作者 主题: 【暗影狂奔第五版核心规则书翻译】游戏管理 Game Management P344-349  (阅读 6578 次)

副标题: 翻译:妖猫

离线 妖猫

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在GM已经做好准备,加好便笺之后,是时候叫玩家们过来开始游戏了。游戏开始后,GM需要关心的东西就完全不同了。
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After the gamemaster has done all of their preparation and has their run notes ready, it’s time for the players to come and start the game. Once the game begins, the gamemaster has a completely different set of concerns.

《暗影狂奔》的三个世界 SHADOWRUN’S THREE WORLDS
《暗影狂奔》的独特之处在于,它的剧情和行动会发生在三个不同的“世界”中:物质界、矩阵和星界。这三个完全不同的世界不仅是玩家存在和与之互动的对象,还代表了一系列互斥的动作和能力。虽然这使得《暗影狂奔》具有极其丰富和变化性的设定与游戏领域,它也会增加对GM的负担。
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Shadowrun is a unique game in that the play, the action, can take place in three different “worlds:” physical, Matrix, and Astral (magical). In addition to these three being completely different locations that a player can exist and interact in, they also represent a set of actions and abilities that are mutually exclusive. While this provides an incredibly rich and diverse setting and field of play for a game of Shadowrun, it does create some challenges for the gamemaster.
首先,GM需要明白这三个世界是互斥的,因此在其中一个上花费太多时间,会排斥另外两个,就容易把其他玩家晾在一边。其次,三个世界的处理行动的规则不同,这就让GM要管的更多。一个特别有经验而且热情满满的GM可能会自己仔细研究所有规则,但这并非必要,而且对新人GM来说也令人生畏。但至少,GM应当熟悉三个世界基础或大致的规则。最后,GM应当熟悉三个世界中可以做到什么事,而哪些更具挑战性。有了这些了解之后,GM就能提前预估这段狂奔行动中的挑战性和敌对方的水平,以便临时调整难度。
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First, the gamemaster needs to be aware that each of these three worlds are mutually exclusive, and thus spending too much time focusing on one of them excludes the others and thus can exclude other players. Second, the rules that resolve actions in each of the three worlds are different, giving the gamemaster more to manage. A particularly skilled or passionate gamemaster may take it on themselves to learn all of the rules in detail, but this is not necessarily required and can be quite intimidating for gamemasters new to Shadowrun. At a minimum, the gamemaster should be reasonably familiar with the basic, or overall, rules that govern each of the three worlds, but from there they can rely on a more knowledgeable player for all of the specific details. As gamemasters gain more experience, they will naturally become more familiar with the specifics of all of Shadowrun’s rule subsets. Finally, a gamemaster should be familiar with the kinds of things that can be accomplished in each of the three worlds, and what is more challenging. With this knowledge, a gamemaster can anticipate the run’s challenges and level of opposition, and adjust the degree of difficulty on the fly.

聚光灯时间 SPOTLIGHT TIME
每个玩家都想让角色有意思。有一些能让玩家觉得有意思,并且想在角色扮演中探索的方面:角色的性格、技能、他们待人如何、待世界如何。玩家带着角色参与到游戏中后,GM的职责就是给予玩家展现角色有意思之处的机会。如果玩家没有得到扮演角色和参与剧情的机会,他们会觉得无聊,或者感觉受挫,他们就没能享受游戏。
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Every player will think that the character they are playing is interesting in some way. There is some aspect to that character that the player finds interesting and wants to explore in a roleplaying session: their personality, their skill set, how they interact with other characters, or something. When the player brings that character to the table, it is part of the gamemaster’s job as the facilitator of the session to give the player the opportunity to do something with that character that they find interesting. A player who doesn’t have the opportunity to roleplay their character and participate in the way they want will become bored, frustrated, or both. They will not be having fun.
GM需要一直留心分给每个玩家的聚光灯时间。聚光灯时间,是GM让角色成为故事中心的时间。聚光灯时间是由游戏外时间,而非游戏时间决定的;如果一个PC用了5天来做一些有趣的事情,但在扮演上只花了5分钟,它就算不得什么。GM应该试图将聚光灯时间平均分给每个玩家。如果每个玩家都觉得他们有了充足的展现角色的机会,他们会对游戏感到满意。由于小队的变化多端,平衡聚光灯时间可能颇具挑战性。这一过程可以分为以下几步。
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A gamemaster needs to be constantly aware of how much Spotlight Time they are giving each of the players. Spotlight Time, in this case, is defined as a period of time that the gamemaster gives for a character to be the focal point of the story. Spotlight Time is measured in “real world” time rather than game time; it matters little to a player that their character spent 5 days doing something interesting if it only took 5 minutes of real world time to roleplay. Gamemasters should always strive to give an equal amount of Spotlight Time to each of the players in their game. When each player feels like they have been given an adequate opportunity for their character to do their thing, they will be much more content. Depending on the dynamics of the group, balancing Spotlight Time can be challenging. The process can be broken down into the following steps.

角色技能 CHARACTER SKILLS
首先,GM应该对角色的技能有个了解。是潜入役?还是挥舞枪与剑的战斗役?法师是在战斗中丢『法力箭』,还是喜欢更巧妙的操纵法术?是在网上轻松骇进主机,现实战斗却只能落荒而逃的碟客?是有一长串宝贵的人脉,却别无所长的出面人?玩家创建的角色擅长某些方面,他们会想要在游戏中展现这一点。GM应当在心里记住所有角色的首要技能。在跑团过程中,这些信息应当时刻铭记,在临时转换和调整场景的时候会派上用场。了解角色的技能,就会了解角色能做什么,了解场景的本质,还有什么时候该给他们聚光灯时间。
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First, the gamemaster should have a good feeling for the skill sets of the characters in the session. Are some stealth oriented? Combat monsters with guns or swords? Is the magician geared to throw manabolts in combat, or for more subtle manipulations? A decker wired up to slice hosts but runs from a physical fight? Does the face have a long list of valuable contacts and not much else? Chances are if a player has built a character to be good at something, then they want the opportunity to do that in a game. The gamemaster should keep a mental inventory of the primary skill sets of the characters. This information should be fairly top-of-mind when they are running the session, as it will be needed to switch or adapt scenes on the fly. By knowing character skills, the gamemaster will know the kind of things to do for a character, the nature of the scene, when it is time to give them Spotlight Time.

玩家性格 PLAYER PERSONALITY
其次,GM应当了解玩家的性格,主要是玩家是外向还是内向。玩家倾向于积极表现、掌控局势,还是安静、矜持、更愿意跟着其他人?如果不加注意,外向而更具支配性性格的玩家可能会掌管整个游戏,角色会占领聚光灯时间。即便GM对玩家并不熟悉,区分外向和内向的玩家也并不困难。由于处理聚光灯时间时,两种类型需要不同的处理方式,区分性格非常重要。外向玩家会自然而然地抓住机会,为角色争取到聚光灯时间,做有意思的事情。GM不应该放任这些玩家掌控游戏全程,应当缩短他们的表现,甚至如果有必要的话,应当不让他们开始表演,而将机会让给其他玩家。内向玩家需要GM推动甚至拽到聚光灯之下。有时只是通过询问玩家要进行的行动就足以推动他们。但有时也需要GM通过巧妙地设计场景或是提供几种更确切的选项来引导他们。
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Second, the gamemaster should understand the personalities of the players at the table. This should focus on whether the player is extroverted or introverted. Does a player have a tendency to speak up, jump in, and take control of a situation? Or is the player quiet, reserved, and more willing to go along with others? This is important because left unchecked, the extroverted or more dominant personalty players will take over the session and their characters will dominate the Spotlight Time. Identifying the extroverts and introverts in the group shouldn’t be difficult, even if the gamemaster is unfamiliar with the players. This identification is important because each type needs to be handled differently when it comes to managing Spotlight Time. Extroverted players will naturally grab Spotlight Time for their characters as they will seize opportunities to do interesting things. A gamemaster will not allow these players to completely dominate the time, cutting their scenes short or not even letting them begin, when necessary, to let others have an opportunity. Introverted players will need to be prompted or drawn out into their Spotlight Time. Sometimes it will be enough to simply prompt the player and ask them for their action(s). Other times, it will take more leading with the gamemaster setting up the structure of a scene or prompting the player with more specific choices.

干涉 STEP IN
平衡聚光灯时间最终要GM干涉。可能有天然平衡的小队,每个玩家获得聚光灯时间的机会均等,但这实在非常少见。更常见的是,GM需要引入限制和机会来平衡聚光灯时间。这要从策划狂奔、设置挑战、设计场景开始,这些需要和角色和他们的技能相符合。这会在〖设计狂奔〗中进一步讨论。然而,玩家的决定偏离原有的计划时,GM应当立即调整。
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Ultimately, balancing Spotlight Time is about the gamemaster stepping in and changing things. It may be that a group is naturally balanced and every player has an equal opportunity to have Spotlight Time, but this is rarely the case. More often, the gamemaster will need to introduce constraints and opportunities in order to balance the Spotlight Time. This begins with the planning of the run, designing challenges and writing scenes that are matched to the characters and their skills. This is discussed in Designing a Run (p. 335). However, the gamemaster will often need to make adjustments as player choices quickly change the original plan(s).
如果某个玩家在处理他们的行动时花费了太多的时间,GM可以加速处理,或者先“暂停”这个场景/行动,移到另一个玩家一会儿,然后再移回来。在戏剧性的节点恰当地打断有诸多好处,比如加快节奏、提高戏剧张力或是沉浸式体验。如果场景比预想中花费更多时间,而且被某些固定的玩家掌控,GM可能得缩短、移动或者调整后面的场景,来突出其他的玩家。这是模块化设计场景的优势所在(见〖场景〗)。举例来说,如果一场战斗比GM想象中要花的时间更长,并且由战斗役完全完全掌控,或许可以减少或者调整设置的战斗场景,让潜入役或者社交役的角色能够发挥作用。如果碟客用矩阵搜索和骇入技巧掌控了收集信息部分,那么下一次收集信息所需的部分就不应该能从网上找到。可能出面人的某个人脉知道点什么,或者小队发现只有敌对帮派或是其他团体有他们要的信息,而且只能武力夺取。快速记录故事中调整了什么,保证前后一致,然后继续剧情。
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If one player is taking too much time to resolve their action, the gamemaster can speed up the resolution of it, or put the scene/action on “pause” and move to another player for a while, coming back to the original later. “Cutting away” especially at a dramatically appropriate time can have other benefits as well, such as increasing pace, dramatic tension, and immersion. If a scene took much longer than expected and was dominated by certain players, the gamemaster may have to cut, move, or adjust later scenes to emphasize a different set of players. This is where writing the scenes as modular plot points really starts to pay off (see Scenes, p. 336). For example, if a combat took much longer than the gamemaster had anticipated and was dominated by the combat-oriented characters, it may be necessary to remove an upcoming combat scene or adjust it so that the stealth- or social-oriented character gets the focus instead. If the decker is dominating the information gathering with Matrix searches and hacks, then the next piece of information shouldn’t be available on the Matrix. Perhaps it’s one of the face’s contacts who has the information, or the group finds out that it is only known by a hostile gang or other group and the information must be taken by force. Make some quick notes about what was adjusted in the story so it can stay consistent, and then move forward with the plot.

节奏 PACE
控制团的节奏是GM的另一个重要职责。写好(或者起码读过复习过)团的剧情之后,GM应当熟悉整个故事线,熟悉富有戏剧性和令人激动的关键点在哪里。GM应当注意在不同场景之间花费的现实时间,以评估团是否依照恰当的节奏进行。如果在重要性或者趣味性不强的地方花费了太多时间,团就会很拖拉。如果玩家感到无聊或者没那么投入,就该是加快节奏推进故事的时候了:缩短场景,快速处理行动,解决纠纷,继续推动剧情。如果GM知道离有趣的地方还有一段距离,但玩家已经不那么投入了,也许是时候即兴创作一个新场景来添加些乐趣,或者重新安排事件的顺序。如果玩家对当前的剧情点,或者事件展开的方式并不感兴趣,那么之后的场景应该做出一些调整,以让玩家更能投入进来。
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Controlling the pace of the run is another important responsibility of the gamemaster. Having written (or at least read and reviewed) the plot of a run, the gamemaster should be familiar with the overall storyline and where the points of greatest drama and excitement will occur. The gamemaster should be watching the amount of real time that is being spent on moving through the various plot points to gauge whether the run is moving at an adequate pace. If too much time is spent on plot points of lower significance or excitement, the run will seem to be dragging. If the players are becoming bored and less engaged, it’s time to move the story along at a quicker pace: cut a scene short, resolve actions quickly, cut complications, and move on. If the gamemaster knows that a more exciting part of the story is still a ways off but the players are already becoming less engaged, it may be time to improvise a new scene to add some excitement, or rearrange the order of events. If the players don’t seem interested in the current story point, or the way events are unfolding, then future scenes should be adapted in a way that they will find more engaging.
相反地,如果玩家对剧情的某个方面特别感兴趣,GM可以暂缓即将到来的场景变换。如果气氛正好,不要打扰!举例来说,如果玩家特别喜欢对让角色潜入到建筑中,让传感器失效,特别注意避免战斗,GM就可以移除原本在他们要进入地方的安保小队,或者让他们晚点再来。如果玩家刚刚经过了一段高度紧张的动作场景,比如一场追逐战,那么可能就需要在下一次的动作场景之前插入一段舒缓一点的场景。
控制节奏是为了通过调整场景的时间来最大程度让玩家投入到剧情之中。
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Conversely, if the players are highly engaged in some aspect of a story and are enjoying themselves, a gamemaster can cut an upcoming scene change. If something good is going on, don’t mess withm it! For example, if the players are really engaged in sneaking their characters into a building, disabling sensors, and focused on avoiding fights, then the gamemaster can take the scene that they planned where a security team stumbles upon the players and remove, or delay, it. If the players are just coming off a highly exciting action scene, such as a chase, then a slower scene may need to be inserted next to give some down time before the next planned action scene.
Controlling pace is all about watching the players’ engagement in the story and adjusting the timing of events to maximize it.

处理意外HANDLING SURPRISES
就像老话说的,“计划永远活不到遇到敌人之后”,模组也永远活不到遇到玩家之后。在角色扮演中,似乎有一条铁律,无论GM做了多少计划,想了多少事情,玩家总会做出一些GM没想到的事情。在角色扮演游戏中,这其实不是问题,而是长处。最重要的是,游戏中的玩家应该感到自己被赋予了自己做决定和推动故事的权力。这通常说得比做得容易。
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Just as “no battle plan survives contact with the enemy,” no run survives (intact) contact with the players. It seems to be an irrefutable law of roleplaying that no matter how much planning and forethought a gamemaster does, the players will always do something that was not anticipated. In roleplaying games, this is a strength rather than a problem. Above all else, the players in a game should feel empowered and allowed to make their own decisions. However, this means the onus falls on the gamemaster to adapt and move forward with the story. This is often easier said than done.
调整故事是从在写的时候就让它便于调整开始的。正如〖场景〗所述,GM在写剧情的时候就应当记得需要调整,记得玩家的选择必然会改变故事。即便没有这么做,第一步就是确定构成故事的关键剧情点。关键剧情点是一段时间或者事件之中组成故事整体的节点。没有关键剧情点,就不会是同样的故事。角色需要见一个重要NPC吗?需要接收一条关键信息吗?获取一个物品?打败一个敌人?关键剧情点出现时,故事就会进一步展开。GM确定了关键剧情点之后,他们就知道哪些地方可以改动,而哪些地方需要保留。
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Adapting the story of a run starts with writing it to be adaptable. As described under Scenes, a gamemaster should write the plot of their run with adaptation in mind, knowing that player choice will necessitate change in the story. Even if this hasn’t been done, the first step is to identify the key plot points that make up the structure of the story. A key plot point is a point in time or an event that constitutes an integral part of the story. Without the key plot point, it wouldn’t be the same story. Do the players need to meet an important NPC? Receive a critical piece of information? Obtain an object? Defeat a foe? As each key plot point occurs, the story unfolds one step at a time. When a gamemaster has identified the key plot points of their story, they know what can be changed when improvising, and what needs to stay.
解决了关键剧情点之后,剩下的剧情要素可以根据玩家的选择而进行调整。设定可以从一个地方换到另一个地方,角色可以更换或者清除,其他的要素也可以依照需要而进行调整。在调整场景时,GM应当随时记得两个目标。首先,故事应当自然地随着玩家的决定发展,其次,GM应当致力于讲述原本的故事。无论PC做了什么,无论他们做了什么决定,都不应该被GM复盖过去。如果他们决定杀死某个NPC(而且骰子给面子),NPC就应该死去。GM永远应当尊重和适应玩家的决定。但是,也应该保留让关键剧情点出现的机会。这就是需要调整的时候了。如果GM明确了关键的剧情要素,他们应该还能把它放在故事里,让它出现,即便玩家已经改变了种种条件。如果GM处理得当,玩家永远也不会知道GM要在他们原本的笔记上改东西。在调整故事以保持故事继续发展下去的时候,GM有三个主要的策略:移位、替换,或者移除。
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With the key plot points remaining fixed, the rest of the story elements can be adapted based on player choice. Setting can be changed from one place to another, characters exchanged or eliminated, or any other elements changed as needed. While adapting a scene, the gamemaster should have two objectives in mind. First, the story should follow player choice in a natural way, and second the gamemaster should work to tell the story they originally planned. Whatever the player characters have done, whatever choice they have made, should not be overridden by the gamemaster. If the group decides to go to a different location, that is where they go. If they decide to kill an NPC (and make all the proper rolls), the NPC should stay dead. A gamemaster should always respect and accommodate player choice. However, there should still be the opportunity for the key plot point to take place. This is where the adaptation comes in. If a gamemaster has clearly identified the key plot element, they should be able to place it in the story such that it still occurs, even though the players have changed the circumstances. If the gamemaster does it well, the players will never know that the gamemaster had to change anything from their original notes. When adapting to keep the story going forward, a gamemaster has three main strategies: relocate, replace, or remove.

移位 RELOCATE
或许最常使用的技巧就是将关键剧情点移位。这主要是将某一场景中承载关键剧情点的核心要素移动到玩家要去的地方,而非它原本所在的地方。它可以简单到把一个场景从一个地方换到另一个地方,但也可能要将一个角色的行动变成另一个人的,或者把事情改到另一个时间段发生。另一种移位则涉及到改变进入关键剧情点的方式。通常来说,移位包括改变原本设计场景中的一个要素(或者一系列细节),来反映玩家所做的不同选择。情节的核心要素仍旧保留不变,只是场景的名字或者门面发生了变化。
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Probably the most common technique is to relocate a key plot point. This involves taking the core elements of a scene that convey the key plot point and moving them to wherever the players have chosen to go instead of where it was originally planned. This can be as simple as changing a scene from one location to another, but it can also involve relocating actions from one character to another, or events from one time period to another. Another kind of relocation involves changing the way, or method, a plot point is delivered. In general, relocating involves changing one or a small handful of elements of an originally planned scene to reflect the differing choices that the players have made. The core element(s) of the plot remain unchanged, with just the proper names or window dressing of the scene being changed.


引用
范例 EXAMPLE
GM托马斯原本计划让PC们前往他们最喜欢的俱乐部,无意中听到一个喝醉的公司研究院大声说着他最近进行的前沿研究。这会引起玩家的兴趣,而且团剩下的部分都会集中于他们窃取研究并且试着把它卖掉。然而,小队的碟客说服了整个队伍打破传统,到自己最喜欢的虚拟俱乐部去。
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Thomas, the gamemaster, originally planned that the player characters would head to their favorite club and overhear a drunk corporate researcher as he talked too loudly about his latest nova-hot research. This would catch the players’ interest, and the rest of the run would have them stealing the research and attempting to sell it. However, the group’s decker convinces the group to break with tradition and attend his favorite virtual club instead.
托马斯确定关键剧情点是通过某些方式,让玩家知道研究的存在。这才是让故事完整不可或缺的东西。他决定调整场景,把提供信息的地点和人物都换掉。在玩家集体前往虚拟俱乐部的时候,托马斯让碟客的一个联系人凑到他跟前,想卖给他一份有趣的,关于公司研究的流言。
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Thomas identifies that the key plot point is for the players to learn about the research somehow. This is what is necessary for the integrity of the story. He decides to adapt the scene by relocating where the information is given, and by whom. As the players socialize in the virtual club, Thomas has a contact of the decker approach him and offer to sell him a particularly interesting rumor about some corporation research.

替换 REPLACE
第二个技巧是替换带有关键剧情点的场景。替换比移位要更富戏剧性,而且它只应该在原本计划的场景用光的时候使用。当玩家的决定和预料中完全不同的时候,就需要创造一些全新的东西。可能GM想让玩家留下,他们却决定去另一个城市,或者在想让他们离开的时候留下。又或者玩家可能决定用一种完全出乎预料的方式解决问题或者制定计划。场景被替换的时候,GM需要临时即兴创作一个新的场景。关键剧情点仍然保留着,但GM需要想一套让它融入新场景的方式。戏剧性地调整场景对GM来说是个挑战,但也可能创造许多让人记忆深刻的时刻。
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The second technique is to replace the scene that conveys the key plot point. Replacing is more dramatic than relocating, and it should used when no part of the originally planned scene remains. This will happen when the player decision is so completely different from what was anticipated something completely new must be created. The players may have decided to go to a different city when they were expected to stay, or stayed when they were expected to leave. Or the players may have decided to solve a problem or create a plan in a completely unanticipated way. When a scene is replaced, the gamemaster is most often improvising a new scene on the fly. The key plot point remains, but the gamemaster will need to figure out a way to work it into the new scene. Adapting this dramatically is challenging for the gamemaster, but can create some memorable gaming moments.

引用
范例 EXAMPLE
托马斯带的玩家已经知道了公司研究计划,而且对闯进去把它偷掉十分感兴趣。他们前往了进行研究的建筑,并且制定了进入的方案。通常来说,托马斯团里的玩家更喜欢同时使用魔法和骇入技巧潜入,避免枪战,所以托马斯在计划中假设他们仍然会这么做。然而,他们再次决定打破传统,想出了一个疯狂的计划,想说服当地帮派开始暴动,冲击那栋建筑,这会为小队进入制造掩护。这可和托马斯预想的完全不同。
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The players in Thomas’ game have heard about the corp research project and are interested in breaking in to steal it. They proceed to the building where the research is happening to create a plan for getting in. Normally, the players in Thomas’ group prefer to sneak into places using a combination of hacking and magic while avoiding gunfights, so Thomas had planned this part of the run assuming the players would act as they usually do. However, they decide to break with tradition again, and come up with a crazy plan to convince the local street gang to start a riot and storm the corp building, which will create a cover for the group to move in. This is nothing like Thomas had anticipated.
唯一的关键剧情点是小队必须获得研究,因为之后的部分(在计划中)是关于小队想把偷到的东西卖掉的。所以托马斯将原本的秘密进入场景替换成了一段即兴的剧情:小队必须通过当地帮派的入会仪式,以获得他们的信任。在获得信任之后,玩家和帮派在目标建筑附近挑起了一场暴动。
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The only key plot point is that the group must obtain the research, because the rest of the run (as planned) involves the group trying to sell what they have stolen. So Thomas replaces the original scene of a stealth intrusion and improvises one where the group has to earn the trust of the local street gang by passing their initiation rituals. After gaining their trust, the players and the gang stir up a riot near the target building.

移除 REMOVE
有时候故事发展让GM可以移除一整个场景或者关键情节点,故事却依然完整。事实上,许多情况下故事仍旧讲得通,甚至如果剧情点被移除了,比GM强行让它出现要更自然。这可能是最少见的调整,但它应当在GM的考虑范围内。移除剧情点或者场景同样可能出于节奏的考虑。
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Sometimes the story develops in such a way that the gamemaster can remove an entire scene or key plot point, while still maintaining the integrity of the story. In fact, there are cases where the story makes more sense, flows more naturally, if the plot point is removed than if the gamemaster somehow forces it to happen. This is probably the least common form of adaptation, but is one that the gamemaster should still consider. Removing plot points or scenes can be done for pacing purposes as well.

引用
范例 EXAMPLE
托马斯团里的玩家已经拿到了公司的研究数据。托马斯原计划中设想的下一步是玩家需要找到一个信息的买家。他设计了一个场景,玩家要付出不小的努力找到敏感信息的买家,同时又要小心提防被公司注意到。然而,在托马斯正准备开始这部分内容时,小队里的出面人告诉其他队友,他有个人脉是信息贩子,能处理偷来的信息。为了一份利润,信息贩子会找到信息的买主,而小队需要做的唯一一件事就是保持低调。
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Thomas’ players have the corporate research data. The next major step in the run that Thomas had planned was for the players to have to find a buyer for the information. A scene was planned that involved the players going to no small amount of effort to find a buyer for the sensitive information while still being discreet enough to not be noticed by the corp that they stole it from. However, as Thomas is gearing up to run the scene the group’s face lets the rest of the group know that he has a contact who is an information broker who deals in stolen information. For a cut of the profits, the broker will find a buyer for the information and all the group has to do is stay low.
托马斯在设计模组的时候,完全忘记了出面人的人脉。托马斯没有强行让某些不自然的情况出现,而他也不觉得还需要寻找买家的场景。所以他移除了这个场景,跳到了玩家已经找好买家,需要进行交易的场景。
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Thomas had completely forgotten about the face’s contact when planning the adventure. Without forcing some unnatural circumstances on the players, Thomas doesn’t see any way that he can go ahead with the scene where the players need to find a buyer. So he removes the scene and skips ahead to the scene where the players have a buyer and need to set up the exchange of information for money.

狂奔场景 RUNNING SCENES
场景依照故事讲述的需要而非常不同。通常来说,最常见的场景可以被分为三个主要的类别:侦察、社交和行动。一个场景可能只是其中一个,也可能包括了这三个类型中的两个甚至全部。以下是关于GM如何处理这些场景的一些特别提示。
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Scenes can and will vary a great deal depending on the needs of the story being told. In general, the most common scenes can be broken down into three major categories: investigation, social, and action. A scene may have elements of one, two, or all three of these types. What follows are some specific tips for gamemasters running these kinds of scenes.

侦察 INVESTIGATION
玩家收集信息是典型的侦察场景。通常来说,玩家会依照PC擅长的方式(物理的、电子的或者魔法的),使用许多不同的手段来收集信息。玩家的小队通常会分成次级小队或者单人,分头行动,每个人都可以使用擅长的技能和途径进行侦察。机师可以用无人机调查目标,潜行修士可以潜入关键区域,碟客可以〈矩阵搜索〉和骇入,而出面人可以呼叫人脉问一问,再和人说说话。在处理这类场景时,GM应当特别注意处理每个玩家行动的时间(见〖聚光灯时间〗),尽量让时间均衡一些。理想状况下,GM的笔记应该只是简单地列出能找到的关键信息,而不限制这些信息如何获取。这样,GM可以让每个玩家都在自己的领域内成功获得一点信息,这样他们能觉得自己有所贡献。如果在处理某个角色的行动时花费了太多时间,GM可以“暂停”这边,先花时间处理另一个角色的行动。这个技巧在〖节奏〗有更详细的说明。
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An investigation scene is typified by the players going about a process of information gathering. Generally players will use a variety of methods to gather the information, following whatever their character specialty happens to be: physical, electronic, or magical. The player group will commonly split into sub-groups or individuals in this kind of scene, so each can pursue an avenue of investigation using their particular skills. A rigger may use drones to survey the target, a stealthy adept may break into key areas, a decker will do Matrix searches and hacks, and a face will call their contacts and talk to people. When running this kind of scene, a gamemaster should pay particular attention to the amount of time given to resolving the actions of each of the players (see Spotlight Time, p. 348), and try to balance it among them. Ideally, the gamemaster’s notes for this scene should simply list the key pieces of information that are available to be found, and remain open to how that information can be gathered. This way, the gamemaster can allow each of the players to be successful in their own way and feel that they have contributed something. If one player is taking too long to resolve their actions, a gamemaster can put their actions “on pause” to give some time to another player to resolve their actions. This technique is discussed in more detail under Pace (p. 349).
这类场景中另一个常见的问题是玩家受挫。对写模组的GM来说,侦察的途径和线索非常明显。然而,对玩家来说就不那么明显了。如果玩家想沿着一条完全错误或者错轨的途径调查,GM的回应貌似应该是“你什么都没找到,”然后停下。应当避免这种情况。如果GM没有根据玩家的行动进行调整,游戏会沦落到让玩家试着猜GM写剧情的时候想的是什么。这很快就会变得令人沮丧。许多方面,这都会像至少20年以前那种电子游戏,当玩家想做各种事的时候,游戏不断地提示“你不能这么做”或者“这没有效果。”
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Another common problem with these kinds of scenes is player frustration. To the gamemaster who wrote the plot, the clues and avenues of investigation will seem obvious. However, things never seem so obvious to the players. If a player attempts an avenue of investigation that is completely wrong or off track, the (seemingly) natural reaction is for the gamemaster to say, “you find nothing,” and shut it down. This should be avoided. If the gamemaster does not somehow work with the actions the players are attempting, then the game devolves into the players attempting to guess what the gamemaster was thinking when they wrote the plot. This will become frustrating very quickly. In many ways it will seem like the video games from 20 or more years ago where the player would attempt many actions only to have the game continually say “you can’t do that” or “that doesn’t work.”
在处理侦察场景时,GM的“首要规则”是:让一切都有用。这意味着每个玩家尝试的行动,无论和GM预想的差得多远,都应该有些正面结果,并将玩家引导回故事中去。如果玩家呼叫的NPC不可能知道剧情,那么NPC至少应该说“也许可以试试和这个人谈谈”或者“我不知道的,但你可以在那个地方打听一下”。这样,玩家从GM那里得到了一些继续的方向。通常来说,GM应当对提示和线索尽量慷慨,将它们作为剧情中指引玩家的面包屑。
译注:breadcrumbs的梗来自于童话故事“汉塞尔与格莱特”,汉塞尔为了防止在森林中迷路,沿着来路撒下面包屑。
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When running an investigation scene, the gamemaster “rule of thumb” should be: make everything work. That means that every action the players attempt, no matter how off track the gamemaster may perceive it to be, should have some sort of positive result in pointing them back to the story. If a player calls up an NPC that would never know anything about the plot, that NPC should at least say, “maybe try talking to this person” or “I don’t know, but you could try asking around there.” In this way the player(s) get some sort of direction from the gamemaster that allows them to move forward. In general, a gamemaster should be generous with hints and clues, using them as a trail of breadcrumbs to lead the players along in the plot.

社交 SOCIAL
PC和NPC之间的广义互动是典型的社交场景。在准备这类场景时,GM应该确保对所有NPC的性格有明确的想法,在笔记中列出最重要的特征和怪癖。社交场景最首要的是角色扮演,只需要最低限度的投骰。如果每个人都能进入角色,社交场景就再成功不过。NPC如果有独特的声音、口音或仪态,会更让玩家印象深刻。
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A social scene is typified by extended interactions between the player characters and non-player characters. When preparing to run this kind of scene, a gamemaster should ensure they have a strong idea of the personalities of all the non-player characters that are going to be involved, listing out the most important traits or quirks along with some memorable quotes in their notes. A social scene is primarily about roleplaying, with the least amount of die rolling occurring. This kind of scene is most successful when everyone can stay in character as much as possible. Having a unique voice, accent, or mannerism for the NPC will make it more memorable for the players.
有些帮助能让每个人都进入角色,这对社交场景助益非常。小道具可以与一个特定的NPC相关联。角色或场所的速写可以给玩家以牢固的印象。音乐对建立社交遭遇的基调和设定也大有助益。如果场景放在像但丁地狱这样的夜店,那么就可以拿夜店音乐作为BGM。
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Social scenes can benefit greatly from some game aids to help keep everyone in character. A prop can be associated with a particular NPC. Drawings of characters or locations can help give the players a solid mental image. Music will go a long way to establish the tone and setting of the social encounter. If the scene is supposed to take place in a hot nightclub like Dante’s Inferno, then have some club music on in the background.

动作 ACTION
一组充满危险和刺激的镜头是典型的动作场景。动作场景中的大部分时间都用于为行动处理骰子。虽然在电影或小说中的动作场景非常迅速,而且会加快叙述的速度,但由于规则和投骰,在角色扮演游戏的动作场景中也存在着降低节奏的风险。GM可以采取措施来降低游戏在动作场景中不顺畅的问题。
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An action scene is typified by sequences of danger and excitement. Most of the time in an action scene is taken up by resolving the dice mechanics of the actions. While action scenes in a movie or book are fast, and increase the pace of the narrative, there is a real risk that an action scene in a roleplaying game will actually slow the pace due to all of the rules and dice rolling involved. A gamemaster can take steps to reduce the risk that the game will get bogged down in an action scene.

首先,GM应当对动作场景有充足的准备。所有可能用到的规则应该被写出来,或者起码标记个页码,从而可以迅速查到。如果动作场景要以某个特定规则(比如载具追逐)作为主要部分,GM应该重新读一下规则书中相应的选段,确保对规则有明确的印象。相类似地,场景中角色和道具的数据应该记在笔记上。GM同样应该避免中途查规则而减慢游戏的情况。应该立即裁定,让游戏继续,然后等到这次团结束后再详细地查看规则。规则的作用是讲故事,所以故事不应该因为规则而中断。
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First, a gamemaster should prepare to run the action scene. Any rules that the gamemaster knows they will need to reference should be written out, or at least a page reference noted, so they can be accessed quickly. If an action scene is going to feature a particular subset of rules, such as a vehicle chase, the gamemaster can reread that section of the rulebook to make sure the rules are fresh in their memory. Similarly, stats for the appropriate people and items involved in the scene should be written in the session notes. A gamemaster should also avoid slowing the game down by stopping to look up rules in the middle of an action sequence. A ruling should be made on the spot that will keep the game moving, and then a more detailed check into the rule can be made after the session. The rules serve to tell the story, and so the story should not be stopped by the rules.
其次,GM或玩家都应该进行行动概述。在计算骰池,投骰和处理行动的时候,玩家和GM可能会失去对场景的想象,特别是如果他们不是做出行动的人的话。行动概述的技巧可以帮助所有人集中注意力到行动场景上。在动作结算完成而结果出来后,为了让所有人入戏,GM或做出行动的玩家应当快速叙述发生了什么。
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Second, the gamemaster or the players should do action recaps. When dice are being counted, rolled, and actions resolved, players and gamemasters can lose the mental picture of what is going on in the action scene, especially if they are not the one performing the action. Action recaps are a technique that helps focus everyone in the group on how the action scene is unfolding. After the mechanics of an action have been completed and the result is known, the gamemaster or the player that performed the action should quickly narrate what just happened for the benefit of everyone else in the group.
最后,GM和小队应当共同建立起自己的处理战斗动作的系统或结构。这意味着小队应该对如何处理战斗中常见要素(比如主动性检定、战斗轮顺序和声明行动)建立起一套一致同意的流程。如果每个人对在什么时间做什么都有明确的理解,处理行动就会更快一些,花费的时间也就更少一些。“我投主动性了吗?”“该谁了?”“什么时候到我?”“刚刚发生啥了?”如果小队有了一个运转良好的战斗处理系统,这些问题会减少甚至消失。举例来说,小队的战斗流程可能是:GM说“投主动性”,每个玩家投骰,等待GM叫他们的名字,然后告知自己投了多少。主动性值会写在一个白板或一张纸上,清楚地展示给所有人。GM随后在角色开始行动的时候叫名字,玩家声明自己角色的行动。有了一个明确的行动顺序之后,战斗无疑会变得更加流畅。
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Finally, the gamemaster and group collectively should develop their own system or structure for resolving combat actions. What this means is that the group should develop a set of agreed-upon procedures for how they handle the common elements of combats, such as rolling initiative, tracking turn order, and declaring actions. If everyone has a solid understanding of how and when things are done, the actions will resolve quicker and less time will be lost. “Do I roll initiative yet?” “Whose turn is it?” “When is it my turn?” “What just happened?” These are the kind of questions that will be reduced or eliminated if the group has a well-established and understood combat resolution system. For example, the group’s procedure for combat may be: the gamemaster to call “initiative,” each player rolls, and then waits for the gamemaster to call their name before telling what they rolled. Initiative values are then written on a whiteboard or scrap paper and displayed for everyone to see clearly. The gamemaster then begins calling character names when it is their turn and each player declares their actions. With an established order of actions, combats will inevitably run more smoothly.
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