Episodic - rpg mechanics

Rules by Tim C. Koppang (9.18.01) fleetingGlow@yahoo.com

Character Creation

--- An Overview

Every character initially consists of the following:

Some GMs may not require that all Episodes be fully developed before the game begins. With on-the-fly character creation, a character may have traits but no Sentences, Sentences with no Traits, or even nothing at all written. During the course of the game, a player can fill in what he needs as the situation calls for it, or he learns more about his character. The number of undefined Episodes should be decided before the game begins (Recommended: 1+).

--- A Free-Form Life Path

Character creation revolves around an arbitrary time span highlighted by important segments, called episodes. The arbitrary time span includes each moment in the character's history up to the time of his creation. Each episode represents an event or group of events, which impacted that character's life in such a way that he learned something - either a skill, or a personality trait. Episodes need not cover an equal length of time, but rather should concentrate on one significant incident and its impact on the character's life.

Episodes may include childhood traumas, friendly encounters, school day antics, parental difficulties, relationship issues, criminal exposure, joyful holidays, moral dilemmas, employment opportunities, or any other number of emotional happenings. Episodes may cover only a few seconds or represent years of time, as long as it covers only one major event. Episodes may overlap each other. Any character in the midst of one Episode, who confronts another adventure, can represent the two events as separate episodes. The choice remains with the player.

Each character receives one free episode, independent from the remainder of his episodes. The genetics episode consists of a character's predispositions, according to his birth. The character has no choice in the matter, and most of the derived traits should be of a physical nature, but don't necessarily have to be. The player still chooses attached traits, but this episode is not a life experience.

The author recommends characters start the game with four episodes, plus genetics, for a total of five episodes.

After deciding the subject and time frame for each episode, the player should elaborate briefly in order to better develop his character. For each episode, including genetics, the player must write two sentences describing the event so critical to his character. The player should really attempt to describe as much as possible within the limits of these two sentences. Writing more than two sentences does afford increased creativity, but for the sake of timely character creation, and to allow for in game discoveries, paragraphs should be discouraged. Of course any player is more than welcome to write extensively in their general character background.

Optionally, a GM may require only so many of the assigned episodes for full development. Having one or two free episodes gives the player time to fully realize the character's concept and personality during play. When the player feels confident about another aspect of his character, he may then fill in any of the remaining episodes. On-the-fly character creation can lead to exciting innovation and unique characters. The author recommends leaving at least one episode open ended, or blank. However, many players find some direction helpful, and so genetics should always be completed beforehand.

--- Defining a Character

There is more to each character than the events in his life alone. Each episode, besides sentences, has two traits attached to it. Traits are short words or phrases that describe some positive aspect of a character. Traits usually open doors for characters and otherwise aid them in their adventures. They may include skills, knowledge, personality, innate abilities, appearance, physical characteristics, or any other descriptive facet of his person.

A player only has to limit traits by their specificity, not their nature. A trait should not cover too many areas; so many that all other traits become useless. The final decision rests with the GM's and her discretion. For examples of traits, consult the sample characters.

Each complete episode has two linked traits, in addition to the two sentences. If you have difficulty thinking of traits, try to draw them out of you sentences. Alternatively, some players find it useful to choose their traits first, and write sentences to fit with their choices. The latter method also works with on-the-fly character creation, if a player has trouble writing a story, but knows what traits he wishes to use. Some GMs may allow their players to fill in the episode's sentences as the game progresses. To add interest, require the player to have their sentences completed if they wish to make use of that trait.

Make sure to choose traits that cover multiple areas. A character with many combat traits, will find it hard to interact in delicate social situations where his massive strength won't help. A well-rounded character with a variety of traits will find it easier to accomplish more. Moreover, the author encourages creative use of each trait, sometimes outside the boundaries of its original intention. Of course the GM must approve, but don't be afraid to allow for some breathing room.

Traits are not the only characteristics that make up a character. Quirks, much like traits, describe the character in some way. However instead of positive qualities, quirks embody negative aspects of that character. Quirks somehow hinder or limit. They need not be severe to the point of paralysis or extreme bipolar/split personality disorder, but do give a character a few flaws. Quirks are meant to add flavor and narrative weight to a personality.

For every two traits that a character has you must also assign one quirk. Like traits, quirks are attached to an episode, yet every episode need not have a corresponding quirk. The specifics are left to the player, but try looking at your sentences for ideas.

Finally assign your character one Drama Point for every episode he has.  Drama points give you, the player, a chance to interact in ways that are usually reserved for the GM alone.  Drama points need not be attached to episodes in any way.  See below for details on using drama points.

Total Episodes Total Traits Total Quirks Total Drama Points
1 (Genetics) 2 0 1
2 4 1 2
3 6 1 3
4 8 2 4
5 10 2 5
6 12 3 6
7 14 3 7
8 16 4 8
9 18 4 9
10 20 5 10

--- Possessions

Depending on the genre, what a character owns may have significance to the story. Instead of number crunching however, assign your character possessions appropriate to his career, family connections, luck, social status, friends, or any other aspect of his life. Particular items may have abilities beyond the mundane. Such items may lend you extra traits in certain situations. Armor also awards your character additional protection in battle. See the Life and Death section below.

Finally, have your character approved by the GM.

--- Example Character

Rod Arc is a completed character.  He has one blank, or open episode, but his player knew ahead of time what one of the traits would be.  Therefore the fifth episode is partially completed, leaving a final trait to be decided in-game.  Before traits from the fifth episode can be used however, the GM may require Rod's player to fill in the two missing sentences.

Task Resolution

--- The Basics

The majority of the game uses a karma based task resolution system to resolve uncertain situations. When attempting to determine success or failure in a certain situation, determine what traits and quirks will help the character in the specific task. The traits should have a direct application in some way, not just a casual relation. The final say is left to the GM. For each applicable trait count one point to your task pool. If a quirk, or even trait, would actually hurt a player in the situation, lower the task pool one point for each harmful quirk or trait.

During opposed tests the character with the higher total task pool wins.

During unopposed tests the character's task pool must beat the GM set difficulty pool. The difficulty pool should be totaled according to the difficulty of the task along with any additional modifiers for situation. A GM may wish to assign traits to specific locations in order to help justify the difficulty pool. It is possible to apply negative modifiers to the pool if the situation calls for it.

Task Difficulty Difficulty Pool
Simple - Don't think twice 1
Easy - Not a problem 2
A Bit of a Challenge 3
Middle of the Road 4
A Definite Challenge 5
Hard - Just plain hard 6
Extreme - Whoa... 7

If a character's task pool comes up short, the GM should allow the character to take modified or additional actions to better make use of his traits to according to the situation.

--- Group Resolution

Not all tasks have to be resolved individually. Quite the contrary, group resolution is fast, and provides an opportunity to work together towards a common goal. This methodology, which can be used exclusively, forces the party to divide up the tasks at hand, each character working to complete the goals in his area of expertise.

When resolving tasks as a group, either opposed or unopposed, the difficulty pool must be adjusted to reflect the relative difficulty. Even though different characters will be working towards different individual goals, there should be one group goal declared beforehand, one that all characters will ultimately try to accomplish. In other words, ever character's individual actions during resolution should reflect the overall goal.

Instead of breaking down the scene into the smaller actions, however, only one difficulty pool has to be beaten by all of the characters combined. To do so, each character adds their applicable task pool to the running total. If the resulting pool is enough to beat the modified difficulty pool then the overall goal is accomplished. In order for each character to contribute their maximum potential to the test they must tailor their actions to best fit the scene, and their individual contribution to that scene.

The amount of adjustment a difficulty pool requires is equal to one times the number of characters acting as a group during the test. The modification only need be applied if the test would not benefit from many characters working together. In all other situations, the GM should feel free to leave the adjustment off. For example:

Betsy the bunny and a bunch of her hungry friends are trying to raid Farmer Greg's garden, but the resourceful farmer just installed an electric perimeter fence. The bunnies decide to outwit the farmer once more an begin to mount their attack. Betsy and Calvin want to wait in the middle of the fence and run in and out as soon as the fence is out of the way. Ronny decides to tap on the farmer's window and get Farmer Greg to walk outside. Meanwhile Ralph and Suzy ready a trip wire. The GM decides that this will be rolled as a group, and the difficulty is three (Farmer Greg isn't too bright). Because the bunnies are not directly combining their efforts, she adds five to the pool, for a total of eight. Altogether the bunnies come up with seven for their combined task pool, which isn't enough for success.

Instead Farmer Greg walks out to check on his garden, but the trip wire fails (Ralph and Suzy were the source of the shortage). After switching off the fence the farmer enters the garden and admires his carrots. Seeing their opportunity, all off the bunnies decide to help lift up a portion of the fence and let Betsy run in and steal some carrots. This time the task is rated at four, but because they are all lifting together, the GM rules that their won't be any additional modifiers. The bunnies easily succeed, and Betsy runs right between the farmer's legs.

During group resolution, all of the players and the GM should work together in order to decide the outcome of successes and failures. Make sure to discuss who contributed the most, and who was most likely to fail. Even a success may have certain aspects that were not completed in the most successful manner.

--- Buying Dice

A player may modify his task pool by purchasing dice. To buy dice the player uses his original task pool only and trades in points at the rate of three points for one d4. He may then role the purchased dice, and add the total to his task pool. Anytime a die comes up as a four the die explodes, meaning you re-roll the die and add the new result to the total. A die may explode an infinite amount of times as long as he keeps rolling fours. For example:

Slasher the combat monk has to beat a difficulty pool of four in order to jump across the pit of doom. Slasher has Cunning Agility, Quick Runner, and Indiana Jones Like Disposition. His three traits aren't enough to beat his target, but it is enough to buy a single die. Trading in the three points, his task pool is now equal to zero, he grabs a d4 and rolls a four. The die explodes and he rolls again, this time a two. His task pool is now equal to six, and Slasher jumps deftly across the pit of doom.

Optional Rule: Some players may find it more advantageous to purchase dice larger than d4s.  At the GM's discretion a player may buy a die larger than a d4 at the costs listed below.  The odds of increasing your task pool remains the same, but the range is increased and the point costs are decreased when compared with purchasing multiple d4s.  However, you will have a better chance of rolling a success when throwing multiple dice, rather than one large one.

Die Type (Single Die) Point Cost
d4 3
d6 4
d8 5
d10 6
d12 7
d20 11

--- Ties

If a player's task pool is exactly equal to either the difficulty pool or another character's task pool, either party may achieve a partial or minimal success in the situation. Work with the GM to nail down any details of the task in the event of a tie. In true standoffs, such as arm wrestling, those involved may be at an impasse. For these situations the game master may change the nature of the test to better reflect the new challenge, after the standoff, until a clear end is decided. For example:

Bob the Cowboy and Sam the cowboy are both arm wrestling for a pot of $500. Both contestants have equal task pools - Bob has Burly and Great Tone, while Sam has Built and Stupendous Willpower. In this situation there seems to be a standoff so the GM decides to run another test. This time it will comes down to each character's ability to deal with the crowd's taunts. Sam's Stupendous Willpower and Intimidation outclasses anything Bob brings to the table, and the cowboy now has a healthy bank account.

--- How Did I Do?

The amount by which a character overcomes or falls short of the difficulty pool determines his degree of success. Rarely does someone merely win or lose, but rather they accomplish their intention to a variable degree. To determine the degree of success subtract the character's task pool from the difficulty pool.

The Difference Degree of Success
-4 The Worst - No goals+ accomplished
-3 Ouch... that's embarrassing
-2 Solid Failure - Things aren't looking so good
-1 It's not so bad... you sort of got it
+1 Just Barely
+2 Solid, but without flourish
+3 You make it look good
+4 Full Success - All goals+ accomplished

--- Drama Points

Besides a character's normal quirks and traits, a character also receives drama points to further extend his reach into the game world. Drama points allow a character to alter the ongoing story outside of his normal abilities. This is the ultimate goal of drama points--to advance a story in directions desirable to the player.

The player and GM should work to determine the details of any given task after the outcome has been resolved via mechanics. However, in most cases the player still has a limited amount of say. The GM may not want certain details to come to light, or the story to take a certain direction. Maybe the GM's idea of a success differs from the players. Even in cases of total failure a GM can narrate outcomes that work in opposition to the character's goals or personality. Drama points provide an escape for the players in such situations.

After the task pools have been calculated, the dice have been rolled, and the success level determined, a player may opt to spend one of his drama points in order to take narrative power temporarily away from the GM. Drama points are powerful--they cannot alter the success level, but they do give the player a chance to decide on all of the details of his success or failure. Instead of working with the GM, the player has ultimate control over the situation. The player's power only extends so far as the immediate effects of the action allow, but within those limits the player has free reign.

Philip the accountant has recently discovered that a number of his fellow employees have been turn into zombies during their company retreat in Colorado. Philip quickly exits the ski resort, and heads off into the woods, but the zombies remain hot on his trail. He's already faced one of them in hand-to-hand combat, but he isn't keen on fending off the entire management staff. He makes a check to escape from the surprisingly speedy undead hordes, and scores a +3 on his success total.  Spending a drama point, Philip's player begins to describe Philip's amazing athletic abilities and even goes so far as to declare that a tree has fallen over one of the local ravines. Philip crosses the tree and kicks the makeshift bridge down into the abyss. Now he'll just have to figure out a way to fend off the possessed squirrel tribes.

The GM had not described the forest that Philip was running through in great detail at any time.  Philip's player had no idea that there was a ravine up ahead or that a log just happened to bridge the gap.  Philip's player added all of the scenery after spending his drama point.  If the GM had narrated the above scene, the forest may have taken on an entirely different look.  Philip's success may not have been as decisive if the ravine was not there to separate him from the zombies, but with a +3 success level, Philip's player was not out of line in creating these obstacles.  Because the task itself was broad, the success description can be broad in scope as well.

An abusive player with drama points may get out of hand. Hopefully the players will use drama as a means to better express their character or take the game in a new direction, but if the GM feels that game integrity has been sacrificed, she may impose limits of her own design. Every GM should remember however, that drama points are meant to empower players, not GMs. Make sure to consult with all players involved in the game before too hastily checking the use of the points.

Drama points are not permanently spent, but rather they regenerate after each session. The GM may allow points to replenish more or less often at her discretion. A GM may also award extra drama points during play as a reward for good role-playing. These points, when spent, do not replenish, but are considered permanently exhausted.

Life and Death

--- Before Play

There are no special combat rules per say, but the threat of physical harm remains.  Most fight scenes fall under the heading of normal task resolution - that's not to say that suspense will be lacking however.  Damage is applied directly to a character's traits, quirks, and possessions.  As the character suffers more, so will his abilities dwindle in effectiveness.

Proceeding character creation, look at the character's traits, specifically the physical traits.  Any that will aid a character when harm comes his way, place an asterisk next to it.  Examples may include tough as nails, large, big-boned, brawny, thick skinned, or any other damage soaking qualities.  Mental toughness and willpower related traits should not receive asterisks.  Although a strong will help a person deal with pain, asterisks are meant to serve as indicators of a character's ability to absorb blows.  Quirks can also be considered for asterisks, but try not to abuse the rule.  Remember quirks are meant to hinder, not help a character.  Next look at your character's equipment and repeat the process.  Armor, heavy clothing, shields, or any other object that may take a blow for you is candidate for an asterisk.

--- Taking the Blow

When there is a chance for a character to take damage the game master should alert the player ahead of time, but the element of surprise need not be totally forgotten.  If the situation calls for it, let him have it without warning.

For every point of damage a character receives during play, he must cross out 2 traits or quirks from his character sheet.  Those traits are now useless, and play no roll in the character's further adventures.  If appropriate, the player should altogether cease to role-play those traits.

After choosing his traits, the player also records a wound.  The character suffers only one wound per attack, regardless of the amount of damage he takes, but wounds may increase in severity as damage values rise.  Wounds give concrete description to an abstract concept of damage.  The wound should be graphic and related to the type of attack suffered.  Work with the GM to nail down any details.  Wounds don't have any mechanical function beyond an opportunity for story development and role-playing, but should not be ignored.  Losing traits represents a loss of ability, but wounds give damage a realistic feel.

Instead of losing 2 traits, a player may instead opt to cross off 1 of his asterisked traits, quirks, or possessions.  These traits have no other special function beyond their increased value in dangerous situations, but do not lose their asterisk.

When a character has no remaining traits or quirks he dies.  Any healing that a character wishes to undergo must be performed before that point.  There are no set rules for healing or recovery times.  Each wound is different and should be handled on a case-to-case basis.  However, upon recovery, traits that were crossed off return to their pre-damaged condition.  In other words, uncross off healed traits, quirks, and possessions.

Learning

Character advancement takes place after each gaming session. The GM awards characters that achieved their goals, experienced an enlightening event, leaned a new talent, or otherwise gained from the adventure, additional episodes. The newly awarded episodes function much like the ones used during character creation, but the attached sentences and traits should describe the events that led up to that specific episode.

Characters worthy of reward, but not enough to warrant a full episode, may receive half an episode. That player may choose one trait and write one sentence describing the episode, but may not use that train in the course of the game until the other half of the episode is rewarded to him. If the player receives another full episode, the first half of that episode attaches to the original, leaving another empty half. While this may seem redundant, it prevents half episodes from covering events in that character's life too far removed, yet still within one episode.

If the GM approves, character advancement may also occur during play. After an event worthy of reward has past, a character may receive another episode.

Fin

All files, including this document, are Copyright 2001 by Tim C. Koppang.