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.

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.