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Primetime Adventures is the game for all the Aaron Spelling/David Chase/Marc Cherry/Joss Whedon types out there. The book has been one of the fabled RPG.net Darlings for quite some time, and when I saw the little blue book that I paid $22.50 for, I’ll admit, I was skeptical. While most of the small press games that I’ve picked up have been ok, I haven’t found anything that I’d want to play for more than one session.
Well, take me to the river, drop me in the water, and give me a pulpit.
The introduction is three-fold. It sets up the type of show that the author intends the game to model, it offers a short example of play, and it runs through a brief summary of play concepts. The author lists some of his favorite programs in this style but also cops to other shows being possible in a sidebar. This does a good job of establishing a relationship with the reader right off the bat, basically saying “These are the shows I want to be like, but your tastes are different.” The shows listed here fall under the ensemble/character-driven model, which generally care less about the plot from week to week and more about the character’s personal journeys and how they fare. People tune in because they like/hate specific characters and want to see what happens to them. While the game shoots for “dramatic ensemble” type shows like Lost or ER, an enterprising group could easily put together an idea for a sitcom or other such show.
The next chapter details how to create a series. The group sits down and hashes out what sort of show they want to do and one player is designated as the Producer/GM. I could easily see a game starting with each player coming to the table with some ideas for their shows, and the first part of the night’s session being what show goes on that night. The Producer figures out the Budget for the session, which is a rating of how much control he can try to have during a session. Once the tone and setting have been agreed upon, the rest of the players come up with the protagonists in the series. Each main character is defined by three traits: their Story Arc, Edges, and Connections. The Edges are the character’s schticks, and can be used to pull an extra card during conflicts. They are the character’s defining characteristic/concept, and as long as the Producer agrees, they can use it. Connections are supporting characters for that particular protagonist. The meat of the character is its Story Arc. The story arc is the issue that the character must resolve before the end of the series, and the story arc determines how much Screen Presence that character has in its episodes. A good ensemble features its castmates in different shows, and the player chooses right off the bat in what sessions they will shine and which they will support. The Story Arc is the Big Deal of PTA, and I really like the idea. In addition to giving the Producer ideas on how to pace the stories, it’s also a great way to help with those pesky scheduling problems that can derail games. Put those low Screen Presence days when you may not be in game. Also, the shows are set at a default 5 or 9 sessions, which is an amazing revelation; not all games are going to be epic 5-year campaigns. Five sessions lets everyone have a chance in the spotlight, and if the players really like a season, they can come back to a series later.
Creating an episode comes next. The chapter explains the basic mechanic, which I believe is slightly different from the original rules. The producer starts off with a scene that sets the episode’s plot in motion. Players take turns describing scenes that either develops the plot or develops the characters. Whenever a conflict arises, players draw cards, and the winner gets the conflict to go their way, but the high card gets to narrate. Players can also use Fan Mail, which are player-awarded bennies for good play, to get more cards. Whoever draws the high card narrates, which means that the person that wins isn’t always the person that says what happens either.
Advice on creating a season is last. Most GM advice sections concentrate on the specifics of a session and how to write good characters. This section talks about the importance of writing a series and how specific character arcs rise and fall. It also has a brief primer on TV writing and how to apply it to your RPG sessions. This is good advice for anyone trying to continue a long-term story and not just applicable to this specific game. The book ends with an appendix that has some more examples on how conflicts resolve, as well as some alternate methods for resolving them.
Pros:
Gilmore Girls-The RPG: Because the game makes everything about conflicts and has one set resolution system, PTA is able to branch out into genres that are underrepresented in the RPG world. The focus shifts from beating the bad guys to telling good stories.
Primetime Adventures…in d20: For folks unwilling to leave their favorite system behind, PTA can easily be adapted as a “dramatic editing” system that fits over top of the system. Players can use the main system for combat, skill checks, and what not, but leave the character development for the PTA system.
Look Ma, No Satan: This game also has the potential to bring in a lot of non-nerds into the hobby. At times it feels less like an RPG and more like an improv game and that’s not a bad thing. This is the perfect game for that person that wants to know what role-playing is but nods off as soon as you get into the different types of dice.
Cons:
Talking Heads: While there is a focus on character, the game doesn’t feel like as immersive as some games can be. Because you’re looking out for the best story, you might feel less of a connection to your character. Also, combat is reduced to one roll which may turn some players off.
A Few Good Nerds: A good GM and good players are always essential to having fun, but a game like this requires players that are good at thinking on their feet and not afraid to make stuff up out of whole cloth. Shy players may get intimidated by active ones and often times when players are given a looser leash things tend to get silly.
XP free: Many players like to see their characters advance, gain more power, and get higher stats. PTA has no XP to speak off, and resolving the characters issue might not be enough to satisfy this hunger.
The Bottom Line: This is the first RPG.net darling I can fully get behind.
Great for: Novice roleplayers, TV buffs, GMs of all stripes
