Gente Che Gioca > Gioco Concreto
[Spione] Giocare "in character"
Ezio:
--- Citazione da: Moreno Roncucci - 2012-07-03 20:02:28 ---Ezio, you did leave out a important information: did you keep "the apple" during the interrogation, or not?
--- Termina citazione ---
Yes, I had.
More on this topic after tonight Civilization game, guys ;-)
Moreno Roncucci:
I would like to add only another thing, that I forgot to touch in the previous post.
The "lag time" between player's moves change Spione. As we observed some time ago, Spione-by-Forum is a completely different game from Spione-at-the-table. At the table, the more you learn to play, the faster the apple move. When the game really roars, the apple is passed so fast that the dialog is natural without any pause.
In Spione-by-Forum this doesn't happen. The "moves" stay long, detailed, narrated more than role-played. The player who has the "apple" write dialog for all the character in the scene. There is less worry about getting something vetoed, because it's simply a matter of editing a post and there is almost no time lost, no flow disruption. Spione-by-forum is really a "literary" game, it produces a sort of "spy novel" narrative, with long detailed description of moods, emotions, and atmosphere.
I don't know what effect (if any) the Hangout mode of play will have on the game, but I am interested in hearing about it.
Mauro:
Questo può aiutarti, Ezio?
--- Citazione ---Qualunque forma di descrizione è valida, spaziando dal generale al particolareggiato, o dal punto di vista di chiunque, incluso in terza persona.
Riassumendo con descrizioni minimali:
“John Diesel incontra Adler in un aeroporto abbandonato.”
Descrivendo in dettaglio:
“Adler e John si incontrato più tardi, in un campo battuto dal vento vicino a un recinto [“chain-link fence”, sono quei recinti di maglia di acciaio] al bordo dell’Aeroporto di Tempelhof. I lineamenti appuntiti [beaky features] di Adler sono diventati più vecchi e arcigni; sembra un vecchio porata, in una maniera totalmente seria. John appare più vecchio dei suoi ani: le memoria dei crimini dell’Einsatzgruppen hanno avuto tempo di pervaderlo, dalla caffetteria.
Riassumendo interazioni e dialoghi:
“Ad Adler’s non interessa cosa John dice o vuole. Gli dice di portare il suo [his, Adler’s] messaggio al KGB. Il messaggio riguarda il suo accesso a fondi nascosti sin dalla guerra, che lui scambierà per protezione.”
Presentando interazioni e dialoghi dettagliati:
“John dice: ‘Ascolta, è un nuovo mondo ora. Ho una moglie, e una vita che voglio proteggere. Non sto cercando di crearti problemi”. Adler lo interrompe. ‘Pensi che me ne freghi qualcosa? Se gli Zoni venissero a sapere di me, ci tappezzerebbero i loro media, e l’Esercito sarebbe obbligato ad abbandonarmi. Sarò estradato in Israele. Ti sto dicendo, ora, se lascerai che questo accada, potrai prendere tua moglie, tuo fratello, il tuo lavoro, e ficcarteli in culo”. John non ha nulla da replicare, e la voce di Adler diventa strisciante e bassa: ‘Mezzo milione in oro della Crimea. Cinquantamila per te, per dire al KGB che voglio accordarmi.”
Di nuovo, ognuno di questi approcci è permesso, a seconda di quale il giocatore reputa adatto al momento
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Non so dirti la pagina, né assicuro che il testo sia esattamente cosí: non avendo il manuale, copio dai file di lavorazione. Però la possibilità di giocarsi l'intero dialogo è espressamente prevista da manuale; indicativamente, nella parte sulle regole: c'è "Manovre: Procedure", "Presentazione", "Alcuni consigli di carattere sociale sulle manovre". Il testo citato è in "Presentazione".
Ezio:
Ok, it seems I cannot make me cohomprensible. Sorry, guys.
Let's try like this.
The situation is Olga, controlled by Manuela with her Queen, me with the Ace, Lapo, Simone and Lavinia as the other player.
WHAT I KNOW I CAN DO AND DID
1: During my turn, with the apple in my hand, during Manouvers
I play a first-person dialogue saying: "So, the HVA agent, the Sgt. Muller, tells Olga: <<Your old handler betrayed you, all your ideals are crushed. I can offer you a new life, a new meaning>>. Olga shivers, but keeps her eyes on the eyes of the other spy: <<What I get from this deal?>>, she asks. Muller smiles: <<A new identity, a new work, and a dinner with me in one of the fanciest restaurant of West Berlin>>.
After this my turn is complete and I pass the narration to Manuela.
2: During my turn, with the apple in my hand, during Manouvers.
I play part of a first-person dialogue saying: "So, the HVA agent, the Sgt. Muller, tells Olga: <<Your old handler betrayed you, all your ideals are crushed. I can offer you a new life, a new meaning>>"
After this my turn is complete and I pass the narration to Manuela.
Manuela continues the previous dialogue, providing an answer for Olga and she says: "Olga shivers, but keeps her eyes on the eyes of the other spy: <<What I get from this deal?>> she asks."
After this Manuela pass the turn. We go quickly through Lapo, Manuela and Simone who add quick strokes of colour narration or details on the other Spy. It's my turn again.
I can end the dialogue and say: "Muller smiles: <<A new identity, a new work, and a dinner with me in one of the fanciest restaurant of West Berlin>>"
I pass my turn, it is Manuela turn again.
3: I also know well how to raise the focus, using indirect dialogue or other fancy moves.
WHAT I DON'T KNOW IF I CAN DO
During my turn, with the apple in my hand, during Manouvers
I play part of a first-person dialogue saying: "So, the HVA agent, the Sgt. Muller, tells Olga: <<Your old handler betrayed you, all your ideals are crushed. I can offer you a new life, a new meaning>>"
Now Manuela, acting as Olfa says: "Olga shivers, but keeps her eyes on the eyes of the other spy: <<What I get from this deal?>> she asks."
I look at Manuela, with half a smile and say: "Muller smiles: <<A new identity, a new work, and a dinner with me in one of the fanciest restaurant of West Berlin>>"
NOW my turn is complete and I pass the narration to Manuela.
Moreno, I believe you have already answered to this, as my latter example is similar to your- Am I correct?
If I am I always took autority in Spione a little too much rigidly and I realize not it's simply a veto right for fundamental things, isn't it?
Claudia Cangini:
I think the important thing is: when it your turn it's your choice how much of your authority you wish to give away.
It's not so different from when it's your turn and somebody suggests a cool idea: it's totally up to you to accept it and make it a part of your narration or ignore it. Same with asking somebody to help you give life to a dialogue: the authority is still yours, you just decided to accept contributes from someone else.
In my experience, the best games of Spione were quite a collective thing in which the reins of the story changed hands. With each change there was a clear pull in a certain direction but usually other cotributes were also accepted.
Not sure if I explained myself clearly...
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