Communication between players through Private Message, to discuss and decide on the scenes ahead, generally leads to closer role-play and more enjoyment from the battle; for example, Druss� player might have spoken to Conan�s about the kick and punch routine. With each working together to increase the realism of events and portray their characters as they are to be played, a fuller experience is realised.
Druss_the_Axeman drops his foot from the overturned chair as Conan begins his scream, then sweeps Snaga up in counter balance to lift the chair, hurling it forward from his axe as Conan raises his blade overhead, spinning forward to topple him by a blow to the chest. As the chair is freed he lunges forward, crossing the intermediate ground moments after the flight of the wooden mass, preparing to strike forward and tear Conan�s chest open under the swoop of his companion, the axe.
Awareness of the area in which combatants are playing marks a distinction from the average player, as a growing tend has emerged amongst those within chat, defined by the ignorance of the world around the characters. Unlike many would believe, there are very few custom-built arenas where characters and jump back and forth, performing endless aerobatics unhindered by the scenery� nor is it unfeasible to expect items to have been left around which they could make use of. Such simple details as the traction of the ground, whether it is ice or sand, can affect the movements of the creatures populating the area, whereas the temperature and humidity will change their stamina.
Conan_the_Barbarian is firmly stuck in the chest by the flying seat, having been completely unprepared for such a foul ploy, and reels back suddenly under the impact, tripping over his own feet and falling downward as Druss moves to strike. A large slash cuts the skin across his breast, but thankfully the fall saved him from worse, giving him enough time to gather himself as Druss is carried around by the swing to muster a quick retort, lunging his blade forward in a stabbing motion.
One of the most difficult concepts to understand about TB is that, despite being played turn by turn, the flow of time within the game remains constant. This means that though each player has a turn in which to commit their actions, they are not standing idle as their opponent is making his or her action. To further elaborate, the above text shows how each player, both Conan and Druss, have made their actions at the same time as the other character. Whilst Conan is racing forward Druss is hurling the chair, meaning that Conan could not complete the rest of his action, as the chair prevented him from doing so.
The exact sequence of events is not set in stone till each player has commented on what their character is doing at any given time; thus large or small actions, which take time to employ, can be cut short by their intervention. Druss does not stand still whilst Conan is charging, but makes use of his initiative to block what he had intended, and Conan accepts this and carries onward. However, should Conan later deny that the sequence of events had taken place, he would be playing in bad form, as he already agreed that the action took place. In short, although the turns are played out in sequence, the content is brought together in real-time.
In considering the actions of a character, players are wise to understand the nature of their situation in terms of advantages and disadvantages. In causing a character to take a hit, thus losing their position and calm, the player opens the opportunity to press an advantage. Yet, with each change in stance an equal and opposite weakness is laid open, such as a vulnerability where previously the players were on the same ground. There are exceptions to this, for example when a character is facing a tireless and powerful onslaught which they are struggling to match, or up against a creature of exotic powers with which they can barely cope. It is important to understand that the simple rearranging of position, such as a player moving their character below another and to the side, does not immediately signal that they are losing.
Far from it, a character that is standing low can be far more deadly, capable of swiping at the legs of the other, as will soon be shown by Conan. In this case players must understand how to press the advantage gained to counter this effect, or to withdraw to the relatively safety of an even match. Clarity is again required when keeping track of all this motion, and so it is common courtesy to give reference relative to each character for each action, so that the visualisation of what is unfolding is clear.
Conan_the_Barbarian feels his strength ebbing in his fallen position, and so deftly swipes his feet around beneath the legs of Druss in hope of either felling him or forcing him to release his pressure upon the sword. At the same time as he does this he spins around beneath the axe, his arm providing support against the flat of his own blade, preparing to rise up behind Druss should his actions be successful.
Length of description is never as important as what is revealed during the description; players should be very alert that the more of their future actions they reveal, the more a player can plan for in advance. Ideally, players should be capable of trusting their opponent not to press the information as an advantage, yet this is not always so, and thus a particular style must be adopted in such situations. Only enough detail to ensure the opponent knows what is currently happening, or about to happen, should be revealed, yet the groundwork must be laid for the next steps in the sequence.