Character Mechanisms

I recently released Character Mechanisms.

Character Mechanisms

https://www.rpgnow.com/product/252846/Character-Mechanisms

58 pages PDF + printable Character Mechanisms Profile sheet & generic character sheet PDF, xlxs, ods file

This character mechanism book has tools to help create characters, character behavior, dialogue topics, voice qualities, character motivation, character sensory data, emotions, body language, human physical descriptions, character knowledge, careers, subconscious dreams & interpretation, and circles of relationships.

This book is a collection of 12 character related 12x12 tables (generators), 1 suggestions for personality archetype response to 12 communication functions (communicator), and 2 tools that take important input and produce suggestions or directions for characters (engines).

Sold individually as well, the tools have been releasing for most of this year rather regularly. 

They do not rely on any game system. Instead of numbers, they use words. The one reviewer of the dialogue engine and character generator thinks that the words can be interpreted into any game system attributes fairly easy.

This book either suggest, or refer to tables (a few which are not included in this text) for character ideas, design, and actions. Its generic enough for any game or story genre characters. 

58 pages: It's first page is the cover image shown on the thumbnail. Then two front matter pages for title page and copyright. The fourth page is a table of contents. And then two pages of overview. And then the sections begin. Some of the sections have clip-art images and a section title page.

The fifteen products included in this book are as followed:

1. New Relationship Generator
2. New Character Behavior Engine
3. Dialogue Engine
4. Motivation Generator
5. Mood-Emotion Generator
6. Body Language Generator
7. Character Generator
8. Fact Generator - new update with an additional page full chart
9. Modifier Generator
10. Human Generator
11. Character Communicator
12. Knowledge Generator
13. Career Generator
14. Dream Generator
15. Sound Generator
16. new also includes a combined engine

If this does well enough — and so far it seems like it might be my best book yet — I might do the same with the plot related and other books into two more collections and add a few more pieces.

Honestly, when I was making up the character sheets, I was surprised how much detail was in the tools when brought all together into a more unified system. And even I use it instead of the individual products, using the quick bookmark menu and the hyperlink table of contents. The pieces can be used separately as well.

Thanks to anyone that has supported any of my products.

Ken

Finding true eternal love: Flash RPG

For this post I'm again using my Flash RPG.

4, 3, 1, 3, 5, 4, 5
4 romance
3 outdoor
1 battle...defeat
3 supernatural, unimaginable

A college student battles to try winning the heart of a vampire.

5 soul
4 +1
Charming

A charming college student

5 challenging, terrifying

...the heart of a terrifying, out of his league, seductive vampire.

Will the charming college student succeed?

6 automatic

Despite the differences, the charming college student with unbelievable effort manages to defeat all the obsticals in the way winning the heart of the vampire.

Stakeout in a pawnshop vent: Flash RPG

For this post, I'm again using my Flash RPG.

5, 5, 4, 4, 3, 1, 1

5 modern
5 region
4 overcome
4  person

A street cop must outsmart a recent jewel thief. The jewel thief has targeted  pawn shops in the region.

3 body
1 -3
1 easy
Not flexible

The inflexible body of the street cop may make staking out a suspect's possible location more dificult, because he has only found a vent shaft as an ideal stakeout position.

5 amazing effort
5-3=2 -1=+1

Through amazing effort, he contorted his body into a vent shaft in a yet to be targeted shop. His pain and discomfort pay off as he is barely able to scurry out and catch the suspect, despite it being an easy feat.

He now is considering doing yoga to increase his flexibility.

Professor is gone: Flash RPG

My next flash fiction story using my Flash RPG system.

6, 5, 5, 4, 1, 2, 4

6 pulp
5 region
5 find...deliver
4 person

A detective is in search of a beloved professor that recently disappeared.

1 mind
2 -2
4 challenging

The least reasonable detective, unaccustomed to solving crimes, due to scant evidence and no known motive is face with a daunting case, maybe over her head.

6 automatic success, unbelievable effort

Despite her lacking reason and having very little evidence through her unbelievable effort she managed to find him.

The culprits were brought to justice and the university celebrates her solving the case.

Ancient evil vs gunslinger Flash RPG

The next Flash RPG session.

6, 5, 1, 3, 4, 3, 3
6 western
5 region
1 battle ... defeat
3 supernatural, unimaginable

In the furthest reaches of the western frontier an ancient evil awakens to battle a gunslinger.

4 body
3 -1
3 hard

A less than accurate gunslinger must overcome this formidable supernatural force. Will the gunslinger prevail?

1 little effort
Automatic fail + worse

Not only does the gunslinger fail, the ancient evil possesses the gunslinger's soul.

Gentleman superhero using Flash RPG

For this post I'll use my new Flash RPG to create a microfiction a 100 word or so story.

4, 2, 3, 6, 5, 6, 5

4 superhero
2 indoor
3 defend ... from
6 technology

A superhero infiltrating into the villian's lair must defend himself from an onslaught of laser robots. Will he survive?

5 soul
6 +3
5 challenging

This most stylish gentleman superhero defends himself against terrifying wave after wave of robots.

2 good effort
+3 most stylish
Vs 5 challenging
= tie

Only giving good effort he manages to defend himself, though he is injured as well.

Next time he should take these robots a little more seriously.

JAGS: A) OGL 5e SRD conversion to JAGS

JAGS Fan Content series
The search for a fantasy or universal RPG: The winner and my choice.
Test played Reviews: JAGS Revised
JAGS: NPC templates for humans by type
JAGS: NPC list & skills
JAGS: Creating wild west creatures
JAGS: A) OGL 5e SRD conversion to JAGS

JAGS is a free downloadable universal role-playing game found at http://mchacon8.wixsite.com/jagsrpg. It also can be purchased in book form.

The first method that I will try will actually be a direct conversion from 5e SRD of animals.

I made this up using a little logic and reason. I'll experiment to see how well it converts compared to a direct creation following the rules. I'll convert derived stats from any directly converted stats such as DP and additional damage..

JAGS: NPC list & skills

JAGS is a free downloadable universal role-playing game found at http://mchacon8.wixsite.com/jagsrpg. It also can be purchased in book form.

To go with the chart I made a skill list which has all the costs, grouped by stat or type of skill. I used the newer JAGS Archetype skill cost and mixed it with the level costs. Also I added a Tough type character to the template which might represent a farmer or smith - some that vary in reflexes. There is both physically or mentally tough.

JAGS human types
[Click image to enlarge]

JAGS Skill costs
These are grouped by type, expensive or standard cost, and stat. Towards the end are the eithor/or skills which can use one of many stats.

[Click image to enlarge]

RPG vs Story Sequel: Reaction

RPG and Story Scene Series

RPG and Story Scenes: The foundation of action within a story.

RPG and Story Scenes: RPG scenes

RPG and Story Scenes: Writing and RPG methods
RPG vs Story Sequel: Reaction 

In the last section concerned mostly scenes though some of the techniques may be used to describe sequels. In this section we can look at the specific details and techniques needed in many reaction sequels. RPGs and story writing differ in focus and techniques.

Reactive Reaction Sequel

RPG reaction scene indicators
While the action scene mechanics are very defined in RPGs, the reactions or sequels is something that is less specified in RPG gaming.

It normally begins when the gamemaster (GM) tells the group about something majorly important. RPGs normally divide the game into player character (PC) reactions and non-player character (NPC) reactions. The GM controls the NPC reactions which may offer hints into the game story plot. The players experience the PC reactions and offer reactions.

What a GM says naturally creates a reaction in the players. First the players may feel something inside if the players feel connected to their characters. These feelings may or may not be expressed verbally or non-verbally. But sometimes they are expressed.

One code sentence that may indicate that the GM said something that might invoke a reaction is, "What do you do?" It means that they think that they have just finished telling enough background and setting material invoke some reaction in the player characters - maybe having dropped some hints here and there.

A few times, one mechanical technique used to indicate a character's reaction may be a resistance roll. These type of reactions are mechanical reactions to forces aimed towards the character. Several different mechanical examples can illustrate reactions. Sometimes before combat a roll to see if the characters are surprised or aware is rolled. An offensive attack may be reacted to with a defensive roll. A magic attack may be reacted to with a magical resistance roll. Some skill rolls have reactive counter rolls to test awareness. Another might be opportunity attack rules for when another enemy character or creature moves near another in combat. Some games even have lists of reactions, as actions.

Whereas the GMs control the NPC reactions and the players control the PC reactions, in story writing authors control both the point of view and non point of view character reactions.


Story Writing reaction scene indicators
In writing, authors must harness the point of view character's individual emotional reaction towards important events. The author may have to think and feel at times like the character, especially a point of view character. For non-point of view characters, they may have to think and feel in addition to imagining how those characters physically react. The character's emotional reactions must be sprinkled throughout the scene. If they don't react at least sometimes, the writing will loose the deeper emotional connection that readers may enjoy and connect with. The characters may seem wooden or robotic. That means that sequels are more defined in story writing than in RPGs.

Indicators begin with emotional and instinctive reactions - immediately following the event or awareness of information. The characters feel something. What they feel may be flavored and seen from the perspective. What does the cause character to feel? After initial instinctive reaction, thinking will begin. They then may think and talk about their possible actions. What can they do about the cause? Then they will come to some decision about their next action.

Story writing offers these specific detailed techniques of emotional reaction, analysis of dilemma, and making a decision, whereas RPGs only have hints and rolls. Looking into the story writing technique is more beneficial for exploring reaction sequels. Let's look at each story writing reaction step and evaluate them from a point of view and non-point of view perspective.

1) Emotional Reaction

The first part of the reaction sequel is an emotional reaction to something that occurred, is learned, or comes to surface. The characters have instinctual physiological descriptions and knee jerk reactions. Emotions may be described. What does this mean to the characters?.

Maybe the event startles the character - they feel tingling on theirs skin, their heartbeat races, and they fill a sudden rush of adrenaline.

Maybe they feel worry - they feel a loss of appetite or sick stomach, brings their hand up to massage their neck, and takes a few deep breaths.

For point of view characters, you can describe these emotional reactions in terms of physiological responses rather than adjectives describing general feelings. Don't just say happy, sad, angry, frightened, etc.. Describe how those emotions feel. Maybe the character doesn't know what they are feeling means and will rapidly try to change that instinct emotion when they think about it in a moment. Or maybe the reaction is tied to some subconscious thought.

For non-point of view characters, you have to describe the emotions in terms of viewable markers, facial expressions, instinctive behavior, and body language. Knowledge of some body language can help.

As awareness kicks in, the characters must analyse and think up options to turn what this means to them into some sort of new action..

2) Analysis of Dilemma

The next part of the reaction sequel is for the characters to come up with possible actions and figure out what to do. They may use different methods of evaluation based on their character personality, motivation, emotion, needs, lies, and ethics.

In the earlier example, maybe a startled character realizes that they are caught off guard. They may begin to think about how they need to control themself. Maybe they realize that their biggest fear has come true, and a depth of terror sets in. 

A worried character may speak with someone else about their discomfort. Maybe in speaking, another character reassures the worried character. But in their conversation, they discover something else which may lead to another worry.

There is the problem and then the possible solutions. Most of the solutions should be bad if the conflict is strong enough. The character(s) probably will choose the least bad solution.

For point of view characters, you can have internal dialogue of the actual thinking. They may also speak with other characters. Subtext can be wonderful. When characters may not directly speak exactly what they are thinking, and their body language and hints say otherwise.

For non-point of view character, you may just use descriptive text describing body language and dialogue to hint at what they are thinking.

The analysis of possible solutions, probably two or three, will lead to a decision.

3) Decision

This choice should be the next scene goal. The goal itself should be something simple, real, valuable, possible, and challenging. The reaction scene will then transition into a proactive action scene. Once a decision has been made, the sequel can change into an action scene.

For RPGs, the GM can continue to describe details leading to the next sequence of actions.

A look at quickness of actions in RPGs

See also my more In depth Reviews

Starting a more in depth review series.

Test played Reviews: JAGS Revised

Test played Reviews: Hackmaster

Act first but not actually quicker actions
One of the biggest issues that I considered in all of the games is the normal disparity between having an attribute that is supposed to represent quickness such as Dexterity, Quickness, Speed, or Reaction Speed (REA) and having the ability to actually be quick by doing multiple actions in a single round. D20 products normally consistently perpetuate the lack of actually being in action rather than just being first in line. They prefer the 'I go first' method.

Feat or talent separation mentality
They normally just let Dexterity be added to an initiative roll. What that does is let characters act first, but not faster. A d20 character normally can only act more than once through either a feat/ability - which must be obtained separately - or through a system of standard action, instant action, and full action. While the third is the best to my liking, the actions are normally talent, feat, ability based in which dexterity has no influence on.

I looked into GURPS system and for it you also need to 'buy' more than one attacks.

Three Quickness methods
Only a few actually had anything to indicate speed of actions.

JAGS, Hackmaster, and several d100 systems have the systems that I liked the most. Each accomplish the speed adjustment in combat and round systems differently.

A) Hackmaster attaches the speed to the items, weapons, skills, actions, or spells. I think of it as the utility speed method.

B) d100 has a chart where intelligence and dexterity are combined to see how many actions a character has per round. I think of this as the body-mind method.

C) JAGS to me seems like the most ingenious of the methods. It uses the actual attribute as a pool of points which three levels of actions can use. A character can chose to do multiple actions directly based on the REA stat size - 3REA for short actions (reactions like defense), 5REA for medium actions (attack & spells), and 8REA for long (run away). In addition, skills and powers can increase or decrease the size of REA - like having a level 3 expert skill lets you take a 4 REA attack using that skill once per round. In the revised edition, you can even spend a few points to wait or delay actions. I just think of this as a direct attribute pool method.

Both d100 and JAGS require the character have available points in order to do defense. So that spending all your points on offense will leave your character unable to defend actively.

For me, it's important that quick characters actually act quick - and not just act first.

Story vs RPG part Appendix: Emma - RPG to Story Conversion using Psychology and Sociology Theory

Story vs RPG Series

Story: Elements

Story vs RPG Part 2: Main Characters - Protagonist, Antagonist, PC, NPC

Story vs RPG Part 3: Character Information

Story v RPG Part 4: Potential Pitfalls of using a RPG session for a Story.

Story v RPG Part 5: Personality Types

Story v RPG Part 6: Alignment, Morality, and Ethics

Story vs RPG Part 7: Character Needs
Story vs RPG Part 8: Character emotions
Story vs RPG Part 9: Lies - Our characters darkest secrets
Story vs RPG Part 10: Setting - cultures
Story vs RPG Part 11: Pair Dynamics
Story and Game Structure: Storylines
Story vs RPG Part 12: Larger groups - conformity & deviance

If you like this series support it by buying it today for kindle all in one file and without advertisement. It's also available in most countries that Amazon supports. 

Example of an RPG to Story Conversion using Personality Theory

For more practical purposes, lets try making a story character that is based on a fantasy character. Most of this process will help to develop backstory.

Picking a name

I'll pick a popular names in the US 2015 for character names - Emma.

Gaming information

Emma a Lawful Good alchemist

Emma is e a Lawful Good character in a game that is a alchemist - someone who works to transmute material into magical items. To move that character to a story I begin with what I know about the character. In this game maybe the alignment is the only indicator of character personality. I'll use that information to try creating a hopefully more interesting character by adding small backstory and character details.

Conversion

As mentioned yesterday, I think that Lawful Good is similar to Jung's Hero. Let's compare them.

Lawful Good - Crusader
Core Concepts: Duty, fairness, honor, property, responsibility, right, truth, virtue, worthiness

Jung - Hero
The Hero (Heroine, Champion) - Defender, guardian, rescuer, sacrifice, win, arrogance, confront

And then compare this information to the first enneagram.
1. Reformer (Perfectionist) principled, purposeful, self-control, thinks they are always right

If I agree to this comparison, I begin to see character weaknesses of arrogance, confrontational, and maybe sacrifices themselves beyond what most people do.

Converting Class to Profession

And maybe I want take this character to move over to more modern terms, changing the world and setting slightly.

To me a alchemist might be some sort of scientist, maybe like a CSI type crime scene investigator. She's someone who uses technology to work with the material in crime scenes to reveal what happened by various methods. In a different fantasy world, that might by using magic powers to analyze stuff. In this modern world, rather than magic it will be technology and procedures.

Character Behavior

Emma wants to know and tell the truth about these crimes. She does her job well and tries to tell the truth, even if less desirable people accused of crimes or a bad person in general has evidence that supports their innocence. Because of this I give her Kantian Ethics.

• Kantian Ethics - right is determined by intent, reason, and type of action, not the consequence. "Tell the truth even if it causes harm."

From the Jung - Hero archetype, they also sacrifice themselves - in this case I will translate that into relationships. Emma doesn't spend time to develop romantic relationships. Instead she fills her time with activities that reaffirm her sense of truth. It might be a religion, working for a cause, or maybe trying to find new advances in crime scene investigation.

Character Needs

Because of her needs are strong in some areas and weak in others.  She has strong sense of law and order for safety, yet might be threatened somewhat by helping to put away dangerous people. Here biggest relationship weakness is an issue of social love, belonging, and sexual intimacy. Along that line which might affect the balance of affiliation, autonomy, and dominance needs should be used occasionally in any story created, while the weakness is still open. If that weakness ever is filled, another weakness should also emerge.

Character Emotions

Having looked at character personality, ethics, and needs emotions will now be more predictable.

Emma will be courageous when facing the results of brutality within a laboratory. However with relationships, then may be fearful a begin to feel threatened when in casual situations dealing with relationships. The biggest surprises may come when she thinks she knows the truth but finds out later through investigation that it was all an illusion or wrong. From these basic emotions they can easily be turned into backstory of actual events - one for every major emotion.

All of these examples show that once you know your character's personality, ethics, and needs the other details flow much more smoothly out from backstory. You can just create events that would created the emotion. A list of several emotion creating events would help to round out the character, and make them more whole and less one dimensional - even if you don't actually write that information into the story.

Character Lies

Any number of lies depending on Emma's earlier experience, may be creating or maintaining her relationship weakness. Something probably happened in her childhood or adolescence.

Maybe she saw something between her parents and created a vow not to ever get herself into that situation. In her teenage years, maybe her early relationship went really bad and she was hurt in the process. Or maybe her interests kept her from forming any teenage relationship with someone else.

Whatever it may be, using lies can help create a dark secret with is great for storytelling.

Character in Society

Her job as a CSI scene investigator is going to come with many role expectations. Some conflict can occur when her relationship weakness my interfere with her social role expectations. Conflict that other characters might attribute wrongly to her own reason and cause.

Character Pair Dynamics

Interesting dynamics can occur between her and investigators that interact with her. Especially if they have very conflicting personalities, needs, and ethics. She might despise a rule breaker at first. But then when their rule breaking leads to the truth faster than her objective evaluation the dynamics of the relationship may change as she begins to respect and trust the rule breaker.

Character Group Dynamics

Emma probably begins with conformity to the CSI rules, procedures, and regulations. As she tries new methods of investigation, she may begin to have innovative goals. With her relationships and dating, she may be in rebellion or retreat at first.

Summary of Emma from the Lawfully Good Alchemist

I believe this is much more usable and better for story writing than just knowing alignment and class.

All of these details I tried to create just based on RPG alignment of lawfully good and the class of alchemist. I'm just showing one way that details can be found just by expanding background using tools and interpretation to expand those two descriptive data pieces.

Emma is a CSI type crime scene investigator. Here personality believes in duty, fairness, honor, property, responsibility, right, truth, virtue, worthiness, defender, guardian, rescuer, sacrifice, win, arrogance, confront, (perfectionist) principled, purposeful, self-control, thinks she is always right. She's someone who uses technology to work with the material in crime scenes to reveal what happened by various methods. In this modern world, rather than magic it will be technology and procedures.

Emma wants to know and tell the truth about these crimes. She does her job well and tries to tell the truth, even if less desirable people accused of crimes or a bad person in general has evidence that supports their innocence. Because of this I give her Kantian Ethics. Kantian Ethics - right is determined by intent, reason, and type of action, not the consequence. "Tell the truth even if it causes harm."

From the Jung - Hero archetype, they also sacrifice themselves - in this case I will translate that into relationships. Emma doesn't spend time to develop romantic relationships. Instead she fills her time with activities that reaffirm her sense of truth. It might be a religion, working for a cause, or maybe trying to find new advances in crime scene investigation.

Because of her needs are strong in some areas and weak in others.  She has strong sense of law and order for safety, yet might be threatened somewhat by helping to put away dangerous people. Here biggest relationship weakness is an issue of social love, belonging, and sexual intimacy. Along that line which might affect the balance of affiliation, autonomy, and dominance needs should be used occasionally in any story created, while the weakness is still open.

Emma will be courageous when facing the results of brutality within a laboratory. However with relationships, then may be fearful a begin to feel threatened when in casual situations dealing with relationships. The biggest surprises may come when she thinks she knows the truth but finds out later through investigation that it was all an illusion or wrong.

Any number of lies depending on Emma's earlier experience, may be creating or maintaining her relationship weakness. Something probably happened in her childhood or adolescence.

Maybe she saw something between her parents and created a vow not to ever get herself into that situation. In her teenage years, maybe her early relationship went really bad and she was hurt in the process. Or maybe her interests kept her from forming any teenage relationship with someone else.

Her job as a CSI scene investigator is going to come with many role expectations. Some conflict can occur when her relationship weakness my interfere with her social role expectations. Conflict that other characters might attribute wrongly to her own reason and cause.

Emma probably begins with conformity to the CSI rules, procedures, and regulations. As she tries new methods of investigation, she may begin to have innovative goals. With her relationships and dating, she may be in rebellion or retreat at first.

Starting a more in depth review series.

I wanted to take the information that I took for the last two months search for a fantasy or universal RPG and bring all of the information together per game. At least I will do it for the 8 games that I test played. It may lead to further test playing of games not played as well.

Here is an overview look at what I did for that search which I've never shown before.

So I will go back and compile each of the game's information, beginning with JAGS, then Hackmaster, Dungeon World, etc.

RPG and Story Scenes: RPG scenes

For the last series on  Character & Society see those posts.

RPG and Story Scene Series

RPG and Story Scenes: The foundation of action within a story.

RPG and Story Scenes: RPG scenes

RPG and Story Scenes: Writing and RPG methods
RPG vs Story Sequel: Reaction

The last part was primarily from a story writing perspective. In this part, I wanted to look into a RPG perspective of scenes.

In most games time comes in two major forms. They may not even name these two forms, but they become more evident when looked at more closely. These two time forms have corresponding story writing forms of time.

The purpose of both forms is to focus on the exciting stuff and quickly pass by the boring stuff. And stuff that is trivial to character development can be brushed aside.

A. Timeless

The first form is when major action is not occurring. In this time mode, time itself is less relevant. Things occur in a very vague sense of time using broad terms. Because action is not being focused on, thus accurate game time is not important. Time can easily slip from minutes to hours to days all in a few moments of gaming time.

In gaming, this might be while at a town or village not at any specific location, travelling to a location, or some introductory overview.

The party enters the village of Shattered Teeth. You make your way towards the citadel located on a medium sized hill.

An interesting mechanic that uses this form is a series of two or more competing characters rolling in succession which represents several events or actions over a long period of time to try reaching a target or goal. Many skill rolls use this time mode. The two main edition of Fudge even have a combat option called Story Element, where vague story units use one or taking-the-median-of-three rolls can sum up an entire combat, skill, or social interaction sequence. HeroQuest has a similar summary mechanism. In this time mode, time isn't really kept accurately.

[You roll some great success result] 
Not only do you destroy all of the foes around you, you even kill the ones trying to escape.

In writing all of these mechanics represent this type of time is called narrative summary and transitional scenes.

If timelessness is one form of time, then time focused is the other form.

B. Time Focused - Rounds

The second form is when major action is occurring. During these types of time mode, time itself becomes very important.

Many games use specific increments called rounds, which divide time into set increments. Another form is to use moves where actions are triggered by descriptions of actions within the discussion of the game. Some mechanisms are simultaneously resolved such as some Fudge and Dungeon World conflicts. Most use alternating resolution where some sort of turn-taking method is employed. Indicators of this type of time in gaming is dialogue between the characters, rolling for specific action and results, and time based skill rolls such as combat.

[Roll to see if your surprised]
[Roll for initiative]
Q: What do you do?
A: Since I have first action, I ....
Etc...

In writing, this is the main content to proactive action scenes and reactive reaction sequels - writing the scenes that describe action, reaction, emotions, thoughts, dialogue, and real-time conflict.

What is similar between the two media types?

Similarities between RPGs and Story Writing Time Modes

Both RPGs use two major types of time modes. They use vague timeless scenes and sequels where time and action are less important. They also uses more exact time for those scenes where time and action are very important. How they do so is by using various methods.

The RPG and Story Writing Methods of managing Time Modes

RPG gaming uses time vague skill rolls, a series of sequence rolls vs target or each other, and story element rolls for timeless modes. For time focused moments they use simultaneous rolls, alternating rolls, dialogue, time specific skill rolls, and time based narration all within a time frame of rounds, moves, or other time-unit based system. The time units keep track of time more closely and accurately.

Story writing uses narrative summary and transitional scenes for timeless moments when quickly moving from one important moment to the next - when details don't matter as much. For those time focused moments, they use dialogue, action, vivid descriptions of supporting character actions, interior monologue, and inner thoughts from the POV character.

RPG and Story Scenes: The foundation of action within a story.

For the last series on  Character & Society see those posts.

RPG and Story Scene Series

RPG and Story Scenes: The foundation of action within a story.

RPG and Story Scenes: RPG scenes

RPG and Story Scenes: Writing and RPG methods
RPG vs Story Sequel: Reaction

I want to start the beginning of another possible topic for another possible series. I don't know how far I will go into this one at this time. I have at least ideas for five posts, but my last series about character and society went up to 12 or so posts. This is the topic of the 'scene'. Whether for stories or role playing games (RPGs), all of the real action happens in the scenes.

Scenes in Stories and RPGs

Foundation of a Scene

But like all of my posts, I must begin with a foundation laying stuff. Putting down some basics of what I know so that I can then build off of this common language and common body of ideas and concepts.

Gaming can learn a little bit of structure from story writing structures. Story writing teaches well how to structure scenes. It does however miss the mark on actually teaching about conflict.

Story writing can learn a little bit of conflict from gaming. Gaming has great mechanisms, structures, and resolution methods to measure and create conflict within a story or game.

All scenes and action are based on laws and logic of cause and effect.

But first, what is a scene?

What is a scene?

A scene is the place where a sequence of continuous action occurs to a cast of characters.

In both a story and a RPG the scenes are where actions take place. It will include movement, observations, decisions, effort, dialogue, skills, and risk.

How are scenes created?

Creating Scenes

Scenes are created in a number of ways. It may be planned ahead of time in some form. It may be in an outline, on a scene list, might be a rough description, summary of action, or it may naturally be the result of story flow while writing or an open sandbox game. As long as there is a goal of the scene related to the overall story, a description of major features of the location, and some sort of conflict - it's a scene.

Another type of scene sometimes is called a sequel or reaction scene.

What is the structure of scenes?

Scene Structure

In writing, normally the viewpoint character enters into a scene and begins to attempt to perform a goal, in the middle meeting with repeated failures or successes and end with resolution, a twists, or unexpected setbacks. The scene may or may not lead to a sequel. Scenes and sequels have beginnings, middles, and ends. What is in those structure differs between scenes and sequels.

Where are scenes?

Setting and Perspective of the Scene

The scene takes place in a single location and single point in time, with a single purpose. In writing, the scene focuses the point of view (POV) of one single character's experience. In RPGs, the story will focus on all of the present player characters.

How long are scenes?

Scene Length of Time

The length of the scene depends on the purpose of the scene. Less important scenes should be very brief. Important scenes may be longer. The importance and purpose of the content of the scene should determine the length of scene. Don't make unimportant scenes long. And don't make important scenes short.

With the basic definitions and concepts of a scene, lets look at the two types of scene in greater detail.

Two Types of Scenes

There are two types of scenes: action scene (proactive); and sequel or reaction (reactive) scene.

In the proactive action scene the viewpoint characters will have a goal, conflict, and resolution such as a setback. In a reactive reaction sequel the characters will react to something, show emotion, face a choice or choices - a dilemma - and reach a decision based on the character's personality, motivation, emotion, needs, lies, and ethics.

Begin by Establishing the Scene

Begin each scene or sequel by describing what is happening, what is around the characters in view, or what has changed if the location has been used before.

Describe the setting of the scene focusing on the three most important details that characters would notice.

Have the characters enter the scene - noting where they are in the scene in relationship to the space and other objects. Only describe things that they can see, limited to the view of the setting. They may describe the scene based on their own character voice.

Proactive Action Scene

Scene Goal and Purpose

The goal or purpose of the scene is based on the main character's decision based on personality type, motivation, emotion, needs, lies, and ethics. Without a goal, the scene will not have any meaning in the story or game. It cannot advance the story.

The goal itself should be something simple, real, valuable, possible, and challenging. Scenes with suspense might postpone the knowing goal until it is revealed as a surprise or shock. This is the only time when the goal shouldn't be obvious and presented up front.

Much of the scene should be full of subtext - unspoken character intentions, emotions, and reactions only implied. The most powerful strings being less likely to be recognized.

Scene Conflict

In a proactive action scene most of the scene should be conflict. Conflict is a struggle between two goals - what the characters want and what the opposition wants.

RPG gaming can teach story writers many things about conflict. Story writing sources for writing normally don't go into details about conflict as much as gaming. Story writing in my opinion excels at character development and story structure. Gaming excels at presenting conflict structures and mechanisms. In a future post I hope to present gaming techniques to examine different kinds of conflict.

Scenes should vary in intensity throughout the story and game. Intensity can depend on the stakes of the goal of the scene, the odds of the challenge, the movement within the scene, the arrival of new characters, and the environment of the scene. It may also depend on uncertainty, doubt, and something to worry about.

The scene should have at least two obstacles. The first should be apparent. The second might appear anytime and will increase the tension causing the characters to reconsider their actions. A third or more obstacles might be used in more important scenes such as the climax of the story arc. A scene with just one obstacle might be used as a transitional scene where the character just checks in on one thing.

Scene Ending

Except during the final confrontation - and even sometimes then - the scene should end or resolve with a disaster, twist, or surprise.

Reactive Reaction Sequel

Emotional Reaction

The first part of the reaction sequel is an emotional reaction to something that occurred, is learned, or comes to surface. The characters have instinctual physiological descriptions and knee jerk reactions. Emotions may be described. What does this mean to the characters. As awareness kicks in, the characters must analyse and think up options.

Analysis of Dilemma

The next part of the reaction sequel is for the characters to come up with possible actions and figure out what to do. They may use different methods of evaluation based on their character personality, motivation, emotion, needs, lies, and ethics.

There is the problem and then the possible solutions. Most of the solutions should be bad if the conflict is strong enough. The character(s) probably will choose the least bad solution.

Decision

This choice should be the next scene goal. The goal itself should be something simple, real, valuable, possible, and challenging. The reaction scene will then transition into a proactive action scene.

ABS12: Using a deck of cards to do solo gaming.

All the changes from this page will be added to the complete master game page at A Basic System 12 (ABS12).

Frustrated at having to roll against myself using the ABS12 combat system, I think I've found a better way to do combat.

Since the system is a 1d12, a standard deck of playing cards with the kings and jokers removed can simulate a solo gaming experience where I don't have to roll against myself. I just roll against a shuffled deck of cards more like playing solitaire. In a game of solitaire, the shuffled deck of cards allows you to focus on figuring out patterns instead of generating random numbers and suite.

So, using a deck of cards:
Numbers 1 to 10 equal the stated values.
jack = 11
queen = 12

Maybe reshuffle the cards as needed or for each session or as needed.

A Basic System 12 (ABS12)
Index of my blog

Playtesting a magic user Part 2: "Basement of Toys"

For this gameplay, creating a story using a game system I will be using the entire ABS12 current system.

ABS12 Game System

Here is part 2 of the playtest and creation of a magic user short story. Like part 1, the gaming stuff will be in brackets. After the story, I will put my analysis, and then show both parts of the short story in its entirety without any gaming mechanic info for a smooth read. This shows the fun use of using solo gaming tools to write a short story. This is a first draft and only minimal editing has been put into the story.

First the gaming statistics:

Basic Stats by PL for all Species
PL	DL	Life	Speed	Defense	Attack	Unskilled verb	Skilled verb
0	0	1	1	0	0	0	0
1	1	2	2	2	2	1	2

The magic user is PL1.

Species

Life

Spd

Def

Def Type

BP

Damage

D Type

Mag

Sc/Tc

BP

Verb

Adj/Adv

BP

Verb

Adj/Adv

Cost

Magic User

2

2

3

Cloth

2

1d12/6

Staff

4

5

Fireball S

1d12/2

3

Net S

3

15

I typed in the PL1 life, speed, and defense with the humanoid magic user amounts, wearing a cloth robe. With the 3 BP I will learn 3 ranks of a entangling net spell.

I'll try a giant rat PL0 first.

Giant rat

2

3

1

1

1

Bt

1

Disease Bt

1

2

Covert

2

Continued from part 1 
Playtesting the magic user Part 1

"Oh. I thought it was you. My apologies," Basement said.

The echoes of what basement said went through her mind. Down here this morning?

Out she brought her oaken wand, ready to entangle anyone using a web spell.

She inched her way down the hallway and wand first slowly walked into the first room. Her breath had increased. She struggled to control it as wide eyed she looked around for any presence. The air felt hot. Her hand came up to loosen the her collar, which seemingly had tightened. Back and forth she looked.

[Is anything here? 50/50; No; I'll increase the chance of yes however by 2 to increase the chance of meeting the rat since it wasn't there]

Not noticing anything anything out of place, she relaxed a bit.

"Shut the door Basement," she commanded. Soon she heard a soft click from direction of the stairs.

After a few breaths, she readied herself for the next room. Slowly she peaked around the corner down the hall.

Two doorways were down the hall.

She took a deep breath and then continued down the hall one slow step at each breath.

Near the doorway she stopped, stayed near the wall and listened.

[Is anything in this room? 50/50 + 2; 1d12 =11 + 2 = 13; Yes, also ....
I'll pick at least one fact to see what the also might mean and more if need be.
8, 11 = Time, Future; I don't know what that means. I'll roll again.
12, 5 = Dimension, Medium, So medium future? no idea yet. I'll roll again.
8, 9 = Time, Past; So past medium future? Maybe this rat ate or drank something and grew larger. I'll go with that. I'll make the next room the alchemy room with potions that maybe it got into one.]

She heard the sound of something chewing on what sounded like wood.

It gnawed and echoed lightly to her turned ear.

One more deep breath and she turned wand forward to cast her net spell.

[Is the giant rat near the potions at a alchemy table? Very possibly +4; 1d12 = 2+4, No, unless ... she is quick enough to catch it before it runs away. I'll say a moderate (9) difficulty. Speed normally a +2, however she will get just her +1 for level one, since her description of magic user will not help her.
Roll of 7+1 = 8 < 9 barely failed.]

She turned the corner and saw a giant black rat just as it was raising its head, noticed her, and ran off.

She didn't catch it fast nor was quiet enough.

In she ran. She saw a few potions tipped over and empty.

The rat was running towards the corner of the room.

[Is there a tunnel or entrance there? Somewhat Possible +2; 1d12 = 11 +2; Yes, also ... she sees another giant rat at the entrance as well.]

Behind the running rat, she also notices another one looking out of the hole as well.

She cast her web spell on the first retreating giant rat

[distance 16ft = easy 6. power roll = 1d12+PL+DL = 1d12+2 vs easy 6 ; 5+2=7 it works]

She whispered her magic words, Sparkles gathered around her wand.

With a shout of , "Tineks-la-omiu," she commanded her web to entangle the frightened giant rat.

Out strands of web shot wrapping around the rat. As it is being wrapped up she tried to get the second rat.

[this one is more difficult. moderate distance 9; and is mostly behind cover which I will say is a +2 dificulty = needs an 11. 1d12 roll 7 + 2 = 9; miss.

Does she chase the rat into the tunnel yet? 50/50; No]

The web shot stringing out towards the one near the large hole. The other one manages to retreat in time.

She didn't have the patience to chase that rat at the moment. For the moment she turns back to the wrapped giant rat. Anger builds inside of her.

It explodes in the form of a fireball.

[easy 6 = 1d12 = 2 + 2; miss]

A fireball explodes and lauches off the tip of her wand. Slamming into the fireproof wall.

In her anger, she failed to aim steady. Luckily the rat is entangled and can't get away.

She stepped real close and touched the wand directly at the squealing rat. "I got you rat!"

[damage = 8/2 = 4 life damage; rat life = 2 - 4 = dead]

The flame engulfed the rat, incinerating the giant menace.

Looking at the hole and then around to a wall, she saw the place of her transformation ring. A smile came across her face as a plan developed.

She walked over to the hidden box that couldn't be seen in the wall. A few words and the wall revealed her prize possessions. She removed the velvet box. Inside of the box, she removed the ring which glows with a blue aura..

After placing the silver ring on her finger, she whispered a few words. "Kinada-amiu," and felt her form change. She dropped onto all fours, grew in size, and felt hair sprout from her fair skin. She morphed into a large white cat.

After licking her paws and rubbing her face, her ears picked up the sound of the retreating rat.

Off she pounced, into the hole, to get her a rat.

The end

Analysis

Here is the entire text including the first par without mechanic info

The magic seems to work or can be made to work.

I was a bit angered myself when the fireball missed. But  I guess it helped the story some. It shows how Madi is still a beginner, despite the powerful ring that she possesses.

The words I wrote are for a fantasy language based on an ancient language. I actually had to look up both words. 'Tineks-la-omiu' is a command 'to make a web.' 'Kinada-amiu' is a command 'to be a cat.' I didn't do a command for fire. Just because I've already looked up that word for another story, but didn't feel like looking for it.

"Basement of Toys"
a scene by Ken Wickham 
Copyright © 2016

The magic user comes to the door leading into the basement of his old shop. The ancient door looked worn from years - centuries even - of use.

A sudden panic always hit her whenever she reaches the oaken door. This time was no different.

Is it locked? 

The door creaked a little as he pushed first on the door. It only moved a little and then came in contact with the tumbler lock. A turn of the key, a click, and the main one unlocked. He pushed the door again. The door made another click as it hit the second lock. 

She shuffled through his keyring and found the silver key, placed it inside and turned releasing the lock.

Madi breathed in one deep breath and pushed the door for a third time.

The door opened. Soon the walls began to glow brighter. 

She watched the shadows below receded, warming to a comfortable glow.

"Welcome back mistress Madi," echoed through the halls, which seemed to speak from the walls.

"Hello Basement. Have you missed me." She slowly began her decent, careful to lift her long magenta robe to keep from stepping or tripping. She'd fallen once years ago which taught her a painful lesson.

"Of course I miss you when you are not here. It fills me with great joy when you are working down here and spending time with me."

Once safe at the bottom she continued down the hallway.

"When you were down here earlier this morning, why didn't you speak with me?" echoed the Basement's voice almost in a sad voice.

Madi stopped. She was a bit confused.

She said in a somewhat slow and confused voice, "I wasn't down here ... this morning - What do you mean?"

"Oh. I thought it was you. My apologies," Basement said.

The echoes of what basement said went through her mind. Down here this morning?

Out she brought her oaken wand, ready to entangle anyone using a web spell.

She inched her way down the hallway and wand first slowly walked into the first room. Her breath had increased. She struggled to control it as wide eyed she looked around for any presence. The air felt hot. Her hand came up to loosen the her collar, which seemingly had tightened. Back and forth she looked.

Not noticing anything anything out of place, she relaxed a bit

"Shut the door Basement," she commanded. Soon she heard a soft click from direction of the stairs.

After a few breaths, she readied herself for the next room. Slowly she peaked around the corner down the hall.

Two doorways were down the hall.

Madi took a deep breath and then continued down the hall one slow step at each breath.

Near the doorway she stopped, stayed near the wall and listened.

She heard the sound of something chewing on what sounded like wood.

It gnawed and echoed lightly to her turned ear.

One more deep breath and she turned wand forward to cast her net spell.

She turned the corner and saw a giant black rat just as it was raising its head, noticed her, and ran off.

She didn't catch it fast nor was quiet enough.

In she ran. She saw a few potions tipped over and empty.

The rat was running towards the corner of the room.

Behind the running rat, she also notices another one looking out of the hole as well.

She cast her web spell on the first retreating giant rat

She whispered her magic words, Sparkles gathered around her wand.

With a shout of , "Tineks-la-omiu," she commanded her web to entangle the frightened giant rat.

Out strands of web shot wrapping around the rat. As it is being wrapped up she tried to get the second rat.

The web shot stringing out towards the one near the large hole. The other one manages to retreat in time.

She didn't have the patience to chase that rat at the moment. For the moment she turns back to the wrapped giant rat. Anger builds inside of her.

It explodes in the form of a fireball.

A fireball explodes and launches off the tip of her wand. Slamming into the fireproof wall.

In her anger, she failed to aim steady. Luckily the rat is entangled and can't get away.

She stepped real close and touched the wand directly at the squealing rat. "I got you rat!"

The flame engulfed the rat, incinerating the giant menace.

Looking at the hole and then around to a wall, she saw the place of her transformation ring. A smile came across her face as a plan developed.

She walked over to the hidden box that couldn't be seen in the wall. A few words and the wall revealed her prize possessions. She removed the velvet box. Inside of the box, she removed the ring which glows with a blue aura..

After placing the silver ring on her finger, Madi whispered a few words. "Kinada-amiu," and felt her form change. She dropped onto all fours, grew in size, and felt hair sprout from her fair skin. She morphed into a large white cat.

After licking her paws and rubbing her face, her ears picked up the sound of the retreating rat.

Off she pounced, into the hole, to get her a rat.

The end