[Game Chef 2011] Rosencrantz and Guildenstern are Dwarves
Vulpinoid:
Oh...my ingredients at this point are:
Forsworn: It seems that all characters in drama change in at east one aspect of their lives, forswearing something important to their former lives before they are able to move onward...(and often it is the inability to forswear a certain aspect of their life that leads to a dramatic death).
Nature: A character will be defined by the natures of their sanguine humours. These will be the core attributes and traits of their persona.
Exile: Do I limit the characters to those who are far from home and caught up in the events of the play?
- or -
Daughter: Do I limit the characters to the female roles?
Unsure on that last one.
Vulpinoid:
Since I'm a very visual designer, here's a link to the game board I'm working on for this project.
Shakespearean Game Board
It's a work in progress, and the character sheet will have a similar look.
Vulpinoid:
I've been playing through the logistics of my game design and there are a few things I'm having trouble reconciling. I don't think I'll have the time to thoroughly research a Shakespearean play to the degree, so I'm shifting more toward something that aims to capture the essence of a play from this era.
Revenge, Betrayal, Love, Comedy, Tragedy.
Set in a semi-mythical and exotic Verona (which may or may not bear a close resemblance to the "real" Verona of the time).
Characters with shifting alliances and values that change between the beginning and end of the drama.
I'm shifting toward the characters being the manipulators of events.
There is a central character whose story is being told. One player could portray his/her mentor, another takes on the role of his/her childhood friend, another player takes on the role of his/her nemesis, another could be a lover...the important thing is that each of the player characters is a secondary role in the story. They are specifically exiled from the core events in some way...they cannot be the main protagonist. But they can manipulate the protagonist (and one another) to their heart's content).
All characters would have a starting archetypal nature (which is open for all to see), and an ending archetypal nature (which is secret). The nemesis who becomes a lover, the mentor who ends up betraying the protagonist, the friend who is revealed as a woman even though the protagonist thought him a man for many a year.
Archetypal natures have ends and means; the ends are goals pursued by this character within the narrative, the means are the tools by which they can manipulate the story and world around them.
A player character gains quite a bonus when their end archetypal nature is revealed, but also suffers penalties when their true agenda is revealed.
One-and-Thirty still applies as the core game mechanism, but now players describe an off-stage scene when their hands are drawn, while the on-stage scene is played out when the hands are compared.
The manipulation of the protagonist works with the game board I have already designed. If you win the scene with a hand of hearts, the protagonist moves toward the "hearts" side of the board. The manipulations of the players affect the outlook of the protagonist and thus change the way the story progresses. If you fail an action against the protagonist, you suffer some kind of penalty based on where the protagonist currently sits on the board.
I'm still nutting out a few of the finer details, but I think I might be onto something here...(and if not, this will probably form the basis of another FUBAR supplement).
Vulpinoid:
The Character Sheet
The Map of Verona
Two more images for the game (which I have yet to name properly, but it probably won't be called Rosencrantz and Guildenstern are Dwarves)
Gryffudd:
Nice work. They look good.
Pat G.
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