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vendredi 5 août 2016

[Tactique de maîtrise] Maîtriser des scènes oniriques

Il peut arriver que des meneurs de jeu souhaitent faire interpréter aux joueurs les rêves de leurs personnages afin de favoriser leur immersion dans l'univers de jeu ou distiller des indices relatifs à l'intrigue. Introduire une telle scène onirique dans la narration a aussi un grand intérêt, en ce qu'elle donne une ambiance surnaturelle sans aucunement violer les lois de la réalité, puisque ce que semble vivre le personnage n'est qu'un rêve où tout est possible.

Le présent billet donne une série de conseils et principes directeurs destinés à optimiser l'impact des scènes oniriques sur les personnages et les joueurs.

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mardi 2 août 2016

[Tactique de maîtrise] Les descriptions instables (et trop stables)

Les conseils aux meneurs de jeu qu'on peut lire dans des ouvrages récents tels que Monsterhearts pour ne citer que celui-ci mettent fréquemment l'accent sur le fait que je meneur de jeu devrait décrire fidèlement l'univers de jeu et être "honnête". Si ce principe relève d'une saine gestion des capacités d'action des joueurs, celui-ci peut être remis en cause dans une certaine mesure par le biais de descriptions instables, trompeuses, aux fins de générer une sensation d'étrangeté ou de malaise.

Une autre sensation d'étrangeté peut également être suscitée par des descriptions artificielles et répétitives, qui n'ont pas tout à fait le même effet.

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lundi 25 juillet 2016

[Tactique de maîtrise] Les descriptions synesthétiques

La mise en œuvre de descriptions captivantes est l'un des piliers d'une narration réussie. Ce billet explore la manière dont le recours à la synesthésie peut constituer un outil utile pour raccourcir les descriptions tout en les faisant s'adresser aux émotions et au ressenti plus qu'à la seule raison.

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mercredi 2 septembre 2015

Strategic Gamemastering, part 3: Flags, THACO, and plot hook writing practices

Readers have brought my attention to several articles on flag framing. Basically, "flags"are all data objects on the character sheet.

If you haven't done so yet, I urge you to go read these insightful articles by experienced gamemasters.

Flags and cues

Flag usage, especially as described in the last article in the above paragraph, does cover a lot of the ground also covered by the first article on strategic gamemastering. Flags, however, are not limited to the character sheet : everything on and outside the character sheet is a valid data flag and can be exploited.

Furthermore, the second installment of the strategic gamemastering articles goes further, by:

  • providing a categorization of the cues/flags, which has consequences regarding the manner in which said cues can and will be exploited by the gamemaster
  • presenting the THACO tool as a rational, and systematic management of cues/flags, not only for designing plot hooks and/or an adventure based on player-character data, but also for managing the evolution of said cues/flags over the course of the game and campaign.

The THACO in comparison to other tools

The THACO tool is not a conflict web and has never been designed as such.

The THACO is a systematization tool designed to represent in a visual, efficient, and reproductible manner all GM mental processes related with the Shared Imagined Space at a specific time. The successive THACO diagrams over a campaign can show the evolution of the characters as well as that of the setting

The THACO incurs consequences for the manner in which the GM creates his adventures.

Being a systematization tool for any game data, not limited to the use of the PC character sheet flags, regular use of a THACO tool incurs further consequences in the manner the GM will read adventures & NPC descriptions created by third-parties: everything is a flag, including any and all data in an adventure and/or NPC fluff & stats, and the THACO-using GM will be decomposing said adventures and NPCs into their constituent objects (flags).

Let's try it with a quite straightforward adventure:
A herald announces that the princess has been kidnapped by a dragon, looking for vengeance after the kingdom's armies drove him from the land many years ago. The aging king offers a reward for whomever will rescue the princess and return her to her sire. Unbekownst to the king, his daughter the princess is in league with the rebel barons. They plot to overthrow the king and crown his daughter, using this kidnapping as a pretext to approach the king in order to assassinate him.

Decomposed into a THACO and combined with the preexisting character THACO rows, then color-coded for obvious commonalities, we obtain this:


Note that the adventure objects are not decomposed into the Background and Objectives rows, but into "Setting" and "Events to come" rows.

The simple color-coding of identical objects makes the "Youth" thematic appear, which might bring some promising interactions between the two characters of the young mage and the princess. The dragon, of course, is the focal point of many important thematics.

For the next steps of remote linking & GM-decision linking, we've dispensed with the links that had been established between the player-characters, and focused on the links between the PC and the adventure. The result would look like this:


Only a few links are required to immediately perceive which angles might be the most effective to embroil the PCs into the plot. The assassination thematic in PC#3's background row would normally fit the plot by the rebel barons, and could be linked to the adventure "Political instability" theme, but depending on how the PC approach plot, such a link presents a risk of putting the assassin PC directly at odds with the rest of the group: this is an example of "Opposition linking" which I described in the second installment of the Strategic gamemastering article.

Consequences on plot hook writing practices

Let's (tamely) fantasize for a moment. What if adventures and NPCs were already decomposed before the strategic GM begins to work on his THACO?

Nothing prevents the writer of an adventure or an NPC from taking a few minutes to decompose said adventure or NPC into its elementary components.
These components would not be character cues or flags, but adventure and/or NPC cues.
If the author were to organize these elements in a simple THACO, possibly with a color-code for common objects, the GM could then directly add the adventure and NPC rows to his THACO.
The point is that this simple and admittedly obvious work, since no one knows the objects composing an adventure, a campaign and/or NPCs better than their inventor, enable the author himself to dispense with the tedium of having to create and list the plot hooks to his setting, scenario or NPC.
These plot hooks would become readily apparent as soon as the GM :

  • integrates the relevant object rows to the THACO of his own gaming group;
  • performs the three steps (color-coding, remote linking & decisionary linking) of THACO integration.


The only question that remains is whether adventure & NPC writers will pick up the practice of creating a synthetic table of the THACO objects in their own works, in order to speed up the process through which a GM gets hold of said adventure or NPC, and makes the PC interact with the associated plot.
I strongly hope that they do, because decreasing author effort while simplifying the life of GMs seems to be in everyone's interests.