Untitled - Index of - Free

More documents

Recommendations

Info

9 Person's Name 9 Involvement in the Plot ¢ Physical Description ¢ Roleplaying Tips (voice, gestures, and quirks) ¢ Goals 9 Values I Personality Traits Keep all your Cast Cards in their own stack, and whenever a Scene Card comes up, pull out the Cast Cards associated with it. All the information you need to portray each Supporting Cast member will be right in front of you. Example The Director of our DEA story needs an informant for her Setting. She wants someone the Actors can remember and go back to in future Episodes. To make the character memorable for everyone, the Director gives the informant an Irish accent, and a derby hat, which the Director can then feign tipping. To explain where the informant's information comes from, the Director makes him a florist. Whenever the underworld is about to make a big hit, they order flowers from this guy in advance. The Director also gives our florisUinformant the conflicting Personality Traits of Honorable at Strong, and Greedy at Strong. This will make interactions with the character more interesting, and provide a means for the Main Cast to connect with him. The Cast Card on our informant might look some thing like this ... Person's Name 9 Sam O'Donnell. Involvement in the Plot 9 Florist, Informer for the police. Physical Description 9 Small Irishman with red hair and a derby hat. Role Playing Tips Goals ¢ The Irish accent becomes more pronounced when he's nervous. Always tips his hat to people entering or leaving his shop. Wipes his hands on his florist's apron a lot. 9 To earn enough extra cash to turn his small shop into an enterprise he can hand down to his children. Values I Personality Traits ¢ Greedy at Strong (wants money for his children). Honorable at Strong (hates the mob and feels he makes up for selling them his flowers by informing on them). Cautious at Moderate (values his own life). 134 Theatrix - The Core Rules SCREENTEST How do you decide what kinds of roles to use as Supporting Cast in your plots? Well, action is character. When you watch a movie or read a book, you make determinations about characters through their actions. The same holds true for your roleplaying cast. In develop ing your plotline, you must look at what type of actions you intend to have your Supporting Cast perform. Think about what kinds of cast members you'll need to carry out these actions? Who would fill such roles? Look at each of your major Scenes. This is the action of your story. Do you need any specific roles in order to complete these Scenes? More than likely, you won't have to think very hard about what general roles are necessary for your plot. Definitely keep in mind any previous Supporting Cast members whom you wish to reuse. By including these people, your stories will take on an added depth of definition and recognition (that Continuity thing again). And don't forget the 'good guys'. They can be part of the Supporting Cast too. Behind the Scenes Sometimes it's important to remember that the same amount of time passes for the Supporting Cast, as does for the Main Cast. Your Chronicle will tend to produce a pool of important people; major villains, love interests, benefactors, nuisances, etc. Most ofthese roles will make only infrequent guest appearances in your continuing Episodes. So, it's helpful to sit down periodi cally and decide what all you major Supporting Cast members have been doing, while they weren't directly involved in your plots. Updating your Chronicle in this fashion will provide it with an extra measure of Continuity, while often furnishing you with some excellent ideas for future plotlines. THE BASIC RULE The Basic Rule for this chapter is the one rule we can't adequately express, which is simply to create good stories. We can give you all the pieces you'll need to do this, and we've tried to, but we can't tell you how to put them all together. That's because good stories are about relationships. They're about the problems of being hu man, and being alive. Hopefully, playing these games is going to give you more of a sense for what this 'being alive' thing is. This game is a chance to explore these possibilities, and in turn, that exploration is the answer you're looking for. Your stories are 'good' when they provide this opportunity for others. In the end, all we can advise is to be prepared, and be flexible. The rest is practice. So practice. And have fun.
GLOSSARY Midpoint-Th1s is the sw1ng of the pendulum that turns the story toward Plot Turn II Pinch I -The key Scene that connects Plot Turn I to the Midpoint. This Scene captures the dramatic need In the first half of the confrontatton. Pinch II- The key Scene that connects the Midpoint to Plot Tum II. This Scene captures the dramatic need in the second half of the confrontation. Plot Turn I -Serves to move the Introduction mto the confrontation by mtroducmg the main conflict. Plot Turn II- Spins the action into the resolution, setting up the story for its end. SUMMARY It! Idea- Your idea should be encapsulated into one or two sentences that contain the following ... Character -Who does the plot involve? Action -What is the dramatic context of the story? ¢ Direction-How w1ll the story move toward its conclusion? ¢ Conclusion - How will it end? (Subject to possible change, of course.) Iii Act Ill - The Resolution - Havtng your resolution in mind gives your plot direction It! Act I -The Introduction -The Introduction is where you get your Actors involved and Interested Make sure your introduction covers the followmg points .. ¢ The ma1n character(s), or who your plot is about. The dramatic premise, or what your story is about. ¢ The dramatic circumstances surroundtng your story's action. 0 Start with a strong opening Scene Ask yourself .. ¢ Where does your opentng Scene take place? ¢ What happens, and what mood will it evoke? ¢ What 1s your Main Cast doing? ¢ Where are they coming from, and where are they going to? 0 Act II -The Confrontation -During the confrontation, your Main Cast members confront and overcome (or not), all obstacles in order to achieve their dramatic need. Each Scene should reveal at least one element of necessary story Information Ask yourself ... What is this Scene's purpose in relation to the plot? ¢ How does it move the story forward? ¢ What happens 1n the Scene? ¢ When and where 1s it Staged? 0 Conflict Exploded - Every plot needs at least 5 specific Scenes dunng the confrontation. ¢ Plot Turn I - Pinch I -Midpoint-Pinch II - Plot Turn II Theatr1x - The Core Rules 135
Page 2 and 3:
()eslan: David Berkman, Trav1s Eneb
Page 4 and 5:
1J [Bll f)f tf)J[1J§ c INTRODUCTIO
Page 6 and 7:
Downtime Pregaming APPLAUSE JELLYBE
Page 8 and 9:
8 Theatrix - The Core Rules
Page 10 and 11:
10 Tlleatr1x - The Core Rules
Page 12 and 13:
Chapter V- Lights ... Camera ... Ac
Page 14 and 15:
14 fheatr1x - The Core Rules
Page 16 and 17:
pretend to be this other person tha
Page 18 and 19:
¢ A league of super-powered heroes
Page 20 and 21:
Page 22 and 23:
c;> her tormenting her employees wi
Page 24 and 25:
edge to their characters (which mea
Page 26 and 27:
Sequence that they're dreammg. The
Page 28 and 29:
28 lhfl'ah1x -The Core Rules
Page 30 and 31:
edge represented by that number may
Page 32 and 33:
Books If you're creating your own g
Page 34 and 35:
Coordmation is Important in fightin
Page 36 and 37:
¢ A character who can ignite herse
Page 38 and 39:
Example Skills The following page c
Page 40 and 41:
Personality Trait Activation In add
Page 42 and 43:
Ace of Aces -The persona was practi
Page 44 and 45:
Descriptor Activation Like Personal
Page 46 and 47:
CONCEPTION The concept for your cha
Page 48 and 49:
co ; I -i ::::r C'D () 0 ro ::u c:
Page 50 and 51:
50 Theatrix- The Core Rules
Page 52 and 53:
Failure, based upon how difficult t
Page 54 and 55:
1:0 Creativity -If the easy solutio
Page 56 and 57:
Easy - Ahh, an old style electronic
Page 58 and 59:
The final Difficulty of such action
Page 60 and 61:
same is really just as true for the
Page 62 and 63:
The first set of ovals deals with w
Page 64 and 65:
many times, and is 'getting ready'
Page 66 and 67:
RANDOMNESS If there are times when
Page 68 and 69:
68 Theatr-ix - The Core Rules
Page 70 and 71:
ecome their own screenwriters. The
Page 72 and 73:
The Plot Pomts earned 1n th1s way s
Page 74 and 75:
7 4 Theatrlx - The Core Rules
Page 76 and 77:
However strange this turn of events
Page 78 and 79:
Zero Point Subplots Although it wou
Page 80 and 81:
Page 82 and 83:
velop a starting point for your Mai
Page 84 and 85: each Actors current Plot Point Tota
Page 86 and 87: 86 Theat.rlx - The Core Rules
Page 88 and 89: they're done right, your combats wi
Page 90 and 91: Some props are less ub1quitous, but
Page 92 and 93: WOUND LEVELS We suggest the followi
Page 94 and 95: Unhurt ¢ Blunt- Your opponent winc
Page 96 and 97: life. Armor can be dented and broke
Page 98 and 99: member that the Scaling of the Sett
Page 100 and 101: Produce Reasons Using ... If your c
Page 102 and 103: [More Organ Music] Brought to You B
Page 104 and 105: Abe - It couldn't be h1m. That's no
Page 106 and 107: Director - No way. Of course, you s
Page 108 and 109: Johnny- Yeah, the instant I drop th
Page 110 and 111: Director- [Accepting Scott's improv
Page 112 and 113: Johnny - Right. We're gomg for the
Page 114 and 115: ' l 1 114 Theatrlx - The Core Rule
Page 116 and 117: Research A quick note on research.
Page 118 and 119: UPDATING THE CORE RULES The Theatri
Page 120 and 121: end, or be re-rolled if the scores
Page 122 and 123: in question will fly as fast as a s
Page 124 and 125: 124 Theatrlx - The Core Rules
Page 126 and 127: q character q action q direction Q
Page 128 and 129: What mood will it evoke? What 1s y
Page 130 and 131: need Plot Tum II spins the action i
Page 132 and 133: ecome violent. The Troupe can look
Page 136 and 137: DCPTI I don't have much to say here
Page 138 and 139: strong,just like you would expect t
Page 140 and 141: Midpoint Scene tV Pinch II Plot Tur
Page 142 and 143: ATTRIBUTES (3.5) Sltength (4 OJ Sta
Page 144 and 145: Theatix 12efeence Sheet A Skill Ran
Page 146 and 147: I Plain Fighting Theatr-ix l2efer-e
show all

Untitled - Index of - Free

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?