"Actions will be judged according to intentions."
Matrix Games are the latest advance in the art of gaming. Over the last one hundred years gaming has expanded to include, toy soldiers, board games, role play games, card games and now Matrix Games. Each advancement has brought new people into the hobby and made it possible to do games previously undoable. Change does not come quickly or easily. Chris Engle invented Matrix Games way back in 1988! It has take over ten years to perfect the idea and make it ready for a mass audience. But ready it is. This essay will introduce you to the basic ideas of the game and prepare you to play your first Matrix Game.
Be it known that all the material herein is copyrighted to Chris Engle in 1999 and that most of the copyrights date back to the late 80's. Also be in known that the name "Matrix Game" is a trademark held by Chris Engle, any breech of which will be prosecuted by law. I've done this because I want everyone to be able to play these games and that requires that they have a good shepherd. If you want to write something about Matrix Games you may do so if you mention that they were invented by Chris Engle and that "Matrix Game" is trademarked. If you want to commercially publish a Matrix Game please contact me so we can work out business arrangements for you to do this I want you to be able to publish. Good boundaries now will prevent the system from being raped later.
WHAT IS A MATRIX GAME?
A Matrix Game is a game that can be played either face to face, via mail or email, or solo that involves players making "arguments" about what they want to have happen next in the game. Arguments can be about anything so Matrix Games can handle an amazingly wide variety situations, ranging from action adventure to spy intrigues, to murder mysteries, to criminal drama to quests to fantasy campaigns to military campaigns to political campaigns and more. The basic rules for all these games are the same, only the "matrix" changes.
Making arguments may seem strange at first (One reason why it has taken so long to bring MGs out. This is a unique game mechanism.) But in fact players do in other games without even knowing it. Every time you lay a card down in a magical card game and use it on someone, that is an argument that attack works. Dice are rolled and the attack/argument happens/works or it fails. The same is true for saying what you do next in a role play game. "I open the door." is an argument. The player then looks to the game master to see if the argument succeeded. Matrix Games open the door for any argument to be made not just what the card says, or what my own character does. Players can make it rain, cause disease to break out, make their opponent's characters do something stupid, make up new characters, invent clues that are found, or even change the rules of the game as it is being played!
So if you can say "I do that." You can play a Matrix Game.
One more thing. Matrix Games can be played competitively or cooperatively. Men usually play a more competitive game but in mixed sex groups cooperative games are more the norm. Since many women are turned off by competitive games they have not come very far into the hobby. Matrix Games have the potential to change that.
THE MATRIX AND THE GAME
Matrix Games come in two parts. The "Matrix" describes the world the story takes place in. It includes not only information about people places and things but also an outline of the sequence of events that must happen to tell a particular story. The matrix of different stories is consequently different (though many matrix elements are common to all stories.) The "Game" on the other hand are the nuts and bolts mechanics of how arguments are made and resolved. This is the same in all Matrix Games regardless of the story being told.
I am certain that other people will come up with new ways to do the "Matrix" and the "Game" of Matrix Games. The system I use is intentionally simple and straight forward. Which reflects my belief that truth is found in fewer words.
THE MATRIX: ELEMENTS FOUND IN ALL STORIES
CHARACTERS: All stories start off with a cast of characters. Matrix Games represent characters with cards, that include the character's name, age, estimate of their wealth and power, and a brief description of the person (a sort of personality sketch). Note that all this is done with words, not numbers. This allows people to read the card and come up with their own idea of what it all means. If players wish who the character is friends and enemies with, her skills, what treasures she owns, what offices she holds, and what secrets she knows can also be included.
Characters do not have to be only people. It is just as easy to run a game where the characters represent groups of people like military units, political parties, whole countries/planets or larger.
RELATIONSHIPS: Characters are connected with one another by relationships. They may be friends, family, enemies, rivals, employees, allies, etc. These relationship can change as the game goes on.
Players start off controlling one or two characters. They can increase this control by building relationships with other characters. Like hiring agents, recruiting a friend, or getting a family member to help you out. Different players may have relationships with the same character but only one player "controls" the character.
TREASURES: Treasures can include land, valuables, objects of art, secret information or even social or political offices. Each story defines what are treasures in it. For instance, in murder mysteries the most valuable things are clues to the crime. An example of how information is sometimes the most valuable treasure.
MOVEMENT: Matrix Games can be played with or without a map. Either way, characters are in a world and may move around in it. The world is divided into "areas." At the beginning of each turn, players may move the characters they control anywhere they want to inside the area they are in. To move to a new area (i.e. cross the barrier between the two areas) the player must make an argument for that to happen. Inside areas there may be other barriers to movement. They to can only be crossed by making an argument.
BARRIERS TO MOVEMENT: The most obvious barrier to movement is the barrier between areas. This is usually caused by distance, but it can also be caused by a river, mountain or other natural barrier. Inside areas, characters may have defense barriers (like walls, locks, armed guards, etc.) to keep people out of key areas. Players can add to these layers of defense by their arguments. Individual characters are protected by barriers of anonymity. So unless a character has been "spotted" she can not be followed during the free move because the characters do not know where the guy is. Players can add to their anonymity by arguing for disguises, stealth, and hiding. One other barrier exists, these are the mental defenses that keep our thoughts secret. All characters automatically have one layer of mental defense so people can not know their secrets without a little work. Players can add to their mental defenses by arguments.
CONFLICT: Conflict involves a lot more than just fighting. Conflict is about anything that two people may disagree on, or a challenge between man and nature. Common conflicts in Matrix Games are: fights, crossing defense, anonymity or mental defense barriers without permission, political show downs, creating relationships, making another players character do something they don't want to do, negotiations, building a new item, climbing mountains, creating a new idea, arrests and trials.
PLANNING: Players can argue to make plans on how they will deal with certain situation. Plans are especially helpful in dealing with conflicts. Since the character with the best plan is most likely to win the contest. If a plan is known then other plans can be made to counter it. Players can engage in an arms race of plan/counter-plan jockeying for position.
SECRETS: Characters can have secrets (like secret plans the treasure of spy games) and do actions in secret. Player do this by making an argument that tells what happens but not who did it while telling the referee what the truth is. Players are advised that what you don't know can hurt you! So watch out for those players making lots of secret she's up to no good!
THE GAME
ORDER OF PLAY: Each turn starts with the players talking to one another. Once negotiation is over, players may move all the characters they control anywhere they want to inside areas (NOTE: Characters may not accidentally follow a character who has not been spotted she is protected by an anonymity barrier.) Next the referee asks the players to make their arguments (around the table in face to face games or a call for arguments in a PBM game). As the players make their arguments the referee rules on how strong they are. The referee then decides which arguments are logically inconsistent and which will trigger conflicts. The players then roll to see which arguments succeed. The results are added to the matrix of the game. Additional moves may happen if called for in arguments and arguments to resolve conflicts may be made if arguments calling for conflicts succeed. Once they are done the next turn can begin.
NEGOTIATIONS: Players can freely talk to one another at any time in the game. Their characters do not have to be together, or like one another. Players should feel free to play act or role play during these negotiations. At times players may choose to resolve issues between them by role playing rather than by argument.
FREE MOVEMENT: Players may move all the characters they control anywhere they want to inside the area they are in. If they have an office or privileged position they may be able to move though certain defense barriers freely. Otherwise, barriers can only be crossed by making an argument to move.
BASIC ARGUMENTS: Players may chose to make basic or advance arguments. Basic arguments consist of a simple statement that says what happens. For example "I recruit Bart as my agent." or "I interview the woman across the street and she says she say Bart leaving the murder scene at 11 PM last night!"
ADVANCED ARGUMENTS: Players may opt to make arguments that are a little more rigorous. Advanced arguments are longer and require players to come up with reasons to support them. They are made in the following format. An ACTION, a RESULT from the action and THREE REASONS why it should happen.
WRITTEN ARGUMENTS: Players may need to write their arguments down (as in PBM games). Basic arguments should be restricted to one or two sentences, while advanced arguments may be longer.
THE REFEREE: One player does not run a character but instead acts as the referee. This is not like being a game master in role play games. The referee does not control the game, the players do with their arguments. The referee has only four jobs: 1. To decide how strong the players arguments are (which determines their chance to happen roll), 2. Which arguments are logically inconsistent (inconsistent arguments must roll off against one another), 3. Which arguments will trigger a conflict, and 4. Who is involved in a conflict and which side is stronger (the stronger side gets to argue for the outcome of the conflict).
The referee makes up her rulings just like the players make up their arguments. Players can whine about the rulings, and the referee may change her mind due to the whining, but she does not have to. The referee's rulings are final and she does not have to explain them to the players.
RULING ON ARGUMENT'S STRENGTH: In face to face games the referee asks the players to make their arguments. The referee goes around the table and asks the player what their argument is. They player then says it out loud (either reading it or making it up on the spot). The referee then immediately rules on how strong the argument is. Clearly players arguing last can bounce their turns off earlier arguments but arguing earlier can allow you to set the agenda of the turn.
The referee decides if an argument is: Very Strong, Strong, Average, Weak, Very Weak or Stupid. This sets the number the player must roll on one six sided die for the argument to succeed. See the table below.
| ARGUMENT STRENGTH | ROLL TO SUCCEED ON 1D6 |
|---|---|
| VERY STRONG | 2,3,4,5,6 |
| STRONG | 3,4,5,6 |
| AVERAGE | 4,5,6 |
| WEAK | 5,6 |
| VERY WEAK | 6 |
| STUPID | 7 |
(NOTE: It is possible to roll a seven on a six sided die if the die stands on a corner with the one, two and four pointing up!)
The referee may change earlier rulings in light of arguments made by later players.
It is the players responsibility to remember his own argument and how strong it is. If he can not do this in his head then I recommend writing it down. If the player forgets the he forfeits his turn.
Players roll for their own arguments. If they roll any of the target numbers then the argument succeeds.
LOGICAL INCONSISTENCY: Some arguments can not both happen. For instance, a character can not both die and remain alive in the same turn. When this happens, the referee may rule them logically inconsistent. This forces the players to conduct a dice rolling contest to see which argument happens. The referee decides which arguments are logically inconsistent. The referee may string together several arguments in one dice rolling contest. For example "Bart dies in a car accident." may be inconsistent with "Bart goes out with Diana on a date." which in turn may be inconsistent with "Diana dies in a car accident." So the referee may link Bart's untimely death with Diana's untimely death. Or the referee may decide there is no inconsistency and leave it up to the dice to determine if they happen.
Players roll for their own arguments to see if they happen. If the target number is rolled then the argument may happen. If the player misses the target numbers then the argument may fail. Missing a roll causes an argument to drop out of later rounds of rolling. When only one argument remains, the inconsistency is resolved the remaining argument succeeds, the others fail. If all the arguments miss their roll before one is left standing, then all the inconsistent arguments come back into play and the contest begins anew.
Arguments that are logically inconsistent are generally important matters so the rules guarantee that one of them will succeed.
CONFLICT: Some arguments pit two forces against one another in conflict. The referee decides if an argument a trigger conflict when ruling on it's strength. If the referee thinks the argument triggers a conflict then the result of the argument is thrown up in the air. If the argument succeeds, then a second round of arguments is done to determine what actually happened. So the first argument is just a gateway to see if a conflict happened. The second round of arguments determines the outcome.
The referee decides which characters are involved in the conflict. If the argument itself is not clear who is involved, then the referee may include whoever she chooses. Next the referee decides who is in the strongest position in the conflict. This is where planning and preparation pay off, since plans (especially secret plans) show forethought. The referee asks the strongest player to make an argument describing the outcome of the conflict. The referee rules on the argument and the player immediately rolls for it. If it succeeds then the conflict is resolved. Otherwise the referee asks the next strongest player to argue, etc. till all the parties of the conflict have argued. If none have made a successful argument then the strongest player goes again, etc. until someone succeeds.
Matrix Game conflicts are about a lot more than just fighting. In fact preparation to be strong in one type of conflict may weaken a person in facing another conflict. For example, the grizzled veteran may have the advantage in a fight, but when pitted against the young recruit he may be weaker when it comes to wooing young farm maids. Life is infinitely subtle, and this is one way Matrix Games allow players to explore deep strategies.
Some players will complain that they should get to make a counter argument against conflict arguments. They do not get to. By it's nature, conflict is one sided. This rule reflects this reality.
DRAMATIC TENSION: HOW TO INCREASE INTEREST
Conflicts and logical inconsistency dice rolling contests, create dramatic tension. Referees should not be stingy in ruling arguments in this way. It gives players the chance to roll more dice and also tends to accent the competitive nature of the game. I have not noticed this type of competition turning off women players. As long as the referee recognizes that there are more kinds of advantage than just brawn women justly feel they are on a level playing field.
TURN RESOLUTION: Players roll for their own arguments to see if they succeed. If they roll their target number then the argument happens. If arguments are logically inconsistent then a success roll only keeps the argument in the running. Only the last standing argument happens. If a conflict argument succeeds then the result is settled by a second round of arguments in which the player in the strongest position argues first. Arguments continue until a player makes a successful argument, which determines the outcome of the conflict.
RECORDING THE TURN: After all the dice rolling is done the referee writes down what happened that turn in a notebook. The referee may not remember everything so it is a good idea to go around the table and ask each player if their argument succeeded and if so what happened. Players thus do the work of summarizing their own arguments. Once this is done, the turn is over and the next turn begins.
ENDING THE GAME: Matrix Games end when the players complete the story they are trying to tell. So different types of stories end differently. If players are running out of time the referee may expedite the end of the game by asking players to make arguments that tie up loose ends. The player naturally argues from her own bias so who the referee picks often settles what the outcome of the game is. Still, one can always reach a solid conclusion to a Matrix Game no matter how little time one has.
AFTERWARD
A BRIEF HISTORY OF MATRIX GAMES: Matrix Games first appeared in January 1988 during a conversation between Chris Engle and Chester Gates. The debate boiled down to whither numbers or words were a better way to store information. Chris favored words, Chester, numbers. They parted agreeing to work on the issue from their respective angles. Chris had no idea that the project would consume the next ten years of his life.
The heart of the game rules (make arguments, referee rules on strength, player rolls one six sided die to see if his own argument succeeds) was done by 1989. Between 1988 and 1991 the Matrix consisted of a list of key words that were meant to suggest possible arguments to players. An underlying matrix of how to handle movement and disasters emerged in 1990-91. These rules were published in "Campaign in a Day" a military campaign Matrix Game. Very strong, very weak and stupid arguments were added in 1992. I also switched the dice rolling system around in 1992 to making 6's the best roll, an innovation added by Bob Cordery. (Originally 1's were the best roll.) Bob Cordery and Tim Price then took up the primary development work on Matrix Games in their articles published in Wargames Illustrated. Bob coming up with hobby scenarios and Tim using the game for military planning purposes. I'm afraid I don't know the details of these games.
From 1989 to 1994 Chris Engle wrote extensively in hobby magazines (NUGGET, MWAN, PW Review, Lone Warrior, Shadis) and published a newsletter called "The Experimental game group (EGG). In 94, quite burned out, Chris dropped off the planet. The Matrix Game had a life of it's own, but the next big step required making it a commercial game. Which is a very big step.
Chris began working on a draft of the Matrix game in 1995. After the manuscript hit two hundred pages, he realized that it was unpublishable. The idea had to be refined. The first thing to emerge was a small press game called "The Matrix Game 1995" which summarized to game rules as they then stood. What was lacking was a clear matrix. Work on mystery and spy Matrix Games helped revealed how all games can use the same type of characters, relationships/recruiting, and movement (free movement within an area, arguments to cross barriers). By 1996 the broad outline of the Matrix Game was down from two hundred pages to thirty pages. It could have gone to press then, but fortunately it didn't, because in 1998 the notion of conflict emerged and completely changed everything.
For ten years Matrix Games had been miserable at resolving conflict, now they resolve it marvelously. In addition the concepts of challenges, trouble and barriers (defense, anonymity , mental and movement) finally settled down into a simple easily explained state. All of which has lead to a flurry of short interchangeable rules books that cover mysteries, spies, ghost chasers, cops and robbers, quest, master crime, fantasy campaigns, military campaigns, political campaigns and even a miniatures battle game.
Now the ideas are there. The rules are simple. The card fad appears to be dying down and people are ready for something new. Well Here it is!
ON THE FOOLISHNESS OF DOING ANYTHING ORIGINAL
All gamers dream of inventing the new game that will sweep all others away in front of it. The game will be so new that no one will have even thought of it before. It will wow them like a better mouse trap!
Well...Matrix Games were new in 1988. The only thing remotely like them were games Dr Paddy Griffith did at Sandhurst in 1962. Paddies "Mugger Games" used discussion to come up with the "best" solution to the tactical problem presented. They were so named because as Paddy put it mainstream gamers expecting a regular game felt "mugged." So essentially Matrix Games fit the fantasy. Which is where the trouble started.
If something is totally new NO ONE UNDERSTANDS WHAT YOU'RE TALKING ABOUT!!!
It took four years of writing scores of articles and running dozens of convention games before anyone else picked up on the idea. Keep in mind this was pre-internet. So game ideas spread about by print journals and word of mouth. Both of which are expensive and inefficient. It is only by shear repetition of message that anything was accomplished at all.
Along the way I learned a few things: 1. It is absolutely necessary to be completely unrealistic and believe that you will succeed. 2. Good writing and proof reading are vital. 3. The ability to speak in front of an audience easily and at a moments notice is vital. 4. Your ego will not carry you through, humility alone has the power (personally I attribute my game ideas to God, but I'm religiously out in left field). 5. Being persistent and not to bright help. 6. And be prepared to learn things about yourself and skills that you would never want to learn if you were not obsessed and driven to publish games. Oh and, of course, there is no money to be made in rules writing.
SAMPLE MATRIX GAME: SHERLOCK HOLMES AND THE JEWELED DAGGER
This is a murder mystery Matrix Game. It includes a cast of characters, a description of a location in London and a brief outline of the actions players take to tell a mystery story. Each player takes on the role of one character. One player must be Holmes, but the rest are optional.
SCENE: Lord Robert's jeweled dagger of India has been stolen. "Dash it all!" the Lord says, "How will I open my letters now?" Holmes is called in and traces the dagger to the Frog and Toad club. A certain "gentleman" - Black Bart has taken it. The game can begin with Holmes entering the club to find Bart dead (sans dagger) or with Holmes not yet at the club with Bart hidden by a layer of anonymity.
THE CAST OF CHARACTERS
SHERLOCK HOLMES: You are the worlds greatest detective. You always get your man! Then you lapse back into a drug addicted haze till the next case comes along.
DR WATSON: Dash it all! Holmes is on the loose again. You must keep up with him and try to help him solve his case or he may end up in an opium den.
BLACK BART: Steal a dagger? No, not me. Search me if you like. I've got nothing to hide.
RAGGED DICK: What's you staring at Mate? Ain't you never seen no one shine shoes before? But don't you worry about me. I'm not going to be a boot black all my life. I's got plans I has.
GENTLEMAN JIM: Come on then! Lets go for a few rounds in the ring. Marquis of Queensbury rules and all that. It the rule of the Club. I fights who ever I pleases.
MOLLY THE WOMAN OF LOOSE VIRTUE: Hey governor! Give us a shilling so we can buy some gin! I'll make it worth your while, wink, wink.
LIZZY THE FLOWER GIRL: Poppies! Poppies! Who will buy my lovely poppies! Thank you sir. God bless you and your whole family. Poppies!
STEWIE DOUGLAS: As the humble proprietor of the Frog and Toad, I caters to only the highest clientele. I never allow pick pockets or footpads in...well almost never.
INSPECTOR LE STRAD: Wrap up this case as soon as possible. You have better things to be doing.
THE LOCATION
THE FROG AND TOAD: Is a run down "gentlemen's" club closer to the docks than to Hyde Park. It was at it's peak when Beau Brommel and the Prince Regent haunted it (oh! That must have been eighty years ago). Now it is the watering hole of low life scum. Watch your back. You never know who is lurking in the shadows!
MYSTERY GAMES: At the beginning of the game you know that either Bart has been murdered or that he has stolen a jeweled dagger and hidden it. Each turn you make arguments to carry out the goals of solving the murder/finding the dagger or trying to prevent the crime from being solved/finding the dagger (so you can sell it!) You do this by MAKING UP clues. If you can "find/make up" evidence that shows a person had the MEANS, MOTIVE, and OPPORTUNITY to do the crime then you can argue to arrest them (which triggers a conflict people protected by layers of anonymity are hard to arrest!) You can also find clues to the location of the dagger. Once it is located, find out if it is defended by any defense layers (like a locked box). To get the dagger you must first get through all the defense layers surrounding it. (Which is a conflict round per layer attacked but you can do one after the next so the theft can be resolved in one turn.
AFTERWARD: With four to eight players this game should only take two or three hours to play. No more than fifteen turns. You can play it solo, by making one argument a turn for Holmes and one for the murderer. Holmes finds clues to solve the case, while the murderer tries to confuse the issue.
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© Copyright 1999 by Chris Engle.
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