Absolute Beginner

[Brother]

Hi all

I've just read through PTA, and one of the first things that struck me was, 'I never have to buy another roleplaying game again'. No need, PTA covers everything. I can't wait to try this game out.

I do have one question/quibble though.

I admit to not having played a single episode, and I'm barely through a full read of the rules. But I am a bit dubious on the practicalities of play concerning 'Screen Presence'. I'm not sure I like the idea about giving one character the spotlight. No matter how I look at it, it makes me view all other characters (and more importanlty - all other players), as 'out of the spotlight' for that episode. It goes against some deeply ingrained philosophy I have. All players/characters should be in the spotlight at all times. Having said that, I have read numerous times over the years, how a 'DM' should make a point of making sure each player's character has some quality time to shine during an 'adventure'.

I guess my biggest problem is seeing all other characters as Screen Presence 1 and 2 and defining what the levels 1 and 2 mean in game. It comes across as very formulistic and a bit contrived, having to find the right level of expression for Screen Presences 1s and 2s. Perhaps I'll just give Presence 3 the limelight and go with the flow concerning all else. Hope this made sense.

Has anyone else found this one an obstacle?

Congrats on a superb little game.

[Brother]

Also, I notice on page 43, under the sub heading 'Narration', John the producer for the rescue 2313 series, has just narrated how Brea, a character played  by Meredith, out wits his nemesis. Shouldn't Meredith, the player of Brea, be the one narrating things?

Or have I got things wrong...

[Matt Wilson]

Hi, um, "Brother."

Thanks for buying the game. I would say give it a try and see how your doubts hold up. In general players are pretty cool about who has the spotlight, because they know their turn is coming.

Did you ever see the Buffy episode "The Zeppo?" That's pretty much where I got the idea for the spotlight. Plenty of other stuff going on with the other characters, but we're addressing Xander's issue head on.

As for the example, John narrates for the reasons it says right there in the example. He has the high card.

[Brother]

Thanks for the reply.

I'm now on my secong read through, paying particular attention to the rulings, having gotten the general overview previously.

Seems my comment about John narrating the conclusion on a finished conflict was unfounded. If I think about it, I, as a 'DM' have been doing it for years. Regardless of whether John did it because he had the highest card or not is irrelevant. It has been my experience over the years that players narrate their character's personality, whilst the DM/GM/Narrator has always described how conflicts are resolved.

The bit that threw me was learning that players can now have more control over scene narration.

Ramble over

[Brother]

EDIT: Want to clarify my irrelevant statement.

On saying 'irrelevant', I meant to say that 'I' was looking at the whole thing wrong, which made my question irrelevant. Not your reply.

[oliof]

Hi "Brother",

The screen presence is of little consequence other than a mechanical advantage for that character. The players get their share of spotlight by framing scenes and driving the games to interesting conflicts.

Cheers,
     Harald

[Ron Edwards]

I love the lower-level Screen Presence sessions for my character in playing PTA. Sure, Spotlight time is fun, but the 1's, especially, have a special quality to savor.

Having a 1 doesn't mean your character isn't there, isn't doing anything, or doesn't matter. Nor does it mean that you, the player, have to shut up and let others talk more in some rigid way. It means your character's Issue isn't being scrutinized or put under pressure, and that someone else's probably is, certainly more so than your own. You have all sorts of license to comment on their situation, or to have your character do stuff that supports, opposes, or contrasts with their actions.

It's almost freeing - you get to be River, wandering into a scene and saying something insightful and spooky, then wandering out. Or you get to shoot up the place during a gunfight - someone else's gunfight, but you get tons of bang-bang with to back them up. Or, instead of close-ups on your grimacing face in the heat of stress, you get a quiet and minor look at what your character's bedroom looks like.

Plus, you can enjoy a certain audience-level 'receiving mode' time with what's really going down in the episode, devoting more mental activity toward responding with Fanmail.

Sometimes it's the 1-episodes that lead people to fall in love with your character and truly to appreciate your presence as a player.

Best, Ron

[Valamir]

I'll throw in a few more cents. 

The key driver of PTA is the Issues.  In order to have successful PTA play you have to have solid issues, and by that I mean issues that the players are really into and excited about seeing on the screen (both their's and others).  If the issues become just things thrown down on the sheet to fill in the blank...then play will fall flat, period.

With that in mind, Spotlight time can best be seen as "who's turn is it to be put in the crucible".  Spotlight 3 means the producer has to be hitting that player's issue hard...REALLY pushing the character to the limits.  Like a lump of coal you bring the pressure and see if the character crumbles or turns into a diamond.  This intense focus is why its crucial that the player REALLY be into their issue as something they want to be tested against.

To Ron's point, Spotlight 1 means "whew...its someone else's turn to be raked through the fire.  This week, I just get to play my character and enjoy watching someone else squirm in the hotseat".

Spotlight 2 is then either building to an intense climax (if it comes before your spotlight 3 episode) or denouement and illustrating the aftermath / picking up the pieces if it comes after.

[Brother]

Excellent points, I never looked at it that way.

Thanks very much

[Brother]

I downloaded PTA as a PDF from IPR (I'm sure there's another abbreviation somewhere).

I've seen 106 page books: http://www.leisuregames.com/acatalog/Prime_Time_Adventures__Dog_Eared_Design_.html

But my download has only 48 pages.

What version do I have?

[BlackSheep]

I believe it's the same content in a different format.

[Brother]

Seeing as I'm still an absolute beginner (haven't played a game yet), I thought I'd paste here rather than start another thread.

====================================================================

How does PTA handle standard fantasy genres, like, Middle Earth for example?

I see a lot of contemporary, contemporary horror, recent past, and sci-fi, but I cant recall reading up on a fanyasy genre.

[oliof]

Smart-ass answer: It does handle standard fantasy genres like a tv series would handle it compared to Buffy, Sherlock Holmes, and BS:G.

Mind you: I didn't do fantasy with PtA, but I did do ShadowRun with PtA. The producer did a writeup here (in german). There also is an Exalted-on-PtA actual play somewhere in the Actual Play forum here on the forge. The search function doesn't like me, so you need to dig it up yourself, sorry.

My recommendation would be not to have a generic fantasy world, but something with a well-defined background, like Artesia or Greyhawk. A detailed world description is a good stand-in for a canon bible. Alternately, make one up, if you want to do it as a group effort, use Universalis.

[Brother]

That's the kind of setting I had in mind, less Buffy and more Greyhawk.

Universalis looks an awesome game, I have it, and I've read it. But for me it's way too heavy on the rules front.

[chance.thirteen]

The BBC series Robin of Sherwood would make a good PTA setting. It has the basics of medieval English culture, which anyone can research, plus the legend of Robin Hood, all given a spin by the setup. From there, the series really did focus on characters and issues, both for the heroes and their opposition.