Meet the Generous Witch Nick: Spells and Acts of Kindness

Once upon a time, in a secluded forest, there lived a witch named Nick. Unlike the stereotypical image of witches, Nick was not wicked or evil. Instead, he was known for his kindness and generosity. Every day, Nick would venture out of his humble cottage to help those in need. He would use his magical powers to heal the sick, comfort the sorrowful, and nurture the unloved animals that roamed the forest. Nick's abilities were astonishing and unmatched, granting him the ability to bring joy and happiness to anyone he encountered.

*People argue about the complexity change between, say, "Orcs as always evil" or "Orcs as fantasy Klingons" or "Dwarves as dour miners" or "Dwarves as fighty drunk people with Scottish accents" but there is seldom effort put into a fully realized culture that is not dependent on defining itself as an exaggeration of human traits.

But it s also possible that we are not dealing with a canny valley of playable settings at all, but, rather, we are in fact dealing with an uncanny valley of unplayable niche settings. He presented them in ways that share much with Bartlett s color-saturated, theatrical world of artificial children engaged in unsettling forms of play.

Nick's abilities were astonishing and unmatched, granting him the ability to bring joy and happiness to anyone he encountered. The villagers, initially skeptical of a witch living amongst them, soon came to realize his true nature. Nick had a heart filled with compassion and a desire to make the world a better place.

TTRPG Settings: A Canny Valley of Playability?

I will not tread heavily into summarizing the well-known principle of the "uncanny valley" (as per the link) regarding the corollary relationship between an object's resemblance to a human being and the emotional response to it. But I am wondering whether Fantasy TTRPG settings operate as the inverse. This is to hypothesize that there is a general "canny valley" of psychologically acceptable play with settings for the aggregate of people between the "all too historical" and "all too ahistorical."

It is difficult for people to relate well to both the more historically accurate societies and the more utterly fantastical ones, both being "alien" or "uncanny" in some regards to cultural mindset of players of contemporary society, particularly the greater the amount of detail and depth these settings are given. On one end, the settings are perhaps too similar to the familiar, while on the other end, the settings are to dissimilar to the familiar. So settings often have the onerous task of striking the right balance between the poles of familiarity to create a "canny valley" of play. Outside of this "canny valley," players have difficulty psychologically plugging themselves into the setting and so such settings are mostly niche. Examples of possible niche settings may include settings like Hârn and Tékumel.

But it's also possible that we are not dealing with a canny valley of playable settings at all, but, rather, we are in fact dealing with an uncanny valley of unplayable/niche settings.

UngainlyTitan

Legend

I do not think that it has anything to do with the "uncanny valley" which as I understand it is a visceral reaction. What I think is going on, for the most part most gamers and table are not interested. They want time together with friend where they can take time off from reality and have agency and power that they do not have in their real lives. At the other end of the range are people that what to create a story that is, or approaches a work of art.
the latter takes a lot of work from all the participants and buy in and research.

The other side is that a lot of quite entertaining stories can be made with tropes and fairly stock characters and most tables are ok with that. Given the popularity of modules and adventure paths I would say that most DMs do not have the time, energy or creative chops to build completely from scratch.

Snarf Zagyg

Notorious Liquefactionist

But it's also possible that we are not dealing with a canny valley of playable settings at all, but, rather, we are in fact dealing with an uncanny valley of unplayable/niche settings.

I would start by saying that I don't think that it's the same psychological effect as the uncanny valley, but it's a useful analogy.

I would extend this; one thing we often ask is why (for example) "Sci-Fi" TTRPGs aren't very popular. There are a few that are based on well-known properties (Star Wars, Star Trek) and a few others here and there, but none that have broken through to the mainstream in the same way that the fantasy one do. I think it is for the same reasons; it is difficult to work with dissimilar settings (the truly alien).

An imagined space of "fantasy," which is usually kinda like an imagined medieval/early renaissance, except with fantasy races that are usually exaggerated caricatures of various human attributes*, is much more manageable.

People are drawn to the familiar . with tweaks.

*People argue about the complexity change between, say, "Orcs as always evil" or "Orcs as fantasy Klingons" or "Dwarves as dour miners" or "Dwarves as fighty drunk people with Scottish accents" but there is seldom effort put into a fully realized culture that is not dependent on defining itself as an exaggeration of human traits.

nevin

Hero

I will not tread heavily into summarizing the well-known principle of the "uncanny valley" (as per the link) regarding the corollary relationship between an object's resemblance to a human being and the emotional response to it. But I am wondering whether Fantasy TTRPG settings operate as the inverse. This is to hypothesize that there is a general "canny valley" of psychologically acceptable play with settings for the aggregate of people between the "all too historical" and "all too ahistorical."

It is difficult for people to relate well to both the more historically accurate societies and the more utterly fantastical ones, both being "alien" or "uncanny" in some regards to cultural mindset of players of contemporary society, particularly the greater the amount of detail and depth these settings are given. On one end, the settings are perhaps too similar to the familiar, while on the other end, the settings are to dissimilar to the familiar. So settings often have the onerous task of striking the right balance between the poles of familiarity to create a "canny valley" of play. Outside of this "canny valley," players have difficulty psychologically plugging themselves into the setting and so such settings are mostly niche. Examples of possible niche settings may include settings like Hârn and Tékumel.

But it's also possible that we are not dealing with a canny valley of playable settings at all, but, rather, we are in fact dealing with an uncanny valley of unplayable/niche settings.

I've watched many great scifi games die over the years and it's always been my theory that SciFi games were close enough to reality that people just didn't like them. I never really considered the uncanny valley but maybe that's it. When people play fantasy it's definitely not real. When they play Sci Fi or low magic nitty gritty games It feels like it could really happen and that turns them off.

I do think in the west the majority of gamers are interested in Arthurian,Charlemagne style knights and or pulp fiction style Oriental samaurai and Ninja style campaigns.

It’s strange that dolls inspire such horror in so many people. They are, after all, designed for the enjoyment and pleasure of young children—the vulnerable and innocent among us who, presumably, we do not desire to terrify in a systematic way. But the fact remains that, despite the best intentions, dolls are, for many people, the stuff that nightmares are made of.

He would often listen to the problems and worries of others, offering guidance and support with his wise words. One winter, the village was struck by a terrible storm. The harsh winds and heavy snowfall left the villagers helpless and stranded. But Nick, with his formidable powers, created a warm shelter for them and provided them with food and comfort until the storm had passed. Throughout the years, Nick's reputation grew, and people from all over would seek his help. His generosity knew no bounds, and he would never turn someone away in their time of need. Nick would often travel to neighboring towns, using his magic to heal the sick and mend broken hearts. Despite his popularity, Nick remained humble and grounded. He never sought recognition or reward for his actions, for his only satisfaction came from seeing the smiles on the faces of those he helped. The villages would often celebrate his kindness, hosting grand feasts and festivals in his honor. As the years went by, Nick's age began to catch up with him. His powers diminished, and he could no longer perform the miraculous feats he once could. However, his generosity remained unwavering. Even without his magic, Nick continued to help others through acts of kindness and compassion. In the end, Nick's kindness and generosity had a profound impact on the world around him. His story traveled far and wide, inspiring others to be kinder and more giving. He became a symbol of hope and a reminder that even in the most unexpected places, one can find immense goodness. And so, the legend of the generous witch Nick continues to live on, reminding us all of the power of kindness and the impact that a single individual can have on the lives of others..

Reviews for "Generous Witch Nick: A Beacon of Generosity in the Witching World"

1. John - 2 stars - I was really disappointed with "Generous Witch Nick." The story felt disjointed and lacked a clear plot. The characters were underdeveloped, making it difficult to connect with them. The writing style was choppy and the dialogue was unrealistic. Overall, it felt like a rushed and poorly executed story. I wouldn't recommend it.

2. Sarah - 2 stars - "Generous Witch Nick" fell short of my expectations. The concept seemed interesting, but the execution was subpar. The pacing was off, with parts of the story dragging on while others felt rushed. The world-building was weak, leaving me with unanswered questions. The dialogue was clunky and the character interactions felt forced. I struggled to stay engaged with the story and was left unsatisfied by the ending.

3. Alex - 1 star - I couldn't get through "Generous Witch Nick." The writing was full of grammatical errors and typos, making it difficult to read. The plot was confusing and poorly developed, making it hard to follow the story. The main character lacked depth and the dialogue felt stilted. It was a frustrating and disappointing read. I would not recommend it to others.

4. Emily - 2 stars - Unfortunately, "Generous Witch Nick" didn't appeal to me. The pacing was slow and the story lacked excitement. The characters were bland and lacked complexity. The writing style was dull and uninspiring. Overall, it just didn't capture my attention or leave a lasting impression. I wouldn't recommend it to fellow readers.

5. Daniel - 1 star - "Generous Witch Nick" was a waste of my time. The plot was predictable and lacked originality. The writing was unengaging and left me feeling bored. The characters were one-dimensional and their actions felt contrived. The book failed to deliver on its promise and left me disappointed. I wouldn't recommend it to anyone looking for an enjoyable read.

Unveiling the Secrets of Generous Witch Nick