Scenario Paintball

Scenario paintball is a type of paintball game in which players participate in a scenario, or story; and may include historical re-enactments, futuristic or video game simulations. Games tend to last in the range of hours or days, and may include a large group of players. The largest paintball scenario game is the Skirmish Invasion of Normandy scenario, which attracts upwards of 4,000 players annually.

Scenario games are almost always objective-driven in regards to scoring. Each team must complete a series of missions to score points. These may be simple "capture the flag at this location" missions to elaborate missions involving props, multiple locations, interactive non-player characters and more.

To further enhance the theme of a game, field locations may be named for important story locations, and props of various sorts are added to the game. These may be objects that players collect for points, or even vehicles that take part in the fighting, like paintball tanks. Players may don costumes specific to the theme, such as historic military uniforms or other costumes.

Scenario events are usually planned far in advance, both by the event "producers" or fields, and by the players themselves. Players may form large, lasting networks of players and teams that play together year after year in a specific scenario. These organizations help plan game strategy and direct their groups on the field and offer a level of organization beyond the basic two-sided team play.

Like all forms of paintball, scenario paintball has a very good per-capita safety record. Due to longer play times, heat-related injuries are one of the more common injuries in scenario paintball. Many players often carry 1- to 3-liter water bladders, allowing players to drink water without removing their safety masks, to combat heat and dehydration.

Read more about Scenario Paintball:  Gameplay, Major Events

Famous quotes containing the word scenario:

    This is the essential distinction—even opposition—between the painting and the film: the painting is composed subjectively, the film objectively. However highly we rate the function of the scenario writer—in actual practice it is rated very low—we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.
    Sir Herbert Read (1893–1968)