作者 主题: 第二十章 合作叙事的三个技巧  (阅读 452 次)

副标题: 翻自《Return of Lazy Dungeon Master》,pg 59

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第二十章 合作叙事的三个技巧
« 于: 2019-07-18, 周四 05:44:39 »
“每场团都有一定程度的即兴发挥。”
—Stacy Dellorfano, Unframed

我们很容易将过多的注意力放在RPG机制上,而忘记我们在桌上分享的故事。玩家可能会专注于他们角色卡中的战斗能力细节。GMs将专注于怪物的数据和遭遇的平衡性。当我们带团时,它们有时看起来不太像幻想小说的封面,而更像战争模拟。

创造力带来更多的创造力。所以如果我们想要激发玩家的创造力,我们也需要他们的创造性思维。我们想要共同努力将我们的团从以机制为中心的模拟提升到值得成为任何优秀小说或电影的动作场景。

然而,让玩家进入创造性的即兴思维并不容易。我们都知道,一旦童年结束,社会是如何推动人们把想象力抛诸脑后的。我们需要再次打开这种想象力。所以我们不是从大开始,而是从小开始。我们会问一些具体的问题,让玩家从游戏机制转向更具创造性的意象。

就像大多数懒城主之道一样,这些技巧有多种用途。合作叙事不仅仅是让每个人都有一个更有创意的情绪。它也使我们的团更容易运行。

“描述下你的致命一击”

当一个角色对怪物致命一击时,让玩家描述一下发生了什么。对于某些玩家来说,这个请求会让他们看你一会儿,然后看他们的角色卡,然后再看你一眼。但通常,这种最初的不情愿会伴随着一个孩子气的笑容和对致命一击的血淋淋的描述。

这是一个小而集中的问题,几乎每个玩家都能以有趣的方式回答。可以肯定的是,这与建立一个协同创作世界相去甚远。但它可以帮助玩家摆脱仅仅将角色视为数据的想法,即使只是为了那致命的一刻。

“这个怪物有什么有趣的身体特征?”

当角色第一次攻击怪物时,要求玩家在攻击怪物之前描述怪物有趣的身体特征。(如果他们描述攻击后的怪物,它就不可避免地变成了眼睛里有只箭的怪物。)

这个问题在很多方面都是一个有用的练习。它可以帮助你在剩下的场景中识别单个的怪物——如果你是以心灵剧场(脑补)风格进行战斗,并且你需要一种没有小模型的方法来识别怪物,那么它尤其有用。它帮助你和玩家将怪物作为一个独特的生物联系起来,而不是专注于它的机制方面或给它一个像“兽人3”这样的标签。“它也让每个怪物都独一无二,让世界感觉更真实。

如果你用的是网格地图,你可以把这个特征写在网格上,这样每个人都能看到它。然后当计算怪物的伤害时使用它来分辨。

要求玩家识别怪物的身体特征可以激发哪怕是最内向的玩家也能享受的即兴表演。这些特征可以成为故事的重要部分,也可以揭示一个秘辛或线索。当玩家变得有创造力时,你永远不知道它会把你带到哪里。

“这家酒馆有什么有趣的特点?”

您也可以将前面的问题扩展到其他地方。当角色进入酒馆、客栈或其他地点时,不要描述整个地方,而是让玩家描述一个有趣或奇妙的地点特征来加入。

像这样的问题可以是让玩家走出角色并帮助创造世界的第一步。通过专注于那个世界的小而熟悉的元素,你不必担心事情会偏离你想要讲述的故事太远。但是当你逐渐适应这个过程时,你可能会发现自己给了玩家更多的控制去塑造团中更大更重要的部分。

“你的旅程中发生了什么?”

下一个问题更深入一些。处理旅行场景对玩家来说一直是个挑战。

如果描述得太快,他们就会觉得毫不费力,所以不重要。但如果你进行大量的随机遭遇来帮助定义角色的旅程,旅行可能会开始感觉像一场苦差事。

在有组织的13岁儿童游戏中,设计师Ash Law想出了一个有趣的主意,把旅行蒙太奇变成一个小型即兴表演。

下面的指南提供了他的方法的一种变体。

当角色开始一段漫长的旅程时,你设定好舞台,描述整个旅程将是什么样子的,将在哪里发生,以及该地区一些有趣但普遍的特征。这给了玩家一些可用的材料。然后让玩家描述他们在旅途中发生的一件有趣的事情。询问与任何玩家的特定角色无关的事件,而是与整个团队有关的事件。

你不需要挑选任何特定的玩家。这样,没有人会在他们可能觉得不舒服的时候被单独挑出来。但是在外向的玩家占据主导地位之前,询问安静的玩家是否愿意回答总是值得的。玩家总是可以跳过。

你也可以要求玩家描述团队所面临的挑战,但不能描述团队是如何克服挑战的。然后另一个玩家可以描述角色是如何克服挑战的。这创造了一个良好的玩家之间的来回即兴会话。

在这个练习的最后,你和玩家们将创造一个独特的旅程故事,这是你们所有人都无法预料的。与此同时,这一过程让玩家参与并增加了创造战役世界的创造力。

在合作设定世界和即兴创作方面迈出一小步

这些小而简单的问题可以帮助玩家进入战役世界,让他们能够更好地控制正在发生的事情,并将他们从角色卡中解放出来。随着时间的推移,每个人对这个想法的接受程度越高,你的问题范围就会越广、越详细。

合作叙事清单

  • 通过引导性问题帮助玩家开拓创意。
  • 要求玩家描述他们对敌人的致命一击。
  • 让玩家描述怪兽有趣的身体特征,帮助你在战斗中识别它们。
  • 让玩家描述他们所访问地点的有趣细节。
  • 让玩家描述旅行场景中发生的有趣事件或冲突。

劇透 -   :
CHAPTER 20:THREE TRICKS FOR GROUP STORYTELLING
“Every game has some level of improvisation.”
—Stacy Dellorfano, Unframed
It’s easy to focus too much on the mechanics of an RPG and forget about the story we’re sharing at the table. Players might fixate on the combat details of their character sheets. GMs will focus on the statistics of monsters and the accuracy of encounter balance. When we run our games, they sometimes look less like the cover of a fantasy novel and more like a war simulation as a result.
Creativity leads to more creativity. So if we want to build off the creativity of the players, we need them to think creatively as well. We want to work together to elevate our games from mechanics‑focused simulations into action scenes worthy of any good novel or movie.
Moving players into creative improvisational thinking isn’t easy, though. We’re all familiar with how society pushes people to leave imagination behind once childhood is done. And it’s that imagination that we need to open up once again. So instead of starting big, we start small. We ask specific questions that shift the players away from the mechanics of the game and into more creative imagery.
Like much of the way of the Lazy Dungeon Master, these techniques serve multiple purposes. Group storytelling isn’t just about getting everyone into a more creative mood. It also makes our games easier to run.
“DESCRIBE YOUR KILLING BLOW”
When a character lands a fatal blow against a monster, ask the player to describe what happens. For certain players, this request will inspire a moment of looking at you, then looking at their character sheet, then looking back to you. But usually, this initial reluctance will be followed by a childish smile and a gory description of the killing blow.
This is a small, focused question that nearly every player can answer in an interesting way. It’s a far cry from collaborative world building, to be sure. But it can help break players away from thinking about their characters as just a collection of statistics, even if just for that one fatal moment.
“WHAT’S AN INTERESTING PHYSICAL CHARACTERISTIC OF THIS MONSTER?”
The first time a character attacks a monster, ask the player to describe an interesting physical characteristic of the monster before they hit it. (If they describe the monster after the attack, it inevitably just becomes the creature with an arrow sticking out of its eye.)
This question is a useful exercise in multiple ways. It helps you identify individual monsters for the rest of the encounter—particularly useful if you’re running combat in a narrative theater-of-the-mind style, and you need a way to identify monsters without miniatures. It helps you and the players connect with the monster as a distinct creature, rather than focusing on its mechanical aspects or giving it a label like “Orc 3.” It also makes every monster unique, which makes the world feel more real.
If you’re using a laminated flip mat, you can write this characteristic on the mat so that everyone can see it. Then use that identifier when tracking the monster’s damage.
Asking the players to identify a physical characteristic of a monster can inspire a small improv session that even the most introverted gamer can enjoy. These characteristics can then become something important to the story, or they might expose a secret or clue. When the players get creative, you never know where it might lead.
“WHAT’S AN INTERESTING CHARACTERISTIC OF THIS TAVERN?”
You can expand the previous question to places as well. Whenever the characters enter a tavern, an inn, or some other location, instead of you describing the entire place, ask the players to join in by describing one interesting or fantastic feature of the location.
Questions like this can be the first steps in the process of taking the players outside of their characters and into the act of helping create the world. By focusing on small, familiar elements of that world, you don’t have to worry that things will get too far outside the story you all want to tell. But as you grow more comfortable with this process, you might find yourself giving the players more control over shaping larger and more important parts of the game.
“WHAT HAPPENS ALONG YOUR JOURNEY?”
This next question is a little deeper. Handling travel scenes has long been a challenge for Gamemasters.
Describe them too quickly, and they feel so effortless that they don’t matter. But if you run a large number of random encounters to help define the characters’ journeys, travel can start to feel like a grind.
During organized play games for 13th Age, designer Ash Law came up with the interesting idea of turning travel montages into a small improv session. The following guidelines offer a variation of his approach.
When the characters begin a long journey, you set the stage, describing what the overall journey will be like, where it will take place, and some interesting but general features of the area. This gives the players something to work with. Then you ask the players to describe an interesting event that occurs while they travel. Ask for events that aren’t about any player’s specific character, but rather about the group as a whole.
You don’t have to pick out any particular player. That way, no one is singled out when they might not be comfortable jumping in. But it’s always worth asking the quieter players if they’d like to answer before the more outgoing players end up dominating the scene. Players can always pass.
You can also ask for a player to describe a challenge the group faces, but to not describe how the party overcomes it. Then another player can describe how the characters overcame the challenge. This creates a good back-and-forth improv session between players.
By the end of this exercise, you and the players will have created a unique story of the journey that none of you could have expected. And at the sametime, this process lets the players engage with and add to the creativity that shapes the game world.
TAKING BABY STEPS INTO GROUP WORLD BUILDING AND IMPROVISATION
These small and simple questions can help draw players into the world of the campaign, letting them take more control over what’s happening and breaking them out of the confines of their character sheets. The more comfortable everyone becomes with this idea over time, the wider ranging and more detailed your questions can go.
CHECKLIST FOR GROUP STORYTELLING
• Help open up the players’ creative ideas with guided questions.
• Ask players to describe their killing blows against their foes.
• Ask players to describe the interesting physical characteristics of monsters to help you identify them during combat.
• Ask players to describe interesting details of locations they visit.
• Ask players to describe interesting events or conflicts that occur during travel scenes
« 上次编辑: 2019-07-19, 周五 06:31:23 由 尽点 »
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Re: 第二十章 集体叙事的三个技巧
« 回帖 #1 于: 2019-07-18, 周四 08:53:16 »
没有太看懂这一条,意思是让玩家来决定某个元素有什么特别的地方?
比如看到妹子NPC就认为是女装大佬
下辈子一定要当个蛮子,免得想太多。
帕拉丁冲锋破鞋必出1,这是一种真理
每当我出carry的时候总有人抢中路,每当我出辅助的时候总让我去中单
自从当了DM,豁免骰那是一个比一个大……
[21:54] <玛多卡> .r d20+13 出1我就掀桌
[21:54] <DnDBot> 玛多卡 投擲 出1我就掀桌: 1d20+13=(1)+13=14

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Re: 第二十章 集体叙事的三个技巧
« 回帖 #2 于: 2019-07-18, 周四 15:57:02 »
没有太看懂这一条,意思是让玩家来决定某个元素有什么特别的地方?
比如看到妹子NPC就认为是女装大佬
大概意思就是叫PL也一起参与到故事创作
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