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c::> The Main Cast were all members <strong>of</strong> the same<br />

elite commando unit serving together during<br />

the war. They were framed for a crime they<br />

dtd not commit and placed into separate<br />

military jails. Now, years later, they're being<br />

given a chance for freedom. All they have to<br />

do IS agree to a special, top-secret<br />

ass1gnment Brought together, shackled and<br />

waiting, they have a chance to reminisce<br />

about the war The vtew transitions to their<br />

last combat action together, as the Main Cast<br />

roleplays through the fateful day <strong>of</strong> their<br />

frame-up ...<br />

By the time they accept their m1ss1on, they've<br />

already generated a history together. Which brings us<br />

nicely to the subject <strong>of</strong> Flashbacks ...<br />

Flashbacks<br />

Flashbacks are a form <strong>of</strong> Cut Scene. They're a way<br />

to introduce members <strong>of</strong> the Supporting Cast to a plot, to<br />

add depth to an Actor's characterization, to give a sense<br />

<strong>of</strong> history, to he1ghten the sense <strong>of</strong> a lived experience, and<br />

to give an Actor some <strong>of</strong> the information that her charac­<br />

ter 'remembers'. When giv1ng an Actor information in the<br />

form <strong>of</strong> knowledge her character possesses. try never to<br />

say 'Your character knows . ', or 'Your character remem­<br />

bers .. .' If the character knows, let her make it up and<br />

come out with it. If the character remembers, try re-living<br />

it in the form <strong>of</strong> a Flashback This involves more than<br />

simply describing a memory, although this can be done.<br />

A Flashback tnvolves setting the Scene in which the<br />

action actually occurred, then roleplaying through that<br />

action. Secondary roles can be passed out to those Actors<br />

whose usual roles are not involved. This technique is<br />

especially useful when the memory's main value is in its<br />

emotional content. For example ...<br />

c::> A character has JUSt heard the name <strong>of</strong><br />

someone who may have knowledge the<br />

character needs. This new person may even<br />

be involved wtth the character's opposition.<br />

As Director, this would be a good time to<br />

announce that the character recognizes the<br />

name In fact, this new person isn't new at all,<br />

but used to be an old flame; a forgotten<br />

romance. As the character thinks about it,<br />

she remembers the last time they saw each<br />

other, over seven years ago ...<br />

The Director would now proceed to set the Stage<br />

and roleplay through their last parting. When the Scene is<br />

over, approaching this contact for information will have<br />

taken on whole new shades <strong>of</strong> meaning Instant history for<br />

your plotline development.<br />

Dream Sequences<br />

Likew1se, Dream Sequences are also Cut Scenes.<br />

They can be used to Foreshadow the introduction <strong>of</strong><br />

people or events. explore alternate plot possibilities, or<br />

give the characters information or warnings. Dream Se­<br />

quences are best used when the action that occurs should<br />

not actually happen. Often the Scene is a warning <strong>of</strong> what<br />

might occur, and gives clues on how to avoid such an<br />

outcome. Like the genetic virologist's constant sweating<br />

nightmares about his employer's misuse <strong>of</strong> his research,<br />

and the subsequent end <strong>of</strong> the world ...<br />

A Dream Sequence can be played out when a<br />

character IS asleep, in a delirium, or even while day­<br />

dreaming. You needn't tell the victim <strong>of</strong> the Dream<br />

Theatr-lx - The Core Rules 25

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