Copy publisher to indesign1/11/2024 I'm more than willing to make up a random conflict resolution chart for players to use, but after a game or two of protocol people generally find the rhythm and no how to make it work on their own. And even then, neither character can die unless it’s the last scene of the game.įour. We won’t find out what happens in the fight until someone spends a drama point. In Protocol, as soon as Abe or Bianca makes the first move, the scene ends. There’s nothing to resolve with mechanics. Until someone tries to stab someone else, the knives being out is just dramatic tension. Abe pulls a knife on Bianca and shouts something about 'leaving her behind.' Bianca, too, draws a knife. Their leader is dead and neither trusts the other. Abe and Bianca are arguing in a tavern scene about what to do next. The director of a given scene is the final arbiter of these situations anyway. It seems counter-intuitive to me take that away simply because combat is involved. The entire game system puts faith into the hands of the players. Most of the time, players don't want to spend points on this and leave it to the next director to deal with. A fight generally ends a scene on a cliffhanger, unless someone spends a drama point to deal with the fight now. This means the orcs are dealt with in the margins, and between the scenes. It's not about killing orcs (or whomever the adversaries are), but dealing with the aftermath of encountering the orcs, so to speak. Protocol isn't designed for adventure as much as drama. This question presumes a great deal, so let me do my best to answer it and the questions NOT being asked.įirst. Here is my attempt to address your concern.
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