Microscope: Fractal Worldbuilding
08-04-2016, 12:40 PM
Post: #51
RE: Microscope: Fractal Worldbuilding
Only thing I don't understand is what the Teits is/are

"We love eloquence for its own sake, and not for any truth which it may utter, or any heroism it may inspire."
-Henry David Thoreau
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08-04-2016, 12:42 PM
Post: #52
RE: Microscope: Fractal Worldbuilding
I'll add a Period, since there is already a lot of exploration here of the buildup to the civil war.

Period: In the wake of the war, settlers seek new lives on the frontier. (Light)

The one, the only, Vancho!
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08-04-2016, 12:44 PM
Post: #53
RE: Microscope: Fractal Worldbuilding
Also I think "Teits" = "States"

The one, the only, Vancho!
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08-04-2016, 01:42 PM
Post: #54
RE: Microscope: Fractal Worldbuilding
PERIOD: A dozen famous Wandering Warriors roam the lawless frontier at once, heralding a golden age for such Wanderers (light)
Between "In the wake of the war..." and "The last of the Wandering Warriors..."

Also I'd argue that the last of the wandering warriors should be a light period, since overall it is a picture of progress and prosperity, and looking back at lives well lived, rather than them being hunted down or something.
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08-04-2016, 06:53 PM (This post was last modified: 08-04-2016 08:50 PM by The O Fan.)
Post: #55
RE: Microscope: Fractal Worldbuilding
The Gunbaran, the noble warriors of the nation, were ordered by the Senate to give up their lands to the government and gain armies to police them on behalf of the government. Everyone who refused had there titles and lands stripped from them and was subsequently declared war on by the Senate and the Gunbaran who took the deal.

Sorry for the confusion I was leaning on a glossary but I didn't know how much that trended to "outside rp." I'll add one later.


In any case we have finished the set up so we can move on to the first round. I'll be writing it all up today.
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08-04-2016, 11:25 PM
Post: #56
RE: Microscope: Fractal Worldbuilding
Quick question on where you would like the timeline posted. Edited in the OP or in a google docs link so it can be seen by itself with no clutter? Or perhaps a unique thread that is just the timeline(a sort of reverse of thread having IC and ooc threads)

Also I edited up my event to deal with some confusion. Sorry about that, still trying to get the right balance of creative and too cute by half.
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08-05-2016, 02:15 AM
Post: #57
RE: Microscope: Fractal Worldbuilding
Timeline in the OP is fine by me!

"We love eloquence for its own sake, and not for any truth which it may utter, or any heroism it may inspire."
-Henry David Thoreau
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08-05-2016, 02:43 AM (This post was last modified: 08-05-2016 05:01 AM by The O Fan.)
Post: #58
RE: Microscope: Fractal Worldbuilding
Timeline is in the OP gang! Time to move onto the game proper!


I'll be calling each of these passes Sagas.

Turns of Play for a Saga

Decide which player will start: that player becomes the first Lens.

1) Declare the Focus: The Lens declares the current Focus
of the game, the part of history you’re going to explore
right now.

2) Make History: Each player takes a turn creating either
a Period, Event or Scene. The Lens goes first, then go
around the group. What you create must relate
to the current Focus.

The Lens can choose to create two things on there turn, so
long as they are nested inside each other: either a new
Event plus a Scene inside that Event, or a new Period
plus an Event inside that Period. This gives the Lens more
power to get the Focus going.

3) Lens Finishes the Focus: After each player has taken a
turn, the Lens gets to go again and add another Period,
Event or Scene (or two nested things). This lets the Lens
have the last word about the Focus.

After all players have addressed the Focus, we take a step back and examine
Legacies, elements of the history we want to remember to explore later
on:

4) Choose a New Legacy: The player to the right after the Lens
picks something from play during this last Focus and
makes it a Legacy.

5) Explore a Legacy: The same player creates an Event or
dictated Scene that relates to one of the Legacies, either
the one just created or one already in play.

6) New Lens: The player to the left of the Lens then becomes
the new Lens and picks a new Focus. Repeat.

Before the new Lens starts, you may want to take a quick intermission and
talk about how the game is going. Talk about what you’ve liked or what
intrigues you, but don’t plan what’s going to happen next.


A note about turn order

Set turn orders would be a bit logistically wonky given our different locals and areas and schedules so instead I am using a virtual table:

The O Fan
Mister Visceral
Vancho1
Demonsul
The O Fan...

That means the player to the "right" of me is Demonsul and the player to the "left" of me is Mister Visceral. So after my turn as Lens, Demonsul picks a new legacy Legacy and explores a legacy, then Viseceral becomes the new Lens

After that Saga is done Mister Visceral picks the New Legacy and Explores a Legacy then Vancho1 becomes the Lens.


There is no set turn order within sagas except for the Lens going first and last.
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08-05-2016, 02:45 AM
Post: #59
RE: Microscope: Fractal Worldbuilding
Picking the Focus

Play can jump backwards and forwards in time, all across the history. To
keep everyone playing the same game, the Lens picks a Focus, a unifying
theme that ties the story together, at least until the next Lens picks a new
one.

The Focus can be anything: a person, a place, a thing, an institution, an
Event, a Period, a concept–anything you want. The Lens can use something
that already came up in play or make up something new on the spot. If
you’re making something new, you’ll usually declare the Focus, then make
a Period, Event or Scene to show what you’re talking about.

“The new Focus is going to be the ‘sinking of the Gabriel
Dora.’ It’s a luxury liner that goes down mysteriously, so
first I’m making a new Event where the ship sinks in the
North Atlantic, with no known survivors…”


If a new Lens is
interested in a previous Focus, they could pick the same Focus again or pick
a related Focus that looks at things from a different angle.

The old Focus was President Galveston, patriarch of the
Lone Star Republic. During play we found out he died
in office, eaten away by illness. The new Lens wants to
explore that, so she makes the new Focus “the last days of
Galveston’s presidency.”


Picking the Focus is powerful. It lets you set the direction of the game. Don’t
hesitate to make up a Focus even if you don’t have a clear idea why it’s
interesting. Those details will emerge as you play.

WHEN IN DOUBT

Pick a small, concrete Focus, like a particular person or an
incident, rather than a broad or vague one. The narrower
the Focus, the more detailed and personal the history
will be to play.
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08-05-2016, 02:58 AM (This post was last modified: 08-05-2016 05:01 AM by The O Fan.)
Post: #60
RE: Microscope: Fractal Worldbuilding
Time to introduce Scenes.

As you know when When you make a Period or an Event, you have vast power to shape history.

If you choose to play a Scene instead, you give up absolute control and
invite the other players to role-play and decide what happens together.

Making History: Scenes


Scenes are the smallest units of history. They show us exactly what happens
at a specific place, at a specific time, with specific people. Scenes are also
different because, instead of creating them unilaterally, all the players join
in and role-play to determine what happens. You give up absolute control,
but in return you get to decide what everyone is going to role-play about,
turning everyone’s attention to a part of the history that interests you.

To create a Scene, you first pose a Question, something you want to find
out about the history. The goal of the Scene is to decide the answer to that
Question. We start off the Scene without an answer and discover it through
play. The Question can tell us something crucial to history (“why did the
king betray his country?”), it can give us a window into what life was like
in that time and place (“are the asteroid miners happy with their rugged
frontier lives?”), or just examine something that isn’t important in the grand
scheme of things, but is interesting to the players (“did the soldier get to
marry his hometown sweetheart?”).

If you want to make a Scene, but you want to answer the Question yourself
instead of letting the other players participate, you can choose to dictate
the Scene instead. When you dictate a Scene, you describe what happens
and narrate the answer to your own Question, just like making a Period or
Event.

To make a played Scene, don’t say anything about what you have in mind,
just follow these steps:

1) State the Question
2) Set the Stage
3) Choose Characters (*)
4) Reveal Thoughts (*)

The * symbol indicates choices made by each player, going around the
group. All other decisions
are made by the player making the Scene.


Scene Step 1: State the Question
State the Question this Scene will answer. The Question is why we are
looking at the Scene in the first place, and the Scene isn’t complete until we
find the answer. A Question can be a simple yes/no or it can require a more
detailed answer.

Are the rebels driven by vengeance or a desire for freedom?
Can the World-AI recreate the long-dead human race?
What do all mages have to sacrifice to learn sorcery?
What’s the one thing that can harm the god of beauty?


A Question can establish facts or stack the deck. If something is declared
in the Question, it’s going to happen. There’s no avoiding it. Craft your
Question carefully to push the Scene in the direction you want to explore.

If the Question is “why does the king betray his country?”,
we know the king is going to do it. Nothing can prevent it.
You would get totally different Scenes if you asked “Does
the king betray his country?” or “What did the warlord pay
the king to betray his country?”


Scene Step 2: Set the Stage

When does the Scene happen?: Decide which Event the Scene is in. If there
are already Scenes in that Event, put it before or after one.

Review established facts: Refresh everyone’s memory about things we
already know that bear on this Scene. Don’t create anything new at this
point, just review what already happened and what we know is going to
happen in the future. Other players can help out if they think of things.

“He hasn’t done it yet, but we know from the description
of the Event that the hero is going to win the Sword of
Storms and defeat the Colossus.”


Where? Why? What Just Happened or What’s Next?: Describe where the
Scene physically takes place and what is going on. Are the characters
here for a reason? Is there something they intend to do? What happened
just before the Scene? If there are specific incidents implied in the Event
description or the Question, say whether this is before or after.

“It’s night-shift on the bridge of the Icarus, and the captain
should be asleep but he’s checking on his green crew. We
know the ship is going to discover the ghost planet, but
that hasn’t happened yet. It’s a normal cruise so far.”


Scene Step 3: Choose Characters


Require and ban characters: Player making the Scene may specify one
or two characters someone must play in this Scene. That player can also
name one or two characters no one can play in this Scene. These can be
characters already introduced, or just descriptions of roles or relationships
(“the doctor’s son”). Banning seemingly essential characters can lead to
very different Scenes.

You can require or ban categories of people (like police, nobles, or children),
instead of specific individuals. You cannot ban groups by what they are not
(such as banning anyone who is not a soldier), since that would create a
requirement for all characters.

“I require the king and a secret heretic, and I ban the king’s
son and anyone from the neighboring kingdom.”


Pick characters: (all players *) Each player picks a character to play in the
Scene. The player making the scene picks last. All required characters must be
played, so if you’re one of the last two players to pick you may be forced to
choose a required character if they haven’t already been taken.
You can invent a completely new person on the spot, or pick someone who
has already appeared in the game, even if it’s a character someone else
played previously. All you need is a few words to describe the character,
including any relationships they have to other characters.
A down-and-out miner, the king’s lover, the lieutenant to
the commander of the invasion force: each of those is all
the detail you need to create a character.


Your goal is to answer the Question, so pick a character that helps you do
that. With some Questions certain characters may have a lot more power
to decide the answer than others. Even if you can’t pick a character who
decides the answer, your choice may tell the other players where you want
the Scene to go.

If the Question is “why does the gunslinger refuse to draw?”
and you choose to play the gunslinger, the answer hinges
on your decision. You’re in control. Or you could choose a
character that adds new details to influence the answer,
like “the gunslinger’s kidnapped girlfriend” or “his pacifist
father.” Is the gunslinger being blackmailed with the life
of his girl? Did his father tell him to hang up his gun? We
haven’t even started the Scene yet, but the pot’s brewing.
There could be a lot of possible reasons, but in the end it’s
up to the person playing the gunslinger to show us what
really made him refuse.


Scene Step 4: Reveal Thoughts

Each player states one thing their character is thinking about the upcoming
Scene. Start to the right of the player making the Scene and continue to the
right (all players *, the same order as picking characters).

Your thought could reveal what your character is going to do or highlight
what your character expects to happen. Revealed thoughts are a powerful
tool for influencing the Scene. They let you give the other players hints
about where you want the Scene to go.

Don’t reveal thoughts that answer the Question before the Scene even
starts–you can hint or stack the deck, but don’t give a definite answer.

“The navigator wonders why they’re really being sent to
Korvis IV. He can’t believe they’d send a ship all the way
out here just to take spectrographic readings.”


Your thoughts can be about other players’ characters, but you’re only saying
what your character thinks or believes. The other player gets to say what
their character really did or is doing.

“The navigator thinks the Lieutenant sold them out to the
Hegemony.” Did the Lieutenant do it, or is the navigator
barking up the wrong tree? The Lieutenant’s player gets
to decide. We’ll see in play, or maybe when the Lieutenant
reveals his thoughts.


You’re now ready to play the Scene. The player making the Scene can
choose to say who is present when the Scene starts. Players can have other
characters enter the Scene whenever they want.

Option: Staying in the Background
Some Scenes are better with fewer characters. The player making the Scene
cannot require fewer characters, but any player can choose to play someone
they consider a minor character and just stay in the background during the
Scene, leaving the critical interactions to the important characters. Make
sure to tell the other players that’s your intention.

Option: Playing Time as a Character
Instead of playing a normal character, one player in a Scene can choose to
play Time, a special type of character. Time represents forces or groups of
people who are pushing the situation to some conclusion, for good or ill.
The barbarians at the gates, the cavalry come to the rescue, the angry mob,
the black plague, the tanking economy–these could all be Time.

A player decides to play the court nobility as Time. They
are eager for the king to make a decision. If he doesn’t stop
waffling, they may take matters into their own hands.


Time can be a required character, but the current player must define Time
as something specific (angry senators, the barbarians, etc.) instead of just
requiring “Time.” When Time reveals thoughts, it should always be about
how or why it wants to hurry things along.

Time makes more sense in some Scenes than others. One of Time’s jobs
is to put pressure on the Scene. If the Scene is going slow, it is up to Time
to step in and push for a resolution, which may force the other players to
hurry up and answer the Question. It’s a little like being a GM in a traditional
game: you can nudge the other players if they aren’t getting anywhere, but
if they are rolling, you should sit back and let things unfold. Playing Time is
also useful when there are a lot of players at the table and more characters
within the Scene would not improve anything.

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08-05-2016, 03:02 AM (This post was last modified: 08-05-2016 05:00 AM by The O Fan.)
Post: #61
RE: Microscope: Fractal Worldbuilding
EXAMPLE: MAKING A PLAYED SCENE
There are four players: Addie, Bors, Cat, and Dennis.

They’re playing a history where martial arts legends
have passed down their teachings from generation to
generation. Bors just went, so this is Cat’s turn. She says
“Let’s play a Scene. The Question is ‘why is the Master
hesitant to trust this particular monk to save the secrets
of the temple?’ This is in the Event ‘Temple on Seven Eagle
Mountain destroyed by Emperor’s troops’ during the
‘Emperors oppress the people’ Period. I’m going to put it
before the Scene where the Imperial general ordered his
men to take no prisoners.”

(established facts) “We already know the temple is going
to be destroyed, but we saw in the ‘War of Quiet Rivers’
Period that the Seven Eagle martial arts style survived,
even though it was thought lost for generations.”

(what, where, why) “The Scene is taking place in one of the
high-walled practice courtyards of the temple. The Master
has kept the apprentice monk ‘after class’ and is putting
him through grueling exercises, apparently in punishment
for some failing. It’s midday and the sun is beating down
mercilessly, but in the background the snowy peak of the
mountain seems to float, serene and cool.”

“Oh, and we know the attack is going to happen later in the
Event, but this is before the monastery has been alerted to
the approaching soldiers. There’s tension because of the
trouble across the land, but otherwise it’s just another day
in the temple as far as most people are concerned, but the
Masters can see the writing on the wall. They’ve discussed
sending away promising disciples to ensure their school
survives, but haven’t told any of the students yet.”

(banned & required) “For characters, I’m requiring the
monk and his Master from the Question. They’re the
characters from the Scene description, in case that wasn’t
obvious. Hmm, I was going to ban the Emperor’s soldiers
but I don’t think I will. I am going to ban the monk’s
brother, which implies that, yeah, he has a brother, but his
brother can’t be in this Scene. Not sure if that will have an
impact, but it seems interesting. Time to pick characters.”

Cat will go
after everyone else because she’s making the Scene.

Bors: “I’ll be the Master. It seems like he’s got final word
over the Question. He’s relatively young, probably in
his fifties.”

Addie: “I’ll play the monk’s good-for-nothing best friend.
He washed out of training, so now he’s a menial
servant / laborer in the temple.” She picked this
character to raise doubts about whether the monk is
a good student.

Dennis: “I’ll be the apprentice monk.”

Cat: “All the required characters have been taken already,
so I’ll be another Master at the temple. I’m the
ancient, blind, wise-but-enigmatic-parable guy,
tottering along with my walking stick.”

Bors asks Dennis to name the monk since he’s going to be
coming up a lot. Dennis asks for help, so they kick around
ideas and decide to call him Wen.
Players reveal thoughts in the same order they picked
characters.

Bors: “Wen’s teacher is not sure Wen is disciplined enough.
His head always seems to be in the clouds.” The other
players ask whether he just answered the Question,
which is forbidden before play starts. “Hmm, maybe.
Okay, scratch that. The Master is afraid for the school
because he knows in his heart that only the strong
survive in this world.”

Addie: “The good-for-nothing best friend thinks Wen is
wasting his time tricking his teachers into thinking
he’s so diligent. He’d be better off just taking it easy
like me.” This is what the friend thinks, but it doesn’t
mean it’s what Wen is really doing.

Dennis: “Okay, Wen is secretly ashamed that he’s broken
his vow of chastity. Zinger!”

Cat: “Yow! Nice one. That gives me a lot of ideas, but I
think I’ll stick with being the straight man for now.
The blind master wonders why Wen’s teacher delays
sending him into the wilds. The choice has been
made. It’s time to act. He fears time is running out.
Now let’s play.”
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08-05-2016, 03:12 AM (This post was last modified: 08-05-2016 05:00 AM by The O Fan.)
Post: #62
RE: Microscope: Fractal Worldbuilding
Is That Light or Dark?
Here’s a secret: Light or Dark are entirely subjective. They depend
on who you’re rooting for.

Raiders sack a thriving port city. Do you think the people in the
city are basically good people? If so, then you probably would
think it was Dark that they were wiped them out. But what if
those same citizens were despicable tyrants, oppressing their
neighbors with fear and military might? Now those raiders look
more like the purging hand of justice, come to wipe out evil and
bring justice, and you might consider it Light.

There is no right or wrong answer. The important thing is to
explain to the other players why you think something is Light
or Dark.

When you’re making history, you’ve already described what
physically happens, what we would see if we watched history
from the birds-eye view (“raiders sack the city,” “the President
calls for reform”). When you’re picking Tone, you’re deciding what
you think it means. You’re judging the history, applying your own
sense of right and wrong, and explaining your thinking to the
other players.

When you’re judging Tone at the end of a Scene, it’s a rare
chance for the whole table to freely discuss what just happened
and what you think it means. You’ll disagree. You’ll go back and
forth. You’ll think it’s Dark, but then someone else will make an
argument that makes you change your mind. That’s good. You’re
establishing a shared sense of what it all means, what the point
of this whole history is.

WHEN IN DOUBT:
Go with your gut. You’re never wrong about
Tone, so long as you can explain your choice.
If you’re judging a Scene and it doesn’t seem
strongly Light or Dark, make it the opposite
Tone of the Event it’s in.

Playing Scenes

Each player controls a character in the Scene and uses that character to try
to answer the Question. There is no GM. During a Scene, you can:
a. Role-play what your character does and thinks. If
someone tries to do something to your character, you
describe the outcome.
b. Shape the world by describing what your character
perceives and how they react to it.
c. Introduce and play secondary characters, as needed.

During the Scene, everyone should be trying to answer the Question.
Keep looking at the Question as you play. The Scene ends when the players
know the answer to the Question. After the Scene is over, you will look at
what happened and decide whether it was Light or Dark.

If another player makes something happen in the world outside their
character, but you have a different idea of where the Scene should go
or how the world should be, you can Push to change it: you suggest an
alternative, and all the players vote to decide which one happens.
Those are all the rules for playing a Scene. Each part is described in more
detail below.


Answering the Question

The Scene ends when the players know the answer to the Question. It
doesn’t matter if the characters know the answer or not. If you think the
Question has been answered, just say “Hey, I think that answered the
Question.” If the other players agree, you’re done with the Scene.

A player may answer the Question by having a character perceive
something, do something, say something, or even just think something–it
all depends what the Question was. Do you have an answer to the Question,
but can’t think of how to make your character blurt it out? Just say what
your character is thinking instead. An internal monologue that reveals the
answer to the players is good enough.

You Can’t Change the Future
Playing Microscope is different than many games because we often know
what is going to happen in the future: we know the kingdom is going to lose
the war, we know the colony is going to be overrun. The Question may even
declare that certain things are going to happen. The action within a Scene
cannot change the facts that have been established, but they can change
our assumptions about how or why things happened. Seeing exactly how
things happened is the interesting part of the story.

Shaping the World: What You See Is What You Get

If you want to describe something about the world outside your character
during the Scene, just describe your character perceiving it. You can make
up anything you want this way, so long as it obeys the usual rules for making
history (don’t contradict what we already know, don’t use anything banned
by the Palette). You can make new things happen or reveal facts about the
environment or world.

You want an alien fleet to appear, so you describe your
character watching a sensor array and seeing the blips
appear as they warp in. It’s an alien fleet!

You want the President (a character no one is playing) to
be an android, so right after another player shoots him
you describe examining the body and seeing sparking
circuits and wires in the wound. Boom, he’s an android.


You must also describe your character reacting to what he or she perceives.
You’re role-playing in the moment, not just narrating a story.

“My secret service agent looks up from the President’s
android body, and he can’t believe his eyes. He says: ‘I
don’t understand… How can this be possible?!?’”


Don’t describe things you perceive about a character someone else is
playing, unless it’s a secondary character (someone introduced during the
Scene, not picked during setup). That’s for the other player to decide.

When someone describes something they see, don’t ignore it. Work with
it. Build on what other people add during the Scene. Another option is to
intentionally introduce something incomplete and then pass the ball to
another player and let them fill in the details.

You describe your character noticing strange runes on the
floor of the tomb, then ask another player “Doc, do you
think that writing explains what happened here? I can’t
make heads or tails of it. Can you read it?”


Speaking Truth & Hearsay

Sometimes you’ll just have your character say things about the world to
establish that they’re true. Generally this isn’t any different than describing
what you perceive: you’re just describing something that your character
knows because they perceived it in the past.

“The soldier says “No one is coming to save you. The 7th
Legion was slaughtered in the passes. We’re on our own.’
He looks out over the parapet, grimly ready for the final
battle.”


Sometimes the opposite is true: you’re not trying to establish a fact, you’re
just having your character express an opinion. You may even expect your
character to turn out to be totally wrong. A character can be extremely
confident but still be incorrect, because they’re basing their beliefs on
rumors, hearsay, or bad information. It’s critical to communicate to the
other players whether you are establishing facts or just expressing your
character’s opinion.

If you can’t explain how your character perceived what you’re describing,
you can’t establish it as true. It can only be opinion.


“My soldier character says ‘There is no way the Corsairs
can break the blockade. By the time our message reaches
them, it will be too late.’ But I’m not saying that’s fact. That’s
just the soldier’s glum opinion. He could be wrong.”

“The aliens are friendly, I tell you! They’re thousands
of years beyond our understanding!” But the Scene is
set before anyone has made contact, so despite good
intentions, the scientist’s player has no way of showing
how the character could know what the aliens are actually
like. It must be opinion, not fact. In the long run, it may
turn out to be true, or it may not.


Thinking Out Loud


If you want to establish something but don’t want your character to say
it, just say what they’re thinking. Maybe it wouldn’t make sense for the
character to blurt something out, or you just can’t think of why they would
bring it up right now. Just like Revealing Thoughts during Scene setup,
describing a character’s thoughts during play is a great way to show other
players where you want to go in the Scene–even if you’re hiding it from the
characters. Telling the other players what you want in the Scene lets them
help you get there. Characters can come and go quickly, so don’t be shy
about broadcasting their agendas.

“Trooper Cobb yells ‘We can’t leave Lansky behind! I don’t
care if none of you come. I’ll do it alone!’ But he’s really just
bluffing. He’s being gung-ho to cover for the fact that this
screw up was his fault in the first place.”




Playing Secondary Characters


Each player has a main character they chose during Scene setup, but
any player can also introduce and play secondary characters, as needed.
Secondary characters might be people from previous Scenes or Events, or
they might be characters made up on the spot. They can be used to bring
background action to life or explore role-playing opportunities you didn’t
foresee during Scene setup. A secondary character isn’t necessarily less
important in the world; they’re just someone who wasn’t picked at the
beginning of the Scene.

“You said your son’s one of the other warrior-knights,
right? Well, I think now’s a good time for the hostages to
be brought out. Hey, guess who?”


You can never introduce secondary characters banned during Scene
setup.

You play the secondary character in addition to your main character for the
rest of the Scene, or until you decide to hand the secondary character off to
someone else. Avoid talking to yourself: if your main character is interacting
meaningfully with a secondary character you control, give the secondary
character to someone else to play.

Unlike a main character, another player can Push to change anything about
a secondary character, including what they do or think. You don’t have the
same unique authority over a secondary character as you do over your
main character.

If you want to describe someone unimportant doing something and you
don’t have any reason to keep role-playing that character, it’s often easier to
just describe the action as something your character perceives, rather than
introducing a secondary character.

I want peasants to throw rocks at the witch as she’s led
to the stake. I could introduce a peasant as a secondary
character, but instead I just say “My merchant watches as
peasants pick up rocks and hurl them at the condemned
witch. He’s disgusted, but he knows the Faith demands it.”
Done.


Doing Things To Characters


Each player controls the fate of the character they chose during Scene
setup. If you want to do something to someone else’s character, describe
what you are trying to do and your intended effect. It’s up to the other
player to decide the result.

A player says the gladiator character he controls tries to
stab the Emperor and kill him. The Emperor’s player gets
to say if the Emperor is slain, wounded, or escapes the
attack entirely.


If you do something to a secondary character (anyone not picked during
Scene setup), you get to declare the outcome, no matter who is playing
the secondary character. That’s true even if you are controlling a secondary
character and having them do something to another secondary character:
the actor decides the result.

The Emperor is protected by a pair of Praetorian guards,
secondary characters introduced during the Scene. The
player controlling the gladiator describes his character
springing on the unwary soldiers and killing them before
they can react. They’re secondary characters, so it doesn’t
matter that another player controls them: the gladiator’s
player gets to decide what happens.


Sometimes it’s the other way around: you want another character to do
something to your character. If no one is playing that character or it’s a
secondary character you control, just describe perceiving it and it happens.
If it’s a character someone else is playing, you can tell the other player what
you want the character to do, but it’s up to them to decide if they want to
go along with it. If it’s a secondary character someone else controls, you can
Push for them to do something.

The player controlling the Emperor says that rioting
peasants surge into the throne room and cut him down.
The Emperor dies cursing the fickle masses.
Reply
08-05-2016, 03:18 AM (This post was last modified: 08-05-2016 04:59 AM by The O Fan.)
Post: #63
RE: Microscope: Fractal Worldbuilding
Push: Creative Conflict

If, while playing a Scene, someone describes something about the world
outside their character and you have a different idea you like better, you
can Push to substitute your idea for theirs. You are potentially winding back
the clock and replacing what the other player said.

A player describes their astronaut character sweeping his
flashlight across the interior of the drifting space hulk and
seeing smashed consoles and wreckage. You propose that
instead the ship is in perfect condition, and the crew are
still standing at their posts, frozen in time…

You may or may not get what you want. After the other players hear your
idea, they may put forward proposals of their own. Once all the options are
on the table, everyone votes to decide which one actually happens.

a. When a player shapes the world by describing their
character perceiving something, you can substitute
what you describe instead. The character’s reaction is
still up to the other player.
b. You cannot change someone else’s main character,
including what they do or think. The exception is that
you can change what happens to them (such as Pushing
that a character dodges a bullet rather than getting hit).
c. You can change anything about secondary characters
someone else controls: what they do or think, facts or
details about them, or what happens to them.

You can only Push to change something someone just said. You can’t go
back and alter something from earlier in the Scene. You can only make
changes while playing Scenes (not during Scene setup and not during
dictated Scenes).

To Push your alternative, follow these steps:

1) Proposal: State your alternative simply and concisely
(summarize, don’t play it out). Be clear what you want
to replace. Don’t negotiate or discuss. Other players can
ask for clarification if they’re confused, but they cannot
add or change details.
2) Additional Proposals: There are now two ideas: what the
original player described during play, and the alternative
put forward by a second player. The remaining players
can propose their own alternatives, if they want. Each
player states his or her idea, one at a time, in any order.
Again, keep it concise, and don’t negotiate or discuss.

All proposals must be alternatives to the original idea, not
something unrelated. You can propose something that’s
a variation or refinement of someone else’s proposal, so
long as there is a meaningful difference.

No one can retract or change their proposal once it has
been stated, including the original idea from play. Even
if you like another idea more than the one you proposed,
someone else may like your idea and want to vote for it.
There can be as many proposals as there are players.

3) Vote: All players vote to decide which idea happens.
Everybody votes simultaneously without discussion.
We'll be using survey monkey for anonymity's sake
You can vote for two different proposals. If you
support all ideas equally, vote for Rock
(aka the Rock or “those ideas all rock”). The rock is always
positive because if you hated the ideas you would have
proposed something different.
4) Determine the winner: Count votes. Highest number
wins. That proposal happens, the others don’t. If there’s
a tie, the player who went first during Scene setup wins.
5) Play the results: The winner of the vote decides how
to play out the result. You can Narrate, taking over
the Scene temporarily and describing how what you
proposed happens or is seen, or you can Play and let
everyone role-play normally with the understanding
that the winning proposal must occur and the players
will work together to make it happen.
If the vote decided what a main character perceived,
that player’s character describes how they react. You
can’t Push to describe someone else’s reaction.

After the Proposal is resolved, continue playing the Scene unless the
Question has been answered. You can Push multiple times within a single
Scene.

Starting With a Push

You don’t have to wait for someone else to create something to Push your
own idea. You can start a Push to describe something someone else’s
character perceives (but not their reaction) or to describe anything about a
secondary character someone else controls.

A player describes his character getting ready for bed.
You Push and say you want the character to find a bloody
knife on the floor. Another player could counter propose
the character seeing something different or there not
being anything unusual at all. If you win the vote, then the
knife is there and the character sees it, but the character’s
player gets to describe how they react.


You have to declare that you’re Pushing, so the other players know that
they can suggest their own alternatives if they want. Follow the same
procedure for an initial proposal: describe it succinctly, and don’t discuss
or negotiate.

If there are no counter proposals, you don’t even need to vote: you win
automatically.


Push: Describing Things No One Can See
In some cases, you may want to describe something without having any
character perceive it (at least not yet). You must Push to do it, and you can
only describe things that are relevant to the current Scene.

“Just after everyone falls into cryo-sleep, an indicator
light on the control panel starts winking. It’s a sensor alert
showing that some foreign organism is aboard the ship.
It’s something no one can perceive, so I have to Push to
make it happen. Anyone have a counter proposal?”


Establishing something unseen doesn’t mean a character can’t perceive
it later on. Any player could describe their character perceiving it. If you
wanted it to remain unseen, you could Push to describe their character not
perceiving it.

If you want to describe a person or creature taking action, just introduce
that secondary character and describe what they’re doing, as normal. You
don’t need to Push.

“I’m introducing a new secondary character. There’s a
ninja assassin hidden in the trees outside the temple. She’s
drawing back her bow, trying to identify her target from
a mob of identically robed monks, but she can’t spot him.
She is determined to complete her mission at all costs.”





Push: The “You Already Knew That” Clause



During a Scene, you may want to describe something that retroactively
changes what another player’s character knows. Effectively, you are saying
to the other player “you didn’t know this until just now, but your character
knew this all along.”

This is a special case because you are changing the meaning of the roleplaying
that already happened in this Scene, recasting what was said and
done in a potentially very different light. You may be completely altering
the motivations of the characters. It can be confusing and disruptive for the
other players.

The rule is: if you want to describe something that another player’s
character would already know, but it’s news to the player, you must declare
that’s what you’re doing and Push to make it true, even if it’s something that
would normally be within your power to describe. You are required to make
it clear that this is what’s happening, and the other players get to decide if
they’re okay with it.


Your character is talking with the Captain about the
mission, and you want to say that, before the Scene
started, the ship got a distress signal, and that’s why it
landed on this asteroid. That’s news to the other players,
but their characters would already know it–they received
the distress signal and chose to land their ship. You have
to declare this is something “the characters already would
have known” and Push to make it true.

On the other hand, if you said there was a secret mission
that only your character knew about, you would not be
required to Push at all, because you’re only establishing
things about your own character.


You only need to invoke this rule when someone describes something
that meaningfully changes what we thought the characters knew. Trivial
changes, or facts that don’t have an impact on current play, don’t count.
It’s the responsibility of the player making the change to declare that they
are revising what the players knew and Push, but other players can and
should point it out if that player doesn’t.
Reply
08-05-2016, 03:19 AM (This post was last modified: 08-05-2016 04:59 AM by The O Fan.)
Post: #64
RE: Microscope: Fractal Worldbuilding
EXAMPLE: PLAYING A SCENE AND PUSHING
It’s a later Scene during the “destruction of the Temple on
Seven Eagle Mountain” Event. The Question is “does Wen
obey his Master and flee, or does he refuse to abandon his
comrades?” Imperial soldiers have broken down the gates
and are putting the monks to the sword. This time Addie is
playing the Master and Cat is playing Wen. Bors is playing
Time in the form of the encroaching soldiers and Dennis
(who made the Scene) is playing another apprentice who’s
supposed to lead Wen off the mountain. They’ve been
role-playing and the Master has just sent a reluctant Wen
down a hidden tunnel out of the temple while he stays
behind to hold off the soldiers, but Wen is dithering.
Dennis (guide monk): “The other apprentice monk is
terrified. ‘You heard the Master! If we do not flee now
we suffer the same fate as the rest!’”

Cat (Wen): “Wen is torn: ‘We can’t just leave them! We have
to help!’ But he can’t decide, so the Question isn’t
answered yet. He’s not sure that even if he did stay
he’d be strong enough to do any good. Poor Wen.”

Bors (Soldiers as Time):“All very touching, but meanwhile
the soldiers are storming through the temple, putting
it to torch. Their excited yells draw closer to where the
monks are hiding, so they’ll be discovered soon…”

Addie (Master): “Not so fast! The lone Master steps out,
blocking the soldiers from going farther. With fierce
concentration he stretches his arms into the Seven
Eagle Mountain stance. He knows he can’t defeat the
whole army, but they are going to rue the day they
stepped into his temple! Rue the day! Whoop-ass
unleashed! Soldiers go flying!”

Dennis (guide monk): “Remember, the soldiers as Time
are Bors’ main character, not secondary characters,
so you state intent and he states results.”

Addie (Master): “Oh right. The Master attacks the soldiers,
with the intent to kick them out of the temple.”

Bors (Soldiers as Time): “I think that’s awesome and I’m
fine with it, for now. The soldiers have been driving
lowly monks like sheep, but now that they’re up against a kung fu master, the shoe’s on the other foot
and they crumble.”

Dennis (guide monk): “The other monk is peering back
around the corner and sees this whirlwind of fists
and feet. He brightens and grabs Wen. ‘See, they are
no match for our Master! He’ll kick them right off the
mountain!’”

Addie (Master): “Hell yeah!”

Dennis (guide monk): “But then he sees a tall figure
wearing the robes of a Yellow Snake adept making
his way through the soldiers. He’s coming forward to
face the Master. The apprentice is terrified because
Yellow Snake is a powerful kung fu school and the
Master could have met his match.”

Bors (Soldiers as Time): “Wait, are you saying a martial
arts school is serving the Emperor?”

Dennis (guide monk): “My guy has no way to know, so I
can’t establish it, but it sure looks that way.”

Bors (Soldiers as Time): “I want to Push. My counter
proposal is that the figure is using the fighting style
of a Yellow Snake disciple, but he is wearing fancy
court garb instead of the traditional robes of his
order, so he’s probably an outcast or renegade in the
pay of the Emperor.”

Addie (Master): “So you’re saying the Yellow Snake order
isn’t associated with the Emperor?”

Bors (Soldiers as Time): “Well, I can’t say they aren’t, but
nothing here would indicate they are, if that makes
sense. That’s me and Dennis: any other proposals?”

No one else has a proposal, so everybody votes. Bors wins.
It was Dennis’ character whose perception was changed
by the Push (even though other characters can perceive
this as well), so he describes his revised reaction.

Dennis (guide monk): “Hmm, the apprentice is thinking
he’s a renegade and, if anything, that makes him even
more worried for his Master because a despicable
outcast wouldn’t be bound by any code of his order.”

Addie (Master): “Ha! Bring it on yellow-belly! I mean, the
Master sees him and prepares for battle.“

Bors (Soldiers as Time): “Hey, can I play the renegade as a
secondary character? You made him up Dennis, so if
you’d rather I’d give you first dibs.”

Dennis (guide monk): “That’s cool, go ahead.”
Bors (Soldiers as Time): “The Yellow Snake renegade
sneers confidently. ‘At last, a monk who chooses to
fight rather than run away. So much the better. The
Emperor’s gold will not be nearly so great a reward as
this chance to show how weak Seven Eagle Mountain
style really is!”

Addie (Master): “Oh, you’re getting whoop-ass for that!
Hey, you’re a secondary character, so I get to describe
the outcome! The Master crushes the Yellow Snake!
Insert dramatic kung fu fighting montage.”

Dennis (guide monk): “Not so fast. I want to Push to
control the Master’s fate. The renegade is at least as
good as the Master, and the renegade is fresh. The
Master is losing the fight.”

Dennis wins the vote.

Addie (Master): “Damn! Okay, the Master is weary, and
gets thrown to the ground after a particularly brutal
flurry. It looks like he might be finished. Then slowly,
painfully, he gets back up and deliberately faces off
against the renegade. He’s knows he’s staring death
in the face, but he’s going to go down fighting. He’s
thinking that the old blind monk was right and
takes consolation from the fact that at least Wen
escaped…”

Cat (Wen): “Yeah, Wen is watching all of this from the
shadows with the other monk, and he can see his
Master is in trouble. He can’t just leave him. Wen’s
going back.”

Dennis (guide monk): “And that answers the Question.
End of Scene.”

Addie (Master): “Hey, I want to clobber that guy! Don’t we
get to say how the fight turns out?”

Dennis (guide monk): “Nope. If we want to see more of this
Event, someone needs to make another Scene.”
Reply
08-05-2016, 03:21 AM (This post was last modified: 08-05-2016 04:58 AM by The O Fan.)
Post: #65
RE: Microscope: Fractal Worldbuilding
Dictating Scenes
Instead of playing a Scene, the current player can choose to dictate what
happens during the Scene. Dictating a Scene is useful when you want total
control over what happens or when playing out the Scene would not be
interesting. Other players cannot affect dictated Scenes.
Skip all the rules for making and playing Scenes and do the following
instead:

1) State the Question
2) Decide where to put the Scene in history & review what
we already know
3) Narrate what happens to answer that Question
You can include any characters you like and narrate whatever you want, but
keep it short and to the point. When you’re finished, follow the normal rules
for ending a Scene.


EXAMPLE: MAKING A DICTATED SCENE
“I’m making a dictated Scene. The Question is ‘what is the
killer-machines’ goal?’ This Scene is in the Event when the
robotic killing machines overrun the colony, before that
Scene we played of Larsen escaping. The battle’s over,
and there are hunter-seekers roaming around rooting
out survivors, but in the middle of the carnage we can
see some more elaborate machines carefully harvesting
tissue samples from the fallen colonists. It’s clear they
weren’t really interested in destroying the unimportant
colony. They’re collecting genetic samples to analyze
human physiology.”


The Question, the setting, and the
answer are logged, and then all the players discuss
whether the Scene is Light or Dark



Ending Scenes

A Scene ends when the players know the answer to the Question. If you
think the Question has been answered, just say so. Don’t get distracted by
action in the Scene. You may be really curious to find out how something
else in the Scene turns out, like whether the hero gets vengeance on the
villain who murdered his father, but don’t prolong the Scene to find out; just
play another Scene later focused on that. If the Scene is going nowhere, the
players can agree to call it moot and end without answering the Question
(failure!).

After any Scene ends, whether it’s played or dictated, do the following:

Judge the Tone:
All players discuss what happened and
decide on the Scene’s Tone. Was the outcome generally
Light or Dark? Don’t consider future consequences, just
look at what happened during the Scene.

If the Scene doesn’t seem particularly Light or Dark, judge
the Scene to be the opposite Tone of the surrounding
Event–the Scene failed to live up to the expected Tone
of the Event.
Reply
08-05-2016, 03:22 AM
Post: #66
RE: Microscope: Fractal Worldbuilding
WHOO! Thatw as a massive info dump, it maybe overwhelming so feel free to play it by ear and we can use the rules to work out corner cases.

If no one objects I would like to start as the Lens.
Reply
08-05-2016, 04:26 AM
Post: #67
RE: Microscope: Fractal Worldbuilding
Can you spoiler tag the big text dumps? Makes it easier to scroll.

I also agree with Sul - the last cowboy/samurai might be a sad event, but it is an indication of prosperity and thus overall good

The one, the only, Vancho!
Reply
08-05-2016, 04:57 AM
Post: #68
RE: Microscope: Fractal Worldbuilding
Light it is.

And off to Spoil the text dumps
Reply
08-05-2016, 05:44 AM
Post: #69
RE: Microscope: Fractal Worldbuilding
I'd also like to be a bit farther down in the order for this turn since I will be out of town with no net, don't want to hold things up.

The one, the only, Vancho!
Reply
08-05-2016, 06:37 AM
Post: #70
RE: Microscope: Fractal Worldbuilding
That's fine. It's one reason we are not doing set turn orders. Lens starts and ends everyone gets a turn in between

is every one ok with me as first lens?
Reply
08-05-2016, 08:18 AM
Post: #71
RE: Microscope: Fractal Worldbuilding
No objections here

"We love eloquence for its own sake, and not for any truth which it may utter, or any heroism it may inspire."
-Henry David Thoreau
Reply
08-06-2016, 01:40 AM
Post: #72
RE: Microscope: Fractal Worldbuilding
Right on then Ill start work on my posts today. As the lens I have to go first and last but the order in between doesn't matter as long as everyone goes once

But just so you can stew the prompt in your minds this Saga's Focus is


Clashes of Cultures

Native vs colonizer, noble vs peasant, Cities vs frontiers,Gunbaren vs Senaat, Old money Vs new money and all manner of society, political and religious tensions that just boil and stew over. Remember you can make your Periods Scenes and Events ANYWHERE in-between our two start and end points as long as you stay on the Focus. Good luck hope to see great things from everyone.
Reply
08-06-2016, 04:06 AM (This post was last modified: 08-06-2016 04:06 AM by The O Fan.)
Post: #73
RE: Microscope: Fractal Worldbuilding
By the way, we probably should have given the Periods Proper Names so things would go smoother. I'll be using placeholder names for the periods I didnt create until there creators suggest a better one.
The current named timeline is

Period (Dark):The Endless Sunset- A Nation under tense times is on the cusp of being ravaged by a Civil War centered on powerful and noble warriors.
Event (Dark): The Bending of the Baran
Event(Dark): The Slaughter of the Haijones

Period(Light): The Long March- In the wake of the war, settlers seek new lives on the frontier.

Period(Light): The Golden Age of Gun-A dozen famous Wandering Warriors roam the lawless frontier at once, heralding a golden age for such Wanderers

Period (Light): Cruel Sunrise- The last of the Wandering Warriors dies out as The Nation embraces it's new status as a global empire.
Reply
08-06-2016, 04:33 AM (This post was last modified: 08-06-2016 07:52 AM by The O Fan.)
Post: #74
RE: Microscope: Fractal Worldbuilding
Saga 1- Focus: Clashes of Cultures



Period (Dark): The Tyler War

Placement: Between the Endless Sunset and The Long March
They say War is the mother of invention. Ask the Gunbaren they will say War is the mother of war. Many of the seeds of the War of the States Period came from conflict born in the Tyler War. Because of conflicts between the United Qingdom and Frangolian Empire two large plots of land, later known as the Two Good Plains were rendered available for colonization. Gunbaren were massively armed, trained and mobilized on a scale not seen for generations and the Rika party began to gain a foothold, seeing the land as part of the Mandated Destiny. Not only did the Tyler War provide the gasoline on the spark of the Endless Sunset that became the flame of the Warring States Period, almost every major combatant of that conflict came of age and cut their teeth in this one. The War was noted for massive abuses on the native tribes as well as the development of new techniques, methods of wars and technologies that became critical during the Warring States Period and beyond.

I will now use my ability as a Lens to do a nested turn. This is a skill only the current Lens can do that lets them make a new Event within a new Period or a new Scene within a new Event. Only the current Lens can do it and they have to be nested. For example

Event (Light): Tyler grants commoners the right to Ammo.
Placement: Within the Tyler War

At the time of the War, the right to train and be declared as Gunbaren, and thus gain Ammo was limited to the nobility. This meant most Gunbaren at the time were related to several central families, and also meant many Teiits were crowded with multiple Gunbaren on one family based in single Plantations. It was common for the head of a Teiits , usually also the head of the family to choose one child to be trained as a Gunbaren who would in turn take over the Teiits, the family and the plantation upon there death.

This lead to an overall sedentary, small and tightly knit pool of Gunbaren that wasn’t conducive to fighting the major wars of conquest that has since died down. Tyler changed all this when he made the revolutionary decree that commoners would now be allowed to train as Gunbaren and in return be granted lands and Ammo. This caused a flood of poor, ambitious and desperate volunteers who over time would be filtered into the core of a new generation of Gunbaren who did the brunt of the dirty work of the Tyler War, and who would later become the major belligerents in the War of the States Period over the very land they bled over. Despite the massive controversy at the time these “New Gun”s would spawn legends for generations to come.
Reply
08-06-2016, 04:00 PM
Post: #75
RE: Microscope: Fractal Worldbuilding
Period: The Long March
New Event: New Guns Exiled from Xiang-Down (Dark)

The citizens of Xiang-Down having built the town over countless generations determine in a council that the New Guns have not earned their stay in the town, despite several of them defending it from siege after siege. Among those New Guns is Bailee, who argues that the New Guns could still stay as public servants. Political corruption in the city stops the plea from being heard by its council, and the final decision is made that all New Guns are exiled from the city. They are granted one week's grace, after which point they will be forced out of the city.

The New Guns exiled from Xiang-Down travel in a group to look for a new town or a new place to build a new town.

"We love eloquence for its own sake, and not for any truth which it may utter, or any heroism it may inspire."
-Henry David Thoreau
Reply
08-10-2016, 01:10 AM
Post: #76
RE: Microscope: Fractal Worldbuilding
Just reminding folks you can go in any order. I just have to go last.

Sul and Vancho can make your posts whenver
Reply
08-10-2016, 02:06 AM
Post: #77
RE: Microscope: Fractal Worldbuilding
Vancho is out traveling this week, so dont count on him posting just immediately
Reply
08-10-2016, 03:39 AM (This post was last modified: 08-10-2016 03:41 AM by Demonsul.)
Post: #78
RE: Microscope: Fractal Worldbuilding
Period: The Long March
New Event: The Battle of Oak Bridge (Dark)

The regional tribes of the frontier have always been restive, but with the influx of settlers along the Wani river, one of the larger tribes became more aggressive and tried to drive the settlers out of 'their' land. The settlers appealed to the passing good Gunbaran, calling upon them to defend their farms and prevent them from being pushed out into the desert. After riding the roads and coming to the aid of the settlers for some time, the Gunbaran decided to strike back at the tribesmen and managed to chase them down at Oak Bridge, where a battle took place. The famous noble Gunbaran Wirikido was slain during the ensuing battle along with a number of his allies, but the tribe's warriors were defeated. Following the battle, the remaining Gunbaran persecuted a vengeful campaign against the rest of the tribe, scattering them to the four winds.
Reply
08-11-2016, 12:58 AM
Post: #79
RE: Microscope: Fractal Worldbuilding
Cool. So while we wait got V, any discussion, feedback etc. On how the game is progressing?
Reply
08-19-2016, 09:45 AM
Post: #80
RE: Microscope: Fractal Worldbuilding
Okay, I am back, and I think it's time for a scene:

So this scene is going to take place in the event "New Guns Exiled from Xiang-Down". My question is, "Why did the New Guns obey the council decision to leave the city?"

Remember that the New Guns are heroes, having defended Xiang-Down for a while, and they probably have a lot of sympathetic people among the populace. There are also political concerns at play - the town's entrenched leadership, who most likely were Gunbaren before Tyler's proclamation, resent the New Guns despite, and perhaps because of their abilities. But maybe also some of the New Guns can't forget the war - by this point, the civil war has ended, but there might be some people who still feel like it's going on. This creates tension between the populace and the New Guns.

As for characters, I'm going to require Bailee and some representation of the city council (either a specific councilor or as Time), and I'll ban any outside nobles/politicians - this is a strictly local affair.

The one, the only, Vancho!
Reply
08-20-2016, 03:35 AM (This post was last modified: 08-20-2016 03:36 AM by The O Fan.)
Post: #81
RE: Microscope: Fractal Worldbuilding
Ok I will pick Old Man Raison, the White Lightning , he is a veteran of the Tyler War but was too old by the time the Civil War came about for active service and stayed in retirement . When the war ended and the colonies started up he left his homestead for unknown reasons as a wanderer until settling down and becoming head of the town council . Folks initially wandered why the former head of the powerful Raison family would settle down and become a local official but he came to be seen as a family to the small town to the point where nowadays, most dont know or care about his past as a Gunbaren and few even know his true name. He serves on the council looking out for small local affairs something that he takes great pride and joy in.

He fought with the New Guns in the Tyler War and welcomed them in the town but tension has begun to rise to a breaking point between them, the other members of the council and
Reply
08-22-2016, 02:50 PM
Post: #82
RE: Microscope: Fractal Worldbuilding
Hey, been working for like a bunch of days in a row but I'm hoping to get a day off soon. Then I'll probably make this something?

"We love eloquence for its own sake, and not for any truth which it may utter, or any heroism it may inspire."
-Henry David Thoreau
Reply
08-23-2016, 01:57 AM
Post: #83
RE: Microscope: Fractal Worldbuilding
cool beans
Reply
08-27-2016, 05:17 AM
Post: #84
RE: Microscope: Fractal Worldbuilding
Okay I'm back from crazy life.

I'll play Bailee's lieutenant, Gens. Gens is a young man who joined the New Guns' ranks when he was found as a child in an abandoned city. He rose through the ranks through his diplomacy skills; his fighting skills are lackluster.

"We love eloquence for its own sake, and not for any truth which it may utter, or any heroism it may inspire."
-Henry David Thoreau
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08-29-2016, 05:36 AM
Post: #85
RE: Microscope: Fractal Worldbuilding
Nice, we wait for Sul then.
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08-29-2016, 11:32 AM
Post: #86
RE: Microscope: Fractal Worldbuilding
Wait crap what am I meant to be doing?
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08-30-2016, 06:56 AM
Post: #87
RE: Microscope: Fractal Worldbuilding
Picking a character for this upcoming scene Vancho is doing,

all the mandated characters have been picked so you are free to chose whoever you would like
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08-30-2016, 01:39 PM
Post: #88
RE: Microscope: Fractal Worldbuilding
Ah yeah, right, sorry. I'll play John Hamilsburg, Sheriff and Councillor. His opinion on the new guns is that they are a nuisance due to their free-roaming nature and wild west attitude giving them a lack of respect for local laws and systems. He represents the resentfulness among the populace that is exploited to exile the new guns.
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08-31-2016, 05:03 AM
Post: #89
RE: Microscope: Fractal Worldbuilding
Ok then, we've picked our characters and I feel we've revealed thoughts in our posts so lets get started on the scene.

Classic roleplaying style most of us have done similar stuff here.

Vancho will of course open us off.
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09-05-2016, 03:07 PM
Post: #90
RE: Microscope: Fractal Worldbuilding
Right. I'm a bit busy at the moment, but I can start us off in a few days.

The one, the only, Vancho!
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09-07-2016, 05:41 AM
Post: #91
RE: Microscope: Fractal Worldbuilding
cool
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