作者 主题: 第二十四章 掌握节奏  (阅读 781 次)

副标题: 翻自《Return of Lazy Dungeon Master》,pg 69

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第二十四章 掌握节奏
« 于: 2019-07-19, 周五 05:24:47 »
“带好节奏可能是GM最重要的特质。”
—Monte Cook, creator of Numenera

理解如何保持团的节奏并保持其高潮不断需要大量的深探和理解。保持良好的节奏是一项艰苦的工作。而懒城主不喜欢辛苦的工作,所以让我们看看在团中保持有趣节奏的其他选择。

“你们打算做什么?”

“不知写啥,让一个人拿着枪从门外进来。”
—Raymond Chandler, The Simple Art of Murder

不管你的团中有多少故事情节,它总是引到一个问题:“你们打算做什么?”

跟给力导入一样,您希望将团中的每个场景尽可能地引到玩家角色的行动阶段。你越多问“你们打算做什么?”就代表行动阶段越多。如果你有一种感觉,你已经说了很长时间,而没有说:“你们打算做什么?”,这意味着你没有把玩家角色放在故事的中心。他们只是旁观者。

向玩家讲述团中发生的事情是很容易的。但更重要的是,你要把场景放在角色面前,让他们去行动。角色的动作使你的团栩栩如生。这一切都要由你来构筑环境,并迅速设定舞台,使角色可以做什么。

明确选项

即使你意识到团掌握在玩家角色手中,有时候玩家也不清楚他们的角色到底应该做什么。在口胡风的团中,玩家根据团中发生的事情来定义自己的任务和目标。但这并不意味着你不能帮助他们明确这些任务和目标。

当团的节奏开始变慢时,你可以通过明确角色现有的选项来帮助他们重新开始。你可能会重申那些已经被搁置一旁的长期任务,提醒玩家他们已经忘记的BOSS,或者在进入地牢时重申角色的总体目标。你甚至可以把这些写在3×5的纸牌上。你不应该把一个任务放到另一个任务之上,但是你可以帮助玩家完善他们的可选选项并让团继续前进。

掌握行动与放松的节奏

团中太多的行动会让玩家精疲力竭。相反,一场理想的战役需要一个行动和放松的循环节奏。与NPC社交的场景可能会导致一场战斗。那场战斗可能会导致对一处古老废墟的探索。总的来说,行动的节奏是以低-高-低的模式进行的。

懒城主的方式使你可以通过探索、社交和战斗来轻松地分解你为一场聚会创建的场景。在角色的选择将故事推向不同的方向时回忆这种结构。

如果团一直在不停的战战战,你可以通过调查战斗发生的房间墙壁上的古代符文,让角色们有机会获取一些你已经准备好的秘辛与线索。如果他们已经经历了太多的地城探索,也许是时候让他们收到一位敌人的晚宴邀请了。当他们在城里到处与小贩讨价还价,为治疗药水的价格讨价还价时,可能是时候让一只疯狂的火巨灵从队伍中游荡者不小心触摸的待售道具中逃脱而出了。

只有带团时你才会知道这些叙事节拍。因此,你需要准备好即兴创作新的场景,这样行动的节奏就会不断变化。即使你的团恰好完美地遵循了你对潜在场景的松散轮廓,也总是有可能角色与客栈老板的讨论花费了很长时间,而一些玩家在玩他们的手机。是时候改变节奏了。

理解递增和递减的节拍

“故事通过不断调动我们的情绪来吸引我们的注意。”
-Robin Laws,Hamlet’s Hit Points

在《Hamlet's Hit Points》中,罗宾·劳斯描述了三部电影的叙事节拍,并讨论了如何在我们的团中识别这些类型的叙事节拍。具体地说,不同的节拍要么指向“希望”,要么指向“畏惧”,要么指向情绪中立。希望节拍发生于,当角色学到一些对他们有价值的东西,获得一个盟友,打败一个怪物,完成一个任务,或者获得一个新的魔法物品时。畏惧节拍发生于,当角色面对可怕的敌人,发现一个尚未解决的问题或谜团,触发一个陷阱,了解一个残酷的事实,或者面对一条充满潜在危险的未知道路。

将这些递增和递减的节拍混合在一起可以让玩家对团保持兴趣。但就像说到行动与放松一样,它总是需要平衡。给玩家太多的畏惧整个团就让人感觉很绝望。而太多的希望则会让人觉得乏味。

即兴节拍

“凡是可能出错的事就一定会出错。”
—墨菲定律

在你备团的时候,你可能不知道你会看到太多的希望还是畏惧。因此,你必须在团中即兴创作节拍,以保持希望和畏惧节拍之间的和谐。为了做到这一点,当你带团时,对你可能会遇到的希望或畏惧有一些普遍性的想法是很有帮助的。

调整战斗是一种将畏惧转化为希望的方法,反之亦然。你可以通过添加怪物来使战斗更加困难,或者删除怪物来使战斗更加容易。如果角色们过得太轻松,他们可能会走进一间满是全副武装的食人魔在训练和互殴的房间。如果他们经历了一段艰难的日子,也许他们会遇到一只孤独的食人魔,脸朝下趴在他的生肉餐盘里睡着了。

这里有10个递增节拍的例子,当情况允许时,你可以投入团中:

  • 玩家角色们跌跌撞撞地穿过了一道密门,进入一间没人知道的宝藏室。
  • 对手将玩家角色误认为盟友,在她意识到错误之前泄露了她的秘密。
  • 一位玩家角色敌人的敌人意外加入了战斗。
  • 环境对怪物有负面影响,但对角色没有。
  • BOSS的走狗都逃走了。
  • 怪物的武器被粉碎。
  • 一个邪恶的邪教徒被一个错误的咒语误杀。
  • 一队劫掠小队从要塞中骑马奔出,给了角色一个潜入的机会。
  • 玩家角色找到了一种恢复生命的疗愈能量。
  • 一位角色在一具倒下的探险家的尸体上发现了一件被遗忘的强大武器。

这里有10个递减节拍的例子,当事情发展得对玩家角色来说有点太顺利的时候,你可以加入其中:

  • BOSS出现了,并被揭露是雇佣玩家角色的领主的顾问。
  • 一个孤独的警卫在意外返回兵营时遇到了玩家角色。
  • 就在玩家角色策划抢劫的当晚,这座城市遭遇了有史以来最严重的风暴。
  • 下水道溢出。
  • 酒馆着火了。
  • 圣骑士的智能魔法剑决定现在是将其意志强加于持有者的最佳时机。
  • 蒙面刺客拉开她的斗篷,表明她是其中一位玩家角色的妹妹。
  • 督军因为要小便醒了,正当玩家角色在他的卧室里安静地翻东西。
  • 一把重要的钥匙掉进了下水道的格栅里。
  • 一位被盗窃的商人恰好是当地游荡者协会会长的堂兄弟。

掌握节奏清单

  • 通过问玩家“你们要做什么?”来引向行动。
  • 明确能够激发角色和玩家决定的选项。
  • 通过探索、社交和战斗来保持行动与放松之间的节奏循环。
  • 理解希望和畏惧的增减节拍。
  • 准备好在团中即兴创作充满希望或畏惧的节拍,让行动朝着某个方向发展。

劇透 -   :
CHAPTER 24:MAINTAINING THE PACE
“Good pacing is probably the most important trait a GM can have.”
—Monte Cook, creator of Numenera
Understanding how to keep the pace of a game moving and keep its energy level high requires a tremendous amount of depth and understanding.  Maintaining a good pace is hard work. But Lazy Dungeon Masters don’t like hard work, so let’s look at some other options for maintaining an entertaining pace in our games.
“WHAT DO YOU DO?”
“When in doubt, have a man come through a door with a gun in his hand.”
—Raymond Chandler, The Simple Art of Murder
No matter how much storytelling goes into your games, it always has to lead you to one question: “What do you do?”
As with the strong start, you want to keep each scene of your game as  lose to the action as you can. How often you say the words, “What do you do?” shows you how close you are to the actions of the characters. If you have a sense that you’ve been talking for a long while without having said, “What do you do?”, it means that you haven’t been putting the characters into the middle of the story. They’ve just been observers.
It’s easy to narrate the things that happen in the world to the players. But it’s far more important that you put situations in front of the characters and let them act. The actions of the characters make your games come to life. It’s up to you to build the environment and set the stage quickly so that the characters can do things.
CLARIFY CHOICES
Even when you’re conscious of keeping the game in the hands of the characters, it’s sometimes not clear to the players what, exactly, their characters should be doing. In an improvised style of play, the players define their own quests and goals based on what happens in the world. But that doesn’t mean you can’t help clarify those quests and goals.
When the pace of the game starts to flag, you can help pick it up again by clarifying the characters’ existing choices. You might reiterate long-term quests that have fallen to the wayside, remind the players of villains they’ve forgotten about, or restate the characters’ overall goal when they enter a dungeon. You can even write these things down on 3×5 cards for the players. You shouldn’t push any one quest over another, but you can help the players refine their options and keep the game moving.
MAINTAIN BEATS OF ACTION AND RELAXATION
Too much action all the time in a game can drain the players. Instead, an ideal campaign needs a cyclical pace of action and relaxation. A scene of discussions with NPCs might lead to a battle. That battle might lead to the exploration of an old ruin.  Overall, the pace of the action flows in a pattern of low–high–low.
The way of the Lazy Dungeon Master makes it easy to break up the scenes you create for a session by rotating through exploration, NPC interaction, and combat. Then keep that structure in mind as the choices of the characters push the story in different directions.
If things have been combat heavy, you can give the characters a chance to learn some of the secrets and clues you’ve prepared by investigating ancient markings on the walls of the chamber where the fight took place. If they’ve had too much dungeon delving, maybe it’s time they received an invitation to a formal dinner from a rival. When they’ve had too much walking around town bargaining with vendors over the price of healing potions, it might be time for an insane efreeti to escape from its prison in a mundane marketplace object when the party’s rogue fondles the item the wrong way.
You won’t know these story beats until you’re running your game. As such, you need to be prepared to improvise new scenes so that the pace of the action is always changing. Even if your game happens to follow your loose outline of potential scenes perfectly, it’s always possible that the characters’ discussion with the innkeeper took too long, and a couple of players are reaching for their phones. Time to change the pace.
UNDERSTANDING UPWARD AND DOWNWARD BEATS
“Stories engage our attention by constantly modulating our emotional responses.”
—Robin Laws, Hamlet’s Hit Points
In Hamlet’s Hit Points, Robin Laws describes the story beats of three movies and talks about how to identify these types of story beats in your games. In particular, various beats aim either toward “hope,” “fear,” or are emotionally neutral. Hope beats occur when the characters learn something valuable to them, gain an ally, defeat a monster, complete a quest, or receive a new magic item. Fear beats might include facing terrible foes, discovering an unresolved question or mystery, triggering a trap, learning a grim fact, or facing an unknown path filled with potential peril.
Mixing these upward and downward beats keeps players interested in the game. But just as when talking about action and relaxation, it’s always about balance. Give the players too much to fear and the whole game feels hopeless. Too much hope and it feels stale and boring.
IMPROVISING BEATS
“Whatever can go wrong will go wrong.”
—Murphy’s Law
You likely won’t know while preparing your game whether you’re going to see too many hope beats or too many fear beats in a row. As such, you’ll have to improvise beats during the game to maintain the
modulation between hope and fear beats. To do this, it’s helpful to have a few general ideas about how you might drop in a hope or fear beat as you run your game.
Tweaking combat is one way to change a beat from fear to hope, or vice versa. You can do so by adding monsters to make the fight harder, or removing monsters to make it easier. If the characters have been having an easy time of it, they might walk into a room full of armored ogres training and sparring.If they’ve been having a hard go of it, maybe they stumble across a lone ogre, face down and asleep in her plate of raw meat.
Here are ten examples of upward beats that you can drop into the game when the situation warrants it:
• The characters stumble through a secret wall into a forgotten treasure chamber.
• An adversary mistakes the characters for allies, spilling her secrets before she realizes her mistake.
• An enemy of the characters’ enemies unexpectedly joins their attack.
• The environment has a negative impact on the monsters, but not the characters.
• The villain’s lackeys all flee.
• The monster’s weapon shatters.
• An evil cultist is accidentally immolated by a miscast spell.
• A raiding party rides out from the keep, giving the characters a chance to creep in.
• The characters find a font of healing energy that restores their vitality.
• A character finds a powerful forgotten weapon on the ancient corpse of a fallen explorer.
And here are ten examples of downward beats, ready to be dropped in when things are going a bit too well for the characters:
• The villain shows up—and is revealed as the advisor to the lord who hired the characters.
• A lone guard runs into the characters while unexpectedly returning to the barracks.
• The worst storm the city has ever seen hits on the very night of the characters’ planned heist.
• The sewers overflow.
• The inn catches fire.
• The paladin’s intelligent sword decides that now is the perfect time to force its will upon its wielder.
• The masked assassin pulls away her cowl to reveal that she is the sister of one of the characters.
• The warlord wakes up because he has to pee, just as the characters are quietly rifling his bedchamber.
• An important key falls down into a sewer grate.
• A burgled merchant happens to be the cousin to the master of the local thieves guild.
CHECKLIST FOR MAINTAINING THE PACE
• Stay close to the action by asking the players, “What do you do?”
• Clarify the choices and options that can inspire the characters’ and the players’ decisions.
• Rotate through exploration, interaction, and combat to keep the pace cycling between action and relaxation.
• Understand the upward and downward beats of hope and fear.
• Be ready to improvise hopeful or fearful beats during the game to send the action in one direction or the other.
« 上次编辑: 2019-07-19, 周五 21:40:17 由 尽点 »
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Re: 第二十四章 掌握节奏
« 回帖 #1 于: 2019-07-19, 周五 07:06:59 »
其实蛮想把希望翻译成莽,畏惧翻译成怂的 :em021
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  • 啊?嗯,噢……
Re: 第二十四章 掌握节奏
« 回帖 #2 于: 2019-07-19, 周五 14:06:30 »
引用
BOSS出现了,并被揭露是雇佣玩家角色的领主的顾问。
“我早就知道会这样!”——某一名玩家笑嘻嘻地说。

引用
就在玩家角色策划抢劫的当晚,这座城市遭遇了有史以来最严重的风暴。
你确定这不是喜剧片吗?

引用
下水道溢出。
“……D区”

引用
酒馆着火了。
你确定这不是玩家干的吗?

引用
蒙面刺客拉开她的斗篷,表明她是其中一位玩家角色的妹妹。
你确定这不是递增节拍的例子吗?我是指,接下来应该会是对打、傲娇、倒贴、以及视团风决定是暖床还是相爱相杀这一系列福利(?)剧情。
真意:作为DM展现出令自己满意的转折点。  0.5/∞

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Re: 第二十四章 掌握节奏
« 回帖 #3 于: 2019-07-19, 周五 20:56:05 »

引用
蒙面刺客拉开她的斗篷,表明她是其中一位玩家角色的妹妹。
你确定这不是递增节拍的例子吗?我是指,接下来应该会是对打、傲娇、倒贴、以及视团风决定是暖床还是相爱相杀这一系列福利(?)剧情。

那就改成刚被玩家打死的刺客 :em020
* 尽点 被玩家拖了出去
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