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<blockquote data-quote="pemerton" data-source="post: 8413700" data-attributes="member: 42582"><p>The John Harper example reminds me of <a href="http://www.lumpley.com/index.php/anyway/thread/456" target="_blank">these</a> <a href="http://lumpley.com/index.php/anyway/thread/14" target="_blank">blogposts</a>, in the same general neighbourhood, by Vincent Baker.</p><p></p><p>One comment Baker makes, which is a bit orthogonal to the present thread trajectory, as that in an approach of framing => stakes setting => roll => narration of outcome, <em>we never actually see the characters in action</em>. So eg one minute Pietro is reaching for the rock, the next minute Pietro is lying in the gutter.</p><p></p><p>The one time I had to invent a whole little subsystem in our Classic Traveller game was when one PC tried to wrestle a sub-machine gun from a guard. (Traveller has no grappling rules.) As much by good fortune as anything else, the way I chose to resolve it turned out to produce a very intense back-and-forth, as the gun changed hands and bullets were discharged and some injuries were taken and in the end the PC had the gun and the NPC guard was dead:</p><p></p><p></p><p>In the resolution framework I imposed, the fictional positioning did affect the odds - I imposed die modifiers for STR, Brawling and possession-of-the-gun advantages - and I think that building that into the process rather than just the stakes/outcomes helped support the "cinematic" and also rather visceral feel at the table. (I could imagine a similar vibe in AW based not on opposed rolls but repeated Seize by Force with GM-side moves including <em>dealing harm</em> and <em>taking things from them</em>.</p><p></p><p>To try and move my comments from the slight tangent back to the main point: My feeling - a bit untested, but I'm thinking of Cthulhu Dark play which is the closest I think I've come to this in actual play - is that fictional positioning as affecting outcome works best when the relationship between the established character, and the position they find themselves in, feeds <em>very naturally</em> into the possible outcomes: like when a journalist PC jumped from an upstairs window to escape a fire and (the player rolling poorly) broke his leg.</p><p></p><p>In the Harper examples, it's hard for me to get a sense of what the play experience would be like without knowing much more about how the stakes/outcomes are established, at what point the player is allowed to take back their action declaration, etc.</p></blockquote><p></p>
[QUOTE="pemerton, post: 8413700, member: 42582"] The John Harper example reminds me of [URL=http://www.lumpley.com/index.php/anyway/thread/456]these[/URL] [URL=http://lumpley.com/index.php/anyway/thread/14]blogposts[/url], in the same general neighbourhood, by Vincent Baker. One comment Baker makes, which is a bit orthogonal to the present thread trajectory, as that in an approach of framing => stakes setting => roll => narration of outcome, [I]we never actually see the characters in action[/I]. So eg one minute Pietro is reaching for the rock, the next minute Pietro is lying in the gutter. The one time I had to invent a whole little subsystem in our Classic Traveller game was when one PC tried to wrestle a sub-machine gun from a guard. (Traveller has no grappling rules.) As much by good fortune as anything else, the way I chose to resolve it turned out to produce a very intense back-and-forth, as the gun changed hands and bullets were discharged and some injuries were taken and in the end the PC had the gun and the NPC guard was dead: In the resolution framework I imposed, the fictional positioning did affect the odds - I imposed die modifiers for STR, Brawling and possession-of-the-gun advantages - and I think that building that into the process rather than just the stakes/outcomes helped support the "cinematic" and also rather visceral feel at the table. (I could imagine a similar vibe in AW based not on opposed rolls but repeated Seize by Force with GM-side moves including [I]dealing harm[/I] and [I]taking things from them[/I]. To try and move my comments from the slight tangent back to the main point: My feeling - a bit untested, but I'm thinking of Cthulhu Dark play which is the closest I think I've come to this in actual play - is that fictional positioning as affecting outcome works best when the relationship between the established character, and the position they find themselves in, feeds [I]very naturally[/I] into the possible outcomes: like when a journalist PC jumped from an upstairs window to escape a fire and (the player rolling poorly) broke his leg. In the Harper examples, it's hard for me to get a sense of what the play experience would be like without knowing much more about how the stakes/outcomes are established, at what point the player is allowed to take back their action declaration, etc. [/QUOTE]
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