Post by Shonengetsu Chronos on Nov 7, 2014 4:57:03 GMT
Roleplay walkthrough
The foundation of role-playing is typically conducted through a third-person perspective. Rarely is first-person ever used, unless of course, you are speaking or have a subconscious thought. For instance:
(Hm... I'm unsure if I can time this assault correctly. I can't doubt myself though; everyone's counting on me!)
Given the circumstance in which the character has doubts about his capabilities, "I" is used to subconsciously, and psychologically what the character is thinking. Mainly, a role-player should remember to use a third-person perspective, not first-person. For example:
-I walked through the forest hoping to see the new fascinating species of insects that resided within unknown territory only to find out I forgot my journal to document such findings.-
-He walked through the forest hoping to see the new fascinating species of insects that resided within unknown territory only to find out that he forgot his journal to document such findings.-
Notice the difference? The first-person perspective makes the post a little bland and overall, repititious; as opposed to third-person, where it sounds much more cohesive, and story-oriented. Don't get it confused though - a role-player shouldn't mistake replacing first-person speech with abundant third-person pronouns.
Everything requires some sort of chronological documentation, or "point A to point B" type of thing; role-play is no exception to this. Obviously you can't have a character die spontaneously without some cause behind it. Yes, in some cases (like tragedy) where calamity is inevitable, every subsequential event needs to have an origin, or else it becomes one giant mess of confusion, and derive a person from role-playing altogether. Let's say, for instance, that "A" has decided to attack "B", but this'll be interpreted through a chronological standpoint (rather, logical), and of course, its contrapositive (illogical):
-A draws his sword with right phalanges grasping the hilt before rushing at B. A swings his sword out with the same hand for B's sternum in hopes of causing moderate damage, if not, knocking B off balance and left in a vulnerable state.-
-A swings his sword at the sternum of B. A watches as B is downed and in a vulnerable state.-
Now, as you can see, the first post explains a detailed representation of the set-up prior to A's attack on B. The sword is drawn, A rushes, and attempts to slice at B with the intent of hurting the opponent. With the second post, though, given the same circumstance, a lack of chronological detail is stated (illogical). Did A unsheath his sword altogether? did the attack itself strike B, or did B manage to evade it? Multiple questions can be drawn, and again, leave everything in utter confusion. This, of course, can be considered "autoing", or the act of assumption uner one's actions to perceive something that did not occur. On the other hand, through a storyline standpoint, it can be interpreted in the same manner.
It's good to be thoughtful when expressing oneself. Again, articulation is key in role-playing, but isn't always necessary. It's the effort that counts, and continuing to stick to one form of rudimentary writing will get a person nowhere.
[Future reference, and will be added]
- Grammar
- Description
- Final notes
- Ordered headings
- Playing off eachother's posts
etc.
*Subject to change. Any grammatical errors will be fixed upon revision.
Role-play style Type 1 and Type 2
For simplicity, we will begin with Type 2
Now this is the basic style used for its fast pace and swift actions. Type 2 has a settup that attracts people because not only is it simple, but its probably one of the easiest forms of rp fighting that have been made. When you start out, dont worry as much about your speed, just remember that when you fight, your character will be limited only by how well you know the style, and how much you have worked on your ability to use each action you make. Because I feel its important to say this, like with alot of other games, you can enjoy the act of playing, but beyond that, in a real speed fight, the adrenalin will pump through your system and instantly make you feel great. It is this that can make a good speed fighter turn bad. When you are speed fighting keeping a clear head can make all the difference, speed isnt the only factor, but thats for another time.
T2, as it is shortened into, runs in a set, the numbers are 7-10-7-12. Now this is just the basics. The order dictates the action, and this is the explanation of the numbers. 7 Attack, 10 Connect, 7 Dodge, 12 Counter. Each number is the ammount of words needed in each post. Depending on the fight you may have to hit that number exactly without going below or above. In most fights though, you just have to hit that minimum. In the style there has been some contrivercy over how many typos you can have be it 2 or 3 before you are deamed void. As I have found the simple action is to say if you have two typos, you are alright, and on the third, your post is void, meaning you did nothing in action and must start over again.
Attack - 7 Words
This is where we will display a correct attack, as well as moves that can be incorrect. In most areas, the style does not need grammar, and for that its the best start into the speed fighting area, but grammar still acts in the style, typos can be called based on how you word your action.
; A hand to the gut of Bob.
That is the simple form of T2, cut down to the basics that only give what info is needed to cut the post to its shortest form.
; His right palm toward Bob, a target of the right shoulder.
This second form is longer, but holds more information. Instead of just simple, it tells what hand, how the hand is coming, and that the attack is aimed at the shoulder instead of just to it.
; I would push his fist at the gut of bob.
Now this is where we start showing a few problems. In this action it was a switch from first to third person. This makes the first incorrect action. Due to it being confusing the action tends to be called void, but can be called typoed. I or His would tend to be removed as typos, and because of the way the post was made, it would count as two typos because it is shown as imposible to chose which point of view was ment to be. I know that in most cases just one would be called a typo, or the post would be void, but this is more on the simple side.
As you can see, the act of attacking is more then simple. This is the start of the action. From here, either you connect or your opponent will dodge the attack. It depends on who actualy hits first.
Connect - 10 Words
Now, we move to the second stage of combat for the attacker. This form is simple and tends to be the harder portion of the attack if you get confused by what you did before. In most cases, the action comes quicker then the attack because you have laid down what you are doing and with what, as well as where it is aimed. The connect will not match the attack above because it doesn't matter at this point.
; A foot to the head of Bob had it in.
Again we start with the simple action. It is exactly at 10 words. Though the style tends to be more simple in this format, it tends to show less style.
; His right foot pushed upward, pushing deep into the gut of bob as he doubled over.
Greater in length, the action of making your post more discriptive can cause more words to be added, which brings the total amount of typos to a higher level, but it makes your actions look more discriptive. As I started, the act of making a post showed up as the second example, though at the same time it slowly got clear as I kept working on it.
Now that we covered the connection we will move on.
Dodge - 7 Words
Now we get to one of the most overlooked actions in most speed fighting. When you dodge an attack, you tend to avoid taking a hit which can help you to win, but when most fight they ignore there defence which leads to either being hit, or just being outsmarted. Learning to dodge or block can be a great skill to have on your side.
; A palm to stop the hand now
This is the form of dodge that goes with the simple action. It removes the need to use a name, and the reason being is you know who you are fighting. Generaly there is a need to add the name for the post to look great, but in the same form as you have a style you know, you also have an opponent who is fighting you. You only need to name the opponent if you are attacking or countering. Or if you are facing more then one fighter at one time. If it is stated before you fight that you should use names in all posts, then that is what you will do. Remember that in the same sence that you can show a name, you can also chose to state before the fight that you will use an alias for yourself, or ask if you can use one for the other fighter. This is granted in most cases. Now to continue.
; His right hand cast toward the fist of Bob, sweeping it away with ease.
; Letting his figure shift, his body turned letting Bob's fist catch only air.
As you can see, in each action above, the discription is made to give idea as to what happened if you like to see where things happened and how. It gave what was used, or how it happened. In more then one case you can see how an action made in this format can clear up everything that might be asked of. Now we move on.
Counter Attack (Interupt) - 12 Words
In more then one case, the counter attack is the most overlooked ability that has been placed into speed fighting. Only a few people can do it without starting before the other person makes there post. Now the act of countering your foe comes from the ability to make your attack, and at the same time, avoid the action of your opponent. I will not do a simple counter for that is up to you to find.
; His body shifted before he was touched, the fist bob thrust interupted with his own fist acting before its launch, aimed at the males chest.
As you can see, it shows that as the attack was made, you have acted in responce. The idea is you have stated your action being made swiftly, thus bob likely has his arm back and is now suprized. There are some flaws with how I have named the action but in the same light, it tends to be overlooked if you know what you are doing.
Range and Prep
Now that the basics are out of the way, you will hear word of things such as Range and Prep. Just as everything else has there limit, so does these two actions. The limit tends to come around 7 words, but can changed if called out. In different actions the prep has been taken out for actions, but if range is added into the fight, then the same goes for prep on anything that does not exist on the body, as well as a logical reason how they got it.
; Bending over, he cupped his hand around a rock.
This is showing the action of lifting, and holding the rock, intent of using it. At the same time as you can throw the rock for a ranged attack which can be done at a distance, you have the ability to use magic or an ability to gain some advantage. In any fight, assume that you must use range and prep together if used at all. I will show what the range post looks like.
; Rushing forward, he pushed himself within striking distance.
In some fights you say you are getting in range, but for now, we will call the whole "In range" statement a bit of non-sence that should be avoided. Another action that should be known is the Knock Back. Knocking someone from range, or out of striking distance can help you to gain the upper hand in a fight. If you do it with success then your opponent will need to get back in range or fight you from a distance with projectiles, magic, and abilites. Remember that if you dont give a distance, items that have a reach that extends beyond close range can be used to hit you, such as a spear, or a chain.
;His palm rushed back before his motion.
;His palm thrust toward the gut of Bob.
;His palm slammed into the gut of Bob, pushing him back ten feet.
;His palm thrust toward the gut of Bob.
;His palm slammed into the gut of Bob, pushing him back ten feet.
As you can see, the action started with a prep because the force was greater then a normal strike. This gives the idea that you are using the hand to attack, but at the same time you can word it different which will change the attack.
;His palm waited, a blue shimmer flowing around the open hand.
Right where you show the shimmer, you have the option of attacking with the hand using added effects, or you may attack with another style of attack such as magic without a chant, or an ability.
;From his palm thrust the blue aura, cast toward the gut of Bob.
This is simple, and can throw your opponent off.
In this style there has never been a healing tech that was added, so for the sake of making it possible to avoid losing, I will add a healing format for any who wish to use it, but its not added into a fight unless someone has agreed to it.
Restoration - 12 words
The act of restoring yourself would be good enough to remove one point from the battle set. During this time, you would need to make three posts. If your opponent hits you, then the action does not finish, and you would have to start again. For the sake of this working, dodging can be done once during the action, and a counter can act as a second post, but never a third or first.
;Energy would flow through his hand, his palm placed over his gut.
The gut is stated as if you got hit there. Now the action would have to be done on an area you actually got hit, unless you have a logical reason why you have targeted another area of your being. If you continue the post, it would be the follow-through of the first action.
;The energy passed from his palm into his gut, sealing a portion of the torn tissue.
Now, because logic dictates that if you get hit, you would be bloody to a certain extent, the same goes for if you are hit light or hard, you could be ripped open, or just cut slightly. When you finish, it would be as if you just connected an attack, and a such tends to be simple and to the point.
;His palm left the gut, no signs of damage being noticeable.
I know that the last action tends to become less descriptive, but in the same sense, it's just the finish of an ability. Now when you fight, you may be able to do this when allowed according to the format, and at the same time, you may be forbidden from removing damage. For now this is just for those who want to make things harder in the case of the fight.
Finisher - 7 Words
Now when it comes to finishing a match, you deal a final blow. This is added only in a death match, or in a challenge that tends to need a decisive blow. In most fights you go only to 5 points, then use a finisher. At the same time you can do this and not finish someone. The fights where a finisher is dictated as a must would be a match between someone to the death, or a match over a title. Title match's are for different areas of combat and tend to go beyond just the act of being fast, or smart. In most cases, we use the class system. Warrior was the low rank that was above noob, and yes, noob is where you start at. The class system is a add-on that helps with setting goals to keep interest in the speed fighting area.
Class
Noob
Warrior
Champion
Expert
Elite
God
Legend
Noob
Warrior
Champion
Expert
Elite
God
Legend
As you can see, the class system covers nine levels of fighters. If you do not fight you are not classed in these areas unless you can prove a reason why. When fighting is not used, Elite and Legend tend to be the only class that is open to all. In many areas of fighting, Legends retire shortly after gaining there title, but still hang around. Beating someone who is an Elite or a Legend does not make you of that class. There are more things involved in having a title then just being fast, or smart. Those who show there abilities as being of a higher class tend to be labeled as they should. There are only a few who hold the title of Legend who lived up to it, and continue to do so. Others gained this name by calling themselves it and showing how little ability they have. There will be a section added at a later date naming who is of what class, if asked that is. This will be a sort of history for the fighting area, as well as a day stated for when they achieved this honor.
Type 1 Roleplayer Fighting
This section will likely be of the most controversy. Para format RP has grown in many different areas, and for this reason, T1 has become one of the main aids in growing much of the other forms of roleplay fighting. I myself have no real knowledge in the styles basis myself, and as such will pass on adding any rule's or post designs, but would rather wait till someone who knows the style well enough can make a write up on it.
This is the set of T1 rules that were used and created on Eden's Era, the original T1 rules, according to a vast account of roleplayers from the time period in which these rules were created. The Variation of the rules has changed, and some people don't use preps in their T1, but this is a comprehensive set of rules as they were made. -- Haldson Reed.
Type 1 [T1] combat is a type of textual combat designed with logic, precision and detail in mind. It’s a turn-based style, allowing every player involved equal time and space to post their character’s move. There are four types of ‘turn’ that a player can make in a T1 fight: Prep, Attack, Defense and Connection. The fight is split in to 'tiers' which often consist of some/all of the aforementioned turns. A tier begins when a prep or attack is posted and ends when either a successful defense or connect is posted.
Prepping
A 'prep' is a turn in which the character prepares to launch their attack. Some special abilities require a certain amount of prep's before an attack can be successfully launched. As a player, it is your responsibility to be aware of which abilities require preps and then to adhere to these rules. Missing a single required prep will probably result in Eden's combat judges voiding the applicable tier of the fight.
A prepping move should state clearly what ability is being prepared for use and provide some imaginative description of this process, whether it be an elaborate ritual or a intense concentration etc.
Special abilities that do not require maintained focus/concentration can be combined with another turn. For instance, whilst a mage is launching a non-magical attack with his sword, he might be muttering an incantation in preparation for using a special ability later. Specifics must still be provided.
If the character receives damage between the preparation and the attack, the most recent prep will be cancelled.
Attacking
An attacking move should be a detailed account of everything vital to the attack: the stance of the attacker, the momentum or direction of the attack, the method of the attack, and it should hint at the desired outcome.
An attacking move must be comprised of one main action, or series of synchronized actions [within the realms of logic please].
Example:
Elario_Chinglove braces his right foot against the ground in front of him, screeching like a particularly irritated banshee as he sends his staff sailing down vertically for Crispian_Nohamar's cranium, relying on the weight of the sturdy oaken staff in addition to his own strength for the momentum needed to crack Crispian_Nohamar's skull.
The above move, although containing information about smaller movements of the attacker’s body is centered on one central movement, that of the downward swing of his staff.
Defending
Like an attack, a defensive move must allow for the defender’s stance, method, and desired outcome. It’s no good simply stating that the character miraculously dodges the attack – it must be a detailed account of how this daring escape is achieved.
The defender must be consistent with the position they were in before the attack took place. For instance, if our defender [Crispian_Nohamar] was standing directly in front of Elario_Chinglove with his hands behind his back and his eyes on the ground when Elario swung his staff, that is the stance he must attempt to defend from. However, before he defends he must be seen to somehow acknowledge the attack. After all, he wouldn't know to defend if he didn't know of the threat to begin with.
Example:
Crispian_Nohamar instantly distracted from his train of thought by Elario_Chinglove's strangely effeminate screeching, he catches a glimpse of the attacker just in time to save his own bacon. His head and upper body reflexively tilt to the left, causing what may have been a fatal blow to the head to land painfully but not mortally upon his leather-armor clad shoulder.
In the above example, Crispian’s player acknowledges that his character was not in the best defensive stance to begin with, and as such appreciates that his character cannot completely evade the attack. Considering Crispian wasn't expecting the attack, it would be unrealistic of him to come out of it without taking a blow of some sort.
If Crispian had managed to completely evade the attack, the player of Elario would not be allowed to perform a connecting move and would instead have to RP the resultant events.
Example:
Elario_Chinglove bends his knees in a last ditch attempt at keeping his balance as his staff strikes air and continues towards the ground under its own powerful momentum, the fine polished oak smacking impotently against the flagstones.
However, as Crispian did not completely evade the attack, Elario's player gets to perform a connecting move:
Connecting
A connecting move is a move that confirms the attacker’s success. If the defender was unable to completely evade the attack, the attacker is expected to spend a turn describing the results of their attack.
A connection must describe the initial results of the connection and nothing more about it's effects upon the defending character. For example, Elario’s player could not state that the staff whacked Crispian’s shoulder and then bounced up into the side of his head, as that would be two separate attacks [albeit maybe not both intentional].
It is very important not to ‘auto’ in a connection. Although you can state where the blow landed based on the information offered in the preceding attack and defense moves, you cannot state the exact amount of damage dealt upon another character. Such details are reliant upon the information in the previous moves. For instance, a powerful downward thrust of Elario’s staff would obviously cause some bruising and internal injuries when it hits Crispian’s shoulder [although if Crispian is wearing armor of some sort the damage may be decreased], whereas a sword would have cut the flesh and caused bleeding. A connection may also contain preparation for the next attack, such as a change in stance. Usual Prep rules apply.
Example:
Elario_Chinglove tenses his shoulders to absorb the shock of his staff striking down heavily upon Crispian_Nohamar's right shoulder. He lets the staff glance off the shoulder after hitting and swings it back up over his head in readiness for another attack, a victorious smirk mocking Crispian_Nohamar's misfortune.
In the above post, Elario's attack clearly connects, but it is never stated the exact level of damage that is caused. From this point on Crispian's player is expected to RP the character according to the damage which he believes would have occurred. In this instance Crispian is wearing leather armor which may just save his shoulder from being dislocated, but there would still realistically be heavy bruising. As such, Crispian should have less use of his right arm until the wound his healed.
There is another type of move that is often used in T1, and it is a variation on the Defensive move:
Counter-Attack
Rather than simply evade an attack, the defendant may block or counter it with one similarly fluent move.
Example:
Crispian_Nohamar had been expecting an attack, and had his trusty dagger ready behind his back the entire time. Upon the thrust of Elario's foot, he bends at the knees, his left arm flying up to catch the blow on its bronze bracer whilst his right arm swings round -- dagger in hand -- to swipe horizontally at Elario's stomach.
The above move would require great skill on the part of the defendant, and therefore only a character who has an established history of combat prowess could realistically pull it off. Most counter-attacks require a similar level of combat skill, as the combatant is performing different simultaneous actions. As long as those actions can be realistically performed at the same time [i.e. one arm can't realistically be in two places at the same time], the move is valid.
It is then up to Elario to decide whether he will defend, counter-attack or simply take the hit. Considering his staff was already sailing down towards Crispian with some momentum, it will probably still cause some damage to Crispian's arm, but a move of that ferocity on Elario's part will have left his midriff defenseless [aside from any armor he might be wearing] as his arms are engaged in holding the staff. As such, Crispian's dagger would most likely strike as intended.
It's not uncommon for both parties of a fight to take some damage, and it is often considered the honorable thing to accept at least some of your opponents hits [if they're realistic].
As you can see, a tier does not necessarily only consist of three moves. Tiers may overlap or extend beyond the original three basic moves. A T1 combat session ends when there are no more attacks to be made, either because one or more sides of the fight have died, one or more sides of the fight have escaped, one or more sides of the fight have been incapacitated or both parties have reached a non-violent conclusion.
(This post was copied over from the Strict T1 forum. Link is as follows: vforvendetta.iboards.us/viewtopic.php?t=20 )
Basic Free Form Para Fighting.
There is a set of rules that goes with each fight, in this area, the rules are set up between the two who are fighting, and it is agreeable that you will not stray from the agreement.
Sections that will be listed later on will be as follows:
Basic Intro
Character discriptions
Items allowed durring the fight
Preperation posts
A correct attack post
A correct connection/follow through
What constitutes as a win