There’s a temptation to start adding your own weapons to a roleplaying game system, regardless of which side of the table you’re sitting
on. In a well-crafted system, this might throw off its carefully implemented
balance. In a poorly-made system, such additions might be necessary just to
enjoy it. Alternatively, someone might be trying to exploit the system through
their creation, at the expense of everyone else. That sort of behavior needs to
be stamped out early on, as soon enough only that player will be enjoying the
game. On the game master end of the spectrum, adding weaponry might be more
understandable. There’s only so much an RPG book can contain, so it could very
easily be lacking the weapons of war you envisioned your adversaries wielding.
Alternatively, you might decide to distinguish an encounter or a whole session
with a new element, something that even seasoned players won’t expect. Regardless of how complex
your preferred system’s gear might be, I’d advise keeping your additions
limited.
Before going on, it’s important to establish the role
equipment plays in most popular RPGs. As the majority of Roleplaying Games are
combat driven, weapons, armor, and similar items are unsurprisingly a huge
component of the medium. For many people, how good the gear the system provides
will make or break it for them. Science fiction and fantasy games have a
particular obligation to provide exciting toys for the GM and players to mess
around with.
That’s especially true for adaptations, as if the rules fail to capture the iconic weapons and gadgets of a setting, then there’s no hope of immersion. However, it’s important to remember that a good armory is not necessarily a big armory. Plenty of systems will get so caught up in the varieties of gear that they overload the player and maybe even the GM. Even worse, there might not even be a real distinction between individual items. Personally, I set the qualification for “good” gear as being if it fits the rules and tone of the game.
That’s especially true for adaptations, as if the rules fail to capture the iconic weapons and gadgets of a setting, then there’s no hope of immersion. However, it’s important to remember that a good armory is not necessarily a big armory. Plenty of systems will get so caught up in the varieties of gear that they overload the player and maybe even the GM. Even worse, there might not even be a real distinction between individual items. Personally, I set the qualification for “good” gear as being if it fits the rules and tone of the game.
This gets a little more complicated with systems that
encourage customizing weapons and provide the tools to do so. But even that’s
notably different from your own additions. The core issue here is straying from
what’s established in the actual system. A custom weapon built from what the
writers have provided is still different from your own creation. For a start,
competent authors will have ensured all of their mechanics are somewhat
balanced. The testing that more daring creations would require is
often beyond a GM's ability or simply not worth the effort. It might initially be
fun to throw the players a device of your own making but less so if it ends
up breaking the game. Trying to make the addition work after the fact will
likely make it more of a burden than a welcome arrival. If you are going to add
weapons, at least try to keep them reasonable.
The more you resist additions to a system’s armory, the more
special your few exceptions will feel. If you’ve filled your games with all
sorts of custom gear, your “relics” and “prototypes” will just feel like more
powerful versions of what the players have already encountered. If you’ve restrained
yourself, then a custom weapon will feel genuinely unique, as they only have a
few things to compare it to. To maximize this effect, make particularly
powerful rewards a risk to use. Then the item is more than just a power up but an
active part of a story. A great example in fiction is Elric of Melniboné’s
sentient magic sword, Stormbringer, which drives the already dangerous figure down an even
darker path. As said in Michael Moorcock’s first story featuring the anti-hero, The Dreaming City, “the sword would
guide him into a doom-racked future. He would savour power—but never peace.” A
player character’s willingness to use such objects won’t just provide a new conflict
but actively flesh them out, offering a context for their personality and
motivations. Through this approach, the weapon becomes an active part of the
story, rather than just a purely mechanical element. You can add to your game’s
armory but always make sure to think it through.
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