【暗影狂奔第五版核心规则书翻译】Gamemaster Advice P332-342

[tzeentchian]

译者：地神 由tzeentch众代发

Role of the Gamemaster

暗影狂奔这款游戏的设计目的在于为所有的参与者，包括gm和玩家带来乐趣。gm的作用就是让每个人都切实地享受到这一份乐趣。首先，gm有义务掌控大局。gm是独一无二且极其重要的，也负有更多的责任，但他们不应独断专行，将自己的想法强加于人。在很多方面，gm更像是电影导演和作者，而玩家则是故事里面的主角。有时，gm会与玩家对立，给他们创造困难和挑战；而有时，gm要向玩家伸出援手，助他们脱离难关。但是，gm仍然是游戏的一份子。在游戏的过程中，gm和玩家都一样努力为游戏中的所有人创造乐趣。游戏便如划船，gm是舵手，他控制船前进的方向；而玩家则是船员，他们努力划船使其前进。如果gm和玩家同心协力，那么游戏就会很有趣；如果gm与玩家反目，那么这场游戏多半是会失败了。

劇透 -   :

The ultimate goal of any session of Shadowrun is for all of the participants, gamemaster as well as players, to have fun. The gamemaster’s role in this is to be a facilitator for that fun—the guy who helps make that fun happen.Primarily, the gamemaster is responsible for bringing the initial story seed, or spark, on which the session will be built. The gamemaster’s unique and important role in the game group gives them more responsibility, but they shouldn’t act as a ruler or tyrant of the game. In many ways, the gamemaster is like the director of a movie or the author of a story, and the players are the main characters. There are times when the gamemaster will challenge and be in opposition to the players, and there are times when the gamemaster will aid and direct the players,but the gamemaster is still part of the overall game group. The gamemaster and the players participate equally, in their different roles, in creating the fun for everyone. Think of the game as being like a boat, with the gamemaster controlling the rudder and the players rowing the oars. The gamemaster sets the direction, the players drive the game forward, and everyone is in the boat together. If they work together, things go great. If not, you either go nowhere or get lost.

本章节包含的工具和建议可帮助gm为包括他自己在内的每一个人创造愉快的游戏经历。我们将从gm应在游戏之前考虑的东西说起。

劇透 -   :

This chapter provides tools and advice that will help the gamemaster make the game fun for everyone—even themselves. We’ll start with the things gamemasters should be thinking about before a game session starts.

Pre-Game Considerations

游戏前的准备工作是很重要的。你或许会需要对以下部分进行准备。

劇透 -   :

Your preparation is important to making a game work.Like any runner, you need to pack out. Here’s some of the gear you’ll need.

Know Your Players
gm应当与玩家进行交流，以了解他们到底想玩一局什么样的游戏。gm若想在一个新团里面对一些不熟悉的玩家，那么他就更应该去了解他们。gm需要彻底掌握玩家的心理，要知道玩家在现实中想要什么和他们想让这游戏以何种方式进行。他们想要一次包括地图，微缩模型和激烈枪战在内的踢门向的游戏吗？他们想要一种以厚重的剧情，曲折的情节和惊险的冒险为主题的剧情向的游戏吗？他们想要一个个鲜活的人设，个个都拥有独特的道德视角和行动动机吗？他们想要摆脱平淡生活，进行一场诸如高速追逐，巨龙或爆炸的超现实体验吗？最可能的情况就是，每一个玩家所关注的重点，那些最能取悦他们的部分都不一样。在游戏进行的时候，gm需要把这些都熟记于心，最好就是把这些东西都写在纸上时刻对照。

劇透 -   :

A gamemaster should talk with the players to determine the kind of game they want to play. This is especially important if it’s a new group or people that the gamemaster does not know personally. The gamemaster should get a good understanding of what the players want out of the game and how they want it played. Do they want a heavily tactical game with maps, miniatures, and lots of shooting? Do they prefer a heavily story-driven game with plot twists and exciting reveals? Do they want a game with deep and subtle characters, where issues of motivations and morality are explored? Do they want a game filled with larger-than-life situations and action such as high-speed chases, dragons, and explosions? More than likely, each of the players will want different things or will find different aspects of the game the most fun or the most exciting. The gamemaster should keep all of this in mind, or better yet write it down as a reminder when running the game.

获取这些信息并不容易。如果直接询问的话，很多玩家会拒绝回答，另一些玩家只会说出误导性的信息，因为他们以为自己最渴望的其实并不是他们真正的渴望。为了了解玩家们最享受什么样的游戏，gm应当提出一些更具针对性的问题，或者让他们举出一些具体的例子。让他们描述他们觉得游戏最精彩的时刻，或者gm最引人发笑的时刻。让他们描述他们最喜欢的NPC,或是他们觉得最好的反派。让玩家讨论暗影狂奔给他们留下的最美好的回忆，并随时记录重要的内容。在大多数时候，gm不应当在模组中进行机械的模仿，而应当进行总结，归结出玩家会最喜欢的游戏元素并将其加入到自己的模组之中。不过，如果这些故事有涉及到动感十足的打斗场面或者潜伏着的危机与阴谋的话，记笔记，并在之后的模组中使用。

劇透 -   :

Getting this kind of information isn’t always easy.Many players won’t be able to tell you exactly what they want out of a game, or they will say something that they think they like. To help you find out what kind of game the players will find most enjoyable, ask specific questions or for specific examples of situations they’d find interesting. Instead of asking what they find fun about Shadowrun, you can ask them to describe their favorite moment from a game of Shadowrun, or from any other game they’ve played. Ask for a time when the gamemaster surprised them, or when the gamemaster made them laugh. Ask them to describe their favorite NPC, or a villain they loved to hate. Get the players to start talking about their best Shadowrun memories—and start taking notes. You shouldn’t just repeat their favorite moments and elements, but by listening to what the players share,you can get an idea of the kind of game that the players will find the most enjoyable. If all of the stories involved action-packed fight scenes, or tense moments of stealth and intrigue, then make notes to incorporate those elements into future runs.

这些措施可让游戏在最好的条件下开始，并保证游戏不在一开始就面临失败。如果gm花费大量时间在设计不可告人的商业阴谋，秘密地址和诡计上，而玩家却想要飞车追逐和枪战，那么游戏很快就会面临失败。对此一无所知的gm会疑惑为何他们做出一副毫无兴趣的样子，而玩家们当然则确实会感到厌倦。

劇透 -   :

This will help the game get off to the best possible start and avoid disasters that kill momentum in the early going. If the gamemaster were to spend a bunch of time planning a run full of deep corporate intrigue, secret plots,and subtle machinations, but the players wanted something with a high-speed chase and a gunfight, the game could fail quickly. Without going through the process of identifying what the players want, the gamemaster may be puzzled why they seem to be bored with the story.And the players—well, they may be bored.

gm的思维不应为这些既得的信息所限制住。或许玩家在之前从未有机会去尝试不同的风格，而不同的风格会比他们想象的更有趣。玩家有时会乐于尝试一些不同的扮演风格，这让他们得以摆脱习以为常的风格而体验到另一种乐趣。但需要注意的是，不要改动你的游戏的基调。如果游戏持续偏离玩家的喜好，玩家们便会感到沮丧。

劇透 -   :

That said, knowing what the players want should not bar the gamemaster from planning a run that has a different theme or different elements. It may be that the players have never had the opportunity to try a different style of game, and they may enjoy it more than they guessed. Players should be accommodating enough to play sessions that have a different feel to them, and getting players (and their characters) out of their comfort zones can provide some of the best growth and roleplaying opportunities. But these diversions should most likely be exceptions. If the game consistently deviates from what the players have stated to be their preference,that can lead to frustration.

Know Yourself
当与你的玩家交流过之后，花点时间与自己交谈。弄明白，以一个gm的身份，你在游戏中想要收获什么。是什么最能激励鼓舞你从事这项活动？是什么动机让你想去讲这个故事？你想说什么样的故事？有没有那些你非常想用的故事情节，在你脑海里来回出现？一个好gm应当知道他们想要实现的游戏的样子，以及如何实现的方法。

劇透 -   :

Once you’ve talked to your players, spend some quality time talking to yourself. You need to understand what you want out of the game. Why do you enjoy gamemastering?What is it about the activity that excites and engages you the most? What motivates you to tell these stories? What kind of stories do you want to tell?Is there a particular plot that’s been rolling around in your head that you want to use? A good gamemaster should know what they want to get out of running the game and how that can be achieved.

gm应当与玩家一起讨论这些问题。如果在gm和玩家想要的东西有冲突的话，那么冲突就需要得到处理和解决。通常，两方会互相妥协，并找到一条中间道路。但若问题得不到解决，那就最好不要开团。

劇透 -   :

They should communicate these things to the players.If there is some kind of conflict between what the gamemaster wants and what the players want, then the conflict needs to be addressed and resolved, preferably by finding some sort of middle ground or compromise. If it cannot be resolved, then it was probably best that the game never got started.

当玩家们对游戏的要求得到满足，他们就会积极地参与游戏。同时，gm也如愿得到一个可以让人觉得有趣的故事的机会，他们会乐于花费一些必要的时间和精力，并积极地参与游戏之中。gm的热情富有感染力，也因此成为一次成功的团的一个必不可少的因素。反之，一个欲求不满的gm会变得厌倦游戏且失去热心，最后导致游戏质量的下降甚至失败。

劇透 -   :

When the players are getting what they want out of a game, they are involved and engaged. In the same way,when a gamemaster is getting what they want by telling stories that interest them, they will be engaged and motivated to put the necessary time and effort into the game. The passion of the gamemaster is infectious and can be a key element in a good game session. Conversely, an unfulfilled gamemaster will often become demotivated and less enthusiastic, which inevitably leads to the decline, or death, of the game.

Group Rules and Boundaries
现在你对进行什么游戏应该有了一个大概的认识，现在是时候考虑一些细节了。
最好先讨论那些个人所厌恶的元素--也就是指会让玩家在扮演中感到反感的一些东西。第六纪元并不友善，其中的很多东西对玩家来说都是令人不快的。可以提出的问题包括：

• 道德：亦正亦邪的人物能被每个人所认可吗？
• 种族主义：即使在暗影狂奔中，种族都只是虚构的，但这种擦边球仍然可能让某些人感到不适。
• 暴力：暗影狂奔无疑是有暴力元素的。关键是，怎样对暴力元素进行限制？比如，应该禁止以儿童为目标的暴力吗？
• 性：关于性的话题很可能刺激到某些人。人们对待性的态度并不一致，而有些人并不希望在游戏中处理关于这些的话题。

劇透 -   :

You should now know what kind of game you want to run—you’ve got the broad lines, now it’s time to start throwing in some details and color.
A good place to start is to discuss whether there are any issues of personal offense—themes or subjects that any of the players would be uncomfortable roleplaying or encountering in the game. The Sixth World is not a pleasant place, and many things can come up in the game that could make a player uncomfortable. Potential problem areas include:
• Morality: Is everyone comfortable with characters having varying levels of questionable morals,where there is no discernible good or bad?
• Racism: Even if it just involves the fictional races of Shadowrun, racism may hit too close to home for some people.
• Violence: Violence tends to happen in Shadowrun games. How graphic should the violence in your game be? Are there targets, such as children,that should be off-limits?
• Sexuality: Sexuality can be extremely sensitive for some people, and some may not want to deal with the seedier side of town in their games, or with specific sexual subjects.

gm需要弄清楚这些问题，并设置一些禁区，以避免发生让人尴尬的情况。

劇透 -   :

Gamemasters should ask players if any of these topics (or any others) should be considered off-limits for the game to avoid any personally uncomfortable situations.

如果团内仍没有团规的话，接下来就该着手于此。团规主要包括玩游戏的礼节和规章制度。在遇到关于规则的问题时，是翻开规则书立刻进行研究，还是先进行剧情，稍后再研究规则？当某个玩家中断游戏时，是让游戏继续进行还是等到玩家回来为止？游戏外讨论究竟应该被容许到什么程度---是轻松地投骰说笑，还是专注于代入整个剧情？如何投骰？投骰过程应该为所有人所见吗？如果某个模具变形或掉在地上，该如何处理？在战斗阶段制定一些惯例，譬如在宣告战斗的时候或进行modifiers的计算的时候，执行某些特殊的惯例，这样便可显著加快对抗速度，并减少玩家花费的时间。

劇透 -   :

Next, table rules should be established, if the group doesn’t have them already. These generally include etiquette and courtesy procedures while playing the game.How are rules questions handled: Look it up and get it right, or have the gamemaster make a quick ruling and move on and look it up after? How do you handle player interruptions: Can the game keep going or should it pause and wait for the player to come back? How much out-of-character discussion is allowed at the table—is the group there to roll dice and have fun, or does the group want a more focused roleplaying experience? Are there any procedures for die rolling? Must all rolls be visible, including the gamemaster’s in everyone’s view? What if a die is “cocked” or lands off the table? Establishing some procedures during a combat situation such as when initiative is rolled and reported, when modifiers are calculated, and when actions are declared and resolved can significantly speed up the time it takes to resolve combats and reduce time between player actions.

接下来便应讨论制定一些房规。有些团喜欢应用一些不同于规则书的规则，这时就该制定一些房规。房规应该在游戏开始之前确立，以避免争端。

劇透 -   :

The group should then discuss if there are any house rules they would like to implement. These are specific instances where the group decides to play the game differently than how it is written. These should be established prior to the first game being played to avoid confusion.

作为gm，应该对扮演对抗玩家的反派角色有所准备。反派会抓住每一个机会，将玩家赶尽杀绝吗？还是在必要的时候放玩家一条生路？是赋予反派们符合他们技能和背景的智力，还是仅赋予他们方便游戏运作的智力？投骰是明投还是暗投？在某些关键时刻，gm会去修改投骰的点数以便于符合整个故事情节，还是坐视这一切的发生？

劇透 -   :

As a gamemaster, you should be up-front with the players about how you intend to play the opposition in the game. Will enemies be ruthless and press every advantage that they have until the players are dead, or will the gamemaster let the players escape damaged but alive? Will opposition be “gamed” where it is designed appropriate to the characters’ skill level or will it be based solely on the gamemaster’s (or group’s) view of what is appropriate (or realistic) for the game world? Also, does the gamemaster make their die rolls discreetly behind their screen, or roll on the table in front of all the players? Will die rolls be fudged if they completely break the story or will everything be taken straight up?

最后就应当进行角色死亡的讨论。尽管暗影狂奔第五版规则提供了种种让玩家拯救自己的人物的方法，但有时悲剧还是会发生。有些玩家仅仅会遵守规则，投骰，然后听天由命。其他的玩家会努力去挽救他们努力创造出的那些拥有独特背景和性格的人物。人物的死亡是否是可以被接受的？假如那些死亡是出于意外，且人物还没有机会发挥他在剧情中的作用呢？或者，只有在足够特殊，且富有戏剧性的时刻，人物才可以死？

劇透 -   :

Finally, character death should be discussed. Although Shadowrun, Fifth Edition provides many opportunities for a character to prevent their own demise,sometimes things just do not work out. Some groups prefer to stick to the rules, roll the dice, and let whatever happens happen, even to the point of characters dying.Other players may not want all the hard work they put into creating their character and writing a deep and creative background go to waste on a few bad die rolls. The group should decide if permanent character death is acceptable,even if that death is random and not fulfilling for the story. Or can character death only happen when the possibility is specifically foreknown to the player and the death dramatically appropriate for the situation?

尽管这些工作很繁琐乏味，且可能是在浪费时间。但完全地经历这些过程，即使是对于那些运作良好的团来说也是值得的。制定好必要的规则和框架可有效地减少争端，并避免在扮演角色上会发生的一些麻烦。

劇透 -   :

Although discussing these topics may seem tedious,obvious, or a waste of time, going through the process will produce valuable results, even for groups that are well established. Establishing these key issues of game theme, structure, and boundaries can reduce conflict and avoid some of the pitfalls that sometimes come up in the course of roleplaying.

Group Template
在车卡时，玩家间应进行更多的沟通。玩家们应该聚到一起，弄明白每个人的人物属性和整只队伍的属性。在写人物卡时要与其他人物卡对照，以确保该人物的团队角色和技能不会与其他人物所拥有的重叠。除了对技能组合进行审查外，团队还应当对人物的性格和道德立场进行讨论。组成团队的是一群强硬的办事员，以狂奔维持生计；还是一群锄强扶弱，打击那些法人和企业的侠客？无论怎样，队伍整体应当有一个色调。

劇透 -   :

Creating a group of characters should be done as collaborative effort. All the players should discuss with each other the kind of characters they want to play and,by extension, the structure of the group. When characters are created, or at least character concepts created,with the input of the rest of the group, there are no session-one surprises. Players will know if their chosen role or skill set overlaps with other group members. In addition to reviewing skill sets, the group should discuss the kind of characters they want to play from a personality and morality standpoint. Is the group full of hard-line professionals, taking runs purely to support a living? Is the group a bunch of “hooders” taking runs to knock the corporations or other Powers That Be down a peg and helping out the little guy? This will set an overall tone or feel for the group.

其次，可能是最重要的一点，所创造的人物之间应当拥有羁绊。两个角色之间曾经共事过吗？角色之间有什么联系吗？这支团队是一支关系紧密，配合默契的职业队伍吗？还是说仅仅是一些互不信任的陌生人，被迫合作以达到共同目标。队伍的某两人之间存在不信任或敌意么？在角色之间设定一些冲突确可让角色扮演变得更有意思，但一定要把握好程度。如果冲突升级，玩家间开始互车，那么游戏也玩不长了。在两个角色之间一定要建立一个比冲突更有力的羁绊关系，这样gm才有理由让两人在一起共事。如若不然，那么gm将会很难找借口让两人合作，哪怕是很小一段时间。

劇透 -   :

Next, and probably most importantly, the group should discuss the connections their characters have to one another. Do any of the characters have a shared history? Are any related? Does the group have a purely professional relationship, being assembled by a fixer they all know? Or is this a group of strangers that have just come together, forced to work together through circumstance? Is there mistrust, or possibly hostility, between any characters in the group? Building conflict between characters into the group provides interesting roleplaying opportunities, but it should be handled cautiously. If the group devolves into fighting each other, the game will quickly come to a halt. If characters end up with some tension between them, be sure there is a force that pulls them to work together that is stronger than that conflict, otherwise it will become difficult to find reasons for the characters to stay together for any length of time.

作图，将人物之间的关系全部都表现出来，在游戏开始之前将这个完成，并使用它减少玩家之间的争端。玩家可利用此图搞清楚各角色之间的联系，也方便他们更好地扮演。如果两位角色之间有预设冲突关系，那么那两位玩家就会事先对冲突心里有数。这样一来，冲突便会在更可控的情况下进行，玩家们也不会因为忘记了设定，而被戏弄，而满怀不快继而埋下不合的种子。

劇透 -   :

Mapping out these character connections as part of character creation and prior to the first session will prevent major game-stopping problems or conflicts from occurring. If the players have done the work of planning the connections between their characters, they will find it easier to roleplay them right from the start. If there are conflicts between characters in the group, they will be known prior to the first session and thus will not come as an unpleasant shock to any player when the group begins the first session.

Final thoughts
将以上工作全部完成，虽然不能保证游戏一定会顺利，但可以最大限度地让游戏顺利进行。而态度，就是最后一个关键因素。

劇透 -   :

With all of the above work done, the game should be set up in the best possible way for success. It is by no means a guarantee, but the chances of having a successful and well-functioning game will be increased.Beyond all of the above, there is one final critical ingredient: attitude.

当所有人都围坐在桌子旁边时，他们应该以一种积极向上的态度进行游戏并努力让其运作。前文的作用，则是帮助gm和玩家明确他们团的目标，和提供互相妥协的方法。前文所给的方法，旨在让每个人都有机会表达自己的意见，并避免任何一个人加入到一场带有他们所不快的因素(诸如语气，风格，结构，人设）的游戏中，而产生出消极的态度。如果每一个人的意见都得到重视并被采纳，而最终达成了一个共识的话，那么大家都会投入到这个游戏中并使它顺利地进行。这就是一个成功游戏的秘诀。

劇透 -   :

When everyone comes to the table, they should come with the attitude of dedicating themselves to the game, committed to making it work. All of the discussions described above are designed to help the gamemasters and players understand group goals and expectations and (ideally) find acceptable compromises.The discussions are intended to let everyone voice their opinion and avoid any situation where a player comes into a game with a negative attitude from the start because it’s not the tone, style, structure, or character concept they wanted to play. If everyone’s opinion were adequately heard, considered, and brought into a consensus, then everyone should be able to commit themselves to making the game work. That’s what makes a successful game.

[tzeentchian]

Designing a Run

讨论已经结束，目标已经明确，是时候进入正题了。摆在gm面前的便是他们最重要的工作：创造一次狂奔。在狂奔中，应该对故事的走向，至少是最开始的部分进行规划. gm不必拘束如何发挥自己的灵感，如何合理的规划一次狂奔。事实上，每一个gm都可以有他们独特的方法。本章并不着力于描述一种最好的方法。相对的，本章旨在帮助那些并没有成熟的个人风格的gm制定他们自己的狂奔，并提供适当的思想和技术；同时，那些身经百战的老gm们也可借此提高自己的知识水平。

劇透 -   :

The talk is over, the goals are set, now it’s time to dive into the particulars. The gamemaster now has to do one of the biggest parts of their job: Create a run. The run forms the story that will define, at least initially, the play session. How a gamemaster goes about getting an idea for a run and how it is planned can vary widely.There are as many different methods as there are gamemasters.This section is not intended to be the only or even the best method for planning a run. Instead, it provides a starting point for gamemasters who haven’t developed a personal style and offers a selection of ideas and techniques that more veteran gamemasters can adapt, in part or whole, to their style.

The Hook
通常，狂奔的进程并不为gm所操纵。几乎所有的狂奔都始于一个念头或影像：引子。一次狂奔的其余所有部分都围绕引子而运行。你可以使用一段剧情来引出故事，这种特别的方式会让狂奔更加引人注目。一种为众人瞩目的新科技或一段信息也可成为一个引子。一个引人注目的npc可以用来带动整个游戏的运行。一场危险刺激的打斗场面也可成为一个引子。无论引子是什么，gm都得考虑清楚，他怎样让他的狂奔围绕这个引子顺利展开。

劇透 -   :

Most of the time, a run doesn’t spring forth fully formed from the mind of a gamemaster. Nearly all runs start with a single idea or image—the hook. The hook is the initial seed that the rest of the run is built around. It may be an interesting plot concept, a run structure that is unusual and compelling. It can be an interesting piece of technology or information that becomes the focus. It can be a compelling NPC that is the driver of events. It can be a vivid action scene full of danger and excitement. Whatever its form, the hook is the thing that drives a gamemaster to think “I want to stage a run about this.”

引子可以出自任何地方。暗影狂奔的原始资料，任务和探险都富有创意，是取之不绝的灵感源泉。有些gm会从报纸或网络上寻找新的灵感。有些有趣的技术有种第六纪元的既视感，它们也可被gm用作引子的素材。有些gm会从电影里和电视节目中选取那些有趣的人物加入游戏中。某个人物的背景故事也可以作为引子在游戏的开始出现。之前的狂奔中一些未解决的问题或者悬而未决的内容也可作为下一次狂奔的素材。gm甚至可以自己想一个出来。总之，无论引子出自哪里，它们都可以作为一个游戏的起点来使用。

劇透 -   :

The hook can come from anywhere. Shadowrun sourcebooks, Missions, and adventures are full of ideas that can be used in a myriad of campaigns. Some gamemasters will read something on the Internet or in a newspaper that sounds like the plot of a shadowrun. A gamemaster can hear about an interesting new piece of technology being researched and make a Sixth World version of it the subject of a run. They may read about an interesting character, or see one in a TV show or movie and adapt the character to be in their game. There may be something in the background or history of one of the characters that forms the starting point of the run.An unresolved or “dangling” plot from a previous run may deserve to be dealt with in a future run. Or the idea could come unbidden into their head or from a source unknown. Regardless of where it comes from, it becomes the starting point.

很多时候，在结尾处最为激动人心的一个场景或者影像会成为引子。这完全没有问题！一个引子往往是故事中最令人难忘的时刻，要做到这一点，自然会接近尾声。在使用这类引子时，不必让其表现故事的每一个细节，而是让其更为精彩，令人难忘。

劇透 -   :

Quite often, the hook will be a scene or image that is the climax or ending point of the run. This is okay! The hook is often the most memorable moment of the story,and it’s natural for this to happen near the end. Don’t worry about not having a complete story detailed. Concentrate on making the hook a compelling image and a memorable moment.

Background
如果gm想让游戏的情节变得更为充实，他们就得花时间去编写冒险的背景。其中很多的内容也许玩家们更不不会接触到，但为了保证故事的完整性和一致性，创作它们是有必要的。在暗影狂奔中，许多将会影响到玩家的事件其实并不在玩家的控制之内。第六纪元里强者如云，他们各个都运作着自己的一套计划，通常来说玩家们只是这些势力的马仔，在整个计划中也并非很重要。这也就意味着，玩家对事情的全貌并不了解，也并不清楚他们被委派的任务所要达到的目的。但玩家不知道并不意味着就没有理由：在第六纪元没有人会毫无理由地雇佣一批人。所以结论是，背景事件和雇佣玩家的动机的编写是gm应该做的。

劇透 -   :

As the plot of the run starts to become more fully formed in the mind of the gamemaster, they should take time to write the background for the adventure,the text that says what’s really going on. This includes many facts that the players may never find out but are significant to the integrity and consistency of the story.In Shadowrun, many events happen that affect the player characters but are outside their control. The Sixth World is full of powerful people all hatching their own plots and machinations. Runners usually function as operatives and agents of these powers, working on the periphery of their plans. This means that they don’t have the whole picture of what is going on and why they are being asked to do the things that they do. No one in the Sixth World, however, hires runners without a reason, no matter how petty that reason may be. To that end, the gamemaster should write the background of events and motivations that has led to the runners being hired.

是谁想雇佣狂奔者？他想让狂奔者去做什么？他们为何想要这样做，这样做的好处是什么？他们为什么要宁愿非法雇佣狂奔者，而不是采用其他方法？如果出了问题他们会怎么处理？此次狂奔的目标是什么？目标对这次狂奔了解多少？当目标发现此次狂奔时，他们会怎么做？

劇透 -   :

Who is really hiring the runners? What do they want them to do? Why do they want it, what are they going to get out of it? Why are they hiring illegal deniable assets instead of using some other method? What will they do if things go wrong? Who or what is the target of the run? Does the target know that they will be (or could be) the target of a run? How will they respond when (if) the run becomes apparent to them?

这些问题的答案并非直接影响狂奔进行的因素，但解答这些问题，可以让游戏更稳妥地在gm的控制之下运行。在编写背景的过程中，gm得以整合相对分散的情节。但编写背景最大的好处是，gm可以在偏离已经编写好的剧本的同时，仍能保证整个故事顺利的进行。如果突生枝节导致故事脱离剧本，gm就有可用背景信息让整个故事继续进行。如果gm做的足够好，玩家甚至都不会觉得剧情已经失控了，而他们仍在剧本控制之中。

劇透 -   :

Initially it may not appear that the answers to these questions will be directly relevant to the run, but answering the questions will help solidify the details of the plot in the gamemaster’s mind. The process of writing the background may prompt the gamemaster to make changes in how they have written some of the plot to make it more cohesive. The greatest benefit to writing the background,though, comes when the gamemaster needs to improvise away from the plot they have written while maintaining the integrity of the story. If something completely unexpected happens, the gamemaster has the information they need to take the unexpected and continue the story in a way that seems believable to the players. If done well,the players won’t even know that the run has gone away from the gamemaster’s original notes.

例如，一个gm设计了一个拦路抢劫快递员携带的包裹的任务。然后狂奔者们需要躲开包裹原来的收件人，并将这个包裹交给他们的雇主。然而在游戏环节，玩家们投出了极其糟糕的点数，直接导致了他们拦路抢包行动的失败。对于gm来说，这让他接下来的计划都无法继续了。所幸的是，gm早已设定好了背景，收到包裹的人和他们运送包裹的计划一清二楚。gm迅速地找到了另一个让玩家完成任务的方法。他让玩家得知，他们还可以在一艘开往公司的船上拦截到这个包裹。然后游戏便可按照计划进行。玩家们或许都不会知道情节已经被改动，而gm则可将本来没有用上的情节运用到下一次狂奔之中。

劇透 -   :

For example, imagine the gamemaster designed a run where the runners were supposed to intercept a courier and take the package being carried. The rest of the plot was supposed to deal with how the runners evade the original recipients of the package to deliver it to their employer. In the game session, though, the dice of the players go horribly wrong and they end up unable to stop the courier and take the package. The gamemaster doesn’t want to override what has happened by having the players succeed despite their misfortune. Fortunately, the gamemaster wrote in the background who was supposed to receive the package and what they were planning on doing with it, which is ship it out of the port to their offshore arcology. Acting quickly, the gamemaster finds a way for the players to acquire this information. The run then shifts to an effort to intercept the ship that’s now carrying the package, bound for the corporate arcology. This improvisation could easily end up becoming the remaining plot of the adventure. The players may not ever know that it wasn’t the original plot, and the events that didn’t happen can be saved and adapted to fit into a future run.

Scene Types
场景需要什么样的元素很大程度上取决于gm到底想讲一个什么样的故事。不过，有几种特定的场景在暗影狂奔中经常被使用。如果gm对场景的设计没有足够的经验，以下模板会很好的对他们进行指导。

劇透 -   :

What needs to happen in a scene can be incredibly varied and depends a lot on the story the gamemaster is trying to tell. However, there are certain types of scenes that will (re)occur often in a Shadowrun game.Until a gamemaster gains enough experience to feel very comfortable with their planning, the following templates can serve as a useful guide for writing common types of scenes.

Social
在这些场景里，玩家会与一些NPC，包括操纵整个计划的人，呼风唤雨的大人物或者对接下来的剧情很重要的人物进行社交。这些场景一般都会用一场将要与约翰逊先生进行的会议作为开头。这类场景的一般特征是大量的社交，角色扮演和与人物的对话，近乎没有投骰。这种场景应该包含玩家与这些人物的交谈，拍摄或者其他的交流方式。gm应该对人物进行详细的刻画，描绘他们的谈吐，举止，对于事物的反应，并仿照人物的口气与玩家展开对话。有些人物在之后要与玩家打更长的交道，gm要注意在本场景中更细致地刻画这些人的形象，以便玩家进行游戏。

劇透 -   :

This is a scene where the players have a social encounter with one or more NPCs who are movers, shakers,or otherwise important to what’s about to go down.Most commonly, this scene will begin a run with the players as shadowrunners meeting Mr. Johnson. These scenes are generally characterized by extended social roleplaying and in-character discussion, with little to no dice rolls. This kind of scene should include the people the players are talking to, shooting, or otherwise interacting with. Detailed notes on the scene should include descriptions of the people, how they behave and react,and possibly some scripted dialog to be read in-character.The gamemaster should note enough about the people that they would be comfortable roleplaying them consistently for an extended period of time.

Investigation
这类场景通常被用来给玩家提供必要的情报。调查场景可以包括一些与上一个场景相似但更简单一些的社交接触。调查场景还包括各种方式的侦察和搜索手段。假如场景所在地为公众开放，那么玩家便可以很简单的走进去；假如不是，那么一个或多个玩家需要考虑非法进入的手段。根据情况的不同，玩家们可以在附近用物理手段窥视，可以用电子调查，可以利用矩阵，也可以用魔法手段。而无论在何种情况下，玩家们都可在矩阵上搜索或使用黑客技术获得情报。

劇透 -   :

Sometimes players need to get some info, and this is where it happens. This can be done through social interaction,generally with contacts, though these interactions are more brief than a full social scene. Investigation also includes scouting or searching locations through various means. This could include simply walking in, if the location is open to the public, or could involve illegal entry by one or more of the players. The location could simply be watched on a stakeout with the players physically nearby, surveyed electronically by drones or in the Matrix, or magically. Investigation can also include gathering information by searching or hacking the Matrix—whatever the situation requires.

调查场景存在的意义就是给玩家提供重要的情报。gm有必要在笔记中记录下他认为有必要让玩家获得的每一条情报。而一般来说，收集这些情报的方式则可以更加多变。不要拘泥于玩家收集情报的方法。gm通过模组给玩家提供信息的方式也更应当多变。例如，gm已经在笔记上注明了，在这个场景中玩家将会获得一个建筑物的蓝图。玩家们可以对整栋大楼进行物理意义上的扫描，可以从公共记录上下载蓝图，可以黑入这栋建筑物的安全系统，可以利用卫星图像，也可与员工闲聊，贿赂或拷问他们获得信息。无论玩家们用什么样的方式，他们都可以得到他们所需要的信息。

劇透 -   :

An investigation scene exists to give important information to the players. In your notes, you should make a list of all the pieces of information that you think the players could (or should) acquire through the investigation.As with scenes in general, keep the method of acquisition loosely (if at all) defined so as to respond to player actions. If possible, the information should be
noted in such a way that it can be given to the players realistically through a variety of different means. For example,the gamemaster may note that the players can acquire the blueprints of a building. This could be obtained by physically scouting the building, downloaded from public records, hacked and taken from the building’s security system, mapped by astral scouting, acquired
by smooth talking (or bribing) contacts, or beaten out of a captured employee. However the players chose to go about it, they got the information they needed.

Action
一个冲突场景的目的是显而易见的。在狂奔里的冲突被用于创造紧张和激动的气氛，和加快事件的节奏。此处应当给玩家带来一些危险，风险和一些损失。一个冲突场景可以采取许多不同的形式。它可以是一场野蛮的战斗，子弹和法术四处飞舞；也可以是玩家们努力逃脱危机或者追击某人；也可以是一个戏剧性的时刻，当玩家们的计划到达最高潮的时候；也可以把计划变成对付玩家的。

劇透 -   :

The purpose of an action scene should be obvious. Action in a run serves to create tension and excitement and increase the pace of events. There should be some element of danger, risk, or loss to the players. An action scene can take many different forms. It can be a savage fight where bullets and spells are flying back and forth,it can be a chase where the players are tying to escape or are trying to pursue someone, or it can be a moment of dramatic tension when the players’ plan reaches its critical point, or the plans of others come against them.

冲突场景与投骰和游戏机制关系最为密切。在这个场景中，很容易就会陷入对于规则的查证而拖缓整个游戏节奏。为了避免这种情况，gm需要备好所有与这个场景的游戏机制相关的笔记，或至少在规则书的哪一页可以进行查证的记录。

劇透 -   :

Action scenes are mostly resolved using die rolls and game mechanics. The most common way these scenes go wrong is getting bogged down in rules, slowing the pace of the game. In order to avoid this, the gamemaster should put in their notes all the relevant game mechanics needed in the scene, or at least references to the page(s) where the rules can be found.

Build Backward
如上所述，一个单独的场景应着力描绘整个情节中的一个或几个点。要构建整个剧情，则应整合多个场景，让它们各尽其用。如上所述，应以引子为出发点设计整个剧情。引子，就是gm开始构建剧情时所着力的一个想法或愿景。有时候，引子还会成为冒险的高潮点。当在设计整个狂奔的所有场景时，应以整个狂奔的高潮点为起始点。从剧本的最后开始似乎有违常理，但这样做可保证整个剧本集中于引子带动起的高潮之中。所以，gm应当先编写以引子为中心的场景，无论场景到底是什么样子的。gm现在大可不必担心整个剧本，而是应当集中注意力于让高潮场景尽可能的动感和刺激。这个场景应当是整个狂奔最让人难忘的时刻，所以应当被设计成最能留给玩家深刻记忆的形式。

劇透 -   :

As described above, a single scene is written around contributing one or more points to the overall plot of the run. Building the overall plot of the adventure is done by stringing together multiple scenes that make up the whole. As described above, planning the plot of an adventure starts with a hook. The hook is the initial idea or vision that the gamemaster starts with. While not always the case, the hook is quite often the climax of the adventure. This should form the starting point when planning the scenes of the overall run. It may seem counter-intuitive to start at the end of the plot, but this method will ensure that the overall plot builds toward the hook as the climax. So, first the gamemaster should write out a scene that centers around the hook (often the climax) of the run, whatever that may be. The gamemaster shouldn’t worry so much about how to get the plot there just yet, focusing instead on making the climactic scene as dynamic and exciting as possible. This should be the most memorable moment of the run, so it should be written to make an emotional impact on the players.

当场景中组成狂奔中的高潮部分已经完成后，gm应当开始写作那些在其后运作的场景。玩家们是因为什么介入游戏的高潮情景？他们的对手又是因为什么而介入的？玩家的目的是什么？他们的对手目的又是什么？通过回答其中的一些问题，并集中解答玩家以何种方式进入到高潮场景，便可完善那些铺垫场景的细节。当场景完成以后，gm便可将同样的问题套用在铺垫场景的铺垫场景上，这样一直推进直到最开始的场景。如果顺利的话，gm最后就会得到一个关于全部情节的大框架，也就是从开始（通常是与一位Mr. Johnson接头）到结束（完成狂奔并得到报酬）的一系列场景。

劇透 -   :

Once the scene that forms the climax of the run has been written, the gamemaster should begin writing additional scenes working backwards from that scene. What led the players to get into the situation that forms the climax? How did they get to the climactic location?How did their opposition get there? What are the goals of the players, and of the opposition? By answering some of these questions and focusing on what happened to get the players to the climactic scene, the details of the scene that preceded it will begin to form.Once that scene has been planned, the gamemaster can repeat the same questions to plan the scene that came before that, and so on until the scenes work themselves backwards to the beginning. Once the process is complete the gamemaster should have a series of scenes that set the frame of the overall plot of the run from the beginning (often meeting a Mr. Johnson) to the end (often completing the run and getting paid).

如前所述，有多少个gm，就可以有多少种设计一次狂奔的方法。所以gm应该随时调整方法以结合他们所遇到的实际情况。例如，gm更想塑造一种大局感胜于描绘各个场景具体的细节。此时，只在每个场景下做一些简略的注释，写一下每个场景对于整体最重要的贡献便可。这些注释便是整个故事从头到尾的大概脉络。使用这些注释，gm便可更加深入地为每个场景编写更多的细节。

劇透 -   :

As mentioned before, there are probably as many different ways to plan a run as there are gamemasters for Shadowrun, so a gamemaster should feel free to adapt this methodology to whatever suits them best. For example,a gamemaster may find that they want to focus on the “big picture” plot of the run first before planning the details of the individual scenes. In this case they may find it more helpful to make only a few quick notes about each scene, noting just the most important aspects of it as it contributes to the overall plot. This will form a brief “skeleton outline” of the plot of the run from beginning to end. From there the gamemaster can move into writing more specific details for each scene.

Transitions
编写这些场景时，gm应最大可能的减少对玩家的要求和进行模块化。除了每一个场景的内容和对于上下文的衔接，gm还应对场景之间的转换方式有大致的把握。过渡定义了玩家何时以何种方式从一个场景转移到另一个场景。是什么让玩家不得不从一个场景转移到另一个？会面何时结束？玩家需要在何时得到必要的信息和设备？何时玩家们开始与他们的敌人对抗？什么时候第三股势力会介入，并改变他们的计划？就像“场景中应当包括数量庞大的非特异性的细节，这样当玩家做出选择的时候，它们便可用于使故事符合那些选择”一样，场景之间的转换也应采取同样的手法，进行模糊处理，便可让过渡更符合玩家的选择。

劇透 -   :

While writing these scenes, the gamemaster should be mindful of keeping them as loose and modular as possible.In addition to the contents and context of each scene, the gamemaster should write out a general idea (or several ideas) for the transitions between scenes.The transition defines how and when the players are going to move from one scene to another. What will be the trigger to move from one scene to the next?When is the meeting complete? When the players have acquired the needed information or equipment?When they’ve defeated their opposition? When some third party arrives and changes their plans? Just as the details of the scene should be kept fairly nonspecific so they can quickly be adapted to player choice, the transitions between scenes should be kept similarly vague so that they too can be changed and adapted to player choice.

为了保持真实感，并让玩家感觉到自己对于游戏的控制，gm应当避免强制对任何场景进行过渡。让玩家做选择，让他们的选择推动情节。这意味着gm或许不能迅速且自如地转换场景。所以，gm或许需要即兴编造过渡两个场景之间的桥段。

劇透 -   :

In order to keep the game plot natural and allow the players to feel in control, the gamemaster should avoid forcing any specific scene transition or sequence on the players. Let the players make their choices and have their decisions drive the plot. This may mean there is no immediately natural way to get from the current scene to the next that the gamemaster had planned, so the gamemaster may have to improvise some sort of brief (or lengthy) transition scene to move the plot from one point to another. This could also result in the gamemaster dramatically adapting the subsequent scene to fit with the choices the players have made. The purpose behind this is to ensure that the players are having fun by having their choices make a meaningful difference, and the gamemaster has fun by telling the story they want, even if it has to be adapted.

Write the Background
对于一个好的剧情设定来说，好的角色和好的背景故事同样重要。gm需要写的背景故事要能提供在整个游戏世界范围的故事背景。假如gm在设计一个特别的场景或剧情点的时候卡住了，那么他们可参考背景故事，重拾创作进程；同样，在参考背景故事之后，gm也可随机应变，给那些做出自己选择的玩家创作出新的进程，将他们引回更大规模的狂奔中。

劇透 -   :

Just as is the case with a good character, a good plot needs a backstory. The gamemaster needs to write a background that gives the story context in the overall game world. If the gamemaster reaches a point where they’re stuck and can’t figure out how to get to a particular scene or plot point, the background can help jumpstart the creative process and give them new ideas about how to integrate the players’ decisions back into the larger plot of the run.

[tzeentchian]

Opposition
接下来就要为玩家们准备狂奔中最为重要的部分：反派。对于玩家来说，没有进过斗争而完成的目标和成就都是空虚的。斗争是暗影狂奔的中心主题。对于整个游戏的难度，gm应当心中有数。玩家们想要完成他们的目标有多难？玩家们在完成目标的过程中，会消耗多少时间和资源？整场狂奔应当在某个方面要求玩家做到更多，诸如物理上的战斗，在财务上的消耗，以及与反派人物的智斗么？反派的性质与故事是直接相关的，而且得与呈现给玩家的情景相呼应。接下来提到的这几点是反派的设计者所需要牢记于心的。

劇透 -   :

Next to creating a plot or story for the players to follow,the most significant task in writing a run is designing the opposition. Goals and accomplishments never seem worthwhile unless they are achieved through resistance, and struggle is a central theme throughout Shadowrun. The gamemaster should have a clear idea of the relative level of difficulty they want to have in the run. How challenging will it be for the players to achieve their objectives? How much time and resources should the players have to expend in the course of accomplishing (or even attempting) their goals? Should the run challenge them significantly in a specific area:physically in combat, financially with a drain on their nuyen, socially by forcing them to make alliances, or intellectually by requiring them to outthink their opponents?The nature of the opposition is directly tied to the story of the run and should make sense based on the situation presented to the players. There are several specific things to keep in mind from a game perspective when designing opposition.

Be Appropriate
在大多数时候，一次狂奔中的反派，应当拥有与玩家同一水准的技能和力量。当然有时候，为了制造娱乐效果和符合故事情节，可能会只有一些水平很低的反派。在遇到这些对手的时候，玩家们会很快的产生厌倦情绪，因为他们感受不到一点危机感。另一方面，偶尔让反派的实力明显高于玩家，会造成非常戏剧性的效果，但是过高的挑战会很快让玩家感到沮丧，从而拒绝任何挑战。因此，在狂奔中的大多数时候，反派的实力应与玩家持平，稍高一点或者稍微低一点。 也就是说在符合故事情节的前提下，npc们应当拥有与玩家同一个级别的技能和装备。矩阵系统应对玩家们即将面对的任务做一个评级，反派法师的施法倾向和选取的法术也应与玩家的相同。反派可以是一个强大的个体，也可以是数量众多的杂兵。但无论如何，应让玩家感受到挑战，而非不知所措。

劇透 -   :

Most of the time, the opposition of a run should be at a level appropriate to the skill and power of the players.While sometimes it may be entertaining and fit the story to have only low-level opposition, players may quickly become bored with always walking through the bad guys with no sense of danger. Conversely, opposition that clearly outmatches the players in power and
skill can be very dramatic if used occasionally, but will quickly become frustrating if the players feel that they are not equipped to meet any challenge. Thus, most of the time, the opposition of the run should be relatively the same, or slightly above, the skill and power level of the players (or slightly below if they significantly outnumber the players). This means that NPCs should
have skills and equipment roughly equivalent to what the players have, as long as it fits the story. Matrix systems should have a rating about equal to the deck that is going to crack it, or an opposing magician should have about the same Magic attribute and selection of spells that the player magician has. Combative opponents can be as wired as the player street sam, or there
could be more of them to balance out the odds. The end result is that the players should feel challenged but not overwhelmed.

除了考虑反派的水平，挑战的种类也应当是玩家所能够应对的。如果队伍里面没有法师，那么任何类型的法系挑战都将会是非常困难的。如果队伍里没有黑客，那么想要黑入大量电子安保设施就近乎不可能。一支更擅长于隐形潜入的队伍，遇到必须使用蛮力的场合会有多尴尬？又或者，一支武装到牙齿的队伍必须得尽力避免战斗时，他们又会是怎样的心情？在大多数情况下，让挑战的类型处于队伍擅长的领域内。

劇透 -   :

In addition to the level of opposition, keep in mind the kinds of challenges that the players are equipped (or not) to handle. If there is no magician in the group,any sort of magical opposition will be very difficult. If the group has no decker, needing to manipulate a lot of electronic security will be nearly impossible. Will the group have to do something through brute force when they are more geared for stealth? Or will they be forced to eschew violence when they are normally armed to the teeth? For the most part, keep challenges within the skill areas the group is equipped to handle.

Give Equal Opportunities
在暗影狂奔中，一个玩家队伍中通常会由擅长各种不同技能（街头武士，出面人，魔法师，谍客）的数名玩家组成。当为狂奔写设定时，gm应当留心玩家们各精通什么样的技能，并为他们设置不同的反派人物与挑战。gm应为每个专业技能专门设定一些任务。如果队伍里有负责战斗的街头武士，那么就应当为整个队伍安排一场战斗。如果队伍里面有一个交涉者，那么社会活动和进行正确的社交应当成为一个重点。如果队伍里有一个施法者，那么应当设置一些只有通过法术才能解决的问题。如果队伍里面有一个谍客，那么就给他一个系统去黑。通过这种方式，给所有玩家一个为团队做贡献的机会，也给所有玩家一个展现自己技能的机会。

劇透 -   :

A player group in Shadowrun is generally made up of a number of players that have a specialized skill set:street samurai, face, magician, decker. When writing the opposition and general challenges of a run, the gamemaster should be mindful of the skill specialties of the players. There should be a challenge of some sort written in the run that is best solved by that skill specialty. If there is a street samurai geared for combat,then there should be a point where the group gets into a fight. If there is a face, then social interactions and having the right contacts should be an important factor.If there is a magician, then there should be a problem that can only really be solved through magic. If there is a decker, then give them a system to subvert. In this way none of the players should feel like their character didn’t contribute anything to the group, or didn’t have an opportunity to show their skills.

Have Stats For Easy Access
在狂奔的规划阶段时，gm应当把所有可能会用到的游戏数据和规则记录在笔记上。重要的NPC们，尤其是那些将会参与到战斗中的，他们的数据应当被记录下来。黑客需要骇入的系统也得制作设定和图解。狂奔中牵扯到特殊规则的地方（譬如进行诱惑或突破障碍物）也得将相关规则详细或概括地记录在笔记中。即使是最简略的规则书页数的模糊导引，对于游戏的帮助也是巨大的。通过运用笔记，gm便不必在讲故事时停下来寻找必要的规则。这样做既保证了规则的正确性，也让它们可以被轻松地参考和使用，所以故事便会更加流畅自然。

劇透 -   :

While in the planning stage of a run, the gamemaster should take the time to put any and all relevant game stats and rules that they think they will need into their run notes. NPCs that are important to the story should have stats in the run notes, especially if they are involved in a combat. If there is a system that the decker will need to intrude on, it should be defined and mapped out. If there are some other aspects to the story that touch upon particular areas of the rules, like enchanting or breaking through barriers, then the rules should be copied or summarized in the run notes. At the very least, a reference to the appropriate rulebook page should be noted. With rules notes or references in place, the gamemaster doesn’t need to take time to stop telling the story and go look up a rule that is needed. The rule should be right at hand, easily referenced and used, so the story can continue as seamlessly as possible.

Plot Hole Check
一切都已按计划就位了？很好。现在重新在浏览一遍，以确保没有任何差错。在以反向来计划整个狂奔时，由于我们是以一件事情的结果来推导出它的过程，因而那些潜藏的阴谋和过渡的桥段都不会带来太大的违和感。但当整个狂奔正向运行时，参与者在不知道结果的情况下进行体验，场景的过渡和剧情点便有可能让人觉得违和，甚至不符合逻辑。举例来说，在一个以面见关键NPC或者参观重要地点为核心的场景中，dm却会忘记预先让玩家们知道关于这些场景的线索信息。如果玩家们对这些场景一点都不知情，那么他们又是以什么理由参与到这个场景中的呢。

劇透 -   :

Got everything planned out? Great. Now give it the once-over to make sure it makes sense. When planning a run in reverse, plot flow and transitions seem natural in the context of where the plot is going, and this is known because the scene to follow was written before the scene that precedes it. However, when moving forward through the plot, the transition to the next scene or plot point may not seem natural, or even logical, given what has happened before or the information available at the time. For example, a scene may center around the players meeting a key NPC or visiting a key location, but the gamemaster may forget to actually let the players know about the NPC or location prior to the scene taking place; there’s no logical reason for the players to go to a person or place that they don’t know about.

为了避免这类漏洞，gm需将所有的剧情从头到尾通读一遍---与写作的顺序正好相反。在阅读时，确认整个剧情是在合理的推进，且在场景切换时没有出现如前文所说，衔接不上的问题。通过对于笔记的扩充，gm便可以游刃有余地增补一些额外的线索，关键地点，关键npc以保证之后的剧情合理，桥段合乎逻辑。当着手进行以上的工作时，gm还应考虑到玩家们可能做出的分支选项，他们需考虑剧情走向的变化，并在笔记上记录一些东西以适应玩家的选择。

劇透 -   :

To avoid these kinds of plot holes, the gamemaster should read through the notes of their run from beginning to end—reversing the order in which it was written. While reading, they should be looking to ensure that the plot makes sense when moving forward through it, and that the flow and transition from scene to scene make sense given what has happened before.Additional notes can help the plot make more sense and the transitions more logical or obvious, possibly by giving the players additional hints or foreshadowing key locations or NPCs by mentioning them earlier in the plot. While going through this process, the gamemaster should also think about alternate choices the players may take that could change the direction of the plot and make notes on how the plot could be adapted to accommodate those choices.

Game Extras
此时，应当已经完成了剧本，可以开始跑团了。不过，如果gm想要让游戏更加难忘，并让玩家更倾注于角色之中，那么他们可以去做如下几件事情。

劇透 -   :

At this point, the plot should be fairly complete and ready to run. However, if the gamemaster wants to put in some extra effort there are a few things that can be done to make their game even more memorable and focus the roleplaying of the players.

Document Hand-Outs
重点之一便是给玩家提供适当的文件。这些不同形式的文件都基于游戏背景，他们用于提供给玩家一些预兆或者信息。这些文件包括，一则与狂奔的某些事件有关的近期新闻，一则与情节有关的产品或者公司的广告，一份偷来的公司文件，一条被拦截的矩阵信息，一串在JackPoint上登出的文章，或者一本记载着绝望受害者在最后时刻的想法的日记。提供文件的时间点没有特殊的限制--在游戏的开始，在游戏的中途（当角色需要这些文件时），或者作为后记在游戏的最后出现。文件将使玩家更为集中于剧情上，也使整个游戏世界更为真实。

劇透 -   :

Document hand-outs can serve as a great focal point for the players. These are most easily done as some form of document written from an in-game context that provides some meaning or information to the players. This can include: a news story about some recent event(s) pertaining to the run, an advertisement for a product or company that factors into the plot, a stolen corporate file, an intercepted Matrix message, a series of posts made on JackPoint, or a diary of the last desperate thoughts of the victim of some tragedy. The document can be given to the players whenever appropriate—at the beginning, in the middle (when acquired by the characters), or at the end to serve as some sort of epilogue. In any case, the document will serve as a way to focus the players on the plot and make the overall game world seem more real to them.

Maps
描绘关键地点的地图相当重要。如果狂奔中地点成为了重点区域，譬如玩家必须欻功能如一家公司的办公室，那就必须得提供一张相关的地图了。地图可让gm避免细节上的困惑，使其更有效地控制全局，也可避免pc感到混乱和沮丧。一个地图不必包括所有细节，它应当包括一个完整的整体布局，并标记出目标和关键的地点，不过将更多细节添加进去当然是可以的。雄心勃勃的高玩gm当然可以制作属于他们自己的地图，不过对于其他人来说大可不必如此。暗影狂奔官方发布的模组内附带有数张地图，gm可以自行将它们火气中的一部分在模组中提供给玩家。Gm也可在sprawl sites上下载任意一个城市的地图包。通过在网络搜索，可以免费的得到许多不同地方的地图（包括房屋，办公室和工厂的各色蓝图）。此外，在shadowrun中的很多城市和地点都是基于现实中的城市和地点改编而成的，所以现实中的地图和照片也可用作gm的地图的素材。

劇透 -   :

Maps of key locations can be very useful. If the focus or climax of the run is a location, such as the players having to break into a corporate office, a map of that location is almost mandatory. By having a map, the details of the location can be much more easily kept consistent by the gamemaster, avoiding confusion and frustration by the players. A map need not have all the details, indeed the gamemaster may need to keep some things from the players, but it should show the general layout and any obvious features of the target location. If a gamemaster is particularly ambitious or skilled, they can create the map wholly on their own,but this is not the only option. Published Shadowrun adventures often have multiple location maps in them that can be taken whole or adapted to the run that the gamemaster is planning, and Sprawl Sites map packs have locations that can be dropped into any city. Alternatively,maps of many different kinds of places can be acquired with an Internet search—blueprints or drawings of houses, offices, and factories can be freely acquired.Additionally, many cities and locations in Shadowrun are based on real-world cities and locations, so maps and photographs of the actual place can be used as a starting point.

Props
将道具带入游戏之中，可为游戏增添新的乐趣。现实中的物品可用来代指游戏中的物品，譬如信用棒，数据芯片，甚至是武器（可别将真家伙带过来！）。增添的道具由于可以为玩家们触碰和感知，因此可拓展为角色扮演的一个重点。gm甚至可将道具本身并入到游戏中，譬如，在游戏外的玩家手握道具的时候，这位玩家所操纵的人物也得到相应道具的使用权。

劇透 -   :

Bringing props to a game is another way to add a new dimension to the gaming table. Real-world objects can be brought in to represent in-game objects such as credsticks,data chips, or even weapons (it’s not a good idea to bring real weapons, though). The addition of a physical object that the players can actually hold and examine can serve as a focal point for the roleplaying. The gamemaster can even attach an in-game meaning to the prop,such as the player holding the prop (out of game) is the same as the character holding the item (in game).

Music
音乐在营造场景的氛围方面十分的有效。不要把音乐当作游戏中必备的一个环节。只要有一点点的背景音乐，就可以为整个场景设下一个基调了。通过使用适当的音乐，gm可以引入紧张，悠闲，悲伤，严肃或者其他任何的情绪。GM可以在笔记本上记录下他们想要使用的音乐，以及在什么时机播放。音乐也可以占据更大的戏份，不过要选取好时机，以免破坏了整个游戏的平衡。在一些特殊的地点，譬如俱乐部或者音乐会，音乐是地点的一个重要组成部分，因而gm可以选取与之相配的音乐来播放。通过另一种方式诠释整个场景，让故事变得更加精彩，玩家便会更主动地投入到角色扮演之中。

劇透 -   :

Music can be a very powerful tool for setting emotion in a scene. The music doesn’t need to be an obvious or overt part of the game to be effective. A little bit of background music while the game is going can set the general emotional tone of the scene. By choosing an appropriate piece of music, the gamemaster can add tension, levity, sorrow, solemnity, or almost any other emotion to their game. If the gamemaster wants to use music, they can note the tracks they want to play and when they want to play them in the run notes. Music can also be more overt, though this should be used only in certain circumstances so as not to detract from the overall game. However, if a scene is taking place where music in an integral part, such as a club or concert,
then the gamemaster can put on something they feel closely matches what would be playing at that location.By telling the story through another channel or method, the players will likely be more engaged and more focused on the roleplay.

[马非鱼]

在background和scene type之间漏了一小节，感谢 妖猫 翻译并将其补完

================

场景 SCENES
本节要讲的设计狂奔技巧：把狂奔拆碎成一系列场景。场景指的是狂奔中相互独立的部分，同时又能够作为整体，在故事中发挥作用。场景总会有一个特定的位置，它可能是故事的时间线中的一段，也可能是一个特定的事件。每个场景都应该至少有一个方面能为整个故事添砖加瓦。

劇透 -   :

The run-planning technique presented in this section uses the core idea of breaking the run down into a series of scenes. A scene is defined as a discrete portion of the run that contributes somehow to the story as a whole. A scene can be a specific location where some interactions happen, it can be a period in the timeline of the story, or it can be a particular event. Each scene should have at least one aspect to it that contributes to the overall story of the run.

说到场景，首先要说的就是它为整个故事提供的关键要素。如果没有特殊情况，GM笔记应当记录下场景的目的，确保它不会被遗忘在所有繁杂的事情之中。GM应当问自己：如果没有意外发生，这场景里应该要发生什么？他们要见一名重要NPC吗？获得关键信息？找到新技术？发现他们被跟踪了？进行一场剑拔弩张的谈判？把关键要素标记出来，让它能更显眼一些。

劇透 -   :

The first thing that should be written about a scene is the critical element it contributes to the overall story. If nothing else, a gamemaster’s notes should record the purpose of the scene to ensure that it doesn’t get forgotten among everything else that is going on. A gamemaster should ask themselves: if nothing else, what needs to happen in this scene? Do they need to meet an important NPC? Get a crucial piece of information? Acquire a new piece of technology? Catch sight that they are being followed? Conduct a tense negotiation? Note this critical element in some way so that it stands out.

在确定了关键要素之后，让场景丰满起来。场景发生在哪里？那里还有什么人？玩家在场景里的时候，有没有发生什么有趣的事情？有潜在的危险或是混乱吗？还有哪些有趣但对场景并不关键的东西吗？如果有战斗遭遇，需要哪些NPC数据？敌人的战术是什么？他们在开始败退或是奠定优势的时候会怎么做？他们有特定的目标吗，比方说阻止玩家获得某件物品或是某个信息？简单记下这些信息，让你对在场景里会发生什么有足够的了解，从而可以连贯生动地展开你的叙述。在玩家和场景互动的时候，你也可以不用时时停下或是翻书，就能做出回应。

劇透 -   :

After the critical element has been defined, then fill out the scene. Where does the scene take place? What other character are there? Does anything interesting happen to the players during the scene? Are there any potential dangers or complications? Is there anything else going on that is interesting but not central to the scene? If this is a combat encounter, what NPC stats are needed? What are the tactics of the opposition? How will they react when they start losing or winning? Or do they have a specific objective, such as preventing the players from getting an item or piece of information? Jot down enough information to give yourself a solid idea of what’s going on in the scene so that you can narrate it with consistency and vibrancy for the players, and you can respond as the players interact with the scene without a lot of pauses or flipping through books.

与此同时，场景需要模块化，或是可调整。在角色扮演游戏中，玩家总会做出一些完全出乎GM预料的行动，这几乎没有不应验的时候。角色扮演游戏的关键长处就是玩家能够自由地与游戏互动，采取任何行动，而且GM应当鼓励玩家做出自己的选择。然而，这一选择的自由可能（而且经常）导致玩家做出的行动可能会戏剧性地改变GM原本设想的剧情走向。聪明的GM可以两全其美：允许玩家做出自己的选择，同时仍然让故事大致保持原样。这就是模块化和可调整的场景出场的时候了。正如之前所说，每个场景应当清楚地表明需要发生的关键要素，从而能构建起整个故事。脑子里有了这根弦，GM就可以调整场景里的其他东西，比方说移动到别的位置，别的时间点，或者其他的什么，这仍然能让故事继续发展。在〖游戏管理〗中，进一步讨论了如何为超乎预料的玩家选择进行调整，但在写模组的时候就提前准备好，会让它更容易一些。
（译注：the best of both worlds是汉娜·蒙塔娜的主题曲）

劇透 -   :

At the same time, a scene needs to be modular or adaptable. Almost without fail, the players in a roleplaying game will do something completely unanticipated by the gamemaster. One of the key strengths of a roleplaying game is the power the players have to interact with the game freely and take any action that comes to mind, and gamemasters should encourage players to make their own choices. However, this freedom of choice can (and often will) lead to players taking an action that dramatically changes where the gamemaster had originally envisioned the plot going. An astute gamemaster can have the best of both worlds: Allowing the players to make their choice, while still having the story go in roughly the same way as they had planned. This is where modular and adaptable scenes come in. As stated before, every scene should state clearly what needs to happen in order for that scene to contribute to the overall story. With this firmly in mind, a gamemaster can adapt everything else in the scene, moving it to a different location, a different point in time, or whatever, and still have the scene move the story forward. Adapting to unexpected player choice is discussed more in Game Management (p. 348), but preparing for it in advance when writing scenes will make it that much easier.