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| #1zombiegleemaxFeb 07, 2006 11:56:24 | This thread began on the “What’s a DM to do?” board. What's a DM to Do?- Scene Matrix It was well received and someone suggested that it be moved to this forum. RPGs are like any other story-telling media. A story is made up of a series of events that lead to an ultimate conclusion. Different types of scenes are used to establish the physical setting and mood. A film director builds plot by stringing events together which build upon each other and prepare the viewer for the next. Additionally, they choose which scenes to include, how they should look, and how long each should last. The GM also tells his tale through the careful use of information, description, and character interaction. RPG adventures are made up of various types of encounters that provide pacing, excitement, and information for the players through their characters. How the GM constructs these encounters determines the characters (and thus the players) experience. I am looking to develop a matrix to assist GMs by collecting rules for including different types of encounters and pacing tools to keep their adventures flowing. The matrix uses two axis which are detailed below: Event Types Combat: This involves physical altercations between the PCs and opposing forces. The scope of such conflict can range from a personal duel to armies facing off against each other. One of the hallmarks of this type of encounter is the potential for damage and even death. Hit points are typically the currency in resolving combat encounters. Social: NPCs exist to interact with the PCs. Often this involves discussion, negotiation, or sharing of information. Conflict is also a possibility. Whereas not all disagreements are handled by fighting, other systems of resolving disputes include debates, arguments, legal trials, and political machinations. Contests of these types are resolved using a character’s skills along with a healthy dose of role-playing. Logistic: PCs are usually required to undertake a variety of heroic actions in order to complete their quests. Many of these operations do not involve an obvious opponent. Examples include; sneaking into an enemy fortress, navigating a ship through a storm, or figuring out a complex code to unlock the treasure. In such circumstances, the players are required to utilize their character’s skills and abilities (along with their own wits) to overcome the conundrum. These are often the most difficult mechanics to develop as such scenes should be suspenseful yet remain a means to an end and thus should not interfere with more participatory scenarios. Style Types Tactical: This is the most detailed type of encounter. During such scenes, every movement and action counts. These are typically the lynchpins of the story wherein the PCs are able to bring all of their abilities and strategies to bear. Often such scenes take a lot of real time to resolve because they are so specific. The d20 combat system is the perfect example of this kind of encounter. Narrative: Many encounters move the story along but are not meant to be the focus of a lot of game time. In such instances, the GM needs a way to describe action without losing momentum. While this can be done by reading descriptive text, it is much more exciting to involve the players, use their character’s abilities, and resolve the encounter impartially. While the PCs have fewer choices in such scenes, they remain an active part of the action. Interactive: Because role-playing is first and foremost about having fun with friends, using the player’s own presence and conversations is a must. Without such interactions, you could just as well play a computer game. Interactive scenes require the players themselves to be involved and express their own ideas. Live action rules emphasize this kind of play. Mechanics are less evident although the outcomes still have in-game effects. Puzzles, riddles, and mission planning are all examples of this kind of scene. Application By combining these two axis, a nine cell table is created. The matrix is based on the idea that by having a series of mechanics for dealing with the various types of scenes, the GM can slide between them seamlessly while keeping the players involved. Focus can be placed on those encounters that are most salient without rushing the players through non-combat scenarios because there are no supporting mechanics. It is my goal to discuss some simple ways to address each of these nine types of encounter. For example: After skirmishing with some evil thugs (in Tactical Combat), the party plans their next move (using an Interactive Logistical model). They decide that they need more info and want to send the thief to infiltrate the enemy castle. The GM decides on a brief Narrative Logistic scene (using the thief's skills and some basic decisions by the player) to describe this mission without leaving the rest of the party waiting too long. The party then persuades a local noble to gather an army (using a Narrative Social model) and assaults the castle (using Narrative Combat). When the party reaches the entrance to the dungeons, the GM shifts to Tactical Combat to handle the exploration of the complex and the final confronation with the major villain. The GM can zoom in on any part of the plot by using a Tactical model. For example, if the party really wants to role-play persuading of the local Baron, then the scene could be played using an Interactive or Tactical Social model instead. Likewise, if the GM wants to have the whole party explore the castle with the thief, he could draw maps and do a Tactical Logistic scene for the infiltration.
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| #2gilean_dupFeb 08, 2006 10:17:01 | Nice article. A few nitpicks.RPGs are like any other story-telling media. Not. Most other ways of storytelling have a single person actually telling the story and others not contributing. RPGs have many players, all of whom have varying degrees of control over the story. Hit points are typically the currency in resolving combat encounters. Unfortunately, hit points are almost only resource used in such a way in any encounter. Turning and spells could be rarely used, too. The lack of sufficient rules for tactical occasions that are not combative is sad but true. |
| #3montubanFeb 08, 2006 15:34:13 | This is a really quality concept. As a DM, I have been struggling for a long time to really move my game along and keep the players all engaged. So far, my efforts at bolstering my style have leaned on imitating DMs that skillfully manage consistently fun games. This matrix seems to supply the missing step that can ease comprehension of the movements in a game. I am very eager to lay the matrix out and look at what my upcoming session looks like. I was especially intrigued by the idea of using this technique interactively with players. This is great stuff. |
| #4zombiegleemaxFeb 10, 2006 11:19:08 | RPG systems allow players to jointly participate in a fantasy environment beyond their own limitations. For example, a 12 year-old who has never swung a sword can play a veteran warrior slashing through hordes of undead horrors. This is one of the joys of RPGs. The more options that the player is able to simulate, the more vivid the experience is for them. Tactical scenes allow for the maximum level of strategy and decision thus creating a more detailed replication. The basic formula for resolving any actions in an RPG can be boiled down to this: If (Criteria >Target) then (Effect) In Combat you make an Attack Roll to beat the AC in order to do Damage. A Skill Check vs. a set DC determines Success. A Level Check is required to overcome Spell Resistance, etc... Modifiers can be used to adjust any of these variables thus creating a more flexible environment. In essence, a Tactical rules system includes mechanics for responsive modifiers. This concept of having a variety of interrelated rolls that effect and build on each other is at the heart of creating a Tactical scene. It gives latitude for strategy and details interactions between the participant’s choices. The heart of creating such a system lies in formalizing the relationship between disparate actions. The d20 Combat system is a prime example of a flexible, detailed exchange with limitless options. There are a multitude of combat related feats that create an infinite number of inter-dependent possibilities apart from simple rolls. Often players like to create characters that focus on Social pursuits such as smooth-talking rogues or courtiers that navigate the upper echelons of society. Just like the youth who has never wielded a sword, many players lack the wit and persuasiveness to accurately portray such a character in Interactive (i.e. Role-playing) exchanges. That is where Tactical mechanics for Social or Logistic scenes become vital. Skill feats generally give a simple (usually about +2) bonus to a check. As you can see, this provides very limited opportunities to respond to the opponent's actions in meaningful ways (apart from a contested roll). How a GM is able to describe and incorporate actions outside of Combat scenes becomes a hallmark of their talent and ability. The challenge is always maintaining playability and simplicity while effectively modeling a complex interaction. This can actually be accomplished rather simply by a table or a set of defined situational modifiers. Using existing abilities and mechanics in new ways helps to streamline the process and keeps it familiar to the players. The following is an example given by Argon Asimov for a Tactical Social mechanic: So, building on previous suggestions... each side in an argument (be it a single orator or a small council) acts on a single turn, and the debate or discussion can go on for a number of rounds equal to the average of the total diplomacy skill of each party (rounded down). This is a great example of how various maneuvers can create a meta-system for the encounter that goes beyond contested rolls. The player is able to choose an action based on the effect he wants as well as his character’s abilities. This in turn becomes the basis for the opponent’s choice of reaction. Other 3rd party publications have also addressed similar mechanics. It is not the intent of this thread to outline every possible system but rather to present the concept of managing scenes with varying level of detail by using different rule mechanics. My next installment will address Logistical scenes… Respectfully DM Sasaki |
| #5zombiegleemaxFeb 11, 2006 18:34:33 | First, let me say that this is an excellent idea. I have struggled with this exact concept in my own games. It seems to me like "Style Types" are different from each other entirely in levels of detail. Is that correct? In other words, Tactical is the most detailed, followed by Interactive and then Narrative. If that is true, then Style Types are probably not limited to three different values. Instead, there is a sliding scale of Style Types, and the play group can select the level of detail it wants. |
| #6zombiegleemaxFeb 13, 2006 11:07:08 | Logistic scenes involve the party completing various tasks in order to achieve their goals. As mentioned in the introduction, this could include anything from sneaking into the Baron's castle to steal his signet ring to disguising themselves as dignitaries and going to the grand ball. The common element of such scenes is the use of Skills rather than Combat to accomplish the task. The d20 skills system works very well for isolated checks that occur during any scene. Picking a lock or spotting an ambush are easily handled using the published system. Likewise, if the GM wants to make maps and run such a “mission” as the main focus of a session, then the DMG includes all that is needed. If however, such a task involves a single member of the party or is not the centerpiece of a session, then a more Narrative or streamlined system can be helpful to give a specific party member a spotlight and to move the story along more quickly. I am currently play-testing the following mechanics. This is intended to be a collaborative process between the GM and players that can be used in session to resolve a Logistic action that would involve more than a single check. This is essentially a Narrative Logistic system. Any ideas would be welcome: Setup 1. Briefly summarize the scope of the endeavor including the Central Task (i.e. the reason for undertaking the scene). 2. Decide on the number of successful Skill checks that will be required to reach the Central Task and then exit based on the size of the site and the complexity of the task. (This could range from 3-5 for most scenes) 3. Decide which Skill will be used for completing the Central Task. 4. Identify a list of four complimentary Skills that the acting character(s) will likely use to while getting to the action. 5. Identify four Skills that the opposition will use to counter the character(s). Run the Scene 1. GM establishes the first contested check based on the scenario as described and resolve the roll. In situations where more than one character is present, the least skilled character in the group makes the contested checks with a +2 teamwork bonus. 2. The winner selects the Skills that each side will use in the next contest and describes the exchange to justify the use of the Skills they have chosen. 3. Repeat step 2 until one side or the other has achieved the required number of successes. 4. If the character has won, they then make the Skill check to complete the Central Task. If a group of characters is present they may choose who will make this roll. 5. Repeat steps 1-3 to exit the scene. Example #1 The Baron is plotting against the King. The party knows of evidence in his castle that could be used to expose this plot. They decide that the thief will sneak in and acquire it so that they can present the evidence before Parliament the next day. Setup 1) The GM summarizes that the thief intends to enter the castle unseen, get to the Baron's study and take the papers from the safe and then leave. 2) It is a fairly small castle so only 3 successful checks will be needed before trying the Central Task. 3) This will entail breaking into the safe so an Open Lock skill will be required. 4) In order to get that far, the thief will likely use Climb, Hide, Move Silently, and Balance. 5) The castle guards will be doing their job using the Spot, Search, Listen, and Sense Motive. Run 1) The GM decides that the first contest will be the thief's Climb vs the guards Spot as he attempts to scale the outer wall undetected. The thief wins giving her the first required success. 2) She chooses to Hide (his best Skill) vs the guards Spot. The GM wins this contest. He decides that the guards have found the thief's rope on the outer wall and instigate a Search that forces the thief to take to the roof tops (Balance). 3) The thief is able to win and tries to double back and (Climb) the tower hoping to throw off the patrols (Sense Motive).This works giving the thief her third success. 4) She climbs into the study and moves to the safe. It is finer quality than he expected and she needs to make a DC 30 Open Lock check. With the castle on alert, she can't Take 20 so the player rolls and succeeds. 5) The thief moves out of the window and Climbs down trying not to arouse any attention (Spot). The GM wins this contest and decides that someone has noticed the break-in and raises the full alarm. The thief needs to tiptoe past the barracks (Move Silently) without being heard (Listen). She does so and then chooses to (Hide) in the shadows to keep her escape path hidden from the patrols (Sense Motive). Luck is with her as she wins again and decides to go for the wall and (Climb) out to freedom under the noses (Search) of the guards. Another victory gets him past the castle walls and she returns to relate these exploits to her companions back in the tavern. Example #2 The party suspects the Baron of foul play. They see his private ball as a chance to gather information. Unfortunately, they do not have invitations. They intend to disguise themselves and enter the party as visiting nobles. Setup 1) The GM summarizes that the Bard and the Cleric intend to bluff their way into the party and attempt to gather information from the guests. 2) There will be several obstacles but they are not overly complicated and the GM has other things he hopes to run this session so only 2 successful checks will be needed before trying the Central Task. 3) The Central Task will be Gather Information as they listen and engage in conversation. 4) To make a convincing appearance, the pair will likely use Disguise, Knowledge (Nobility), Perform (Acting), and Bluff. 5) The guards as well as the other guests will be using Spot, Knowledge (Nobility), Search, and Sense Motive to potentially unmask the poseurs. Run 1) The GM decides that the first contest will be Disguise vs the guards Spot as the characters attempt to gain entry (This could potentially have used Forgery as well). Unfortunately, the Cleric has a hard time lying and the guards win. 2) They become suspicious and begin asking questions about the players cover. This forces the players to make a contested KS(Nobility) vs the guards own Knowledge (Nobility). 3) The priest is well acquainted with the local gentry and the Bard is able to remember some local gossip that he heard in the tavern and make a convincing case. The two are allowed into the gala and chose to schmooze (Bluff) the crowd while avoiding their suspicion (Sense Motive). The silver tongued devils establish contact with an amorous Duchesse who seems willing to talk. This second success allows them to make their Central Task roll. 4) Since the Bard is the most skilled, he makes the roll and is able to persuade the lecherous noble woman to impart valuable info regarding the Baron’s ambitions. 5) Excusing themselves, the two characters see the prime minister eyeing them warily (Spot vs. Disguise). They fail the roll and the guards begin moving in their direction. They attempt to make their way to the door by feigning illness (Perform (Acting)) while the opposing men-at-arms scan the crowd (Search). They succeed and choose to exit by (Bluffing) the gatekeeper (Sense Motive). With the final success the task is completed and the next scene can commence. This system retains the flexibility of player involvement and descriptive action but does not take a lot of time or preparation by the GM. In fact, scenes of this nature could be run impromptu without losing much of their effectiveness. It should be noted that the above examples could also be run effectively as Tactical or Interactive Scenes depending on GM and player preference. A Combat encounter could be thrown in to add variety (maybe the guard captain was waiting in the study) or Social opportunities could be role-played (Interactive) to add depth to the scene but the focus would typically be the completion of the task decided on by the party. |
| #7zombiegleemaxFeb 13, 2006 22:08:33 | First, let me say that this is an excellent idea. I have struggled with this exact concept in my own games. Thanks. In regard to Style Types... In many ways it is a sliding scale but primarily one of rigidity rather than detail. The Tactical style definitely has the most detail as well as rules involved. This yields a very 'dense' scene in which every action is detailed and resolved by the character's stats. A Narrative style focus on the overall action with less emphasis on mechanics. Details can still be given, as in the Logistics examples above, but they are handled in broad strokes and the scene resolves quicker with fewer dice rolls. The Interactive style utilizes by far the fewest mechanics. In fact, it is often run "diceless". While detail is still present (most abundant in Social scenes), there are hardly any rules to consult and outcomes are mostly driven by the player's abilities rather than his character's stats. So yes, the Style axis is a continuum that deals with HOW a Scene is resolved. It encompasses detail, time, rules, and to large degree... preparation. Respectfully, DM Sasaki |
| #8zombiegleemaxFeb 14, 2006 15:15:14 | RPGs are inherently based on conflict. The clashes of good and evil provide an impetus for heroic action and draw heavily from literary themes. This most often takes the form of physical altercations and in some campaigns this unfortunately becomes the only form of conflict resolution that is ever used. When I began playing D&D some 25 years ago, it seemed that the only reasons that NPCs existed were to tell the party where to go, buy/sell things, or make monologues prior to being killed. Thankfully, I have since learned the value of Social encounters and a few ways to make them a rewarding part of the RPG experience. Within the Matrix, Social encounters are an Event Type meaning that the focus is on WHAT is happening rather than HOW the GM adjudicates the scene. What should Social encounters be anyway? Just as a campaign setting provides a background for the story, Social encounters provide the characters a context for their adventures. Information is essential for players as well as characters and Social scenes are the primary way of providing it. Rather than the GM laying out the plot of the adventure in a droning opening monologue, the characters are able to gain the necessary facts through contacts that will hopefully guide them along the path. The GM must retain a firm idea of exactly what he wants to convey in each scene and how the NPCs will be used to accomplish this goal. Plots that involve mysteries are likely built entirely around Social interactions as the characters investigate and ask questions of the people around them. Another use for the Social scene is to provide an alternate means of conflict resolution. While D&D grew out of miniatures war-gaming and for many has come to exemplify the hack and slash genre, physical Combat is not the only way to move your game along. Think of the tension and drama that is created by many of the “lawyer shows” on TV. Such series create heroes that use the court process rather than weapons to fight injustice. Their maneuvering and use of skills can be an inspiration for socially based RPG characters. In my campaign, the courts are as perilous as any dungeon and sometimes more so. The party always makes sure to have a social expert to help them in such scenarios just as the fighter-types carry the weight in physical fights. Finally, in order to have true depth in a campaign, it is necessary to have Social encounters as a regular part of the gaming diet. GMs and players who incorporate intricate plots and recurring villains find that simply killing faceless hordes lacks the emotional reward of beating a nemesis at his own game. NPCs that are established over the course of several adventures bring a world to life and create a more tangible experience. One of the major advantages of the Social encounter is that the participants stick around and can be encountered again. If the party has seen the Baron intimidate others and have been embarrassed by his conniving barbs, knocking him down a notch or two will be a sweet victory. This can be accomplished in front of his peers in a courtly setting… of course trading jabs in this manner breeds further animosity and lays the foundation for a true nemesis. By setting up several Social conflicts with the villain prior to launching the violent confrontation at his castle, the players have a greater emotional investment in the ensuing Combat. How do I run a Social Scene? The level of detail and attention maintained during an encounter is determined by the Style axis of the Matrix. If the GM or player prefers to role-play the Interaction, this can be great fun and helps to establish connections with the NPC. The GM must realize however that such efforts may detract from the pace of the story and offer potential sidetracks for the players. As with any scene, the amount of time and effort given to it should merit its inclusion and reflect its importance to the overall plot. For simple interactions such as haggling with a merchant or bribing a guard, a simple Skill check is usually sufficient. If a meeting requires more Narration, a series of contested rolls may be used. This process was outlined in the recent Logistics post. In cases where a Social scene is the pivotal part of a story or in which characters want to rely heavily on their character’s abilities to determine success, a Tactical approach may be used to give more strategic options and distance player limitations from the interaction. This is the point where the d20 rules breakdown. There are no Tactical Social mechanics. One example was offered by Argon Asimov in the Tactical Scenes post. House Rules In my efforts to develop a richer system of handling Social scenes, I have introduced two new mechanics and a simple resolution system into our campaign: Reputation/Glory The first addition that I made was a stat to reflect the character’s standing in society. This value fluctuates and serves as the basis for social influence. I use a series of 10 Glory Ranks comprised of 10 Points each (as outlined in “Way of the Daimyo” by AEG) This gives a wide canvas to use while maintaining a good statistical model. (As a point of reference, most of our characters have a Glory of about 3.5 while a Duke would have a 6) Unearthed Arcana also contains rules for Reputation that work very well. By having a “currency” akin to HP for use in Social situations, the GM has a way to incorporate more lasting effects from political conflict. Face Save The second thing I have added is an additional Saving throw type. I call this the Face Save and it is based on Charisma. This is akin to a Reflex Save that represents an active process to avoid harm. In the Social arena however, this is a mental/political effort. Social Combat When two or more characters square off in a debate or public display of insults, the following Tactical system can be used: (Drawn in part from “Dynasties & Demagogues” by Atlas Games) 1) Each character begins the encounter with “Tokens” equal to their Glory Rank (1-10) 2) Initiative is determined by a d20 + Cha mod or by the situation. 3) The winner chooses a Political Maneuver (see Dynasties & Demagogues) based on a social skill (generally Bluff, Diplomacy, Intimidate, or Perform-Oratory) and makes a skill check using a d10 instead of a d20. 4) The opponent must make a Face Save vs. the check result or lose 1 Token as well as a Glory Point. 5) The opponent then chooses their Maneuver based on that used by the winner. This gives a modifier to their skill roll and can impact the environment in ways similar to Argon’s example. 6) This process continues until one participant concedes or has no Tokens left. They have lost the argument as well as a portion of their standing in the community. 7) The winner of the conflict gains Glory Points equal to the Opponent’s Glory Rank. I have found that this system allows the players to engage in meaningful conflicts with potential campaign ramifications for their character while retaining control over their actions. It also gives social characters a venue to shine and yet does not force the player to be a master orator in order to succeed. Some parties may be ill prepared to deal with the shift from dungeon crawling sagas to political maneuvering. Generally, characters are built to be combat effective but may be lacking in their ability to influence NPCs (apart from Intimidation). In order to have Social encounters be rewarding, some of the party should have the necessary Skills. Bards, Rogues, and to a lesser degree Clerics have class skills that allow them to shine in such encounters. This is healthy for a group to rely on each other in various situations. The urban setting is a good place to help your players appreciate the value of Social encounters. There is generally plenty of NPCs to interact with as well as a society that generally discourages outright violence. Confession Time I love Oriental Adventures. The Rokugan setting has a rigid class structure and a social environment that is as brutal as any battlefield. For the past several years, our campaign has been set in a corrupt large city with the PCs serving as minor magistrates. While they have left the city on several occasions, most of the action has taken place in the urban environment. They have faced opium cartels, ghostly invaders, and tainted monstrosities. While these have been exciting, the innuendo laden tea ceremony with the governess, court proceedings facing their rival in the local police force, and scrutinizing kabuki actors for hidden combat talents have been just as memorable if not more so. In this setting, recurring NPCs are the foundation for building plots and generating motivations among the players. The players’ awareness of the power structure in the city serves to guide their actions and creates dramatic tension. Recently, one of the party’s long time enemies began as a witness, then became a suspect, and finally a victim in their murder investigation. This was rewarding to the players because of the history they had with this character. Without such a foundation, his death (not by their hands) would not have had such an impact. My development of the Scene Matrix has in large part been due to this campaign. I have realized that the stories that our group explores are generally beyond the scope of the guidelines in the DMG. There are a lot of great ideas and tables to help GMs create a world and populate it with interesting NPCs. Yet, in order for that world to come alive, there must be a way to interact with it on different levels and in various contexts. I fully realize that the ideas and rules that I present here are often cursory and only one possible way of handling things. They have in many cases been inspired by the ideas and experiences of others. I just hope that this thread is useful to my fellow GMs who are looking for additional ways to share their stories and to provide great experiences for their players. Respectfully DM Sasaki |
| #9gilean_dupFeb 15, 2006 7:05:07 | Setup A condition for failure would be useful. Or something like every failure adding a new required skill check to succeed. Otherwise, very good. |
| #10zombiegleemaxFeb 15, 2006 12:59:53 | A condition for failure would be useful. Or something like every failure adding a new required skill check to succeed. Otherwise, very good. The inherent condition of failure is not being able to choose the contested skills for the next round. Having the opposition target your weakness can be a pretty hefty setback. The GM and players could also discuss this issue during the summarization step as they set up the scene. Different failure conditions might apply based on the existing dangers of the scene (such as capture, harm to hostages, or progressive penalties as the opposition becomes alerted). Thanks for your suggestion! |
| #11zombiegleemaxFeb 21, 2006 13:30:20 | While Interactive Scenes involve very little by way of mechanics, they are an essential part of the RPG environment. Let's face it, the real fun of RPGs is getting around a table with a group of friends and making stories together that can last forever. That is what sets it apart from computer gaming. No matter how good an AI is, it cannot replace the banter with comrades and the impromptu fun that happens when the best of plans unravel. In discussing the Interactive style, it is helpful to highlight the difference between the Player and their Character. As mentioned in the Tactical Scenes post, the mechanics of RPGs exist to allow Players to interact in an imaginary world through the use of a persona or Character. Statistics and abilities reflect what that Character can feasibly accomplish rather than relying on the Players real-life experiences or attributes. From an Object Relations perspective, Players “project” themselves into the game in that they provide the essential motivation and life for a Character. The Character also becomes a “reflection” of the Player and allows him/her to explore personal aspects that are not present in the “real world”. Because of this close connection, role-playing can be scary for some Players. Those who lack confidence often appreciate having dice rolls determine the success of their Characters actions. Instead of struggling to find their own words to ask the beautiful princess for her favor, the interaction can be handled by simply rolling the dice. Using game mechanics, even the worst roll bears no risk of embarrassment or social consequences in the real world. In many ways, an RPG character or persona serves as a "safety net" within the confines of the group. While die rolling determines success or failure according to mechanical criteria, a character can truly act only through a player’s representation. Role-playing occurs when a player expresses his own creativity in order to portray the personality and ingenuity of their character. This applies equally to GMs as they play the various NPCs in a campaign. This artificial boundary (or Role) is often crossed as players draw from their own knowledge of economics, technology, history, etc… to guide their characters actions. Conversely, if a character's success is entirely based on the rolling of dice, the player may become disconnected and achieve no emotional impact (i.e. Fun). Thus the challenge for the GM is to engage the Players in meaningful Interaction while maintaining a connection to their Characters established abilities. Many groups struggle with this balance. Interactive play (i.e. a scene which draws heavily on the players rather than the characters) is ideally something that happens spontaneously but is also an element that a good DM consciously fosters among his group. Such encouragement comes in large part as a result of planning scenes to give the party room to talk and relying on this dynamic to succeed. Interactive scenes are typically thought of as simply role-playing encounters in which players (through their characters) have real-time discussions with NPCs (without a Gather Information check). There are many other ways in which a GM can use this format to enhance player involvement. These include such common things as; gathering the group to create characters together, having the party discuss plans for their next encounter, or providing handouts for the players to use. Another classic use of an Interactive scene is offering puzzles & riddles that test the players as well as their characters. By including such opportunities, DMs can help reach beyond a character's stats and put flesh on the otherwise mechanical skeletons. Herein lies one danger of these types of scenes. Because there are inherently few rules to rely on, players with natural inclinations or knowledge have an advantage over more introverted or less experienced players. The DM must carefully gauge his group's abilities as well as the scenes difficulty. As another GM noted: Originally Posted by Isawa Nazomitsu: This illustrates one of the biggest things to consider in Interactive scenes--Contingencies. The myriad of options that players have and the impossibility of predicting reactions make these encounters the greatest challenge for the DM. Thinking on your feet and finding ways to keep the group on track are essential for success. Success or failure in an Interactive scene should not be dependent on die rolls but rather on the player’s experience. If they feel that they have gained what they need, then they have succeeded. If a determination of success other than the player’s subjective impression is required, keep it to a minimum. (Perhaps a single die roll if the action is going to impact a future non-Interactive scene). Even in Tactical scenes, players interact. This is usually in a third person mode as they strategize and coordinate their character’s actions. The accomplishment of victory and the teamwork required to manage that task are very rewarding to the players. For some groups, this level of cooperation is enough that they are content. If however, you intend to promote Interactive Scenes and provide even greater opportunity for collaboration, the players must be given information as well as freedom to act. These are potential challenges for the DM but yield great rewards for the game and the group. I hope that by considering player interaction as an additional tool that the DM has to enrich the playing environment, you can find new ways to include such opportunities to take your game beyond the stats and dice and make it a personal experience for your players. Respectfully, DM Sasaki |