[ScenePlay] Playtest MetaThread

edited December 2014 in Story Games
This is the MetaThread. For the AP click here.

ScenePlay is the engine of a card-based game in development, in which players work collaboratively and competitively to fill a Template representing the Narrative Structure of a given entertainment format (movies, tv or stage). This is a "lite" version of the system, modified for internet playtesting.

The goal is to create a complete story, one Scene at a time. Scenes are Established by grouping Cards together from the table or your hand, or in combination. These Scenes add up to Sequences, and those Sequences make up our Story.

1. The Group must choose a Template. Each has a number of Key Scenes and a Budget. Key Scenes are mandatory, Supplemental Scenes are optional. The Project may have any number of Scenes by the time we're done.
2. Distribute the Budget in Tokens among Players.
3. Place Free Cards as indicated by the Template.

I'll take care of all the Template stuff.

Scenes on the Template are Key Scenes; required by our Story’s structure. If we Establish only those Scenes, we'll end up with the shortest possible Story that follows the Template. But not all Scenes are Key Scenes, you can create as many Scenes as you like. Supplemental Scenes add color, emotion, exposition, characters, contrast and depth to the world. You get points for every Scene, and it's a good idea to include Supplemental Scenes. But in order to count as a Key Scene and move the Plot forward, one of the Cards involved must be of a certain type, or accomplish a certain narrative function. That's what the circles and icons are for.

Look at the Template. Most Key Scenes are marked with empty circles; they can be Established by playing any card that makes sense. (Use your judgment and vote as a group if unsure.) The ones with Icons are not only Keys but Pivotal Keys - vital dramatic turning points in the story. These Scenes can only be Established by using Event Cards with Icons matching the Key:



1. Phone It In. No ideas? Just toss a card down. This is called "phoning it in", and counts as your turn. I'll place your card in the Brainstorm Zone, and someone else may Brainstorm it later. You won't get any points but you don't spend any Tokens either.
2. Brainstorm from Your Hand. Brainstorming means describing a Card. Choose one Card from your hand. Select one bulletpoint from that Card and describe what (or whom) it represents. Keep it brief; more detail can be added later. Brainstorming costs you 1 Token. I will add your card to the Brainstorm Zone. If it’s a Character or Location, I'll add it to the list so other players can use it. You'll receive Scene Points when this Card is first used in a Scene.
BRAINSTORMING: Bob Brown, Senior Accountant at Bore Corp (CHARACTER)
3. Brainstorm a Phoned-In Card. If there are any Phoned-In Cards in the Brainstorm Zone, you may choose one and Brainstorm it by spending 1 Token. This Card is now considered yours. If it’s a Character or a Location, I'll add it to the list so other players can use it. You'll receive Scene Points when this Card is first used in a Scene.
BRAINSTORMING on Tod's card: The Scary Boiler Room (LOCATION)
4. Establish a Scene. If you see any Scenes ready to be locked in among the Cards on the table or in your hand (or in combination), you can Establish one by grouping those cards together and describing a Scene. You can use as many cards as makes sense, as long as your Scene meets the minimum requirements: 1 Location, at least 1 Character, and at least 1 Card of any other type.
SCENE 1: Bob Brown (Character) is on a payphone in the Scary Boiler Room (Location), having an eternally-recurring argument about his future with his father whom he hasn’t visited lately. Bob shouts, hangs up, and then immediately feels guilty. (Exposition).
When Establishing a Scene: (1) You may use any Cards from your Hand that you can work in, but you must pay 1 Token for each. (2) You may use any Characters or Locations on the Character and Location lists (considering them as Cards). (3) You may use any Brainstormed Cards in the Brainstorm Zone (and the Brainstormer of that card will receive points for it). Try for Bonus Points (see below). Give us some camera angles. Include dialogue if you wish.

5. Add Music or Effects. Choose an existing scene (your own or someone else’s), and add music or other post-production effects to it by spending Tokens on it:

Audio & Video Post-Production
• Special Effect/Pyro – 1
• CGI Character – 2
• CGI Set – 5
• Sound Effect – 1

Soundtrack & Theme Music
• Incidental Music/Soundtrack – 1
• Song by Famous Musician/Band – 4
Creepy Monster Song by They Might Be Giants in Scene 3 = 4 tokens

When you finish establishing your Scene, you are eligible for 2 types of points: Scene Points and Bonus Points.

Scene Points – Everyone who Brainstormed a Card used in the Established Scene will receive points based on that Card. All Cards have a trio of points on them. The first number shown is awarded in Act 1, the second in Act 2, and the third in Act 3.

Bonus Points - Bonus Points may be awarded to the Scene Writer by the other Players when the Scene ends. Most Scenes will receive at least 1 Bonus Point.

Things Worth 1 Bonus Point:

• Establishing a Pivotal Key Scene

• Supporting the Genre
• Illustrating the Theme
• Describing the World

• Acting
• Contrast
• Emotion
• Flashback
• Humor
• Information
• Insight
• Inspiration
• Irony
• Pause
• Payoff for earlier Foreshadowing
• Payoff for earlier Setup
• Poetic Justice
• Soliloquy
• Surprise
• Suspense

• Logical placement of a recognizable brand

If your Scene solved for any Key Scenes in the Template, I will fill in the corresponding circle - you’ve provided a significant “beat” to move the plot forward. When in doubt, we vote: If 50% or more of the players agree, it is a Key Scene.

When all Sequences are completed and Key Scenes filled, the Project is done and ready to be viewed by critics & the ticket-buying public. I will calculate our scores and ask someone to make a die roll to determine how the world responds to our production.



  • edited November 2014

    I will need 3 Players (plus myself) for the playtest, which will take place right here in this thread. First come first served. I imagine the game will take 3-4 hours of play time, maybe 2-4 posts a day (per Player), spread out over several days or a week of realtime. It doesn't really matter how long it takes or how fast it goes. But I need to know who's playing in advance, because I'll need to set a turn order, so message me for more info or to RSVP. If you have a Template you'd prefer, mention that as well. We'll run whatever Template we decide to run by majority vote.

  • Sign me up.
  • edited November 2014
    Wow (jk)

    I'm in!

    The phrase "establish a scene" sometimes makes me think that that action includes framing the scene and then seeing what happens with it. But since there doesn't appear to be anything to do with a previously established scene, I take it to mean that it's just shoving a whole scene into the screenplay or whatever. (A thing to consider in case you come up with alternative wording that's harder to misconstrue.)

    Also, the sitcom seems like the least threatening template to start with and that would be my vote, but whatever is OK.
  • @AsIf: What is it that you want to playtest, more specifically? I haven't read everything because I assume that I can learn it while playing too.
  • Asif, sounds really like a game I'd love to play (though I won't have time currently for playtesting).
  • edited November 2014
    Thanks guys! We have room for one more player. Maybe two. @Rickard, I have been through 10 iterations of these cards, I am now in "playtest a hundred sessions" mode. I want to ensure that the cards are both clear and multifarious enough to allow for hundreds of sessions, that I haven't left out any major possibilities either among card types or within them (as options), and there are some questions I have about other rules that can best be solved by watching how it plays and talking about it.

    In addition, since I love making threads that do more than one thing, this is another example regarding the difference between Narrative, Narrative Structure and Story.

    Rickard, what's your vote for template? Sitcom sound ok?

    @ChristopherWeeks Yep a turn in which you establish is shoving a whole scene into a screenplay. Characters and Locations are persistent (reusable) and we write the story as we go.
  • edited November 2014
    I've run 8 playtests so far, some with groups, some solo, tweaking the cards and rules as I went along. I think they're getting pretty stable now. The card and template system is based on a synthesis of dozens of narrative structures, including everyone from Aristotle to Joseph Campbell to Robert McKee. But I still need to make sure I hit enough notes. :-)

    Here are some examples of play, these are the "Scene Lists" generated by the game if you decide to write everything down. The differences in format and scores are because the rules have changed along the way. Still, these are examples of the variety of stories the system can produce...

    Buns of Glory - sorta like Spongebob meets Karate Kid (Hero's Journey)
    Jumping the Shark - if Charlie Kaufman wrote a TV pilot (TV Sitcom)
    Sex and Lies - a very adult drama starring Will Smith & Nikki Minaj (Greek Tragedy)
    The Other Side of Darkness - a pulp detective/sci-fi/supernatural adventure (Hero's Journey)

  • edited November 2014
    I might be in, but I'd like to get more info first. I'm not sure what the point is.
    The goal is to create a complete story, one Scene at a time.
    Can I fail? Can we wind up creating something that is not a complete story? If so, what skills are useful in pursuing success?

    If we can't fail to create a complete story, then what am I really striving for? To have my creative vision or whims trump the other players'?

    What's the output of our efforts? Is it an outline, script, or other such formula for a production? Or is it the production itself, playing in the participants' shared imagined space, RPG-style, insofar as we can do that by forum posts? In other words, is filling out the chart (as in your 4 links above) the primary act of play, or does the chart merely document play whose primary activity was something else?
  • Rickard, what's your vote for template? Sitcom sound ok?
    Sitcom sounds good. Humor is important to make things more relaxed (Keith Johnstone) and it's also helpful with the creativity (Edward de Bono).
  • edited November 2014
    David, I find your questions odd, for a game forum. :-)
    Can I fail? Can we wind up creating something that is not a complete story?
    It is possible to create a bad story, and it is possible to run out of tokens before you complete your story (although in order for that to happen you have to spend pretty crazily and resist cooperating with other players a lot). I'd say though slim, there's a slightly greater chance of failing than a game of Fiasco has.
    If so, what skills are useful in pursuing success?
    I want to say you don't need any skills at all, but in truth, like any collaborative effort, it depends on the individuals involved. Like a Hollywood writers' room, this game is both collaborative AND competitive. Points are awarded for impressing your fellow players with your storytelling performance. There are points awarded to the players individually, but also to the work as a whole, so you can "play for points" but at the same time, collaborative efforts will ultimately help determine whether the end result is judged to be a blockbuster or a box office flop.
    If we can't fail to create a complete story, then what am I really striving for? To have my creative vision or whims trump the other players'?
    Well hopefully we write a good story, a funny story, a moving story, a dramatic story that emulates the tropes or classics of TV and movie scripts. But yes, conflict over who pushes the plot can indeed be part of the game; and it also can make the plot messy. Is this a bug or a feature?
    What's the output of our efforts? Is it an outline, script, or other such formula for a production? Or is it the production itself, playing in the participants' shared imagined space, RPG-style, insofar as we can do that by forum posts? In other words, is filling out the chart (as in your 4 links above) the primary act of play, or does the chart merely document play whose primary activity was something else?
    Both. And somebody wins.

    I think you'll be good at it.

  • edited November 2014
    Wait, who wins? I don't see any mention of that.

    I am spelling out all my uncertainties because you've said this is a playtest and I figured that'd be useful to you. I think your initial pitch is less clear & inspiring than it could be.
  • edited November 2014
    Oh. You guys are privileged as my peers to get the ugly unpolished version. :-)

    Somebody will end up with the most points. If that's what floats someone's boat, the game can be played with points as a strategic goal.

  • edited November 2014
    If we're all competing for points, great, I can try to win that. If I'm the only one competing for points, and everyone else is generously awarding bonuses for the good of the movie, then that would be lame -- I would win a pointless victory, and also interfere with everyone else's movie-optimizing (by erring on the side of giving fewer points to my opponents).

    Should we discuss as a group before hand?

    Separately, rules question:
    How is bonus point-awarding supposed to work? From your wording, I can't tell if hitting (e.g.) 9 criteria in 4 categories for an audience of 3 other players should net me 27 points, 12 points, 9, 4, 3, or 1.

    I can stop with the questions if you don't want to get into this stuff now; I just think I'd enjoy this a lot more with proper orientation. It's not trepidation about what to do or whether I'm up to it; it's uncertainty about what sort of investment will be rewarded (i.e. what to care about).
  • edited November 2014
    Sure, we can discuss whatever comes up. If you hit 9 criteria you would get 9 points.

    Basically the way it goes in play is like this: Someone says "I think he got Irony and Acting", another person says "Totally! And Humor". No one disagrees, so we don't bother taking it to a vote. That's 3 bonus points. If someone disagrees we go to a vote. 50% is a majority.

    ETA: You can also suggest bonus points for yourself, but you'd have to get someone (in this case, one other person) to agree.

  • edited November 2014
    Roger on the points. Thanks.

    Re: playing to win or not, I would vote for yes, playing to win. I think it's interesting, less common than the alternative, and will test the game in ways that collaboration wouldn't. However, I'm getting the sense from your phrasing ("if that's what floats someone's boat") that maybe that isn't really what you're looking to support. I can't tell if it'll even work -- subjective vote-based one-upmanship is generally a poor arena for competition. But if you do wish to support competitive play, then let's do it!
  • I regret my earlier phrasing, and I may have misjudged the intent of your question. My intention is for competitive play and collaborative play to actually be of relatively equal value, although different in flavor, and to even coexist in the same session.

    Exclamation Point!

  • edited November 2014
    Ok then, let the game begin! I'm going to go first just to get things going, so it will be Tod, Chris, Rickard, David, and round in that order. We're using the "TV Sitcom: Two Problems" template. That gives us 13 Key Scenes to hit, and an optimum scenecount of 19. It also gives us Two Free Characters (not yet Brainstormed) and One Free Location (not yet Brainstormed). I have added those above. And finally, we have a budget of 48 Tokens which gives us 12 Tokens each. I'll keep track of all this stuff in the top comment.

  • Huh. Okay, check me on this. The player's objective is to do as well as possible in each of these criteria:
    1) Making a cool story which the group enjoys
    2) Getting the most points (which is partly served by goal # 1)
    3) Scoring high on the "critical response" chart via efficient scene flow and character inclusion, emotional range, wise token-spending on star actors / post-production / famous musicians / advertising, a PG rating, and avoiding product placement (all of which has nothing to do with goal # 1 or # 2).

    Is that correct?

    I'm asking now because, if I start throwing in slasher gore because the group enjoys it, but then in the big finale as everyone's hoping our movie's a hit, the R rating docks us 10 points, that would suck.

    Random thought: would you consider two final ratings? The one you have now could be Popular Reception, covering things like box office gross, and the second one could be based on the Universals and Performance concerns from the bonus point list, covering Critical Reception and legacy. So your uninspired but flashy movie sells tickets but then disappears, while your deep no-frills project bombs but becomes a cult classic. This seems nice to me thematically, but if it'd ruin the balance of mechanical incentives, then never mind.
  • edited November 2014
    I am absolutely considering multiple scoring systems, as well as campaign-style play with invested characters, but since the game is ultimately intended to be playable by a wide range of audiences (from storygamers to poker players - hey, I aim high), those additional tables and rules will be handled in the form of Expanded and Optional Rulesets. In this version of the game I am mainly testing the card/template system and getting feedback on the overall flow of play.

    Your breakdown of objectives is dead on, but I include some contradictions on purpose. For instance Product Placement is good for points (and gives you Tokens), but bad for critical ratings. There are trade-offs. Just like Hollywood!

  • Those mods on sales for various ratings aren't arbitrary, btw. They're based on actual box office reports.

  • edited November 2014

    If you’re planning on casting any star talent in your movie, you must do it when (or before) their character's first Scene is Established. For each star you put in a scene, there is a cost (in addition to the cost of the Character card or other cards played):
    • A-List Celebrity = 3 tokens
    • B-List Celebrity = 2 tokens
    • C-List Celebrity = 1 token

    Product Placement not only generates a Bonus Point for the Scene Writer, but it also adds 1 Token to the Budget of each Player.

    There's nothing wrong with sharing expenses. If you can convince your fellow Players to kick in for a celebrity actor or a CGI effect, go for it!

  • edited November 2014

    Right now we are building the "TEASER" - the first 2 or 3 minutes of the show, prior to the title credits and initial commercial break. See the template for the 3 Key Scenes (minimum) we have to hit for this Sequence.

    Ok, I drew 5 cards but it doesn't matter because I'm going to BRAINSTORM on Free Character Card #1.

    BRAINSTORMING: Murphy Patterson, a tough but likeable school superintendent, a little on the heavy side (CHARACTER)

    That cost me 1 token.

    I'm passing the turn to @ChristopherWeeks. First draw your hand. At this early stage in the game your options are to
    • Brainstorm one of those Free Cards like I did (that costs you 1 token), or
    • Brainstorm a card from your hand, which is basically saying "Here's an idea I would like to see in the first scene" (that costs you 1 token),
    • Or you can "Phone it in" which is just laying down a card without Brainstorming it, which costs nothing.
    • It's not yet possible to Establish a Scene because we don't have a card of each type Brainstormed yet. Correction: At this point you could Establish a Scene using Murphy if you have a Location AND an Event Card (blue) of any kind in your hand. If you have both of those plus a Character Card, you could ignore Murphy and just establish your own scene using all 3 of those cards.

  • Very cool and super. I can use this to structure my solo rpg sessions. I was having a hard time coming up with something to do that. I won't be using all of your game but it has a lot of stuff I can possibly utilize. I look forward to the comprehensive version. Thank you so much.
  • I think that I want to spend a token to brainstorm my Needs card (A Main Character discovers/realizes what they need to do.), but I'm not sure how much to provide. Is the following too much, too little, or off-base?

    Murphy realizes that the raccoons in the middle-school ventilation system need to be gone before the state auditors arrive!
  • I'd say that's spot-on, and of course just because a card is brainstormed doesn't necessarily mean it will be used. We're like Hollywood writers sitting around a table tossing out ideas, some of them are going to stick, some won't, and some will get grabbed by other people and twisted in some way you didn't expect. Yup!

    @Rickard, draw a hand! You can Brainstorm a Free Card, Brainstorm a card from your hand, or Phone It In... plus at this point it's getting really easy to Establish a Scene - the least we need is a Location!

  • edited November 2014
    Can we play in a different thread and use this one for off topic talk and side discussions? Just copy-paste any posts into that thread and edit them out here.
  • edited November 2014
    I can arrange that, @Rickard. So this becomes the metathread. There's not much to recreate so give me a minute or two...

    ETA: ok, like that?

  • edited November 2014

    I'm reading through all the material and trying to put bits and pieces together.

    I'm with @David_Berg. I'm not sure what the purpose of this game is. Sure, "to make a story" but how is it beneficial for me? What kind of emotions or experiences will this game create for me to make it feel beneficial to play it?

    1. If we ignore that this is a playtest and instead a finished game, what would be the reasons why you would pick this game out from your bookshelf and play it?

    2. a) If we play to win, why would I ever give points to you guys? Except if I would be a good sport about it.

    2. b) So if we play to win, does this mean that I should try to squeeze in as many performance notes as I can in every scene?

    3. I'm not sure how we should communicate. Are we writing a script that should be played out? In that case, inner thoughts seems unnecessary to write. Are we trying to tell a story? In that case, telling the actor's name would break that flow.

    I guess the third remark can be solved by correcting play. I will just go with it and write whatever that comes into mind.
  • edited November 2014
    This playtest is a stripped-down version of a tabletop game based around the central mechanic of the deck and the templates, which I'm testing and debugging offline. I have decided to try doing it online (a) just out of curiosity and (b) here at SG in order to get feedback I might not get anywhere else. So in that sense I wish to speak to you as @Rickard the designer/analyzer, and hope that you would willingly give me that feedback.

    But if you're asking about why would someone else want to play this game, that's a different question, and I'd just say "Hey man, stop questioning everything and you'll figure it out as you go!"

    (1) Fun? I think it's fun, and it can be played in a number of different ways, like backgammon, but without blood.

    (2a) You can play any way you want to play, and this will almost certainly affect everyone else's strategy as well. In the writers room everybody has to create a good story, but at the same time each writer hopes THEY are the one who knocks it out of the park.

    (2b) You should totally go for bonus points because it aids not only you but ALL of us. Our Bonus Points Total (all of them added together) is the single biggest modifier we get at the end of play. This number absolutely should be high. Besides, we will vote for any proposed points that come into dispute (only two people need to agree it's worth a point).

    (3) Check out the example APs ("Scene Lists") I linked above. Feel free to pretend we're sitting at a table. You can play chatty here and then transfer the short version over there, if you want. In F2F play I'll say a whole paragraph worth of stuff, but what I write on the Scene List is just one or two sentences that sum up the important thing that just happened plot-wise. Sometimes I take a couple lines to write it. Sometimes I include a particularly awesome line of dialogue "in quotes like this".

    ETA: Since we are emulating a film/tv production, mostly we are concerned with What The Camera Sees (and hears).

  • (1) Fun? I think it's fun, and it can be played in a number of different ways, like backgammon, but without blood.
    Sure, fun. But what in this game makes it fun? What kind of different reasons do you play for with this game?

    I will leave comments about the structure of the game until after we played.
  • edited November 2014
    I'm not writing a pitch right now, sorry. But the playtest has already found a bug: I recently changed the formula for determining budget, and it's too low. I am going to retcon our starting budget to 60, or 15 tokens each. This is the lowest multiple of 4 greater than 57, which is 3 x the optimum scenecount. I'll make that adjustment in a minute.

    @Rickard, that means you are not out of points. Yet. Which is fortunate because within this stripped version of the ruleset, there are no rules for gaining more tokens except through Product Placement. There is also no rule for what happens when you run out of tokens in this ruleset, so if that happens I think the only logical choice is that you'll simply be spent, and will contribute no more Brainstorms or Scenes until or unless someone puts a Product Placement in a scene! You will still get to vote and grant Bonus Points to others, however.

    Meanwhile, here around the table, player-to-player dialogue continues:

    @Rickard, are you dead set on George Clooney? He's pretty expensive. I might pitch in 1 or 2 tokens for a star but he's a little steep. You're totally getting some bonus points from me for this scene, but 9 tokens for Clooney? You're breakin' our balls, man!

    @ChristopherWeeks? @David_Berg? What do you guys think?

  • edited November 2014
    I'm with Rickard. If we can't use an A-lister, why are they in the rules in the first place? I will chip in 2 tokens if Christopher does too.

    Is it my turn now? Or do we award Rickard bonus points first? Should we have awarded Tod & Christopher anything?
  • Ok that would be 2 from us 3, and 3 from Rickard's share of the budget. I'm good with that if Chris is. Or perhaps @Rickard is willing to do it even without Chris's investment?

  • @Rickard, are you dead set on George Clooney? He's pretty expensive. I might pitch in 1 or 2 tokens for a star but he's a little steep. You're totally getting some bonus points from me for this scene, but 9 tokens for Clooney? You're breakin' our balls, man!
    Well, I realized that Clooney are 53 and I described someone around 35 so I was a little bit off. But I wanted an A-listed star.
  • Leonardo DiCaprio in his return to Sitcoms!

  • edited November 2014
    I'll pay 2 for an A-star. For Scene Points, Rickard will get 4+4+5 = 13. For Bonus Points, I'd say Rickard hit Emotion, Flashback and Suspense. Anybody else?

    I'm gonna sleep for some hours, so you guys decide about Rickard's scene and the star. Dave you can take your turn if you want, and I'll do the bookkeeping after.

  • I thought Rickard was doing it regardless. I'm volunteering to pitch in, but only if Tod & Chris do likewise. If Chris is out, I'm out. How's that for some competitive collaboration?
  • Let's see what they say.

  • Rickard, here are some casting ideas: http://www.imdb.com/list/ls000956408/

    I'm not feelin' Leo for a sitcom. Jude Law was hilarious in I Heart Huckabees...
  • Why is it to my advantage to pay for a star?

  • edited November 2014
    Rickard, here are some casting ideas: http://www.imdb.com/list/ls000956408/

    I'm not feelin' Leo for a sitcom. Jude Law was hilarious in I Heart Huckabees...
    Yeah, I can't imagine di Caprio in a comedy. (Clooney is perfect with his subtle humor as seen in any Cohen movie.)

    Jude Law feels better or someone got a natural talent to look grumpy. [edit] The more I picture it, the better Jude Law fits in that role.
  • edited November 2014
    Why is it to my advantage to pay for a star?
    Couldn't sleep :-)
    An A-star in our production will gain us +3d6 when we tally up the score for the whole show at the end.

  • edited November 2014
    Ok so @Rickard, you wanna change that to Jude Law in the other thread?
    1. @ChristopherWeeks - pitching in?
    2. @Rickard - Can you please give us one sentence describing the CHARACTER and one for the LOCATION you established?
    3. Anybody else suggesting any bonus points for Rickard?

    After that, it's @David_Berg's turn!

  • I choose not to contribute for star-power.

    It seems like he hit humor and supporting the genre, though I might not really understand what that last one means.
  • edited November 2014
    I'm abstaining from those, as I feel it hasn't turned funny yet. Anybody else (including Rickard) vote for Humor and/or Supporting the Genre? (by which I mean something like "a trope which would be familiar to viewers of the genre.")

    Rickard now has 8 tokens left. And I spent 2 for Jude Law.

  • edited November 2014
    I spent 0 for Jude, Tod. I'm only being altruistic if all my competitors are too! If Christopher's out, so am I. Did you factor that into Rickard's total, or does he actually have 6 left?

    Re: bonus points, here are some I'd like to at least question for Rickard's scene:

    • Establishing a Pivotal Key Scene -- Not sure what qualifies
    • Supporting the Genre -- a school full of raccoons is good comedy fodder; seems promising... oh, but wait, Christopher came up with that! Is he eligible for points?
    • Describing the World -- not sure if Tom's back story is intended to pertain to our location... not sure if the volume of raccoons constitutes establishing the nature of the school
    • Acting -- satisfaction with one task while the overall job goes to hell
    • Flashback -- "got out of tiny town"
    • Humor -- satisfaction with one task while the overall job goes to hell
    • Information -- school is full of raccoons
    • Irony -- satisfaction with one task while the overall job goes to hell
    • Suspense -- intro with sounds in blackness, then animal eyes

    Without guidance, I think I would:
    - give out one point for the myopic satisfaction, and I guess I can throw that under "Humor" since Christopher suggested that.
    - give out one point for the informational content -- state of school, Tom's background -- as either Describing the World, Flashback, or Information. Arbitrarily, I'll say "Describing the World".

    To the proposal of Support the Genre, I would vote No.
  • I have one character card. Does that mean I can only introduce one character?
  • I introduced three characters who I envision as protagonists (including Counselor Marsha, not appearing), but I guess we'll see...
  • edited November 2014
    Rickard's scene
    Here are the notes I thought I included:

    Describing the World
    Payoff for earlier Setup (Me using Christopher's need?)

    Dunno how much of each. I guess there was suspense in how I described things, and it's possible that history can count as flashback.

    (I honestly just wrote something in my post. If I couldn't tick off this many notes, I would had rewritten it. How well I succeeded can only you guys tell.)
  • edited November 2014
    Ok then, the notes that 2 people voted for were Emotion, Humor, Information, Suspense and Describing the World, I'm not counting Flashback since even Rickard seemed doubtful. Christopher's Need card was never actually established, so that's out (otherwise I would concur with Payoff). So that's 5 Bonus Points for @Rickard's first scene, in addition to the 13 Scene Points. Awesome score for a scene!

    @David_Berg - 1 Character Card means 1 Character or 1 group of characters who function in union as a single "character". Says so on the card. My ruling would be that your scene can only count if those kids are never seen apart from each other, and fulfill a single narrative function. "The Bad Kids Gang" or etc. If you have a more elaborate scene in mind, you're gonna have to brainstorm elements until you can assemble it.

    Sounds like you've established our first Key Scene - the "home base" - but I need to know what you want to do card-wise before I can decide on performance notes. (a) Rewrite the scene with only one character, (b) accept the kids as a single compound character, or (c) do something else entirely (such as brainstorm or etc)?

    Regarding "fuckin" vs "friggin" - note Rickard already had Tom say "shit" so we have one bleep already.

    Asa Butterfield, I wanna say "B celeb". At least here in the states. Anybody with me on that?

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