Search results

Yeah your right. I do play those NPC's in the same way I'd play a PC. IAWA is weird actually and really screws up this type of conversation but in Sorcerer absolutely.

This is because you're still conceiving of this whole thing in terms of 'winning' story control. It isn't. It's about mutually finding out. Here's an experience from a Monsterhearts game. I really really wanted my character to have some kind of salvation. I was really invested in it. At some...

In hindsight I should have used a different word than stalling because of it's implications here. Two people locked in conflict where neither budge isn't stalling, it's just the situation. If there's no give anywhere else then the situation is stable and that's the story.

I play a variety of games and many of them do resolve conflicts with dice rolls. So I see a purpose in playing different systems but this is a bit different to your question, do we need to have certain types of instrumentation to prevent play from stalling? Well in the case of IC conversation...

That's actually really good fodder for debate. The Tl;dr is that I'm slight agreement with you but I'll lay out my case a bit later, I have to go and do stuff now.

Well on a purely technical level it's the GM or the Player through fiat. Although more properly it would be fiat through a mix of the following four things. The constraints of the character as a nailed down entity. The stuff the other player has provided through reincorporation. The stuff the...

Oh right yeah. I think in play there's some amount of OOC discussion to make sure we actually understand what the other is communicating. In systems where conflict of interest potentially lead to a dice roll, that discussion would usually happen then. Also I'm not suggesting you can't say what...

I really don't see things that way. This might sound pretentious but earlier in the thread I was saying that what Maxperson is doing is a form of expression about the human condition. Making a statement. Basically mutually creating art. It's just from the first person perspective it's often...

Hopefully people can say see Crimson is saying the same thing as me. Our play priorities aren't about winning or losing but lead us inexorably towards the ethical/meaning ramifications.

Oh I'm assuming you're entering the conversation in good faith but I'm rejecting your framing on aesthetic grounds. I'll continue our hypothetical to hopefully show why. Me OOC: Wait Andre, you just said you commanded me, was that a real thing or like an empty threat? We appear to have totally...

Without more situational framing, the thematic pay off is limited but I'll give it a try. 'You command me?' The Squire is silent for a moment and averts his eyes. then looks straight at you, determination in his face 'Command all you want good Ser, I'm ready to accept the consequences, true...

You fundamentally misunderstand this way of playing, both the goals and the procedures. The players (and I include the GM as a player) aren't interested in seeing the story go their way or in winning, which precludes the whole framing of the thing as a puzzle. They make a character, nail down...

To give an example of a mechanic that I think does a lot of heavy lifting. The roll trigger is: When your characters authority is challenged you are overcome with indignant rage. Roll and consult the table below. 10: You manage to contain the rage 7-9: You have the rage under control for the...

The way I play I'm assuming that this moment is a defining moment of the characters life. I know what they'll do in most situations but the results of the fiction might change the characters worlds view. I guess I'm playing to find out three things, in broad strokes. One: How the situation...

That's really interesting because the intersection of mechanics and 'it's what my character would do' is what I consider peak Narrativist design. Do you think the mechanical considerations contributed more to the bad taste or the fact you had to retain group cohesion?

Some people play Monsterhearts in a similar way to Masks, where social conflict inflicts emotional conditions but I don't like it. It's almost always better for the social tag to be what a group thinks about you. Monsterhearts has one genius mechanic but it's genius because it's the only overt...

Without going too deep. The constraints on characters are. One: When you choose a class there is an implicit set of values involved that must be part of the character 'at the start of play'. So for instance if you pick The Driver, part of his value set/beliefs/personality must involve the...

Yeah but I think I could sell Maxperson or Crimson on the Apocalypse World (maybe the Monsterhearts) mechanics because they're a really good example of applying gentle pressure in one area to charge the actual free-form roleplay (that max and crimson describe doing) that happens in another...

Without context it's hard to tell but in principle I wouldn't have a problem with that. In Monsterhearts there is a similar mechanic for attraction and in that game it's a masterpiece of design. It often has similar results to the one you sketch. 'Oh I'm attracted to him, time to go beat him to...

I 100% agree with you. When you switch sides due to a villain monologue you're making an artistic statement and if the dice are taking that away from you then you're just generating fiction together, which I find inane but each to their own. There are some nuances and caveats though. So you...