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It follows this previous piece: A PbtA Thought Experiment: On a Miss.

Prelim 1. John Harper’s “Crossing the Line”

Way, way back in the first days of PbtA, literally in 2010, John Harper wrote about custom moves “crossing the line”. Says John:

MC: “Nero, what do the slave traders use for barter?”
Player: “Oh man, those [bleep]? They use human ears.”

That’s a case of the player authoring part of the world outside their character, however — and this is critical — they do it from within their character’s experience and frame of reference. When Nero answers that question, he’s telling something he knows about the world.

Compare that exchange with this one, which is crossing the line:

MC: “Okay, Nero, so you get the box of barter away from the slave traders and haul into the back of the truck.”
Player: “Cool. I open it up.”
MC: “Okay. What do you see when you open it?”
Player: “Um… uh, a bunch of severed fingers?”

See the difference? In the first case, the MC is addressing the character and asking about some knowledge he has. In the second case, the MC is fully turning over authorship of the world in-the-moment to the player, which is not part of the player role in AW.

Prelim 2. My 3rd Trick for Drafting Moves

A decade and change later, I wrote out my 6 best tricks for drafting moves. Here’s #3 of 6:

Hand Over Decision Making

Every move’s a question: who asks it, and who answers it?

One conventional interpretation of PbtA moves goes like this: “In general, on a 10+, you decide. On a miss, the GM decides. On a 7-9, you compromise with the GM.” While there are moves that work this way, of course, it’s not the general rule and it hardly covers the possibilities.

For any given move in action, there might be, let’s say, six different parties who can make decisions:

1. The player making the move.
2. The GM.
3. The other player who’s involved, if there is one (the GM for NPCs, another player for other PCs).
4. A specific other player who isn’t involved with the move.
5. The other players who aren’t involved, collectively.
6. The entire table, including the uninvolved players, the GM, and the involved players all.

You can completely change the quality of a decision by changing who makes it. Think of it as, whose best interests does the move treat as paramount? Whose does it weigh?

I then go on to talk about handing decisions to the proper person, basically following John’s point: the player decides their own character’s actions and choices, the GM decides their NPCs’ and the world’s, and the other players decide theirs’.

The Complicating Factor

Taken together, they seem straightforward. Moves should have me make decisions about what’s within my scope, they should have you make decisions about what’s within your scope, and they should have the GM make decisions about what’s within theirs.

The complicating factor is this: moves carry us over a different line, the line from action to outcome. Outcomes aren’t cleanly within anyone’s scope, they’re made of my character’s actions, yours’, and the GM’s, in inextricable conflict and contact with one another.

For example, let’s take Apocalypse World 3rd Ed’s move attack someone:

Apocalypse World 3rd Ed: Attack Someone

When you attack someone, roll+Hard. On any hit, you inflict harm as established. On a 10+, choose 3 options against your enemy as well. On a 7–9, choose 2.

• Inflict terrible harm: You inflict +1harm.
• Seize hold of something: Name it; you have definite hold of it.
• Get them out of your way: You knock them down, drive them away, or fight past them.
• Impress, frighten, or dismay them: Ask the MC how this changes their morale and intentions.
• Pin them down: They’re immobilized, cornered, or boxed in, and can’t move freely.

On a miss, the MC will tell you what. They might have you choose 1 anyway, but be prepared for the worst.

By having you, the attacker, choose the outcome options, the game puts it forward that when you inflict terrible harm, that’s a choice that your character makes — to concentrate fire, for instance — not a choice that your target makes, to expose themself to your attack somehow. When you seize hold of something, the game says, you choose to seize it, your enemy doesn’t choose to relinquish it to you. You choose to knock them down, drive them away, or pass them by, they don’t choose to give ground in front of you.

In the process of carrying us through from action to outcome, the game says that the outcome falls on your side of the line, not on my side of the line. It says that you’re in control, your choices are paramount.

This is what the game says! It might have said the opposite instead.

The Thought Experiment

So how about we give my 3rd trick a serious go.

I’m going to take a selection of moves from across our various PbtA games, starting with some of Apocalypse World 3rd Ed’s basic moves, and rewrite them to change who’s in control of the outcomes. Let’s see how they turn out!

Apocalypse World 3rd Ed: Attack Someone

When you attack someone, roll+Hard. On any hit, you inflict harm as established. On a 10+, choose 3 options against your enemy as well your enemy has to choose 3 options to suffer. On a 7–9, choose 2 they have to choose 2.

• You inflict terrible harm: They suffer +1harm.
• They relinquish something to you: You name it; they give it up to you.
• They get out of your way: You knock them down, drive them away, or fight past them.
• You impress, frighten, or dismay them: They say how this changes their morale and intentions.
• You pin them down: They’re immobilized, cornered, or boxed in, and can’t move freely.
  [options rewritten, compare above]

On a miss, the MC will tell ask you what. They might have you your enemy choose 1 anyway, but be prepared for the worst.

In this version of attacking someone, instead of your seizing something from your enemy, they relinquish it; instead of your controlling their movement, they submit their movement to you; instead of your being impressive or frightening, they find you impressive or frightening.

Apocalypse World 3rd Ed: Act Under Fire

When you act under fire, stick to your guns, or hold it together under duress, be prepared to suffer harm if appropriate, and roll+Cool. On a 10+, you’re solid. You stand or you follow through without flinching or hesitating. Ask the MC how it goes. On a 7–9, you flinch, hesitate, waver, or stall. Choose which, and ask the MC what it costs you or what your options are. The MC chooses which. Tell the MC what it costs you or what your options are now, having faltered. On a miss, the MC will tell you what.

In this version of acting under fire, on a 7–9, you don’t choose whether you flinch, hesitate, or stall, the MC does, and you decide what that means.

Apocalypse World 3rd Ed: Read a Person

When you read someone in a charged interaction, roll+Sharp. At any time during your interaction, you can pause to ask them a question: they can pause to tell you something that your character realizes about theirs. They have to answer frankly. On a 10+, ask 3 they should choose 3 in total. On a 7–9, ask 2 they should choose 2 in total.

• You realize that I’m lying / you realize that I’m telling the truth. (How can you tell?)
• You realize that I’m feeling [x]. (How can you tell?)
• You realize that I’m thinking of doing [x]. (How can you tell?)
• You realize that I hope you’ll do [x]. (How can you tell?)
• You realize that I’m vulnerable to you in [x] way. (How can you tell?)
• You realize that to get me to do [x], you’d have to do [x]. (How can you tell?)
  [options rewritten]

On a miss, the MC will tell you what. They might have you ask your counterpart choose 1 anyway, but be prepared for the worst.

In this version of reading a person, you don’t choose what you’re interested in learning about them, they choose what to reveal to you.

Apocalypse World 3rd Ed: Live Day to Day

At the beginning of the session, or when there’s a break in play, roll+Barter. On a 10+, ask the MC what’s free and what’s easy the MC describes the situation you’re in now, and asks you: Where do you feel free? What’s easy for you in this situation? On a 7–9, ask what’s easy and what’s hard they ask instead: What’s easy for you, and what are you finding hard? On a miss, ask what’s hard and what’s impossible they ask: what’s hard for you, and what are you finding impossible? If you’re the MC’s interested in a specific resource, you can ask the MC they should ask you about it specifically.

In this version of living day to day, the MC doesn’t tell you what’s free, easy, hard, impossible to get, you tell the MC what you’re finding free, easy, hard, or impossible.

Warriors of the World Ablaze: The Axe King’s Spell-Crowned

Spell-Crowned: When you cast a spell, you can pay for it with the luck and vitality of your holding. To pay for 1 degree of sorcerous power, choose 1 the MC chooses 1 of your holding’s wants; it comes true. You also gain these spells, and the standard move sorcery:

The Storm-Spell: Cast this spell to summon a violent and unnatural storm, no matter how clear the sky. For each degree of sorcerous power, the storm rages for 1 hour, and works 1 transformation upon the landscape. Choose the effect with the MC, following the rules for extreme weather.

The War-Spell: Cast this spell upon warriors you’re leading or accompanying into battle. For each degree of sorcerous power, they gain +1harm or +1armor, your choice their choice.

In this version of Spell-Crowned, the MC chooses which of your holding’s wants come true, not you. In this version of the War-Spell, your warriors choose the benefit of the spell, not you.

Warriors of the World Ablaze: The Gutter Jay’s Charming

Charming: When you have a safe moment with someone, you can draw them out or draw them in. Roll+Cool. On a 10+, choose 3 they choose 3. On a 7–9, choose 2 they choose 2. Either way, if they don’t respond as you hoped, take +1forward against them.

• I find them enticing. Will they welcome me closer?
• I want to laugh, joke, sport with them. Will they let down their guard?
• I want to feel safe with them. Will they show themself calm, easy, kind?
• I want to know them better. Will they open up to me?
• I want to be myself with them, not put on a show. Will they take time to listen to me?
• I find them diverting, for now. What will they do to keep my interest?

• They welcome you closer. Do you find them enticing?
• They let down their guard. Will you laugh, joke, sport with them?
• They show themself calm, easy, kind. Do you feel safe with them?
• They open up to you. Do you want to know them better?
• They take time to listen to you. Do you want to be yourself with them, not put on a show?
• They do [x] to keep your interest. Do you find them diverting, at least for now?

On a miss, choose 1 they choose 1 anyway, but your attention wanders. Ask how they take it.

In this version of Charming, instead of revealing your interest and hoping your counterpart will open up to you, your counterpart invites you closer and hopes you’ll respond.

The Demon Tree: Prepare Yourself

You don’t need the initiative to prepare yourself.

When you prepare yourself for what’s coming, roll your best quality. On 10+, you’re prepared to do anything. On 7–9, choose 2 have the GM choose 2 for you. On a miss, choose 1 have the GM choose 1:

• I’m ready to strike.
• I’m ready to defend myself.
• I’m ready to run.
• I’m ready to act.
• I’m ready to face [x].
• I’m ready to do [x].
• I’m ready to learn.

When you get the initiative, if you do what you’re prepared to do, you have an edge (+1 die).

In this version of preparing yourself, the GM chooses what you can ready yourself to do. (This one doesn’t quite respect John Harper’s line like the rest do. You might find it a little intrusive for the GM to tell you that your character’s ready to run but not to defend themself.)

The Demon Tree: The Pixie’s Commune with Unseen Beings

Commune with unseen beings: Choose one of the following. Announce that you’re calling upon unseen beings to commune with you and have the GM choose one of the following. They come to you wherever you are. Spend time with them, rolling Uncanny instead of Patient.
• The Clever Fox, learned in the ways of man.
• An old War-Crow, made of soot and iron.
• The twin spirits, River and Breeze, excitable and short-tempered.
• An elder of your kind, as old as the Living World.
• The Green Gardener, who plants the grass and waters the trees.
• The remains of the first mortal thing.
• A newborn thing, body of soft wax and head of twinkling flame.

In this version of communing with unseen beings, you don’t choose who you’re seeking out, the GM chooses who answers your call.

Under Hollow Hills: Put Someone Off

When you put someone off, roll. On any hit, they must back off and give you time and space you’re able to seize time and space for yourself. On a 10+ hit, they have to physically leave or let you leave yourself you can drive them away, or get away from them yourself. On a 7–9 hit, they can remain nearby, if they choose, and follow along behind you if you leave you can’t drive them far, or if you leave, they can follow along behind, but at least you have a moment. On a miss, ask the MC what goes wrong. Perhaps you’ve insulted them. You can insult them if you like.

In this version of putting someone off, the difference is small, but I think the tone has you more besieged and harried than the original, wouldn’t you say?

Under Hollow Hills: The Dancing Bear’s Chew Someone Up

When you chew someone up, roll. On any hit, they have one chance: go limp, play dead, and stay that way. If they do, you decide whether to chew them up anyway, or lose interest in them. Before they choose, tell them: if they do, will you chew them up anyway, or will you lose interest in them? On a 10+ hit, you kill them. On a 7–9 hit, you wound them terribly and leave them for dead. On a miss, you gnaw their arms, bruise their ribs, and destroy their clothing, but they’ll walk away.

In this version of chewing someone up, the same people get to make the same decisions, but you have to choose and commit to how you’ll respond to their choice before they make it.

Under Hollow Hills: The Crooked Wand’s Lay Someone Bare

When you lay someone bare, roll. On any hit, you reveal something to them, about them. On a 10+ hit, choose 2 they choose 2. On a 7–9 hit, choose 1 they choose 1.

• You reveal to them their secret heart.
• You reveal to them the hearts and natures of those nearest to them.
• You reveal to them their best way forward.
• You reveal to them their lost past.

Whichever you choose, you don’t know what they learn, but ask them how they react to the revelation. However, if you have a glass, a basin, or an oracle to read, you can catch a shadow or a mirror image of their revelation. Ask them what you see.

On a miss, choose 1 anyway they choose 1 anyway, but in the act, you lay yourself bare as well. The MC chooses 1 against you, and asks you how you react in turn. Choose 1 for yourself. Don’t reveal what you realize, but do say how you react to realizing it.

In this version of laying someone bare, they choose the topic that interests them — their own secret heart, the people nearest to them, their best way forward, their lost past — instead of leaving that decision to you.

Thoughts?

I hope you can see the difference between who controls the outcome and crossing the line. In these versions of the moves, I’ve tried very hard to keep the line intact. You’re still making your own decisions from your own character’s point of view, and I’m still making mine from mine, but where your decisions were paramount before, now mine are, and where mine were, now yours are. I hope that’s clear.

Some of these moves could be swapped and gameplay would barely change, like the Dancing Bear’s move Chew Someone Up, the Axe King’s move Spell-Crowned, maybe even acting under fire. Others represent a pretty significant shift in opportunity and power dynamics, like attacking someone, reading a person, the Gutter Jay’s move Charming. I’d even consider the revised moves to be new, separate moves, useful to keep in mind for different playbooks or different games.

How about you? Any observations?