FU FREEFORM / UNIVERSAL
A Roleplaying Game by Nathan Russell 1
CONTENTS I�����������
�
U���� ���� ����
�
�� B�����
�
W��� W�� � ��� ����
�
R������������
�
It’s all about roleplaying now 8
Stunts and Powers
14
aking a Hit
14
Long or short term goals?
8
A����� S������
��
How many Relationships?
8
Don’t be antagonistic
8
N�������
�� ��
T������ �� ����
��
L�������� �� ����
��
W��� �������
��
W��� W�� � ��� ��
�
H�� ��� �� ��
�
C��������
B����� ����
�
C������� S������
�
alk beore play!
4 4
��
3 Questions to
Te Insta-Genr Insta-Genre-Generator e-Generator
A����� S����� � T����
��
rame your game
1 6
Who “sets” the scene?
10
What will charact characters ers do?
1 6
C���������
�
C������
�
How do you “set a scene”?
10
How do players want to eel? 16
D����������
�
What is an objective?
10
What is the Narrator’s role?
E������ D����������
�
Do scenes have to be in order? 10
R�������
�� ��
Clichés are your riend!
6
Do I have to use turns?
R������
�� ��
Choosing Descriptors
6
C��������� � O��������
��
Descriptors are clear
6
Closed Questions
11
Descriptors are innat innatee
6
Alternative Alternat ive Questions
11
Descriptors are finite
6
Alternative Alternat ive Dice Rolls
11
What type o Descriptor is this?
6
What makes a good
B������ ��� O���
10 ��
S������ � F������
��
M��������
�� ��
Example o Modifiers
13 13
1 6
Te Bowl
17
Advancement Advanc ement
17
racking r acking obstacles
17
What do I share with players? 17 1 7
RACE �� ��� EMPLE �� O
18
B����� ��� �����
��
S�����
�� ��
Edge & Flaw?
6
Other types o rolls?
Should I specialise?
6
How do “opposed”
Alternative Alternat ive Descriptors
6
actions work?
13
C���������
�� ��
G���
�
Dialing in on Your action
13
C���������
��
E������ G���
�
Option: Matching Dice
13 ��
A�������: D����������
�� ��
Choosing Gear
7
Gear is equipment
7
Starting FU Points?
14
B��� D����������
��
Describing Gear
7
Can I give / share FU Points? 14
M��� D����������
��
One adjective only
7
Do Narrators get FU points? 1 4
E��� D����������
��
Specific nouns
7
Other ways to earn FU
14
F��� D������� D���������� ���
��
alk about your Gear
7
Other ways to use FU
14
C�������� S����
��
Good Gear / Bad Gear
7
FU as Health
14
Stuff that isn’t Gear
7
Re-Roll Everything
14
D����������
�
Flip a Pip
14
D�����
�
Use a Prop
14
FU P�����
2
INTRODUCTION U���� ���� ����
FU is a game o action, adventure and un! It is a role playing game o grand proportions and stupeying simplicity. FU lets you create exciting stories in any setting imaginable, with a minimum o uss, or even preparation. FU is first and oremost an easy game. Tis book will help you move rom the thought “Lets roleplay in this setting...” to actually playing within a matter o minutes. Character creation is quick and intuitive, allowing you to play any kind o character you desire, and the game system itsel is easy to learn and very simple to use. FU is universal. Or generic. Or whatever you want to call it. Tese core rules are not wrapped around a specific background or setting, and make an effort to assume nothing. It is a basic system around which you may create your own settings and stories. With that said, however, FU avours certain kinds o play. FU lends itsel to a ‘seat o your pants’ style, where little preparation is needed. Narrators that enjoy running adventures ‘on the fly’ will certainly enjoy FU, as will players that are tired o being told what they can’t do, instead o what they might achieve.
Tis book is filled with two types o inormation. Te first are the rules proper - the inormation that tells you how to play. Te rules are laid out like the inormation on this page, with clear headings and subheadings. FU is pretty straightorward and you aren’t likely to need to do much reerring to the rule book afer your first game, but everything you need to know is presented clearly in this way. Examples o rules are ormatted like this. Tey are scattered amongst the main text and will help you see the rules in action. You probably won’t need to read them either, afer your first game. Tere are also sidebars at the bottom o many pages. Here you will find explanations o rules, detailed examples, guidelines on using rules in play, and optional rules that you can incorporate into your games. Te sidebars are easy to spot as they are separated rom the main text by a line, and presented in three columns. Reer to this inormation i you need to clariy the “how” or “why” o a particular rule.
FU: Freeorm / Universal Roleplaying Game A game by Nathan Russell
FU by Nathan Russell is licensed under a Creative Commons Attribution 3.0 Unported License For more details on what this license means, attribution requirements, and a cool Powered By FU logo, visit http://nathanrussell.net/u
www.PerilPlanet.com
Tis game was completed as part o the National Game Design Month. Find out more at www.nagademon.com
3
THE BASICS FU is written with the assumption that at least one player is amiliar with roleplaying games and has a vague idea o how they work. I you don’t have a clue what an RPG is, then start by finding someone who does!
W��� ��� ���� o play FU you will need to gather a ew things. Here is your shopping list; D���: Standard six-sided dice are used to resolve action in FU. You will need at least one, but it would be better i players had about three each. Six sided dice are reerred to throughout the rules as d6. I a number appears in ront (such as 2d6 or 4d6) this indicates you should roll that many dice. P����� ��� P����: Players will need to record the details o their character, important notes about their mission, and all kinds o other things. Te Narrator will also need paper or keeping track o different elements o the story. S���� P����: Narrators will find it useul to keep a supply o paper handy, in order to draw rough diagrams, or keep track o the events o a story. A small white board is also handy or such purposes.
W��� ��� �� You and your riends are going to work together to tell a dramatic, exciting story. You will establish parts o the setting, and everyone will have a chance to influence that world. Most o the players will create a character who is going to be a major protagonist, one o the cool guys that gets things done. Each character has their own strengths, weaknesses and goals that will help you roleplay them. One player will be the Narrator, who helps everyone along, presents challenges
or the characters to overcome and adjudicate the rules when needed. Play is a kind o conversation, where everyone works together to put the characters in cool and/or entertaining situations. Ten you will use the dice to help work out what happens next. Sometimes you will all be working together, throwing ideas around, suggesting things and talking over the top o each other. It is chaos, but hopeully productive, un chaos. At other times you are going to take it in turns to describe what your character is doing, and seeing how that turns out.
H�� ��� �� �� o resolve any action where the outcome is not clear, roll a d6. Your objective is to ‘beat the odds’ by rolling an even number. Te higher the even number, the better the result. I you roll an odd number, the action either ailed, or wasn’t quite as good as needed or expected. Te lower the odd number, the worse the result. When the environment, skills, equipment or abilities make an action easier or harder you will get to roll multiple dice and keep the best or worst result.
B����� ���� Beore anything else, you and your riends must decide what type o game you want to play, who the characters are going to be, and where your story takes place. Knowing this will help players create cool characters, and direct the Narrator in the role they will take. Tese decisions might already be made, either by the Narrator, or a pre-made setting module. I not, work together to come up with something everyone is excited to play.
scenes. Tis way everyone gets a clear T�� I����-G����-G�������� Have a conversation about the type picture o what the game is going to be For quick pick-up games, get everyabout. o game you will play, so everyone one to write two genres or settings on starts in the same “space”. Establish Tis discussion will also clue the bits o paper. Stick them all in a hat and tone, theme and/or expectations. It is Narrator in on what players want (or pick out two. Now you have “Apocalypse important to know whether you will be need) out o the game. It establishes Suburbia”, “Medieval Super-heroes”, cheered or jeered or outrageous over- whether players want to eel like epic “Kung-Fu High School” or whatever, acting, or bloody acts o violence. heroes, down-trodden underdogs, or have a discussion about tone, theme, possible plots and characters. Now play! Trow around ideas on setting, im- tragic anti-heroes. agery, set-pieces, cool clichés and unky T��� ������ ����!
4
CHARACTERS In FU a character is your alter-ego. During a story you describe what the character does, how they respond to situations, and react to others.
Tinking about his Daredevil Explorer and the kinds o things he might have gotten up to during his lie, Dave decides on the ollowing Descriptors;
C������
Body: Nimble Mind: Level Headed Edge: Use bull whip Flaw: Araid o heights
When you know the kind o setting or premise o the adventures you will be playing you can begin thinking about your character. Tis is the kernel o who or what the character is, and should be summed up in just a ew words or a phrase. Te concept might define the character’s background or occupation, such as ‘paranormal detective’ or ‘child prodigy’. Or it might give insight into their personality, such as ‘noble savage’ or ‘nutty proessor’. O course, the character’s concept should fit into the setting, background or types o adventures that you will be playing. A ‘streetwise cop’ may be out o place in medieval England, though a ‘worldly sheriff ’ might be just right. Use the setting to inspire your character.
Nina, inspired by classic pulp science fiction stories, has decided on the ollowing Descriptors or her character, the Alien Emissary; Body: Fragile Mind: Observant Edge: Read Minds Flaw: Alien Perspective
E������ D���������� Tis is by no means an exhaustive list, just some ideas to get you started. Each o these is described in more detail in the Appendix (page 20).
Troughout this chapter we will ollow Dave and Nina as they create their own characters. With im, the Narrator, they have decided to play a game based on the pulp serials o the 1930’s, and that it will be airly whimsical and action-packed. Dave thinks o a couple o his avourite movies and decides that the concept or his character will be ‘Daredevil Explorer’. Nina wants to play something a little unusual, and afer discussing her ideas with im and Dave decides her character will be an ‘Alien Emissary’.
B���: Agile, Ambidextrous, Blonde, Furry, Fake Orange an, Handsome, Huge, Overweight, Poor Constitution, Quick, Razor-sharp Claws, Short, Slow, Strong, all, Tin, Ugly, Vigour, Weak. M���: Absent Minded, Book Smart, Computer-Wiz, Dim-Witted, Empathetic, Focused, Lateral Tinker, Mathematician, Observant, Slow, Uneducated, Wise, Witty.
D����������
E���: Acrobatics, Arcane Knowledge, Courage, Driving, Fencing, Good Memory, Hunting, Keen Sight, Linguistics, Magic, Medicine, Nasty Bite, Rich, Wrestling.
Descriptors are adjectives or very short phrases that identiy a character’s skills and flaws, the things that make their lie easier and harder, and ultimately make them who they are. Tey indicate the kinds o things that a character is good at, their physical and mental traits, and any abilities or drawbacks they might have. Tey are both guides or your roleplaying and modifiers to ‘beat the odds’ rolls. Characters have our Descriptors; Body, Mind, Edge and Flaw. Choose an adjective or phrase to describe the most distinctive eatures o your character.
F���: Blind, Brave, Clumsy, Greedy, In-human Appearance, Missing Leg, Old, Poor, Poor Sight, Primitive, Smelly, Wanted, Young.
5
C������ ��� ���� ������!
W��� ���� �� D��������� �� ����? want a wrestler, body builder or angry Some Descriptors could easily all green super hero! Give your brilliant into more than one category— Good scientist Mind: Book-Smart and Edge: Memory might, or example, be a Mind Rocket Science. Just be aware the more Descriptor or an Edge; Ugly could be a you specialise, the harder you will have Flaw or a Body Descriptor. Tat’s fine. It to work in scenes unrelated to your is up to you, the Narrator and the other orte. Some players like this challenge.
It is totally okay to use clichés when coming up with your concept. Clichés contain a host o ideas and concepts that we are immediately amiliar with. When somebody says their character is a barbarian, we automatically picture them as heavily muscled, and uncivi- players to make a decision on whether a A���������� D���������� lised. Using clichés is a kind o a short- specific Descriptor is appropriate or not Te our deault Descriptors (Body, hand way to describe your character. or the stories you are telling. Mind, Edge & Flaw) are not the only C������� D���������� W��� ����� � ���� E��� � F���? way to define your characters. Change You should strive to be imaginative Tings that might be called “skills” or or replace them to suit your game, setand honest. Consider both your concept “eats” or “stunts” in other games make ting and stories. In a game about giant and the setting. Giving a character the great Edges - stuff like ‘ sword fighting ’, mecha you might replace Body and Flaw ‘ can’t swim’ when you know all ‘ breath underwater ’, and ‘ winning Mind with Chassis and Pilot, or example. In a game where everyone plays the stories will take place in the desert is smile’ are all good examples. different types o were-creatures one hardly sporting. Te best Flaws are personality traits Descriptor might become Animal Form. Be imaginative, keep your concept in or physical shortcomings. Tings like In these cases some o the advice in this mind, and discuss your ideas with the ‘ always smells bad ’, or ‘ deaf ’ are better sidebar might also need to be adjusted; Narrator. Te possibilities are endless. flaws than ‘ can’t drive’ or ‘ can’t speak Animal Form: Jaguar is broader than French’. O course, there are always the Descriptors discussed here, but is toD���������� ��� ����� exceptions. I the characters are British A good Descriptor is understood by spies during the Napoleonic wars, not tally appropriate to capture the ideas o everyone at the table. I you or another speaking French would be a real draw- your game. Use your imagination and player think a Descriptor is ambiguous, back. Likewise, the Flaw ‘ can’t swim’ modiy things as needed! talk about it. It might need to be re- becomes a great eature in a game o written, but it might not either. You just pirates and sea battles. Look or ways want everyone to be on the same page to challenge your character, add spice when it comes time to using it. to games, and present obstacles to overD���������� ��� ������
come.
Each Descriptor is an integral and S����� I ����������? innate part o the character. Tey canYou can ocus your Descriptors on not normally be taken away, lost or a single concept and “specialise”. For removed (though they might be orgot- a really awesome warrior give them ten or restricted under the right circum- Body: Strong , Mind: Tactician , Edge: stances). Do not make your Descriptors Melee and Flaw: Reckless. It would be items o equipment. very easy to bring most o these descriptors into play whenever you get into D���������� ��� ������ Each Descriptor should have one or a fight. BU, there isn’t a lot o depth two obvious uses or a specific purpose. there and you are going to be in a bind It might also be applicable in a range when in noncombat situations. Instead, o other unoreseen circumstances, but you might replace a couple o Descrip you will find that out in play. Medicine tors with more versatile options; Body: is better than Doctor , or example, as Tough , Mind: Focused , Edge: Melee the latter could be used in a variety o and Flaw: Reckless. non-medical situations (“As a Doctor, I Describe your character’s Body as am well educated and quite wealthy...”). Huge and their Edge as Strong , i you
6
G���
E������ G���
Gear is the equipment, gadgets, and weapons that a character will use on their adventures. All characters have the basic clothes or items that are appropriate to their concept. Gear is the important and cool stuff that a character carries. Like Descriptors, a character’s Gear will modiy ‘beat the odds’ rolls. Gear can be anything - guns and knives to ancy clothes, credit cards, a horse, mobile phone, or even a star ship. Like Descriptors, your character’s Gear depends on character concept, game setting, and the stories you want to tell. Unlike Descriptors, Gear is always made up o an adjective and noun; Rusting Sword, Long Rope, Fast Horse, Long-ranged Rifle, Dad’s Camero, Heavy Armour. Your character has two items o Gear. Choose two items or your character.
Like the example Descriptors, this list is not in any way exhaustive. It barely scratches the surace o what your character might possess. C������: Designer Jeans, Slinky Black Dress (let’s count “black dress” as the noun), Filthy Underpants, Worn Jacket, State-o-the-art Space Suit, Silk Smoking Jacket, Beat-up Fedora, all Powdered Wig. W������: Rusting Sabre, Heavy Axe, My Father’s Service Revolver, Concealed Dagger, Ex perimental Flamethrower, Fake Revolver, Reliable AK-47, Rubber Mallet. Transport: Faithul Horse, Beat-up Buick, Bullet-proo Limo, Squeaky Clown Shoes, unedup Street Racer, Girls Bicycle, Unreliable Coupe, Rickety Wagon, Fast Motorcycle, Grandma’s Runabout.
Dave decides his Daredevil Explorer to have a Sturdy Bull Whip , since he is quite skilled with it, and a Worn Leather Jacket to keep out the cold and offer a little protection rom scrapes and alls.
O���� S����: Huge Backpack, Miniature Flag, Heavy RPG Books, Faithul Hound, Dented Frying Pan, Water-damaged Notebook, Ancient Spell Book, My Favourite Pet Rock.
Nina thinks about her Alien Emissary beore deciding on some Official Documents that indicating her political status, and some Exotic Robes , designed to impress and inspire awe.
Like Descriptors, the description o Gear is not innately “good” or “bad”. Items should be “iconic” to your your Gear should be clear - you don’t What you do with it and the situations character. Tink Batman’s Sinister want to be guessing at the purpose or you find yoursel in will dictate whether having an item is useul or not. Batsuit , the Ghostbuster’s Unstable main eature o an item. Proton-packs , James Bond’s Reliable O�� ��������� ���� G��� G��� / B�� G��� Berretta , or Zorro’s Flashing Blade. Te description o your gear should You can, i you want, dictate that Each piece o Gear should add some- have a single adjective - no less and no one piece o Gear must have a “good” thing to your character’s background, more. A Sharp Sabre is okay, as is a adjective, and the other a “bad” one. personality or goals. It should make a Magic Sword, but a Sharp Magic Sabre You might have a Warm Jacket and an statement about who the character is or is not allowed. Old Gun; or a Fast Motorcycle and a what they do. Maxed-out Credit Card. S������� ����� G��� �� ��������� Choose specific, descriptive nouns; S���� ���� ���’� G��� Gear is never innate - it can be Sabre is better than Sword, Baseball Any objects, items or equipment that dropped, lost, broken and stolen. A Cy- Cap is better than Hat. You can use are not listed as Gear are props. Props bernetic Arm is not Gear, but an Ar- more than one noun, but keep the de- have no effect on a character’s chance scription to as ew words as possible. o success at an action - they are merely moured Power Glove is. window-dressing. However, you can D��������� G��� T��� ����� ���� G��� swap, steal and pick-up another characWhen describing gear make the adDiscuss your Gear. Everyone needs ter’s Gear and use that! jective tell us something useul and/or to be clear on what you are describing; interesting about it. A Long Dagger is what the Gear will be useul or, and okay, a Broken Dagger is better! when it might be a hindrance. C������� G���
7
W��� �� �������� ���? What obstacle or adversary is stopping you rom getting what you want? W��� ���� ��� ��? What is the next step to get what you want? What are you willing to do to succeed?
D���������� By now, you should have a good idea o who your character is. Now it is time to fill in all the other details. Tis is the bit where you describe the character’s appearance and personality, their past, goals, riends, enemies, and any other detail you think important or interesting.
ennessee Smith is in search o the Idol o ot, an arteact he has coveted or decades. His rival, Giles Fishburne is also afer the idol and always seems to be one step ahead. ennessee is desperate to succeed this time and will do almost anything to get the idol - though he would never kill or it.
Dave takes a moment to note a ew things about the Daredevil Explorer; ennessee Smith is a mild-mannered proessor o history, but in his spare time he travels into the wilderness in search o lost arteacts and treasure. Ruggedly handsome, he always seems to keep his cool, no matter how much danger he is in—and he tends to get into a lot o it!
Lumina seeks reedom or all the people o Jupiter. Dread Lord Kang rules the planet with an iron fist, and his agents are always on the look out or renegades. Lumina is willing to put her own lie on the line to achieve her vision.
R������������
Nina’s description o the Alien Emissary is;
Choose at least one other character that will take part in the story and write a short statement about your relationship with them. Tis should be clear and add some interesting depth to both characters backgrounds. For example; Old drinking buddies; Dated the same woman; Fought in the war together; Were trained by the same master.
Lumina is an important diplomat rom the planet Jupiter, which is ruled by the Dread Lord Kang. Like all her kind, she has purple skin, a bald head, and delicate eatures. Lumina works or the Jupiter Underground, attempting to overthrow Dread Lord Kang.
Dave writes; ennessee Smith and Lumina met at Harvard where Lumina was giving a presentation on the ancient cultures o Jupiter. Nina is happy with this, adding only that both characters were attracted to each other but Lumina is too ocussed on her mission to have any romantic dalliance.
D����� Every character has a purpose - a goal they are striving to achieve. It may not be world changing (though it can be) but it should be important to that character. Ask the ollowing questions o your character; W��� �� ��� ����? What is it that you desire, the thing that drives you to action?
I�’� ��� ����� ����������� ���
L��� �� ����� ���� �����?
Your Description, Drives and ReWhen choosing your Drive you are lationships all help develop your char- ree to pick long or short term goals. I acter and put them into the “world” o you are only playing a one-off game, your stories and adventures. Te Narra- then it is a better idea to pick something tor might occasionally give you a bonus that will have an immediate impact on to dice rolls because o the inormation the plot. I you are planning a series o you reveal here, but that is by no means games, then by all means come up with required. a longer-term goal or your character. Use your Drives and Relationships to inorm the way you roleplay your character, the way they interact with the other player’s characters and the world around them.
H�� ���� R������������?
wo is a good number o Relationships to begin with. Pick two different characters and decide how they know each other. You and another player can
8
work together to decide on a relationship, or you can have separate, unrelated or “opposed” relationships (or example; “In love with”/“Repulsed by”). D��’� �� ������������
Don’t create Drives or Relationships that will have characters constantly at each others throats. It is okay to have characters that don’t see eye-to-eye (in act, that can be un!), but don’t have them hate each other. You want the characters to unction together in order to deeat the antagonist, solve the mystery or complete the mission!
CHARACTER CREATION SUMMARY
CONCEPT Who is your character? What is the “High Concept”? Clichés and archetypes are okay!
DESCRIPTORS Identiy the our most important or interesting eatures o your character, one each or Body, Mind, Edge and Flaw. Each Descriptor should be short, punchy, clear, innate and finite.
GEAR What cool, iconic stuff does your character carry? Choose two items o gear, describing each with an adjective and noun (e.g. Sharp Sabre; Fast Motorcycle).
DESCRIPTION What does your character look like? What is their name? Where are they rom? What makes them interesting and unique?
DRIVES What does your character want? What is stopping them? What will they do to get it?
RELATIONSHIPS How do the characters know each other? What connections do they have?
9
ACTION In FU you and the other players work together to tell exciting stories about your characters. It is not about winning or even competing with anyone, but it is about everyone having un while you create this collaborative story.
Scenes might be resolved through dice rolls, but they don’t have to be. It is entirely possible that a scene’s objective is met through roleplaying and character interaction. When it is important to know the specific actions o each character and the order in which they occur, S����� � ���� a scene is broken into turns. A turn is a period long Play is broken into scenes and turns. A scene is a enough or each character to take a single action, period o story involving a specific situation, location whether that be to make an attack, deliver a rousing or group o characters. Scenes are the primary building speech, throw an object to a companion, look up some blocks o the story and can represent anything rom a inormation on their iPhone, or perorm some other ew seconds to many hours o time. Each scene should task. have a specific objective and the scene ends when that Players declare what action their characters are objective has been addressed. A scene should advance taking, while the Narrator decides what the other the plot o the story, reveal inormation about a char- characters and creatures are going to do. Everyone acter, or add background colour to the events being then works together to decide what order everything described. Ofen a scene will do all o these things at occurs. When all the characters involved have had a the same time. chance to act the turn ends. A new turn will begin, i During a scene players and Narrator describe what necessary. the characters are doing. Players “act out” their charIt is worth pointing out at this point that only playacters, speaking or them and declaring what actions ers roll dice. Tis leaves the Narrator’s hands and mind they take, while the Narrator does the same or all the ree to scheme and plot and prepare or the next excitother characters, creatures and monsters in the scene. ing encounter. W�� “����” ��� �����?
Players might suggest scenes they would like to see or be involved in, but most o the time the Narrator decides what scenes occur and in what order they happen. Discussion might occur about the order events occur in, what is happening, where it is happening and who is involved beore the Narrator makes a final call on all these matters. Some groups like to give everyone a turn at setting a scene, and that is totally cool, too. H�� �� ��� “��� � �����”?
Setting a scene is a matter o defining where and when the action takes place, who is there, and what has just happened or what is about to happen. Location, Characters, Event, or Where, When, Who & What.
all the senses; point out interesting or story lines and even montages can be important details o the location; and played out in scenes. While most o the all the characters involved. Consider the time your scenes will occur in a chronoobjective o the scene as you create it. logical order, you do not have to be restricted by this. W��� �� �� ���������? An objective can be anything that D� I ���� �� ��� �����? a player or character wants. Character urns are an optional measurement objectives might include finding a piece o time, useul or when a variety o stuff o inormation, deeating an enemy, is being attempted by several charactalking to someone, travelling a small or ters. Use them to organise the action as great distance, preparing or battle, con- needed. Some scenes will naturally all ning a mark, or stealing an object. Play- into turns, while others will be resolved er objectives could include seeing their without ever considering them. character in a cool fight, solving the mystery, revealing a secret about their character, or interacting with a specific character or player. Ofen, player and character goals overlap. D� ������ ���� �� �� �� �����?
You can use all the techniques o stories, novels and movies, which means When describing the scene draw on flashbacks and flash orwards, parallel
10
B������ ��� O��� When a character attempts an action where the outcome is not immediately and/or completely obvious, you make a beat the odds roll. o resolve an action roll a d6. Your objective is to ‘beat the odds’ by rolling an even number. Te higher the even number, the better the result. I you roll an odd number, the action either ailed, or wasn’t quite as good as needed or expected. Te lower the odd number, the worse the result. Tere is a handy chart below that helps illustrate this idea. Te beat the odds roll is the heart o FU. While most o the time even numbers are good and odd numbers are bad, the precise situation will dictate the actual results. It may be that the roll o a 1 does not indicate an outrageous ailure, so much as a success in the most minimal or ragile o ways.
R��� 6 4 2 5 3 1
We are going to ollow the trials and tribulations o two characters rom two different settings in this chapter; Sir Camden is riding afer the evil Lord Kane. He sees Lord Kane leap a tall hedgerow, disappearing into the orest beyond. Sir Camden now tries to leap the hedge, so you roll a d6, scoring 2. Sir Camden’s horse clears the hedge, but Sir Camden is jostled about in the saddle and is momentarily conused. Captain Vance ducks as another hail o bullets peppers the wall he is hiding behind. Grabbing a damaged radio, he flicks some switches and tries to call HQ or back-up. You roll a d6 and score a 1. Vance ails to find the right requency and a stray bullet hits the radio, destroying it.
D� ��� ��� ���� ��� ����� Yes, and... You get what you want, and something else. Yes... You get what you want. Yes, but... You get what you want, but at a cost. No, but... You don’t get what you want, but it’s not a total loss. No... You don’t get what you were afer. No, and... You don’t get what you want, and things get worse.
C����� Q��������
A���������� Q��������
A���������� D��� R����
FU uses a closed question ormat to help resolve actions. A closed question can only be answered with a “yes” or “no” statement. When you reach a situation that needs to be resolved by dice, propose a closed question; “Do I leap the chasm?”; “Do I punch that jerk in the nose?”; “Does the tavern wench all or my easy charm and winning smile?”. Te roll o the die will answer the question and guide your response.
You can pose different questions i you want, though you will have to change the result chart. An obvious question is “How well do I succeed?” Tis might garner the ollowing results;
Some players are not ans o the even/odd results. Many preer a 1-3 Bad, 4-6 Good result. In that case the result chart would look like this;
A lot o the time you won’t need to ask the question explicitly - it will be obvious rom the action you attempt; “you take a run up and leap rom the edge o the chasm. Roll.”
Roll How well do you succeed?
6 4 2 5 3 1
Legendary success Complete success Only just succeed Fail by the smallest margin Complete ailure Epic ailure, and then some
Feel ree to come up with your own questions and answers, as suits the needs o your group, game and story.
11
Roll Do you get what you want?
6 5 4 3 2 1
Yes, and... Yes... Yes, but... No, but... No... No, and...
S������ � F������ When you make a beat the odds roll your character will either succeed at what they were attempting, or they wont. Tis is usually enough to push your story urther along, but other things can happen too. When you attempt an action, you are asking “Does my character get what they want?” Tere are six possible answers to this question; Yes, and... Yes... Yes, but... No, but... No... No, and...
E������� �� S������ � F������
Going back to an earlier example, let’s see what might have happened when we apply each possible answer to the question “Does Sir Camden leap the hedge?”
Yes, and he catches up with Lord Kane. Tis is a Detail that changes the scene. Yes , he leaps the hedge. Tere is no and/but qualifier so no Condition or Detail is added. Yes, but Sir Camden is disoriented and momentarily confused . Tis is a Condition applied to the character. No, but he spots a gap in the hedge urther along. Tis Detail gives the character another way to continue the chase. No , the horse shies away rom the jump. Tere is no and/but qualifier so no Condition or Detail is added.
Yes and No are pretty straight orward - they tell you whether the action succeeded or not. Te and and but are qualifiers that modiy how good the success or how bad the ailure was. When you get a qualifier you make an extra statement about how the action succeeded or ailed. Tis extra statement can add a Condition to a character or a Detail to a scene. C���������: Tese are physical, mental or social effects that impact on the way a character behaves or attempts actions. Conditions include things like an gry , conused , tired and unconscious. Tere are several listed on the FU character sheet, and there is space or you to write your own. D������: Tese are eatures o an environment or scene that might change as a result o an action. Details might include curtains catching fire, windows breaking, animals running off, or machinery stalling. Details are always closely tied to the scene and the action.
you, but have the tired Condition. Ap plying Conditions in this way will likely Anyone can suggest a Condition or give player characters an advantage Detail that they eel is appropriate to later in the scene. the action taken and result achieved. W��� ������ I ��� D������? Usually the player that rolled the dice Apply Details when the action is likeand the Narrator will work together to ly to change the scene or environment in come up with a suitably dramatic effect. some way. Tis might be a change in the But really, anyone at the table should power dynamic o the scene (“ Yes , he throw in whatever cool idea they have. leaps the hedge and he catches up with Te Narrator always has final say Lord Kane.”); or a change in the physical over what Condition or Detail is ap- environment (“ No, but he spots a gap in plied to a result. the hedge.”). W�� ������� C��������� � D������?
W��� ������ I ��� C���������?
Like all qualifiers, it depends on situation. In the examples above Conditions are applied to the acting player when things don’t quite go right or them ( Yes, but / No, and ). Te Conditions make lie a bit more difficult or the character because o the minimal success or outright ailure.
Details are ofen applied when the acting character gains some advantage ( Yes, and / No, but ). Tey can be used to great effect, however, to make situations more entertaining and / or dan gerous; “Do you swing across the room on the chandelier? Yes, but candles all loose and set fire to the tavern.”
You can also apply Conditions to Details can provide instant or on No, and his horse rears up, throwing the target o an action, when things are going effects, depending on the circumhim to the ground, causing an injury . going right or your character. I you stances. A gap in the hedge can be used Tis is a Condition. are debating with a bureaucrat and get immediately to continue the chase; a a Yes, and result you might apply the burning tavern will continue to be a confused Condition to the target. I you hazard until someone puts the fire out! attempt to outrun an enemy and get the No, but result they might catch up with
12
Captain Vance decides to run to a near-by jeep. Te Narrator points out there is no cover between Vance’s hiding spot and the vehicle. “Does Vance get to the jeep uninjured?” You roll 2d6, scoring a 3 and a 5. You must accept the 3 and Captain Vance is injured as he reaches the jeep...
M��������
Sometimes circumstances, equipment and skill will make actions easier or harder. Modifiers change the number o dice you get to roll when taking action. M����� T����� E�����: Roll an additional die or each Descriptor, piece o Gear, Condition or Detail that provides some advantage to the action being C��������� O��: One beneficial die cancels out taken. Te result is the single best (not necessarily one hindering die, so you will never be rolling ‘negahighest) die roll, as the player chooses. tive’ and ‘positive’ dice at the same time. In the woods, Sir Camden tries to track Lord Kane. You point out that the knight is a good hunter , so you get an extra d6. Rolling 2d6, you score a 5 and a 4. Keeping the 4 it is decided that afer a brie search Sir Camden finds Lord Kane’s tracks and ollows them to a sinister citadel...
Later in his quest, Sir Camden must scale a sheer (-) cliff. Te knight is strong (+) and has a rope (+). Overall, this means a single bonus to the action (the sheer cliff and the knight’s strength cancel each other out, just leaving the rope). You roll 2d6, scoring a 3 and 6.
M����� T����� H�����: Roll an extra die or each Descriptor, bit o Gear, Condition or Detail that makes the action harder. Te result is the single worst die roll. E������ �� M��������
Captain Vance hurtles along in the jeep, when a guard tries to drag him out through the window. “Will Vance shake the guard off?” It is hard (+) to drag Vance out the window, but he is wounded (-) and surprised (-), and the attacker is very strong (-). In total you must roll 2 penalty dice. You roll 3d6 scoring a 2, 4 and 3, and must take the worst result, the 3. Te guard wrestles Vance out o the jeep. O���� ����� �� �����?
FU has no such thing as ‘opposed rolls’ or ‘contested actions’, ‘damage rolls’ and ‘rolling to hit’. Te beat the odds roll is the only kind o roll used in FU, whether you are trying to drive a car through a crowded mall, arm wrestle a giant, or shrug off the damage caused by a stray bullet. H�� �� “�������” ������� ����?
For a start, only players ever roll dice. You begin by actoring in all the bonuses (+) and penalties (-) that apply to your character. Ten you take stock o all the actors that would apply to the opponent, and apply those into your
roll too. Is the opponent weak? You get O�����: M������� D��� a bonus die. Is the opponent a world Rolling doubles, triples or quadruchampion arm wrestler? You actor in ples can make a success much better or a penalty die. And so on, until every- a ailure ar worse. I your result die has thing is actored in. When you know a match the effects will be much more how many bonus and/or penalty dice dramatic. You may add one “and...” you have, roll. I the result is an even statement or each matching die. I the number, you win the contest; i the final action is ailed this statement should result is an odd number, your opponent make the situation worse. I the action has the advantage. is a success the additional statement(s) should make the situation even better. D������ �� �� Y��� ������ Sword fights, political debates, space For example, Sir Camden aces Lord races, international wars, arguments Kane’s henchmen. “Will Sir Camden deand gun battles are all resolved using eat the henchmen?” He is injured and the beat the odds roll. Te key is to dial outnumbered so you will roll 2 penalty in or out o the action through the kind dice. You roll and score 3, 3, and 2. You o questions you attempt to resolve. You must take the worst result - the double can fight a dramatic sword fight and ex- 3! Normally this would be a “ No...” rechange a series o blows by asking “Do sult, but the matching 3 turns it into a I hit the Count De Montie?”. But you “ No, and...”. I you had rolled triple 3 could also resolve the entire fight with the result would have been “ No, and..., a single roll by asking “Do I deeat the and...”! Count De Montie in a duel?”. Or, take it to the next level and ask “Do my menat-arms storm the Count De Montie’s castle?” Adjust the dial as necessary!
13
FU P����� FU Points are a resource that you spend to improve a character’s chance o success at an action. Tey can be used in two ways; B���� D��: Spend a FU Point beore a beat the odds roll to add a single bonus die. Tis works like any other bonus die. You can add as many bonus dice as you have FU Points, but they must all be declared at the same time. R�-����: Spend a FU Point afer a beat the odds roll to re-roll a single die. Te second result must stand - you cannot re-roll a re-roll. You can re-roll as many dice as you have FU Points, but you must declare them all at the same time, beore the first die is re-rolled. You can spend multiple FU Points on any given action, and or either or both effects. It is completely within the rules to spend a FU Point to add a bonus
S������� FU P�����?
Te number o FU Points you begin a game with should be discussed beore play begins. Te more FU Points players begin with, the more easily they will achieve successes. I playing games o high adventure or over-the-top action, it would be reasonable to begin with 2 FU Points. Super-powered heroes might begin with as many as 3 FU Points. For grittier games each player might only begin with 1 FU Point, or even none. C�� I ���� / ����� FU P�����?
Tat is up to you and your group. Te deault is “no”, but... D� N�������� ��� FU ������?
Usually, no, but they might allow a powerul villain or monster to have one, two or three. O���� ���� �� ���� FU
You might like to change the way you earn FU Points. You might earn them or dealing the killing blow to monsters, achieving your character’s goal, or rolling multiple 1’s or 6’s. Tis is a really good way to change the tone or style o the game. Want to play a dungeon crawl? Reward FU or killing monsters. A gritty dystopian game? Reward FU when the characters
die beore a roll, then another FU Point to re-roll a die aferwards. Back at HQ, Captain Vance tries to convince General Wallace to deploy the Rocket roops under his command. Vance doesn’t have much going or him in this situation, in terms o Descriptors, so you decide to spend 2 FU Points on the roll. You roll the basic die, plus the two bonus dice, getting a 1, 1 and 3. Not happy with this, you spends your last FU Point on a re-roll. You pick up one o the 1’s and throw the die again... E������ FU P�����: FU Points are earned during play or doing cool stuff and roleplaying your character. Whenever you do something that stops play and makes everyone go “Wow!”, or laugh out loud at your antics, or anything else that everyone thinks should be rewarded, you earn a FU Point.
lose out to Te Man. Decide i these are F��� � P�� the only ways to earn FU, or i they are Spend a FU Point to adjust a single in addition to the normal roleplaying die up or down by one pip. Spend mulrewards. Tis decision will also have a tiple FU points to adjust a die multiple dramatic effect on the tone o play. See pips. Tis option is more reliable than what you can do with it. a re-roll as you will always be able to turn a “no” into a “yes”. I you used this O���� ���� �� ��� FU variant the normal re-roll rule should Play around with FU Points. Experinot be used. ment, or adjust the ways you use them to suit your gaming group or the type U�� � P��� o story you are playing. Here are some Spend a FU point to turn a prop into suggestions; an item o Gear or the duration o the scene. FU �� H����� Rather than having a varying and S����� ��� P����� changeable number o FU points, every Give characters special abilities, character begins with 3. Tey can be skills or powers that can only be used by spent as normal, but can also be lost spending a FU Point. Tese should be when the character suffers physical or more powerul than Descriptors - make mental stress (injuries, atigue, ear, them break the rules or give a superhuetc). FU in this instance can be rereshed man knack, like the ability to fly or read (brought back up to 3) by roleplaying minds, teleport, or whatever. out a (non-dice rolling) scene with another character that reveals something T����� � H�� Instead o rolling, declare you are about your relationship. “taking a hit”. All the dice you should R�-R��� E��������� have rolled are treated as i they rolled Spend a FU point to re-roll all your 1’s (yes, i you are holding 5 dice, they dice. Tis is an all-or-nothing thing, so count as five 1’s!). In return or your su you can’t keep a couple o good results ering you earn a FU Point. and roll the rest. Use this variant instead o the normal re-roll rule.
14
ACTION SUMMARY
SET THE SCENE Where does the scene take place? Who is there? What do they want? Do you need to break down into turns?
ACT Roleplay your character and describe what is going on. Push toward the objective.
ASK A QUESTION When you need to resolve a conflict or complete an action ask a closed question (e.g. “Do I succeed?”)
FACTOR IN MODIFIERS +1 bonus die or every Descriptor, item o Gear, Detail, Condition or other eature that makes the action easier. +1 penalty die or every Descriptor, item o Gear, Detail, Condition or other eature that makes the action harder.
ROLL Roll all your dice. Te result is the single best die (i rolling bonus dice) or single worst die (i rolling penalty dice).
DESCRIBE RESULT Use the die result to describe how the conflict or action turned out. Apply Conditions or Details as necessary.
15
NARRATOR Following is some simple, straightorward advice or Narrators. It is all airly generic because all the specific stuff is going to relate to the genre, tone and style o game that you and your players choose to play.
������ �� ���� Start your game with a conversation. alk about what players want out o the game, what you want, and where those ideas overlap. Tose overlaps are likely where everyone is going to have the most un. At the very least you should work together to establish the genre and tone o your shared story. alk about this stuff too, so that everyone is clear o the specifics (there is a world o difference between Gothic horror and splatter films, or example). alk during the game too. Encourage players to share ideas and give input into scenes, objectives and the challenges characters ace. I you need to clariy ideas, themes or issues then do that.
L�������� �� ���� I there is going to be talk there needs to be listening. Listen to your players and the things they tell you, either in conversation or when they do things with their character. Do stuff that relates to the Descriptors written on the player’s character sheets, because that is what they think is cool.
W��� �������
much as the players do. K��� ������ ������: Do not complicate your job by introducing lots o sub-plots or convoluted twists. Tings will get all messed about by themselves and the story will run off on tangents that you never dreamed o. Y�� ��� ��� ��� �����: this may seem obvious, but is worth stating. Your role is to help guide the story in interesting directions, not to kill everyone. You can give players hints and ideas i you think this will lead to a better story. Sometimes you will portray the adversaries, and are expected to do so vigorously but airly. Other times you will get to be an ally, companion, or peer, and once again you should be true to the spirit o the game. S�� “Y��”: i players make suggestions or ask questions it is probably because they are interested in what is going on. Tey probably have a cool idea to introduce to the story. Encourage this and confidently say “yes” to requests. Tis doesn’t mean you should let players get anything they want – but you should let players introduce elements into the story when the time is right. M��� ����� ����������: Every time you call or a die roll it should mean something interesting is going to happen, NO MAER HE RESUL. Don’t have players make rolls i the result is not important to the story, or i ailure will stop the momentum o the story.
When running games don’t plan too much ahead o time. Te dice rolls are going to direct a lot o the action, and you and the players will fill in the gaps by applying Conditions and Details. Here are some tips to keep things moving and help you enjoy the game as � Q�������� �� ����� ���� ����
H�� �� ������� ���� �� �����
When you begin a game talk with the players about their expectations. ry to answer the ollowing three questions;
Do the players want to eel like they are changing the world? Like their character is gaining in wealth, prestige or power? Or do they want to eel like their W��� ���� ���������� ��� backs are against the wall and their lives Do players want to kick in doors, constantly at risk? kill monsters and take home piles o treasure? Do they want to eel like epic W��� �� ��� N�������’� ����� heroes? Or the underdogs, struggling What kinds o challenges, encounagainst ridiculous odds? ters and situations are you going to pre-
16
sent the characters in order to achieve the above? Do you need to ensure every challenge is accompanied by a generous reward? Are you going to make every fight hard but air? Will you be relentless in the pursuit o the antagonist’s goals? Answer these questions and everyone at the table will be clear on their role in the coming adventure.
R������� During games characters can suffer injuries, become physically or mentally stressed, and be afflicted by a range o other Conditions. Conditions are always recovered at a time and/or rate appropriate to the story. Tis is usually with the passing o time, but does not have to be. A good rule o thumb is that one or more Conditions can be removed/recovered between scenes, though this will depend on the timing o such encounters.
H�� ����, ��� �����? Be generous with your rewards, as the positive reinorcement o earning FU Points will inspire them on to greater acts o heroism, spectacle or depravity, as the case may be. Also, take into account whether this will be a “one off” game, or a part o an ongoing story or campaign - players are likely to burn through FU Points aster in a singe session game and will need their resources replenished aster.
C��������� � O��������
R������
All the characters, monsters, traps, villains, terrain Reward players or good roleplaying and achieving eatures, creatures and obstacles that are encountered goals by giving them FU Points. You may also reward during a story are defined in much the same way as them or a variety o other reasons, as your group de- characters. You are not confined by any rules or recides (see the sidebar on page 12). FU Points can be strictions when creating characters or obstacles, the used to improve a characters chance o success and are only thing you must do is make them entertaining and thereore a great immediate, tangible reward. You don’t interesting. have to be the only one at the table offering rewards, though. All players should speak up when someone has done something cool, unny or awesome, and reward a FU Point.
T�� B���
One technique or rewarding FU Points is to place a bowl o beads, chits or tokens in the centre o the table. Each bead is a FU Point. Te Narrator can tell players to “take one rom the bowl”, and other players can reach in when it is appropriate to reward a player, by passing a bead rom the bowl. Tis requires trust between players and Narrator, but makes the running o the game very smooth as no-one has to stop and ask; “Does that deserve a FU Point?” A���������� FU is not a game about “levelling up”. While characters might have a variety o experiences and learn rom them, the real advancement comes rom the changing story and/or world.
Goals might also change rom game session to game session. Give players time to consider their goals at the start o each session and let them adjust or change them as necessary. T������� ���������
Playing an open table means everyone is clear about what is going on, what opportunities exist or cool scenes and actions. Players can see what Gear, Conditions and Descriptors are “in play” and incorporate them into scenes.
Keeping the details o villains, traps Use sticky-notes or index cards to record details about your characters, and other obstacles rom the players monsters and obstacles. Write down will push them to test their enemies, exDescriptors, Gear and other ino. As plore the environment, and try different they suffer Conditions, record those on things. Tey can manoeuvre themselves and situations in directions they think the card. will be advantageous. It is always satisUse index cards to record important ying to be rewarded with bonus dice or terrain eatures, too. Write down any accurately guessing an enemy’s DescripDescriptor(s) pertaining to the eature tors. so players can take them into account as they plan their actions. W��� �� I ����� ���� �������?
Some groups play open, making no I appropriate, players can change secret o the Descriptors and details o one Descriptor between game sessions. creatures and monsters. Other groups Tis alteration should relate in some (and/or Narrators) keep this inormaway to the experiences and story their tion hidden rom players. Both options character just participated in. Gear can provide or different styles o play. be changed between sessions at the Narrator’s discretion.
17
RACE TO THE TEMPLE OF TOT E����� ��� B���� M�����
ennessee Smith, amed explorer, has finally got a solid lead on the whereabouts o the ancient Idol o ot, an object o reported supernatural power. Unortunately, Smith’s arch enemy Giles Fishburne is also on the trail o the Idol, and has thrown his lot in with the Nazis! Tis short adventure will get you into the action quickly. It illustrates one way you might prepare your own adventures, adversaries and obstacles. Use the pre-generated characters presented at the end o the adventure. Race to the emple o ot consists o a series o set-piece encounters that you can use, rearrange and ignore at your leisure. Remember that beat the odds rolls will lead to all kinds o interesting twists and turns and once the characters set out on the adventure anything is possible!
S����: Central Asia - a bustling market in the city o Bulak - Midday. all stone and mud-brick buildings with narrow arched windows surround the central market; stalls and caes, bars and emporiums run off in all directions along winding, narrow streets. D����������: Crowded streets, Exotic goods.
Te characters have just acquired a map to the emple o ot. Unortunately, Nazi goons have arrived and want the map, too. Tere are a lot o goons, and while the characters could fight them, it might be easier to flee. Do the characters escape?
NAZI GOONS D����������: Lots o goons, Beey Aryans, Not too bright G���: Noisy Sub-machine guns B����� ��� ����� C���������: Conused, rapped, Slowed, Beore starting play have a quick discussion about Out o Action the tone and style o the game. Te scenario is classic pulp - over the top action, outrageous villains and N����: Tere are a number o goon squads equal to larger than lie heroes. Make sure everyone is on the the number o characters. W��� ��� �� ������ Te characters are capsame page here - talk about what makes this genre cool and perhaps point out examples o the genre (Indiana tured; Te map is lost. Jones, Te Mummy , Te Rocketeer ) and what parts o ���������� ��� M�� these you enjoyed. S����: A dark coffee lounge, cae or back room, Read the flavour text above (the stuff in italics) and somewhere in the city o Bulak. Te smell o strong get everyone at the table to throw around some ideas coffee and exotic ood permeates the room. o cool stuff they would like to see happen during the D����������: Private. adventure. Note it all down - when things slow, or i ennessee Smith and his companions have the you get stuck or what to do next, chuck one o these map but must now translate it, puzzling out the ideas into the mix! strange symbols and markings. Do they translate S����� the map? Te scenes presented here have a description o where the action takes place and suggest Descriptors TRANSLATING THE MAP you or the players might incorporate into the action. D����������: Ancient glyphs, Brittle paper C���������: orn, Ruined, Smudged, Te italics set up the action o the scene and the objecBurnt to a crisp tive. Paraphrase the details or your players. W��� ��� �� ������ Te map is damaged; Te C��������� characters misread the map; Tey cannot read the map Te challenges and adversaries in this adventure and must get help rom an expert in ancient languages. are recorded in boxes with relevant Descriptors, Conditions and Notes. Tese are to guide you and do not have to be used. Your own cool ideas should always trump anything written here!
18
�� G�� Z�� G���� S����: Te majestic Gou Zou Gorge, hal a mile deep and crossed by a single iron girder railway bridge. Wide open plains lie on either side o the gorge and the Kow Mountains lie in the distance. D����������: Open plains, Impassible Gorge.
Te characters ollow the map to Gou Zou Gorge, by car or horse back. Giles Fishburne is ap proaching ast, aboard the German dirigible Der Vogel. Do the characters cross the bridge saely? Do they keep their lead on the Germans?
STONE STATUE GUARDIAN D����������: Big, Heavy, Slow, Relentless G���: Heavy Stone Weapons C���������: Damaged, Off balance, Slowed, Out o Action N����: Tere is one Statue Guardian or every two characters. Te large, heavy weapons can strike multiple characters at once. W��� ��� �� ������ Characters cannot get past traps; characters are injured by traps.
�� I��� C������
NAZI BIRD TRUPPEN D����������: Tey Fly!, Agile G���: Delicate Flying Harness, Deadly Stick Grenade C���������: Conused, Grounded, Slowed, Out o Action N����: Tere are a number o Bird ruppen equal to the number o characters.
S����: A large stone chamber ingeniously lit by mirrors reflecting sunlight. Te Idol o ot - a golden statue o a seven-headed monkey - sits on a stone plinth in the centre o the room. D����������: Large bronze mirrors.
Te characters enter the chamber o the idol, only to find that Giles Fishburne and his Nazi goons are here too! Do they deeat Giles and escape with the Idol?
GOU ZOU BRIDGE D����������: Wide but narrow C���������: Rickety, Blown all to hell N����: You know you must introduce an approaching train, right? W��� ��� �� ������ Te bridge is destroyed; Te map is lost; the characters are captured.
GILES FISHBURNE D����������: Smart, Arrogant, Sword fighter G���: Polished Sabre C���������: Conused, Injured, Slowed, Out o Action N����: Giles is a greedy, arrogant villain, but he isn’t stupid. I things start looking dire he will attempt to escape, make a deal and/or double-cross anyone in his way. He has no loyalty to the Nazis!
�� ����� S����: An ancient temple ashioned into the side o a mountain. Grand statues o sinister looking gods and daemons line the walls. Dust covers everything. Te tunnel leads deeper into the mountain. D����������: Dark, Silent.
Te characters must penetrate the heart o the temple, but the map warned o nearious traps and terrible guardians. Do they get past the traps and guardians? NEFARIOUS TRAPS D����������: Hidden, Deadly G���: Poison Darts, Rusting Spears C���������: Disarmed, Set-off, Revealed N����: Challenge characters with one or two traps. ell them the passage is trapped, but don’t tell them how, or where the traps are until they are sprung!
C��������� Four pre-made characters can be ound on the next page. Tey are each examples o classic pulp character archetypes. Players may tweak or adjust them at the Narrator’s discretion, beore play starts, perhaps changing a Descriptor or two, or switching out an item o Gear. Beore starting the game each player should define one or two relationships, describing how the characters know each other. A quick and easy way to do this is or everyone to describe how they know the character to their lef.
19
TENNESSEE SMITH, DAREDEVIL EXPLORER D����������: Nimble, Level Headed, Use Bull Whip, Araid o Heights G���: Bull Whip, Worn Leather Jacket D�����: Find the Idol o ot C���������: Angry, Scared, ired, rapped, Blinded, Hungry, Dazed, Injured, Dying ennessee Smith is a mild-mannered proessor o history, but in his spare time he travels into the wilderness in search o lost arteacts and treasure. Ruggedly handsome, he always seems to keep his cool, no matter how much danger he is in—and he tends to get into a lot o it. R������������:
JIMMY SWEET, PLUCKY KID D����������: Quick, Smart-aleck, Underestimated, Young G���: Noisy Firecrackers, Dirty Baseball Cap D�����: See the 7 wonders o the world C���������: Angry, Scared, ired, rapped, Blinded, Hungry, Dazed, Injured, Dying Jimmy Sweet is a happy-go-lucky kid who has never had anyone to rely on but himsel. He is wiry, tough and quick, with a cheeky attitude that requently gets him into trouble. Jimmy stowed away on a tramp steamer with the intention o seeing the world and making his ortune. R������������:
N����: N����:
HARVEY REED, RETIRED BOXER D����������: Strong, Tinks-on-his-Feet, Boxer, Ugly as Sin G���: Roll o quarters, Poor fitting suit D�����: Look out or ennessee Smith C���������: Angry, Scared, ired, rapped, Blinded, Hungry, Dazed, Injured, Dying Harvey Reed is a recently retired champion boxer. Finding the sedentary lie a little too boring he has joined his old riend ennessee in search o adventure. R������������:
OCTOBER JONES, GIRL REPORTER D����������: Beautiul, Witty, Good Memory, Curious G���: rusty Camera, Tick Notebook D�����: Get the scoop on the real ennessee Smith C���������: Angry, Scared, ired, rapped, Blinded, Hungry, Dazed, Injured, Dying October Jones is a reporter and adventurer, afforded a great deal o reedom by her ather’s immense wealth. Beautiul, intelligent and spoilt she is a woman used to getting what she wants. R������������:
N����: N����:
20
APPENDIX - DESCRIPTORS Tis list is by no means exhaustive, but it’s a good place to start. Each entry lists the kinds o things a Descriptor might be an advantage or hindrance or, which makes it a handy reerence or both players and Narrators.
B��� D���������� A����: helpul when dancing, leaping, doing gymnastics, crawling through tight spaces and balancing. A�����������: great when shooting two guns at the same time, or doing slight-o-hand magic tricks. B�����: good or getting people to underestimate you, not good i you spend too much time in the sun. F��� O����� T��: great or passing as an aging celebrity, and or drawing attention to yoursel. F����: useul or resisting cold weather, and living in the woods. H�������: useul or flirting, selling stuff, getting roles on .V., modelling, and being popular. H���: good or looking menacing, reaching high places, acting like a body builder, or getting stuck in small spaces. O���������: a problem when exercising and borrowing clothes. P��� C�����������: a hindrance when long distance running, resisting damage, perorming eats o endurance, and healing. Q����: handy or ducking to and rom places, slight-o-hand, dodging and other actions that require speed o action. R����-����� C����: great or slicing up enemies, cutting vegetables and maybe climbing trees. S����: a pain or reaching the top shel, but useul or crawling under low objects and getting lost in a crowd. S���: a problem when running, dodging, and reacting to things. S�����: useul or lifing, carrying, smashing and throwing things. Wrestling and avoiding being crushed might also be aided. T���: good or reaching the top shel, climbing, and seeing over other people’s heads. T���: handy or squeezing into places and clothes, hiding behind poles, and perorming on the catwalk. U���: a problem when trying to seduce someone, or get a role on .V.
V�����: great or resisting poison, long distance running, and other eats o endurance. Weak: a pain when lifing, carrying, smashing and throwing stuff. W����� F���: great or swimming, but terrible when buying shoes.
M��� D���������� A�����-M�����: good or being distracted, but a problem when remembering where you lef the keys, or that you just pulled the pin rom a hand grenade. B���-S����: great when doing exams, knowing math ormulas, remembering dates in history, and generally getting into Law at Harvard. C�������-W��: good or programming, fixing your laptop and getting into PC vs. Apple flame-wars. D��-W�����: a problem when listening to jokes, recognizing a trick, or generally keeping up appearances in social settings. E���������: good or reading peoples emotions, doing psychological evaluations, and knowing how to comort distressed people. F������: good or staying on task, not getting distracted, and looking serious. L������ T������: handy or problem solving, and approaching issues in new or unusual ways. M������������: great or doing sums, solving equations and doing your tax. O��������: great or spotting hidden clues, noticing details, doing find-a-words, and reading body language. O�����: good or public speaking, debating and getting people to see your point o view. S���: a pain when trying to understand plans, or learn new things. T��������: great or planning battles, remembering military history and quoting sun su. U���������: a pain when reading, doing math, remembering important dates in history and doing any school-type tests. W���: handy or sprouting proverbs, giving advice, putting unrelated clues together, interpreting people’s reactions, and saying ‘I told you so’. W����: good or making unny comments, being charming and / or entertaining, and always knowing the right thing to say.
21
E��� D����������
F��� D����������
A���������: great or joining the circus, leaping B����: a pain when doing anything that requires through narrow gaps, and doing impressive flips. sight, such as shooting, navigating an unamiliar space, A����� K��������: good or identiying mys- or painting. tic arteacts, recognizing the presence o evil magic, B����: good or charging into mortal danger, actand reading ancient scrolls. ing oolhardy, and getting into deep trouble. C������: handy when seeing something scary, C�����: a problem when carrying a valuable vase, telling your wie you orgot your anniversary, and at- visiting an antique store, or trying to cross a boobytempting other dangerous acts. trapped room. D������: great or car racing, car chases, and passG�����: a pain when resisting the urge to steal, lie, ing your driving exam. or in some other way keep or obtain wealth. F������: good or sword fighting and other civiI�-H���� A���������: a hindrance when trylized orms o melee. ing not to get noticed, avoiding attention, or finding a G��� M�����: handy or remembering names pair o pants that fit just right. and aces, vital clues, and mathematical ormulas. M������ L��: a problem when running, climbing, H������: good when tracking and stalking, look- or perorming any other activity that involves moveing good in camouflage, and knowing what an angry ment, without prosthetics or a wheel chair. rhinoceros sounds like. O��: a pain when trying to look cool, climb stairs, K��� S����: great or seeing a long way or even use a computer, or be positive about your health. doing stuff by moonlight. P���: a hindrance when wanting to buy ood or L����������: good or speaking one (or more) clothes, or trying to get into an exclusive party. oreign languages and generally communicating with P��� S����: a pain when trying to recognize others. someone or thing, driving at night, or noticing visual M����: great or knowing the mystic arts, casting clues. P��������: a problem when using mobile phones, spells, or acting like a stage magician. M�������: good or perorming operations, diag- cars, and door bells, as well as interacting at more civinosing illness, and administering first aid. lized social occasions. N���� B���: great or really hurting someone in S�����: a hindrance when trying to impress peocombat, chewing your own arm off, or winning a pie ple, or hiding rom wild animals or trackers. eating contest. W�����: a pain when trying to keep out o trouR���: handy or buying luxury sports cars, getting ble, or needing something rom your apartment. invited to exclusive parties, and bribing city officials. Y����: a problem when trying to get into clubs, be W��������: good or fighting unarmed combat, taken seriously by adults, avoid school, or see over the and pinning opponents to the ground. dash in a car.
22
FU NAME
CONCEPT
DESCRIPTION
BODY MIND EDGE
DRIVES
FLAW
WHAT DO YOU WANT?
WHAT IS STOPPING YOU?
R A E G
WHAT WILL YOU DO?
RELATIONSHIPS S N O I T I D N O C
A����
������
D����
S�����
B������
I������
����
H�����
D����
NOTES ROLL RESULT
S T N I O P U F
S D D O E H T
6
Yes, and...
4
Yes...
2
Yes, but...
5
No, but...
3
No...
1
No, and...
23
