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Started by Jonathan Walton, November 01, 2002, 07:49:54 PM
Quote from: talysmanI don't see what the problem is... combine them! drop everything from Q&C except that motivation to escape the mundane and put it into Storypunk, which needs a motivation to drive the game.
Quote from: Matt SnyderEach "story" or realm or whatever, has preconceived conflicts. By their own hacking (or the hacking of others, villains or otherwise), those conflicts might get thrown off. So, right there we've got the notion that a character has to deal with the conflict, or deal with the ramifications in that and subsequent "story worlds" if he doesn't.
Quote from: four willows weepingWhat if the characters ran around the web of stories, not just to keep themselves entertained, but because if they didn't keep them moving, the stories died? [snip] What happens when stories deeper down in your chain collapse?
Quote from: EXAMPLE0. You are studying for a Shakespeare final and enter King Lear.1. Inside King Lear, the Fool tells you a story about another jester, Hop-Frog (an Edgar Allen Poe story). You enter it.2. To escape watching the horrific ending of Hop-Frog, you tell your own tale of a beach in Hawaii. You enter it.3. You dawdle too long on the Hawaiian beach, entranced by its warmth & beauty. The story (being merely of your own creation) looses its strength and crashes.-2. You fall back into Hop-Frog, witness the King and his ministers being burned alive and stay until the story ends.-1. Lear's Fool finishes his tale and he is hanged. Whatever role you have taken in the story is slaughtered.0. Since your role has died, you are forced back into the reality of studying for your Shakespeare final, hopefully having learned something about Lear, but still missing the warmth of the beach.
QuoteAre the really skilled story-hackers, like Shaharizaad, traditionally adept at something in particular, like embedding stories deeply, or linking them together with patterns of inference and implied causality that makes all the stories in the pattern behave like one?
QuoteWhat is to tell the hackers the expected longevity of a story?
QuoteHow much does the story impinge on the hacker? How much of the hacker has to be defined? I imagine that only what the hacker has defined for himself is what is constant - Rapunzel's hair was long, but what colour was it? The Emperor had no clothes, but I guess everyone else did, or the story wouldn't be very clever...
QuoteIs every cheap slasher flick a distinct story, or are they all the same story, with points where they branch and rejoin like poorly spun yarn? What is a story like? From outside it, can you smell it, taste it, touch it? Is there a Sea of Stories? What does it feel like when you step from one story to another?
QuoteAre story hackers creatures of the Realm, or escapees themselves?
Quote from: RobMuadibSo, another idea I had, somewhat influenced by too many ST holodeck episodes, is that maybe powerful Storyhackers are able to take on the LEAD roles of stories. That is they have the power to take on the role of the Count Of Monte Cristo, or Sherlock Holmes, etc. Thus claiming a StoryRealm for themselves.
Quote from: Jonathan WaltonQuote from: RobMuadibSo, another idea I had, somewhat influenced by too many ST holodeck episodes, is that maybe powerful Storyhackers are able to take on the LEAD roles of stories. That is they have the power to take on the role of the Count Of Monte Cristo, or Sherlock Holmes, etc. Thus claiming a StoryRealm for themselves.So, I've been spending a serious amount of time considering Rob's suggestion, because his point, I think, is a very valid one. In truth, there's really two different ways of handling how characters manage to intrude into stories:1. Characters enter a new story as themselves, and have to create new roles within the boundaries of the story.2. Characters enter a new story by "possessing" existing characters, instantly becoming a part of the ongoing action.Now, I could allow one specific type, or I could make them options.
Quote from: talysmanA character must enter a story first as themselves, then either make a major change to the story...
QuoteI would also say that option G for story malleability is the best one.