When I redesigned the character stats for Cinemechanix, one thing I wanted to do was make the whole “Story” side of the sheet seem less like an afterthought, in part by including some kind of crunch to the story stuff. Role-playing and story mechanics are something I’ve never quite settled into a firm opinion on,…
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Before we start, you should go buy The Comprehensive Soldier, the newest sourcebook for Qerth! One of the core ideas of Cinemechanix is that we don’t give you rules for playing a game, we give you the tools to create the rules for the game you want to play.* One recurring idea in the rules…
A few of the Cinemechanix core rules require the group to make decisions about how they apply to the game at hand. Determining the starting Hero Factor (see last week’s blog) is one example of this. Another is deciding whether a character who reaches “Broken” status ends up dead, forced into retirement by his injuries,…
A long damn time ago, I defined the word “ficton” (it’s a contractual obligation) and told you that you could break a ficton down into 5 main components: Influences, Setting, Genre Trappings, Tone and Mood, and Dramatic Rules. Now that I’ve talked about all the rest (and procrastinated a lot), let’s talk about dramatic rules….
Tone is the attitude that the players take toward the game: is the goal immersive role-playing, a more beer-and-pretzels experience, or something in between? Mood is the atmosphere of the story: are you telling a grim story about characters trying to survive a zombie apocalypse, or an action-packed story about kicking zombie butt? Since it’s…
