作者 主题: 第二十二章 即兴创作场景和情景  (阅读 219 次)

副标题: 翻自《Return of Lazy Dungeon Master》,pg 64

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第二十二章 即兴创作场景和情景
« 于: 2019-07-19, 周五 21:38:36 »
“情节构思和真正创作得自发性是互不相容得。”
—Stephen King, On Writing

作为备团工作的一部分,我们构筑了一个松散的场景列表,这些场景可能发生在团的聚会期间。有时这些场景的发展正如我们所期望的那样。其他时候,团会转向全新的方向。

想象一个动态世界

战役世界应该自然而现实地运作。npc不会坐在一个地方等玩家角色。GM的工作不是计划团该如何一丝不苟的进行。你的工作是搭建舞台,向玩家描述它,并让他们与之互动。

玩家角色周围的世界也是如此。当角色和当地的治安官交谈时,治安官可能根本不关心他们。她有她自己的问题。如果她觉得角色能帮上忙,那就太好了。但她的存在不仅仅是为了与角色打交道。她在那里是为了从发生在那里的一连串奇怪事件的威胁中保护小镇。

让世界对玩家角色做出反应

当角色开始行动时,世界会对他们做出反应。他们的敌人开始注意。这些敌人可能会用一些简单的威胁来试探角色。或者他们可能决定在计划开始之前就派刺客去追踪他们。他们可能会开始害怕角色,将自己封闭在强而有力的保护后面,并疯狂地努力使他们的阴谋实现。角色采取行动,世界做出反应。

例子:灰顶要塞

作为我们“伏莱克索斯之祸”战役的一部分,我们有一个很大的奇妙地点:灰顶要塞。当我们想到要塞的时候,我们想把自己想象成BOSS,想那里发生了什么。

伏莱克索斯手下有两打熊地精和三打普通地精,再加上他的食人魔雇佣兵。他可能会派出两队巡逻队,每队一团熊地精和六只地精在要塞外的区域巡逻,以确保没有人试图袭击要塞。他有时可能也会派出由两只食人魔雇佣兵、四只熊地精和十只地精组成的劫掠小队。

大约三分之一的部队在任何时候都在睡觉,另外三分之一的部队通常在巡逻或劫掠。这样要塞中就只剩下了八只熊地精、十二只地精和两只食人魔中醒着。伏莱克索斯可能会在要塞的四个瞭望塔中分别指定一只熊地精和几只地精。剩下的熊地精、地精和食人魔很可能就在庭院里,与侏儒炼金术士和工程师一起,研究伏莱克索斯的地狱战争机器。他们也可能在做运动,做饭,收拾赃物,或者与伏莱克索斯会面。有时候,伏莱克索斯可能会和他的地狱猎犬一起出去进行劫掠。

通过对怪物的设定进行思考,可以了解到灰顶要塞的情况。角色们可以通过审问囚犯或监视城堡来了解这些。虽然这些看起来都很详细,但你不需要提前计划。你可以简单地将这些想法记在心里,或者随着团的发展而编造它们。

这种安排也不考虑玩家角色或他们的行为。这就是灰顶要塞的日常。这只在故事原背景下有意义。如果伏莱克索斯知道一群冒险者正试图渗透到灰顶要塞,又或者他的一些巡逻队和劫掠小队开始消失,他会以任何对他有意义的方式做出反应。但是玩家角色如何处理总是取决于他们自己。你可以猜出他们可能采取的一些方法,比如从瞭望塔下的隧道偷偷溜进去,然后从里面潜入灰顶要塞。但这只是一个思路。玩家们将会提出许多其他的。

构筑场景和情景的清单

  • 将世界想象成动态的。
  • 怪物和NPC会像在现实世界中一样拥有对应的地位和角色。
  • 世界和其中的NPC会对玩家角色的行为做出反应。

劇透 -   :
CHAPTER 22:IMPROVISING SCENES AND SITUATIONS
“Plotting and the spontaneity of real creation aren’t compatible.”
—Stephen King, On Writing
As part of our preparation, we develop a loose list of scenes that might take place during a game session.Sometimes those scenes develop as we expect. Other times the game heads off in entirely new directions.
IMAGINE A LIVING WORLD
The world of the game should act naturally and realistically. NPCs don’t sit around waiting for the characters to show up. It’s not the GM’s job to plan out exactly how a game session will go. Your job is to set the stage, describe it to the players, and let them interact with it.
The rest of the world around the characters acts the same way. When the characters talk to the local sheriff, the sheriff might not care about them at all. She has her own problems. If she thinks the characters can help, that’s great. But she doesn’t exist only to deal with the characters. She’s there to help protect her town from the constant spate of odd happenings that always seem to occur there.
LET THE WORLD REACT TO THE CHARACTERS
As the characters start doing things, the world reacts to them. Their foes begin to take notice. Those foes might test the characters out with some low-challenge threats. Or they might decide to end their meddling before it starts by sending assassins after them. They might begin to fear the characters, sealing themselves behind potent defenses while they frantically work to bring their plots to fruition. The characters take actions, and the world reacts in response.
EXAMPLE: THE FORTRESS OF GRAYSPIRE
As part of our “Scourge of Volixus” adventure, we have a large location: the Fortress of Grayspire. When we think about the fortress, we want to put ourselves in the mind of the villain and think about what’s going on there.
Volixus has two dozen hobgoblins and three dozen regular goblins in his service, along with his ogre mercenaries. He might send two patrols with a couple of hobgoblins and six goblins around the area outside the fortress to make sure no one is trying to storm the castle. He might send out raiding parties with two of the ogre mercenaries, four hobgoblins, and ten goblins.
About a third of his forces are sleeping at any given time, and another third are usually out on patrols or raids. This leaves eight hobgoblins, twelve goblins, and two ogres awake at the castle. Volixus probably assigns a hobgoblin and a couple of regular goblins at each of the four watchtowers at the castle. The remaining hobgoblins, goblins, and ogres are likely in the yard, working on Volixus’s infernal war machine alongside the gnome alchemists and engineers. They might also be conducting exercises, cooking, packing away loot, or meeting with Volixus. From time to time, Volixus might go out on a raid along with his hell hounds.
Thinking through the setup of the monsters tells you what the situation looks like at Grayspire. The characters can find out much of this by interrogating prisoners or spying on the fortress. Though this all seems
detailed, you don’t need to plan it out ahead of time. You can simply keep these ideas in mind, or make them up as the game evolves.
This arrangement also doesn’t consider the characters or their actions. This is just how Grayspire operates. It’s what makes sense within the context of the story. If Volixus learns that a group of adventurers is trying to infiltrate Grayspire, or if some of his patrols and raiding parties start disappearing, he’ll react to this in whatever way makes sense for him to react. But how the characters deal with it is always up to them. You can guess at some approaches they might take, such as sneaking in through the tunnels beneath the Watchtower of Set and infiltrating Grayspire from inside. But that’s just one idea. The players will come up with many others.
CHECKLIST FOR BUILDING SCENES AND SITUATIONS
• Imagine the world as a living place.
• Monsters and NPCs fill out locations and roles as they would in the real world.
• The world and the NPCs within it react to the actions of the characters.
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