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Sequence that they're dreammg. The Scene will have dtfferent connotations depending on whether the charac ter ts aware of the nature of the experience or not It can be interesting for example, to allow the Scene to have an obvious dream quality about it Or, you can make sure that netther the character, nor the Actor, will be aware of the nature of the experience until it's over. We often prefer the later route for its shock value TIMING AND COINCIDENCE The timing of events 1s entirely up to the Director Pacing and timing are the most Important factors in maintaining the tension of a plot. Coincidences are fun, so use and abuse the pace of time and action in the story. Whenever you can, shamelessly stretch or shrink the amount of time Scenes take, the distance characters have to travel, and the delays wh1ch hold them up, in order to keep the plot interesting and intense Don't feel bad about altenng your plot in mid-game Feel free to retrofit your plot to the actions of the Actors You can do whatever you want, so long as ifs fun. Meanwhile, Back At The ... Following the Actors can be tough. Various groups of characters may be in several places at once, all acting at the same t1me As Director, you may have to move from group to group to handle the action. The Actors can do a lot of roleplay on their own, but sometimes they must have 26 Theatrix - The Core Rules the presence of the Director. Try not to leave any group sitting on its thumbs too long. When moving from one group to another, try to time your move so as to leave the Actors in the middle of a desperate situation. That sounds mean, but they'll be a lot more interested in the game in general while you're gone, if they're anxious about it. Try to roleplay all the Scenes in front of everyone Don't spoil the big surprises, but it's a lot easier for the Actors to wait their tum, if they can watch the other parts of the roleplay unfold LITTLE SCENES We've saved the most important trick for last These are all the Little Scenes In movies whose main purpose is to provide transition from one part of the action to another, to provide comic relief in the middle of an otherwise turbulent plot, and to give time to the characterization of the Main Cast. Build these Scenes into your stories as they develop. They're the best times for your Actors to interact. To use each other in a way which will breed familiar smiles when they talk about the session later Don't let them know it, but these Little Scenes are the real reason for the rest of the plot. There are many examples of such Scenes sprinkled throughout every good movie. One holographic chess game between an alien sasquatch and a small robot comes to mind. These Scenes give the Actors a chance to earn roleplay points {to be discussed in the chapter entitled 'Improvisation'), while givtng the Director a pause to clear her thoughts.
GLOSSARY Cut Scene -Any Scene that the Director 'cuts' to, interrupting the story's action briefly Dream Sequence - The portrayal of a character's dream as a roleplayed event Flashback - The portrayal of a past occurrence, often only a memory of that occurrence, as a roleplayed event. Foreshadowing- The process of using small images and moments to prepare the Actors for some later, and more important, event Little Scene -Any Scene whose sole purpose is to provide space and time for the Ma1n Cast to interact, display the1r mdividual personalities, and bring the group together. Stage -The strange m1xture of the physical space in which the Troupe roleplays, and the imagmary space m which SUMMARY the story's action occurs. 0 Description- Be the Actors' senses of sight, hearing, taste, smell, and touch, then let them interpret their world for themselves. ltl The Stage -This is the most neglected tool in the Director's repertoire. Paying creative attention to the Stage will really sink the Actors mto their roles. c::> Furniture can conform to the layout of the Stage. c::> Lighting can reflect the lightmg of the Stage Q You can leave real clues in the appropriate spots. c::> Use musical themes and soundtracks. ltl Cut Scenes-Movies would be dull if the camera simply followed the hero or heroine around and watched what they did Roleplaying games are no different. Cut Scenes .:::> Can be used to g1ve the Actors information. Q Can be used to bring the characters together . .:::> Can give the Actors their first view of a new challenge. 0 Foreshadowing- Story is structure. Good stones exist in small vortexes of coincidence, drama, and suspense c::> Foreshadowing provides a sense of anticipation. Q Foreshadowing ties the various parts of your story together Your Actors should come out of a Foreshadowed event saying "Oh yeah ... " 0 Flashbacks- Structure also means tying together the past and the present. Personal relationships give these ties meaning .:::> Roleplaying memories g1ves a character a personal relationship to her past. c::> Flashbacks prov1de instant history for your stories 0 Dream Sequences - Structure can also be given to that hazy and shifting landscape of the possible future, the longed for, or the purely imagined. c::> Dream Sequences can prov1de msight into what might be, pulling upon the strings of regret. .:::> Dream Sequences can provide warnings for the future, and clues on how to avoid it. Theatrlx - The Core Rules 27
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
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Page 10 and 11: 10 Tlleatr1x - The Core Rules
Page 12 and 13: Chapter V- Lights ... Camera ... Ac
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Page 16 and 17: pretend to be this other person tha
Page 18 and 19: ¢ A league of super-powered heroes
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Page 22 and 23: c;> her tormenting her employees wi
Page 24 and 25: edge to their characters (which mea
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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
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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
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Page 70 and 71: ecome their own screenwriters. The
Page 72 and 73: The Plot Pomts earned 1n th1s way s
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However strange this turn of events
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Zero Point Subplots Although it wou
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velop a starting point for your Mai
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each Actors current Plot Point Tota
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they're done right, your combats wi
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Some props are less ub1quitous, but
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WOUND LEVELS We suggest the followi
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Unhurt ¢ Blunt- Your opponent winc
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life. Armor can be dented and broke
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member that the Scaling of the Sett
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Produce Reasons Using ... If your c
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[More Organ Music] Brought to You B
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Abe - It couldn't be h1m. That's no
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Director - No way. Of course, you s
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Johnny- Yeah, the instant I drop th
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Director- [Accepting Scott's improv
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Johnny - Right. We're gomg for the
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Research A quick note on research.
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UPDATING THE CORE RULES The Theatri
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end, or be re-rolled if the scores
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in question will fly as fast as a s
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q character q action q direction Q
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What mood will it evoke? What 1s y
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need Plot Tum II spins the action i
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ecome violent. The Troupe can look
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9 Person's Name 9 Involvement in th
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DCPTI I don't have much to say here
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strong,just like you would expect t
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Midpoint Scene tV Pinch II Plot Tur
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ATTRIBUTES (3.5) Sltength (4 OJ Sta
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Theatix 12efeence Sheet A Skill Ran
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I Plain Fighting Theatr-ix l2efer-e
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