What Redburn saw in Lancets is a recap



  1. The characters do not have to appear incapable of failures and failures.
  2. Rather, mistakes and failures offer the opportunity to do cool things with the characters.

In detail:

With this technique, which is more of a mindset than a mechanism, bad luck is no reason to portray characters as incapable and stall the plot.

Game master: Surrounded by the fire that is about to devour the entire tavern, you are only two steps away from Galvok, the mangle: “You want to be the best swordsman south of the rough sickle? That I don't laugh! ".
player: "You can speak of grace that I still give you time for one last laugh, Galvok!" I attack with a failure! DAMN! Screwed up!
Game master: You're pushing Galvok backwards faster and faster. His shoulder is against the wall when you reach out. But your sword just rams deep into the framework and is stuck. Galvok's companion Beran pulled him aside at the last second.

Game master: The smoke in the tavern is getting thicker. You only have seconds to breathe.
player: Ok, I'm running out! DAMN! Screwed up!
Game master: With breathtaking dexterity you jump, dive under falling beams and reach the front door, but Karrar the stable boy crashes into you. While you are only slightly thrown off the track and come outside, Karrar stumbles into the blazing flames.

Mistakes are annoying for players and game masters alike. For players it is often said: Your character is not the great guy you thought he was. For game masters, however, it means: Damn it, the adventure won't be finished tonight.

You're not a bugger, he's just that good ... or just lucky

It is inevitable that players will roll poorly during the action scenes and there is a great tendency to portray this as a flaw on the part of the character. Don't do that. Seriously, don't do this. Don't say he misses: say that his opponent was able to block the attack. Don't say he slips and falls: say that the stone he was trying to pull himself up on breaks out of the masonry unexpectedly. This is especially important when the concept of character is in question: the racer does not lose the race because he is too daft to turn the corner properly. He loses because some idiot drives his truck out of the back alley and blocks the car. ”- WarriorMonk, story-games.com

This interpretation of failures (and normal failures) is mostly used intuitively by game masters when a "classic" failure would contradict the genre. However, if the game master deliberately deals with this technique, he may come to the conclusion that I had:

Failures are not about characters failing. Rather, it's about the GM having a justification for doing cool things to the characters.

Usually, the actions of the characters are entirely up to the players. In the event of a mistake, however, the player already thinks: Oh Fuck! and gets ready for something bad to happen and the character to be at the mercy. If the gamemaster then describes something - including actions of the character - that neither makes the character incompetent nor halts the action, then the players are willing to accept such interference.

For example:

  • The characters are separated.
  • Equipment is gone (see example 1 above).
  • A dilemma (see example 2 above).
  • Something the GM had wanted to do with the character for a long time.

A Wicked Age stipulates that in the event of foreseeable failure, the player and the game master negotiate openlywhat the character will do.

On the other hand, winners and losers can agree on a different outcome to the conflict. That can also be purely fictional effects: "How about if you take me prisoner and put me in chains in the vault?" - In A Wicked Age page 18

Such negotiations - even if they often only make up one or two sentences at the gaming table - are inconceivable for many playgroups. Therefore, the game master should choose appropriate consequences with a sense of proportion. Apocalypse World urges the GM to do such things subtle to do:

However, hide the real cause, the failure: pretend that the cause of the negative impact lies solely in the fictional world. Maybe you intend to split the characters; never say, “Oh, blunder, you're separated.” You'd better say, “You reach for his gun, but he kicks you on the floor. As they storm you, Damson is being pulled away. ”The result is the same, but you have cleverly hidden the cause. - Apocalypse World, 111

What do you think of the technology?

Do you have any other examples of beautiful failure?

Write it in the comments!

I like it:

LikeLoading ...
This post was published under Role Play Technique. Set a Bookmark the permalink.