Examples of narrating tricky (or not tricky) situations and choosing resistances would be super helpful.
Magic is a Glorantha-only problem. If Questworlds is generic, then it isn't something needing explanation. (It does in other cases.)
Orthogonal goals (as someone called them) is something I would like to see touched on. The "Save the Orphans" vs "Beat you to a pulp" idea. (I tend - as someone else mentioned - to give full goal to complete victory and partial success of both for everything in between.)
Indirect struggles - "The Mad Wizard tries to convince the Princess to complete the ritual while the Players fight the goons to get to her in time to stop him." How do you narrate that? Who is struggling/resisting against what when?
Groups with conflicting goals all milling about. (Jane's example.)
Some way for "Pyrrhic Victories" (I should check out Mythic Russia and see how Mark handled it) - I like battles in which both sides walk away smarting. (I know I have stolen Mike Holmes' idea that minor victories can be defined this way, even within an extended contest.)
Some solid mechanical advice for when something is an unrelated action. Also, when is it loaning AP vs augmenting and the mechanical consequences for each.
Switching goals in mid-contest. (What happens, how do the AP move.) This would go from the classic, "I am losing the debate, I switch it to seducing my opponent" to the "We fight a formalized duel, he is about to lose, he suddenly switches to a killing blow!" I understand AP carry over, but when goals are switched sufficiently, I've sometimes found that annoying.
LC
On March 9, 2007 03:53 am, Ashley Munday wrote:
> We don't need a tricky situation list - lets have a
> list of examples of how to narrate things. Ask Vincent
> Baker if you can nick his list of examples out of DiTV
> and translate them to HQ. We need things that help
> reinforce the mental model of what the game's about -
> if we get that right, there aren't any tricky
> situations left to cover.
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