Fantasy Hero Primer

Total Page:16

File Type:pdf, Size:1020Kb

Fantasy Hero Primer Page | 1 FANTASY HERO PRIMER Fantasy is a classic genre. However, for that reason BASIC BUILDING BLOCKS dozens of game systems have tackled it. What exactly does Fantasy Hero bring to the table, then? Let’s get right to it. Fantasy Hero is an adaptation of the long-running The Hero System is a classless system. That means Hero System rules. Using the Hero System, players and that you are not constrained by rigid, preset roles the GMs alike have a well-tested system that offers more game has laid out for you ahead of time (unless you flexibility than any other fantasy game. A classless, want that, of course, in which case the system easily point-based ruleset, Fantasy Hero allows you to craft allows you to create such things). In other words, what your races, your roles, your spells, your feats and makes a fighter? Whatever you say makes one. talents, and almost anything else you can imagine, and Knowing this, feel free to stretch your imagination all exactly the way you want it. In terms of gameplay, when considering your options in the pages ahead. If Fantasy Hero offers rewarding tactical combat (with or you want mages to have heavy armour, go for it. If you without miniatures), and ample non-combat options think a hardened pit fighter should be able to toss a too. spell or two, we’ve made sure there’s options for that, too. Why shouldn’t a healer know how to sneak WHAT YOU HAVE IN YOUR HANDS around or pick a few locks? Don’t let yourself be limited by preconceptions. The Fantasy Hero Primer is not a rulebook. Instead, it’s meant to introduce you to Fantasy Hero: how it broadly POINTS works, its strengths, its foundations, and its The Hero System uses Character Points as the basis for assumptions. Along these lines, the Primer presents almost everything. These points are used to build many Hero System concepts in a simplified fashion. characters, monsters, and items, and are earned as The goal is to get you into the action as quickly and as experience points to further improve your character as simply as possible, while giving you a taste of how the you play it. In short, they’re the building blocks of the system can give you opportunities most others can’t. system. The greatest strength of the Hero System is its The Hero System’s flexibility begins here: you can flexibility. Using it, you can run a bog-standard fantasy start with as many or as few points to build a starting setting, or an alien world of fantastic horrors. Majestic character as you and the GM wish. elves can run alongside psionic insects. Compared to a mage, the sword-swinging martial hero can be an CHARACTERISTICS equal or greater threat, or as an ant to an elephant. Here’s the vital characteristics that define someone in Magic itself can be as common as water, or the last the Hero System. gasp of a dying age; world-shaking or good only as a parlour trick; easy to wield or something that demands Base Stats (FHC pp. 16-19): the most terrible sacrifices. It’s important to understand this because all too Strength (STR: raw physical damage, lifting ability) often our experiences in other games can colour what Dexterity (DEX: agility and reaction time) we expect a system can do. The answer when using the Hero System is “almost anything”. As such, this primer Constitution (CON: health and hardiness) will show you the basics, but often also present Intelligence (INT: intellect, memory, perceptiveness) additional options to give you a feel for how you can Ego (EGO: willpower) make your game do exactly what you want. Going forward, try to remember that the options and even the Presence (PRE: charisma and force of personality) innate balance of the material presented are entirely adjustable once you understand the system. Each Base Stat point costs 1 Character Point each, You’ll see page references to the main rulebook, except DEX, which costs 2 points each. Everyone Fantasy Hero Complete (FHC), throughout this primer. normally starts with a base value of 10 in these There’s no need to look anything up, however: the Characteristics: this costs no points. Higher is better. page references are there for later, if you feel like it. 2 | Page Combat Stats (FHC pp. 20-23): The point costs and starting values of each Combat Stat DIGGING DEEPER: CHARACTERISTICS vary a lot more than your Base Stats do. Sometimes you want a character that excels in a Offensive Combat Value very specific area, rather than being all-round (OCV: used to hit targets) superb. For example, maybe you want a fighter Base Value: 3. Cost: 5 points per +1. that’s really good at bashing down doors or lifting gates, but don’t want to give them the immense Defensive Combat Value amounts of Strength you’d need to accomplish this. (DCV: used to avoid being hit) In Fantasy Hero, you can buy limited forms of Base Value: 3. Cost: 5 points per +1. Characteristics, allowing you to customize your character so that they’re good at just such tricks. For Offensive Mental Combat Value example, your warrior could buy +2 DCV that only (OMCV: used to attack in mental combat) applies when fighting more than two opponents (or Base Value: 3. Cost: 3 points per +1. three, or four—you decide). The warrior’s base DCV wouldn’t change, but when the appropriate situation Defensive Mental Combat Value occurs their DCV raises, only to drop back to normal (DMCV: used to avoid being hit in mental combat) when the threat passes. Similarly, you can buy +10 Base Value: 3. Cost: 3 points per +1. Strength that applies only when trying to force open gates and doors, to represent those sorts of characters Speed who aren’t built like tanks, but always seem to be (SPD: how often a character acts in combat) able to bash their way into a room when needed. Base Value: 2. Cost: 10 points per +1. We won’t cover exactly how to do this right now, but bear it in mind as you examine the character Physical Defense concepts ahead. We’ll be giving you options like this (PD: the ability to resist damage from physical attacks, throughout this primer. such as punches or sword slashes) Base Value: 2. Cost: 1 point per +1. CHARACTERISTIC COMPARISONS Energy Defense The Base Stats—Strength in particular—are well- (ED: the ability to resist damage from energy attacks, defined in terms of real-life equivalents. However, the such as fire or magic) Combat Stats are more flexible: how much OCV, for Base Value: 2. Cost: 1 point per +1. example, defines a master bladesman is set by each GM and campaign setting. Endurance Since, with no firm limits, character stats can wildly (END: energy typically expended to fight or use magic) spiral out of control—resulting in an arms race and no Base Value: 20. Cost: 1 point per +5. sense of what the real limitations of a human or other species are—campaigns typically set characteristic Recovery limits. This helps define how the world works, and (REC: how quickly you recover from injury or gives everyone an understanding of what they might exhaustion) realistically encounter. Base Value: 4. Cost: 1 point per +1. On page 24 there’s a table giving you a quick way to compare your Characteristics against real- and Body fantasy-world equivalents. These are just guidelines. (BODY: how much damage you can take before dying) Base Value: 10. Cost: 1 point per +1. Selling Back Characteristics All characters come with the Base Value in each stat. Stun What if you feel that’s too much? What if you want, (STUN: how much damage you can take before being say, a feeble character with 6 Strength instead? knocked out) To address this, you can reduce any Characteristic Base Value: 20. Cost: 1 point per +2. by any amount desired (to a minimum of 1). For each point you reduce that stat by, you receive its cost in You can also buy up your running, leaping, and points back. swimming, but for now we’ll be ignoring those. Page | 3 SKILLS (FHC p. 25) Hunteds are also straightforward: someone wants Skills in the Hero System work much like other games. you. How badly they want you, for what reason, and The main difference is that skills can have direct what they intend to do with you once they catch you— combat effects, in addition to the usual out-of-combat all these determine how much a Hunted is worth. role you’d expect. You’ll see how this works when we Alternatively, they may be just Watching you for some look at characters and combat. reason: this is worth fewer points. A character obtains a skill by paying its point cost Physical Complications are those related to the (typically 3 points). You can improve your proficiency body. This could be being deaf or hard of hearing, with a skill by paying additional points (usually 2 blind in one eye, or unusually short, tall, or heavy. points for every +1 you add to your skill rating). Psychological Complications are those related to Most skills are rated with a number indicating how the character’s mind. These can be as extreme as well a character knows the skill (e.g. 14-). To check a mental illnesses, or more commonplace hindrances skill, you roll 3D6, apply any modifiers, and compare such as codes of honour that restrict how a character that with the skill rating the character has.
Recommended publications
  • Marvel Fantasy Role Playing Game
    MARVEL FANTASY ROLE PLAYING GAME A Fantasy RPG using the FASERIP System Table of Contents Character Creation ......................................................................................................................................................... 5 Race ........................................................................................................................................................................... 5 Origin of Power ......................................................................................................................................................... 6 Primary Abilities........................................................................................................................................................ 6 Secondary Abilities.................................................................................................................................................... 6 Powers ....................................................................................................................................................................... 6 Talents ....................................................................................................................................................................... 7 Contacts ..................................................................................................................................................................... 7 Heroic Alignment .....................................................................................................................................................
    [Show full text]
  • Character Roles in the Estonian Versions of the Dragon Slayer (At 300)
    “THE THREE SUITORS OF THE KING’S DAUGHTER”: CHARACTER ROLES IN THE ESTONIAN VERSIONS OF THE DRAGON SLAYER (AT 300) Risto Järv The first fairy tale type (AT 300) in the Aarne-Thompson type in- dex, the fight of a hero with the mythical dragon, has provided material for both the sacred as well as the profane kind of fabulated stories, for myth as well as fairy tale. The myth of dragon-slaying can be met in all mythologies in which the dragon appears as an independent being. By killing the dragon the hero frees the water it has swallowed, gets hold of a treasure it has guarded, or frees a person, who in most cases is a young maiden that has been kidnapped (MNM: 394). Lutz Rörich (1981: 788) has noted that dragon slaying often marks a certain liminal situation – the creation of an order (a city, a state, an epoch or a religion) or the ending of something. The dragon’s appearance at the beginning or end of the sacral nar- rative, as well as its dimensions ‘that surpass everything’ show that it is located at an utmost limit and that a fight with it is a fight in the superlative. Thus, fighting the dragon can signify a universal general principle, the overcoming of anything evil by anything good. In Christianity the defeating of the dragon came to symbolize the overcoming of paganism and was employed in saint legends. The honour of defeating the dragon has been attributed to more than sixty different Catholic saints. In the Christian canon it was St.
    [Show full text]
  • FEMA's Be a Hero! Youth Emergency Preparedness Curriculum
    cy Preparedness Emergen Youth Grades 1-2 TM http://www.ready.gov/kids 1 Dear Educator, Welcome to FEMA’s Be a Hero curriculum, an empowering educational journey into emergency preparedness! This standards-based, cross-curricular program is designed to provide students in grades 1 and 2 with the knowledge, awareness, and life-saving skills needed to prepare for a variety of emergencies and disasters. By engaging in three inquiry-based lessons, students will gain a personal and meaningful understanding of disaster preparedness in the context of real-world hazards. All learning activities lead to important learning through collaborative fact-finding and sharing. By the final lesson, students will become “heroes” as they develop their ownReady Books on emergency preparedness. Using communication skills and creativity, they will generate awareness of emergency preparedness among friends, families, and the school community. Knowledge empowers! We hope this program will help you, your students, and their families feel prepared. Sincerely, Your Friends at FEMA Table of Contents Lesson 1: Lesson 2: Lesson 3: Super Mission: Find the Facts 5 Superheroes, Ready! 16 We Know What To Do! 22 Essential Questions: Essential Questions: Essential Questions: What is an emergency? What is a How can I/my family prepare for an What should I do in an emergency? What are natural disaster? What are different emergency or disaster? Am I/is my safe actions in different emergency situations? kinds of emergencies that can family prepared? impact me? Learning Objectives:
    [Show full text]
  • SPECIAL SCENARIO: DRAGONSLAYER V1.0
    SPECIAL SCENARIO: DRAGONSLAYER v1.0 In a deep dark cave, somewhere in the heart of The Worlds Edge Mountains, something stirred. Something huge. It lifted its head, groaned, and let it fall to the cavern floor again. "Just another few years", it promised itself, falling back into a doze. As it slumbered, it dreamed. It saw the world as it used to be, seven thousand years ago, felt the noiseless explosion which threw the second moon into the sky. It dreamed of the armies of gibbering, twisted things which poured across the land. The Dragon stirred uneasily as the dream shifted. It saw a strange figure step forward, saw the glowing axe, and shuddered as the awesome weapon struck it. Then it jerked awake. "That dream again" it rumbled to itself. The Dragon pulled itself to its feets. Gaping wounds opening along the length of its great body - they should have been fatal, but the Dragon would not find death so easily. It roared as its head brushed the wall, jarring its broken tooth and aggravating its abscess - the size of a man's head - which lay beneath it. For hours it raged. Then its eye lit on the great Dragon skull which lay just outside. "Yes" it rumbled, "I must pull myself together. Things to do". It remembered the murder of its beloved mate, and grunted. "Hmm... I can still remember his powerful face, " it mused, "My pain gets worse. But I'll sort it out. I'll kill every one of those little creatures that tries to steal my gold.
    [Show full text]
  • Introduction
    INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined.
    [Show full text]
  • Exploring the Magical Girl Transformation Sequence with Flash Animation
    Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design 5-10-2014 Releasing The Power Within: Exploring The Magical Girl Transformation Sequence With Flash Animation Danielle Z. Yarbrough Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Yarbrough, Danielle Z., "Releasing The Power Within: Exploring The Magical Girl Transformation Sequence With Flash Animation." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/art_design_theses/158 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RELEASING THE POWER WITHIN: EXPLORING THE MAGICAL GIRL TRANSFORMATION SEQUENCE WITH FLASH ANIMATION by DANIELLE Z. YARBROUGH Under the Direction of Dr. Melanie Davenport ABSTRACT This studio-based thesis explores the universal theme of transformation within the Magical Girl genre of Animation. My research incorporates the viewing and analysis of Japanese animations and discusses the symbolism behind transformation sequences. In addition, this study discusses how this theme can be created using Flash software for animation and discusses its value as a teaching resource in the art classroom. INDEX WORDS: Adobe Flash, Tradigital Animation, Thematic Instruction, Magical Girl Genre, Transformation Sequence RELEASING THE POWER WITHIN: EXPLORING THE MAGICAL GIRL TRANSFORMATION SEQUENCE WITH FLASH ANIMATION by DANIELLE Z. YARBROUGH A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Art Education In the College of Arts and Sciences Georgia State University 2014 Copyright by Danielle Z.
    [Show full text]
  • The Origins of the Magical Girl Genre Note: This First Chapter Is an Almost
    The origins of the magical girl genre Note: this first chapter is an almost verbatim copy of the excellent introduction from the BESM: Sailor Moon Role-Playing Game and Resource Book by Mark C. MacKinnon et al. I took the liberty of changing a few names according to official translations and contemporary transliterations. It focuses on the traditional magical girls “for girls”, and ignores very very early works like Go Nagai's Cutie Honey, which essentially created a market more oriented towards the male audience; we shall deal with such things in the next chapter. Once upon a time, an American live-action sitcom called Bewitched, came to the Land of the Rising Sun... The magical girl genre has a rather long and important history in Japan. The magical girls of manga and Japanese animation (or anime) are a rather unique group of characters. They defy easy classification, and yet contain elements from many of the best loved fairy tales and children's stories throughout the world. Many countries have imported these stories for their children to enjoy (most notably France, Italy and Spain) but the traditional format of this particular genre of manga and anime still remains mostly unknown to much of the English-speaking world. The very first magical girl seen on television was created about fifty years ago. Mahoutsukai Sally (or “Sally the Witch”) began airing on Japanese television in 1966, in black and white. The first season of the show proved to be so popular that it was renewed for a second year, moving into the era of color television in 1967.
    [Show full text]
  • Argonautika Entire First Folio
    First Folio Teacher Curriculum Guide ARGONAUTIKA adapted and directed by Mary Zimmerman based on the story by Apollonius of Rhodes January 15 to March 2, 2008 First Folio Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s production of Argonautika! About Greek Theatre Brief History of the Audience………………………...1 This season, the Shakespeare Theatre Company The History of Greek Drama……………..……………3 presents eight plays by William Shakespeare and On Greek Society and Culture……………………….5 other classic playwrights. The mission of all About the Authors …………………………...……………6 Education Department programs is to deepen understanding, appreciation and connection to About the Play classic theatre in learners of all ages. One Synopsis of Argonautika……………..…………………7 approach is the publication of First Folio Teacher Curriculum Guides. The Myth Behind the Play ..…………………………..8 The Hero’s Quest…..………………………………………..9 For the 2007-08 season, the Education Fate and Free Will…...………………..………..………..10 Department will publish First Folio Teacher Mythology: More than just a good story…...11 Curriculum Guides for our productions of Glossary of Terms and Characters..…………….12 Tamburlaine, Taming of the Shrew, Argonautika Questing…………………………………………………..…….14 and Julius Caesar. First Folio Guides provide information and activities to help students form Classroom Connections a personal connection to the play before • Before the Performance……………………………15 attending the production at the Shakespeare Journey Game Theatre Company. First Folio Guides contain God and Man material about the playwrights, their world and It’s Greek to Me the plays they penned. Also included are The Hero’s Journey approaches to explore the plays and productions in the classroom before and after (Re)Telling Stories the performance.
    [Show full text]
  • Sigurðr the Dragon-Slayer Was a Preeminent Hero of the Medieval North and Remembered in Both Narrative and Art
    Sigurðr in the Medieval North Sigurðr the Dragon-Slayer was a preeminent hero of the Helen F. Leslie-Jacobsen Medieval North and remembered in both narrative and art. University of Bergen [email protected] Sigurðr stabs the dragon Fáfnir on Comparative Analysis the Ramsund carving. Here the The Sigurðr legend existed in dragon is also the band containing the runic inscription (11th century, several variations, some more Sweden). developed than others. These, usually written sources, can be used to establish key scenes. Key scenes can be used to Sigurðr on Norwegian Stave identify Völsung scenes on artistic Churches material, many of which are Sigurðr decorates the portals of disputed. four Norwegian stave churches One contribution the project will (Hylestad, Vegusdal, Lardal, and make is a catalogue and Mael). He is a figure in which the assessment of all material that legendary and supernatural blur: has been posited as showing although he is ostensibly human, Sigurðr. he has many supernatural attributes and encounters (such Sigurðr kills Reginn on the as that with the dragon). Hylestad stave church, from the ABSTRACT The Aim late 12th to early 13th century The Function of Sigurðr (Norway). Sigurðr is the supreme hero The aim of the project is to Jesse Byock (1990) argues that of the Völsung legend. He is investigate the impulses behind the function of Sigurd on the widely represented in the art and the structure and stave church doors is a and narrative of medieval development of the legend protective one. He replaces the surrounding the hero Sigurðr Danish and German preference Europe.
    [Show full text]
  • TALISLANTA MAGIC SYSTEM Second Edition Revised (SER) System V3.4
    TALISLANTA MAGIC SYSTEM Second Edition Revised (SER) System v3.4 Magic in Talislanta is a powerful but limited art practiced in as many different ways as there are cultures and races in the world. They key to understanding how magic works in the game is to remember that the largest part of the magical knowledge of the ancients was lost during The Great Disaster, and what remains is but a fraction of the spells, enchantments and magical items of that forgotten age. Rules Spellcasting is governed by Magic Rating (MR). MR = (INT+WIL+PER) ÷ 3. A magician may cast as many spells per day as his MR. The spellcaster rolls d20 + MR – Spell Level on the Action Table to determine the results of a spell. There are 15 Greater Spells that are commonly known across most Talislantan races & cultures. There are countless Lesser Spells with more minor effects that can be invented by the GM on the spot. There are dozens of lost Archaen spells that have to be unearthed during the course of play. These are initially known only to the GM and are often tied to particular magical races or traditions. There are over 30 different magical traditions which govern how spellcasting is performed, from Sawila Spellweaving to Cymrillian Wizardry to Rajan Necromancy &c. Each tradition knows certain greater spells and a few secret spells, and has spellcasting bonuses and limitations. Starting PC magicians know as many greater spells as their Magic Rating (eg, a magician with a MR of+5 would know 5 spells). Once all spells are expended, the magician must rest 7 hours to regain them.
    [Show full text]
  • Degree Project Level: Master’S Bringing the Magic Back to Structuralist Approaches in Fantasy Literature
    Degree Project Level: Master’s Bringing the Magic Back to Structuralist Approaches in Fantasy Literature Supporting Themes of Unity in Patrick Rothfuss’ The Kingkiller Chronicle ​ Author: Sarah Schroer Supervisor: Billy Gray Examiner: Carmen Zamorano Llena Subject/main field of study: English (literature) Course code: EN3063 Credits: 15 ECTS Date of examination: May 28, 2020 At Dalarna University it is possible to publish the student thesis in full text in DiVA. The publishing is open access, which means the work will be freely accessible to read and download on the internet. This will significantly increase the dissemination and visibility of the student thesis. Open access is becoming the standard route for spreading scientific and academic information on the internet. Dalarna University recommends that both researchers as well as students publish their work open access. I give my/we give our consent for full text publishing (freely accessible on the internet, open access): Yes ☒ N​ o ☐ ​ ​ ​ Dalarna University – SE-791 88 Falun – Phone +4623-77 80 00 Table of Contents Introduction 1 Establishing Patterns of Binary Thinking Between Hard and Soft Magic Systems 9 Madness as Mediator: The Whole is Greater Than the Parts 16 Conclusion 26 Works Cited 30 1 Introduction From witches and warlocks, wizards and sorcerers, spells and incantations, magical potions, wardrobes that transport you to another world, and even one ring to rule them all, magical elements or beings are considered to be the fantasy genre's main defining feature. But what are the different ways magic appears in novels? In 2007, fantasy author, Brandon Sanderson published an essay where he not only explained his personal guidelines for creating magic systems, but more significantly to the genre, he proposed a scale for defining the different types of magic.
    [Show full text]
  • The Beauty, the Beast, and the Subverted Fairy Godmother Figure”
    Sarah A. Brown “The Beauty, the Beast, and the Subverted Fairy Godmother Figure” Brigham Young University Brown 2 Abstract There are several adaptations of The Beauty and the Beast, but three in particular are intriguing because of their use of a dark female force. The goddess Diana in the film La Belle et la Bête (Cocteau), Bertha Mason in the novel Jane Eyre (Brontë), and Mrs. Bates in the film Psycho (Hitchcock) all qualify as subverted fairy godmothers in their respective tales because of their role as “other,” their exertion of the female gaze, and their ability to undermine the Belle and Beast figures’ ability to love. Though traditional fairy godmothers utilize magic to aid the protagonists, these adaptations incorporate nontraditional, subverted fairy godmothers to revolutionize the role of fairy godmothers and fairy tales in society. Keywords: Beauty, Beast, fairy godmother, fairy tale, La Belle et la Bête, Jane Eyre, Psycho, Gothic, adaptation Brown 3 The story of Beauty and the Beast could not exist without the element of magic. From the enchanted castle to the Beast himself, magic gives this tale a sense of mystery, wonder, and charm. Because of the many retellings of Beauty and the Beast, the source of these enchantments often differs. However, in the original version by Gabrielle-Suzanne Barbot de Villeneuve, the text never reveals the source of the enchantment. As a result, Belle—without any magical assistance—independently restores the Beast to his natural form with her proclamation of love. She alone has the power to break the Beast’s spell. Interestingly enough, this is not the case in subsequent adaptations and related films.
    [Show full text]