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 = Notes =
-consequence stacking action have consequences, mais pas que une (aider le village Ã  combattre les gobelins doit avoir dâ€™autres consÃ©quences), on peut par exemple : - en avoir que lâ€™on connait en avance - et surtout dâ€™autres lâ€™on dÃ©couvre plus tard emotionnal contrast mapping : ne soit pas monotone, change dâ€™energie identify emotional peaks of session contrast these peaks with lower energy moment (or higher if peaks is lower) adapt communication mechanical repetition trap : don t let player make same types of choices challenge of different category for each session (combat, puzzle, interaction skills, managment, etc) arrange theme for maximum contrast match solution for shinny moment of PJ
+Method Edariad story telling : establish scene define dominant emotion choose one sensory detail (linked to the dominant emotion) introduce action before dialogue character driven consequence : la puntion des parents n’est rien face à leur visage decu de toi 3 to 5 observant (parents) update their opinions based on PJ actions show the changing of their opinion via actions, not only dialogue subtext layering : canaux de communication (in game) different : un PJ qui dit oui tout en faisant non de la tête, les PJ doivent choisir un cannal à suivre contredire les mots avec les actions laisser des informations vides, pour faire spéculer les joueurs
-â€”
+—
-en impro montrer : Ã©tat stable into changements into conflit into people
+These D and D Myths Must DIE rules are rules, because boundaries make players more creative préparer ce qui peut aider la créativité, pas ce qui la restreind (tools donc et non lignes) : collaboration not planning what do you want to eat ? vs which italian food do you want tonight ? = what you want to do vs setup situation c’est vraiment la pensée divergente vs pensée convergente, il faut des deux pour la créativité limitations are the pillars of other creatives ideas, ppl don’t want freedom but want to affect the world instead of What do you want to do, present 3 differents solutions and let them twink them best moment repose on interesting situation and players choices
-â€” <nowiki>https://www.youtube.com/watch?v=UXXG9innmbc</nowiki> Stories are on players, and you are gambling with stories (and PJ lives) Players and PJ want different things (stories of PJs) So player may go in a straigth line for the sake of their PJ stories But you, the GM, have to make it pleasant, make the path not straigth So donâ€™t look for way to achieve PJ stories but for ways to please players in the path of their PJ stories (think about the player, not the character)
+— <nowiki>https://www.youtube.com/watch?v=UXXG9innmbc</nowiki> Stories are on players, and you are gambling with stories (and PJ lives) Players and PJ want different things (stories of PJs) So player may go in a straigth line for the sake of their PJ stories But you, the GM, have to make it pleasant, make the path not straigth So don’t look for way to achieve PJ stories but for ways to please players in the path of their PJ stories (think about the player, not the character)

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<span id="notes"></span>
= Notes =

Method Edariad story telling : establish scene define dominant emotion choose one sensory detail (linked to the dominant emotion) introduce action before dialogue character driven consequence : la puntion des parents nâ€™est rien face Ã leur visage decu de toi 3 to 5 observant (parents) update their opinions based on PJ actions show the changing of their opinion via actions, not only dialogue subtext layering : canaux de communication (in game) different : un PJ qui dit oui tout en faisant non de la tÃªte, les PJ doivent choisir un cannal Ã suivre contredire les mots avec les actions laisser des informations vides, pour faire spÃ©culer les joueurs

â€”

consequence stacking action have consequences, mais pas que une (aider le village Ã combattre les gobelins doit avoir dâ€™autres consÃ©quences), on peut par exemple : - en avoir que lâ€™on connait en avance - et surtout dâ€™autres lâ€™on dÃ©couvre plus tard emotionnal contrast mapping : ne soit pas monotone, change dâ€™energie identify emotional peaks of session contrast these peaks with lower energy moment (or higher if peaks is lower) adapt communication mechanical repetition trap : don t let player make same types of choices challenge of different category for each session (combat, puzzle, interaction skills, managment, etc) arrange theme for maximum contrast match solution for shinny moment of PJ

â€”

what makes a hook work earned emotional investment : players care about people (npc) and not world, more particulary if something was shared creat random exchange (direct or indirect) between PJ and PNJ and use them later for plot hook, because they will care expertise activation : let the player find before it happen, make them feel smart study character sheets and write skill, background and special equipment create using that 3 applications : social, investigative, tactical consequence stacking : donâ€™t make threat bigger but make choices harder (moral choice harder and harder, the more they discover the more they will have to thing and make a choice) start with a simple problem and creat unexpected consequences for each solution : a bigger truth (transform the original problem) a now moral dilemma (forece interesting choices) a connection to an existing plot thread (connect to their interests)

â€”

â€”

dungeons use contrast : need to establish normality first "Things are normal, but this..." use parttern break then show impact of this break temporal storytelling : add temporality to dungeon so that it can tell a story (intrusion room into combat room into dead room) emotional anchors : places can tell emotions (of people who was there) focus on universal emotions show how event impacted ppl here creat items that hint at unfinished stories (tragedy that hit players) la encore on a un template dâ€™improvisation, on peut en chercher dâ€™autres et voir leur utiltÃ©s

en impro montrer : Ã©tat stable into changements into conflit into people

â€”

These D and D Myths Must DIE rules are rules, because boundaries make players more creative prÃ©parer ce qui peut aider la crÃ©ativitÃ©, pas ce qui la restreind (tools donc et non lignes) : collaboration not planning what do you want to eat ? vs which italian food do you want tonight ? = what you want to do vs setup situation câ€™est vraiment la pensÃ©e divergente vs pensÃ©e convergente, il faut des deux pour la crÃ©ativitÃ© limitations are the pillars of other creatives ideas, ppl donâ€™t want freedom but want to affect the world instead of What do you want to do, present 3 differents solutions and let them twink them best moment repose on interesting situation and players choices

â€” <nowiki>https://www.youtube.com/watch?v=UXXG9innmbc</nowiki> Stories are on players, and you are gambling with stories (and PJ lives) Players and PJ want different things (stories of PJs) So player may go in a straigth line for the sake of their PJ stories But you, the GM, have to make it pleasant, make the path not straigth So donâ€™t look for way to achieve PJ stories but for ways to please players in the path of their PJ stories (think about the player, not the character)

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