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Seeking advice for new 4E game inspired by Pemerton
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<blockquote data-quote="Neonchameleon" data-source="post: 7001094" data-attributes="member: 87792"><p>Be slightly careful with YES AND. It can easily be taken too far and lead to a game that is almost entirely mush with very poor storytelling. Individual scenes can work amazingly with improv, but longer stories take a lot more skill because to make a story you're using the wrong verb. To quote Trey Parker of South Park:</p><p style="margin-left: 20px"><em>"Each individual scene has to work as a funny sketch. You don’t want to have one scene and go ‘well, what was the point of that scene?’ So we found out this rule that maybe you guys have all heard before, but it took us a long time to learn it. But we can take these beats, which are basically the beats of your outline. And if the words ‘and then’ belong between those beats… you’re f****d. Basically. You got something pretty boring. What should happen between every beat that you’ve written down is either the word 'Therefore' or 'but,' right? So what I’m saying is that you come up with an idea and it’s like ‘okay, this happens’ and then ‘THIS happens.’ No no no. It should be ‘this happens’ and <strong>THEREFORE</strong> ‘this happens.’ <strong>BUT</strong> ‘this happens’ <strong>THEREFORE</strong> ‘this happens.’ … And sometimes we will literally write it out to make sure we’re doing it. We’ll have our beats and we’ll say okay ‘this happens’ but ‘then this happens’ and that affects this and that does to that and that’s why you get a show that feels okay." </em></p><p></p><p>As GM the responsibility for this is mostly on your shoulders. You get most of it out of doing hard scene framing well and much of the rest out of treating skill failures as an opportunity for an AW-style Hard Move. But it's an easy balance to not get right.</p><p></p><p></p><p></p><p>Asked and answered <img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite1" alt=":)" title="Smile :)" loading="lazy" data-shortname=":)" /> As a player the pitch draws the eye as much as the planned style. Make a pitch setting.</p><p></p><p></p><p></p><p>My normal house rules both help:</p><ul> <li data-xf-list-type="ul">An extended rest takes a long lazy weekend which means you can't just delay for a couple of hours. It adds pressure to the PCs in all the right places.</li> <li data-xf-list-type="ul">A natural 1 should be used as in the Dark Sun weapon breakage rules as a potential fumble. Offer the PCs double-or-quits. They can keep the failure or they can reroll; keeping the fail is a fail, a pass is a pass, but failing the reroll tells you to do something <em>special. </em>(Weapon break in Dark Sun, hitting the wrong guy, or as creatively wrong as the skill could have gone).</li> </ul></blockquote><p></p>
[QUOTE="Neonchameleon, post: 7001094, member: 87792"] Be slightly careful with YES AND. It can easily be taken too far and lead to a game that is almost entirely mush with very poor storytelling. Individual scenes can work amazingly with improv, but longer stories take a lot more skill because to make a story you're using the wrong verb. To quote Trey Parker of South Park: [INDENT][I]"Each individual scene has to work as a funny sketch. You don’t want to have one scene and go ‘well, what was the point of that scene?’ So we found out this rule that maybe you guys have all heard before, but it took us a long time to learn it. But we can take these beats, which are basically the beats of your outline. And if the words ‘and then’ belong between those beats… you’re f****d. Basically. You got something pretty boring. What should happen between every beat that you’ve written down is either the word 'Therefore' or 'but,' right? So what I’m saying is that you come up with an idea and it’s like ‘okay, this happens’ and then ‘THIS happens.’ No no no. It should be ‘this happens’ and [B]THEREFORE[/B] ‘this happens.’ [B]BUT[/B] ‘this happens’ [B]THEREFORE[/B] ‘this happens.’ … And sometimes we will literally write it out to make sure we’re doing it. We’ll have our beats and we’ll say okay ‘this happens’ but ‘then this happens’ and that affects this and that does to that and that’s why you get a show that feels okay." [/I][/INDENT] As GM the responsibility for this is mostly on your shoulders. You get most of it out of doing hard scene framing well and much of the rest out of treating skill failures as an opportunity for an AW-style Hard Move. But it's an easy balance to not get right. Asked and answered :) As a player the pitch draws the eye as much as the planned style. Make a pitch setting. My normal house rules both help: [LIST] [*]An extended rest takes a long lazy weekend which means you can't just delay for a couple of hours. It adds pressure to the PCs in all the right places. [*]A natural 1 should be used as in the Dark Sun weapon breakage rules as a potential fumble. Offer the PCs double-or-quits. They can keep the failure or they can reroll; keeping the fail is a fail, a pass is a pass, but failing the reroll tells you to do something [I]special. [/I](Weapon break in Dark Sun, hitting the wrong guy, or as creatively wrong as the skill could have gone). [/LIST] [/QUOTE]
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