Difference between revisions of "Drama Schticks (Action)"

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Drama sticks are ideas for subplot and dramatic schticks that involve plot elements rather than abilities of the character. They involve the script and role more than the action. I am still not convinced this is a good idea.
 
Drama sticks are ideas for subplot and dramatic schticks that involve plot elements rather than abilities of the character. They involve the script and role more than the action. I am still not convinced this is a good idea.
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Some of these exist as skill schticks, and a number of skill schticks could pobably be made drama scticks if this format is selected.
  
 
== Duel ==
 
== Duel ==

Latest revision as of 06:52, 31 August 2010

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Heroic Action Role-Play

Drama sticks are ideas for subplot and dramatic schticks that involve plot elements rather than abilities of the character. They involve the script and role more than the action. I am still not convinced this is a good idea.

Some of these exist as skill schticks, and a number of skill schticks could pobably be made drama scticks if this format is selected.

Duel

Limit Break

You confront an opposing character in a way where others cannot easily intervene. This is usually because of the physical setting, somehow you and your opponent end up isolated from others.

Tete-a-Tete

Limit break

You have a one-on-one interaction encounter with another character present of the scene. This is strictly a social encounter, there is something that prevents this from escalating into combat. In the middle of a fight this might be a pause enforced by the environment, an impasse, or a mexican standoff. Even if it is very short, it can be used to have a meaningful relationship development, make points clear, or otherwise be used to establish common ground or revitalize a rivalry.

Victim

Trigger Action

Whenever you take damage or suffer a setback, you can use this schtick to negate that damage or setback. Whenever you are reasonably alone and vulnerable, the GM can use this schtick against you. You are captured, often falling unconscious. Opponents usually get away with kidnapping you and removing you from the scene. You will soon re-enter the action, but then as a captive of the enemy - as a hostage, sacrificial victim, caged decoration, or just tossed into a corner. You will either be central to this scene, where it revolves around your rescue, or you'll find it very easy to escape and enter the action.