How Do You Handle the "Inside" of a Hex? (George Lucas Special Edition)

[Context for this post: this is a re-write of an old post of mine I wrote back in 2021. I wasn't happy with my explanation, and it's filled with errors, but people link to it frequently anyway. Please update your links to this version, instead.]

I have noticed an unspoken disparity in the way people seem to use hexes in the context of a hexcrawl, and I think it deserves some attention. That is: do you bother with precision in the movement that takes place within a hex OR do you treat the space within them as fairly nebulous and concern yourself only with the movement between hexes?

This is a surprisingly complex topic.

Gritty Realism: Adventuring in Weeks, Not Days

Because apparently this is a 5E blog now, I'm going to talk about the Gritty Realism variant rule suggested in the DMG on page 267. But wait! Don't go! You know me better than that. Of course I'll find a way to make it relevant to you and your rules-lite artpunk post apocalyptic furry heartbreaker as well, since I know you don't play D&D 5E.

So there's a type of adventure scenario I like to call a "Die Hard plot." It's not a good name, but it's what I always think of. In the movie Die Hard, the whole ordeal takes place within a single evening. The movie almost happens in real time! It's a really jam-packed day. See also:

1. The Warriors
2. The Avengers (well, like 90% of it)
3. Night of the Living Dead
4. Clue
5. Dredd
6. The Goonies
7. Escape From New York
8. 24 (the TV show)

...and plenty of others. Now of course, lots of movies take place entirely within 1 day. But these ones here are specifically all movies that are a great model for D&D ADVENTURE! Sure, My Dinner With Andre takes place in one day, but that's because it's just a dinner conversation. These movies are set within a single day in spite of how much crazy shit happens within them.

Every movie on that list is great (and 24 is okay I guess), and you should steal from them occasionally. But the main appeal of Gritty Realism is that it affirms a simple truth: you can't run an entire campaign of just Die Hard plots. Or rather, I think you probably shouldn't.

I'd like to talk about this at length and help us all to appreciate this better.

Game Design vs Level Design

This is a mistake I've seen many people make when discussing rules and content and stuff like that. Here it is: game design and level design are two different things. There's a lot of overlap, to be sure. Strong game design can go a long way towards shaping the level. And creative enough level design might involve some intrinsic game design, too. But don't confuse them.

Game design is when you make rules and procedures. It's answering the "how" in how things work. It's the description of how skill checks work, or how combat works.

Level design is when you make content with which to use those rules. It's answering the "what" in what the players are doing. It's the adventure module that tells you which skill checks to roll, and the encounters of monsters and battlefields where combat will be happening.

When Super Mario 64 came out in 1996, it was a smash hit and a breakthrough in gaming. It was the perfect 3D game, seamlessly translating the 2D genre of platforming into a 3D context better than any other attempt to do so. And trust me, the other attempts failed hard. It was an exceptionally tricky and ambitious design goal to tackle, but once they got it right, it blew the doors wide open for the future of 3D gaming. And you know how they did it?

First they designed the mechanics for Mario's movement. That's it. That's the only thing they focused on initially. They created the little minigame of chasing down the rabbit and catching it, so they'd have a way of testing their system. But they worked their asses off to make sure, above all else, that it was fun and easy to control Mario. That merely having to run around and jump on stuff and use your different moves was strong enough on its own. Only after they nailed that down did they begin to design the courses that would be in the final game.

First they nailed game design. Then, when it was so good it could be fun just by itself, then they poured their hearts and souls into making incredible levels. But the point is that these are two separate steps, and two separate goals. So I want to talk about the role that each one plays in tabletop design.

How Do You Handle the "Inside" of a Hex?

Hey! if you were linked here from elsewhere, this version is outdated. Please read this one instead.

[EDIT: I've replaced this post because it's not very good. When I wrote it, I was idly spitballing about a pattern I thought I had maybe picked up on, without much thought. It's unfocused, poorly articulated, and lacks confidence or authority. Worse yet, it's also filled with mistakes, many of which have been noted by others over the years. Lastly, it ends with a bizarre departure into me talking about my own crappy homebrew stuff. I would delete it, but many of my colleagues strongly object to that. Preserving the blogosphere for posterity, yadda yadda. So go read the new version instead.]

I have noticed an unspoken disparity in the way people seem to use hexes in the context of a hexcrawl, and I think it deserves some attention. That is: do you bother with precision in the movement that takes place within a hex OR do you treat the space within them as fairly nebulous and concern yourself only with the movement between hexes? I'll explain the difference, and I'll also talk a bit about "sub-hexes" later. And if anyone has seen discussion of this somewhere already, then please point me in that direction.