Some notes on Turn, +Brie Sheldon's game of shapeshifters living in small towns. +Brent Newhall asked about where conflict comes from in the game (that being the thing that drives most of the action in our fiction), and I wrote a bit of a long response. Here's that response as an independent post:

It is hard to get super specific while still in the process of building the character options (human roles and beast archetypes) and some of the important resolution procedures (like the specifics of how to determine how individuals/groups react to a revealed shapeshifter).

So, characters will have internal conflicts that come in two primary flavors: secrecy vs. safety (do I reveal my nature to others, knowing that I risk rejection or harm?), and resource allocation (my goals as a beast and my goals as a human may conflict or require precious use of my time: where do I spend the time and effort).

External conflicts with NPCs will often form mirrors of those internal conflicts: NPCs will become suspicious and try to figure out the PC's secrets before they are ready for a 'safe' reveal (and a reveal under less-than-ideal circumstances could lead to a character being effectively ejected from the community, or worse), and conflicts arising from PCs neglecting their responsibilities within given communities (missing work, ditching friends or family, not working with their flock/pack/herd).

Conflicts between PCs will arise when their goals are at odds with one another (a Bison PC and a Wolf PC might have very different objectives regarding the safety of that Bison herd, or the PC who manages a local mine might have problems with a PC who is also a bear who winters in local caves where the mine is going to expand), and when their need for mutual support places undue burdens on each other (characters can only alleviate the stress they accumulate from their duality with help from another shapeshifter, and that reliance can make life difficult for one another when it spans exclusive groups like social classes or feuding families).

All of these smaller conflicts dance around the one central conflict: how do you remain true to yourself in a culture or community that may be actively hostile to that truth?
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