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a clarification on the above principle is all. Never say "you are separated" (G
M move = "separate them"
extra concept tacked on: your move may be chosen at random from the GM list of
moves. But present it as having fictional effect (above, 3 is about fictional *c
ause*)
What is really happening here is that there are two distinct arrows from Roark t
o Uncle and Marie, but more importantly, *these conflict*.
- don't deny a character success when they've fought for it. Instead give char
acter success, but make it consequential - the world responds to success - NPC a
ct/change, triangle activations/changes etc
- Make hard move you like != make hardest possible move
- don't screw the character by highlighting his worst stat (consistently)
MC Moves
A. General principles:
1. Choose a move that logically follows from the game's fiction.
2. Generally choose a move that (a) sets up for future harder move *and* (b) gi
ves the character a chance to react
3. When the player gives you a golden opportunity (eg: a player makes a move an
d misses - < 6) make a hard and direct move. Not necessarily meanest possible b
ut irrevocable (?)
4. Unless golden opp, only do a move that sets up a future move. Good example is
"announce future badness" (I guess the point here is that you don't necessarily
directly hurt the players unless there is a golden opp. e.g: Separating player
s is by itself not 'hurty' but sets up future fights without allies).
"you hear gunfire and screams to the west and there is a black cloud of smoke bl
otting out the setting Sun. What do you do?"
5. When the game rules tell you things to say, say them in accordance with the "
ground events and responses in the fiction " principle
e.g: when the game rules say (as a response to a roll) "they get the hell out of
your way" the MC actually says "she jumps into the mud and elbow crawls away fr
om you, looking back in fear"
e.g: "they give you what they want" - "all right keep them asshole but don't co
me around tonight"
6. When your fronts tell you to say things == when "say something interesting" y
ou decide to reveal "joe's girl joined the cult" etc present audio 'picture' of
gang's chant with "joe's girl" in it somewhere
7. Make maps like crazy.
8. Turn questions back on players - "What does the mountain look like?" " I don'
t know what *does* it look like?"
9. Occasionally go into great detail about some insignificant part of the scen
e. - details of coat pins blah
10. . Elide action sometimes - battle being played out in great detail then you
say in the middle "so you are pinned till night falls"
11. Vary scales of moves " make a dash under fire " == "navigate 100 meters to c
ave entrance" or "cross the burning desert over a period of weeks with Dink and
his cannibals chasing you all the way"
12. Go around the table "While this is going on, what do you do Martha?" . Cut b
ack and forth between players.
13. Take frequent breaks.
9. Take away their stuff I would have thought this would be as simple as characters losing equipment but
the first example has an enemy gunman standing on the character's car (thus "ta
king it away" but in the second, the character is screwing someone and enemies
burst in and beat him up (so no Hx? is that what is being taken away? wtf?)
10. Make them buy
== if character wants something they can get it at a price
11. Activate their stuff's downside
= make equipment's weaknesses come to life. rifle in close combat blah.
12. Tell them possible consequences and ask.
- essentially when a player plans to do X, give them the possible consequences o
f doing X
e.g: You can go to Hatchet city but that will use up all your fuel and you won't
be able to leave unless you find more. What do you do?"
13. Offer an opportunity
(a) with cost - he isn't aware of you and you can get the drop on him IF
you leave Amni here. What do you do? (or better "Do you want to?")
(b) without cost - he isn't aware of you and you can get the drop on him.
What do you do?
14. Turn their move back on them
== ??? the example is totally weird. WTF
15. Make a threat move from one of your fronts.