Thomas Shey
Legend
In a PBTA, your options on a roll are a Hit, a Weak Hit (one with a complication / cost), or a Miss. In DH, you’ve got 5 potential outcomes (Greater Hit, Hit, Hit with complications, Miss with softer outcome, Miss with worst outcome); but the GM always has a non-escalatory out: mark a Stress / take the Fear.
What these rolls tell us is which way the narrative is going to go. Do you cleanly get your objective, or is there a new complication to deal with? Now what do you do?
The goal of play is to always frame out a grabby scene and then see what the players do, with no preconceptions. The roll outcomes when risk and drama are involved help the table understand how the player’s risky and heroic Actions go.
My experience is that my tables really like this. I’m willing to accept that I’m just that amazing of a GM, but I think the onboarding of players to the idea of rolls-> story -> drama based on what they are helps.
The five results certainly do help (as does the fact that at least combat target numbers are low enough that you can expect more reliable hits than necessarily is the case with people in a lot of PbtAs (it was instructive looking at everyone's Evade scores in a game rolling 2D12 and where most likely a lot of opponents at either end will at least have a point of bonus (I've been meaning to go back and look at the Tier One sample monsters to see how much this is the case at the other end, but I suspect watching how relatively few misses there were that it is). And I'm the first one to say that degree matters, so the fact that it isn't as dependent on good rolls absolutely matters (see my comment about my wife). In many ways its much closer to a typical matter-of-degree success systems; the sticky point is that the step three down in the success tree is easily perceived as a mild failure rather than a mild success.
I think your last paragraph is absolutely true, as long as you acknowledge that some people (and I stand by it being a fair number) may not be able to be fully onboarded there.






