RasmusL;n201143 said:
Ja, just "segt" är ett vanligt tillstånd tycker jag geberellt i spel med väldigt långa scener. Om en som spelare inte gör något med varje input blir det stagnant och å andra sidan kan motsatsen bli forcerad och överdramatisk. Har inte läst eller spelat Ribbon Drive, hur funkar teknikerna du nämner ovan?
Citerar direkt ur spelet, så får du bästa förklaringen av "framtider":
As for the Futures, they’re things that might happen in the character’s
future, and likely that the character wants to happen. They are full sentence
statements, like “I’m going to find the cure for what ails me” or “We’re going
to reach Miami before this car breaks down.” They should be worded as
definitive statements, not questions. It’s advised that you make one of your
Futures a very long-term thing, and the other more immediate and related to
the trip at hand.
(...)
Our Futures are important for three big reasons: first of all, they dictate the
things our characters care about achieving, which shapes the direction of play;
second of all, there’s a rule that states that we aren’t allowed to talk about the
future unless it’s directly related to one of our named Futures (this means that
if no one takes the Future “I hope we reach Delaware in one piece”, then we
aren’t allowed to talk about whether or not we think we’ll reach Delaware -
we just have to wait till we get there); finally, the way in which we resolve our
futures shapes the game and determines who the protagonist is.
