I wanna talk about something else that goes hand in hand with our action fantasy: tone.
Specifically I want to talk about the comedy/drama spectrum. Wrote about this:
thoughtcrimegames.net/tough-but-funn…
Whether we are moving towards comedy (more upbeat, amusing, not just jokes) or drama (more serious and consequential) is a function of character resiliency.
How easily do characters "snap back" from stress?
When bugs bunny gets blown up by a bomb: we laugh because he will be munching on a carrot in the next scene.
In a drama, that same bomb is not funny.
Because that bomb has done something permanent and lasting and negative to that character. It might have killed them, it may leave them with emotional and physical scars.
Actions have consequences.
Oh hey! Action! Didn't see you there...let's talk about you some more.
So let's look at the action contract again and extend it.
In action fiction, violence can solve problems.
In action dramas, violence can solve problems but can also create lasting consequences to the characters (watchmen, MHA).
Most games with an "atomic" combat engine skew towards action comedies. Characters have tools that afford them resiliency and systems are discouraged from creating lasting consequences, bc it creates bad gameplay.
What I hope is that these frameworks help us build games and tell stories with intention and mindfulness
Again, not haha joke comedy: I mean violence without lasting consequence.
We can't have deeply changing characters who are weighed down by stress of the world in a light heroic jaunt.
We can't have juggernauts in a nuanced somber story.
We can have moments of drama in our comedy.
But we have to know which thing we are primarily so we understand the story we are telling.
What I am saying is that you can make a drama up to a point, and then the system will not support you.
And that is OK, because systems are trade-offs.
I'd rather have the thread be viewed as me saying to learn what you want in a story and find good ways to support your story.