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Pemertonian Scene Framing and 4e DMing Restarted
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<blockquote data-quote="pemerton" data-source="post: 6091678" data-attributes="member: 42582"><p>No worries. Thanks for wading through my wall of text!</p><p></p><p>From the point of view of scene-framing play, the challenge here is that the city, the NPCs etc are placed by the GM (following the module writer), and the players have to be hooked in. Whereas the paradigm of scene-framing is the players hooking the GM - which also relates to No Myth play, with the GM creating the details of the situation around and in response to the players.</p><p></p><p>Obviously scene-framing techniques can be helpful and worthwhile outside the pure paradigm - for instance, the goblins and the evil advisor I talked about upthread were placed by me as key campaign features. But I used two fairly strong techniques to bring the players on-board: (i) I told the players, at the start of the campaign, that each of their PCs had to have a reason to be ready to fight goblins (this is a bit like the Burning THACO technique of reading the adventure intro so the players can build PC beliefs around it); and (ii) the evil advisor was not just an evil wizard, but a Vecna cultist (and the players were already invested in Vecna and undead for other reasons) and engaged to the Baron's niece, who was in turn clearly related to another NPC that the PCs had become connected to earlier in the course of the campaign.</p><p></p><p>The wizard was a Vecna-cultist in one of the modules I was drawing on, which was handy, but the relationship to the niece, and the decision to relate the Baron to the earlier NPC via his niece, were made when I needed ideas for hooking the PCs into the situation with the Baron in the town. Which is not quite No Myth - I worked it out a few sessions in advance, to make sure I got all the timelines right (the other NPC to whom the niece was related was from 100 years in the past, and the PCs had met her after the witches sent them temporarily back into the past). But in the same general neighbourhood as a technique - building the backstory around and in response to play having regard to the players' signals.</p></blockquote><p></p>
[QUOTE="pemerton, post: 6091678, member: 42582"] No worries. Thanks for wading through my wall of text! From the point of view of scene-framing play, the challenge here is that the city, the NPCs etc are placed by the GM (following the module writer), and the players have to be hooked in. Whereas the paradigm of scene-framing is the players hooking the GM - which also relates to No Myth play, with the GM creating the details of the situation around and in response to the players. Obviously scene-framing techniques can be helpful and worthwhile outside the pure paradigm - for instance, the goblins and the evil advisor I talked about upthread were placed by me as key campaign features. But I used two fairly strong techniques to bring the players on-board: (i) I told the players, at the start of the campaign, that each of their PCs had to have a reason to be ready to fight goblins (this is a bit like the Burning THACO technique of reading the adventure intro so the players can build PC beliefs around it); and (ii) the evil advisor was not just an evil wizard, but a Vecna cultist (and the players were already invested in Vecna and undead for other reasons) and engaged to the Baron's niece, who was in turn clearly related to another NPC that the PCs had become connected to earlier in the course of the campaign. The wizard was a Vecna-cultist in one of the modules I was drawing on, which was handy, but the relationship to the niece, and the decision to relate the Baron to the earlier NPC via his niece, were made when I needed ideas for hooking the PCs into the situation with the Baron in the town. Which is not quite No Myth - I worked it out a few sessions in advance, to make sure I got all the timelines right (the other NPC to whom the niece was related was from 100 years in the past, and the PCs had met her after the witches sent them temporarily back into the past). But in the same general neighbourhood as a technique - building the backstory around and in response to play having regard to the players' signals. [/QUOTE]
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