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<blockquote data-quote="chaochou" data-source="post: 7449622" data-attributes="member: 99817"><p>Well, to be fair I did give three solid examples of what it looks like literally... <img src="https://cdn.jsdelivr.net/joypixels/assets/8.0/png/unicode/64/1f609.png" class="smilie smilie--emoji" loading="lazy" width="64" height="64" alt=";)" title="Wink ;)" data-smilie="2"data-shortname=";)" /></p><p></p><p>Yes, you can find a Jedi master to train you, but your best friend gets frozen. Yes, your informant knows where the stash house is today but your lieutenant wants the investigation wrapped up by the end of the week. Yes, your daemon can open the safe, but you only have four humanity left and you don't want to hear what it wants you to do to your cat...</p><p></p><p></p><p></p><p>I can't answer 'should' questions! But in my own play, the answer is 'mostly yes'. So when I run a game, every situation develops with both opportunities and threats. Only if a character steadfastly refuses to engage do I cut and move on.</p><p></p><p>But in practical terms, a lot of the time a player is aiming to make progress towards one of their goals, and either succeeding, failing or getting to trade off progress here for difficulties there.</p><p></p><p>However, there are times - eg, in the PbtA games there's a move called 'announce future badness' - where I'm simply describing some new facet and throwing it in the mix. It's generally broad brush stuff, and it will only take form as the players decide if and how to interact. In Apocalypse World it could be a plume of thick, oily smoke on the horizon. Could be a mean, mile-high wall of red dust closing in. Could be a the stench of something long dead and decaying blowing up through the sewers.</p><p></p><p>In those cases no-one (including me, the MC) knows what it all means. There's no answer until the interaction of the characters in the world and the dice hitting the table forces the creation of an answer. So it can't be said to be related to an existing dramatic need... but it is fuel for the players to ignite something new, or if left alone for me to build a new line of pressure on them.</p></blockquote><p></p>
[QUOTE="chaochou, post: 7449622, member: 99817"] Well, to be fair I did give three solid examples of what it looks like literally... ;) Yes, you can find a Jedi master to train you, but your best friend gets frozen. Yes, your informant knows where the stash house is today but your lieutenant wants the investigation wrapped up by the end of the week. Yes, your daemon can open the safe, but you only have four humanity left and you don't want to hear what it wants you to do to your cat... I can't answer 'should' questions! But in my own play, the answer is 'mostly yes'. So when I run a game, every situation develops with both opportunities and threats. Only if a character steadfastly refuses to engage do I cut and move on. But in practical terms, a lot of the time a player is aiming to make progress towards one of their goals, and either succeeding, failing or getting to trade off progress here for difficulties there. However, there are times - eg, in the PbtA games there's a move called 'announce future badness' - where I'm simply describing some new facet and throwing it in the mix. It's generally broad brush stuff, and it will only take form as the players decide if and how to interact. In Apocalypse World it could be a plume of thick, oily smoke on the horizon. Could be a mean, mile-high wall of red dust closing in. Could be a the stench of something long dead and decaying blowing up through the sewers. In those cases no-one (including me, the MC) knows what it all means. There's no answer until the interaction of the characters in the world and the dice hitting the table forces the creation of an answer. So it can't be said to be related to an existing dramatic need... but it is fuel for the players to ignite something new, or if left alone for me to build a new line of pressure on them. [/QUOTE]
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