Started by Arturo G., August 28, 2008, 05:29:55 AM
QuoteThe set is somehow chosen to make possible that Alfredo meets Enzo, and he gets joined to the group of time-travellers by chance.
QuoteI think by "somehow" you're referring to the fact that the exact events are left open to play, aside from the all-important point that they have to deliver the result "by chance." Was this decided by the group in open discussion?
QuoteCharacters bicker about who's in charge. (Out of curiosity, when Ruth and Luis drew cards, did they compare totals to one another or to the total of the Producer?)
QuoteThe mechanics and authority-rules of PTA are predicated on Plot authority lying solely with the outcomes of conflicts
QuoteAs with all Illusionist play, the idea that someone, anyone, actually has authority over plot has to remain unspoken. In your case, this was achieved by constant discussions to arrive at consensus. This occurred before play, before scenes, and within scenes. It is a symptom not of a particular sort of authority, but of the unwillingness to acknowledge the need for any authority.
QuoteI also thought it might help the thread, eventually, for you to post about a scene in some other PTA experience, so we can show how the authorities operate in that case.
QuoteDoes it mean that players should not introduce plot twists during free-form play if nobody ask for a conflict? Sometimes I doubt about the structure of a scene in PtA being really restricted to the stated Agenda or not.
Quote from: Ron Edwards on September 04, 2008, 12:40:57 PMIt depends what you call a plot twist. Most of the time, that term does not mean a significant change to the plot (story moving forward), but rather a significant change to the audience's understanding of the back-story. At other times, it simply means a strong opening to a new scene. In PTA play, neither of those require a conflict to occur; they are simply input from the Producer in his or her role as the source of adversity. When I talk about Plot Authority, I'm talking about the way the story moves forward, based on the events within scenes.
Quote from: Christoph Boeckle on September 04, 2008, 01:23:37 PMFor what it's worth, I use Revelation Authority (well, Autorité de Révélation) when I talk about Plot Authority in French, since it's all about revealing (or asking for someone to reveal) the plot to the audience. This seems to get across better in my little personal experience, whereas Plot Authority gets people excited about stuff which is a mix of Content and Situation Authorities. Sounds a bit biblical, eh?Could that work, Ron?(I also like the new term "Outcome Authority" which you introduced not so long ago, Ron. Narration Authority confuses the hell out of people around me.)
QuoteI'll have to go over the post in more detail later, but for now, here's one thing: denial isn't the character's issue, it's his problem. The issue could be any one of Truth, Judgment, or Responsibility.
QuoteI suggest that if you stay with "denial," then you'll be playing a robot who simply keeps denying.
QuoteAre you sure you're really playing a protagonist that you care about and that others might care about? Or are in you GM mode, making sure that there's adversity within the team?
QuoteAfter leaving his seed in Julio Cesar ...
Quote from: Ron Edwards on September 08, 2008, 11:52:58 AMMoreno, are you reading this?