Thursday, June 30, 2016

ABS12: Hill Giant, giant scorpion, and skelify

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

Here is the newest additions to the species list. The first giant makes the list. Also there is one additional alteration - skelify - making a species into an animated skeleton.

I also went ahead and ran off a new set of species list for the main game page since I had patched together a few different charts and it was starting to look messy.

[click to enlarge]

Skelify The claw (bone) damage is based on the size of the original species. They loose all skills, all swimming ability, and winged powers of flight, They cannot think because they are missing brains. Rather they are animated by magical means. They may have a weapon if the species has hands.


A Basic System 12 (ABS12)
Index of my blog

Wednesday, June 29, 2016

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.

Aioskoru part 2 : "Friendly Centaur"

Aioskoru website
Aioskoru Adventure seeds
ABS12 System


Continued from this Aioskoru Story Series
Aioskoru part 1 : "Wild Horses"

Here are the stats for my two main characters.

Madi the amateur magic user is PL1.
SpeciesLifeSpdDefDef TypeBPDamageD TypeMagSc/TcBPVerbAdj/AdvBPVerbAdj/AdvCost
Magic User223Cloth21d12/6Staff45Fireball S1d12/23Net S315

Andelin the amateur fighter is PL1
Fighter436Plate41d12/3Sword2Rescue22Tracking/hunting215


"Friendly Centaur"
By Ken Wickham
Copyright © 2016


Andelin came to discover from Nefron, the centaur carrying him that Theda was the name of this troops leader that had spoken earlier. Nefron wasn't so serious as Theda. He actually seemed to have a sense of humor.

"I thought you guys were going to run," he joked somewhat serious at first, and then he let out one gasping chuckle. "Everyone always runs," he said cracking his large fingers in front of him. 

Nefron had black and white skin which matched his lower body. Andelin noticed that the pattern even went down the centaurs massive arms and hands.

He tried to imagine trying to run from the swift centaurs. Run where? After a few seconds of thinking he said the obvious. "You would have caught us easily." 

Almost under his breath he muttered, "Well, at least you two were smart enough to figure that out."

[Is the weather still raining? 9; Yes]

The rain had been constantly raining - sprinkling - most of the day. Despite the rain they still traveled rather quickly.

[Did anything happen along the way? 2; No, also ... I'll roll for inspiration on the fact generator
10, Emotion; 7, Trust]

Traveling was uneventful, yet Andelin seemed to begin to feel a bit closer to Nefron. His laid back friendly chats were helping him to relax.

"So what are they going to do with us?"

[Does he know? Yes, also...
fact generator: 2, Senses; 6, Brush]

"Probably make you brush the horses," Nefron said smiling. "They always make human's take care of horses. I think they like you serving the horses for once instead of the serving you." The humorous centaur slightly elbowed him - which startled him for a moment - because he was unsure of his balance.

"Do they really believe that such treatment will work," he asked.

The centaur didn't answer at first, they were crossing a stream. Andelin held on tighter as the water rushed below them, reaching up to his hanging feet.

Once up the other side, Nefron finally answered, "Well. It sure seems to help the humans we've caught so far. After a few years of service, they seem to regret riding the horses."

Andelin smile went away quickly. "Years?"


[Is the centaur city near by yet? 9; Yes]


As they finished the ascent up a hill going up the long embankment, trees gave way to the familiar green view again. Except this time it wasn't entirely like the other fields. Ahead of them stood structures - a village.

[To be continued]

Tuesday, June 28, 2016

JAGS Archetypes Omnibus

Marco made the order right.

The JAGS Archetypes Omnibus is impressive.

Here is the new page of the product.

ABS: Solo Gaming Engine - flexible version

ABS12 Solo Game Engine and Fact Generator
ABS12: Basic Fact Generator
ABS12 Solo Game Engine: Additionals, Branching, & Conditionals
ABS12: Synonyms for writing using the ABS12 Solo Game Engine
Testing the ABS12 Solo Engine and Fact Generator
ABS12: Story Engine
ABS12: Drama Escalator

ABS: Solo Gaming Engine - flexible version It contains 1d6, 1d8, Fate, Fudge, 1d10, 1d12, 2d6, 3d6, 1d20, 4d6 JAGS, and 1d100 columns and modifiers.

ABS Solo Game Engine - flexible version 1.0

ABS just means A Basic System, which is the name I've used for the 1d12 version of the game I called ABS12.

This is the flexible version based off of my original ABS12 solo game engine version. This is usable for most gaming systems.

How to Use the System

This is meant to help emulate a gamemaster when playing alone using the system. A question is asked about the scene, situation, or facts about the current game. It's as if asking the storyteller about what is happening. The appropriate die for the system is then rolled. The chart is consulted and then interpreted.

Ex. Does the character see anything around? Roll. Yes, your character sees something.

Purpose for Inclusion

Very early in developing A Basic System 12 (ABS12) I want to include a solo gaming engine. That way the system can develop with such system already included. This is now included with the blog page which has the system.

Inspiration

I began with a version influenced by roryb bracebuckle's epic d6 found at http://noonetoplay.blogspot.co.uk/2013/11/epic-playtest-bird-of-wisdom-part-2.html. I also considered differing from Zach Best's CRGE by focusing on the kinds of decisions a player makes rather than the results of situations that have 'unexpectedly' results.

Intention

I wanted to try adding another layer of action into the engine. One particular area that I thought of is making the middle area more influential. And to somehow adding a Maybe-type section. One possibility is making the 'Yes, but' and 'No, but' into two distinct types of 'but's. One that is branching out - creating new options, and one that depends upon a condition. Conditionals are like a gamemaster saying, maybe yes, if and only if this other thing is done, occurs, or is satisfied. Or its like saying, no, unless you happen to be able to do this thing. For branching it's like saying, yes you perform the task well, in addition you notice this other situation  that may not be good. Or no, you failed, however you notice this other situation that may be good.

If trying to answer a description question, these answers might hinge on other possible descriptions.
Description examples.
Q. "Is that blue?" A. "Maybe it's blue, if your seeing it correctly. The light might be throwing off the color a bit. Try looking at it from another angle."
Q. "Is she my mother. A. "She might be, your not quite sure. She doesn't talk about your early childhood. You'll have to ask her further about your childhood."


Explaining the Middle

The main considered change is #6 and #7.

Branching - Splitting, New Factors

The howevers would indicate the presence of a new concerning factor that may present further opportunities. What the player does with those presented factors, is up to the them entirely. It can be a new fact, something noticed, or just 'something isn't right'.  The howevers may not necessarily cause another action check - they create additional descriptions and facts that could be considered either neutral or slightly opposite in polarity. They can create branches - additional options. The character can continue to go the way, see, or realize something they intended, or they can consider this newly discovered factor. They can represent forks in a road. It is presenting facts for at least two or more options.

Conditionals

The if and only if and 'unless' are meant to differ in that they are conditional elements. The answer is directly tied to some sort of conditional action or requirement. Some other issue must be satisfied. These are meant to cause another test or roll. These are sharp turns in a road. These are made to prolong the tension and result of the prior roll. It's basically a roll again, which must be explained in the story just why another roll must be made.

One good way to find a testable statement is to use "Perhaps ..., " and then fill in a statement or situation action.

"Perhaps your not seeing things correctly." And then test it.
"Perhaps you need to check to see if you somersault wisely to avoid that rolling boulder." And then roll.
"Perhaps your a little distracted to fight properly." And roll a focus roll.

It works similar to "Unless ... ."
"Unless you're seeing things correctly." And then test it.
"Unless you somersault wisely to avoid that rolling boulder." And then test it.
"Unless you're focused to fight properly." And then test it.

Additionals

The and statements mean that the answer is doubled, either double good with an additional good result - a bonus. Or it's double negative. Not only 'no', it's also more negative because ... .

ABS Game Engine System Synonyms

maybe - perhaps, possibly, conceivably, it could be (that), it may be, it is possible (that), perchance, for all one knows, mayhap, there's a chance

if and only if - on (the) condition that, provided (that), presuming (that), supposing (that), assuming (that), expecting (that), as long as, given that, in the event that, believing (that), judging (that), speculating (that), thinking (that), surmising (that), guessing (that), imagining (that)

unless - except if, save, except on the condition that, except under the circumstance that

however - but, still, yet, though, although, even so, anyway, anyhow, nevertheless, nonetheless, despite that, that said, just the same, all the same, for all that, be that as it may, all the same, having said that, notwithstanding, still and all, regardless, in any case, at any rate, anyhoo

also - and, together with, along with, with, as well as, in addition to, besides, furthermore, plus, too, additionally, further, moreover, on top (of that), over and above that, what's more, to boot, equally, and all, likewise, by the same token

yes - surely, certainly, absolutely, indeed, okay, Ok, of course, naturally, affirmative, unquestionably, assuredly, definitely, obviously, beyond/without question, by all means, without doubt, indubitably, undeniably, irrefutably, indisputably, undeniably, evidently, plainly, clearly, unmistakably, for sure, positively, unequivocally, really do

no - absolutely not, (most) certainly not, of course not, under no circumstance, by no means, not at all, negative, never, not really, nope, uh-uh, nah, not on your life, no chance in hell, no way, no way Jose, nay, not for the moment, on no account, nevermore, not in a million years, when pigs fly, when hell freezes over, on the contrary, denied


A Basic System 12 (ABS12)
Index of my blog

ABS12 Solo Game Engine © by Ken Wickham 2016. All rights reserved.

This blog may not be reproduced in any form, stored in any retrieval system, or transmitted in any form by any means—electronic, mechanical, photocopy, recording, or otherwise for any other person—without prior written permission of the publisher, except as provided by United States of America copyright law.

ABS12 Experience System Changes

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

When I set the first version of exp points, kills and skills were the focus of my initial framework. I haven't used that system yet in my test plays. And I don't think that I want to.

I will change the experience point system to something else. Something based on scenes, acts, and story rewards. Rather than worrying about kills and skills, I will focus more on scene goals, staying true to the character, and facing conflict. In addition, points for completing each part of the story will be given.

This system focuses on the overall story, rather than actual specific results. It doesn't judge success over failure. It only judges if the story is being done

Experience
EP per Scene Goal reached
Characters receive 1 experience point if the purpose of a scene is completed. Does the scene add anything to the plot of the story? If so, award 1EP. If not, next time try to create scenes that add to the story. They can be beginnings, middle, or end type scenes that introduce, present, or finish conflict or the plot.

Experience

Per Scene
EP per Scene Goal reached
Characters receive 1 experience point if the purpose of a scene is completed. Does the scene add anything to the plot of the story? If so, award 1EP. If not, next time try to create scenes that adds to the story. The scenes can be beginnings, middle, or end type scenes that introduce, present, or finish conflict or the plot.

Character true to it's concept
If the character stayed consistently within the concept of the character within the scene then award 1EP. The character should have it's own voice. Playing a character well means playing it according to it's own rules and logic. Know your character and do stuff that makes sense to that character.

Conflict with opposition
If the character faced opposition with some hindering force within the scene then award 1EP to the character, despite the resolution of the conflict - either success, draw, or fail. Conflict is important to the story. Failing and coming to a draw are just as important to the story as success - maybe even are more important.

New Awareness about something important
Did the character learn something new that is important for the story. If so, award 1EP. Even if the character doesn't face conflict, if they learn something important about them, someone else, or something important in the story then award 1EP. This helps to award character knowledge, rather than materials gained in the story.

Per Act
Act completion
If an entire act is completed then award 1 additional EP. Finishing an act means progression within the story.

Per Story
Story completion
Award 2EP if the story had come to a climax and been resolved. Completing a story is a significant event.

PL Progression
Every 10 EP award a Power Level (PL). Every two PL, the DL will increase by one.

For the PL list, for now I remove the EP since I'm making it a flat 10 per PL.

PL - Description Level
no Description
- 1
2 -
3 - 2
4 -
5 - 3
-
7 - 4
8 -
9 - 5
10 -
11 - 6
12 -

Monday, June 27, 2016

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: 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.

Saturday, June 25, 2016

Aioskoru part 1 : "Wild Horses"

Aioskoru website
Aioskoru Adventure seeds
ABS12 System

Concept art at https://wiki.guildwars2.com/wiki/Centaur


"Wild Horses"
By Ken Wickham
Copyright © 2016

For many days they had traveled, having left the last of the human settlements far behind. Only green fields of grass and cloves alfalfa extended in all directions. Two brown cloaked figures walking in a sea of fields. Only an occasional grove of trees, normally along a stream headed down towards the real ocean, interrupted the expanse of green. Winter had receded and spring had brought forth abundant growth. The strong winds from the west (cm. ueos) kept blowing a constant but rather warm wind coming off of the Blood Sea (cm. Esnes Mori). A constant grey cloud filled sky brought showers throughout the day, Madi was constantly soaked. Finding dry wood for night fires was always a challenge. Andelin looked no drier.

[fact generator quick search: 10, 4; Fear; 12, 3; Wide; 11, 11; Mechanism]

Widespread fear had spread across the lands that they left behind. Many were preparing their weapons of war, fencing defenses, and stocking ammunition to ward off the threat that had recently been attacking small outer villages of the Homeland (cm. Keios Lendh).

"It's the scorpion people," he said pointing towards the far distant barren rugged hills and plateaus one evening as they were setting up their tents and preparing for camp. He, although young, seemed much older than her - or maybe she just was more vibrant.

Madi and Andelin and been sent to seek help and the counsel to fend off the attacks. They sought help of the distant lord of the horses (cm. Reg-eqouinos Klopnis). Little was known of them - always distant. Only a few legends and tales were heard from those that encountered the majestic half human-like half horse-like beings.

Days they had walked, not willing to chance being caught on horseback by horse guardians. What punishment would they demand were they caught for such actions - though horseback is common outside of this land?

Horse totems had sporadically been placed along the lands. Seeing the rock image of a heroic figure swinging a very large sword-staff at what looked like demons etched into some of the basalt totems sent a shiver down her spine.

Andelin was leading their walk this day. Slowly they were making their way up the gentle slope of one of the rolling hills. At the top he stopped and then went to a small crouch. He then did a quick hand motioning her up to him quickly.

She increased her pace and crouched.

The crest of the hill revealed a distant herd of horses.

Then the more she looked, the more she realized that the horses had human-like torsos instead of heads. The sight stopped her breath momentarily. Although she knew that they were looking for the centaurs, actually seeing them in the flesh was much more marvelous.

The colors of the torso blended in with the patterns of the lower horse torso. Some where brown and white. A few white. Some were all black.

[Are the horses at a run? card: queen =12; Yes, also... they have their weapons drawn and are headed directly at the two.]
Madi saw that the horses were charging directly at them. Their bows were notched, swords drawn, and polearms aimed towards them. The front centaurs had large shields and were armored with protective plating and chainmail.

Adlin raised his hands in the air and walked forward in submitting."I suggest you do likewise," he said in almost whisper, barely-voiced.

Madi's first urge was to prepare her fireball power. Easing back her instinct, Madi knew they had to give themselves up. There was nowhere that they could run or escape. They had to meet the centaurs one way or another. The centaurs slowed as they approached the two towards the top of the hill, now becoming cautious.

A loud call shouting one unrecognizable word from one of them caused the troop to split, now beginning to circle them. She watched as the centaurs slowly trotted around them, weapons pointed directly at them. She watched them come to a join at the other end. Probably twenty centaurs in all. Another loud command shouted and they stopped.

It was strange to see the horse form people stop and not hear the horse sounds and see the horse head shaking that she was accustomed to. Instead she heard panting and saw the centaurs wiping their brow. Similar to horses however, a few moved there legs and hooves just as horses do, also whipping there tails around.

"You are trespassing on ekouinmanus territory." said one.

Madi turned towards the voice. A plate armored mare (cm. marko) colored green and browns almost in a camouflage pattern spoke. She was colored brown and white, which helped to blend with the green and brown pattern. If seen at a distance alone, she would be difficult to see.

"We are representatives of the manus territory," said Andelin in a calm voice.

Madi added, " We come with peaceful intentions. We have a common foe."

At that, Madi saw her look her and then look slowly off into the distant barren mountains. She then looked back towards Madi with eyes piercing it felt into her soul. She then turned to Andelin.

Andelin was nodding, "Yes, we've come to aid each other. The kingdom of man has been plagued by the scorpion people just as much as you probably have been - if the stories are true."

"I'll admit that there is no love between us and the plateau dwellers," the centaur warrrior said back pointing her head towards that rugged terrain."But what proof do we have of the human's intentions. Human's enslave the horses we keep free."

Andelin spoke first. "I'll admit that we are envious of your natural size and running ability. We do not have your ability naturally. So we must ride the horses gain that ability."

"You tie them up," she accused them looking at them both quickly.

"Horses are valuable," he said.

"You imprison them within fences."

"They would run away."

"Free," she even more loud.

No one spoke for a moment. Madi looked at Andelin, who also looked at her. He was wrinkling his brow and biting his lower lip. Madi noticed her extremely dry mouth. She wet her lips and tried to swallow painfully. Despite being soaked, her mouth was dry like a desert.

"What can we do to show you or good intentions," Andelin managed to say.

"It's not my decision," she shouted back. She now was wrestles moving side to side, her lips firmly together after speaking. "You are my prisoner now. It's for the clan chief to decide," she said, now beginning to move towards where the centaurs had come from.

"Take their gear and weapons," she shouted without looking at them. "And then bring them."

A soldier came towards her. Another went towards Andelin.

She handed over her staff towards him handle first. She also handled over her pack.

The centaur soldier after handing it off to another centaur behind him,  lowered down to her level going down onto it's knees. "Checking for anything hidden, " he said.

She raised her arms, and he searched everywhere for anything hidden. "Remove your ring," he demanded. She removed her glowing blue aura silver ring - the family heirloom which has great transformational powers. After placing it into her brown pouch, she placed it into the hand of the awaiting centaur.

"Oh. And as for any powers," he said. "This area is guarded by the guardian totems. Any use of magic will result in a unpleasant experience for you. Magic here is only for the blessed," he said, now smiling.

He stood back up. He then grabbed her around the waist and placed her behind him on his horse back.

And then off they galloped to the center of the troop of centaurs.

[To be continued in Friendly Centaur]



ABS12: Drama Escalator, v 1.06

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

New version number
If you haven't  noticed, I upped the version now to 1.06 including everything changed or added last week. The current version is much larger than the last version update. I finished my magic user play test, added the deck of cards option for the solo gaming engine, added a new power & magic system, and added a story engine.

Drama Escalation
Here is a small update I will try for drama escalation.

Escalating answers.

  1. For the GM emulator, once the inciting event has occurred start at -4 to all rolls for actions related to plot.
  2. This will limit the maximum best possible answer as a 'Yes, however'. 
  3. Then each time that the character fails to achieve a plot goal add 1 to the initial and subsequent base # -4 slowly reducing it to zero and then it can become a positive number. 
  4. This slowly increases the chance to getting a 'Yes' answer.
  5. Once a 'Yes' or 'Yes, also' has been achieved, the escalating number returns to -4 value.
  6. If the scene is a climax scene, any negative value becomes zero and can become positive.


A Basic System 12 (ABS12)
Index of my blog

Friday, June 24, 2016

ABS12: Story Engine

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

ABS12 Solo Game Engine and Fact Generator
ABS12: Basic Fact Generator
ABS12 Solo Game Engine: Additionals, Branching, & Conditionals
ABS12: Synonyms for writing using the ABS12 Solo Game Engine
Testing the ABS12 Solo Engine and Fact Generator
ABS12: Story Engine
ABS12: Random Objects & Participants
ABS12: Drama Escalator

ABS: Solo Gaming Engine - flexible version It contains 1d6, 1d8, Fate, Fudge, 1d10, 1d12, 2d6, 3d6, 1d20, 4d6 JAGS, and 1d100 columns and modifiers.

Story Engine
Here is an potential story engine for main storyline that I will experiment with. It is based on three literary plot structures. I am not sure I like the 2d12 probability.

#1 is hidden text. The blogger has numerical list which automatically starts at 1. I didn't feel like looking up how to remove it, so the list really starts at 2 since 2d12 lowest value is 1+1 = 2.

ABS12 Sory Engine v 1.0

Roll two 12 sided dice (2d12) adding the results together.
  1. By Ken Wickham 2016
  2. Descend - a character must descend to the very depths of despair to perform some great task.
  3. Maddening - a mad person versus the victim of the insanity.
  4. Tempted - a character must face their greatest weakness, distraction, or compulsion.
  5. Disaster - a power falls defeated by an enemy or informed by a messenger.
  6. Sacrifice - a character must struggle to maintain an ideal by sacrificing something great to satisfy a creditor or opponent.
  7. Obtain - a character asked by another, must struggle to obtain something great in order to aid against an adversary.
  8. Prey - a master or monster threatens or causes suffering to a victim or unfortunate character.
  9. Rescue - a character must deliver a unfortunate or supplicant from a persecutor.
  10. Pursue - a character must pursue a criminal and avenge the victim with the expected justice deserving.
  11. Escape - a character must escape from imprisonment or punishment from some conflict.
  12. Transform - a character goes through a dramatic change like a rebirth of power, form, or appearance.
  13. Mature - a character comes of age or knowledge through a challenging experience to reveal something important.
  14. Abducted - an abductor takes abducted from a guardian.
  15. Enigma - an interrogator posses a problem to the seeker and gives the seeker better ability to reach the seeker's goal.
  16. Rival - there is an object of rivalry and a preferred or superior side versus a rejected or inferior side.
  17. Revolt - conspirators plot to overthrow a tyrannical power.
  18. Metamorph - a character must go through a dramatic change into something by supernatural or severe natural means.
  19. Daring - a bold leader sets out to obtain an object from or to fight against a powerful adversary.
  20. Conspire - a hated character and a 2nd conspire against a character.
  21. Lost - an important object is lost by negligence. There character must find the object or remedy any consequence.
  22. Forbidden - a character must do something considered forbidden in opposition to sagely advice.
  23. Betrayed - a desirer and desired have betrayed a character. The betrayal is discovered by some means..
  24. Ascend - a character must climb some challenging task and raise above opposition to become one of the few to ascend to the top.
Based on a mixture of Polti's 36 plots, Tobias' 20 plots, and Booker's 7 plots.

2d12 probablility

I may have to change to something else. I couldn't fit the plots into one single d12 roll.

I may instead to a double roll instead of a single roll.

But if I can organize the plots into more common and less common plots, this 2d12 may work.

A Basic System 12 (ABS12)
Index of my blog

Story Engine © by Ken Wickham 2016. All rights reserved.

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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: 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.


Thursday, June 23, 2016

ABS12: Changing powers

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

ABS12: Powers & Magic revisted

In the last post I presented an optional powers system structure that isn't fully developed or tested. It was just my quick notes.

I'll use that Magic User from the last playtest - Madi vs the giant rat.

The magic user is PL1.
SpeciesLifeSpdDefDef TypeBPDamageD TypeMagSc/TcBPVerbAdj/AdvBPVerbAdj/Adv





Cost
Magic User223Cloth21d12/6Staff45Fireball S1d12/23Net S315


Fireball vs Adjective Verb Noun
Instead of the 5 Fireball spell that does 1d12/2 damage, under the test system it might be 5 power of the verb power Destroy and 5 of the noun power of Fire, combined to be called Greater Destroy Fire with the same damage of 1d12/2 which goes at normal spell casting distance. Destroy and Fire would be two separate verb skills, when combined create a manifested power.

Changing Verbs + Fire
Other verb power verb skills could then combine with fire. Covert Fire might be the ability to hide in flames, or blend into flames. Reveal Fire might let a character sense where fires are located within a certain range.Travel Fire might let a character walk through fire or move as a ball of fire through the air, if they also have air noun powers.

Two Manifestation Aspects
Also in that last chart I added stuff like armor, size, and duration. Maybe powers can manifest in two chosen ways. In the fireball's case, it is in range and damage.

Flexible Two Manisfestations
Maybe the same power can manifest using two other aspects from the five: scale of damage/heal, range, duration, armor, size, and duration.

For example, the same verb level of 5 Destroy Fire might also be used at no range - encompassing one spot near the caster, yet last a longer duration in this case a Long time - maybe 5 rounds. Or maybe it can be used defensively surrounding the character in a ring of fire that does 1d12/2 damage to those that touch it. Or maybe instead of high damage, the character wants to do a 1damage fire spread out across a Large area of 5 units big - like grids or meters instead of one.

For now,  picking two aspects of powers seems like a good rule of thumb.

Tuesday, June 21, 2016

The search for a fantasy or universal RPG: The winner and my choice.

The versatile universal system that can play any genre: from fantasy, to superhero, to psionic, to horror, to cybernetic scifi.

Available free both the core book and archetype book by PDF download at www.jagsrpg.org or http://mchacon8.wix.com/jagsrpg

They also have the paperback version and hardback version available from Amazon.com also available via a link from the system page.

I'm ordering the Omnibus archetype physical book. And maybe the core book later, depending on how the latest revision goes - once it is available.



Sunday, June 19, 2016

The End is Next. The Final Battle will be next.

Phase 3 The Playoff Battles [Redo with Openquest]

Openquest 2.18 vs Heroquest 1.93

Openquest moves on.

Openquest 2.18 vs What's O.L.D. is N.E.W. 1.19

Openquest moves on.

Openquest 2.18 vs Dungeon World 2.40

Dungeon World moves on

Dungeon Wolrd 2.4 vs Hackmaster 2.48

Hackmaster moves on

Hackmaster 2.48 vs Unchained Heroes 1.91 - New Quarter-final

Hackmaster moves on

Hackmaster 2.48 vs Radiance 2.11 (2.31) - New semi-final

Hackmaster moves on to the Final Battle!

Next is the Final BattleHackmaster vs JAGS!



Thursday, June 16, 2016

ABS12: Powers & Magic revisted

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

Current rough magic system: skill based

My first magic system began with two spells - fireball and life heal.

A few weeks ago I switched to skill based magic.

Magic Users Spells: disease, poison, splinter smash, firecone, corrupt touch, fear, drain touch, corrupt stare, petrification, charm, dig, fly, immune (to one element or poison/disease), aware, defense (increase defense temporarily), covert (invisible), or offensive bonus. Each build point raises damage up the scaling damage chart from 1 to a current max of 6 damage levels [(1d12*3) /4].

Considering next power system 
I considered this system in a message to one person that I exchange messages with.

I'm just getting to magic more recently, still trying to keep things simple reusing skills and creature abilities as the basis for magic atm. I may switch to an 'adjective', 'verb', and 'noun' system like 'minor destroy fire', 'greater summon earth', or 'fast heal life' tying the parts of a created spell name to mechanics and allow the player to describe the magic visual effects and form. Maybe do that as soon as I have the basic down.

This post I wanted to begin looking how such system may look like.

Here is a chart that I made up. I will place it as an option for now in the system.

[Click to enlarge]




A Basic System 12 (ABS12)
Index of my blog