User:Didrik Stennes: Difference between revisions

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* '''[[Jane van Klaveren]]''', engineering officer assigned to [[Deep Space 224]]
* '''[[Jane van Klaveren]]''', engineering officer assigned to [[Deep Space 224]]
* '''[[Hamsan Dwich]]''', emergency medical technician assigned to {{USS|Resolution}}
* '''[[Hamsan Dwich]]''', emergency medical technician assigned to {{USS|Resolution}}
* '''[[Nash Blaxland]]''', a reporter for the [[Federation News Service]] based on [[Starbase 118]]
* '''[[Nash Blaxland]]''', reporter for the [[Federation News Service]] based on [[Starbase 118]]
 
* '''[[Kirky Bean]]''', shuttlecraft pilot assigned to {{USS|Resolution}}
=== Kirky Bean ===
* '''[[Didrik Stennes (alternate)]]''', from another timeline. (he not dead)
'''Kirkington Algernon-Greene Bean IV''' (born 20 May 2374), better known by the nickname '''Kirky''', is a human male noncommissioned officer in the Federation Starfleet, currently holding the rank of Petty Officer 2nd Class and serving as a shuttlecraft pilot aboard the {{USS|Resolution}}.
 
Kirky Bean was born and raised in Belgravia, London, Earth.  His parents are Kirkington Algernon Bean III and Gwathmey Perdita Bean (née Greene).  He has an older sister, Fenella Flora Bean-Ó Bríain, and a younger brother, Cornelius Tarquin Bean.
 
Kirky was educated at a grammar school before attending the University of Alpha Centauri, where he studied flight dynamics.  After graduating from university in 2396, he enlisted in Starfleet. He entered service at the rank of Petty Officer 3rd Class due to his university qualification, and was posted to Deep Space 224.  In June 2397, he was promoted to Petty Officer 2nd Class and transferred to the {{USS|Resolution}}.


==My general NPCs==
==My general NPCs==
These characters can be used by any player for any purpose:
These characters can be used by any player for any purpose:
* '''[[Liptin "Tina" Kuppasoop]]''', security officer assigned to [[Deep Space 224]].
* '''[[Tina Kuppasoop]]''', security officer assigned to [[Deep Space 224]].
* '''[[Sauerkreemin ch'Yves]]''', security officer assigned to [[Deep Space 224]].
* '''[[Sauerkreemin ch'Yves]]''', security officer assigned to [[Deep Space 224]].
* '''[[Kalarn'Dura Boops]]''', civilian living on [[Deep Space 224]].


==My MSNBCPNPCs==
==My MSNBCPNPCs==
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==Improv and simming==
==Improv and simming==
I teach and perform improv, and over the years I have found a lot of overlap between the skills of successful improvisers and successful simmers.  Here are a few bits and bobs I've collected about improv, which I think are relevant to simming as well:


Great improv comes from mutual discovery and surprise and the process of one character being affected by the other.  It never comes from drawing a bunch of dots on the stage and handing the other actor a crayon and expecting them to connect them in some crazy design you have mapped in your head.
===Radical collaboration===
 
* Great improv comes from mutual discovery and surprise and the process of one character being affected by the other.  It never comes from drawing a bunch of dots on the stage and handing the other actor a crayon and expecting them to connect them in some crazy design you have mapped in your head. ''—Ben Bowman''
Mark Sutton once quoted an old improv adage, “Bring a brick, not a cathedral.”
* When you play chess, you move your pawn first.  You have to.  The important pieces are held back, but they’re there.  How many chess games will you win if you make a ton of moves without checking what your opponent is doing?  Zero.  So make one move and check in.  And make your next move according to your partner’s first move. Just remember, it’s practically impossible to win without moving those big pieces at some point.  And no one wants to see a scene entirely of tiny pawn moves.  But your board must balance the other player.  Otherwise, one of you is going to get steamrolled.  And that’s a bad improv scene. ''—Ben Bowman''
 
[...]
 
When you play chess, you move your pawn first.  You have to.  The important pieces are held back, but they’re there.  How many chess games will you win if you make a ton of moves without checking what your opponent is doing?  Zero.  So make one move and check in.  And make your next move according to your partner’s first move.
 
Just remember, it’s practically impossible to win without moving those big pieces at some point.  And no one wants to see a scene entirely of tiny pawn moves.  But your board must balance the other player.  Otherwise, one of you is going to get steamrolled.  And that’s a bad improv scene.


–Ben Bowman
===Agreement and acceptance===
* We want to avoid conflict, debate and negotiation in our improv scenes. The audience knows we’re making it up – building something from nothing – they don’t want to see us arguing over imagined reality; they want to see us react to an accepted reality. What’s the best way to avoid arguing? Acceptance! Agreeing to a conflict-laden declaration is the easiest way to ensure a scene’s forward momentum.  ''—Patrick Gantz''

Revision as of 03:05, 16 June 2021

Saluton!

My PC

My previous PC

My PNPCs

My general NPCs

These characters can be used by any player for any purpose:

My MSNBCPNPCs

Improv and simming

I teach and perform improv, and over the years I have found a lot of overlap between the skills of successful improvisers and successful simmers. Here are a few bits and bobs I've collected about improv, which I think are relevant to simming as well:

Radical collaboration

  • Great improv comes from mutual discovery and surprise and the process of one character being affected by the other. It never comes from drawing a bunch of dots on the stage and handing the other actor a crayon and expecting them to connect them in some crazy design you have mapped in your head. —Ben Bowman
  • When you play chess, you move your pawn first. You have to. The important pieces are held back, but they’re there. How many chess games will you win if you make a ton of moves without checking what your opponent is doing? Zero. So make one move and check in. And make your next move according to your partner’s first move. Just remember, it’s practically impossible to win without moving those big pieces at some point. And no one wants to see a scene entirely of tiny pawn moves. But your board must balance the other player. Otherwise, one of you is going to get steamrolled. And that’s a bad improv scene. —Ben Bowman

Agreement and acceptance

  • We want to avoid conflict, debate and negotiation in our improv scenes. The audience knows we’re making it up – building something from nothing – they don’t want to see us arguing over imagined reality; they want to see us react to an accepted reality. What’s the best way to avoid arguing? Acceptance! Agreeing to a conflict-laden declaration is the easiest way to ensure a scene’s forward momentum. —Patrick Gantz
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