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50 Theatrix- The Core Rules
What we want Is a st()O' that starts with an earthquake and W()rks Its way up l() a climax. -Samuel Goldwyn LIGHTS ... CAMERA ... ACTION! Theatrix is a game of roleplay and storytelling. The world it presents lives only in the imagination of its participants. Those participants will interact with the objects and inhabitants of this mindscape as if they were real, testing the boundaries of this imaginary world, as well as their own. The Director is the mediator of this surreal realm. The Actors will climb its mountains, drive its cars, shoot at its villains, and argue in its courtrooms. Or at least they'll try. How well they do is up to you, the Director. You have a story to tell, and it will be told in the Successes and Failures of the actions taken within it. That's what this chapter is about. Success and Failure. How to decide the outcome of any action, and how to describe these outcomes in a way that's fair to the characters performing them, and enhancing to your story and its Continuity. Somewhere between the Skill Ranks of the Main Cast, and the necessities of your plotline, there lies an adventure waiting to be lived. In order to get there, we're going to have to discuss Opposition, Success, Failure, ambiguity, time, initiative, Difficulty, severity, tension, and description. So read on ... OPPOSED ACTIONS The emphasis here is on action. As an Actor, the roles you play are fully under your control. They will attempt to perform whatever action you describe them as doing. Many times you need only state your intent and the action will be done. Such actions as driving a car across town, mailing a package, or opening an unlocked door are often ofthis nature. These actions usually aren't Opposed in any way, and are therefore automatically Successful, assuming your character has the Skill and opportunity to perform them. Other actions, such as trying to open a locked door, are Opposed. In this case the opposition is the lock itself. In other cases your opposition may be a member of the Supporting Cast, or even another Main Cast character. Opposed actions may not always Suc ceed. Their Success will be determined by your persona's Skill in the area, the extent of the opposition, and in large part, by your roleplay. Actually, your Success or Failure in most activities will be determined by your roleplay. To some experienced roleplayers, this may seem a little odd. In most roleplaying games you determine much of the action by rolling dice. However, due to the unique way in which we've defined the Success and Failure of actions in Theatrix, the Actors will actually determine how well they do, in any situation, by roleplaying through it. SUCCESS AND FAILURE Success and Failure are based upon thefinal intent of an action. A Successful action occurs when the final intent, the hoped for result, is in any way accomplished. A Failure occurs when that same final intent is not fully achieved; where the basic, hoped for result, eludes the performer of the action. Obviously there is a lot of leeway between Success and Failure. Whether an action Suc ceeds or Fails, and to what extent it does so, is a judgement left up to the Director. THE BASIC RULE The Director first decides whether the Result of any action is to be treated as a Success or Failure, based solely upon the roleplay of the Actors and the require ments of the plot. That's it. Although the Director isn't required to, she may also wish to take into account other factors in this decision, such as a role's Traits. The Director then chooses the extent of the Success or Theatrlx- The Core Rules 51
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
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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
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 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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Page 76 and 77: However strange this turn of events
Page 78 and 79: Zero Point Subplots Although it wou
Page 82 and 83: velop a starting point for your Mai
Page 84 and 85: each Actors current Plot Point Tota
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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
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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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' l 1 114 Theatrlx - The Core Rule
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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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124 Theatrlx - The Core Rules
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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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