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<blockquote data-quote="AbdulAlhazred" data-source="post: 8979158" data-attributes="member: 82106">Hmmmm, well, another way to handle the secret door thing is simply to accept that, once a fact about the world is established it simply remains true. It is ALWAYS true that fictional position is a thing (well, except in Toon perhaps) and this is where challenge originates from. Characters cannot be put under pressure unless something in the environment constrains them. Here I admit a bit of a question as to what separates 'setting' and 'situation', the line might not be completely clear. Still, some things are certainly coming out of the setting, like &quot;there is a mountain over to the East you simply cannot climb&quot; which probably contribute to putting pressure on the character at times. In other words, SOME of this situation vs setting may be a matter of perspective. Not that I am outright abandoning the idea of 2 distinct categories there, but when I think about it, it almost feels like situations can often be simply a part of the setting that becomes tied up with the story. Cortex has scene distinctions, right? So it seems like the designers are almost asking you to draw that line rather explicitly.</blockquote>

[QUOTE="AbdulAlhazred, post: 8979158, member: 82106"] Hmmmm, well, another way to handle the secret door thing is simply to accept that, once a fact about the world is established it simply remains true. It is ALWAYS true that fictional position is a thing (well, except in Toon perhaps) and this is where challenge originates from. Characters cannot be put under pressure unless something in the environment constrains them. Here I admit a bit of a question as to what separates 'setting' and 'situation', the line might not be completely clear. Still, some things are certainly coming out of the setting, like "there is a mountain over to the East you simply cannot climb" which probably contribute to putting pressure on the character at times. In other words, SOME of this situation vs setting may be a matter of perspective. Not that I am outright abandoning the idea of 2 distinct categories there, but when I think about it, it almost feels like situations can often be simply a part of the setting that becomes tied up with the story. Cortex has scene distinctions, right? So it seems like the designers are almost asking you to draw that line rather explicitly. [/QUOTE]

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