作者 主题: 【CRB-GM指南】第二十一章《冒险》(Adventures)  (阅读 7476 次)

副标题: 翻译by Pany_Q 校对 by 半个月后的Pany_Q

离线 zyupha

  • Guard
  • **
  • 帖子数: 122
  • 苹果币: 0
【CRB-GM指南】第二十一章《冒险》(Adventures)
« 于: 2019-06-27, 周四 12:40:41 »
CRB 第二十一章《冒险》(Adventures)
基于CRB v1.1.2版本
20190605翻译 by Pany_Q
20190627校对 by Pany_Q
-----------------------------------------
冒险,是角色扮演游戏的根本。不论GM是想要从零开始编写自己的冒险,还是想在官方出版冒险的基础上做改编来适应自己的团,本章提供了一些入门建议可供参考。
冒险有很多种解读和描述的方式,我们选择了其中两种在此介绍:经典冒险(Classic Adventure)和地图式冒险(Adventure Landscape)。

剧透 -   :
ADVENTURES ARE A FOUNDATION or basis for roleplaying sessions, and this chapter offers guidelines and tips that Game Masters can use as a starting point to either create their own adventures or to adapt published adventures to their gaming groups.
Adventures can be viewed and described in many different ways – we have chosen to present two of them: the Classic Adventure and the Adventure Landscape.
-----------------------------------------
经典冒险 The Classic Adventure

经典冒险的特征是:有着预定好的开头以及同样预定好的结尾,通常会像电影的流程那样分割成几个章节,遵循“开场→渲染逐渐紧张的气氛→几个转折点→高潮”的规律。
在经典冒险中,一般来说是玩家角色无法控制的外部力量推动故事前进的,比如各种形式的任务委托人,因此GM起着关键作用。在经典冒险中为了让玩家能投入游戏,很重要的一点是让冒险与玩家角色的目的相符,或是要保证完成任务所获得的回报能有助于队伍更接近自己的目标。
经典冒险的最大优点就是简洁,玩家和GM都能很容易地沉浸到游戏中去。它的缺点则是,玩家可能会觉得这种或多或少已经注定好了的剧情走向会强迫他们的角色采取一些他们觉得并不合理的行动。当然后者是可以通过一些手段避免或至少淡化的,比如:选用恰当的激励,以及仅给出冒险的目的但不限定达到目的方法。
下面介绍如何创造一场经典冒险,附带一些评价、变体以及使用建议。
剧透 -   :
The Classic Adventure
---------------------------------------------------
CLASSIC ADVENTURES ARE characterized by having a well-defined beginning and an equally well-defined end, and are often divided into chapters in a way resembling the flow of a movie, from the start through rising tension and several turning points to the climax.
In a classic adventure, the Game Master has a vital role to play since the story is ofen set in motion by forces beyond the player characters, usually by some kind of quest giver. For a classic adventure to feel relevant to the players, it is important that the goals of their characters coincide with that of the adventure, or that the group gets closer to achieving its goals through the promised rewards of the quest.
The great advantage of the classic adventure is its simplicity: it is easy for both the players and the Game Master to be drawn into the game. The downside is that the players may experience that the more-or-less predetermined progress forces them to act in ways that can seem unwarranted to them. The latter can be avoided, or at least toned down, by wisely chosen incentives and if the adventure provides clear goals but leaves it to the players to determine how to reach them.
Here follows a recipe for creating a classic adventure, spiced with comments, variants and constructive suggestions.
引子 THE INTRIGUE
对于辛柏隆的冒险,我们建议GM使用简单的情节作为引子,然后根据玩家角色对此所采取的行动随机应变,自然地引出丰富多彩的故事。我们不鼓励把引子设置得太过高深莫测;GM编撰这些东西时可能自己很开心,但实际玩起来时是很难向玩家传达明白的。
写引子的最简单的方法,自然就是先看看玩家角色们想要什么(团队的共同目标),然后往冒险里扔一批有着完全相反目的的敌人。举个例子,如果玩家角色们试图在达沃卡建立一个前哨,那么GM可以这么创建冒险:一个憎恨文明的女巫驱使骇人的自然精魂百般阻挠他们,或者一队愤怒残暴的春精灵带着他们的野兽同伴们要将玩家角色赶走。
剧透 -   :
THE INTRIGUE
For adventures in Symbaroum it is recommended that the Gm uses a simple intrigue that leads to exciting and diverse stories depending on how the player characters handle its challenges. Advanced or complicated intrigues are discouraged; they can be very interesting for the Game Master to create, but difficult to convey to the players while playing.
The easiest way to start is, of course, by examining what the player characters hope to accomplish (the group’s common goal) and then toss in enemies that want the exact opposite. If, for example, the player characters try to establish an outpost in Davokar, then the Game Master can build an adventure around a civilization-hating witch that tries to stop them by using a vengeful nature spirit, or around a war band of fery spring elves that has allied themselves with the beasts to drive the player characters away.
任务 THE MISSION
某个任务委托人联系到玩家角色们并给他们布置一项要完成的任务——这是最简单的冒险开场。任务的回报应是明确直白的,可以有一个或多个,且应有助于角色达到自己的个人目标。若采用中间切入法(in medias res),或在冒险的开头就让他们与主要反派发生争执,还能更加强化角色们的动机。不管具体如何实现,总之目的就是要让玩家和他们的角色被这个任务对吸引。
剧透 -   :
THE MISSION
An easy start to an adventure is to have the player characters be contacted by someone who gives them a mission to accomplish. One or more clear rewards should be tied to this mission, rewards that can help the characters get closer to achieving their own goals. It is possible to strengthen the incentive (the motives of the characters) even more by having the adventure start in medias res (see page 195) or making sure that the characters have some quarrel with the adventure’s main antagonist right from the start. No matter how you do it, the important thing is that the mission is engaging for both the players and their characters.
反派THE ANTAGONIST
通常角色们在游戏开场就已经知道了敌人——或者说反派——是谁了,或至少已经明白自己要对抗的是什么样的东西了;玩家角色们想要达成一件事情,而某人或某团体不希望它发生。或者反过来,某团体或某组织想要完成一件事情,而角色们(或是他们的雇佣者)不希望它发生。
GM可以先创造一个敌对势力,然后在冒险中都让他们持续登场:在冒险的开头,遇到的敌人是一个比较厉害的头领带着一群较弱的手下,然后随着冒险的推进,这个势力给角色们造成的威胁也变得越来越大。
剧透 -   :
THE ANTAGONISTS
The enemies, or the antagonists, are usually known from the beginning, or at least clearly defned; the player characters wish to accomplish something that either another person or another group does not want to happen. Or maybe the opposite: an organization or group tries to accomplish something that the characters (maybe in the name of their employer) want to prevent from happening.
The Game Master can start with an enemy faction and then stick with them through the adventure: weak enemies commanded by a more competent leader in the beginning of the adventure, and then posing increasingly bigger threats as the adventure moves forward.
其它势力 OTHER AGENTS
也许玩家角色们还有一些潜在盟友可以拉拢?盟友一般是建立在“敌人的敌人就是我的朋友”的原则上的;角色们可以找找看反派还有没有别的敌人,然后让ta帮忙一起对付反派,有时这能让玩家角色们有机会与通常并不可能合作的人物合作共事。
剧透 -   :
OTHER AGENTS
Maybe there are potential allies that the player characters can seek out? Allies are often made by the principle of “my enemy’s enemy is my friend”; maybe the antagonist has an enemy that the characters can try to reach and recruit to help them, even if the characters and said enemy’s enemy normally would not work together.
环境 ENVIRONMENTS
在经典冒险中,反派和环境是紧密联系在一起的。敌人总是出现在特定的某个地点;最终战斗总是发生在敌人守备森严的堡垒之中——这是个经久不衰的传统。城市的后巷和下水道、达沃卡的阴影之下以及森林中的遗迹都是辛柏隆世界中的典型冒险环境。
剧透 -   :
ENVIRONMENTS
In classic adventures, antagonists and environment are closely connected. You find the enemy in a specific location; very traditionally – but in no way wrongly – the final battle usually takes place at the enemy’s stronghold. Typical adventure environments within the game world of Symbaroum are the alleys and sewers of the city, the gloomy dark of Davokar and the ruins of the forest.
边栏p190
引用
战役、冒险和聚会Campaign, Adventure & Session
本书中会使用诸如战役(campaign)、冒险(adventure)和游戏聚会(game session)这样的说法。游戏聚会就是指你跟你的团友们聚在一起玩一次跑团游戏,时长。冒险是指一个独立的故事,有完整的开头和结局;冒险有可能一场聚会就结束,也可能要持续好几场聚会才完结。最后,战役是指由一系列或相连或不相连的冒险组成的长篇故事。要更明确说明冒险和战役的区别的话,可以用有好几卷的长篇小说作类比,冒险是系列N部曲中的一部,而战役就是整个系列。
剧透 -   :
In this book we refer to things called campaign, adventure and game session. The latter simply refers to a single game meeting where you and your friends get together for a shorter or a longer period of gaming. An adventure is a separate story on its own, with a clear beginning and end, that can last from one to several game sessions. Finally, the word campaign refers to a long series of adventures that are either connected or more or less independent from one another. To make the distinction between adventure and campaign even more evident, you can compare an adventure to a single book or an episode in a series, while the campaign represents the series as a whole.

地图式冒险 Landscapes

地图式冒险中,“地图(landscape)”构成了一个包含大量势力和事件引子的地点或区域,玩家角色们在各自的目标和原则驱动下到达某个地方,随后被推动着采取行动。地图式冒险并没有预定的故事或情节;取而代之的是,玩家对游戏环境给予的挑战做出反应从而引发场景、推动故事。
这个模式有时也被称为“沙盒(sandbox)”,其强调玩家们——既玩家角色们,可以利用当前场所提供的任何工具来搭建任何他们想要的东西来解决任何可能出现的问题。
地图式冒险中,任务和动机都是由团队的目标决定的。角色们为了自己的远大目标踏上旅程,而GM在该过程中设置一些短期的难题和任务,这些任务的奖励应指向角色们的目标。类似这样的展开能将一个直截了当的目标拓展成一整个战役。
地图式冒险的优点是,推动故事的是玩家角色们的目标,这场冒险会成为属于他们的独一无二的故事。
而缺点是(如果这么认为的话),这个模式要求不论GM还是玩家都要更加投入;对玩家来说,角色的目标要建立得更完善且跟冒险的背景相关;对GM来说,因为事件的推进完全取决于玩家角色的行动,所以GM要掌控好游戏中所有的当地团体,并将他们的立场表达清楚。
剧透 -   :
Landscapes
----------------------------------------
A LANDSCAPE CONSTITUTES a location or a region with a large number of agents and intrigues, where the player characters end up and are forced into action, guided by their goals and principles. The landscape does not have a predestined story or plot associated with it; instead, scenes arise when the players act or react to challenges presented by the game environment.
This model is sometimes called a “sandbox”, to emphasize that the players, through their characters, may try to build what they want and solve any problems that might emerge, by using whatever tools are available at that location.
It is the goal of the group that creates missions and incentive. The Game Master can place smaller problems or missions between the characters and their long-term goals, as long as the rewards of these missions point towards the goals of the characters. Such complications can turn a relatively straightforward goal into an entire campaign.
The benefits of a landscape are that it is the goals of the player characters that drive them forward, and that the story becomes their own unique one.
The disadvantage (if considered as such) is that this model demands a higher level of commitment, both from the players and the Game Master – for the players because the characters’ goal needs to be more developed and have relevance to the landscape; for the Game Master since all local groups have to be managed and understood when the progress of events completely depends on the actions of the player characters.
朋友&敌人 FRIENDS & FOES
在地图式冒险中,敌人和反派是谁并不是很明确,谁会成为朋友而谁会成为敌人是由角色们的决策而定的。当角色们来到一个地方准备大展身手时,当时当地的各势力间的权力斗争很可能对未来的走向至关重要。
GM最好先确定好(如果是跑官方出版冒险的话,那么就先熟读)当地各方势力:他们各自有什么长期或短期的目标,他们手上把握着什么样的资源。带地图式冒险时,将这些细节熟记于心是很重要的。
剧透 -   :
FRIENDS & FOES
In an adventure landscape, it is less obvious who will become the enemy and antagonist of the player characters, since it is ofen the characters decisions that dictates who they will gain as an ally and who will be their enemy. The local power struggle can be crucial to what happens when the characters arrive and start to stir things up.
The Game Master would do well to decide (or in the case of published adventures, read up on) the local power factions: what they seek to accomplish, both in the short and long run, as well as what resources they have at hand. Knowing such details is absolutely vital when managing the landscape.
关键场景 Key Scenes

不管是经典冒险还是地图式冒险,要将一个故事从开头引导向结尾,通常都会包含以下几个关键场景。经典冒险的过程更容易预见,而地图式冒险的场景多由玩家角色的动机和想法推动。不过即使是地图式冒险,一般也都是在以下这些场景都发生过之后,地图上的事件才会最终尘埃落定。因此,明智的GM都会事先准备好这些可能出现的场景。
剧透 -   :
Key Scenes
-----------------------------------
EACH ADVENTURE – classical or landscape – usually contains the following Key Scenes in order to guide the story from beginning to end. The course of the classical adventure is more predictable, while scenes in a landscape are created by the initiative and ideas of the player characters. However, when the dust fnally settles over the landscape, these scenes have usually been played out, which is why a wise Game Master always makes sure to prepare for that eventuality.
开场 THE BEGINNING
冒险的开场让故事开始运转、让角色们开始向着自己的目标前进,它可以是角色们接到了某个任务/使命,或是别的什么事件。任务的回报可以是与队伍的目标有关的某样东西,或者队伍曾经说过想要的东西。还有一种稳妥的做法,就是将一段时间内的存活定为目标,将玩家角色们直接扔进一场正在进行中的挑战——这种方式称为“中间切入(in medias res)”。只要处理得当,玩家们在面对挑战时会自己给自己布置任务。
GM应考虑好冒险的主任务在激励方式上采用积极动机(角色通过冒险得到他们想要的东西)还是消极动机(角色们通过完成任务避免他们不想要的结果)。积极动机是最受玩家欢迎的模式,人气第二的则是萝卜(回报)加大棒(一些角色们不惜牺牲任何代价都要避免的东西)模式。
积极动机包括不限于:
  • 与角色个人目标相关的回报——该角色需要的知识、某件物品或其它资源。
  • 与团队目标相关的回报——该队伍需要的知识、某件物品或其它资源。
  • 某位盟友请求帮助,并承诺将来会还这个人情。
虽然求生型冒险的本质就决定了它们是由消极动机推动的(“尽可能活下去…”),但依然可以做得有趣且精彩。关键在于,得靠整体的环境因素迫使玩家角色们采取行动,而不是某个特定的组织或个人。如果角色能在受到消极动机所带来的时间压力、道德上困难抉择以及其它类似的要素造成的额外复杂性影响的情况下,依然能继续向着他们原本的目标迈进的话,那就更好了(“我们能回得了家,只要我们得能设法穿过这个瘟疫肆虐的城市外边的隔离圈——不过我们要怎么带着这22箱子的补给一起走呢?”)。
消极动机包括不限于:
困于围城:角色们被困在某个正在被围攻的城市中,他们必须在城墙倒塌、敌军涌入之前完成任务。
追杀令:角色们(也许在遭到袭击之后才)意识到他们正被某个组织追杀。也许他们对为什么会这样心中有数,也许这些袭击背后的原因本身就是一个谜团。不管怎样,如果角色们要在这个地方完成自己的目标,就得先让那个组织收回他们的悬赏。
栽赃嫁祸:角色们在一个他们需要公开行动的地方被戴上了莫须有的罪名。“谁控告了我们/制造了伪证,又是为了什么?”就成了必须解开的谜题了,同时角色们还不得不在社会的阴暗面中行动,时刻警惕着会不会被他人出卖。
战争威胁:一场战争正在爆发的边缘,而角色们珍视的某样东西很可能因此毁灭。角色们要用尽一切手段阻止这场战争。也许他们可以建立一个足够强大的同盟来打消敌人进攻的念头,也许他们会直捣黄龙、直接杀死敌人的头领。
瘟疫封锁:任务目的地爆发了瘟疫,被隔离了起来,而角色们也被困其中;他们得想办法在逃离或治愈疾病的同时完成他们在这个地方的任务。
组织义务:角色们所属的组织或他们所依赖的团体要求他们提供帮助——或多或少带有一点强迫的性质,这个忙可能会很麻烦,或与他们当前的目标相矛盾。问题关键就在于他们要如何——或者要不要——在解决他们自己的任务的同时确保上头的组织/团体也会满意?
剧透 -   :
THE BEGINNING
The beginning of an adventure can be the offering of a quest/mission or some other event that sets things in motion and makes the players start acting towards their goals. The goal can be connected to the mission’s promised reward, or have been expressed by the group long before. One safe bet is to make short-term survival the goal of the player characters, by throwing an unexpected challenge at them, a technique called “in medias res”. If done right, the players will give themselves a mission as a result of the challenge.
The Game Master should consider whether the main mission of the adventure is positively motivated (the characters gain something they want by doing it) or negatively motivated (the characters avoid something they do not want by accomplishing the mission). Positive incentives tend to be most appreciated by gamers, followed by a combination of carrot (reward) and stick (something that the characters want to avoid at all costs).
Positive incentives include:
◆ Reward connected to the goal of a character – knowledge, an object or other resources that the character needs.
◆ Reward connected to the goal of the group – knowledge, an object or other resources that the group needs.
◆ A call for help from an ally, with a promise of a favor in return at a later date.
It is possible to create fun and effective survival adventures, despite that they are by nature driven by negative incentives (“survive, if you can…”). The key is that the player characters are forced by the environment, not by a specific person or group. It is even better if the characters can continue to strive toward their goals, but the negative incentive makes it more complicated by introducing time pressure, difficult moral choices or something like that (“we can return home, but we must frst get past the quarantine around this plague-stricken city: how do we get out with these twenty-two crates of supplies?”)
Examples of negative incentives can be:
Caught in a siege: the characters are stuck in a city under siege and have to complete their missions in the city before the walls fall and enemy forces come pouring in.
Marked for death by an organization: the characters realize (maybe through an attack) that they are marked for death by an organization. Maybe it is obvious to the characters why this is happening, or maybe the reason behind the attacks is a mystery on its own? Either way, the mark of death must be lifted in order for the characters to accomplish their goals in their current location.
Falsely accused: the characters are falsely accused of a crime in a location where they need to be able to act in the open. “Who has accused us/fabricated the evidence and why?” become questions that have to be answered, at the same time as the characters have to move in the shadowy side of society, constantly afraid to be sold out by its less trustworthy elements.
The threat of war: a war is about to break out and it will most probably destroy something that the characters hold dear. The characters must do anything they can to prevent the war, in one way or another. Perhaps by forming an alliance strong enough to deter any attacks, or perhaps they can take out the enemy’s leadership.
Quarantine after plague outbreak: the characters find themselves stuck on the wrong side of a quarantine zone and have to escape or cure the disease, while they also have another task to perform at the same location.
Demand for help: the characters are more or less forced to help their mother organization or another group that they depend on, something that proves to be problematic and also contradictory to their own local goals. The question is how – or even if – they can solve their own tasks while at the same time making the group/organization satisfied?
边栏p191
引用
经典冒险与地图式冒险的结合 A Combination of Classic Adventure and Adventure Landscape
实际冒险过程常常会变成经典冒险和地图式冒险的结合体,有些地方是由GM推动的,有些地方则是由玩家主导、自发采取行动的。冒险的开头可能这样:GM把角色们扔进了一个危险又出乎意料的状况中,“你们醒了,发现镇子正在遭受袭击”,然后就轮到玩家们自己想办法逃出生天了。或者,队伍可能决定了一个共同目标,“为了更深入地探索辛柏隆遗迹,我们要在达沃卡里建造一个基地”,然后GM要为这个最终目标安排一系列挑战让玩家来完成。
剧透 -   :
Practically, adventures often turn into a mix of classic and landscape, containing some parts that are driven by the Game Master and some where the players take over and act. An adventure might start with the Game Master tossing the characters into a dangerous and unexpected situation, “you awaken to the village being under attack”, and then it is the players’ job to get out of the situation by any means necessary. Or, the group might decide to accomplish a common goal, “we are going to establish a base in Davokar for further treasure hunting operations in the ruins of Symbaroum”, and the Game Master presents a series of challenges that the characters have to solve in order to accomplish their goal.

对质 CONFRONTATION
在到达冒险的转折点(Turning Point)之前,角色们通常会遭遇反派2次。这是一个经久不衰的套路:先安排第一场简单的会面,在此建立起敌对意识;然后再安排第二次会面,这次要更艰难一些,体现出这个敌人的威胁之大。有一个比较常用的戏剧性手法,就是是在第二次见面时让敌人更占优势,迫使角色们不得不逃离战斗——对于这场战斗来说,成功逃离就是打赢战斗。
剧透 -   :
CONFRONTATION
Before the adventure’s Turning Point, the characters usually confront the antagonists twice. A proven model is to start with a simple meeting, to establish the antagonism, and then a second, more serious one to emphasize that the enemy poses a significant threat. An often used dramatic method is making the enemy superior the second time, forcing the characters to flee a battle in which winning is the same as getting away.
转折点 TURNING POINT
角色们找到了能打破敌人的绝对优势的突破口,或至少是找到了某个方法直接对其核心领袖或据点发起进攻。也许他们打倒了某位携带秘密文件的敌人,也许他们设法在某个摇摇欲坠的废旧图书馆中找到了某个失落的秘术仪式,而这个仪式能减弱敌人的武装力量,让角色们得以直取敌人头领首级。
转折点是玩家角色们化被动为主动的时刻,游戏的鬼牌到了他们的手中。从转折点开始,角色们知道了应该做什么,即使这可能既困难又危险。
剧透 -   :
TURNING POINT
The characters discover a way to break the dominance of the enemy or at least fnd a way to strike at its heart, against their leaders or stronghold. Perhaps they defeat an enemy that carries secret documents or they manage to fnd a lost ritual in a crumbling library that can temporarily weaken the enemy’s forces so that their leadership can be attacked.
The Turning Point is the moment when the player characters reclaim the initiative and are given an ace to play. From the Turning Point on, the characters know what to do, although it may neither be easy nor safe to do it.
高潮 CLIMAX
这是冒险的最后舞台,在转折点获得的洞见将在这里接受残酷现实的考验。角色们已经将大反派逼到不得对决的墙角,是时候进行精彩卓绝的最终战斗了。
剧透 -   :
CLIMAX
The insight of the Turning Point is tested against a cruel world in the fnal stage of the adventure. The Climax usually occurs when the main antagonist is confronted and forced against the wall in a tremendous fnal battle.
挑战 Challenges

挑战包括所有那些角色们为了达成目标而必须克服的困难。GM的主要工作之一就是处理这些挑战。有一条基本规则:角色们的每个目标在达成之前都要先通过至少1个挑战——当然,如果能有多个挑战挡在角色和他们的目标之间就更好了。团队目标很适合作为冒险和战役的目标,因为这个目标是全队共通的。单个玩家角色所追求的个人目标则不该引入太多挑战,因为团队中的其他人与此无关,如果拖得太久其他玩家可能会感到无聊。
下面列出了一些可能出现的挑战,GM可以将这些设置在角色们迈向目标的路上来让他们的冒险生活更加丰富多彩。
角色们在路上可能遇到的阻碍:
  • 越狱
  • 撑过一场埋伏
  • 逃离某个被包围/围攻的场所
  • 解开一把锁或一个陷阱
他们需要从某个人那获得情报,而那个人要求帮助:
  • 保护某个地点度过一场进攻
  • 追踪某个在逃的人或动物
  • 窃取某个物品
  • 在决斗中获胜
他们需要某个人的帮助,但首先要找到这个人:
  • 活捉一个被恶灵附身的人并驱逐恶灵
  • 闯进监狱里,或者让自己被抓进去
  • 追踪某个在逃的人或动物
  • 进入某个被包围/围攻的场所
他们需要到达某个特定地点并在那里呆一段时间:
  • 保卫某个场所,抵御敌人的进攻
  • 参与一场戏剧或决斗表演
  • 解开一把锁或一个陷阱
  • 偷偷溜过守卫或打到守卫
他们必须在不同目标间作抉择:
  • 将杀人犯交给政府接受公正的裁决——或者要求杀人犯的帮助
  • 毁掉一件制造苦难的腐化奇物——或者利用它打败敌人
剧透 -   :
Challenges
CHALLENGES COMPRISE ANYTHING that the characters must overcome in order to accomplish their goals. Handling these challenges is one of the Game Master’s main jobs. One fundamental rule is that none of the characters’ goals should be achievable without passing at least one challenge – preferably there should be several challenges stacked against the characters, standing between them and their goals. The group’s common goals are suitable as the goal for an adventure or a campaign, since those goals are shared by the whole group. Personal goals, pursued by one individual player character, should have fewer challenges tied to them, since they do not concern the entire group and can feel boring to the other players should they drag on for too long.
Below is a list of possible challenges that the Game Master can use to make life interesting for the characters on their way toward their goals.
The characters face an obstacle on their way:
◆ Escape captivity
◆ Survive an ambush
◆ Get out of a surrounded or besieged location
◆ Overcome a lock or a trap
They need information from someone, and that person requests help:
◆ Defend a location against an attack
◆ Track down a fleeing person or creature
◆ Steal an item
◆ Win a duel
They need help from a person, but first they have to get hold of said person:
◆ Capture a possessed person alive and banish the spirit
◆ Break into a prison or let themselves be captured
◆ Track down a fleeing person or creature
◆ Get inside a surrounded or besieged location
They have to gain access to a specific location for a short or long period of time:
◆ Defend a location from enemies
◆ Partake in a play or a gladiatorial fght
◆ Overcome a lock or a trap
◆ Sneak past or fght the guards
They must choose between different goals:
◆ Hand over a murderer to the authorities to face justice – or ask the murderer for help
◆ Destroy a corrupted artifact that causes suffering – or use it to defeat an enemy
奖励 Rewards


游戏,是由奖励驱动的,平衡而丰富多样的奖励能长期保持玩家的兴趣。奖励可以是实体的、可以写在角色卡上的东西,也可以是体现在共同的游戏世界中的、更加社交化的东西。在游戏过程中,玩家们会对发生的事件做出反应,采取主动性的行动,这都会使得这场社交活动变得更为充实丰富,而这也是玩家之间——以及玩家和GM之间——互相给予奖励的一种形式。
本节将为GM介绍一些关于如何在冒险结束后奖励玩家(以及他们的角色)的基本原则。
剧透 -   :
Rewards
THE GAME IS FUELED by rewards, and a balanced dose and assortment of rewards will keep the players interested for a long time. Rewards consist of both concrete items that are visible on the character sheet, as well as more socially relevant phenomena that are reflected in the shared game world. The players also reward each other – and the Game Master – by reacting to what is happening and by taking initiatives that enriche the social interaction.
In this section, we provide some guidelines on a number of things that are controlled by the Game Master and can be used to reward the players (and their characters) afer an adventure.
直接奖励 DIRECT REWARDS
直接奖励包括所有体现了在游戏场景中获得成功的有形效应:即经验值和战利品.
经验值(Experience):冒险中的每一场挑战都会给予1点经验值,可用于提高现有能力或获取新的能力,这是游戏中角色提升强度和技能的最基本方式。
战利品(Looted goods):角色们在击败或俘虏了敌人后将他们的装备和钱占为己有是理所当然的事情——如果他们想并且有办法将它们带走的话。战利品的价格是通常价格的一般,所以比起卖掉它们还是自己使用这些物品更划算。
剧透 -   :
DIRECT REWARDS
Direct rewards cover all tangible effects of being successful in the scenes of the game: meaning Experience and looted goods.
Experience: Each challenge in an adventure awards one (1) point of Experience that can be spent on improving or aquiring abilities, forming the basis of the character’s progress in strength and skill.
Looted goods: It is only fair that the weapons, armor, equipment and money of fallen and captured enemies become the property of the characters – should they choose to take these items and have the means to transport them. The value of these items is half the usual price, which makes it more worthwhile for the characters to use the captured items themselves, rather than selling them.
社交奖励 SOCIAL REWARDS
社交奖励包括所有玩家们在游戏桌上的相互交流以及GM在现实的游戏桌上或在游戏世界中给玩家的东西。社交奖励是不可小觑的;正是现实中的人际互动和一起讲述一个故事的原初乐趣,让人类在一个拥有发达的在线游戏的时代里依然玩着角色扮演游戏。
人情 Favors:通过人情解决的挑战会给予角色们如同亲自解决问题一样的经验值。至于一个人情具体可以做到什么,就取决于欠角色们人情的人到底是谁了。举几个例子,比如角色可以利用人情进到一个他们通常进不去的场所,或见一位身居高位的人物,也可以是让别人为角色施展一个他们需要但自己没有的秘术仪式或能力。
把柄 Dark Secrets:把柄指那些角色们可以用来勒索他人达成自身目的的敏感信息。显然对方不会喜欢被别人掌握把柄的感觉,但是会在合理范围内为角色们提供帮助。把柄就像一把双刃剑,尤其是当落在在贪心的角色手中时;大部分人比起继续被敲诈都会更想要直接除掉握有自己把柄的人。不过只要处理得当,把柄可以成为有力的武器。
头衔 Titles:在封建社会中头衔是个好东西,它象征着地位;对玩家来说,即便头衔仅仅意味着游戏世界中的人会对玩家角色有不同的反应,它依然是一种受玩家欢迎的认可形式。关于不同组织和团体中的各种头衔和等级参见第三章《势力》(p24开始)。
地产 Estates:有时头衔会伴随着对一些土地的所有权——虽然不是所有情况下都如此,而在游戏世界中,土地就是硬通货。至于角色在承担身为地主的繁杂义务之外还能从拥有一块土地中得到什么,就完全由GM决定了,这里给出两种处理建议供参考。第一种,是在间章中处理地产,角色能从中获得一小笔财富。第二种,是将这个地方作为战役的中心,让冒险故事在这里发生,取代让角色们出远门去追求冒险的形式。这样,这片土地和其中的居民就能成为许多故事的常客。
名声、歌曲和雕像 Reputation, songs and statues:
歌唱角色们英勇事迹的歌谣、为了纪念他们而立的雕像,诸如此类的能体现角色们在游戏世界中的名气的东西即是对角色们行为的认可,也为这个世界带来更多风味。玩家们会感到自己的行为真的对游戏世界产生了影响;为了加强这种感受,你甚至可以让新角色们在某个城镇的太阳教会看到为某位小镇英雄而立的雕像,或者在某个小酒馆里安排一个吟游诗人歌唱根据某位先前的冒险者的艰苦冒险改编的祝酒歌。
剧透 -   :
SOCIAL REWARDS
Social rewards consist of everything that the players give each other around the gaming table, and what the Game Master gives the players either at the table or within the game world. The importance of social rewards is not to be underestimated; the reason why many people play roleplaying games at all, in an age with well-developed online games, can be found in social interaction and the ancient pleasure of telling stories together.
Favors: A favor that solves a challenge gives the characters Experience as if they solved the problem themselves. Exactly what a favor can solve is, of course, decided by who owes the characters a favor. Appropriate favors can be access to a location or to a person of high standing and influence, as well as the casting of rituals or the use of abilities that the characters need, but do not have themselves.
Dark secrets: A dark secret consists of sensitive information that the characters can use against someone in order to accomplish something. The person will not appreciate the blackmailing, but will help the characters within reasonable limits. Secrets are a double-edged weapon in the hands of greedy player characters; most persons who are blackmailed will attempt to have the characters removed rather than letting the blackmail continue. But if handled correctly, a dark secret can be a potent weapon in the characters' hands.
Titles: In feudal societies titles are desirable because they provide status; for players, recognition in the form of titles is often appreciated even if the title itself does not mean anything more than that people respond to the player’s character differently. See the chapter Factions (starting on page 24) for titles in different organizations and groups.
Estates: Titles are sometimes, but far from always, accompanied by the rights to pieces of land, which is hard currency in the game world. Exactly what the land gives the characters – besides the burdensome duties of being a liege lord – is up to the Game Master to decide, but there are two ways this can be handled. The frst is to handle the estate during interludes and letting it produce a small proft for the characters. The second way is to make the land a central part of the campaign, and to make the adventures come there, rather than having the characters travel in order to fnd them. This way, the estate and its population can become recurring features in many stories.
Reputation, songs and statues: Social reinforcement from the game world in the form of improved reputation for the characters, songs about their heroic deeds or perhaps statues raised in their honor, are appreciated acknowledgements that bring flavor to the game world in more ways than one. The players get to feel as if their actions actually had an impact on the game world, and it becomes even clearer when future generations of characters come to a village where the local sun temple houses a statue of the village hero, or when the bard in the tavern sings a celebratory song about the hardships and adventures of a previous player character.
边栏p193
引用
在辛柏隆世界冒险 Adventures in the World of Symbaroum
本书的第一部分中介绍了许多人物、地点和势力间的冲突关系,这些都可以用作创造冒险的材料。作为冒险创造者的你当然可以使用任何你喜欢的东西和角色,不过我们在这里也要提个醒。如果你的游戏队伍打算游玩FL*出版的冒险,那么你自然也会预料到,本书介绍的某些东西会在官方冒险中登场(地点诸如:萨洛克洛(Saroklaw)、辛巴尔等;人物诸如:奈特普奇、葛琳缇娅女王、首席教长耶契贝该等)。
*译注:FL, Free League Publishing,辛柏隆的出版社,以前是Jarnringen,现在后者合并进FL了
如果你已经在自己的冒险中让这些人物出场过了,甚至杀死了其中几个,那么你当然可以对我们的冒险做一些改动来适应你的展开(如果林巫耶丽塔死了,那么肯定有别的德高望重的女巫代替她)。换句话说,你必须做好调整冒险适应实际游戏情况的准备。我们的建议是,在自创的战役中尽量使用一些不那么重要的地点和角色。
剧透 -   :
There are a large number of persons, locations and conflicts described in the first section of this book that can be used to create numerous adventures. As a creator of such adventures, you are of course welcome to use anything and anyone you like, but we would like to urge some caution. If you and your group intend to play the adventures created by us at Free League Publishing, you can be sure that some things described in this book will show up in them (for example locations like Saroklaw and Symbar, and persons like Nightpitch, Queen Korinthia and First Father Jeseebegai).
If you have used them already, or maybe even killed a prominent person, then you may of course alter the content of our adventures to something of your own making (if the Huldra Yeleta has died, then she has of course been replaced by some other experienced witch). In other words, you must be prepared to make adjustments. Our recommendation is that you, in your homegrown adventures and campaigns, limit yourself to using less significant places and characters.

物质奖励 MATERIAL REWARDS
物质奖励包括所有那些角色们因冒险而得到的有实体的回报;比如完成任务的报酬,在辛柏隆遗迹中找到的宝藏,或是盟友因角色们的英勇事迹而赠予的礼物。
秘术奇物:
秘术奇物是每个寻宝人生涯的顶点,是许多玩家魂牵梦绕的最强武器。如果奇物过多,就会削弱它们对玩家的神秘魅力,也会让GM更难以保持游戏的平衡性。应尽量让战役中奇物的数量保持在能够掌控的最低水平,这样才更能体现已有的那些奇物的强大和珍贵。
钱 Money:
钱是一种简单直接的回报,不应歧视它,如果队伍正谋划着什么很耗资源的合伙计划的话就更为如此。不过,鉴于玩家们并没有太多私人物品需要购买,拿大量金钱往他们头上砸并不是个很好的决定。当角色们全身顶级装备,大师级炼金药剂塞满背包,金钱也就没有意义了;当然如果角色们还有别的宏大计划的话另当别论(比如要建立一个总部,要还债,或者要维持一支武装力量)。
剧透 -   :
MATERIAL REWARDS
Material rewards consist of all the concrete rewards that the character gets as a result of adventuring; as payment for an accomplished mission, in the form of treasures found in the ruins of Symbaroum or as gifts from allies as thanks for any heroic deeds that the characters have performed.
Mystical artifacts: Mystical artifacts are the highlight in every treasure-hunter’s career and many players dream of powerful weapons for their characters. An excess of artifacts will deprive them of their magic for the players and make the game hard to balance for the Game Master. Artifacts in the campaign should be kept manageably low in number so those that do exist shine all the brighter.
Money: Money is a simple reward and not to be despised, especially if the group has a common project that devours resources. However, to pour loads of money on the players is not a very good thing to do, since there are not that many directly personal things for them to buy. When all their equipment is of extraordinary quality and their backpacks are full of alchemical master concoctions, then money is no longer needed, unless the character has a larger project going on (a headquarters, for example, debts or their own military force that they have to maintain).
玩家类型&奖励 PLAYER TYPES & REWARDS
你有必要花时间思考一下这个问题:你团里的玩家们是为了什么而玩角色扮演游戏的。要让每位玩家都能在每场聚会中得到一些属于ta的“乐子”,不然游戏热情就会衰退。自然,GM也适用同样的道理,GM的游戏动力与玩家的动力有不少是相通的。下面列出了几种常见的玩家类型。
动作英雄 The Action Hero:这类玩家玩游戏是为了刺激,而这个一般在战斗中能获得。他们寻求的是力量,是能够影响游戏世界的可能性以及见证自己的行为在这个世界中留下些什么——或是在角色卡上留下什么。喜欢的奖励:动作场景;能够令角色在战斗中更强大的装备。
解密者 The Problem Solver:这类玩家喜欢靠自己的聪明才智解决问题的感觉,比如在困难的战斗中思考战术,或是解开游戏世界中的谜题、理清错综复杂的情节。当没有谜题可解或谜题太简单时,解密者就会烦躁不安。喜欢的奖励:要解决的谜题;能够帮助他们更好地解决问题的仪式和奇物。
社交玩家 The Social Player:对社交玩家来说,游戏中没有什么比队友间的同伴情和共同创造故事的体验更好的东西了,比起游戏中的成功他们更看重良好的游戏氛围。喜欢的奖励:社交挑战以及凭谈话和互动就能成功的场景;玩家角色和NPC互相交流的的纯角色扮演场景;玩家角色得以不受任何压力或规则限制的自由地聊天吹水的间章;在游戏开始前、进行中及结束后的玩家间交流环节。
探索者 The Explorer:这类玩家想要探索和了解游戏世界,角色只是他们的镜像,代替他们在安珀利亚和达沃卡上旅行。喜欢的奖励:新地点、新人物以及新的神秘事物。
不走常规路派The Dramaturge这类玩家寻求的是在日常生活中鲜有机会体验或表露的情绪,他们想要尝试那些在需要承担后果的情景下不被允许的行为和做法。具有戏剧化倾向的玩家们经常会成为游戏中的催化剂,尤其是当他们感到目前的聚会无聊或进展太慢时。只要处理得当,这类玩家就能为队伍带来积极的能量。喜欢的奖励:一些能让这个玩家角色起领导作用的场景——或是起反领导作用的场景,即充当团队中的不合群分子;能让角色充当各方力量的制衡因素,或能控制事件转机的情景。
剧透 -   :
PLAYER TYPES & REWARDS
It is worth the time to contemplate why the members of your gaming group play roleplaying games. Each player needs to get some of his or her “medicine” at each session, or else interest in the game will fade. Of course, the same goes for the Game Master, and many player motivations echo within a Game Master. Here is a list of common types of players.
The Action Hero: The Action Hero plays for the excitement, which is usually found in combat. The player seeks power and possibilities to affect the game world and enjoys seeing his or her actions have effect in the world – or on the character sheet. Appreciated rewards: Action scenes; equipment that makes the character tougher in battle.
The Problem Solver: This player wants to feel smart and to solve problems, like tactical problems in challenging battles or solving riddles and tricky intrigues in the game world. The Problem Solver ofen becomes restless if no problem is presented, or if the problems are too easily solved. Appreciated rewards: Problems to solve; rituals and artifacts that make them better at solving problems.
The Social Player: For the Social Player, the camaraderie and the shared story are the most central aspects of the game, and a good atmosphere is often considered more important than being successful in the actual game. Appreciated rewards: Social challenges and scenes where the player’s character can talk and interact to succeed; pure roleplaying scenes, where characters and nonplayer characters are having discussions; interludes where the player characters can socialize without any pressure or rules; social time before, in between and after the game session.
The Explorer: The player wants to explore the game world and understand it, with their character merely acting as a mirror for the player as it is traveling in Ambria and Davokar. Appreciated rewards: New places, new persons and new mysteries.
The Dramaturge: The player seeks opportunities to experience or act out emotions not usually found in everyday life or otherwise unacceptable to act out/play with in a context where consequences become real. Players with a dramatic inclination can often act as instigators in the game, especially if they feel that the current session is boring or slow. Handled right this player can be a good energy boost for the group. Appreciated rewards: Scenes where the character can act as a leader – or an antileader, as a rebel in the group; situations where the characters are the balance of power and can control the turn of events.
GM技巧 Game Master Techniques

关于GM如何进行游戏的开场,流畅的推进冒险,以及令故事更富于趣味和多样性,接下来将介绍一些技巧。
剧透 -   :
Game Master Techniques
HERE ARE A NUMBER of different techniques that the Game Master can use, appropriate for giving the game a good start, keeping it going and for varying the story in interesting ways.
变换角色 ALTERNATIVE CHARACTERS
让玩家们临时扮演别的角色有助于拓展他们在游戏世界中的眼界并体验不同的角度。举例来说,这些新角色可以将玩家们带往另一个时空,只占用一场聚会的时间(或只是占用一场聚会中的一部分时间)。还有一种做法就是,如果角色们的过往经历够丰富且互相关联,那就让他们穿越到自己的过去,这样一来,玩家扮演的依然是自己当前的角色,只不过是过去的他们罢了。扮演其他角色时获得的经验会奖励给原来的角色,不过其它奖励(泰勒、奇物、战利品,等等)会转由实际出现在故事中的角色获得。
-------------------------------
范例1:聚会开始,所有人都扮演着某个城堡里的守卫,正在与一条林德龙进行绝望而注定失败的战斗。随后林德龙摧毁了城堡并将废墟当成了自己的巢穴。而这座新的废墟正是玩家角色们即将造访的地方,玩家们将在这里再次面对林德龙——不过这次是用自己原来的角色。
-------------------------------
范例2:多个角色都有着在运达洛斯的孤儿院长大的背景,于是GM在冒险的某一阶段将他们都扔回了年幼时在孤儿院的时光。
-------------------------------
剧透 -   :
ALTERNATIVE CHARACTERS
A very concrete way to let the players see more of the world or to experience other perspectives is to temporarily let them change characters. These new characters can, for example, take the players to a different place or a different time, if only for a game session (or just part of a session). Another option is to go back in the characters’ history, if it is long and mutual, so they can play their present characters, but a long time ago. Experience gained through these alternative characters is awarded to the primary characters, but no other rewards (thalers, artifacts, loot, etc.) are transferred to the actual characters.
Example 1: The session starts with everyone playing guards in the ruined castle that the characters are preparing to visit. The guards fght a desperate and predestined battle against the powerful lindworm that destroyed, and later came to live in, the ruin – which the player will face again, but this time with their usual player characters.
Example 2: Many of the characters grew up in the same orphanage in Yndaros, and as a part of an adventure the Game Master throws them back to the orphanage, to when they were young.
机械降神 DEUS EX MACHINA
机械降神就是指GM通过旁白手段将玩家角色们从麻烦中拯救出来。它可以有多种形式,比如说GM可以在战斗局势对玩家角色不利时派出一队盟友士兵救他们于水火。自然,以这种形式解决的挑战是不会给予角色们经验值的。
-------------------------------
范例1:在角色们快被一只疫兽打死了的绝望之际,一队精灵突然登场加入战斗,救了他们。随后,这队精灵的头领要求角色们替他们完成一项精灵自己无法完成的任务(比如说需要进入蓟花要塞),以此回报一命之恩。当角色们成功完成了精灵的委托,他们可以拿到额外经验值,作为未能击败疫兽的补偿。

-------------------------------
范例2:玩家可以在解决问题时主动要求机械降神,比如说,他们正在调查一起谋杀案,并且卡住了。于是他们请求当地的秘法学会分部为他们施展一个秘术仪式。秘法学会提出条件,破案后角色们要替秘法学会干一件活,而角色们同意了。随后仪式顺利举行,角色们也得到了他们需要的线索,冒险得以继续。而仪式的经验值则会暂存在GM手中,直到角色们还清了秘法学会的人情他们才可以拿回这些经验。角色们也可以选择干脆不还这个人情,后果是:他们得不到相应的经验值,并且失去了当地秘法学会的信任。
-------------------------------
剧透 -   :
DEUS EX MACHINA
The technique of Deus Ex Machina means that the Game Master saves the player characters from trouble with the help of narrative tools. It can take many forms, but the Game Master may, for example, let an allied group of soldiers show up when a battle is about to go south and save the characters from certain death. Naturally, challenges solved in this way do not yield any Experience to the characters.
Example 1: The characters fght desperately against a blight beast and see death approach, when a band of elves joins the fght and saves the characters. Then, the leader of the elves demands that the characters solve a task in return; a task that the elves cannot solve themselves (inside Thistle Hold, for example). When, and if, the characters solve the task given by the elves, they get extra Experience as compensation for the hopeless battle against the blight beast.
Example 2: Players can be allowed to invoke the use of Deus Ex Machina during an ongoing problem-solving event. Let us say that they are investigating a murder and are stuck. They then ask for help from the local Ordo Magica chapter to cast a ritual. In return, Ordo Magica demands a favor to be dealt with after the murder has been solved, which the characters accept. The ritual is performed and provides the characters with the clue they need to move on with the adventure. The Experience given as a result of the ritual is held hostage by the Game Master until the characters have solved Ordo Magica’s problem. The characters can choose not to return the favor, with the effect of not getting the Experience that awaits them, as well as the loss of trust from the local chapter of Ordo Magica.
中间切入IN MEDIAS RES
中间切入指从正在发生的事件中间开始。比如,可以将冒险开始的时机设置为正在遭到袭击,刺杀或侵略。玩家们不得不对正在发生的事情做出反应,随后冒险就开始了。
-------------------------------
范例:一支箭矢扎进了百叶窗,角色们从梦中惊醒。他们下榻的旅店正在遭受攻击!

-------------------------------
剧透 -   :
IN MEDIAS RES
In Medias Res means to start in the middle of an event or something that is happening. For example, the adventure might start with an attack, an assassination attempt or an invasion. The players are forced to react to what’s happening, and the adventure is then set into motion.
Example: The characters wake up from an arrow that hits the inn’s window shutter. The inn is under attack!
间章 INTERLUDE
间章可以发生在冒险之间或者冒险过程中。角色们有机会放松下来喘口气,处理自己的生意,以及消费经验值,同时GM能够借此机会展现角色们的日常,以及一些不那么宏大但依然有重要意义的人际关系和情况。
简而言之,间章给了玩家们一个在日常情景下发展自己角色的绝好机会,与冒险中非生即死的紧要决策形成鲜明对比。
-------------------------------
范例:角色们在一次成功的达沃卡冒险后回到了蓟花要塞。在为他们的战利品谈了个好价钱后,他们决定来到辛柏隆沙龙奢侈一把,他们在这里聊着冒险,向旁桌的人吹吹牛皮,然后派对到天亮。
-------------------------------
剧透 -   :
INTERLUDE
An Interlude can happen between adventures or parts of an ongoing adventure. The characters get a chance to catch their breath, settle their business and spend Experience, while the Game Master gets a chance to bring in the player characters’ everyday lives, as well as less epic, but equally important relations and situations.
In short, interludes are excellent opportunities for the players to develop their characters in small and everyday situations, and to put those moments into contrast with the life-and-death decisions of the adventures.
Example: The characters return to Thistle Hold after a successful expedition into Davokar. After negotiating a good price for their treasures, they treat themselves to an evening at the Salons of Symbaroum, where they discuss their adventure, boast to their table neighbors and party into the night.
旁白NARRATIVE
旁白是对GM用来向玩家展示世界的各种手法的统称。好的旁白能让玩家从整体的大局上看到自己的作用。如果使用得当,旁白会给人留下深刻印象,但如果滥用,就会让原本应该是玩游戏的聚会变成一起听故事的聚会了。
开场白 Initial Narrative:在聚会开始时营造气氛的一个好办法就是:调低照明的亮度,播放背景音乐,然后描述一段与这次聚会内容有关的场景。这个最初的旁白可以是一段梦境,可能以某个敌人的视角展现的,或是关于某个跟即将发生的事情有关的历史事件的。
梦境 Dream Sequence :
在梦境旁白中,玩家角色们会做同一个梦,梦的内容会跟角色的经历有关,或突出展现某些东西,或澄清疑惑,或使事件更加扑朔迷离。GM可以让梦境跟实际事件毫无关联,也可以将梦境与某个奇物联系起来,而这个奇物又与某个遥远的事件有关,因此成为令角色们与这事件发生交集的契机。
历史事件 Historical Event :在基于历史事件的冒险中,旁白能够通过叙述过去发生的事件来展现当前面临的矛盾。同样,可以利用梦境来暗示玩家他们的命运正与过去发生的事件紧密联系在一起。
剧透 -   :
NARRATIVE
The Narrative is a collective name for a numbers of different ways the Game Master can tell the players about the world. A good narrative makes the players see their part in the larger context. If used correctly, narratives can be very striking, but overused they can turn a game session into a story reading, rather than a game night.
Initial Narrative: An effective way to set the mood at the start of a session is to dim the light, play atmospheric music and describe a scene that is relevant to the session. The initial narrative can be a dream sequence, be told from the perspective of the enemy or be a historical event related to what is to come.
Dream Sequence: A dream sequence lets the characters share a common dream, whose content highlights, clarifes or complicates the story that the characters experience. The dream can either be disconnected from real events, or the Game Master can tie it to some known mystical artifact that binds the characters to events far, far away.
Historical Event: Adventures based or depending on historical events can beneft from narratives in the form of important events from the past, explaining or clarifying the conflicts of the present. Once more, dreams can be used to imply that the fate of the player characters is tied to these dramatic events of the past.
宿敌 ARCH ENEMY
有些玩家乐于憎恨某个特定的敌人多于其他敌人一点,所以GM可以利用这点在战役中让角色们的“老朋友”再次登场。自然,不光是从角色们手中活着逃走的敌人可以再登场,被杀死的敌人也可以变成不死者再次与角色们作对。顺便,被击败的敌人可能会有后代、学徒或爱人,这些人也可能为了自己的亲人、师傅或恋人来向角色们复仇。
剧透 -   :
ARCH ENEMY
Most players love to hate a specific enemy a bit more than others, and the Game Master can use this by letting old enemies return during the run of a campaign. Of course, enemies that manage to get away from the characters can show up again; the same goes for undead versions of enemies that the characters have already defeated. It must also be said that descendants, disciples or lovers of a fallen enemy can hunt down and exact vengeance upon those who slew their relative, master or lover.

« 上次编辑: 2019-06-27, 周四 12:53:21 由 zyupha »
Kick the goblin scum!
Fu*k it bit my anckle.

欢迎光临辛柏隆的翻译区 http://www.goddessfantasy.net/bbs/index.php?board=1650.0