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Worlds of Design: “Old School” in RPGs and other Games – Part 1 Failure and Story
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<blockquote data-quote="The Crimson Binome" data-source="post: 7768806" data-attributes="member: 6775031"><p>Like I said, there are different ways that you could model it, depending on the nature of their relationship. The system is flexible like that. But if you're willing to buy that the character might get thrown into a months-long funk, and presumably you could accept that he didn't care about his brother at all and isn't impacted whatsoever by the death, then hopefully you could accept that there's some level of caring that would count as a Complication.</p><p></p><p>The example in the book is of a thief being Compelled to steal jewelry. Doing so is very clearly against the character's interests, because they're likely to get caught and cause trouble, and everyone knows it. The player is being bribed in order to do it anyway. </p><p></p><p>The argument in the book is that you should let this sort of thing happen, because it will be fun and dramatic, even though (realistically) the character knows that it's a bad idea and they shouldn't do it. You get a mechanical benefit in order to accept drama, because they know that there's no reason why you would commit such foolish mistakes unless you had sufficient incentives. Maybe you could argue that it actually is in their best interest, because they need the Fate point, but that's an entirely out-of-character meta-game reason that can't possibly play into their decision-making process.</p><p></p><p>At the very least, I hope that clearly demonstrates the difference between playing as the character and advocating for the character. When you're advocating, you're supposed to meta-game.</p></blockquote><p></p>
[QUOTE="The Crimson Binome, post: 7768806, member: 6775031"] Like I said, there are different ways that you could model it, depending on the nature of their relationship. The system is flexible like that. But if you're willing to buy that the character might get thrown into a months-long funk, and presumably you could accept that he didn't care about his brother at all and isn't impacted whatsoever by the death, then hopefully you could accept that there's some level of caring that would count as a Complication. The example in the book is of a thief being Compelled to steal jewelry. Doing so is very clearly against the character's interests, because they're likely to get caught and cause trouble, and everyone knows it. The player is being bribed in order to do it anyway. The argument in the book is that you should let this sort of thing happen, because it will be fun and dramatic, even though (realistically) the character knows that it's a bad idea and they shouldn't do it. You get a mechanical benefit in order to accept drama, because they know that there's no reason why you would commit such foolish mistakes unless you had sufficient incentives. Maybe you could argue that it actually is in their best interest, because they need the Fate point, but that's an entirely out-of-character meta-game reason that can't possibly play into their decision-making process. At the very least, I hope that clearly demonstrates the difference between playing as the character and advocating for the character. When you're advocating, you're supposed to meta-game. [/QUOTE]
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