Some important distinctions exist between Internet
Relay Chat (IRC) — and similar "chat" programs — and Web-based "chat" systems. With IRC, you need to acquire
a "client" program to connect to a chat line, but once you're logged on, you can easily set up your own channel for your game. IRC-style chats are "distributed" - — that is, they're hosted a lot of places at once. You need only find one, and you can usually log on. On the other hand, you can use your Web browser to connect to a Web-based chat line. Creat- ing your own chat room, however, is more complicated than setting one up on an IRC server.
Technical Considerations
See above.
Requirements
• Server/Opera ting System: Doesn't matter. You should
be able to find a chat client or Web browser for any computer that can connect to the Net. However (and this is a big caveat), if you want to set up your own Web-based chat line, you must get permissions from your administrator. Since the line will be hosted on your own Web page, there's no point in trying to run one on the sly. A Web chat sucks so much band-width that your Web administrator will notice.
• Programming: IRC-style clients come ready to install. • Connection Speed: This can be a factor, since you're
operating in real time. However, an RPG isn't a shoot-em- up game like Quake or Doom, where you need to get shots off quickly, so you're more likely to be plagued by Net lag than by a slow modem. There's some consolation in the fact that if you're lagged, everyone else is, too.
Resources
• Costs: IRC clients are readily available free on the
Net. Look at http://www.irchelp.org/irchelp/altircfaq.html for clients and "how to" files. Talk to your helpful Web administrator for information about setting up and main- taining a Web-based chat. Once you get a chat room up and running, however, very little maintenance is involved.
• Overhead: For IRC-style chats, you'll need an IRC
client. For Web-based chats, you need a browser to con- nect, and your server needs to be set up to handle the chat.
Other Factors
• Players can be added whenever they log on. • There are no limits to the number of players.
Social Considerations
• Advantages: Minimal knowledge is needed. There
are only a few basic commands to learn (like how to join a channel and how to talk), and that's it.
• Disadvantages: There are, unfortunately, some trogs
who love to invade chat channels. Keeping your channel private will alleviate this... usually. (On the subject of privacy, private conversation are difficult, if not impos- sible, to stage on most Web-based chat systems.)
No persistence; you cannot create a prop or object and still have it be there the next time you log on.
No sense of "space"; you and your players are limited to one "room" or channel.
No ownership of "nicks" on IRC-style chats; you do not (and cannot) own your player's login nickname.
Mow Does the Game "Look"?
The text of a chat session rolls up the player's screen as it occurs, rather like talking by typing.
Note that it's more difficult to read the log of an event after the fact, than it is to read it while the event is occurring. Nevertheless, this is how a log might appear. Names that appear in angle brackets <> show who's speaking. A name that has an asterisk * in front of it shows that the player is doing something. A name with asterisks * both before and after the name shows a message that only goes from one person to another; the rest of the players cannot see it. The names in curly braces {} would not appear in the log; they are there only to clarify the target of the private message.
<Storyteller> You finally get to the Node, which seems kind of deserted and bleak. There's a tavern down at the end of the street.
<JRN> Well, after that last skirmish, I could sure use a beer. <g>
<Storyteller> You head down toward the bar.
<Pizzazz> Is there anything we should be noticing about this bar?
<Storyteller> The only thing you notice is the sign over the door that says
"Cross-Time Tavern."
<Asala> Okay, I'm going in. *Pizzazz goes in, too.
<Storyteller> You see a couple of folks sitting at the bar, and two pairs sitting at different tables toward the back of the room. The bartender looks up to see what you want.
*Asala* {to HackMan} I wanna dance, maybe see if there's any jazzy new data hiding on these guys that we can dupe. Will you back me?
*HackMan* {to Asala} I'm not paying much attention. Trying to study for an O- Chem exam tomorrow. Do whatcha want, and I'll follow along.
*Pizzazz orders a beer.
*Pizzazz* {to Storyteller) I wanna look to see if my contact is one of the people in the back of the room, okay?
*Storyteller* {to Pizzazz} Go for it. *Asala tries to convince the bartender to let her dance.
*Asala is hoping to wander among the customers to see if anyone has any data she can dupe and resell.
<Storyteller> The bartender reluc- tantly allows this, but he's keeping an eye on you, Asala.
*HackMan looks up long enough to watch people watching Asala.
*Storyteller* {to JKN} That guy in the back of the bar looks like he might be the same guy that stiffed you on the Lycaster deal.
*Asala dances around the room, trail- ing fingers over the shoulders and through the hair of patrons.
*JRN leaps to her feet, splattering beer all over the bar.
*JRN points to a guy toward the back of the room and yells, "HEY!"
Mu*s (Multi-User
Dimensions)
Unfortunately, we don't live or work in a perfect world (you know, one without Net lag or typos), but a world in which text is still the most efficient means of communica-
tion over the Net. Thus, a MU* seems like the optimal method for an online game. With a MU*, a Storyteller can create a sense of "place," building rooms and objects (each fully described) appropriate to the setting. NPCs can be animated. Most clients (the program that you use to con- nect to a MU*) allow you to run more than one character at a time. In fact, it isn't even particularly necessary for other players to know who's running which icons. [Note for Mage players who venture into other MU*s: The MU* world usually calls online players "avatars" or "characters," not "icons." "Icons" are pictures on a desktop, not players.] One of the biggest advantages a MU* has over a chat line is persistence. If you create a prop for your game, it'll still be there the next time you log back on (unless, of course, you've chosen to recycle it). Your character will be just where you left her, and will be carrying the same inventory.
Additionally, characters can acquire attributes and carry around objects, and these objects and attributes may be used to control game play. If, for example, a cave is dark, characters who aren't carrying torches might be denied access. Similarly, Adepts who haven't learned the Virtual
Lockpick rote may be denied entry to a sector if the
Storyteller has locked the entrance.
Private conversations are also possible. The "whisper" command allows two (or more) players the opportunity to go behind another player's back. Similarly, players can "page" a player who's not in the same room, perhaps giving directions so the laggard can catch up.
Technical Considerations
The first question to ask is whether you're going to try to run your own MU*, or if you're going to use someone else's. If you're going to use and build on an already estab- lished MU*, we strongly recommend that you ask permission from the admins (imps, wizards, whatever) who run it. A MU* is, after all, the product of a lot of time and energy. While the admins probably won't object if you want to run a game in their space, it's considered good form to let them know what you're doing. (Annoyed admins can, after all, remove your players from the database permanently. So why annoy an admin?) Be aware, however, that building on an existing MU* adds to the database. You may not be allowed to build until you (and/or your players) have earned the privilege to do so. Like a formatted sector, a MU* has certain parameters, too. As a guest, you'll have to respect those guidelines. If a MU* has a certain style or theme, you'll need to comply with when you build onto it.
You can find an "almost complete" list of MUSHs in
The MUD Resource Collection at http://www.godlike.com/
muds. The MUDList is at http://mudlist.kharduin.net, and includes more server types as well. More information and resources are available at http://rep.mudservices.com/ index.html.
Requirements
• Server/Operating Systems: If you're going to run your own MU*, you'll need appropriate hardware. A slew of varia- tions exist: There are MUDs, MUSHs, MUCKs, MOOs, LPs, and a bunch more. Some systems include combat code, others don't. Some are stand-alone systems, others require substantial libraries of extensions. Read through the FAQ at http:// www.math.okstate.edu/~jds/mudfaqs.html to see what works on which operating systems, then pick one and learn to use it. Keep in mind that you'll have to put your MU* some- place; you need a host. If you don't have the hardware available to make your own space (and few of us do), you can either hope that someone will host your MU* for free (unlikely, but it does happen), or rent space from a commer- cial host. The Usenet newsgroups in rec.games.mud.* are where the commercial hosts advertise.
• Programming: If you're going to run your own MU*, you'll need considerably more than half of a clue. The Usenet newsgroups at rec.games.mud.* can be helpful. (They can also be incredibly unhelpful, depending on your particular problem. Read the FAQ before you ask questions.)
If you're going to use a corner of someone else's MU*, you'll need to learn how to use that particular system. The "help" files in the MU* ought to be useful, and people already using the system may be willing to answer questions if they're asked politely.
Regardless of whether you're using your own MU* or someone else's, you'll need a "client" program to connect to the MU* server. Client programs keep what you're typing separated from what everyone else is doing. Most of them provide the ability to log sessions, write macros and triggers, and connect to several characters at once. (This is how you animate an NPC.) tinyfugue is, by far and away, the preferred client among UNIX geeks. It's available at http://tcp.com/ ~hawkeye/tf. Other clients are available for other systems, including clients for Macintosh and Windows. You can also find a description of the clients and their features in the "clients" section of the Mu* FAQ at http:// www.math.okstate.edu/~jds/mudfaqs.html.
• Connection Speed: Faster modems can yield faster responses... right up until Net lag clobbers everyone at the same time. There are still folks out there who MU* at 1200 baud — albeit slowly — so don't feel that you have to invest in an ISDN connection unless you're running the server at home. (Al- though, if you're looking for an excuse to upgrade...)
Resources
• Costs: If you're running your own MU*, you'll probably either have to invest in some serious iron; find someone who'll host your MU* at no cost; or (most likely) rent space at a commercial host. Clients that connect to MU*s are freely available; a list of the various types can be obtained at the URL listed above.
Social Considerations
• Advantages: Players don't need to be proximate. In
fact, players don't even have to be in the same time-zone. Most MU*s are up 24 hours a day, seven days a week.
Action can be extended. Objects, rooms and players persist.
NPCs can be animated.
You may, quite literally, create your world in text, one in which player characters can move, talk and interact with objects and each other.
• Disadvantages: Running a MU* (or a piece of a
MU*) requires some time and energy.
The Storyteller needs to know some of the rudiments of building within that particular system.
Mow Does the Game "Look"?
As with a chat session, text rolls up the player's screen. The primary difference is that players can move in a MU* instead of being confined to one room. Additionally, play- ers can "act" instead of being confined to "saying" everything. Such freedom does, however, require some online prepara- tions on the part of the Storyteller.
Note: As with chats, it's more difficult to read an after-the-
fact log than it is to read what's on your screen as it occurs. In this case, names in curly brackets {} show who the "you" is that's whispering. Other players cannot see whispers. Similarly, Asala
• Overhead: If you host your own MU*, most of your
intellectual overhead will be the investment of the time and energy you'll need to keep the server itself up and running. The amount of administrivia can be mind- numbing. If you're using someone else's MU*, you can devote your time and energy into actually creating the game-realm. (Is the author somewhat biased? She is. Does she admin a MU*? She does. She knows whereof she speaks.)
Other Factors
• Adding players is merely a matter of giving them the address of the host machine and having them create an avatar (note distinction between an online avatar and the Awakened Avatar of the game world).
• Once you've learned the MU*'s building commands, you can create objects and rooms, and extend the area in which you actually play.
• If you're using a university's computer resources, it's worth noting that some institutions consider MU*ing a waste of academic resources. In a few instances, access to ports commonly used for MU*s is blocked. Occasion- ally, institutions block access to common MU* ports, or revoke computer privileges entirely if students have violated university policy by MU*ing. If you have any doubts about your university's policy, investigate before you log onto a MU*.
(in this example) "looks" at several objects and at Bruno. Her command "look building" would not appear on other players' screens, nor would the description of the buildings.
Another Note: In this example, the Storyteller's also running Bruno; that is, he's playing two characters.
Along the pathway
You continue down the way toward the Node through the city canyon. This area seems bleak, grim, somehow unsettled. The buildings appear to be closed up tight, and there doesn't seem to be anyone else around. The only apparent activity seems to be coming from a tavern a bit further down the way, off to the right.
Contents: Storyteller, HackMan, Asala, Pizzazz, JRN
Pizzazz says, "Well, I dunno about you guys, but I could sure use a beer."
Asala says, "Hang on a sec. I wanna see if there's anything else here we should be noticing..."
{look buildings}
The buildings on either side are dark steel and black glass. The doors are locked and the windows are firmly closed.
{look tavern}
Above the door of the tavern (which appears to be the only sign of activity in this area) is a flashing neon sign reading "Cross-Time Tavern." The door is open, and the sounds of low conversation and an out-of-place honky- tonk piano drift out onto the street.
Asala hmms! "The Cross-Time Tavern. Interesting..."
JRN hmms. "If this is a Crossover site... I'm not sure if that's a Good Thing for us right now. "
Asala goes into the bar. JRN goes into the bar. HackMan goes into the bar. Pizzazz goes into the bar.
You {Storyteller} step through the doorway and into...
The Cross-Time Tavern
This appears to be a prototypical drinking establishment. Several people sit on stools at the bar, and two pairs sit at different tables toward the back of the room. Some people converse, others stare into their drinks. The bartender, Bruno, seems engrossed in a crossword puzzle.
Contents: Storyteller, Pizzazz, HackMan, JRN, Asala, Bruno
{look Bruno}
Bruno hulks. He's tall, broad-shouldered, and has hands like meathooks. He has the unnerving ability to be in several places at once. Bruno looks like a guy you'd like to have on your side — or at your back in an alley.
Bruno looks up. "Whatcha want?"
JRN flips a credit chip onto the bar. JRN says, "I'd like a beer . Actually, I'd like several beers, but I'll settle for getting ' em one at a time :-)"
You {Pizzazz} whisper, "I'm still look- ing for the guy I'm supposed to meet about the fencing buy. 'Zit okay if I wander back and look at the folks in the back of the room?" to Storyteller.
Pizzazz orders a beer, too.
Bruno hauls a couple of mugs out from behind the bar, and proceeds to fill them
from the tap.
You {Storyteller} whisper, "Go for it!" to Pizzazz.
You {Asala} whisper, "I wanna dance and see if anyone here has any jazzy data we can dupe and maybe resell. Back me up?" to HackMan.
You {HackMan} whisper, "I got an 0-Chem exam tomorrow, so I'm only half here. Go ahead, and I' 11 try to catch up when I finish reviewing this section." to Asala.
You {Asala} whisper, "I wanna dance (and see if I can lift any data offa the customers), okay?" to Bruno.
Bruno mutters something about needing to fetch a new keg soon, if folks are gonna keep putting beer away at this rate.
Pizzazz takes an appreciative sip of his beer, then turns toward the rest of the room. He looks around for a moment, then picks up his mug and wanders slowly toward the back of the tavern.
You {Bruno} whisper, "Go ahead, but you'd better be careful. Lotsa folks are watching you." to Asala.
Asala prevails on Bruno to change the music, then pulls a couple of veils out of her pocket, drapes them over her shoulders, and begins to dance.
Bruno puts on Sisters of Mercy, shakes his head, and goes back to crossword.
HackMan stands near the door, beer in hand. He appears to be lost in thought, but he's also paying attention to who's watch- ing Asala dance.