Learn To ScreenPlay: Complicating Matters

ScreenPlay: The Rehearsal Edition launches October 20, 2015.
ScreenPlay: The Rehearsal Edition launches October 20, 2015.

It’s been a week since ScreenPlay: The Rehearsal Edition was announced on this very site and the response has been very positive. Thanks to everyone who shared their eagerness and impatience. As we countdown to October 20th, how about a weekly tutorial on what you can expect when you begin to ScreenPlay?

(A quick note before we begin: any official terminology mentioned or introduced in this series will be highlighted in bold red text. That way you know it’s super-duper important. But not “bold red,” that has no bearing on the game whatsoever. Ok, so from hereon in. Promise.)

Before anyone thinks we’re talking about advanced rules for our upcoming storytelling RPG, let’s quash that concern. ScreenPlay is an easy-to-learn game; always has been, always will be. This is about the role of complications, those mechanical little caltrops making things harder for all types of characters in every story you can create.

Lesson #1: Complications

During the gradual building process of this game, complications went from an accessory to every dice roll to the sole purpose for the roll itself. If there’s any major difference between this game and many other tabletop RPGs on the market, it’s this: you do not roll dice to determine success or failure, you do so to determine if any complications take place. And if that peaks your interest, let’s see if we can make those eyebrows rise a little higher.

Whenever a Writer or Director describes a character attempting to complicate another character’s actions, a conflict roll is triggered. Not when someone is described spinning their 1967 Mustang into a 360 degree spin, kicking down a locked door, or jumping off the roof and grabbing hold of the fire escape halfway down. In ScreenPlay, your characters are supposed to be awesome. If the main character of a big budget movie tried any of these, would you expect them to lose control and wipe out in a ditch, break their foot, or hit the ground twenty stories below? Nope, and that’s why it won’t happen here. But if the local sheriff attempts the PITT maneuver, someone stands at the other side of the door to keep you from busting in, or gunmen on the rooftop try and blast your fingers off… well then, we’ve got a conflict roll to determine complications.

A complication is a forced condition, limitation, or effect placed on a character as the result of a conflict roll and can only be removed by using a number of descriptions within the scene.

When you roll dice, there is still the matter of success or failure, but only as it retains to complicating a description. Hitting or exceeding the Difficulty number (based on the chosen character you’re trying to complicate) allows you to screw them up. If the roll fails, you are unable to complicate the other character’s efforts and you even run the risk of having a complication placed on you as punishment. But it doesn’t end there because there are two types of complications: major and minor ones. Which applies? Simply consult that same dice roll and break it down according to even and odd numbers and one of four possibilities will occur.

Success With An Even Number: The describing character may choose to place a major complication on the target character.

Success With An Odd Number: The describing character may choose to place a minor complication on the target character.

Failure With An Even Number: No additional hindrances occur to the describing character.

Failure With An Odd Number: The describing character takes a minor complication.

Rolling odds vs. evens can be viewed like this: rolling even numbers are better, rolling odds not so much. Failing your conflict roll with an odd number is your worst possible result as it forces a minor complication on you while rolling even and succeeding provides the best possible result this game can offer.

Complications are loosely defined and fully intended to allow players freedom to devise whatever they can dream up to suit the situation. Obviously, the complete rules for ScreenPlay will have more to say on this than you’ll find here (this is a teaser, after all), but here’s what we can tell you about the two types of complications.

Major complications are those affecting a wide range of future descriptions for the remainder of the scene and inflict a -1 step penalty (reducing the dice type by one level, such as a d8 to a d6) unless the affected character uses two descriptions (the term for actions in ScreenPlay) for the sole purpose of addressing and “treating” the complication. For example, let’s assume someone receives the Busted Kneecap major complication. Until they remove it using two descriptions, any attempt that uses that kneecap will result in a -1 step penalty.

Minor complications temporarily prevent a character from using a resource, item, set piece, or anything else that can be accessed or applied to a description. Say someone receives the The Door Is Blocked minor complication; they cannot leave through that particular door until the minor complication is removed by a single description. Less of a hassle and not always a serious detriment, but it also depends on the scene’s goal. If you need to get through that door with a legion of trigger happy terrorists trying to put a hole in your skull, it becomes a big deal. Or it can be as simple as running out of ammo, requiring you to take time to reload. It all depends on the player who sticks it on you.

Next Week: Challenges

Is this the only way complications are dished out? Oh no, there’s an extra tool for Directors to ensure their Writers stay on their toes and we’ll get into that next week. (What? You didn’t think we’d trust all you Writers out there to describe your characters having a hard time, did you?)

ScreenPlay: The Rehearsal Edition Launches October 20th

ScreenPlay: The Rehearsal Edition launches October 20, 2015.
ScreenPlay: The Rehearsal Edition launches October 20, 2015.

After nearly two years of extensive building, de-construction, over-gluing, head-banging, and soul searching, the story of ScreenPlay is about to take its next step. And YOU can help make it even better.

On October 20th of this very year (2015, for the time capsule), Broken Ruler Games will release the absolutely free Rehearsal Edition of ScreenPlay – AKA the playtest edition. Resting at over 65 pages of everything you’ll need to play this storytelling RPG, the Rehearsal Edition will also reward those who help strengthen this game through their feedback. Details are still being hammered out, but what we can tell you is that this playtest edition of ScreenPlay will work very much like a Kickstarter except that instead of unlocking rewards based on how much money you contribute, you’ll earn rewards based on the amount and quality of feedback you provide.

In Version 1.1 of this edition, you’ll find…

  • Complete rules for telling your stories as a Writer (player) or a Director (GM), provided in alphabetical order for easy reference
  • Helpful guidelines for directing stories in ScreenPlay
  • Ironbound, a dark fantasy treatment (AKA adventure) for immediate use and a great introduction to the game

With eight weeks from now until the Rehearsal Edition launches, we’re going to be flooding this site with previews and behind-the-scenes analysis of how this game came to be. Stay tuned to this site or make it easy on yourself and follow us on Facebook, Twitter, or Google+ and get ready to tell your story like never before.

Sneaking Behind the Curtain: ScreenPlay’s Cover Revealed

ScreenPlay's cover revealed!A cover can make or break a project, or it can bring it to the attention of those who would otherwise keep their head turned in the other direction. So when I contacted digital artist, Jeff Brown, in regards to creating a cover for our next project, ScreenPlay, there was a serious question to consider: what one image can turn heads for this upcoming story RPG? It didn’t take long to learn the answer: we needed to show many possibilities.

Roleplaying game covers tend to share common visual similarities and that’s especially true with universal systems like ScreenPlay. When your game can provide for a variety of genres, settings, time periods, and more, you tend to see things like individual images in thought bubbles or separated ideas brought together around a group of highly charged player characters… these were all things I wanted to avoid, yet also wanted to invoke. Don’t fix what ain’t broke, right? Jeff’s specialty is environmental/landscape art and the reason why I chose him was because this cover needed to showcase where these future stories could take place, not theorize who was going to feature in them. What we devised, I think, mashes all those ideas and possibilities together into a cover that I’m damn proud to slap a BRG logo on. A endless universe of danger, intrigue, and excitement existing in one place at one time as a group of Writers and their Director decide which story to tell. It’s a cover that’s already started turning heads, based on the result I’ve seen on my personal G+ account too. If it does the same for you, click here or on the cover image to the right and proceed to see what this upcoming mindblower is all about.

What Is ScreenPlay?

ScreenPlay_logo_earlyHighPlainsSamurai_logo_v1I’m happy to say the alpha-phase playtesting for both ScreenPlay and High Plains Samurai is well underway and so far banging out all the kinks in the mechanics and smoothing out the presentation. At this phase, we’re really testing out ScreenPlay and using HPS as an excuse to dive into this setting my Development Team and I created two years ago – it doesn’t take much arm twisting to get us diving into the dusty plains of the One Land. But that’s not what I’m writing about today.

With playtesting underway, it’s time to start shooting some holes in the walls keeping this game shrouded in darkness and expose it to some sunlight. In other words, it’s time for you to start learning more about what makes ScreenPlay… well, ScreenPlay. I put it that way because this game is unlike other roleplaying games. It’s built on a foundation of everything that is an RPG, but there is one major facet turned on its head for a dynamic and refreshing change of pace. Maybe I’m a bit biased (that happens when you design a game – it’s always the greatest achievement in game design as far as you’re concerned), but let’s allow the features of the game to speak for itself.

Here are the 4 key features of ScreenPlay and why you should be chomping at the bit to play. It’s also why you should be eager to discover more about High Plains Samurai too, seeing as the ScreenPlay engine will be powering this post-apocalyptic/western/wushu/super-powered mash-up. Whenever you see anything written in blue italics, that means it’s an important term in the game.

thejadepalm
Gaze upon the deadly beauty known only as the Jade Palm, one of the High Plains Samurai playtest characters for the project’s lead artist, Kieron O’Gorman. Don’t let her blindness fool her for she can see far more than anyone in the One Land.

#1) It’s A Story Game Where The Players Are The Storytellers

If you’re familiar with the concept of story games, you already know what I’m talking about. If not, there’s a fine line between these and your traditional roleplaying games. While differences of opinion exist on the exact definition, a story game allows greater control to the players using loose fitting mechanics and provides a more co-operative creative experience. If your traditional RPG has the Gamemaster dictating all the events in the story with players simply reacting through their characters, story games break from this aspect and allow the players to invest their own ideas into the story. Perhaps one of the best known story games on the market is Fate and I encourage you to check it out if you’ve never heard of it before.

ScreenPlay takes this a step further and places equal creative duties on both the players and the Director (AKA the Gamemaster, or GM). Each player is assigned the role of a Writer and creates a variety of characters (starting with at least one lead character with room to create as many supporting characters as they can handle) to tell a story. On their turns, each Writer provides a description for one character, an active account of how that particular individual propels the story forward. This is followed by an outcome from the Director, reacting to the description and rewarding the Writer with surrounding details, events, and reactions from other characters involved in the scene. The key difference between this and other games is that there are no point exchanges required for a Writer to insert their own ideas into the story – if she decides this story needs a fight scene, she can simply describe her character witnessing four shadow-cloaked ninjas leaping down from the rooftops with swords drawn. It’s now up to the Director to make this fight go down.

sign
This is just one of the sketches HPS’ artist, Kieron O’Gorman creates on the fly during each session. It’s incredibly handy to have your artist also work on your Development Team and act as a playtester.

#2) The Director Keeps The Plot Moving Without Taking Control

There’s more to being a Director in ScreenPlay than simply reacting to anything the Writers want, oh no. Each story – whether it’s conceived by everyone in the group or using a pre-purchased treatment (AKA adventure) – has a basic plot for the Director to use as a guideline. As an example, High Plains Samurai is a large scale treatment providing a setting (the One Land), history, a cast of supporting characters and extras, and a series of markers (key story moments) all designed to provide a working platform for the Writers to remain on track. While the Writers are telling the story, the Director uses his tools to integrate the treatment, facilitate the story and package it all together to reveal what wonderful outcomes the Writers are creating. During our playtests, I’ve been inclined to use camera angles and moviemaking terminology as a means of detailing our particular version of High Plains Samurai as if you were watching it on the big screen or as part of an awesome ongoing HBO drama.

One of the Director’s key tools for keeping it all together are triggers, pre-determined or instant reactions to descriptions. For example, the lead characters ride up towards the main gates of the City of Rust in the hopes of entering this rancid metropolis. What the Writers do not know and the Director does is that snipers line the walls looking for this posse with orders to shoot. As a Writer describes her character riding along the main road, the Director applies the trigger and cuts into the description by rolling dice as the crack of a rifle cuts through the dusty plains. A trigger can be avoided, even without the Writers knowing there was a trigger, if their characters learned about these snipers in advance and snuck into the city under cover of night. A Director can also devise triggers on the fly as a means of helping to keep the story moving along, like having the barkeep intervene when the lead characters become preoccupied with them surly buggers giving them the dirty eye from the back of the bar.

Think of it as improvised storytelling and the Director is there to make sure no one falls off stage. Just like directors of stage and cinema, the Director helps keep the story exciting and engaging through the outcomes they provide and the triggers they set to keep the Writers on their toes. What results is a fresh and exciting storytelling experience where the Director gets to experience the same thrill of discovery as your typical RPG player does every game.

GentlemanGunslinger_v1
One of the first early sketches completed by Kieron. Notice how this gentleman gunslinger is firing two automatic handguns? That’s because there’s more to High Plains Samurai than a simple western/wushu/post-apocalyptic/superhuman story…

#3) Conflict Is As Easy As Knowing Odds vs. Evens

Are there dice rolls in ScreenPlay? You betcha – I wouldn’t design a game without them. I’m a sucker for dice rolls and the goal with creating ScreenPlay was to allow a simple, fast-paced resolution system where the dice did not blow up in your face. Here’s how it works: certain moments in the story, as told by the Writers, will trigger a conflict roll. That means whoever wants to achieve an action with a risk of consequences must roll against a Difficulty and that target number can be based on the opponent or the task at hand. Each character has a list of Potentials ranging from a d4 to a d12 (along with other modifiers and provisions to increase their odds, but we’ll save that for another day). Choosing an appropriate Potential, the dice are rolled and if the result is equal to or higher than the Difficulty, it’s a success.

But there’s more! You can use that roll to determine how much damage you cause or what effects occur as as result of your conflict roll. These effects are known as complications and range from minor (your gun is out of ammo, being knocked prone) to major (intimidated, acidic sand kicked in your face). Knowing the type of complication is simply a matter of whether or not you rolled an even number (major complications) or an odd number (minor complication). Failure works on the same principle: if you fail with an even number, nothing bad happens to the character, but an odd number results in the character suffering a minor complication of their own. Basically, even numbers are good, odd numbers not so much. Damage works on the same principle with a successful conflict roll: an even number yields major damage (the difference between your roll and the Difficulty plus any damage modifiers) or minor damage (only the damage modifier).

Fanbeheading
A rough sketch of a sweet moment in our rendition of HPS where Jade Palm decapitates an opponent with a paper fan. What I love about this piece is how fluid and easy she makes it look. You can check out more of Kieron’s work at mayhem graphics.com

#4) Stamina Is The Ultimate Dealbreaker

All characters in ScreenPlay are assigned an amount of Stamina based on their character type (leads, supporting, extras). When a character runs out of Stamina, they’re removed from the story for the scene or permanently. More than just hit points, they also allow characters to break the rules and do things otherwise impossible to your average individual.

For example, most of our lead characters in the High Plains Samurai playtest have unlocked qi (pronounced chi) powers, such as the Jade Palm’s supernatural sense or Ronin’s incredible speed. Each qi power is clearly defined and faces normal limitations, but those can be broken by spending 1 Stamina. Characters can also spend Stamina to interrupt an outcome, retaliate against an opponent, increase/decrease the die roll by 1 (even if it’s not theirs), and so forth. While these applications create a variety of possible outcomes, you must judge your Stamina wisely because too many uses followed by a katana chop to the kidneys will result in 0 Stamina.

Just The Beginning…

Of course, all I’m doing right now is teasing you and that’s the entire point of this. As the Development Team and myself continues to work on banging out the kinks, we get closer and closer to revealing more about how this exciting game can come to life at your next session. And while I’ve been a big tease about it, I’d like to take things a little further. Think of it as spending 1 Stamina to break the rules.

Download the latest ScreenPlay/High Plains Samurai Playtest Draft right here. This particular draft is Version 3 and stems from feedback brought on at our recent session and will give you a greater idea into the fun-sanity that is both ScreenPlay and High Plains Samurai. Until then, you can stay up-to-date with ongoing playtests, working drafts, even ask me questions on the game’s development through our Facebook page, on Twitter, or on Google+.

Until the next time, thanks for reading and I look forward to revealing more about ScreenPlay in the near future.

Sincerely,

The Warden