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plot, and may range from stmple external motivations,
ltke staying alive until help arnves, to complex internal
motivations, like trying to find a way to come to terms with
feeling responsible for the death of a loved one. Dramatic
necessity may therefore be either a function of plot, or a
function of character, and ties the two together, moving
them towards the conclusion.
All this occurs at the Macroscopic level, with impro­
VIsation at thts level taking the form of Subplots. Subplots
wilt become the 'currency' of Theatrix Chronicles The
Actors tn a Theatrix Episode 'earn' improvtsational priVI­
leges by engaging in Subplots, allowing them to script
their own roles in a heroiC way Ltke their book and movie
counterparts, they'll get themselves captured at dramati­
cally appropriate moments, they'll become involved in
love affairs at the worst possible times, and they'll com­
plicate their lives in totally unnecessary ways. They'll
work hard to create much of the drama of each Episode,
so you the Director won't have to. Don't you love 1t.
PROCESS
The process of an Episode, on the other hand, Is
composed of the details that make up each of its indi­
vidual Scenes. Roleplaying is a medium requiring visual­
Ization, and therefore, as in movies, these details may be
found In the descriptions of the Stage and the action that
occurs there. From the perspective of the Main Cast, thts
process is all at the level of perception. These perceptions
must be communicated descnphvely as Information,
which, as discussed earlier. leaves a lot of leeway for the
Actors to Improvise. All this occurs at the MicroscopiC
level, wh1ch is normally invisible to the Macroscopic level
of structure and plot Improvisation at this level takes the
form of additions and completions to the Stage and the
Information it represents
SUBPLOTS
Subplots are all the smaller stories that get embed­
ded and Intertwined tn the larger story of the Main Plot.
and are the focus of Macroscopic improvisations in
Theatrlx Each Subplot is a story Within a story. Subplots
cover love interests, familial obligations, personal codes
of honor, vendettas, mysterious ongins, personal quests.
internal struggles, or any other self-encapsulated story
sequence. These Subplots are most often generated
from ongoing character interactions that the Main Cast is
involved in The Mam Plot of each Episode can also be
seen as a s1ngle Subplot. encompassmg the pnmary
drama of your story. Along with the primary focus of the
Main Plot, there will usually be several secondary foc1 for
the story's action, in the form of other Subplots. These two
sets of plots normally mtertwme 1n a complex and myste­
rious way. Don't worry, that's just what we're looking for
Without these Subplots, Episodes would seem dull and
lifeless. reduced to the pursuit of one-dimensional goals.
The goals of the Ma1n Plot are a necessity not for their own
sake, but because they prov1de the tension that turns a
character's Subplots into drama.
Long Term Vs. Short Term
Subplots m Theatrix come in two variet1es, Long
Term and Short Term Long Term Subplots run over more
than a single Episode The focus of most Long Term
Subplots is therefore not directly upon the Episodes in
which they appear, but rather upon the lives of the
characters involved. Short Term Subplots, on the other
hand. are born, live, and die in the space of a single
Episode. The Mam Plot of each Episode is always of this
variety.
Personal Vs. Troupe
Each Subplot in Theatrix can also be classed as
either a Personal Subplot, or a Troupe Subplot. Personal
Subplots are specific to one Mam Cast character, and are
usually generated from that character's background, his­
tory, and actions. Personal Subplots usually either re­
quire the Actor involved to find time to go through the
Subplot away from the rest of the Troupe, or can be
roleplayed through in the moments when that Actor is
separated from the rest of the group. Engagmg in a
Personal Subplot is a great alternative to Sitting around
and getting bored.
Troupe Subplots, as their name suggests, usually
1nvolve the whole Troupe. However, any Subplot involv­
Ing more than one Actor is classed as a 'Troupe' Subplot,
even if the group so engaged does not consist of the entire
Troupe. Personal Subplots that grow to engage more than
a single member of the Main Cast (in more than a
peripheral way), are then treated as Troupe Subplots for
that Episode, as far as Plot Point rewards are concerned
(see the section titled 'Plot Points' coming up 1n thts
chapter) Again, 1f a group of Actors has been separated
from the main action during an Episode, and are sitting
around and getting bored, this is a good time to take them
through a Troupe Subplot.
We have a sneaky way that people may 'buy Into'
somebody else's Personal Subplot, thereby earning Troupe
Subplot points for it The way you do this is by Portraying
one of the members of the Supporting Cast in that
Subplot Such a role can be taken on voluntarily, or it may
be assigned by the Director An Actor may even portray
one of these extra roles on a continuing basis, if the
Director approves Whenever an Actor becomes in·
volved in this way, as a Supporting Cast member In
someone else's Personal Subplot, then they share tn the
Plot Points as though earning them for a Troupe Subplot.
Theatrlx ·The Core Rules 71