One D&D’s New Covers


When wrote my first post about the new edition of D&D a few years ago, I planned on writing a running series on the announcements and developments of the edition. But alas, the series never fully materialised. I have a half-drafted post covering the protracted licensing drama around the OGL and the core rules, which I’m sure I’ll post at some point – but that’s not what I want to talk about today.

I’d like to compare the recently announced main and alternate covers from Wizards of the Coast for the new ‘One’ edition of Dungeons & Dragons. These covers provide a useful springboard to discuss the schism over play style and game interpretation that has been present in the game since its inception.

This split is exhaustively documented in John Peterson’s excellent 2022 book, The Elusive Shift from MIT press. The essential question boils down to: Is Dungeons & Dragons a combat simulator, or an engine for telling stories?

The two cover illustrate the play styles perfectly:

Main Cover: Image credit: Wizards of the Coast/Tyler Jacobson (via Game Informer)

Alternate Cover: Image credit: Wizards of the Coast, Wylie Beckert

On the left, the rulebooks main cover shows barbarians, dwarves, and other rogues in a heroic fighting poses. in heroic fighting poses. It’s a dynamic composition with vibrant storytelling, giving you a real flavour of what the game might be about – a group of adventurers engaging in daring deeds, facing unknown horrors just out of sight.

The central focal point of the painting, however, is not the heroes, but the imposing dragon looming above them all.

On the right, we see figures quietly sitting in a cave, presumably after a hard and tiring adventure. The interactions between the characters and the dragon suggest camaraderie and peaceful coexistence.

From just the cover alone however, you might be led to believe as Paul Cezge said on mastodon recently:“The art on the cover of the collectible 50th anniversary Player’s Handbook makes it seem like it’s a cozy game about having tea with a dragon.”

The first image is all about action and heroism, with vibrant colors and dynamic poses depicting a tense battle against horrors we can only imagine. In contrast, the second image has a more relaxed vibe, with a circular layout and softer colour pallet showcasing a peaceful moment between characters and a friendly, golden dragon. The intense lighting and dramatic poses in the first picture create an exciting, high-stakes atmosphere, while the gentle lighting and calm poses in the second give off a serene, reflective feel. These two images capture the wide range of experiences that the audience imagines take place in the world of Dungeons & Dragons.

These two images illustrate the fundamental split over what Dungeons & Dragons is for

Is it a combat simulator – a mechanism for resolving actions, statistics, and probability in a coherent enough way to term as “playing at the world”? Or are you “playing in the world”, using the system’s physics to sequentially generate narrative and drama?(See my talk on Making Mechanisms for ore on narrative comes from inside of systems)

But here’s the thing: while these two covers illustrate the two approaches to play, there’s something that keeps nagging at me.

Imagine you are a young person only familiar with D&D via shows like Critical Role. You go by feel with your purchase, using only the vibes that the covers convey. You are looking at two completely different games.

The game on the left is clearly a fighting game. And that is exactly what you’re going to find when you open the book – pages and pages of rules to resolve combat.

But the one on the right?

Narrative play might have emerged during the late 1970s amidst East Coast players familiar with the work of Viola Spolin and Keith Johnstone, but as far as I’m aware, there are no rules in any edition of the Dungeons & Dragons rulebooks that discusses rules for narrative, story, etc. At all.

There’s a long discussion about this on Systems are Beautiful blog back in 2019

What does D&D do with its rules? To answer that, just look at what the rules govern. The domain of the rules imply the values of the system, so the more a game stipulates on a particular thing, the more the game becomes about that thing. Rules are suggestive of the game’s expectations of its players. While players theoretically have unlimited freedom, in the practical case the rules have a way of pointing players at particular solutions to their problems.

So it should come as no surprise that the most important thing in a D&D game is fighting. It’s readily apparent just from the content of the books. Over half of the page count of the Player’s Handbook from any edition is dedicated to class abilities and spells. Add in skills and feats (just more abilities, really), equipment (modifiers to abilities), and the general rules of combat itself, and you’ve easily got three quarters of the book or more. Now take into account the sections on adventuring, a Dungeon Master’s Guide that talks about making dungeons or other suitable locales, huge sections on magic items and other loot (often the largest part of a Dungeon Master’s Guide), and rules that dictate how much stuff your character can realistically carry with them, and it’s crystal clear what D&D wants you to do. The game is most at home when players are killing things and taking their stuff.

More importantly, the more you aren’t telling that story, the more you really aren’t playing D&D.

I was recently chatting to Paul Cezge about the above cover art and D&D’s lack of rules for generating story – rather than just for resolving combat – and he reminded me that D&D is a statistical system built around progression (number go up).

I asked him if he could name (or recommend) any games that have rules explicitly around story and the production of narrative. Here’s what he had to say said (reproduced with permission)

There is no good answer to that question.

Other games don’t work against you having the experience with their mechanics and procedures and reward systems like D&D does, but usually rely a lot on players mostly figuring out the best practices for the experience themselves. They may have good advice, in a general sense. “Be a fan of the player characters” is good gamemastering advice. But then you have to figure out what that means as a moment to moment activity yourself. Fall of Magic is a beautifully presented game that doesn’t work against you, but it’s not easy for a group to figure out its intended experience if they haven’t seen it somewhere else. PBtA games try to draw their intended experience out of the players with their character playbooks and moves, and it works pretty good, but I can’t think of one I’d recommend to RPG curious teens that delivers the vibe of the cozy collectible Player’s Handbook cover. They tend to be darker in their view of humanity.

Its hard to write rules for story, only create systems that do a better or worse job at ‘sense making’ the events that emerge from it.

PBtA in the above refers to ‘Powered by the Apocalypse‘ a system created in the 2010’s. Its major innovation was to cast player actions as ‘moves’. Which creates a physics different to D&D in worlds powered its ruleset. I’ve never played a PBtA game, but i have read the rulebook – because i’m a nerd. Because ‘moves’ and actions are resolved by the player, the DM (or MC in the games lexicon) doesn’t role to many dice. The worlds physics is created by the player and their choices rather, than kept coherent by the DM a la, D&D.

What this results in is the MC asking lots of questions of the players rather than stating facts about the world.

The MC also names everything so that all NPCs gain a semblance of substance… but never so much that he gets to hesitate to get them killed, maimed, destroyed at the players whim.

The game’s fuel is the MC’s questions to the characters (not players).  Those questions (and answers) build the world and shape where the action goes.  Many (if not most) of these questions should be embedded in the MC’s moves or in response to players Moves/questions (i.e. turning player questions back to the group).

Chatty: You’re reading this awesome review, What does it remind you of? What does it make you feel like?

Exactly like that.

If you want to play D&D as a narrative engine, a la Critical role, it is solely incumbent on you to meet the right kind of players as you’ll be completely off the map. Outside of what the Dungeons & Dragons rulebook actually provides you. To the point where you might as well look for a different system entirely

I don’t want to say the alternate cover is dishonest; in fact, it’s been received really well by many players in the community online.

But if I, as a teen or tween, wanted to play a game that involves the production of a well-structured story involving drinking tea with a dragon with my friends around the kitchen table and got given the new ‘One’ Edition of Dungeons & Dragons for Christmas, I would find myself …. disappointed.

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23 May 2024 at 19:48

🟧 Default Apps 2024

 At the end of last year all the cool kids – inspired by episode 97 of the Hemispheric Views podcast – posted a list of the default computer apps they were using. Robb Knight is maintaining a list of people who have joined in.

I really liked seeing people’s lists flow past my RSS at the time they were first going around the blogosphere. They are a window into peoples computer experience and an interesting snapshot on ones digital life.

My default apps for Summer 2024 are below. It’ll be interesting to re-visit this in a few years and see how things have changed.

Default Apps 2024

  • 📨 Mail Service: Google Workspace
  • 📮 Mail Client: Gmail WebClient
  • 📝 Notes: DayOne, Notion
  • ✅ To-Do: Todoist
  • 📆 Calendar: Google Calendar
  • 🙍🏻‍♂️ Contacts: Google Calendar
  • 📖 RSS Reader: Feedly
  • 🌎 Blogging: WordPress
  • ⌨️ Launcher: Alfred 5
  • ☁️ Cloud storage: Google Drive
  • 🌅 Photo Library: Google Photos + External HD Backup
  • 🌐 Web Browser: Brave (Desktop & Phone)
  • 💬 Chat: Beeper (Telegram, Signal, SMS, Discord, LinkedIn DMs, Instagram DM’s, Twitter DMs, Slack DM’s), KeyBase
  • 🔖 Bookmarks:
  • 📚 Reading: Kindle Paperwhite 11
  • 📜 Word Processing: Google Docs, Hemmingway Editor, Written (Beta Testing)
  • 📈 Spreadsheets: Google Sheets
  • 📊 Presentations: Google Slides
  • 🛒 Shopping Lists: Todoist
  • 🍴 Meal Planning: Whiteboard on Fridge
  • 💰 Personal Finance: Google Sheets
  • 📰 News: Feedly
  • 🎵 Music: Spotify, VLC
  • 🎤 Podcasts: PocketCasts
  • 🤦‍♂️ Social Media: Slack, Discord, Tumblr, Instagram, Warpcast, Twitter, Mastodon
  • 🌤️ Weather: Met Office app
  • 🔎 Search: Brave
  • 🧮 Code Editor: Xcode + Sunset Code

Bonus Software


  • 👨‍💻 Laptop: Macbook Pro 14″ M2 Max
  • 📱 Phone: Pixel 6
  • 🖱️ Seenda Ergonomic Mouse
  • 🎙️ Microphone: Rode NT USB Gen 1
  • 📷 Digital Camera: Pixel 6, Sony ZV-1
  • 🎞️ Film Camera: Olympus Pen EE
  • 🕹️ Gaming: Nintendo Switch, Acer Nitro 5 Laptop

Rock ‘n Roll Equipment

  • 🔊 Bass Amp: Trace Elliot AH150 SMC (Bass Head),
  • 🔊 Guitar Amp: N/A – But use Orange Crush Pro 120 @ rehearsal space
  • 🎸 Bass Guitars: Tanglewood Rebel 4k, Honor B2A V
  • 🎸 Electric Guitars: Gibson SG 120th Anniversary Ed, Washburn Maverick BT-4
  • 🎛️ Pedals: BOSS – TU-3 Chromatic Tuner Pedal
  • 🔌 Cables: Ernie Ball Cables

Look at the list written out all in one place, its pretty clear that i’m locked into the Google eco-system. As a hardcore Android user this is something thats crept up on me over the years, and something I should consider. I added some stuff to the usual list like bonus software, and the equipment I’m using in my band, because i’m interesting in how they are going to change over time.

This has been an 🟧 RSS Club post.
Syndicated to you, really simply, from

The post 🟧 Default Apps 2024 appeared first on thejaymo.


21 May 2024 at 12:07

Entity Not A Person


Hey everyone! The suns come out here in London, and it’s really lifted the mood after weeks of rain.

I’m deep into production on issue #10 of my zine right now and its going great. I think its going to be about 60 pages!

Entity Not A Person

REINCANTAMENTO over at DROPS newsletter wrote a great post on the Kendrick Lamar – Drake beef and its wider implications for cultural production in our age. The post draws on lots of ideas from across my part of the blogosphere, including thoughts from Mat Dryhust, Paul Graham Raven and myself amongst others. I thought I’d throw in my tuppence worth.

I really like this section on Drake as an entity not a person:

But who is Drake? At this point, Drake is likely a brand name, an avatar for a broader collective construction. Borrowing an analogy from Mat Dryhurst, Drake can be seen as a “Formula 1 driver.” Just as a Formula 1 team designs the optimal engine for a driver to achieve success on the track, a creative team crafts the perfect framework for a pop star to excel in the industry. This team conducts market research, analyzes data, curates the artist’s social media presence and public image, and handles legal arrangements for collaborations, among other tasks.

A couple of years ago I wrote about how the opposite is always occurring: “Brands are acting more like people online, and people are acting more like brands.”

Brands are acting more like people online

This is for better or worse of course, but it’s a thing that’s happening. Sometimes called “Human Era Brand Behaviour”. You know it when you see it. A recent example is the banter between UK supermarket chains on social media about M&S’s lawsuit against Aldi over there Cuthbert the Caterpillar cake.  

Let me repeat that one more time as it’s a 2021 kind of sentence. “The banter between UK supermarket chains on social media about M&S’s lawsuit against Aldi over their Cuthbert the Caterpillar cake.“ 

US Fast Food chain Wendy’s is known as a pioneer of Human Era branding. But I’d also add The Museum of English Rural Life and Sotheran’s of London as other leading examples.

It doesn’t matter which direction you arrive from these ‘Entities’ Drake of Wendy’s tweeting like a relatable person online, both should be seen as a sort of puppetry. I mean I have a whole category on this blog about puppetry – so of course I’d think that. But anyways, I think that the people inside of these entities, or the entities inside of the people(?) aren’t so much F1 drivers, but more Gundam pilots (another post about brands as entities with people inside of them).

Anyways, co-sign all of this too:

When an individual is presented as a brand, it allows for a more authentic and protagonistic narrative, akin to a hero’s journey. This positioning can be beneficial for concealing the corporate operation behind the scenes. A person can evoke feelings of authenticity and strength, qualities that might be harder to attribute to a corporate entity. So, for simplicity, I will continue referring to Drake as an individual in this article, even though he represents the embodiment of shared intentions and collective agency.

We can also see the same ’embodiment of shared intentions and collective agency’ happening with entities like BTS, Beyonce, and megastar, and former human being Taylor Swift. I have thoughts on the new sorts of responsibilities that come with ‘becoming a brand’ but i’ll leave all that for now.

Pulling in the language of neoliberalism in to describe his approach to his career as a diversified portfolio. And talks about the Reincantamento later goes on to talk about Drake as a template for the streaming era:

Cultural Frackling is, on the other hand, an appropriate response to the diffusion of user-generated content and the perils of participative cultural practices, like edits, remixes, fan fiction, etc. The major distributors can’t leave these in the hands of people these profitable stories and need to re-affirm their monolithic sovereignty over them.  

The Drake Era is the perfect iteration of Cultural Fracking within hip-hop and pop music. Drake has acted as a gateway for Universal to be able to frack many of the possible novelties that emerged on the music scene. With his co-sign, Drake not only signaled his respect for an artist or a style but also the interest of the industry for the newcomers. Drake as an index for market potential. Drake, the playlist-era popstar, the jack of all trades, always with a different costume but never with a real persona.

Its a great essay. Love the essays conclusion:

We can only save ourselves by telling our stories and distributing culture on our terms. Miles Davis, once said: “Man, sometimes it takes you a long time to sound like yourself”. As the Drake Era fades away, it’s time to awaken our desirefor autonomy and artistic freedom. To embrace the bustling global overground network in our cities and online. It may take a long time. But by determining our sound, we will find the polyphonies for these mutating times.

Permanently Moved

Short Term Thinking

I propose that everything that occurs between the decision to plant a tree and the full expression of its canopy is short-term thinking.

Full Show Notes:

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Subscribe to my zine
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Photo 365


The Ministry Of My Own Labour

  • Plotted my Solarpunk talk for Lisbon
  • Call with ADH
  • Had a call about worldbuilding
  • Met up with Novara Crew for drinks.
  • Reached out – without success – to a client thats been quiet
  • Finished up notes on a product pitch, call next week
  • Started reading about world building in dance
  • Had a discussion about doing a print run of !!

Terminal Access

I said the other week that lots of people has been reading and discussing Arnaud’s Trust Infrastructure essay. Well, Baz at recently dropped a long essay of their own on the subject: You should design trust infrastructure

I’ll cover:

  1. How trust shapes our shared social flourishing;

  2. The invisible infrastructure we all take for granted when cultivating trust, from markets to contracts and culture;

  3. How the internet broke those ancient tools by forcing us into feudal networks and isolated monocultures;

  4. Proposals for a new trust infrastructure, and why I think they can usher in a web that’s more productive, more liberated and way more fun.

Warning – yes, I am going to talk, in part, about blockchain and cryptography. Strap in.

It’s a long read, but its a good overview about the current state of think thinking in this area.

GPT-4o Must Die?

ICYMI I wrote about the OpenAi’s new model announcement and conversation AI:

Millennial and GenX readers. Please be mentally prepared for the possibility that you might pop home this summer and discover that a virtual assistant talking like a flirty 20 something valley girl is now your parent(s) new best friend. 

Dipping the Stacks

Threads is the gas-leak social network – by Max Read

Some friends and I have taken to calling Threads “the gas-leak social network” because that is the basic experience of using it: Everyone on the platform, including you, seems to be suffering some kind of minor brain damage.

The chocolate price spike: what’s happening to global cocoa production?

The Easter Bunny is having an expensive year. Cocoa prices are going through the roof. In the last week, they’ve surged to more than $10,000 per tonne. That’s nearly twice the record set 50 years ago.

Are We Watching The Internet Die?

These stories are, of course, all manifestations of a singular problem: that generative artificial intelligence is poison for an internet dependent on algorithms.

Not Right Now — TANKtv

Despite its discursive revolt against the vague and totalising spectre of capitalism, art is nothing if not a highly processed asset class, as many artists, art critics, art historians and art dealers regularly bemoan, with both sincerity and cynicism. Every day, major works are bought and sold and careers are made and unmade by arms dealers and pop stars because their financial advisor suggests Julie Mehretu as a hedge against platinum futures.

The Brazilianization of the World

the coming apart of formal employment and of the rise of precaritization—is the root of the whole phenomenon of “Brazilianization”: growing inequality, oligarchy, the privatization of wealth and social space, and a declining middle class. Its spatial, urban dimension is its most visible manifestation, with the development of gentrified city centers and the excluded pushed to the periphery.


Author Michael Marshall Smith wrote about James Hillman’s Force of Character recently. It’s a book I’ve had around for years, i’m not even sure where I picked it up. But this from Smith made me open its covers:

I first read The Force of Character about ten years ago, in my mid-late forties. It’s about being older, and what that means. How much I valued it is proven in the number of highlights I made. There’s a lot. On the second read I’m undertaking now I’m adding even more, tons more, in fact: there are chapters where half the text now has a pale yellow stroke across it. A sign, perhaps, that this is an even better time in my life to be reading it — non-ancient though I still (usually) feel (on some days).

I started listening to Jonathan D Beer’s debut Warhammer Crime novel The King of the Spoil. Not so much a ‘who dun it’ but a ‘Why dun it’ story. As I’ve said before, I think Warhammer crime’s domestic sandbox world of Varangantua is a brilliant move on their part as Beer’s novel picks up characters from another authors short stories. You don’t need to have read it to understand whats going on, but it brings a depth and richness to world that I really like.


Spotify Playlist

hijouni kireina JYOCHO – JYOCHO

The new single from Japanese melodic math rock legends (previously on the blog) JYOCHO is absolutely out of this world.

Some of the most virtuosic emo squeezed into 1m26 seconds. And flute of course! I can’t even begin to imagine what watching them play this live must be like. I wonder when their new album is coming.

Remember Kids:

If you allow yourself to begin posting entries based on what you think someone else wants you to write, you are missing the point of having a weblog. Even more destructive is the numbers game.

The Weblog Handbook – Rebecca Blood

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19 May 2024 at 21:20

Short Term Thinking | 2409




I propose that everything that occurs between the decision to plant a tree and the full expression of its canopy is short-term thinking.

Full Show Notes:

Support the show! 
Subscribe to my zine
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Permanently moved is a personal podcast 301 seconds in length, written and recorded by @thejaymo

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Or wherever you get your podcasts

Short Term Thinking

Stop me if you’ve heard this story before.

An old building, hundreds of years old, needs its roof beams replaced. The building’s custodians panic, unsure of where trees of sufficient size and quality might be found. Only to uncover some hitherto forgotten tale of foresight and planning.

Stewart Brand – known for the Whole Earth Catalog and Long Now Foundation – recounts a version of this story.

Something like this: Oxford University in the 1800s discovered that its ancient dining hall needed new oak beams. And a Junior Fellow suggested they check the college’s lands scattered across the country for some worthy oaks. The College Forester was then asked if there might be any suitable oaks. And he replies, “Well sirs, we was wonderin’ when you’d be askin’.”

As it turns out, when the dining hall was built, they planted a grove of oaks specifically to replace the dining hall beams. The plan passed down through generations of Foresters for over five hundred years with the instruction: “You don’t cut them oaks. Them’s for the College Hall.”

Or remember the viral clout posts that appeared online after the Notre-Dame fire. About how the French supposedly planted a row of oaks at Versaille, should the cathedral roof ever need repairing. 

Problem is … neither are true.

The curious thing I think, is that we want them to be true. We want to believe that those with power, both then and now, are capable of such acts of deep foresight. We latch on to them because it’s a farsighted vision that feels rare in today’s world. Which is exactly why Brand tells the story.

However, in contrast to fake stories about oak beams and church fires, planning and planting trees for shipbuilding is actually real. Not as an act of long-term foresight but instead, as pragmatic, short-term decisions taken to ensure future resources. If you want to build a ship from scratch, first you need to plant a tree.

Oaks planted during the reign of the Stuarts built the ships that fought the battle of Trafalgar 200 years later. Vice Admiral Cuthbert Collingwood – Nelons friend (and man with a great name) – knowing this, encouraged the landed gentry to plant oaks to secure the future of the Navy. In Denmark, following the Battle of Copenhagen in 1807 the king ordered oak forests be planted to replace the lost ships. Of course things changed, but the trees matured nevertheless. At the turn of the millennium, 90,000 oaks were ready for use. 

“Long-term thinking” or rather, the concept of  “Longtermism” has recently come under suspicion. Effective Altruism has been put under the spotlight after the trial of Sam Bankman-Freed. In fact, Alice Crary, writing in Radical Philosophy Journal, recently called EA’s Longtermism a ‘toxic ideology’. Concerned with safeguarding humanity’s future in a manner that leaves current harmful socioeconomic structures unexamined. Which is fair enough. Yet culture still faces a critical problem: the seeming complete lack of ability to effectively plan and execute on, well, anything. 

Instead of focusing on “long-term thinking,” I propose we reframe what the “short-term” is.

What do we need to do today, to lay down frameworks for the people of the future? What will be useful?

I would like to propose that everything that occurs between the decision to plant a tree and the full expression of its canopy is short-term thinking.

In regenerative agriculture, when farmers convert fields over to mixed use agroforestry, they design for the full canopy height first. Other species will then get interplanted between the trees of the final overstory. Which, let’s assume, is oak, which is slow growing. So in between the oaks you plant a shorter lifespan species like a nut tree. And between them, faster 30-year fruit trees, and below them all fruit bushes. Life cycles within life cycles. Everything between you and the oaks is ‘short-term’. Which is a nuanced relationship to time that far outstrips our current culture of quarterly reports and yearly planning by a long long way.

Landscape restoration also deals in systems that unfold over centuries. Experts warn us of the “thousand-year mistake”. Archaeology can still identify 1000-year-old ditches in subsoil for example. The digging swales or the building of ponds, permanently impacts a landscape’s hydrology. So it matters where you put them. 

Other mistakes also occur across shorter timescales: Consider the needs of a natural windbreak. To be most effective they need a 45° angle ramp on the windward side. So you plant bushes, then small trees, then larger trees, to get the right angle right.

Now imagine it’s planting day. There’s a pile of unlabelled whips of the largest tree on the ground. Then someone carrying another bundle of sticks of the shorter variety drops them on top of the existing pile. Mixing and confusing them – but the planting must happen. The consequences of that split second of inattention may echo in the landscape for a century.

We have no idea what 2124 is going to be like. We also know that we can’t fix everything today. But we do know when an oak planted today will reach its full height tomorrow. And that every action that we take today shapes the world of tomorrow.

Short-term pragmatic actions taken right now are gifts to the future. For people will never meet and never know. In this new short-term we must create frameworks for the future that others can build on. I call these gestures ‘keystones of continuity’.

Because you can’t move a tree once planted, only cut it down.

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18 May 2024 at 18:56

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