Chongs Roleplaying Guide

All credit of this guide goes to Chong of Avatarspirit.net.

Alright, I figured that this forum could use some major help with those members who are "Roleplay Challenged". One-liners, beleive it or not, are against forum rules. I've decided to make this topic and offer help to those who need it. The lovely Yuko and I have had a long standing scale of roleplaying abilites, ranked from one to eight. We've used it on other sites, and it has proven most successful. The main idea of this topic is not to shun those who cannot post from ever roleplaying again, but more to assist you in basic posting skills. Consider this like roleplaying school.

I now welcome you to:

Chong's Roleplaying Guide for Dummies

Roleplaying isn't that much different from story writing. In fact, some stories are actually based off of roleplays. In order to be a good role player, basic skills are needed. This includes; basic typing skills [learning the setup of the keyboard can drastically change your abilities. Currently, I can type over 150 WPM, and that is only with half a semester of touch typing under my belt.], grammar skills [you need to learn how to use abbreviations properly, and spelling, unfortunately, does count sometimes. The occasional misspelled word won't kill anyone, bt rly bad tping can mke ppl md >{ syrsly....], and a good attitude [A positive attitude is key. Don't let bad life experiences affect your characters].

And now I proudly present: THE ROLEPLAYING SCALE

Level One: Basic role playing, simple, not very detailed, minimal information used. EX:

*runs in and says hi*

Level Two:

*walks into the room, looks around, smiling at everyone present* Hello

Level Three: No stars used for actions, however, lax spelling, no punctuation, small, "one-liners". EX:

suzie walks into the room and looks at all the people there. "hi guys!"

Level Four: Slightly more complex, involves grammar input, and proper spelling. However, posts are still within "One liner range". EX:

Suzie enters the room, and looks around. "Hey everyone!" She says smiling.

Level Five: One liners are gone, the begining of full paragraphs starts. Third to last level. Classification: Short Story. EX:

Laura walks into the room. Her hair is tied back and her dress is ironed. She smiles at Kate and walks over to her friend. "Hey Kate!" She says, smiling brightly.


Level Six: No more single paragraphs, proper punctuation, uses smaller font, fills up at least two paragraphs worth of information. Classification: Story. DETAILS!!!!! EX:

Sakura entered the room wearing a red shirt with matching blood red pants. She sighed as she took off her heavy, red jacket. Her feet were sore with walking around town all day and she had to work late tonight.

Sakura walked up to her bedroom on the second floor, opening the door slowly. Why was she so scared? The old mansion wasn't creepy! It was her little heaven. She turned on the light and sat on her bed, falling back to stare at the ceiling.


Level Seven: Perfect roleplaying, accute details, almost Novel Worthy. Classification: NOVEL!!! Ex:

Ka-thunk

"We see here in this diagram that Stonehenge might have actually been used as a giant clock..."

Ka-thunk

"It has been around since ancient times. Here is an artist's rendering of what Stonehenge could have looked like..."

Ka-thunk

The professor paused and glared up at one of the students in the back row. He had been repeatedly hitting his head on the desk before him. The other students in Professor Marsh's History class turned to look at none other than James Emrys. He was a thin young man with dark black tresses that were pulled back into a ponytail that reached the nape of his neck. His eyes were a brilliant shade of blue, and would have been thought of as attractive, had they not been hidden behind a pair of thick-rimmed glasses. James was a twenty-year-old who cared absolutely nothing of his appearance. It was amazing that he was Lyndon Emry's grandson, and the heir appearent to the Emrys Mall chain which ran from northern England, all the way to the southern tip of the island country.

"Is my lecture boring you, Mister Emrys?" The professor asked icily, studying the boy with dark green eyes. James looked up, as though he didn't notice he was the center of attention. Actually, James hated attention. He was just banging his head on the desk because it seemed like the most entertaining thing to do during the lecture. Of course, any of his classmates would tell you that getting a root canal would be more welcome then listening to any of Professor Marsh's lectures.

James sighed, weighing his options. He could tell the professor exactly what was on his mind and be something of a hero to the night class, or he could just smile and say nothing was wrong. He looked thoughtful for a moment, then smirked. "Your class is horrible. You're getting all your facts wrong and quite frankly, your voice is enough to put someone to sleep with just two words." He stated confidently.

Marsh was not happy. "Now see here-" James slammed his head onto the desk again, this time making loud snoring noises, as though he had been bored to sleep. The class laughed and James rose to his feet, throwing on his coat and picking up his books. "Good night sir." He said cheerily, exiting the room. James wasn't really a geek, but if you could judge him by looking at him, you would be able to tell he wasn't exactly the most popular kid around.


Level Eight: Absolutely marvelous posting, extreme attention to detail and a glorious explination of anything and everything going on with the character. Classification: OMFG! EX:

Hikari exhaled sharply as he brought his shinai sharply downward, letting the flow of his energies, his ki to flow through him to the tip of the bamboo sword. He wasn't fighting anyone, he wasn't even in any danger remotely. The most threatening thing in the room would have to be the bugs that occasionally got into the house. Hikari wasn't in his own home, at least, not the home he grew up in. The house he lived in now belonged to the only adult he ever really spoke to, his foster father, Gabe Moon. Hikari had an immediate liking of the man from the moment he met him at his mother's grave. That was back when he liked to call himself 'Spike'. He was beyond such childish frivolity now. Hikari was in the double digits, now no single digit would represent his age. He was ten, although judging from his character, one might consider his temperament to be that of a boy six years his senior.

Hikari was disciplined, and he had concentration, unlike other children his age. He was trained in the ways of martial arts, he knew how to behave well and hold his tounge. Not that he needed any practice in the manner. Hikari was silent, almost all the time. He only spoke to someone if he felt he could trust them. He was still trying to figure that out. How did he know, just who to trust? When he first met Gabe, he didn't even know the man. But he had this feeling that he was good. Maybe it was just his childish mind caught in the haze of fantasy. He was beyond that now. Hikari was intelligent, and he knew it quite well. He enjoyed reading, preferally books about history. One could always learn from past mistakes. History had a way of repeating itself. Hikari wanted to make sure that he never made the same mistakes as his forebears.

Thinking of those who came before him brought his mother to mind. She had been an Auror, Quidditch hero, and according to some, a murderer. He doubted his mother would have killed someone. Alyssa had always told him about how his mother thought it was pointless to take a life, and she never did so. Unfortunately, this practice eventually cost her own. He never knew her, but he did know her voice. It was stored away in his subconscious, and occasionally came through in dreams, or whenever he read his special copy of Goodnight Moon. The book was for toddlers, but Hikari was very fond of it. Whenever he opened it and looked at the words, his mother's voice would read it in his mind. It was a special enchantment that Gabe had placed on it at their meeting.

He remembered what he told Gabe about his mother that day. "She's sleeping." He had said, with childish foolishness. Well, he was a fool no longer. Hikari had a mind as sharp as a katana. He let his sword fall along with his arm, completing perhaps the hundredth strike in a row. His muscles seemed to act almost automatically, letting his mind wander. Muscle memory it was called. The mind might forget an action eventually, but the body would take some time to forget. Some doctors thought that the body never forgot.

Hikari climbed the stairs of the split-level house, making his way to the room which had recently been thrown together for him. He and Gabe were going to paint it sometime this week, but his foster father had been working a few extra shifts so that he could take an entire weekend off for Hikari. He looked around the room, the walls were white, and the floor was wooden. His makeshift bed consisted of a mattress on the hardwood floor. He liked it better that way. Then again, he had spent most of his nights in a futon, back when Alyssa was still around. He still missed her terribly, but he knew she would never come back. Nothing had the power to bring back the dead.

He looked outside to the starlit night outside his window. Then his eyes trailed down to the clock he kept by his bed. Ten o'clock. He had better get to sleep soon. His body was going to need rest. He had to train some more in the morning, then he was going to go to the local library and do some more reading. Hikari was on the same reading level as most ninth-graders, despite his young age. He had an eager thirst for information, and enjoyed reading. If he didn't understand a word, he used the surrounding sentences to figure what the word meant. Hikari felt a sudden wave of tiredness wash over him. Perhaps the sight of his bed triggered it. He set his shinai by the bedside and plopped onto the mattress, still in his tee shirt and shorts. He closed his dark eyes and let the sweet serenity of sleep wash over him.

Let's break things down a bit. One of Yuko's friends also assisted us in this setup, and she provided a workshop and analysis on the different roleplaying levels. These tips just might help you improve your roleplaying. Take a look at them. If they don't cover it, feel free to ask questions, it's always good to ask.


Lvl 1:
Ex: *runs in and says hi*
--- Analysis:
This would be a prime example of what is known as a 'one liner'. Bare minimum in action, bare minimum in description and well... bare minimim in everything. Asterisks are used to indicate action, something that shows that the specified person is in a beginning sort of stage in Roleplaying and taking after the ones in chatrooms. There is of course a large difference from forum RPs and the chatrooms.

--- Workshop:
First off, there is literally no grammar in this post. I'm not too sure to even call it a 'post' as it is a single sentence. Ways to improve would be to get rid of the astrisks (*) which is an idicator of action. In a literate roleplay, it is commonly accepted to at least have no markers for actions and quotations ("") for dialogue. An idea is to take the running in phrase and elaborate on how the specified person ran in. Of course it would be a good idea to go add a name of the person (especially if this is a first post, or if you're like me hold off on name usage and use it later when other characters demand that one uses a name), imagine the scene in your head. What does this room look like? Why do you run in? Who is there to say hi? and so forth and so on.

Lvl 2:
Ex: *walks into the room, looks around, smiling at everyone present* Hello

--- Analysis:
Ok, a bit more control over the character now. Though once again, no name, we can't tell if this is a chick or a dude. There isn't too much grammar control either. Suggestion would be of course just to not be so lazy. Capitalize sentence beginnings and names. At least there is a distinction between dialogue and action.

--- Workshop:
Obviously still transitioning out of the 'n00b' phase. Still could use some more detail. Quotations for dialogue. Who he or she is talking to, ect ect. All these could be used towards lengthening your post without having too much suplerfluous information.

Lvl 3:
Ex: suzie walks into teh room and looks at all the ppl there. "hi guys!"

--- Analysis:
The control is at least improving. Spelling and grammar could use some work. No capitlization, and still little detail. There is a name so we know who the character is. Still very little detail in the writing.

--- Workshop:
Well first of all, I would have hoped that the person would have at least gotten rid of the spelling errors. This isn't a chatroom, it is a Roleplay. This is a story, not some random actions that you're taking. You are no longer yourself, thus you should describe to other people what this character of yours is doing.


Lvl 4:
Ex. Suzie enters the room, and looks around. "Hey everyone!" She says smiling.

--- Analysis:
We've got proper spelling, proper grammar and punctuation. There are character names now and actions that are definate.

--- Workshop:
Still could use some deatail. We know now who the character is talking to, what she is doing and ect. But we still do not know why or how she does it. The character just does. Try to add some more info into the paragraphs.

FAQ

Frequently Asked Questions

If the above posts left you high and dry, then try these on for size:

Q: I don't have the time to post stuff like this, I type slow and the roleplay moves too fast.

A: Try telling the people in the roleplay that you need some time to come up with a post, ask them to slow down a bit. The only reason roleplays move as fast as they do, is because people are all posting one-liners, seemingly in a race to get their post in before the next one counteracts it. If all else fails, leave the roleplay, and try a slower paced one.


Q: That's too much to type! No one will spend their time reading that!

A: On the contrary. People take notice when you put forth effort in a roleplay. I've noticed a few users seeming to up their posting standards, and I have complimented on that. I myself am considered quite the skilled poster. Besides, it's about quality not quantitiy. Pace yourself, a good post does not come easy.


Q: I can't think of anything to post, my character is doing nothing!

A: There is only one way a character does absolutely nothing, and that is if they are dead. Then again, even if your character is dead, you can at least milk a paragraph out of it. If your character is alone, have them sleep and write up a dream for them. If it is daytime and they aren't sleepy, have them look over their memories or something, studying the scenery is always a good backup plan. Your character can play with their hair, count breaths, so many things! Just think of what you do when you're alone and bored, and apply it to your character.

Now we come to the post about making roleplays. You can't just slap a post up with a sheet and everything and pass it off as a roleplay. You need structure and a backstory to go along with it. We turn once again to Yuko's friend for advice...

Inuko's Topic Tips

Introduction:

The word 'plot' comes to mind when one starts writing a story, a roleplay, a screen play, a play, anything that involves story. But to many people who write, it normally only gives the idea of what is going to happen, the setting, the events and so forth. Many people forget that it is the characters that foreward the plot, they are the things that set everything in motion.

Plot does not magically appear with the creation of a character; Frankenstein's monster might open his eyes, but until he gets up from the table and does something, there is little basis for a plot. Plot comes with your characters' taking action; with their interaction with others; with their traits being applied to imagined scenarios. This preparation was crucial, but unfortunately your task doesn't end there. On the contrary, it's just beginning. Now it's time to consider a whole new set of issues as you let your characters help you create your plot, as you begin to weave the endlessly rich and complicated tapestry of character interaction.

The characters have their own mind. Their mind is not your own, they are the figments of everything that you wish that you could be, but also the figments of everything you resent. Characters are reflections of your own heart, your own feelings. Everything that you could ever imagine could go to your characters.

Some people, may take that to the extreme and make everything they wish come true. Thus resulting in a character known to many-a-RPer as a "mary Sue". Some take it the other way and make it everything that they have always resented, thus making it a character that is challenging to RP and thus resulting in a very bad character.

Much of the time though, I see many a character with a short biography. Many times I see the "Not much is known." Line typed along the paragraphs known as the biography. If not that it is the lines of "_____ cannot remember anything about his/her past." _____ being the character name. Even if they cannot remember, it is possible that figments of the memories can be unearthed in the character's life before the Role Play has started. It would be crucial to know when that character's memory has stopped, thus they would not forever be in a constant state of amesia. That would be a horror.

This guide is more questions than it is answers. It is a way for you to look deeper into the mind of your characters. Sit down to drink tea with them, and find out more about them. Your characters are alive, they are living breathing people, it is your job to make them known.


Characterization: The Outer Life

Your character, their life, what they do, where they live, how they interact with other people, all of these things are crucial to who your character is in the end. Are they a shoplifter living in a modern day busy urban city? Or are they a stealthy ninja of the ancient days. Any of these professions should fit the time and age of the plot.

The character is a person, someone who is living in the scene given to you in a roleplay. They reside in a world that is figmented from imagination and thus their actions are not real, but should be rational enough to be believable. For example, there should not be a samurai with say shuriken, that is orthodox to what the samurai code is. Ninjas are characters of stealth, thus the weapons that they carry and their style of life are completely different from any other person of a different social status.

One day, you should sit down with your character, learn the aspects of their lives, do they have a job? Are they beautiful? What makes them tick? Do they live in an apartment? A rundown shack? A hand made home? In a small village? Or perhaps in an urban city in a penthouse? Are they well liked in society? Or are they shunned by everyone that they know? Does your character constantly put on a proud air? Or do they seem to be down all the time.

The character's life is a story within it self and it is what supplies the plot twists in the story. Perhaps there is something in the character's normal mundane life that changed drastically so that they are now on a journey (chapter 4: The Journey) and search for the opposing force (Chatper 6: Conflict.). Or perhaps something good happens in the character's life but the character has yet to find out what it is, thus suspense is applied (Chapter 5: Suspense).

In the end, it is the character and the mundane life that he or she leads that slowly forewards the plot. Many little things happen over the time and soon lead over to bigger things. The young child who was born being blind who slowly learns how to read things in the enviroment but still stumbles one day is suddenly brought to the world of sight through some miracle from a lightning strike that corrected the ever dark cloud of the child's world. The young employee who has been diligently working since being hired is one day promoted.

Everything leads to one thing to another, without the little things in the outside life, the plot seems choppy. The character's bio should be a combination of the little things as well as the larger aspects of his/her life.

Appearance, one thing that many people take for granted. Many people do not expect a girl to dress up like a male, but perhaps there is something in the past that has made the female dress the way that she does (Chapter 2: Characterization: The Inner Life). Appearance is sometimes over done, and all the Roleplayer will rely on is the look of the character. Appearance is important, yes, but it is not the core of the chracter.

The looks of the character reflect the type of enviroment that a character has grown up in. Are they tanned from hard work outside? Or are they pale from being an aristocrat? Is the character a hardfaced and gloomy character from being abused a a child? Or are they a quiet, quaint and innocent little girl who has been pampered all their life. Appearance is the mirror reflection of a character's personality.

Many times, I have seen a character who will not reveal the past in the biography section for the sake of the roleplay. I find this aspect slightly aggrivating as the characters themselves do not know anything about the other characters. They have yet to meet the characters that populate the roleplay. They have always lived in the little circle of people that they have grown up around. Anything that the creator writes is information that they know alone, and just because other character players are able to read it, it does not neccessarily mean that the characters themselves know the same information that the player knows.

In the end, this chapter is to highlight the outward appearance that characters give off, their aura, their charisma around people and what people view of them.

Characterization: The Inner Life

A character's outward personality may differ from the inner personality. The side of the character that not everyone sees. This is the facet of the dynamic character that is thier inner self, the core in which all reactions take place.

All their thoughts of life and their view are through the inner life. The character's mind works differently than the player's. They are a completely different entity from you all together.

A point of of the inner life that many people displace is religion. Homage to a deity can be a strong point to the character as this brings in their moral standards. Dependant on how strongly they believe in their deity of choice, the actions of the character may change through time.

Inner personality is also the side of the character that many characters show with their closest relatives. It is the side that is hidden behind the facade that society forces people to take on. The fake personality wears away to reveal someone who's view of life is very different from the one that they show to the public.

Characters that are always smiling, always cheerful, could hold pain within them that they don't want others to find out in fear of being pampered over. The gloomy, silent character that doesn't want to talk to anyone could be the same one who has suffered through mental abuse from parents and feel as though they cannot trust anyone, but in truth, he/she only wishes to be accepted.

Take your character's outside personality, and think of why they act that way. Perhaps it is their past, perhaps it is their outlook of life, or perhaps it is their moral. People are people afterall, they have sides to them that even they are afraid of, do not fear that side as your characters do, instead, embrace them as a gift to bring forth more hidden plot lines.


Applied Characterization

A few issues to consider:

Entrances and Exits

Entrances and exits have power. In the famous shower scene in Psycho, what makes her murder shocking is not the actual stabbing but the fact that our protagonist, unexpectedly, is yanked off stage early in the film. The antagonists in Silence of the Lambs and in Flannery O'Connor's "A Good Man is Hard to Find" gain their frightening power by not making their appearances until the very end. Conversely, in The Dinner Game a character who should exit in the first act lingers on; it becomes the gimmick of the film and lends it humor. When does your character first appear? On page 1? Page 50? The very end? What would happen if he appeared later? Earlier? Conversely, when does he exit? What would happen if he exited earlier? Later?

Perception and Reaction

Two men stand in line at a bank at 2:50pm.

The first, anticipating the long lines before closing, has brought a book to read, and waits contentedly. He looks up from time to time, sees the tellers are working as hard as they can, that they are at the end of a long day, and feels sympathy for them. He thinks of how when it's his turn he'll apologize for keeping them late, complement them on their work, and show his gratitude before leaving.

The second, needing to be somewhere else by 3:00pm, stands on the line fidgeting, fuming and complaining to anyone he can find. He glares at the tellers. He sees them as privileged, getting to sit comfortably under air conditioning on this boiling day and call it a day by 3pm. He sees them as lazy, stupid, too incompetent to count money efficiently and hasten their customers off the line-in fact, he's sure that they are deliberately stretching out their customers, so as to not have to deal with as many people and perhaps to even shut down the bank before he personally can get his turn. He catches one looking back at him and is now positive they are all doing this just to spite him. Knowing he is being publicly made a fool of, he is now indignant, furious. He thinks of how he'll chastise them when it's his turn, really let them have it before he leaves.

In actuality, these two men are in the exact same circumstance. It is their perceptions of and reactions to the circumstance that differ.

Ultimately, events and circumstance are not half as important as how characters perceive and react to them. Before you put your character into your story (where events and other characters are constantly changing), you must first get a handle on how your character might perceive and react to the world around him. You must keep this in mind constantly as you go. For instance, characters can perceive themselves as acting one way when in fact they are acting another. It is not uncommon in life for people to feel as if they are acting kindly while all the while treating other people harshly. The abusive boss, or abusive spouse, will not consider himself abusive, for if he did he wouldn't be able to live with himself; or, he might have a glimmer of his own abusiveness, but he might justify it to himself (i.e. the worker deserved it). Indeed, a discrepancy between a character's inner dialogue and his actions is a powerful tool to show a character out of touch with himself.

Of course, a character's perception becomes a thousand times more relevant-can indeed define the entire work-if he happens to be the narrator or viewpoint character.

Through Others' Eyes

Sadly enough, consciously or not, we often look to see how people are treated by others to take our cue on how we should treat them. If we enter a room where everyone is bowing to a king, we will probably do the same; if we enter a town where people are keeping their distance from a mumbling, village outcast, we will probably do the same. This is what can make for a "mob mentality," where, if caught up in an angry, impassioned mob, you will likely allow yourself to become caught up in their cause, even if you are barely sure what it is.

This insidious human trait can rear its head in much less extreme, everyday situations, and often does: let's say it is your first day in a new school or office, and you observe everyone avoiding or mocking a certain person; you, likely, will avoid him, too, if for no other reason than not to be associated with him. Conversely, you will also take cues on who to respect, and might look to become closer to such a person, if for no other reason than others might then respect you, too. When you are more comfortable, and have been around the new environment for a while, you might take a step back from the mass consciousness and make decisions for yourself, even if they go against the grain, and decide the universal weirdo is not weird after all, and perhaps even befriend him. But on that first day, overwhelmed with people to meet, you make instant decisions, as the only possible way to make distinctions. You are vulnerable to the perceptions of the masses.

Thus, your interactions of the personality that you had put together in the first two chapters makes the character come alive through the perception that he or she has to the world. How he or she reacts to the enviroment around him or her and his or her attitude towards other people. It is the persona of the character that matters in this chapter and the actions that flow along with the plot.


The Journey

The journey is the part of the character that is their goal. It can be an actual traveling adventure or it could be a journey of the soul towards maturity. The journey is the part that the character grows into, it is the point of the character that creates the suspense later on in the story (Chapter 5: suspense) if the character is near death or in a situation in which the journey could not be completed.

More or less, the journey is the changes that the character undertakes while within the roleplay. It is difficult for a character through several hundred pages (if applicable) to be the same exact person that he or she was in the beginning. Thus, it is the journey of the mind, the body, and the soul.


Suspense and Conflict

The character's life is always full of suspense. Whether it be passing a test or being able to help his wounded comrad in battle. Suspense is what keeps others wanting to continue roleplaying.

Experiment with different variations on how create suspenseful moments and cliffhangers. From romance between the most popular boy in school with the geeky girl, to the delicate subject of incest, suspense in the form of romance can be a strong point in plot movement as does death of someone dear.

Suspense is the key to plot twists, it is also the key that many roleplays lack and thus result in 'dead roleplays'.

Conflict is the opposing force for anyone. It may be a single thing that everyone seeks after in a roleplay, or it could be something that only the character deems that he or she can carry out. It is up to you, play around with different things that make your character tick, or perhaps something that the character truely wants only to have something push him or her back.

Conflict is what propels and is the true meat of the story/roleplay. It is the reason why the character must go on a journey, to break away from the mundane life that he or she leads. Conflict is the reason why there is a story in the first place.

Context

Within the context of the original storyline that the roleplay gives, the character follows the story and actions result from that. Context is what gives the character something to follow. Without that, without reading previous posts, one will undoubtivly get lost from the other interactions that have taken place.

From reading through context the character can determine what to do next instead of wandering aimlessly in a world that many people have worked so hard to create.

There are a few abbriviations and titles for things in roleplays. Most know about Mary-Sues and such, but there are others as well. I've gathered information over the years I've sepent roleplaying and have tried to gather it here. If anyone else has tips and such, feel free to offer them via PM. This post will be a collaberation of interests, a glossary of things.

Mary-Sue- A perfect female character.

Gary-Stu/Lue- A perfect male character.

ooc - out of character. Always denote when you are speaking in ooc! Whether it is with (( )) or as ooc: !

RP - role play. That should be obvious to anyone.

npc - non-playable character, A character that is existent in the Roleplay but is not played by any specific character.

God-moding - playing your character as though he or she can never die, never get hurt, manages to save or destroy something every time, has all knowledge, etc. You must realize that you are in a role play, not creating your own short story. Thus, each member of the role play must be allowed to be the hero/heroine, or villain/villainess at times as well

Auto-hits - An auto-hit is where when two or more characters are fighting, the attacking character doesn't give the other character a chance to block, or strike back. More specifically, I could state: || Athaele swung low while Drualt was distracted and cut off his legs.|| Unless Drault is your character, you cannot state the fate of the other character, (cutting off his legs). If the blow is deserved, and if the other role player is literate, they will recognize your swing and take injury, but the extent of the injury is up to them. (I hope this isn't confusing.)

Chat speak - Things such as "Omg" "Pwned" "u" "Ur" "Lol" And ect.

I don't know if this is the right place to post this. I want to start this Fandom roleplay about kingdom Hearts, which i got the idea from someone's world on theotaku.com, but I don't know how to message him to ask for his permission. Would i just have to credit him if i can't find a way to ask for his permission?

-feeling the love-

@roman_tic_kataang: What I would do is find an e-mail. You can usually do that by looking at their profiles, if the site you're talking about is a forum. It's always best to get permission first; that way you avoid conflict if the person really doesn't want their idea used.