AnimOuch 2 

Return of the OverGM

Beta - Playtest - Version

Intro.

Konnichiwa, Welcome, to this, the second in our series of anime games. It follows on from the basic system started in AnimOuch - Anime Gaming, moving the focus from tactical combat to role-playing. Ownership of the original AnimOuch! is not necessary to use this book.

Again we have tried to create flexible rules and ideas that cover the range of popular action anime shows instead of having the rules fixed to a specific style or show.

As a role-playing game AnimOuch! places much greater demands on the gamesmaster (GM) than it does as a pure combat game. Not only must he think up the settings and storylines but he must (over)play all the NPCs and pay a lot more attention to the actions of the players.

For a quick game the GM should provide full details of the setting and the characters. To make life easier we will focus this book on one setting, with hints on how to create your own unique settings.

For a more normal game or campaign the players should design characters they will feel comfortable with in the GM's chosen setting.

Like most role-playing games AnimOuch  is not intended to be competitive. Anime is fun, role-playing is fun - play the game for fun.

Hope you enjoy it.

Use of Gender

Gender terms such as he or she will be used erratically throughout this book. Generally male terms will be used for the GM and female for the players. This should not be presumed to mean any form of bias towards either sex, it’s just easier that way.

A CAWS production

COPYRIGHT © 1998, 2002 Stephen Gill

Permission granted to copy where necessary for personal use or review purposes only.

The use of or reference to any trademark or copyright in this publication should not be considered a threat to that status. Any such use is intended purely for review purposes. We have nothing but the deepest respect and thanks for those involved in creating and publishing both anime and manga, and those that design and produce figures. Any resemblance to persons living or dead is totally coincidental and should be considered merely a lucky guess.

This edition published 1998 by CAWS.

As there is high player to character empathy in RPGs it is important that the players can relate to their characters.

Before players can start generating their characters the GM must decide on the focus for the game. Only once the GM has decided on the setting and style of the game can the players determine their characters' role in the game. It wouldn't be a great idea to create a bunch of post-nuclear apocalypse characters with great woodlands survival skills if your game revolved around gang conflict in demon infested cities in the far future (although it could be good fun to play the poor lost things, maybe they got trapped in time or something).

The more the GM has fleshed out the setting the more he can help his players with their character creation. It's especially important regarding those little background details that make their lives that bit more real or believable.

Only once the GM has decided on the basics of the setting can the players start working on their character concepts. The character concept is the basic overview of the character. It covers the origins of the character, her basic powers and abilities as well as a rough idea of her psychology.

Characters are created by purchasing characteristics, abilities and skills. The cost of these comes from the Character Points assigned by the referee. These should be carefully chosen so as best to achieve the concept of the character.

The points allocated for players to spend on their characters determines their strength relative to the rest of the universe. It is also a factor of the type of campaign the GM intends to run.

Generally if the GM likes characters to improve rapidly through experience then they should start fairly weak. If the GM prefers that they advance slowly then they should start off already fairly experienced, or at least reasonably competent. It's all a matter of personal taste: some GMs prefer to give out improvements as a reward to players, others feel the game should be reward enough.

Suggested starting Character Points:

Normal People                                         50

Weak Characters                                      200

Normal Characters                   400

Powerful Characters                 600

This includes weapons and equipment.

Simplifying it for the players

Unfortunately the AnimOuch!  character generation system is a little complex. It may be easier (especially at first) if the GM puts together a list of basic equipment and attacks for the setting and allows the players to choose from it for their characters.

Attributes

Character attributes (sometimes known as statistics or stats) are used to show role-playing characters’ aptitudes, their innate abilities in certain spheres.

They may be used to modify characters’ success chances where the GM thinks they’re applicable.

They also help players to visualise their characters. Once a player has decided her character's attributes she is on the way to deciding what the character is like.

There are five character attributes: Agility, Physique, Drive, Brains, and Status.

Agility is a measure of both speed and accuracy. It indicates a character’s nimbleness and hand-eye co-ordination.

Physique indicates a character's physical status. It is a measure of a character’s strength, health, and physical fitness.

Drive is a character's dedication. It measures both self-esteem and mental toughness.

Brains is a factor of the character's brain power. It covers both intelligence and the ability to use information. Usually the character's Brains is less important than the players.

Status is a measure of a character’s rank within society and how well respected the character is. It also shows the character's style and poise.

All attributes start with a default score of zero. This is the average human value. Character Points can then be used to increase them. Attributes that are taken below normal give the character extra character points.

The attributes table shows descriptive values for the human range of -3 to +3. Attributes can be taken from -6 to +6, but anything outside the human range requires the GM’s approval, and usually a very good reason.

It’s not a good idea for a character to spend too many character points on attributes. They should focus on those attributes that help them achieve their character concept. Players should remember that zero is average, any points they spend make their characters noticeably better than normal.

Suggested Maximum Attribute costs:

Normal People                                         10

Weak Characters                                      50

Normal Characters                   100

Powerful Characters                 200

Abilities

Abilities show the more game related aspects of a character. They are often derivatives of attributes

The abilities are: Initiative; Physical, Energy, and Mental Avoidance; Physical, Energy, and Mental Toughness; Wounds; Conviction; and Luck. A character's basic abilities are derived from her attributes. Character Points can be spent to increase a character's abilities beyond their basic levels.

Initiative indicates how fast a character reacts to events. Initiative is equal to the sum of Agility and Brains. It costs 20 character points to increase base initiative by one point. Initiative should not be increased above +5.

Physical Avoidance is how difficult it is to hit the character with a physical attack if she knows the attack is coming. Physical Avoidance is equal to the average of Agility and Brains. It costs 5 character points to increase Physical Avoidance by one point.

Energy Avoidance shows how difficult it is to hit the character with an energy attack that she is aware of. Energy Avoidance is equal to the average of Agility and Brains. It costs 5 character points to increase Energy Avoidance by one point.

Mental Avoidance indicates how difficult it is to hit the character with a mental attack if she is prepared for it. Mental Avoidance is equal to the average of Drive and Brains. It costs 5 character points to increase Mental Avoidance by one point.

The effective maximum for each Avoidance is +6. It is possible to increase them beyond that, but there's not much point.

Physical Toughness shows how hard it is to hurt her with physical attacks. Physical Toughness is equal to Physique. It costs 5 character points to increase Physical Toughness by one point.

Energy Toughness shows how resistant she is to energy based attacks. Energy Toughness is equal to Physique. It costs 5 character points to increase Energy Toughness by one point.

Mental Toughness shows her resistance to mental attacks. Mental Toughness is equal to Drive. It costs 5 character points to increase Mental Toughness by one point.

Wounds is a measure of how much damage she can take before becoming useless. Wounds is equal to Physique plus Drive. It costs 10 character points to increase a character's Wounds by one.

Conviction is a factor of mental toughness, mental power, and religious (or similar) faith. Conviction can also be used as an indicator of the character's place in the larger scheme of things. Conviction is equal to Drive plus Status. It costs 5 character points to increase Conviction by one.

Luck is a bit of an unusual ability. It is very difficult to define, and shows both the character's destiny or karma, and her ability to avoid unfavourable situations. Base Luck is 0, normal people may not have luck. It costs 20 character points to increase a hero character's Luck by one.

Skills & Stuff

Skills are broad categories of knowledge that characters can pick up from education and/or experience. They are used to indicate things that the characters ‘know’.

Most skills can be used (to some extent) by any character, regardless of whether they have them or not. Some skills can’t be attempted unless the character has at least one level in the skill. These are the more complex skills - generally to be found in the building and designing section.

Skills marked as (specific) are skills that cover a variety of possibilities. The player must specify what the skill is being taken for. As the relevant technology advances the number of options in each of these categories increases so the amount covered by each choice should be increased by the GM.

Drive Vehicle (wagon) would be OK as is in a society dependant on animal drawn vehicles where there are multiples to choose from, but no other forms of transport. In a more futuristic setting it would have to be Drive Vehicle (animal drawn) as there are also Drive Vehicle (car), Drive Vehicle (truck), Drive Vehicle (jet), amongst others.

Ability in one option of a skill may imply some ability in a related speciality. In this situation some of the skill (usually half) may be used for an attempt with an option the player doesn’t have. This is very much a GM’s call. If a player can convince him that knowledge of Venusian skimmer bikes will help with flying an archaic airship then so be it.

Doing Things

These are skills that involve activity of some kind on the part of the player.

Acrobatics

The ability to perform difficult or dangerous acrobatic manoeuvres, whether on the ground or on a tightrope.

Awareness      

The ability to know what is going on around you. The higher the level the wider the focus of this ability, i.e.  level one will give you general awareness, but level three lets you see the smaller details.

Composition (specific)    

The ability to write prose, newspaper articles or music.

Dance    

The ability to move in time with a music beat, anything from the waltz to break-dancing, or beyond.

Disguise

The ability to appear as someone/something other than you, often with the help of cosmetics, masks, hair colourings, etc.

Driving (specific)       

This skill is required for the safe control of any sort of vehicle or riding beast, from a horse to a space ship.

Gambling       

The ability to court lady luck in a variety of card, dice and other games of chance.

Information Gathering (specific)     

The ability to glean information from a variety of sources, e.g. library search gives you the ability to find information in a library, databases allows you to search through computerised databases unimpeded, while interview allows you to probe people for information you want.

Knowledge (specific) 

Knowledge on a specific subject. Subjects should be fairly specific, not too general.

Medical 

How to cure and care for the sick and injured. Includes first aid as well as anatomy.

Musical Instrument (specific)     

The ability to play the musical instrument of your choice. Includes natural ‘instruments’ like singing.

Navigation      

The ability to calculate which direction to travel in, whether it be by reading a map, compass or the stars.

Social Behaviour (specific)   

The ability to correctly use the manners and etiquette of a grouping of people, e.g. Upper Class allows you to mix with the rich and elite as if you were born into the circle.

Stealth  

The ability to sneak around or hide undetected. In an ambush the stealth skill level works as an attribute for modifying any attack attempts.

Survival 

The ability to find water, food, and shelter. Also covers the character’s cooking ability.

Tactics (specific)  

The skills required to plan how to beat others in combat or other competitive areas.

Teaching  

The ability to impart knowledge to others.

Weapon (or power) Use   

Using weapons and powers is primarily covered by the characteristics of the attack. It is important to know what is the innate ability of the character and what comes from a weapon.

The character needs a separate weapon use skill for each weapon or power. This is equivalent to their accuracy with that specific type of weapon (or power) and adds to it.

Designing, Building & Breaking Things

These involve design, manufacture, repair and modification of items

Basic Technology       

The ability to build or fix an item that is considered basic in the game setting.  Near Future examples being fitting a plug or a spark plug.

Armourer       

The ability to build or fix any armour within the game setting. Fantasy examples are Plate or Chainmail

Weaponsmith      

The ability to build or fix any weapon within the game setting. Futuristic examples are Lasers or Tractor Beams.

Physical Understanding

Understanding the physical sciences utilised in the game setting.  Ballistics and Metallurgy are examples used in Modern through to Far Future settings.

Energy Understanding

Understanding the energy sciences used in game setting. Beam Weapons or Laser are common examples in a Far Future setting

Mental Understanding

Understanding the uses of mental and magical powers in the game setting. Psionics and Magic are common examples.

Basic design   

The ability to design basic items based on your ability in the knowledge required. Basic Technology should work in conjunction with this skill.

Armour design     

The ability to design armour from your knowledge in one of the three armour types.  Ability is averaged with the knowledge being used.

Weapon design    

The ability to design weapons based on your ability in the knowledge required. Ability is averaged with the knowledge being used.

Character Archetypes

Gung-ho cop

Psyche cop

Cyborg

Power Armoured Cop (with PA as booster gear)

Mecha Pilot (with mech as booster gear)

Psychic

Vigilante

Moody Hero

Vamp(ire)ish Heroine

Intrepid Reporter

Stressed Paramedic - joke!

Cute, indestructible girl

Curious, lucky boy

!!!!!

Make all basic powers and abilities dependant on the character's attributes and skills

!!!!!

Everything else can then be bought as extras or add-ons

!!!!!

Rules Stuff

The basic rules and some of the ideas behind them.

Also includes hints for the GM to make life amusing for his players and himself.

Rules Intro

Role-playing games have a completely different approach to all other types of games. Although many types of game put you in the position of being someone you’re not (property tycoons, detectives, etc.), role-playing games depend on it for their success. The game occurs mainly in the heads of the GM and the players, and their assumption of the characters’ roles is important for the game’s success.

Role-playing is just make believe with rules, an advanced form of Cowboys and Indians. It is often compared to ad-libbing on radio or TV. Each player takes the part of one character within a universe controlled by the GM. The GM describes the situation and the players respond to it the way they feel their character would react. The GM also plays the parts of all the other people in the universe, the NPCs (Non Player Characters).

A major part of the appeal of RPGs is the lack of formality. Characters do not act within a rigid framework, they spend most of their time reacting to the situation as described by the GM. Common sense is used to decide how long each action takes. Only in combat is a more rigid system of initiative and turns enforced.

The GM has a far greater role in a role playing game (RPG) than in any other type of game. The game must be planned and set up. The GM spends a lot of the game describing events, people, and situations to the players. On top of this the GM must play all the NPCs make rule decisions and arbitrate any disputes. It's a lot of work, but it has a few benefits, though most are difficult to define. You get to be creative with the world and you are the only one that really knows what is going on. The feeling when a game runs well is hard to beat, and often the players are willing to feed you treats in the hope of getting in your good books.

If the GM is not careful it is easy for the players to misunderstand the situation they are in. For this reason the GM must be careful to describe more than would seem necessary. It is really helpful to describe more than just the bare bones of any situation. Sounds and smells really help make the situation come to life in the players' minds.

Role playing places a lot of emphasis on things other than just fights. Characters can get drunk, fall in love, take part in racing tournaments, or have blazing rows. The game also involves a lot of incidental characters, the NPCs, that can interact with the players in many ways other than mere fighting.

Role playing connects storylines together (known as scenarios) to play a larger part of the characters lives. There is no winner or loser in a role playing game as the players are not competing against each other, they are interacting with a world created by the GM.

Playing the Role Playing Game

In a role-playing game most of the action occurs in the players’ and GM’s heads. The GM describes the situation to the players who respond with their players actions. Dice are rolled when there is an element of chance involved.

Generally it is easier to continue through the story without resorting to rolling dice. Dice should only be used whenever the outcome of an action is not guaranteed, or the GM feels it would be good to know how well (or badly) the action went.

When characters are communicating with NPCs (usually by talking, though it could be by ESP, writing, or anything else you can come up with) there are two ways to go about it. Either the player(s) and GM act out the conversation or they just describe the gist of it and roll on the relevant skill. Of course it is preferable for the players to act it out in character, but sadly this is not always possible. The approach you use is best determined by the people in your group, some people are more comfortable with character acting than others.

At all times the GM must try to be very descriptive, this helps the players get ‘into character’ and makes it easier for them to react naturally to the situation. Be creative, describe not only what they can see, but also what they can hear, feel and smell.

The Basic System

For any attempt a character (PC or NPC) makes they must roll equal to or less than the target number (TN) for the attempt on 2 six sided dice (2D6).

The default target number for all attempt tests is 7 for partial success, 6 for total. This is then modified up or down by the GM to adjust for added ease or difficulty of the situation. Finally the character's ability or skill is added to the target number (i.e. the better they are, the easier it is to do).

It is up to the GM to decide what any target numbers are. If what is being attempted is easy for the character (such as an expert driver parking the car in a driveway) then the target number should be high. If what is being attempted is difficult for the character (such as driving the car in rush hour with a blindfold on) then it should be low.

It is not necessary for the GM to inform the players of the target number they require for success. The game will go quicker if the GM is thinking up the target number while the player rolls and just tells the player whether it was successful or not. Much of the time it will be obvious from the roll whether the attempt was successful or not, it will also be easier for the GM to fudge the result.

The GM should also take into account any preparations the player(s) involved have made. If they have planned in advance for the situation and arranged things in their favour then the target number should be raised to suit. Similarly if NPCs or faulty equipment are working against them the target number should be lowered.

It is also very important to take into account the character’s frame of mind with regard to the attempt. In anime characters that are only mediocre in ability tend to pull off spectacular stunts when the fate of their world or (even more importantly?) boy/girlfriend is in the balance. The GM should apply bonuses for attempts that are emotionally important or exceptionally suitable for the character as the GM sees it.

Entertainment value is also very important. If the attempt is amusing to the GM, or likely to lead to an entertaining situation, then boost the target number as you see fit.

The lower the amount rolled the better the task was accomplished. A roll four below the target number is an exceptional success (in combat it’s known as a skill shot). This means that the task was accomplished far better than would normally be expected.

Target Number Suggestions:

Ridiculously easy                      10

Simple                                      9

Basic                                        8

Normal                                    7

Tricky                                     6

Tough                                      5

Really hard               4

Generally target numbers should be between four and ten, as even a modifier of one from the basic seven affects the chance of success greatly.

Lord FredXXX has set up an ambush. He wants to catch AkiraXXX unawares this time. He hides in a copse in the park opposite AkiraXXX's apartment while AkiraXXX's at work, ready to strike when he gets home.

The GM makes a check to see if anyone else notices Lord FredXXX while he waits in this popular park. He then gives him a target number of ten for the attempt. Lord FredXXX rolls a five, a skill shot! Ten minutes later AkiraXXX is in the back of a laundry van heading to Lord FredXXX's base.

Some Target Number Modifiers:

Done this before....................................................... +1

Prepared................................................................... +1

Nothing can stop me now......................................... +1

Done this many times .............................................. +2

Totally focused......................................................... +2

I’ve trained for this forever...................................... +2

This just has to be done............................................ +2

If this fails the world’s had it..................................... +3

What is this?............................................................. -1

Risky business........................................................... -1

Feeling insecure/incapable......................................... -1

This doesn’t seem right............................................. -1

Why am I doing this?................................................ -1

Against the character’s principles............................. -2

This is a gross thing to do......................................... -2

Totally unready........................................................ -2

Risk of injuring loved one......................................... -2

Loads of distractions................................................. -2

All target numbers and modifiers given here are suggestions only. They don’t cover all possibilities. GMs should use their own judgement when assigning target numbers. 

Automatic Successes and Fails

A roll of 2 is an automatic success. A roll of 12 is an automatic failure; 10, 11 & 12 are automatic fails for a character attempting a skill she hasn't got.

Using Attributes and Abilities

A character’s attributes can modify attempt checks. Simply add the character’s relevant stat value to the target number.

There is no specific stat for any skill. Instead it is up to the GM to decide which stat is involved. As an example a character using a firearm in close combat will probably rely on her agility, but if she was using the same gun to bushwhack someone she would rely on her brains to find the best time to fire.

Opposed Attempts

If what a character is attempting is directly opposed by another character then it is an opposed attempt. Examples are armwrestling, sneaking up on someone, picking pockets, or using sheer force of will to make someone do something they normally wouldn't.

An opposed attempt is rolled as normal using the active character's modifiers less the opposing character's modifiers.

As an example AkiraXXX is sneaking up behind one of Lord FredXXX’s guards. He intends to sap him one on the back of the head so he can continue sneaking into the complex. The GM gives AkiraXXX a TN of 9 for coming up behind the guard, he gets +1 for his agility, and an extra +1 as there’s a lot of background noise. AkiraXXX thus has a +2 for his attempt. The guard has an awareness of +2, reducing AkiraXXX's modifier to 0. AkiraXXX will need to roll a 9 or less or the guard will hear him coming.

Alternate system

Some people feel happier in a game if they have to roll high for success. For these people we offer the 'alternate system'.

Swap Target Numbers around, the base is still seven. The more difficult the attempt the higher the target number. Thus an easy attempt has a TN of 4, a tough attempt a TN of 9.

Again you roll two dice, however you add the character's skill level and other modifiers to the dice roll. A total equal to the target number is a partial success, higher is a full success.

Repeating the previous example AkiraXXX is sneaking up behind one of Lord FredXXX’s guards. He intends to sap him one on the back of the head so he can continue sneaking into the complex. The GM gives AkiraXXX a TN of 5 for coming up behind the guard, he gets +1 for his agility, and an extra +1 as there’s a lot of background noise. AkiraXXX thus has a +2 for his attempt. The guard has an awareness of +2, reducing AkiraXXX's modifier to 0. AkiraXXX will need to roll a 5 or higher or the guard will hear him coming.

Fudging it

When necessary the GM should 'fudge' target numbers for both PCs and NPCs. Fudging is the process whereby you assign a target number other than what would normally be the case in order to improve the chances of things going the way you want them to. You can also fudge NPC’s dice rolls (in fact you should), presuming the players can’t see them.

Under no circumstances is it necessary to explain to players in detail what factors lead to a target number you have assigned. If players argue too much about the value of a target number (this will usually only be done by a 'rules lawyer', a dangerous breed of player that occasionally crops up) then feel free to recalculate it and end up with a lower value. You should then apologise for making things too easy for the players.

Target numbers should be fudged where needed to keep the game or storyline going.

The most important factor in any role-playing game is the game itself. It is also important not to place too much emphasis on the storyline you have developed at the expense of the players' enjoyment. If they are having fun wandering off at a tangent then let them, you can always bring the story back to them later.

Combat

For combat situations there are two choices.

If it’s a small, simple situation then just continue with the game as normal. Describe the situation and let the players decide on their response. For speed it is best to roll for attacks as with other attempts, though you want to use the normal combat modifiers instead of just assigning a target number.

If it’s a larger or more complex combat situation you may be better off using the full combat rules, breaking time down into turns to keep control of the situation.

In the basic combat rules a skill shot merely means an attack does extra damage. Players in an RPG setting may want some other form of result such as damaging an opponents weapon, making sure the target doesn’t scream, hamstringing an opponent so he can’t run away, etc. Go with it. If the player has already announced her preference for the result of an attack then, as long as it doesn’t upset the game, that’s the result.

Surprise

If a character (or group of characters) surprises another, either by sneaking up on them or ambushing them, they get a free round of attacks.

Dodging

If a character spends an entire combat round dodging she can double her avoidance for the round.

Casualties and healing

When a character runs out of wounds she’s out of the game for the moment. Occasionally this means she's dead, but more often she’s just too wounded or too scared to be interested in fighting anymore.

The character can take no more active part in the game, unless she has the heal ability.

Long term healing occurs at a much slower rate than combat healing. A character may heal half a wound point per day, this increases to one point a day if there is someone with medical skill to help.

Picking Stuff Up & Using Things

Picking Things Up

There are two options if a character wants to pick something up.

She can take time and come to a stop before picking it up. This will take time that would normally be available for movement. In other words the character will have a reduced movement rate for the turn. Suggested time costs are: one quarter of a turn for something small and light, up to half the character’s mass; half a turn for something up to the character’s mass. Anything larger is up to the GM’s discretion.

Alternately she can try to pick it up on the fly. This requires a standard attempt test. The attempt is modified by the character’s speed (i.e. the distance she’s moving that turn): -1 per complete 10” of movement. Other modifiers can come from skills and abilities if they seem to suit.

Using Them

Role-players often have a strange lack of attachment to the tools of their trades. They tend to pick up everything that’s lying around. They quite happily use weapons they’ve just found even though they’ve never used that specific model of sword or rifle before. If it’s statistically better than what they already have they want it.

Generally anime characters tend to either continually use the same equipment or gradually develop new equipment. They very rarely pick up kit that’s been dropped by others unless it’s to replace something they’ve lost.

The presumption seems to be that they’re more comfortable with what they’re used to. This is the idea we’ll follow.

A character must have the item available before she can start learning to use it. Once she has it she can use it, but all attempts will be on a -3 till she has got enough experience points to pay for the item.

Innate Attacks

Basic damage attacks in ‘normal’ skirmish games and role-playing games. All characters have a free attack at -3 doing 1D6 H-H or 1D6, 6” ranged attack. This is either bare hands or picking something up and throwing it.

All mecha & power armour are add-ons. Once their wounds are shot, character's stats go down to normal.

Universe Settings

Holy War

Warrior Nun Areala meets Razor and the cast of Chaos.

Lots of deep-down religion and pure nastiness

Background

In ages past gods and angels, devils and demons fought for the Earth.

The war never stopped.

It goes through a thousand year cycle peaking in a period of massive bloodshed  then calming down before tension starts to rise once more.

Now it is again reaching fever pitch.

A Rock and a Hard Place

Silent Moebius meets Angel Cop in Europe as if done by Shirow.

Lots of political infighting and behind the scenes nastiness

Background

In ages past gods and monsters walked and fought on the Earth. Only the efforts of legendary heroes around the world during the first centuries of the second millennium sent them back to their home planes.

Now they're back.

Recent History

In the fading years of the twentieth century Greater Europe (with help from PanAsia), beat the United Americas in the great trade war. They took on the job of keeping the world peaceful.

The GE council controls events politically, but the ministries (each based in a different country) are continually plotting and scheming against each other.

Add to this a bunch of demon summoning civil servants and criminals and life can get fun.

Magical Wars

There is a major war going on for domination of the Earth. The war is between 'good' and 'evil', 'light' and 'dark', call it what you will.

The forces of 'evil' have grown powerful with the collapse of old-fashioned morality, the lack of faith, and the growth of new freedoms during the late twentieth century. Most importantly the opportunity of one powerful person to control the lives of others has never been higher . This has led them to believe that they now have a great chance for control of the Earth.

Yes, it's true. Hell, in it's many forms, exists. There are devils, demons, and other beings on the NetherEarth that ache to control the Earth and it's occupants. Life in hell is a fight for whatever you want or need, then more fighting to keep it. Rule is by fear, the tougher you are the more powerful you are. Everyone is terrified of 'the big L'.

Heaven also exists, it is the SupraEarth, effectively the opposite of the NetherEarth. Heaven is intensely ordered, bureaucrats everywhere, secretaries continually in the way. Everyone is careful what they say or do in case the 'big guy' finds out. There is a very strict hierarchy and pecking order.

The Earth is neutral ground stuck between the two. Unfortunately this means it's their favourite battleground.

Campaign Style

The war is fought region by region, city by city. The powers aim to take control of an area completely. This gives them more power, as well as freeing up personnel, to use elsewhere.

This doesn't mean that they focus completely on one area at a time, just that is where their power will be concentrated.

In general the war in an area will be fought covertly for a long time, as each side jockeys for position. It will then flare up in a short burst of overt conflict. The winning side will then consolidate its position while the loser licks its wounds prior to trying again.

Campaign Rules

A character can not harm a character with a conviction more than double her own. Current conviction can be modified by the situation, items of power as well as any effective advance preparations made.

History

In the last few years of the century cults sprang up all over the world. Millennia cults, expecting the world to come to an end at any moment, were common in the Western world. In Asia thousands flocked to priests and gurus who offered protection from the coming storm many were predicting. All over the world the prophecies said the same thing: a terrible time was coming. Many foresaw the end of life as it had been.

In 1999 things started to get strange. Priests of many religions suddenly found themselves able to cause miracles. Strange plagues of animals occurred and weird rains fell all over the world.

In 2000 it got even worse. Meteorite showers caused mass destruction over large areas. Floods destroyed farming areas all over. Massive storms occurred everywhere. Earthquakes devastated huge areas. Small islands disappeared under tidal waves.

In 2001 the stars were in the right place, the populace were scared and nervous, everyone was expecting the worst. They got it.

2001 is known as the 'Year of Fire'. Members of millennia cults, having given up everything ready for the expected end of the world, were frustrated by the failure of the world to end on schedule. Many committed suicide or ran rampant killing and destroying everything in their path. Towns and cities burned as they were torched by arsonists. In a way it was the end of the world, it was certainly the end of the way of life that many knew.

What few realised was that much of the destruction was organised. Agents of the dark powers had insinuated their way into powerful organisations ready for the moment when they could cause the most fear and destruction. This was only the beginning. The fear and killing was purely a trigger to allow the demon lords access to the Earth.

Then the real war started, the Demon War. All over the world battles were fought for the holy places, the places of power that all sides needed to support themselves.

Magic

Magic in it's many forms is far more common than now, or at least it's more visible. There are two major forms of magic.

WILD magic is the old forms of magic as practised by pagans, witchdoctors, and shamen. It is wild, difficult to harness and is often boosted by the use of drugs, music (or chants) and sex. It's users are usually psionically active.

RATIONAL magic is organised magic. It is practised by sorcerers and priests of the major religions. It follows laws and rules that have been studied over the centuries and more often involves incantations and symbols to help focus magical power. It's users are usually highly focused with great willpower and dedicated to their cause. Rationals are usually chaste and try to keep their bodies 'pure' so as keep a clear mind.

Both kinds of magic can, and are, used by both good and evil. Both forms of magic can be boosted by numbers, as in a mass or ceremony.

Unnatural Creatures

The CREATURES OF THE NIGHT, as they are commonly called, can be both good and evil. Vampires, Werewolves, even some devils can be good, it depends on their psychological make-up. They require great strength to fight off the call of evil. It is difficult not to give in to the wanton bloodlust that calls to them constantly. The urge to abuse their powers for personal satisfaction is great. Some make it, though many don't. Vampires' and werewolves' CONV and mental powers go up with age, physical goes down.

ANGELS can never be evil, they are the epitome, the embodiment, of a virtue, an aspect of being good. DEMONS can never be good, they are the personification of evil, each is an embodiment of a flaw, a specific aspect of evil behaviour. Angels and demons are what in the past would have been called gods

Angels and Demons have the power to create an AVATAR of themselves on Earth. An avatar is a human who manifests a god's aspect, someone possessed. She is infused with some of the god's power for a while. This period can be anything from a few seconds while in desperate need, to a few months to accomplish a long, intricate task. No god can have more than one avatar at any one time.

The degree of possession can vary wildly. Some just give the possessed person a fraction of their powers to use, others take over the mind of the posessee completely.

ANGELS and DEMONS gain their power from the number of followers (worshippers, if you will) they have, and the fervency of this support. One dedicated follower is worth a dozen hangers-on, and a fanatic...

Angels and demons can also never truly be killed. As soon as the current embodiment of an aspect is killed she is replaced by another from lower down the chain, the one who currently most embodies this virtue or flaw. The replacement will usually be much weaker than the previous embodiment, but their power will grow from their supporters' worship.

Sometimes the new embodiment is still living on Earth. She becomes a godling hovering between the planes. Effectively this embodiment is a full-strength avatar living on Earth. Once the godling's earthly body is killed she assumes her rightful place on her destined plane.

Big League Players

Good has many organised faiths on it's side. They can operate openly which gives them great recruitment prospects. They also tend to get themselves buried in organisers and power seekers.

Evil has a harder time of it as, even now, the vast majority of people instinctively shun their ways. Their covert nature is used to their advantage as it makes it harder for good to keep track of them and their behaviour. Evil appeals mostly to those that seek power over others, it offers a quick and easy approach.

Both good and evil power groups squabble amongst themselves regularly. It's all a matter of faith, everyone is convinced they are correct and everyone else is going the wrong way.

The Vatican

The Vatican (the slang name for the main Christian churches) is one of the biggest players in the 'organised' league. There are branches of the church who's sole function is combating demons.

The Jesuits are the main combat troops of the catholic church.

The Vatican is one of the biggest employers, and trainers, of Rational mages on Earth.

Judaism

The Jews, especially their nation-state Israel, are renowned for their dedicated combat troops. The Caballists, followers of the Caballa, are their mystic arm.

Islam

The other main Judaic religion, the Muslims are dedicated in the advocation of their faith. The Sufis are their mystic arm.

The Buddhists

Although lacking a central, public 'headquarters', the Buddhists have a long legacy of providing top-notch Rationals. Their general dedication to peaceful behaviour does mean that many of them lack combat skills. There are specialised sects which teach their advocates the skills they need when facing the powers of evil.

ESP - The Extra Special (Extra Sensory) Police

Specialised branches of major police forces tasked with dealing with the supernatural. Of course their efficiency varies. The ESPs in GE cities are usually of very high calibre, those in other areas vary quite a lot. Areas with good ESPs tend to be safe from minor irritations, though are often seen as a challenge by more powerful beings.

The Night Court

The Night Court is an international underground organisation of demon worshippers. Originally small independent groups, they have organised themselves more to work together as global communications have improved, making it easier for them to co-ordinate their efforts. Their main modus-operandi is to get their members into positions of power where they can control the destinies of mankind.

Subgroups:

Sons of the Serpent

Devil's Disciples

Soulless Soldiers

Lucifer's Legion

The Angels

Insert descriptions of the major aspects of good and their Angels. Also the hosts of good.

The Demons

Insert descriptions of the major aspects of evil and their Demons. Also the legions of hell.

Higher Powers

It is up to each player group to decide for themselves whether or not there are higher powers at work, or even in existence. There could be a supreme god or an ultimate demon. It's up to you and your religious views to decide.

Warrior Priests, Monks, and Nuns

The soldiers of faith, these are the most overt agents of the big league players. Trained to deal with, or use, magic as well as the more mundane aspects of combat they fight the war at the front. These are not political movers and shakers, they fight, often to the death, to protect or advance their faith or cause.

And  maybe

Ushio & Tora meets a cabbit

!?!?!

Interpreting Rules

Problem Rules

Multiple Attacks

There are ways for a character to legally get multiple attacks within her own turn.

A character with joined characters attached can have one attack per character. This is the whole point of joined characters.

A character can make a ranged attack and then move into contact. This makes a hand to hand attack valid.

In theory a character can make many hand to hand attacks by moving into contact, attacking (with the minus for attacking while moving), then moving into contact with another character, attacking, etc. In this case the attacking character should take an additional -1 for each extra attack.

Attacking Characters in Vehicles

If a character can attack from a vehicle (or from another character if being carried) she can be attacked back. The character may be given cover, depending on the situation. Any attack at the character that misses, but would have hit the vehicle if it were the target, hits the vehicle.

Draining Attacks

Draining attacks are not intended for everyday use. Draining attacks were meant to cover desperate moves, attacks with high risk, and to permit heroes with weak attacks to hurt tough characters they otherwise couldn’t. They are not meant to give people ‘free’ extra damage if they buy enough wounds to support them.

If players insist on taking draining attacks unnecessarily change their use to: Roll 1D6 greater or equal to current wounds to be able to use it & then roll 1D6 for the number of wounds taken.

Negative Cost Attacks

It is not possible to create a free or negative cost attack by giving it a negative accuracy. Accuracy is always a positive number.

Camouflage and Illusion

These change the appearance of a character. If hiding in a copse using Camouflage and you move everyone will see a moving bush.

Measuring Ranged Attacks

This is one of those time honoured gamer debates: Whether it is best to measure possible attacks and decide on what to do; announce the intended attack and then see if the target’s in range; or even guess the range to the target and use that distance to find the target point.

This debate has run for years, all I can do is give my views on why you should measure in advance: Trained or experienced people should have a pretty good idea of their weapons’ abilities. Announcing before measuring also makes it very difficult for new players.

If you must have the announce before measuring routine use it only for plebs. Toughies and heroes should be experienced enough to know how their weapons work.

Rules Usage

Leaping

The Animouch! rules state you can use leap to cross horizontal gaps. This is to keep it simple. In reality people can jump further horizontally than vertically. Characters should be able to jump up to twice their Leap for a horizontal jump, up to a maximum of the character’s run (or swim).

Terminal Hand to Hand

Non-stop hand to hand combat can occur as one action. If two characters are in hand to hand combat with attacks that do no knockback they can fight indefinitely. After each attack can come a riposte. The fighting continues until one of the characters is out or decides not to riposte.

There are many options for intangibility: who can fire, who can see what. It's up to the GM. Characters can stay intangible for reconnaissance, dreamwalking etc. ... Use intangibility with flight for teleportation.

Why are there no special rules for magic? As no tech level can be considered normal there are no what abilities we could think of that could never be expected to be duplicated through technology.

Helpful Rules

Use awareness skill to detect characters attacking from behind, but modify the attempt down by any sneaking skills (stealth or acrobatics) the attacker may have.

Ranged Area Effect Options

The rules for ranged area effect attacks given in the AnimOuch! rules were designed for simplicity. The following are optional rules to make their use more realistic. You should decide if you are going to use these rules before designing characters for a campaign.

Ranged area effect attacks have a choice between two special effect types. Each attack can be defined as either Direct or Indirect.

Direct attacks

Direct attacks are those that spray an area like machine-guns, shotguns, salvo missiles and sonic cannon.

Direct fire affects not only targets in the target area, but also those in a cone pattern extending from the closest point of the attacker’s base to the edges of the target area.

Each target is attacked as for a normal ranged attack. The distance from the firer to each separate target is used for calculating the range. As well as targets in the target area all targets in the cone up to the attack area can be attacked with an extra -2 to the Target Number.

If the centre of the target’s base does not fall within the cone there is another -1 to the Target Number as the target has an increased chance of getting out of the way.

Example: In the picture above the Attacker is firing at medium range with an SMG at target a. Her valid targets are: a and b, in the target area, no extra modifiers; c, in the cone, at close range -2 +1 = -1; d, partially in the cone -1 -2 = -3.

As each target is attacked separately there is no chance of scatter with a direct fire attack.

Indirect

Indirect attacks are those where the effect emanates from a central point like grenades, explosives, or gas.

Indirect attacks work as described in the rules. i.e. fire at target point, roll for scatter if miss, then work out attacks on targets within the target area with ranged measured from the target point.

Indirect attacks can clear vertical obstacles between the attacker and the target point. An indirect attack can clear an obstacle with a height of up to 1/4 of the effective range of the attack. Of course the firer would need to have some idea that the target is there (can see a bit of the target, told by a friend, lucky guess etc.) in order to attempt the attack.

If, when rolling for scatter, the attack ends up behind the attacker then treat it as a misfire. It doesn’t end up flying behind the attacker, but goes off then and there.

Panic Firing

Sometimes you just want to blow everything you’ve got in the hope of trashing something. At other times panic kicks in and taking time to aim properly just isn’t available.

Panic fire allows a character to make multiple attacks of the same type in a turn. For each extra attack made all attacks are on a -2.

Example cop with SMG makes four attacks. He has a +1 accuracy, -6 for the three extra attacks, this leaves him on a -5 for each of the attacks.

GM’s Hints and Tips

This section is intended to make it easier to play AnimOuch!

Campaign Set-up & Rules

Setting up the rules that will work in the game. No, it’s not essential to have everything in every game.

If you’re running a game based on ‘normal’ folks rising up against oppression then you might not need, nor even want, characters that can fly and use mental attacks.

On the other hand if you’re running a game with psychic kids fighting to protect the Earth from demonic attacks then you might not want characters with monstrous physical attacks like manpack 20mm rotary cannon, but then you might.

AnimOuch! is very flexible. Possibly too flexible at first. It’s very easy for a player to engage in that age old pastime of ‘rules rape’ if they want to. It’s primarily up to the GM to sort this out by carefully controlling the strength and abilities available to starting characters.

Defining how Powers work in the Game Setting

What are the physics laws in force in the game. Effectively defining the ‘rules’ of reality and how well they operate in the setting.

Covers how close to ‘reality’ the specific setting is, and what that reality is.

Defining what Powers can be used in the Game

Basically to define the powers available to players, and as important, definitely not available. There is no need to permit all the powers and abilities listed in the Rulebook. Instead define in advance what will be permitted in the setting.

Yeah, sure, some players are gonna give you grief ‘cause you’ve just banned their new super concept if you just dump it on them. So, to smooth things over, talk it through with the players. Check out their hassles and see if there’s room for agreement. Just don’t trash an entire working setting to make one player happy, it won’t help in the end.

Setting Power Limits

If characters have no restrictions on their power levels they can be devastatingly focused. Of course, this is sometimes the best thing for NPCs.

What you need to do is define the limits of each specific power or ability. Standards for attacks and defences need to be set up in advance. Also how much modification and experimental changes are permitted by players.

Munchkin Players. How to spot them and what to do when you get one. Generally a tight set of limits for the game at hand should reduce this problem.

Rules lawyers and how to deal with them.

Points Limits and Character Limits

Setting the maximum points for a character and numbers of characters required

Types of Characters in the Game

PCs - only heroes? Will each player have a mixed batch to play with including plebs to protect and nurture?

NPCs - can villains be tougher than PC heroes?

Are villains NPCs or PCs?

Are the PCs outnumbered or is it a walk over?

Is it only a walk over till the finale?

Player Teams

Players don’t need to fight one another, they could be working together.

If players are not your average, everyday adventuring team then who are they working for? What restrictions are placed on them because of this?

Where does their equipment come from?

Can they pick up kit along the way or are they restricted to using official issue stuff?

Setting up a Balanced Multiplayer Game

Similar, different and/or opposing aims.

Working together, diplomacy between groups.

Are the NPCs the biggest threat, or is it the other players?

Using Hidden Movement

Is it worth all the effort required or is it best to just trust the players?

Different ways to run hidden movement: maps, counters, GM’s fiat et al. Especially useful when dealing with NPCs to make the game more interesting. There’s nothing like finding they’re surrounded to make players panic.

Campaign Set-up & Rules

Types of Campaign

Small & limited, sort of single storyline. Bigger, more like a series. Huge, very strategic.

Focus of Campaign.

Is it the players, a villain, or are neither big enough & just acting around the edges?

Is the campaign about land, power, protection of the world, new technology, freedom from oppression etc. Take it further than the original section.

Campaign Balance

Keeping character success possible without making it too easy or a walk over.

Setting up a Limited Campaign

Example going through the process of designing a one night (game time) campaign. This is an almost role-playing experience. Start with the aim of the finale - goodies v BIG villain. Then have to work out a series of fights and clues that lead the players there. Finally set up an introductory fight that will start them down the game road.

After describing the thought processes detail the campaign, giving settings and situations, and even finalising the NPCs etc., giving the campaign assumptions in force.

Setting up a Sequential Campaign

How about a campaign series where each players builds the defences for a single area with fairly strict power restrictions? The GM designs the baddies forces.

Battles are fought with each area being attacked in turn. All the players play the parts of the defenders, although the area’s original designer should be the supreme commander of the area, while the GM (maybe with assistance) runs the bad guys. The baddies should be mean enough to take out the early areas’ defences fairly easily until the players get used to fighting these baddies.

Allow each area a little force modification between battles. The aim is to make players want to work together against this common foe, they’ll probably need to help each other with force redesigns. Could also allow forces that leave a battle early to move to the next one.

Setting up a Bigger Campaign

Example (give near future) of setting up a game world with power limits etc. Concentrate on one city with different area types and multiple power groups fighting for control.

The peach is the city centre, he who controls it totally controls the city - through the municipal computers etc. The police can be a power group or an NPC group, depends on the tone. Another option, for only a few players, would be to run all the power groups and NPCs and the police as PCs.

Most resistance above normal only physical, kevlar vests etc.

Mental stuff very rare.

See Realism rules for options that could be thrown in to this type of campaign.

Experience Rate

It’s important to decide up front what the improvement rate of the characters will be.

There’s two basic methods to choose from. Either the characters start fairly weak and progress rapidly, or they start strong but progress slower.

Added Realism

Less cinematic but more realistic effects are sometimes what a game needs.

People can die. A lot. Realistic shows tend to have a lot of death, sometimes whole planet loads.

Remove Knockback. Rest depends on setting ... reduce mental & energy powers? Make toughness mainly physical?

What about 1/2 price (or less) for area effect for the types of attacks that are common in the setting?

Could even make ALL common type attacks cheaper or increase the cost for rarer types of attacks.

Would you then have to make corresponding changes to defences?

More intense morale rules

Can I come up with a better 7 or less morale method???? e.g. +4 for heroes, 0 for toughies, -2 for plebs, -4 for civvies....?Other mods?

Extra Anime Feeling

In many anime shows few people, if any, ever die. However even in some where death is rare it is not unusual for characters to die where necessary for plot advancement.

In general though use the A-Team principle: lots of fire power, lots of things exploding, and lots of people running away, very few casualties.

Adding Character to your NPCs

Table(s) of characteristics?

Are the Bad Guys always Bad???

Is it real evil, or just a case of opposing or different politics/viewpoints?

Making it Personal

Why are characters involved?

Keeping them Motivated.

Blurring the Lines

Adding Role-playing concepts to skirmishes

Extra use of skills. Description can be greater than shown by the figures.

Using ‘hidden movement’ concepts to surprise players.

Extra Added Role-playing

Backgrounds and more!

Non-Combat Skills & Powers

Designing & building - different development speeds, how far can they go?

Communication,

Sensors - built in and remotes, alarms etc.

Dice Roll Probabilities

Chance of Getting a specific number

Chance of Getting a Target Number or less

Out of 36 possible results

Percentage chance of succeeding with a specific Target Number

You can use the % as a guide for giving players the base chance of success with the attempt. They can then add their skill / accuracy to get the target number.

Types of Game & Running Them

Straight

The normal type of game where reality is very important. The world is very similar to our own. Characters tend to behave in a very 'normal' way.

Try to keep it logically together.

Horror

There are two approaches: the dark and mysterious way and the good versus the bad. In the dark and mysterious no-one ever knows for sure exactly what is happening. In the good versus bad the good guys (players) have some idea what they are up against and need to find ways to defeat it.

Occult

The paranormal exists and is an important part of the game. The world is very similar to our own. Characters tend to behave in a very 'normal' way until the horror starts to affect them. Either the horror should build up gradually but steadily until it seems ready to engulf the characters or it should be a part of everyday life, a part that most people don't know about.

Mystery

Yet again the world is very similar to our own. Characters tend to behave in a very 'normal' way. The mystery should build up very slowly until the characters are ready to face it with enough information to deal with it. Often it is good to throw them in at the deep end with something startling or personal enough to get their attention and force them to investigate it.

Humour

Larger than life. Bigger than reality.

Slapstick

Even bigger.

Super Deformed

One of the other settings, exaggerated in every way. Characters look cuter, but act more erratically.

Story Design

This is the part where referees start to plant their mark on the game. There’s only one thing you have to make sure of - the game should be fun for the players, and if possible for you too.

Designing game scenarios is not the arcane ritual many people think it is. Basically all you are trying to do is put together a story that will entertain the players. The storyline can be anything from ‘You want to kill him’ to ‘Somewhere in the area is a mystical chest which holds the key to the next part of your search for the legendary Themostyle ...’.

At a high level all games can be broken down to who, what, where, when, why and how. You need to put together the what, why, where and when of the story. The players provide some of who and the game should show how.

Plot

First you have to come up with a basic plotline. What is the basic situation here? What’s happening? i.e. what are the characters doing in this area in the first place?

The best way to come up with plots is to read books, watch movies, videos and TV, converting any plots that look interesting to you.

Common basic plots are (and there are more):

    Attacking       The simplest plot of all, attacking a group or place

    Survival          Getting out of this alive and preferably intact

    Acquisition    Getting something or someone

    Rescue  Getting someone or something back from those that took it

    Support Help another group with their mission

    Breakout        Getting out from where they are to elsewhere

    Investigation Getting information about the target group or area

    Subversion     Spreading propaganda, truths or untruths

Reason

Next you need the reason behind why this is happening. These guys, girls, creatures and robots aren’t going to be out there risking necks, tentacles and hydraulics for nothing.

Generally the reason involves one or more emotion on either side.:

    Hate      These folks just don’t like each other

    Love       Someone’s beloved is in danger, needs something ...

    Greed    Someone wants something: an item, a country, the galaxy ...

    Anger    They went too far this time!

    Orders  Orders from above say to do it

    Revenge         They’ve had their fun, now it’s our turn

    Disgust  They did what? Gross! Let’s stop them

    Fear       Scared of what will happen if they don’t succeed

    Pride     Failing to do this will cause embarrassment

    Need      It must be done for survival’s sake

    Unity     Doing it because a friend is (peer pressure)

Setting

Where and when the game is happening is usually an obvious factor of the game. A battle between opposing space fleets would look stupid in amongst the cars and pedestrians on the streets of downtown Tokyo (unless the crews were tiny and the ships were all a couple of feet long). Similarly two 16th century ronin would look out of place in a bar on a mining asteroid: there’s nothing to say they can’t be there, just they’d be a little out of place.

Try to make the setting as interesting and intricate as possible. The more there is on the table, the more fun the players will have as their characters dash in, over, under and around it.

The other thing to think about is what scenery you have or can put together for the game. It’s no use planning a complex fight in a forest when you only have a couple of tree models.

When role-playing the setting can be even more complex as there is less need for you to have the right models, all you have to do is describe it.

Characters

The players will generally provide the main characters, especially if they are playing a stand-up fight or battle. The GM needs to worry about all the rest involved.

When designing the players’ opposition you need to come up with characters that will provide a challenge. They mustn’t be so strong as to destroy them in seconds, but they must be a good fight that will provide a bit of opposition. This means the opposition must be at least as strong as the players, generally stronger.

Make up some characters that are not directly involved in the game and use them to introduce the characters to he story. If the characters work for an organisation then their boss is very useful, if they are freelancers bring in a client.

It is useful to add extras to any game. Extras are characters that, although not directly involved in the situation, are in the area and may become involved depending on the circumstances.

Finally, there's the civvies. Don’t forget them. Unless the characters are in a desert there should be civvies everywhere, if only running for cover.

Fleshing it out

Finally you tie it all together trying to get the complete package to make sense within it’s own frame of reference.

What is the realism level of the game? Can heroes die or are they the only important characters in the game? Does the universe mirror our own or are there demons lurking behind every corner and assassins with machine-guns everywhere?

Sometimes all this can get very difficult, especially when the players want to use their favourite characters and they don’t quite seem to fit together. What do you do when one player wants to use his mercenary mech pilot and another wants to use a ravening demon from the Netherworld? Add a timewarp? A dimension gate? A technomancer?   Of course! Add whatever you want, then try get it to make sense to the characters and their storylines.

When the players come up with something you didn’t think about just wing it. Often the stuff you make up on the spur of the moment can add a lot to the game, just remember to write it down before you forget what you said.

Campaigns

Campaigns are extended series of games, more like an episode from a TV series or a movie than a single fight. A campaign revolves around the same heroes and villains. It can be anything from a couple of linked fights to an elaborate plotline where the effects of one fight affect the situation at the next.

There are also other characters that may get involved in a campaign. These incidental characters are usually family, friends or other contacts of the hero(es). Their role is to either to help the characters indirectly by offering hints and advice, or just enhance the realism (or flavour) of the game.

Basically a campaign is a series of fight scenes. The survivors of each fight (with reinforcements if the referee so decides) go on to the next fight in a sequential manner. Generally full healing is permitted in between the fights so everyone is back to full strength.

Heavy Strategy

More complex campaigns involve setting up the forces in various areas, their supplies and communication lines between the areas and the players make strategic decisions on what to send where during the campaign.

You can generally ignore these problems as the characters are unlikely to be doing such planning. It’s more likely their bosses will be.

Improving Characters

At the end of each game in a campaign the referee should hand out experience points (see Experience Points) to each hero or toughie that survived. The GM with the assistance of the players should rank the characters by their achievements in the game.

The character that did the best should be given the most points and the other characters should each get one less than the one before as you go in descending sequence. i.e. the second ranked character gets one less than the first, the third one less than the second.

The character getting the most should generally get points equal to the number of active characters (i.e. not civvies) that took part in the game.

Scaling Games

During play the same rules are used for all types of characters. The only difference is when the effective size of the characters changes the scale of the game changes to suit. Each scale change implies a ten times change in size, movement, damage etc. The scales are:

Person       characters are around two metres high (or long)

Mech          characters are around twenty metres high

Ship           characters are around two hundred metres high

Space         characters are around two thousand metres high

Huge          characters are over two thousand metres high

It is generally easier to use the scale of the smaller characters in a scene when describing it.

At higher scales there tend to be more people involved in a single character.

 

A CAWS production

© 2003 SystemFast Techniques