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You're doing what? Surprising the DM

Plot is the series of events leading to a conclusion,. Overthrowing tyranny is the plot.

I think we are just going to have to agree to disagree then. I agree with your definition; I don't agree with your example. I cannot see the statement 'Overthrowing Tyranny' as either a series of events or as a outline. Evidently you can. There isn't much more to say.

Nor do I understand this:

Action Scene (Excitement)
Background Scene (Informational)
Exploration Scene (Curiosity)
Meeting Scene (Happiness)
Transition Scene (Informational)
Action Scene (Suspense)
Rescue Scene (Excitement)
Transition Scene (Relief)
Loss Scene (Sadness)
Recovery Scene (Acceptance)
Action Scene (Suspense)
Celebration Scene (Rejoice)

That for me is the plot outline.

And for me it just isn't. If someone asked me to tell them the plot of a book or movie, I would never repeat what you just outlined and if I did I would expect that they would think me crazy or trying to make some sort of joke. But even if I accept this as a plot outline, a term that I find redundant since I thought we established that an outline of a story is its plot, this is now something quite unlike your assertion that "Overcoming Tyranny" is itself as a plot.

It would most certainly change the story, but not the plot. It might not be the most useful story/setting to reflect the plot, but there it is. :)

And I agree, but my point was that even if you could substitute 'Tuna Fish Sandwich' for 'The Magic' in the plot outline, for the story to make sense you would have to make the tuna fish sandwich something extraordinary within the fiction so that it would make sense that, if the Hero learns how to make 'Mom's Tunafish Sandwich' the whole world (or at least the neighborhood/kindegarden or whatever the setting is) can be saved from The Conflict. Ordinary things can't be 'the magic', and if you are going to use an ordinary thing as 'The Magic' its going to be a trope of your story that it is special - for example in a different story with different plot points the way say Onions and Peach Preserves get embued with magic in Sachar's 'Holes'. The plot requires that this thing be extraordinary, and if the setting doesn't have that thing you have to change not just your story but your plot.
 

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I think we are just going to have to agree to disagree then. I agree with your definition; I don't agree with your example. I cannot see the statement 'Overthrowing Tyranny' as either a series of events or as a outline. Evidently you can. There isn't much more to say.

Nor do I understand this:

And for me it just isn't. If someone asked me to tell them the plot of a book or movie, I would never repeat what you just outlined and if I did I would expect that they would think me crazy or trying to make some sort of joke. But even if I accept this as a plot outline, a term that I find redundant since I thought we established that an outline of a story is its plot, this is now something quite unlike your assertion that "Overcoming Tyranny" is itself as a plot.

Of course not. Nobody talks about plot like that. They talk about story and the emotional expression of those events. So replace action scene (excitement) with the first scene from star wars and you get the same thing. My example is just stripped away story. You could also replace it with the first scene to the matrix as well. Plot is just a bunch of events ordered to produce the emotional result of the movie/book/etc. Plot formational is pretty generic and easy to replicate, which is why we have many boring movies and concentrate so much of it on special effects, to hide the fact that plot development is formulaic. There is nothing special or unique about the plot to star wars. It's been done for thousands of years. The only thing that makes it interesting is the setting, story, and characters. How they produce the excitement in the opening scene.

And I agree, but my point was that even if you could substitute 'Tuna Fish Sandwich' for 'The Magic' in the plot outline, for the story to make sense you would have to make the tuna fish sandwich something extraordinary within the fiction so that it would make sense that, if the Hero learns how to make 'Mom's Tunafish Sandwich' the whole world (or at least the neighborhood/kindegarden or whatever the setting is) can be saved from The Conflict. Ordinary things can't be 'the magic', and if you are going to use an ordinary thing as 'The Magic' its going to be a trope of your story that it is special - for example in a different story with different plot points the way say Onions and Peach Preserves get embued with magic in Sachar's 'Holes'. The plot requires that this thing be extraordinary, and if the setting doesn't have that thing you have to change not just your story but your plot.

The plot doesn't require the thing be extraordinary, only that the event bring a sense of wonder from the participant . . . discovery scene (wonderment) if you will. Certainly an extraordinary thing can bring a sense of wonderment, but how you achieve that sense of wonderment is entirely up to the writer and a tuna fish sandwich might be that sense of wonder. Maybe not to you and me, but certainly someone. Hopefully the creator has taken into account the audience for her story and produced story elements that fit her plot. Plot only needs to change if your end result is changed. If you're no longer writing about overthrowing a tyrant and instead writing about falling in love, in which case the plot development for that type of story is different.
 

[MENTION=4937]Celebrim[/MENTION] - I'd point out that the plot of Star Wars is lifted, virtually verbatim from a Kurosawa movie set in feudal Japan. So, it's not like the plot of Star Wars is terribly linked to the setting.

Take this example then, stop me if you've heard this plot before:

A group of companions travel to somewhere somewhat remote and discover something mysterious. Shortly after the discovery, a horrible something begins killing the companions one by one until the final survivor, typically a young, pretty, white woman, defeats the horrible something and escapes back to civilization.​

Now, I've just outlined the plot of many horror movies for the past fifty years. :D From The Creature from the Black Lagoon to Alien to Friday the 13th, the plot is pretty much the same. Change the spaceship into a campground and you've changed Alien into Friday the 13th.

So, no, plot is not terribly tied to setting.

I would say the opposite is true though. Setting is tied to plot. As you say, Celebrim, you cannot have hackers in 14th century Italy. So, a story featuring hackers won't be set in somewhere where you can't have hackers. But, that's setting in service to plot. If I'm writing a man vs nature story, I'm probably going to set it somewhere where nature is kinda dangerous. A golf course likely isn't going to cut it as well as a mountain.

Which answers why the city is set in the desert. We wanted a desert city for the feel and tone. So, the city is in the desert. Doesn't mean that the desert is particularly important to the plot. It might be important for other reasons - such as tone and theme, but plot? Not so much.
 

shouldn't a player be able to work out that:

- despite having no local supply, the city has tons of food and provisions;
- despite having no local supply, there are wooden buildings everywhere, along with wooden weapons, etc.
- despite having no local supply, metals are also plentiful - four suits of Short Fat Dwarf size Plate Armor off the rack?
- it can't be getting shipped in over the desert - we barely made it through all those desert encounters!

So can we find out how it is that they can easily import all this stuff, circumventing the desert beasts, and use that to leverage as a tool to better deal with the siege?
From my point of view, there is this difference:

  • With the siege, the fiction is already established at the table. And the players can declare actions which draw on that fiction - eg When the next bombardment commences we take advantage of the confusion to enter the city. The players are directly able to build on the established fiction, moving the fiction forward and changing the situation via the play of their PCs.
  • With the commercial mystery you describe, the players can't declare actions for their PCs that change the situation until they get the GM to establish more of the fiction at the table. That investigative aspect of the situation you describe is what Hussar has called "following the GM's trail of breacrumbs" - less pejoratively, it's a type of play in which the players' play of their PCs doesn't change the ingame situation - it doesn't introduce new dramatic stakes, or resolve existing conflicts. It simply triggers the GM's narration of additional bits of fiction. Once the players learn about the teleportation circle in the merchants' guildhouse, the dynamic of play becomes the same as the siege. But the period leading up to that reveal is very different.

I think the difference between these two episodes of play is pretty big. It reflects the reasons why Ron Edwards says that Call of Cthulhu is not a game that is about player agency. (Which is not to say that CoC is not a good game; but for instance I would never want to GM it, and wouldn't want to play it as a campaign game - I enjoy CoC as a one-off in which I am enterained by the GM's narration and contribute my own overwrought characterisation of my PC.)

I find it a bit strange that the Mad Wizard Dungeon is a perfectly acceptable trope
Who said that? [MENTION=22779]Hussar[/MENTION] seems pretty scathing of Maure Castle (and having had a pretty bad time GMing WG5 when it came out, I tend to agree). I introduced it only as an illustration of how far back in RPGing one can find the idea of introducing an NPC and giving him/her motivations because that serves a metagame purpose, rather than being a derivation of ingame logic.

I could certainly see a player stating that "I know liches have phylacterys, and I do not want to face this thing again - we need to find its phylactery". That PC has no chance of accomplishing his goal, at least not immediately as he wishes, since no one knows where the phylactery is, GM included. Now, maybe that lich killed a PC and we want revenge. So we start casting divination spells to find that phylactery. Story Now! We want that phylactery and we want it NOW! We are not interested in playing out ANYTHING ELSE until we have dealt with that phylactery. STORY NOW!! Or is this somehow different and, if so, why is this an exception to the standard of player goals driving the scenes?

Oh, but you just want to "put more pressure on the players"
Why would you think this is an exception? If the players had expressed a desire to learn where the phylactery is hidden, or to reengage with the lich - eg by casting Consult Mystic Sages - then I would have had to work out what happened.

And I can tell you that the phylactery would not have been lying unwarded in a field of buttercups. But nor would it have been protected by a bunch of traps and monsters that bore no connection to the lich or the phylactery other than being procedural obstacles to getting to it. I would have had to come up with a couple of intervening encounters, between players and phylactery, that both reinforced the sense that this is a lich's phylactery we're talking about - it's guarded - but that also spoke to the place of the lich in the fiction and drama of the game - so that they weren't just roadblocks, but engaging situations in their own right.

you grabbed Kas right off the shelf with some pre-existing history. If the PC's had suggested he join them in a quest to return Vecna to his heights of power, would he possibly be good with that "to keep the game moving and give the players something interesting to engage with in the situation", or would his history dictate that this is simply not an option? Alternatively, would a payer who cleverly incorporates Kas' enmity with Vecna into the negotiations gain no advantage, or would he be able to leverage the established personality of the NPC?
Kas has backstory that's known at the table. That's the point of using him, or Vecna, or other "iconic" cosmological story elements. So of course things can't happen that contradict that established backstory.

But that doesn't make the idea of "keeping NPC personalities unfixed, so they can be used to apply pressure", irrelevant. Suppose that the PCs had made the suggestion to join with Vecna, how would Kas respond? I don't know what the answer to that is, but in play I would have it be in some way that keeps the situation moving forward to some sort of dramatic resolution. In the actual scenario I described upthread, the PCs refused to hand over the niece to Kas, now matter how much he insisted. There are a range of ways that Kas might respond to that. The way I decided was interesting was to use this to reflect the players' playing of their PCs back at them: so Kas said words to the effect of, You can keep the niece if you swear to help me find the grandmother; and I want you to make that oath in whatever terms you made the oath to take the niece back to her uncle, because I want you to keep your promise to me as firmly as you are insisting on keeping your promise about the niece!

No doubt other interesting stuff could have been done too, but that's what I thought of and ran with.
 

I see "scene framing" as a relevant analog for "plot" -- It's the situation, or basic premise, that establishes the kinds of actions participants engage in. "Setting" may also be an aspect of the scene frame, as in many cases the setting determines A) if certain "plot points" are valid / invalid based on the established fiction, and B) constrains the available actions of the participant (as noted, a 14th-century Italian can't log on to a computer and search the Internet to get information on the Borgia family).

In some cases the setting may constrain the plot, the story, or both, or neither.
For me, I see "setting" mostly as the established backstory shorne of its emotional connotations or dramatic significance: the history, the geography, the relationship map, etc. And it also has a big importance for colour: the colour of a Conan-esque desert setting is very different from a Grimm-esqe Germanic setting, let along a Lucas-esque scifi setting.

Building the PCs should, in my preferred approach, link them into the setting both in bald descriptive terms (I'm an elf or a dwarf, I'm from this town or that town) but also emotionally/dramatically (I want this, and to get that this other thing will have to change). This investing of the setting with emotional resonance and dramatic significance is, for me, what transforms it from mere setting into situation: something is about to happen, and the PCs will be at the centre of whatever that is, because the they are confronted by the things that, if they're to get what they want, they will have to change. At the start of the game, this is achieved via pre-play setup - once the game gets going, it's achieved by deft GMing - following the players cues in framing new scenes that respond to their evinced interests and passions.

The reason that, for me, the desert fails as situation is because the things that the players (via their PCs) have to change (or interact with more generally), in order to make progress, aren't the things that matter to them, that have that emotional heft given their (and their PCs') goals. That's what I was trying to get at in my post above this one, where I said that if I had found myself having to run the phyalctery quest, the opposition that the PCs encountered would not have just been thematically unrelated monsters or traps. I would have found a way to connect it in to those elements of the fiction in which the players are emotionally invested.

Of course that way of speaking is very general; it's hard to be precise outside of some particular context. For instance, sometimes it can be enough that the opposition is a demon, if the PCs are dedicated demon hunters and their ultimate foe is Orcus. Sometimes, though, a tighter or deeper connection is needed. That's also part of the point of leaving elements of backstory (in other words, setting details, like NPC personality) unfixed - so that if it turns out that I (as GM) miscalculated, and the heft isn't there, I can tweak things or introduce more stuff via the NPCs to try and amp it up a bit.

As to plot, my concept of that is pretty simple: it's the sequence of events that constitute the fiction. In my preferred approach we don't know what the plot is until we play, because only play can establish that sequence of events.
 


[MENTION=4937]Celebrim[/MENTION] - I'd point out that the plot of Star Wars is lifted, virtually verbatim from a Kurosawa movie set in feudal Japan...

Have you ever watched 'Hidden Fortress'? I'm betting not. This is the wikipedia summary of the plot:

"The film begins with two bedraggled peasants, Tahei and Matashichi. Through conversation, they reveal that they had intended to fight with the Yamana clan, but turned up too late, were taken for soldiers of the defeated Akizuki clan, and forced to bury dead. After quarreling and splitting up, the two are both captured again and forced to dig for gold in the Akizuki castle with other prisoners.

After an uprising, Tahei and Matashichi escape. Near a river they find gold marked with the crescent of the Akizuki clan. They thereafter travel with the General of the defeated Akizuki clan, Makabe Rokurōta, while escorting Princess Yuki Akizuki and what remains of her family's gold to a secret territory. In order to keep her identity secret, Yuki poses as a mute.

During the mission, the peasants impede it and sometimes try to seize the gold. They are later joined by a farmer’s daughter, whom they acquire from a slave-trader. Eventually, they are captured and held by Rokurōta's rival; but the latter unexpectedly sides with the Princess and Rokurōta.

The peasants stumble upon the gold, but are later captured; whereupon Rokurōta explains Yuki's true identity, and states that all of the gold has been used to restore her family's domain. The peasants are then dispatched, taking a single ryō. In the final scene, Tahei gives this to Matashichi to protect; but Matashichi allows Tahei to keep it."

Does that sound anything like Star Wars? No, it doesnt'. The only significant resemblence between the two stories is that Stars Wars is initially told from the vantage point of two minor characters and there is a princess with a mission. Everything else is different.

So, it's not like the plot of Star Wars is terribly linked to the setting.

*sigh*

So, no, plot is not terribly tied to setting.

I disagree, but its clear this is going to go no where.

I would say the opposite is true though. Setting is tied to plot. As you say, Celebrim, you cannot have hackers in 14th century Italy. So, a story featuring hackers won't be set in somewhere where you can't have hackers. But, that's setting in service to plot. If I'm writing a man vs nature story, I'm probably going to set it somewhere where nature is kinda dangerous. A golf course likely isn't going to cut it as well as a mountain.

You know, there was almost a break through there.
 

Pemerton said:
For me, I see "setting" mostly as the established backstory shorne of its emotional connotations or dramatic significance: the history, the geography, the relationship map, etc. And it also has a big importance for colour: the colour of a Conan-esque desert setting is very different from a Grimm-esqe Germanic setting, let along a Lucas-esque scifi setting.

Yeah, this is pretty much how I view setting as well. My next campaign, if I ever find the time to get it down on paper and beyond the, "Man it would be cool to run this" stage, obviously has a setting. I've got an empire to the north that the players will come from and there is a lonely fortress that they arrive at at the beginning of the campaign.

And, there's some general tidbits that I've added in because I have a basic idea of where the plot of this campaign will likely go. It's fairly sandboxy, so, things are pretty high altitude overall, but, there's some stuff there.

But, I know that during chargen, I will use a technique that I've used in the past where every PC will be connected to two other PC's right out of the chute. The PC's will all be members of the royal court in some fashion as well - it's a Paragon level campaign, so, these aren't newbie PC's. The specific details will have to get nailed down a bit more, but, beyond the fact that everyone has a place at court (in some manner) and everyone is connected in some fashion to everyone else, the details of the empire and whatnot I don't know. They'll likely get generated during chargen.

There are some things that I want to have happen, so, there is a plot in the campaign, but, I'm also going to look at the chargen process as producing the lion's share of the events in the campaign.
 

From my point of view, there is this difference:

  • With the siege, the fiction is already established at the table. And the players can declare actions which draw on that fiction - eg When the next bombardment commences we take advantage of the confusion to enter the city. The players are directly able to build on the established fiction, moving the fiction forward and changing the situation via the play of their PCs.
  • With the commercial mystery you describe, the players can't declare actions for their PCs that change the situation until they get the GM to establish more of the fiction at the table. That investigative aspect of the situation you describe is what Hussar has called "following the GM's trail of breacrumbs" - less pejoratively, it's a type of play in which the players' play of their PCs doesn't change the ingame situation - it doesn't introduce new dramatic stakes, or resolve existing conflicts. It simply triggers the GM's narration of additional bits of fiction. Once the players learn about the teleportation circle in the merchants' guildhouse, the dynamic of play becomes the same as the siege. But the period leading up to that reveal is very different.

I fin this a very narrow vision. Who placed whatever the PC's want, that "eyes on the prize" goal, in a city in the first place, then wrapped that city in a desert, then ribboned it up with a siege? Until these parameters were set, there was nothing for the PC's to do. I see a more macro PC Agency potential here - who set the goal?

In an AP, the goal was likely also set by the GM. Maybe it was set by having the PC's hired to do a job. Perhaps it was set by dangling a plot hook until the players took the bait ("it is rumoured there is powerful magic buied somewhere in the lowest levels of the ruins of the ancient Castle"). Or maybe it was set by mandating a common PC motivation or agenda to start matters of and we went from there ("PC's should be altruistic and have reason to fight the goblin hordes").

It could have been set by the PC's. They could have been placed in the rowboat (a great analogy, Celebrim) and made all the decisions of what they want to do and how they will go about it. But guess what? They need what the GM puts in their path to even do that. In fact, in that rowboat world, the GM has still set the first goal - learn enough about the setting to be able to take some meaningful action.

I think the difference between these two episodes of play is pretty big.

Sure. They highlight different stages in the process. One features the PC's determining the resources that are available to them, what they can do to achieve their goals, or even what those goals could be - like the game(s) where the PC's determined what long term objective they wanted to meet, that the Whatever would advance them towards their goal, and that the Whatever is in the city in the desert. The other features the PC's acting on those resources they have mined from the setting. Few gaming sessions are 100% one or the other.

The siege provides the PC's something new. It wasn't hard to find - there it was. But they still need to set their objectives and implement them. We want to use the siege to our own ends? How do we achieve that? If we want the leaders to take some action, we need to get the opportunity to interact with them, determine their goals and figure out how we can use their goals to further ours. But we need to determine their goals if we are to leverage the siege. Do they want to lay waste to the city and slaughter its leaders? That's a nice matchup for our goal to steal away with an ancient artifact hidden within the city. If our goal is to secure the blessing of the High Priest, that doesn't fit so well with "slaughter the high priest who is one of the leaders". Mabe we can leverage the rescue of the High Priest towards our blessing, or bargain with the besieging force that our aid comes at the price of the High Priest being turned over to us, not slaughtered. Which approach works likely depends on the High Priest's personality as well. If our goal is to secure the principality this city belongs to as our staunch ally, crushing their outost into rubble isn't a great fit.

And here again, we are handicapped by not knowing the goal - the bigger picture - in assessing the siege.

If the besieging force is hell bent to reduce the city to rubble an kill all who stand in their way, there may not even be room for us to interact with the siege. "We scale the walls under cover of bombardment" reduces the siege to a simple "cool image" not really at all different from "we ride our centipede, fremen style, thrugh the desert to the city".

Who said that? @Hussar seems pretty scathing of Maure Castle (and having had a pretty bad time GMing WG5 when it came out, I tend to agree). I introduced it only as an illustration of how far back in RPGing one can find the idea of introducing an NPC and giving him/her motivations because that serves a metagame purpose, rather than being a derivation of ingame logic.

I see - you inroduced something which merits a scathing rebuke to supot your point. I can't imagine why any of us have difficulty grasping your points when they are presented in such a fashion.

And I can tell you that the phylactery would not have been lying unwarded in a field of buttercups. But nor would it have been protected by a bunch of traps and monsters that bore no connection to the lich or the phylactery other than being procedural obstacles to getting to it. I would have had to come up with a couple of intervening encounters, between players and phylactery, that both reinforced the sense that this is a lich's phylactery we're talking about - it's guarded - but that also spoke to the place of the lich in the fiction and drama of the game - so that they weren't just roadblocks, but engaging situations in their own right.

OK. And you can come up with these in two or thee minutes, I assume, so the game can readily proceed without interruption - Story Now, so nothing else in between. Some GM's can. Some require some prep time. I note ou on't know what they are of the cuff to provide them in our post. I also believe they would be extrapolated from what you (maybe also the layers, maybe not) already know about the lich - otherwise they are unlikely to speak to the place of the lich in the fiction of the game. And, ultimately, I suggest there is no guarantee that the players immediately perceive these links, and don't perceive the next encounter as a roablock. Especially if they are alreay inclined to do so.

Kas has backstory that's known at the table. That's the point of using him, or Vecna, or other "iconic" cosmological story elements. So of course things can't happen that contradict that established backstory.

Esxactly. The layers can make reasonable educated gueses as to what will, or won't, fly.

But that doesn't make the idea of "keeping NPC personalities unfixed, so they can be used to apply pressure", irrelevant. Suppose that the PCs had made the suggestion to join with Vecna, how would Kas respond? I don't know what the answer to that is, but in play I would have it be in some way that keeps the situation moving forward to some sort of dramatic resolution.

I'm guessing, however, that it would not be "Well, maybe getting back to working with Vecna would be fun, you know, for old time's sake. Why I remember when.... Good times, good times..." leading to the Vecna/Kas 'Hells Freeze Over' Reunion Tour. I'm also guessing that your players woul know enough not to suggest such an alliance - their knowledge of Kas assists them in assessing how best to leverage the NPC. Random Roll Mad Mage? Not so much.

In the actual scenario I described upthread, the PCs refused to hand over the niece to Kas, now matter how much he insisted. There are a range of ways that Kas might respond to that. The way I decided was interesting was to use this to reflect the players' playing of their PCs back at them: so Kas said words to the effect of, You can keep the niece if you swear to help me find the grandmother; and I want you to make that oath in whatever terms you made the oath to take the niece back to her uncle, because I want you to keep your promise to me as firmly as you are insisting on keeping your promise about the niece!

Fair enough - Kas' established personality provides no basis for me to wiegh the relative importance of getting the niece versus finding the grandmother, or the opportnit to secure an alliance with the PC's. Now, if the niece had the tols and the will to return Vecna to full power, or could be used to destroy him orever, I would expect Kas to be less accommodating. And, as a PC, I would know his history and have reason to suspect any deal that seems just a bit too good may not be honoured. Whereas, if this were another NPC with a "word is his bond" reputation, that shoul lead me to more trust in his oath - just as Kas is playing upon what he knows worked on the PC's once.
 

And you can come up with these in two or thee minutes, I assume, so the game can readily proceed without interruption - Story Now, so nothing else in between. Some GM's can. Some require some prep time. I note ou on't know what they are of the cuff to provide them in our post.
Well, I could offer a few possibilities. When the PCs fought the lich he had putrid slaads, a caller in darkness and some haures demons under his control. So obstacles might be some sort of Abyssal wall/portal to be crossed (a skill challenge with necrotic damage, and maybe undead or demons summoned on failure; and the opportunity to get information about Orcus, Pazuzu and the lich on successes, via mystic visions), and some undead demons and/or more putrid slaads. It would be easier with my books ready to hand, plus during a session there's context, dynamics, energy etc to guide these judgements.
 

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