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Damage
The 'code' of combat also determines how damage
is portrayed in each Chronicle. It dictates how much
damage should occur from a blow, how much that dam­
age should effect each persona, and how such damage
should be represented. For example, do the characters
get really hurt whenever they lock horns, or does the real
pounding only come during the big fight Scenes? Do the
characters arrive at the end of each Episode wearing
every scratch and bruise, or can they put on dinner jackets
and head out for the evening, every hair still in place?
Should the Actors feel the punishment endured by their
roles, or does it take major blood loss for them to notice
something wrong? All of these are obviously extremes,
but the Troupe's design of each Setting should juggle
these concepts to help imbue every Chronicle with an
appropriate feel.
ENVIRONMENT
Along with Scaling and Setting, you'll also have to
take into account the environment in which each combat
occurs. The environment of each conflict will dictate the
types of maneuvers allowed by your Stage, as well as the
types of props available for use by the Actors. We'll start
with a discussion of the Stage, and then move on to a
discussion of props.
The Stage
You should always maintain a clear mental image of
the Stage. Sometimes making a few quick notes or
sketches will help. This will allow you to be consistent with
your rulings on the Actors' actions. lfthe Actors are having
trouble imagining a Scene, then it's probably a good idea
to draw a quick map of the Stage, showing where the
Actors are in relation to the surrounding buildings, cars,
and other props. Remember that this is a communal
fantasy, so you've got to be sure that, to some extent, all
the participants are living inside the same mental space.
Props
As discussed under the 'Improvisation' chapter,
the Actors are allowed to declare the presence of props as
part of their improvisational roleplay. Good use of the
Stage can create Successes, especially during combat.
The Director is always the final arbiter of the appropriate­
ness of any improvisation. However, we urge a certain
relaxed leniency towards the use of improvisations which
are in harmony with the Chronicle. Simply put, if a
particular prop is appropriate to the present environment,
and within the 'code' of the Setting, then we urge you to
allow that prop. If the prop just doesn't seem plausible,
then give the Actor a chance to rationalize its existence.
If the Actor can't produce a believable explanation, then
go ahead and disallow that improvisation.
Some improvisational props are inherent in the
description of the Stage. For example, picking up a log to
use as a bludgeon when the fight is taking place in a forest.
Theatrix - The Core Rules 89