Tvorba postáv

Dotazník

After you create your character, but before your first game session, you can submit a quiz to your Game Master that answers a dozen or so questions about your character. This quiz will help you and the GM better understand the character’s background, motives, and goals — enriching the role-playing potential in the process. The same quiz questions can either be set by the GM for all players, or each player can answer questions that they make up themselves.

Sample questions may include:

Characterize your character in a single sentence?
How would your character’s family describe the character?
Name three of your character’s fears: one each from youth, the present, and the future.
What emotions does your character not reveal in public?
Who does your character look to for inspiration? Guidance?
Describe your character’s bedroom.
Describe your character’s first love or crush.
Do “the needs of the many outweigh the needs of the one?”
Who is your character’s best friend? Describe him or her.
What is your character’s heart’s desire?
What does your character think of lies?
How does your character think he or she will die?

Postava má:

tri rysy, z toho 1 charakteristika + 2 prepojenia alebo 2 prepojenia a 2 charakteristiky

Rysy v \pta možno rozdeliť do dvoch skupín: charakteristiky a prepojenia. Nemajú popísať úplne všetky schopnosti protagonistu, ale majú obsahovať len tie, v ktorých je protagonista výnimočný. Policajný veterán môže vedieť variť a jazdiť na koni, ale to nie to, čím priťahuje divákov k obrazovkám. Rysy majú pokrývať oblasti, v ktorých je protagonista výrazný alebo odlišný od ostatných postáv a teda tým sa divákom páči.

Prepojenia predstavujú vzťahy, ktoré má postava s vedľajšími postavami v seriáli. Tieto ostatné postavy môžu protagonistovi pomáhať svojimi znalosťami, schopnosťami a zdrojmi.

Príklady (z hry z 20. storočia z pohraničia za čias prohibície):

Jana si vybrala pre Roxy jednu z charakteristík, ktorú pomenovala Nekonvenčná žena. Chce sa stať súčasťou smotánky, pozná netradičné pokútne miesta (ako napr. nelegálne bary), heslá, ktoré ju do nich dostanú a vie, ako na seba v prípade potreby upútať pozornosť. Viktor si vybral pre svojho Roberta Vojnového hrdinu. Je to naozaj schopný vojak, triezvo uvažujúci a odvážny i v prípade priameho čeliaceho nebezpečenstva. To pomohlo i jeho povesti, pretože jeho príbeh prebehol tlačou. Zodpovední občania mu prejavujú rešpekt a úctu a ganstri vedia, že nie je múdre sa s ním zapodievať. Tomáš vytvoril pre Billyho charakteristiku Delikvent. Znamená to, že Billy je drobný zlodejíček a vandal, chodí poza školu a podobne. Pomáha mu to tiež pravidelne sklamať svojho otca a naplniť tak domnelé Jamesove predstavy o ňom.

Jedným z Robertových prepojení je Sarah, jeho láska zo strednej školy. Keď bol na vojne, vydala sa za iného, ale napriek tomu k nej Robert stále niečo cíti. Aj samotná Sarah má z toho dilemu, čo ešte veci Robertovi viac sťažuje, pretože ten nechce spraviť niečo zlé. James má prepojenie na chlapíka menom Joe, ktorý je jeho priateľom z detstva a teraz slúži u policajtov. Joe sa snaží prehliadať Jamesovu nelegálnu činnosť, ale všetko má svoje hranice. Je však jediným človekom, pred ktorým sa James vie aspoň trochu viac uvoľniť a otvoriť. Roxy má prepojenie s Claire, dcérou obchodného magnáta, na ktorého chce Roxy urobiť skutočne dobrý dojem. Claire požíva istý stupeň úcty a slávy, ktorú má vďaka otcovi a jej vzťah k Roxy je ešte nevyjasnený - nevie ešte, čo si o nej má myslieť.

Postavy

???? Silverpine (Peter)

erb: strieborná borovica v zelenom poli
nižší vazal Greyjoyov
vlastní malý keep v lese
má deti v každom rode
šarmantný, inteligentný...
nepriateľ: Jo Clegane

??? ??? (Matúš)

náročná osobnosť, ,,hovado"
alkoholik
ex-žoldnier
nájomný vojak pre toho, kto zaplatí viac

???? ??? (Matej)

obchodník zo slobodných miest
arogantný
nepríjemne úprimný
duelant-rváč-bitkár
ostrovtip

Styles of play

Noble House

In this style of play, you are the members and associates of a particular noble house. Were the novel, A Game of Thrones to represent the chronicles of a game, this would be a game centred on the family and associates of House Stark. Eddard, Catelyn, Robb, Theon Greyjoy, and Jon Snow would all be likely player characters. Conceivably Bran, Arya, Sansa, Ser Rodrik Cassel, or possibly even Tyrion Lannister could be player characters as well. Aside from dealing with threats the GM creates, much of your time will likely be spent attending to your duties and pursuing your character’s goals. Such goals can be hard to define in this style of game. On one hand, you do not want to overshoot and proclaim from the point of character creation that you want to become king of the Seven Kingdoms. On the other hand, you do not want to undershoot and make trivial or silly goals like wanting to goose the house maester every time you pass him.

A good rule of thumb is to decide that any goal your character starts with should be something he or she can accomplish within the house holdings. Appropriate goals could include seeking the acceptance of your father, finding some way to show your martial prowess so that you might become a Knight, or — in a more player conflict-oriented game — seeking to force your elder brother into joining the Night’s Watch so that you can inherit your father’s title. Because of the increased emphasis on social interaction, it becomes harder to justify the player characters moving around in a big group. While the characters may be situated around a central location, such as the family keep, there could still be miles of separation between individual characters. It is unrealistic to take the whole mob to every situation. The second-eldest son may have to go off to investigate rumours of poachers while the youngest daughter is having tea with a doting but senile aunt. You may not even want the other characters with you when you go different places. If your GM is running a game heavy on inter-player character intrigue, you will not want to have an in-character audience every time your character schemes and plots.

To further complicate things, there is no method of quick communication except for sending servants with messages. If your message’s recipient happens to be nearby, you could hear back from him or her within the hour. If the recipient is far away instead, it could require the maester to send a raven messenger and hope for a speedy reply.

What this leaves the GM with is the threat of having to run a half-dozen different one-player games, which can be both stressful for the GM and boring for the other players while they wait for their face time with the GM. Some groups do not mind a lot of one-onone work with the GM, as marvellous role-playing can come out of such solitary intriguing and add complex depths to the game’s storyline. Players in such games are often willing to accept a little idle time on their hands in exchange for a higher level of intrigue, but this is not always the case.

As a player, there are a few things you can do to help your GM keep the game running smoothly. The first is to work in small groups. While difficult to justify bringing six to eight people with you to a small luncheon, it is easy to explain a friend or two accompanying you. Three groups of two are easier for a GM to deal with than six groups of one, then, while the GM is focusing on other players, you can role-play with each other. Another way to help is to keep your characters physically close to one another. While this does not mean that you cannot ride your horse out to inspect the borders of your family holdings, it does mean that you should avoid leaving your holdings all together and heading off to King’s Landing on a lark. Travel in the Seven Kingdoms can easily take fortnights or months. If the group scatters over Westeros, some portion of the characters will be removed from play for a big chunk of game time. Any trip of any notable length should be a major plot element and should be discussed in advance with your GM.

Game of Thrones

In this type of game, you portray one of the movers and shakers of the world. The plotting may revolve around the Iron Throne in Westeros, or it could involve the intrigues in more remote locales, such as the Free Cities. Your group may represent a single faction that is seeking to exert its infl uence, or it could be that the player characters are plotting against one another in their own attempts to improve their own personal power. It could even be that you are all plotting against one another while trying to achieve a common goal. It is more likely in this style of play than others that your character will be more worldly and experienced, with more resources than most starting characters. Your GM should inform you if you are creating characters above 1st Level, as well as how to handle the vast resources you may likely command.

More so than in a Noble House game, a Game of Thrones will involve more time alone for individual characters. It is entirely possible that a player character will not only need to separate him or herself from the rest of the group, but that he or she will also need to travel to various remote locations to personally supervise pet projects.

As mentioned earlier, this can make life diffi cult for the GM. Not only will he or she have six separate games to run, with a lot of downtime for those characters not involved, but the characters also have little hope of crossing paths. As usual, you as a player have tools available for making both your life and the life of your GM easier, and the game more enjoyable for all. Some of the tricks described above in the Noble House can be used in a Game of Thrones. It helps to bring player character allies with you when you go anywhere, so that you give players more face-time with the GM all at once. It is also good to have in-character conversations with other characters while the GM is focusing on another player. It becomes harder, however, to justify avoiding travel as much. It is far more possible in this style of play to have goals that your character must be involved in personally.

One approach to reducing the impact of this is to seek out methods of skirting reality in order to keep game play smooth. An example of this involves co-ordinating with your GM and fellow players so large, time-consuming tasks all happen at roughly the same time. If all the characters need to engage in travel or lengthy work on a personal project, it would be fortuitous if all characters were engaged in those tasks at the same time, and completed them simultaneously.

You could also skew the time scale. Again, with the co-operation of your fellow players, you may try shifting the time frame from days to months. When not immediately doing anything, it can be assumed that your character is going on about his or her normal business. Business appointments, dinner engagements, and travel time are all background noise that takes place regardless of whether you as a player pay much attention to it. Instead of deciding on a day-to-day basis what your character wants to accomplish, you can instead describe in broad brushstrokes what your character is seeking to accomplish over the course of days or weeks. An important emphasis here is that while this game is meant to be gritty and realistic, adherence to realism should not get in the way of having fun. It is a precarious balance, but one that you can achieve with time.

Band of Heroes

Band of Heroes Game basically groups a mixed band of heroes (or rogues) together and pits them against various obstacles as they wander the land. Such a group could represent brother’s of the Night’s Watch, a band of sellswords, or a party of highwaymen. This style of play manages to be both familiar and alien. While this is a common style of fantasy role-playing, the most frequent threats may be mundane or unobvious. In fact, during the beginning of A Game of Th rones, the Seven Kingdoms is in a relative state of peace. After King Robert’s death, chaos and violence enshroud the land and make the most common travel into a dangerous journey. Even during the more peaceful time periods, however, adventure can be sought out in the nooks and crannies of Westeros.

The Seven Kingdoms are huge, fi lled with sundry towns; some are bustling crossroads while others are tiny, remote villages. The Mountains of the Moon and the lands beyond the Wall are inhabited by barbarian wildlings willing to kill and rob passers-by; bandits prey on unsuspecting merchants; and pirates and smugglers abound on the high seas. Players can take on the roles of those who oppose such activity or they can engage in that very same villainy. Likely the GM will have such campaign decisions mapped out in advance, but it is nice from a player’s perspective to know what your options are.

Life for outlaws can be tough. Petty theft can easily cost a character a hand, and more serious crimes have truly dire punishments. While a game of banditry can be fun, any game that stays close to the feel of the books will prove that a bandit’s life is often short, brutal, and ugly.

There are many legal and legitimate ways for a character to make his or her way through the land having grand adventures, and the life of the mercenary is the most obvious. Gaining employment from a noble of some sort goes a long way towards legitimising one’s activities. It is not unknown for agents of a noble to even abuse their authority. Smallfolk make easy prey and are unlikely to speak up against agents of their own lord. Even without employment from nobles, there are certain to be smallfolk, merchants, and assorted other travellers who are in need of a good sword to defend themselves against the brigands of the world. Your characters may become pawns in the machinations of nobles, assigned missions to ferret out intelligence about other factions in the plotting and scheming of the Seven Kingdoms. This may eventually evolve into your characters rising to prominence as the game shifts into more of a Noble House or Game of Thrones style of play.

Aside from legitimising your character’s adventures in the world, the biggest threat your character will face is injury. Not only will combat be more common in this style of game, but if you are playing a group of freelance adventurers there may be few people in your circle who can effi ciently treat a wound. Some of this depends on how your GM handles the availability of medical knowledge. There are no “cure all” magics, and not everyone will know to use the mysterious mouldy bread to treat infected wounds, or that boiling wine will help a wound and boiling oil will kill a patient. This means that if your character is injured, he or she will be slow to recover and there will be little salvation if the wound becomes infected. You will need to rapidly learn combat tactics that minimise the amount of damage your character takes, as well as find locals who have some knowledge of medicine.