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Message: <blockquote data-quote="pemerton" data-source="post: 9223901" data-attributes="member: 42582">Are you serious?If a character tries an action that might fail, use a check to resolve it. To do that, you need to know what kind of check it is and what the DC is. Attacks: If the action is essentially an attack, use an attack roll. It might involve a weapon and target AC, or it might just be a Strength or Dexterity check against any defense. For an attack, use the appropriate defense of the target. Use an opposed check for anything that involves a contest between two creatures. Other Checks: If the action is related to a skill (Acrobatics and Athletics cover a lot of the stunts characters try in combat), use that check. If it is not an obvious skill or attack roll, use an ability check. Consult the Difficulty Class and Damage by Level table below, and set the DC according to whether you think the task should be easy, hard, or somewhere in between. . .  . Sometimes you need to set damage for something not covered in the rules - a character stumbles into the campfire or falls into a vat of acid, for example. Choose a column on the Difficulty Class and Damage table based on the severity of the effect. . . . Shiera the 8th-level rogue wants to try the classic swashbuckling move of swinging on a chandelier and kicking an ogre in the chest on her way down to the ground, hoping to push the ogre into the brazier of burning coals behind it. An Acrobatics check seems reasonable. This sort of action is exactly the kind of thinking you want to encourage, so you pick an easy DC: The table says DC 15, but it’s a skill check, so make it DC 20. If she makes that check, she gets a hold on the chandelier and swings to the ogre. Then comes the kicking. She’s more interested in the push than in dealing any damage with the kick itself, so have her make a Strength attack against the ogre’s Fortitude. If she pulls it off, let her push the ogre 1 square and into the brazier, and find an appropriate damage number.All the reasoning here begins with the fiction, and the identifies an appropriate mechanical framework for resolution. Contra your assertion, the narration of the action matters fundamentallly.Here are some actual play illustrations:In all these examples, it is the fiction that establishes the context for the declaration of the action, and the consequences of its resolution.</blockquote>

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