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Articx-Frost Vice Captain
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 Posted: Wed Oct 12, 2011 10:30 am
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Posted: Wed Oct 12, 2011 10:49 am
How to Choose a Roleplay Now that you know proper etiquette, you're eager to get out into the main forum and pick a roleplay right? That's great! But then you get out there, and it's like being in a huge shopping mall, where everyone is advertising, everything looks bright and shiny, and you don't know where to start! Don't despair! Go through these questions in your mind before joining a roleplay: 1. Do I have a character in mind already that I want to fit into a specific type of roleplay or am I going to create a character based on the roleplay? 2. What setting do I want to use? 3. Are there other people in this roleplay that I want to roleplay with, perhaps that I've roleplayed with in the past, or do I want to try new people? 4. Does it look well thought out, do I understand the setting/storyline? 5. Can I agree to the threadmaker's rules/literacy level? 6. How fast does the roleplay move? -this one may require you to watch it for a couple days before deciding to join in- 7. Can I create a character to fit this/Will my character mesh well with others here? 8. How far along is the storyline and will I need an update to get my character into the storyline? Once you've been through all these questions, you should decide to apply or choose a different roleplay. General Earmarks of a Good Roleplay*-Most good roleplays look well thought out. They may have multiple posts for storyline, profiles, rules, etc. -Pay attention to the profile you're required to fill out for application (if necessary) This can actually be a fairly good gauge of the type of roleplay you'll be in. If people are writing a lot in profiles, and that's what you like, then that's great! -Dedicated roleplayers. If you see a 30 page roleplay that's been up for 3 months and still has active posters, that's fantastic, especially if the posts are of a reasonable size. *these are generalizations, not all roleplays exhibiting these characteristics may be what you're looking for.If you cannot find a roleplay that you like, why not try making one instead. See below for details.
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Articx-Frost Vice Captain
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Articx-Frost Vice Captain
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Posted: Wed Oct 12, 2011 10:50 am
RolePlay Creation 101: Starting out with a brand-new roleplay If it’s your first time in creating a roleplay, don’t worry much about it. People will not hate you for it, and most will even give you constructive criticism. I, for one, will help you create one if you so ask me for said help. I am always willing to help anyone with nearly anything, given that I have time to do it. I remember creating my first RP . . ., it wasn’t that great either, although people did join it. What’s important is that you are interested and have fun in creating the RP. We’ll get into more details later, but for now, try to get your feet damp by following this guide.
Phase 1: Choose a genreThis is mostly the part where you’ll have a raging internal debate with yourself. Do I choose fantasy, or reality? Fact or fiction? Is it going to be Sci-Fi, Modern or Medieval? Should I create it from a well-known series, or be incredibly original (good luck with this one!)? Maybe I’ll have a mix of some of them . . .(think twice before attempting!) Another question you might have is: Video game, or Anime series? The main point is, the genre you choose will affect your target audience (i.e. people who might join your RP). Most girls don’t play video games that aren’t RPGs (yay Final Fantasy!), and some guys will not watch an anime called “Akazukin Cha-Cha”(wtf is that?). Some people might not like original roleplays, because those tend to be hard to comprehend because everything was made by the creator; some people hate series-based roleplays for the fact that they consider it unoriginal and predictable. It’s hard to try and get everyone to join your RP because everyone has their preferences on what type of genre they like. In essence, the genre chosen will most definitely set the stage for who would want to join your RP. BUT WAIT! There’s even more to consider . . . Phase 2: Choose the setting for the RPIt’s time for you to take your genre chosen, and choose when and where it’s going to happen. In here, it’s definitely possible to start mixing up some genres, such as: a Fantasy-based RP with Modern world settings, or a Medieval-based RP with Futuristic characters and weapons. This part involves a slight bit of research as YOU are going to be the one to lay out the foundations of your RP. How much prospective Rpers understand the world you are going to create will depend on this part of the creation process. Usually, you will need to put lots of detail and description into your created setting, so that people can easily visualize the world they will be RPing in. Something like: “A world overridden with madness and strife, though heroes exist, they are rare. A conflict-filled city of ruffians. This is where you start” may not work thoroughly with most people. Phase 3: Start off the plot of the RoleplayIt’s time for you to create a storyline for your RP with the desired genre and setting. You will want to focus on specifics, such as: is it an open-, or close-ended story? Or, what’s the main conflict in the RP? Is it people against people, people against nature, or people against themselves? This is where you let imagination fly, or be as much as a copy-cat as a shadow clone. People will get a taste of the world you created in this part of the RP creation process. You can do this in one of two ways: One is to create the entire storyline the RP is going to go through in one go, therefore creating a ‘closed’, and straight storyline. This is for people who want to control all aspects of the RP. The other way is to create a start-off point, but then create the rest of the storyline as the storyline moves forward. This is known as the ‘flexible and open’ RP storyline. I very much favor the 2nd path, but it is very hard to do and you might need prior experience before attempting it, otherwise your RP might fall into pieces. This part can make or break your roleplay. Often times, one paragraph story lines are enough to get someone involved, but people who know better will consider that n00bish, inexperienced, even just plain lazy. Try to avoid condensing your plot into paragraph; a good and well thought-out plot should be about the size of a one-page essay. And the other suggestion that goes with the one I just said is: Avoid dragging stories; who would want to RP after reading an incomprehensible 10-page storyline that circled around the main point of the RP? Would you? Would you consider the RP creator an experienced one? I wouldn’t. Now don’t be like that, k? *pats on the head* Phase 4: Mechanics of the RPThis is where you lay the smackdown on the RULES of the RP. Whether you have complete reign over the storyline and your RP, or if its a free-for-all for everyone in it, it’s up to your discretion. You also lay down regulations for what rpers can and cannot do in your RP. Usually, you use basic rules, such as the ones in the Gaia and RPR ToS. And sometimes, there are also gentleman’s agreements that most Rpers should know already, such as: issues relating god-modding, player-killing, auto-hits and dodges, creation and conflict synthesis, and creator disregard. It is up to you to make sure that players know the rules of the game in your particular RP, because they don’t have to necessarily be the same as the next RP over. Rules are an integral part of a well-functioning RP, without them, there would be anarchy and chaos, and so I advise you to try and cover all loop-holes as early as possible. This isn’t the devil’s contract, you know . . . though I would love to find loop holes in that thing . . . hmmm . . .>.> . . .<.< . . . *goes off to find loop holes in the devil’s contract*.
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Posted: Wed Oct 12, 2011 11:27 am
Creating a Magic System
In most fantasy roleplays, you will likely wish to include some sort of magic. Including magic can be fun, but it can also be taxing. Many leave magic as a very open-ended subject, letting those who join decide upon how the magic will work for their character. It is important to clearly define how your magic system works so less confusion will surface later. I will cover Basic Magic Concepts, Spell-Casting Procedure Methods, Accessories, Limitations, and Elemental Inclusion. (I) Basic Magic ConceptsThese govern the entire origin of magical energy in your magic system. It is important to take great care and detail when choosing an area and tweaking it to your needs, because this is the basis for the your whole magic system. There are 3 main divisions of magic that I have compiled: Inner, Outer, and Object. Usually a magic system will feature a combination of these 3 to varying degrees, but the choice is all up to you. (1.) INNER Inner Magic deals with spells that derive their energy from the individual. Such concepts as Chakra emphasize such an inner energy. To perform a spell, one must usually focus and release their inner energy to achieve the desired effect. This source of inner energy is usually limited but can be restored through rest or nourishment. The user's physical fortitude does hinder the use of Inner Magic, because it is directly linked with physical fortitude. The basis for inner energy is upon the physical and mental/emotional energy that we use throughout every day. (2.) OUTER Outer Magic deals with spells that derive their energy from everything around them. Such concepts as Chi emphasize such an outer energy. To perform a spell, one must usually will and channel the outer energy to achieve the desired effect. This source of magic is usually ever-replenishing, being scarce in some areas due to many spells being cast in tandem. The user's physical fortitude will most likely hinder the use of Outer Magic, because great amounts of strength are required to command the loose/free energy. The basis for outer energy is upon how air flows through our atmosphere and is used by our bodies. (3.) OBJECT Object Magic deals with spells that derive their energy from artifacts that contain and radiate magical energy. To my knowledge, no existing real-world concept emphasizes such an object energy, though it is related to in a myriad of myths and the like. To perform a spell, one must somehow intelligently utilize an artifact to achieve the desired effect. This source of magic is usually limited but can be recharged by various means. The user's physical fortitude does not hinder the use of Object Magic, as it usually requires little strength. The basis for object energy might be upon radioactivity and how waves pass through and react to matter. Spell-casting is usually done by some expression of the caster. While not using any is possible, these will usually be utilized efficiently. This is a list of procedures possible to perform the casting of a spell. I have thought of 3 main categories: Vocal, Manual (Tactile and Physical), and Visual. (1.) VOCAL Vocal casting involves recitations, invocations, incantation, and chants. The purpose is to proclaim a certain word or phrase aloud. Usually, the louder spoken, the better. The longer the phrase, the stronger the spell. While vocal casting may be said mentally, that is commonly reserved for very skilled magic users. (2.) MANUAL Manual casting, divided into Tactile and Manual, deals with actions. (A) TACTILE Tactile casting deals with executing a sequence of hand signs and/or body positions. Usually, the clearer the hand signs and/or body positions, the better. The more steps in a chain of hand signs and/or body positions, the stronger the spell. To avoid misunderstanding, I will provide an example: "To cast a spell, one might have to squat and clasp their hands tightly." (B) PHYSICAL Physical casting deals with motions, striking objects, and maybe even dancing. Usually, the more detailed the ritual, the better. The longer it takes to perform a ritual, the stronger the spell. Since this is a more confusing and vague area, I will provide an example: "To cast a spell, one might have to run in a circle around a flame while brandishing their sword mightily." (3.) VISUAL Visual casting encompasses symbols drawn and words written on some medium. The purpose is to relate a geometric or odd shapes to a spell. Usually, the more defined the drawing, the better. The more intricate the symbol, the more powerful the spell. While visual casting may be pictured mentally, that is commonly reserved for very skilled magic users. If using words, it could simply be a different form of Vocal casting, seeing as the same words could be either spoken or written. These by definition, are not necessary, and many magic systems will work fine without their presence. I have brought together the 4 most common based upon purpose: Assistants, Informants, Catalysts, and Vessels. (1.) ASSISTANTS Assistant Accessories are used for the purpose of channeling magical energy. While their are many reasons for including Assistants, it is normally to reduce (or even negate) the limitations of or to increase the magnitude, duration, or range of a spell. Archetypically, staves, wands, rods, canes, rods, crooks, and other stick-like apparatus are used. (2.) INFORMANTS Informant Accessories are used for the purpose of providing information on the spells contained within. The reason for including Informants is normally to help in the memory of a spell's casting procedure. Archetypically, grimoires, tomes, scrolls, and other book-like mediums are used. (3.) CATALYSTS Seemingly similar to Assistants, Catalyst Accessories are used for the purpose of somehow changing or altering magical energy that flows through it. The reason for including Catalysts is normally to allow various miscellaneous effects to affect a spell cast through its use. Archetypically, orbs, gems, and other strange or obscure objects are used. (4.) VESSELS The very focus of Object Magic, Vessel Accessories are ordinarily non-magical items that serve as hosts for magical energies. The primary reason for including Vessels is to provide a way to carry a pre-cast spell around that takes effect under special circumstances. The item is, commonly through a magical ceremony, filled/imbued/enhanced/enchanted/empowered/saturated/permeated with magical energies. While the magical energies within are not unlimited, they will either slowly regenerate or need to be manually recharged. Archetypically, weaponry, armor, clothing and jewelry are used. Almost always, roleplay creators choose to place limits upon magic through various means (if not a part of the plot or magic system, then to provide balance as a roleplay mechanic). This can be achieved in different ways. I have organized the 9 most significant limitations: Mana Cost, Cast Time, Malfunction, Disabilities, Prerequisites, Complexity, Specifics, Laws, and Principles. A good magic system will implement many of these, but there are many exceptions. (1.) MANA COST This is probably the most important limitation to place. Basically, from whatever form of energy your magic system draws, there has to be limit. This can be either upon the energy's remaining amount itself or upon the individual's stamina. This is usually scaled according to a spell's magnitude, duration, and range. Such, powerful, long, and far-range spells will cost much more than weak, short, and close-range spells. There should always be a cost for any spell. (2.) CAST TIME Another good limitation, it defines the time involved in spell-casting or preparation thereof. Cast Time can be divided into 2 areas: Warm-Up and Cool-Down. Warm-Up is the time before and during the casting of the spell (but before its effect is manifested). Cool-Down is the time after a spell's manifestation has ended before another spell may be cast. Insta-casts, spells with no cast time, have their place, but they should mainly be used with either weak spells or when other limitations satisfactorily limit the spell's use. (3.) MALFUNCTION This limitation is useful for unrefined and unpracticed spells. Possible Malfunction balances out powerful spells as well, because all the other limitations that go into casting the spell might be wasted if the effect does not work properly. Malfunction may also occur when certain prerequisites aren't met, or if the casting of the spell is somehow interrupted. The basic areas of malfunction are Backfire, Failure, and Diminish. Backfire means that the effects of the cast spell are redirected to you instead of the target. Alternatively, if a spell that is meant to be cast upon yourself backfires, it would redirect to another entity. Failure is simply when the effect of the cast spell doesn't happen. Diminish decreases the effect of the cast spell, reducing its magnitude, duration, or range. (4.) DISABILITIES This limitation covers boundaries placed when a spell has been cast. For instance, a given spell might require that the caster stay motionless for its duration. So, the caster will be unable to move. The most common use of Disability is mandating that no spell can be cast while the effects of another are still being manifested. For more potent spells, the price might even be loss of one of the 5 senses or stunted health. There are numerous other possible disabilities that can be applied to spells. (5.) PREREQUISITES An overlooked limitation, it governs the conditions necessary for a spell's effect to be manifested. It is often the precursor of the 2 Manual Spell-Casting Methods. As an example, a spell might require direct contact with the target; so the prerequisite limitation for casting that spell is that the caster be within contact distance of the target. Prerequisites have several other auxiliary uses during the spell-casting process. (6.) COMPLEXITY This limitation is either not considered often or is naturally woven into other aspects of your magic system. Regardless, I felt it needed mention here. Complexity is the gauge of the difficulty of correctly remembering and properly performing spell-casting procedure methods. While Informant Accessories can alleviate this problem somewhat, you then must keep your accessory safe, have the time to find the information within, and comprehend what is read. Complexity also affects situations where time is important, such as in mid-battle and while sneaking around. So, Complexity may also cause an increase in the regular Warm-Up Cast Time of a spell. (7.) SPECIFICS Occasionally, the very nature of a spell's effect poses a problem for the caster. For instance, a spell might only affect those with a certain trait. Such, nobody else would be affected, and there's nothing that can be done to change that. This is a strong limitation for spells that would otherwise be too great. It should be used but cautiously. In example, a given spell might impede genetic water-breathing ability; so those belonging to a race of amphibious people would suffer while solely land-dwellers wouldn't be affected. (8.) LAWS Though not a true limitation to any spell itself, it does affect their use. Laws are governmental orders and rules that pertain to the use of magic in the roleplay world. Maybe all forms of spell-casting would be illegal in certain towns. Certain groups of spells may not be allowed during the day. (9.) PRINCIPLES Magical principles are certain standards that a magic system follows inherently. These principles are made of different aspects of your magic system made universal. They are usually for the purpose of imposing a certain mechanic upon all members in your roleplay. These is more important for the more obscure magic in your system, like abjuration, transmutation, and apothecary. Including elements in a magic system is vastly popular, but remember to keep balance in check. A majority of these will feature the 4 classical western elements of air, water, earth, and fire. Naturally, no elemental system is restricted to these. There are a nearly infinite number of variations and possibilities such as electricity, ice, vapor, nature, sand, lava, metal, and sound. I purposely chose to not have any magic types relating to pure, light, or dark magic listed, because I feel that they aren't the same as other elements (concerning balance, especially cyclic harmony). Whatever the choice of elements, there are 4 serious considerations: Environmental Reliance, Cyclic Harmony, Tolerances, and Affinities. (1.) ENVIRONMENTAL RELIANCE A field that is nearly always left vague is Environment Reliance. Environmental Reliance is simply the need for a pre-existing elemental source. The two choices are either Synthesis or Terra. Synthesis is independent of environmental conditions, while Terra is reliant upon the sate of the environment. Air- and Earth-based magic usually don't encounter the problem of environmental reliance, but water- and fire-based magic need the clarification. Since what I've said so far isn't terribly clear, I will give an example. If your magic system follows synthesis, a fire spell will work no matter where it is used (unless underwater, of course). However, if your magic system follows terra, a fire spell will need to draw from an existing substantial source of flame. (2.) CYCLIC HARMONY Cyclic Harmony maintains a balance of elements in a magic system. To put it simply, for every element, one element dominates it and another element is dominated by it. Often increased or decreased damage is associated with the relationships in the cycle. When arranged, they make a cycle of superiority and inferiority. If there is an even number of elements in the cycle, every element will have its polar opposite. (3.) TOLERANCES Tolerances are a way of making a character resistant against one element and vulnerable against its opposite (it must be proportional to be fair). Naturally, having more protection against an element (like thick clothing against cold magic) isn't the same as a true elemental tolerance. Choosing to make characters equally tolerant of all elements is fine, as it is still equal to utilizing tolerances. Whether or not to give your players the option of elemental tolerances is a tough choice. (4.) AFFINITIES These are quite similar to Resistances, but they deal with casting, not receiving, spells. Affinities are a way of making a character exceptionally talented at one element and extremely horrible at its opposite (it must be proportional to be fair). Obviously, a character using an element more frequently (because they happen to know more spells of that element) doesn't define an affinity. Choosing to make characters equally talented at all elements is fine, as it is still equal to utilizing affinities. Whether or not to give your players the option of elemental affinities is a tough choice.
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Articx-Frost Vice Captain
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