc thrashes and steps forward - describes Action. It is action which causes change, provokes reaction, moves the story on. 


2 - the Action is made to feel real using descriptive words. This adds excitement and detail. The world becomes more real in the players imaginations. 


3 - the impact of the Action is seen to be affecting the world and its inhabitants. 


4 - the Emotional impact. The Ork is angry. We cannot ignore this thing. 


5 - the locked gaze makes it personal to the character and therefore to the characters player. Emotion is stimulated. The player has to react to the action. 


Action combined with Emotion and a demand for Reaction. 


The player might ask; “how long before the Orc is within range to hit me with its club? Is it long enough to draw my weapon?” or more probably they will say “I raise my weapon.” 


Next players turn. 


“You watch the Orc pinpoint and target (the Elf), what do you do?” 


Player describes their next action. 


Next players turn (and so on). 


Then: resolve the actions. In one statement, dealing with all of the characters actions and reactions in one go. 


The situation has changed. Unless anything. Unless occurs which has to be added here after or as a part of the resolution of the previous round, the GanesMaster does not have to repeat or summarise the new situation unless someone asks for a summary because it is assumed everyone will be paying attention and will know what is happening as the story progresses. 


Next round begins.