News:

Forum changes: Editing of posts has been turned off until further notice.

Main Menu

Color-first character, part 3: ready for action

Started by Ron Edwards, January 29, 2009, 02:25:16 AM

Previous topic - Next topic

Ron Edwards

Hello!

Here's the relevant image:


Here are the starting threads:
Color-first character creation project
Color-first character, part 2: Getting this far
And Vincent is also maintaining the page of Color-first character sheets

Annnnnd ... we swing into the next question in the sequence of ten!

5. Now let's look at Situation per se, which is to say, the where, when, who with, what's up, how much, and "oh shit," all of which define the characters' precise ... um, situation(s), in the setting. The trouble with this topic, for present purposes, is that a character sheet is not play. So the only real question we can ask is how does the character sheet and/or some larger-scale rules text inform the Situation-to-be. Very, very few game systems include this for character creation. Sorcerer is one of them; so is Poison'd; I'm also thinking of the first version of Vampire which ipso facto begins with the character's Awakening.

In some ways this question is unfair because I haven't yet had people examine an important component of Character called Positioning. A lot of the later questions will concern Positioning, a feature of the character, which typically points to Situation. For now, please consider Situation in the largest sense possible, as it pertains to group play that's soon to happen. Situation is a pretty big thing during play, and characters typically factor into it rather than define it. It is perfectly reasonable to seek  Situation on a character sheet and not find it at all, so don't stretch to make it fit.

Are there any explicit Situation steps in what you did? Where does it fall in the sequence of character creation steps?Did you fill some in unofficially? Do you construe a given Situation associated with this character right off the bat in play, or hope for particular sorts? Alternately, will the  Situation originate and be applied by someone else (i.e., you hope) as the next step?

Overall, given what's on the sheet, exactly where does Situation come from, or where is it expected to come from? Again, I do not expect the answers to this question to be found on the sheet in many cases, so your answer may refer to other people or actions.


Solicited input: Layla Stonecrusher (Anna), Eleta the Jungle Girl (Eero), Zahri (Adam), Dame Kuula Ben'on (Darcy)

Best, Ron

oliof

Do you only want input from the original contributors, or can others take a swing, too?

Ron Edwards

Hi Harald,

For this whole endeavor, in all threads, anyone can add his or her own character, and sheets for these new characters may certainly be posted at Vincent's page. I'm trying to model this for others by bringing in characters of my own occasionally (Solipsist, Primetime Adventures, Space Rat, for example).

Also, for any of the questions, anyone can bring his or her own character into it, just as Joel has done several times with his Sorcerer character Yaeta. I only ask that the people I mention get first dibs on the discussion for that question, or at least one or two of them.

Best, Ron

Eero Tuovinen

Quote from: Ron Edwards on January 29, 2009, 02:25:16 AM
Are there any explicit Situation steps in what you did? Where does it fall in the sequence of character creation steps?Did you fill some in unofficially? Do you construe a given Situation associated with this character right off the bat in play, or hope for particular sorts? Alternately, will the  Situation originate and be applied by someone else (i.e., you hope) as the next step?

Overall, given what's on the sheet, exactly where does Situation come from, or where is it expected to come from? Again, I do not expect the answers to this question to be found on the sheet in many cases, so your answer may refer to other people or actions.


There is certainly Situation in my character creation. Not only does the Solar System character creation begin with situation creation of sorts, but it also ends in it. In this case I created the character with situation in the foreground: the first step of character creation, the Heroic Event, gave me a solid image of a jungle girl living in an adversial relationship with other people living in the jungle. (I was always fascinated by the relationship Tarzan has with other savages in the novels.) The Heroic Event does not need to lead directly into play, but in this case it sort of does: Eleta lives in the jungle in a socially untenable situation, which is expressed by her Heroic Event.

The character sheet expresses situation in the Key choices of the player. In actual play the Keys feed into situations; in this case scenes that address issues of identity and independence. The character's actual, concrete situation (living in the jungle after having been cast out by the apes, in this case) is also determined as part of the character creation, but it's not written on the sheet.

If Eleta were prepared as a character for play, I'd need to go through the character's backstory with the Story Guide (or go through the character creation process with him, as is normally the case). The SG could then prepare the actual situation for play according to my instructions. The rules do not require it, but SS tends to create characters that are pretty solidly rooted in something or other situation-wise.
Blogging at Game Design is about Structure.
Publishing Zombie Cinema and Solar System at Arkenstone Publishing.

Lance D. Allen

QuoteAre there any explicit Situation steps in what you did? Where does it fall in the sequence of character creation steps?Did you fill some in unofficially? Do you construe a given Situation associated with this character right off the bat in play, or hope for particular sorts? Alternately, will the  Situation originate and be applied by someone else (i.e., you hope) as the next step?

Overall, given what's on the sheet, exactly where does Situation come from, or where is it expected to come from? Again, I do not expect the answers to this question to be found on the sheet in many cases, so your answer may refer to other people or actions.

I'll toss in. In Sexy Deadly, the situation is largely pre-defined. Your lady is in a place (the Complex) looking for the Target, be they a person, place or thing. Mostly, the specifics won't be known until after Ladies are created. So it's not precisely a step, but you must create your character with this situation in mind.

More specifically, I did go a few steps beyond strict character generation by generating the scenario. In a collaborative scenario, I would advocate, constrained by the draw of the cards for the target and my role, for things that would be thematically cool for my character. As the game advocates no authority figure, my contributions have the same weight as those of the other players, so the only determining factor is social pressures and consensus.
~Lance Allen
Wolves Den Publishing
Eternally Incipient Publisher of Mage Blade, ReCoil and Rats in the Walls

Darcy Burgess

Hey Ron,

So, in Traveller, the biggest situation component is pre-determined before character generation begins; to a soul, every character is unemployed.  A pretty strong argument could be made in favour of the notion that character generation (cycling through the service tables) is all about how you became unemployed, which may or may not be situation.  No matter what, that history definitely informs situation -- it's really easy to tease a "what the hell is going on now?" out of the varied backgrounds around a table of Travellers.  As I mentioned in my presentation of Dame Kuula's generation, the filling in of fictional details during the service table cycles isn't strictly official; no rules tell you to do it.  However, immediately following the rules is a several-pages long example in which that exact thing is explicitly happening.

The situation element that's unequivocally part of character generation is the dischargeworld.  This is where you are right now, as play begins.  I think it's interesting to note that this is one of the last things you generate right before play begins -- it enhances the "there's the door...don't let it hit you on the way out" feel of being a Traveller.  What's also interesting to note is that the game is completely silent as to whether or not all characters share a dischargeworld, or are meant to eventually meet up, or just have parallel storylines.

Cheers,
D
Black Cadillacs - Your soapbox about War.  Use it.

Kobayashi

Quote from: Ron Edwards on January 29, 2009, 02:25:16 AM
Are there any explicit Situation steps in what you did? Where does it fall in the sequence of character creation steps?Did you fill some in unofficially? Do you construe a given Situation associated with this character right off the bat in play, or hope for particular sorts? Alternately, will the  Situation originate and be applied by someone else (i.e., you hope) as the next step?

Overall, given what's on the sheet, exactly where does Situation come from, or where is it expected to come from? Again, I do not expect the answers to this question to be found on the sheet in many cases, so your answer may refer to other people or actions.


So Freydis situation(s), two things :

Barbarians of Lemuria assumes you'll be playing in sword& sorcery pastiche : every character is expected to be a wanderer in search of fame, fortune and/or power. This is the default assumption for the game and therefore the situation for all characters.

Freydis sheet gives me two elements I can build situations on : origin and careers.

Freydis is from Valgard : she doesn't live there anymore, why ?

Careers : why and how did Freydis has those careers ? I build a little backstory while creating the character (this wasn't an afterthought).

Barbarian : ok, this is tied to the origin, she grew up in a barbarian tribe
Mercenary : she was bored and decided to travel the world selling her talent as a swordswoman. Mercenary seems to be the best fit.

I wanted her to have the sorcerer career but didn't know how to justify it. I used the Slave career as a link.

Slave : she was made prisoner during a battle against an evil sorcerer.
Sorcerer : the sorcerer had used her as assistant for his foul experiments.

So my guess is she escaped and can now resume a life of wandering and conflict.

The situation steps are implicit, the rules never state "justify the link between your careers".

BoL is pretty traditionnal so now Freydis waits for the GM to throw situations at her. The GM can use these elements to build a fititng situation for her (freeing some slaves, take revenge on the sorcerer, learn that her past mercenary captain betrayed her, etc...).

So BoL gives you tools but don't really give advice on how you might use them to build up situations. It seems to assume that the players and the GM will do it.

Ron Edwards

It's hard for me to summarize the responses to that question, because to my mind, they speak for themselves. My only response is to look around at everyone and say, "You see? You see?"

But past experience shows that this isn't a successful conclusion. Not because anyone else is incapable of seeing the point, but because I'm not communicating what it is. It's hard for me to articulate it because generating playable situation in precisely the border between (1) character creation, post-creation prep, and all-group communication; and (2) the first scenes of play, especially moving relatively fast among different characters ... well, that's a skill I developed over many, many years. And since there was little to nothing in the game books about doing it, and since just about all the written advice or even direct instruction ("Introductory scenario") about doing it was screwy in some way, I developed it without using words. So I have few words for it.

Situation isn't on the character sheet, because it's a feature of play, perhaps even of play a little ways into play. The only things on the sheet are usable components. And those usable components are not only found in explicit Situation-bait (e.g. Kickers) but also in every other "piece" of SIS material. And to cap that, it's actually the composition or (again) specific recipe of those pieces/types of SIS material that matters. Setting turned way up over here, System turned way up over there, some combination of the two in yet a third, Character with only a smidgeon of either in a fourth, and so on and on.

Does anyone have any better words, or rather, his or her own words?

Best, Ron

Ben Lehman

I made up a fair chunk of situation (A group of people to play with) in mine. And, yes, the group of people that you play with is part of the situation in Thousand Kings.

Anna Kreider

Okay. So Donjon is this weird little game and I feel like there's a lot of things to consider in regards to the situation for Layla Stonecrusher.

Thing the first: The GM is expected to provide the starting situation for the characters, as the GM is responsible for running an adventure. This comes with a rather large caveat, though, as defined by...

Thing the second: The process of character creation informs what the GM sets out as setting. The choice of Abilities and Classes defines both genre and things that characters expect to be able to do. They also define the expected level of seriousness of the game. But let's not forget...

Thing the third: Players in Donjon, through the use of facts, have the power to create situation on their own.


So, overall, there is no explicit handling of situation during character creation. But there's an awful lot of implicit situation creation, since creation of Abilities can be read by any decent GM as "This is what I want to do".
~Anna

Ron Edwards

There's quite a continuum of stuff that feeds into Situation when play begins, isn't there? Obviously Situation can include material that has nothing to do with anyone's character sheet, it can include highly situational stuff on the sheet, or anything in between. I was looking forward to the Donjon description because in a lot of ways, a Donjon character is a little Situation-engine in a way that a Tunnels & Trolls or Elfs character (very close relatives) is not.

Ben, the other players are Situation? Either you're bloviating or this Land of a Thousand Kings thing is meta-meta-meta! Which I'm figuring out from your posts that it must be. Wanna explain that at all?

Best, Ron

Ben Lehman

Hey, Ron.

Characters in Thousand Kings are, exactly, the players of the game. Further, all the player-characters are in direct communication with each other at all times. So any "situation" that exists between the players of the game is necessarily transported into the game directly.

There's additionally fictional situation.

yrs--
--Ben

Ron Edwards

I want to encourage continued discussion of Situation, but since #5 is only the starting point, let's add the next question.

6. I don't really know what to call this part, especially because it can happen in different ways. Consider (a) randomized methods, (b) group-based input or from anyone who's not you, and (c) deliberate input from you which throws a wrinkle into the character, perhaps a surprising disadvantage or maybe a big emphasis on a particular thing.

Eero already talked about this a little for his character Eleta, referring to the instability conferred by her Heroic Event.

I think that the resulting spin, bounce, instability, edge, whatever you want to call it, is a positive feature. And if you don't get it from others, it has to come from introducing some built-in contradiction on your own. (This is related to the stuff about personal Color in #1, too.) Without it, a character may seem pedestrian despite all his or her special abilities and spectacular features. I'm not talking only about thematic issues either; for example, reduced survivability against a particular sort of threat certainly qualifies.

It is very likely that I chose this particular illustration because it "spoke" to me in exactly these terms. She looks to me as if such content is absolutely required. I suggest that others felt the same way and deliberately sought out those elements of game design which permitted it to be expressed.

Dissect out the process, in order, of who (and what) provides or will provide the "edge" for your character, if any. Significantly, what risks does it produce for your character, or do you anticipate that it will produce? Contrast your individual choices which put the character at unusual risk (relative to most characters in play, as you see it) vs. those imposed by others (as required by that system or expected by you, which might be the same thing) and those imposed by randomized methods, if any.

Solicited input: Filthy Jackie (Graham), Yaeta Fae-Touched (Joel), Svenya Frost (Frank), Elena MacIntyre (Meg)

Best, Ron

tonyd

Funny... so today I'm writing the sections of Principia that tell you what kind of play experience to expect based on your choice of position. It occurs to me that this sheds light on the color-first discussion. I open up a browser, and there it is!

I presume that by "edge" you mean something that contributes to the "edginess" of your character, something that pushes them towards or even over the edge of situation. I see that as working towards interesting situations in play, but against the player or character's ability to keep situation under control. Character in Principia is about exploring this edge. Your choice of position flags the kind of situations you'll use to explore it.

The action matrix in Principia encapsulates this idea. This is a list of ways in which the player, through character, can explicitly control events in the game world. Each point of leverage can only be activated in a particular situation, and comes with explicitly consequences that the player does not control. They aren't situations in themselves, but they quickly turn into situation because they tell the player to set up a particular situation so they can achieve something specific, then instruct the GM how to make that situation spiral into another situation outside of the character's control.

This isn't glaringly obvious with the merchant character. It's much clearer for the swashbuckler character. In Principia, a swashbuckler who's engaged in a fair fight can spend a point of resolve to win that fight in the manner of their choosing - no dice rolls, no take-backs. However, the GM then decides if their opponent lives or dies. Alternately, a swashbuckler how uses subterfuge in a fight can immediately chose to kill their opponent, but the GM gets to dictate how it impacts their reputation and social standing. The action matrix defines the swashbuckler's general situation as one in which they get into fights, they choose between fair combat and trickery, and then suffer the consequences.

This is a bit harder to see with Ilja the merchant. When Ilja finds herself in a position to make a contract, provide services, allude to her exotic homeland, or fulfill a contract, she gains control over situation in particular ways, most of which have to do with producing cash, useful stuff, information, or relationships. The results of these actions say a lot about what people want, expect, and demand from her in return. As a merchant, she can quickly produce all kinds of useful stuff, which creates future expectations, which... she can then choose fulfill to produce even more useful stuff! When you play a merchant, this is the kind of situation you'll end up exploring.
"Come on you lollygaggers, let's go visit the Thought Lords!"

tonyd

Quote from: Ben Lehman on February 04, 2009, 08:03:42 PM
Hey, Ron.

Characters in Thousand Kings are, exactly, the players of the game. Further, all the player-characters are in direct communication with each other at all times. So any "situation" that exists between the players of the game is necessarily transported into the game directly.

There's additionally fictional situation.

I'm curious about this. How is this different from a dysfunctional group who bring their personal issues to the table and then play them out through their characters. Can this sort of dysfunctional play even take place in Land of a Thousand Kings? Does the game contain any system, color, or guidance that enjoins the players to communicate in a particular way that's intended to work around or untangle dysfunction in order to facilitate successful play?
"Come on you lollygaggers, let's go visit the Thought Lords!"