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Message: <blockquote data-quote="kenjib" data-source="post: 427727" data-attributes="member: 530">Yeah, that's a good point.  There is definitely a lot of potential in the plot.  Plotting and archetypes have always been two of Lucas' strong points.  Those are both still strong in the movie, I'll give it that for sure.  Perhaps part of the problem is that the strongest actors in the film (and there are definitely some high caliber people in the film) are not in the roles that require the best acting.So what are some of the various related elements that can be used in D&D to bring it all together?plot:  the DM needs to provide strong and interesting story hooks for romantic conflict.  Some situations will inevitably breed conflict, and thus plot.directing:  While the DM helps build the stories, the players also need to throw their own brand of confusion into the mix.  Ultimately they decide to pick up certain story elements and ignore others.  It should be a relationship of synergy.  The DM needs to know what the players are looking for.writing:  characters (both PCs and NPCs) need to be well enough fleshed out so their motivations are consistent and tangible enough to be played off of.  You should be able to think about "what would character X do in Y situation" and come up with answers that vary from person to person.  Take advantage of these character traits to draw people into the story through what makes them unique.  Put them in situations where these characteristics, that only exist outside of character stats and often considered merely incidental to the hack n' slash, have a strong, tangible, effect on the plot and well being of the characters.  Present character defining moral dilemmas to the players.  Make these character traits have more of an impact on your game than the character's BaB, saves, ability scores, spells, and enhancement bonus on their magic sword.acting:  it doesn't work well if the players don't really get into their characters heads.  Sometimes, for example, it's best for the story if they intentionally act irrationally and even against their own best interests to keep in the spirit of the angsty lover.  He is usually a tragic hero.archetypes:  the spurned lover, the love triangle, the forbidden love, the unrequited vow, the jealous lover, the cuckold, the charismatic abuser, the self-hater -- this is all good stuff.  Take advantage of classic motifs to help give the players something to hang on to and run with.  There is a reason why these same simple stories get told over, and over, and over, and over again.  They also help other people not playing a given character understand a character more quickly.  Once you've got these down start adding little twists to them -- the lover who is jealous because of insecurity -- the love that is forbidden only because of taboos of a culture that is now virtually extinct, but which a character clings to because he is the last survivor of that culture and thus can not bear to let go -- the lover who believes himself spurned and strikes against his love interest in anger but in reality has never professed his love and never knew that his love interest once, long ago, secretly loved him back -- the cuckold that knows and pretends he doesn't care (although he truly does care deeply) just to spare his crushed pride, an act which only hurts/estranges his lover and makes her cheat even more in an attempt just to get the angry reaction that proves he still loves her -- etc.</blockquote>

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