RPGnet Columns
04-09-2005, 02:03 AM
Post originally by Jamie Herbert at 2005-04-09 01:03:29
Converted from Phorums BB System
While I enjoyed the article, and I do think you bring up some good points about humor, There are a few things it get me to thinking about on the end of calculated humor-NOTE: these comments are meant about games where humor is intentional-
1- The core difference in humerous and dramatic characters comes in their ability to learn from thier tragedies, (probably one reason Toon and TFOS, don't have well developed XP systems!) Look at Conan and Groo for example, both are seen as simpletons, and are excellent fighters. But Conan, learns from his encounters be it simple things like don't trust magicians) to tactical issues, such as how to determine a foes relative strengths. Groo on the otherhand is funny because he doesn't learn, how many times has he gotten on a ship only to have it sink beneath him? or been swayed by cheese dip, to actions he may not normally do? This can be an important way of determining the level of comedy or seriousness of a campaign, how much should characters learn from their past experiences? This is hard to quantify in game, but should be something players should think about as well as the GM.
2- When writing in comedy, keep in mind that (normally) you know your players. and that the best humor comes from what you (or we) know. For example in my old TFOS campaign, I had a teacher NPC based on a Teacher from my highschool, Since most of my players went to the same school, they got the joke imediately, and even learned how to manipulate this character for comedic effect. This is something to consider when developing comedic situations or NPCs/PCs in a game. Many comedy writers fear being too eclectic in thier references, you have an advantage. Say if a character was a good source of humor in a previous campaign, bring a thinly veiled variant into the humor campaign. Of course this is one of those points where you could run into trouble (making fun of say the millionare playboy loner hero in a later comedy campaign is only going to open up old wounds for example.) but it really is best to remember that your knowledge of your players (and thier tastes) may be the best tool you have in writing gags.
3-Invoking feelings in an RPG can be both the hardest and the easiest thing in the world to do. I have seen countless attempts at unfunny comedy RPGs, or Horror RPGs that could calm down a 3 year old who has just seen the Ring. However I have also seen games that were intended for comedy that have had the group In stiches for hours with players insisting on breaks due to laughing too hard, and I recall a Little Fears game run by a friend of mine that still gives me the creeps to hink about (Yes THAT ONE Tim!) Trying to force humor, terror or in deed any other emotional response can often lead to the opposite.
Anyway just a few thoughts
Converted from Phorums BB System
While I enjoyed the article, and I do think you bring up some good points about humor, There are a few things it get me to thinking about on the end of calculated humor-NOTE: these comments are meant about games where humor is intentional-
1- The core difference in humerous and dramatic characters comes in their ability to learn from thier tragedies, (probably one reason Toon and TFOS, don't have well developed XP systems!) Look at Conan and Groo for example, both are seen as simpletons, and are excellent fighters. But Conan, learns from his encounters be it simple things like don't trust magicians) to tactical issues, such as how to determine a foes relative strengths. Groo on the otherhand is funny because he doesn't learn, how many times has he gotten on a ship only to have it sink beneath him? or been swayed by cheese dip, to actions he may not normally do? This can be an important way of determining the level of comedy or seriousness of a campaign, how much should characters learn from their past experiences? This is hard to quantify in game, but should be something players should think about as well as the GM.
2- When writing in comedy, keep in mind that (normally) you know your players. and that the best humor comes from what you (or we) know. For example in my old TFOS campaign, I had a teacher NPC based on a Teacher from my highschool, Since most of my players went to the same school, they got the joke imediately, and even learned how to manipulate this character for comedic effect. This is something to consider when developing comedic situations or NPCs/PCs in a game. Many comedy writers fear being too eclectic in thier references, you have an advantage. Say if a character was a good source of humor in a previous campaign, bring a thinly veiled variant into the humor campaign. Of course this is one of those points where you could run into trouble (making fun of say the millionare playboy loner hero in a later comedy campaign is only going to open up old wounds for example.) but it really is best to remember that your knowledge of your players (and thier tastes) may be the best tool you have in writing gags.
3-Invoking feelings in an RPG can be both the hardest and the easiest thing in the world to do. I have seen countless attempts at unfunny comedy RPGs, or Horror RPGs that could calm down a 3 year old who has just seen the Ring. However I have also seen games that were intended for comedy that have had the group In stiches for hours with players insisting on breaks due to laughing too hard, and I recall a Little Fears game run by a friend of mine that still gives me the creeps to hink about (Yes THAT ONE Tim!) Trying to force humor, terror or in deed any other emotional response can often lead to the opposite.
Anyway just a few thoughts