DOCSLIB.ORG

Rulebook Winter 2013

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rulebook Winter 2013 LEGACIES Rulebook Winter 2013 Copyright 2012 © Anna McDermott, Chris Melton & Josh Brown-White Legacies Rulebook, Winter 2013 Table of Contents Simulated Actions .................................................................. 15 Weapon Combat ................................................................ 15 INTRODUCTION ............................................................ 6 Packets ............................................................................... 15 Chance Bags ....................................................................... 15 CHAPTER 1: THE BASICS ........................................... 7 Signature Calls (Sig Calls) ....................................................... 16 Gibbering ........................................................................... 16 The Fundamental Rule.............................................................. 7 Counted Actions ..................................................................... 16 Assisted Counts .................................................................. 17 Players...................................................................................... 7 Radius Actions ........................................................................ 17 Rules of Conduct ...................................................................... 7 Physical Actions ...................................................................... 17 Cheating ................................................................................... 8 Physical Roleplay ................................................................ 17 Referees ................................................................................... 8 Stepping Out .......................................................................... 17 Owners ................................................................................. 8 Logistics Referees ................................................................. 8 Effects .................................................................................... 18 Plot Referees ........................................................................ 8 Grouping Effects .................................................................... 18 Rules Referees...................................................................... 8 Effects by Result ................................................................. 18 Safety Referees .................................................................... 8 Effects by Category ............................................................ 19 Punishment .............................................................................. 8 Effects by Delivery Method ................................................ 19 Legal Targets of Effects .......................................................... 20 In Game (IG) vs. Out of Game (OOG) ........................................ 8 Packet Delivered Effects .................................................... 20 OOG Players ............................................................................. 8 Touch Delivered Effects ..................................................... 20 OOG Items ................................................................................ 9 Weapon Delivered Effects ................................................. 20 OOG Information ..................................................................... 9 Effect Duration ....................................................................... 20 Meta-Gaming ....................................................................... 9 Countermeasures ................................................................... 20 Avoidance .......................................................................... 21 Characters .............................................................................. 10 Resistance .......................................................................... 21 Character Card ....................................................................... 10 Immunity ............................................................................ 21 Anatomy of a Character Card ................................................. 10 Headbands and Hand Signs .................................................... 21 Character Name ................................................................. 10 Headbands ......................................................................... 21 Race .................................................................................... 10 Hand Signs .......................................................................... 21 Racial Abilities .................................................................... 10 Skill Points .......................................................................... 11 Safety ..................................................................................... 22 Bribe ................................................................................... 11 Phys Rep Checks ..................................................................... 22 Body Points ........................................................................ 11 Stand Downs .......................................................................... 22 Rush ................................................................................... 11 Non-Combat Rules ................................................................. 22 Resurrections ..................................................................... 11 Skills ................................................................................... 11 CHAPTER 2: CHARACTER ....................................... 24 Production ......................................................................... 11 Spell Slots ........................................................................... 11 Character Creation ................................................................. 24 Armor ..................................................................................... 11 Races ...................................................................................... 25 Armor Points .......................................................................... 12 Player Race List ...................................................................... 25 Lightly and Heavily Armored .................................................. 12 Player Race Descriptions ........................................................ 25 Items ...................................................................................... 12 Racial Abilities (Racials) .......................................................... 30 Item Tags ................................................................................ 12 Racial List ............................................................................... 30 Physical Representations (Phys Reps) .................................... 12 Racial Descriptions ................................................................. 30 Magic Item Phys Reps ........................................................ 13 Creating Items ........................................................................ 13 Skills ....................................................................................... 39 Item Quality ........................................................................... 13 Skill List ................................................................................... 39 Destroying Items .................................................................... 13 Skill Descriptions .................................................................... 41 Money .................................................................................... 14 Defensive Skills ................................................................... 41 Bringing Items to Event .......................................................... 14 Assassin Skills ..................................................................... 43 Warrior Skills ...................................................................... 44 Performing Actions ................................................................. 14 Heroic Skills ........................................................................ 46 Copyright 2012 © Anna McDermott, Chris Melton & Josh Brown-White Page 2 of 133 Legacies Rulebook, Winter 2013 Fighting Style Skills ............................................................. 48 Weapon Damage .................................................................... 67 Melee Weapon Skills .......................................................... 48 Anatomy of a Basic Damage Call ............................................ 67 Missile Weapon Skills ......................................................... 50 Base Damage...................................................................... 67 Production Skills ................................................................. 51 Basic Damage Suffixes........................................................ 68 Magical Skills ...................................................................... 52 Advanced Damage Calls ......................................................... 68 Ritual Skills ......................................................................... 54 Specialty Strikes ................................................................. 68 Healing Skills ...................................................................... 55 Advanced Damage Suffixes ...............................................
Load more

Recommended publications
  • 14. Riddle Machines: the History and Nature of Interactive Fiction
    Nick Montfort Riddle Machines: The History and Nature of Interactive Fiction 14. Riddle Machines: The History and Nature of Interactive Fiction Nick Montfort Introduction The genre that has also been labeled "text adventure" and "text game" is stereotypically thought to offer dungeons, dragons, and the ability for readers to choose their own adventure. While there may be dragons here, interactive fiction (abbreviated "IF") also offers utopias, revenge plays, horrors, parables, intrigues, and codework, and pieces in this form resound with and rework Gilgamesh, Shakespeare, and Eliot as well as Tolkien. The reader types in phrases to participate in a dialogue with the system, commanding a character with writing. Beneath this surface conversation, and determining what the computer narrates, there is the machinery of a simulated world, capable of drawing the reader into imagining new perspectives and understanding strange systems. Interactive fiction works can be challenging for literary readers, even those interested in other sorts of electronic literature, because of the text-based interface and because of the way in which these works require detailed exploration, mapping, and solution. Works in this form are often less visually rewarding, and the rewards they do offer are only attained with time and effort. But text-based interactive fiction has provided some of the most the intricate and compelling literary simulations yet developed. Understanding how interactive fiction works, and how it has developed over the past three decades, is an essential part of the puzzle of literary computing. Characteristics of interactive fiction Formally, a work of interactive fiction (often called a "game," even if it does not exhibit the typical qualities of a game) is an interactive computer program.
    [Show full text]
  • Search-Based Drama Management in the Interactive Fiction Anchorhead∗
    Search-Based Drama Management in the Interactive Fiction Anchorhead∗ Mark J. Nelson and Michael Mateas College of Computing Georgia Institute of Technology Atlanta, Georgia, USA fmnelson, [email protected] Abstract towards a story that maximizes the evaluation function, tak- ing into account any effect on evaluation the DM actions Drama managers guide a user through a story experience by themselves may have. DM actions might include things such modifying the experience in reaction to the user’s actions. as causing a non-player character to bring up a particular Search-based drama management (SBDM) casts the drama- management problem as a search problem: Given a set of conversation topic, causing certain parts of the world to be- plot points, a set of actions the drama manager can take, and come inaccessible, or leaving items where they’re likely to an evaluation of story quality, search can be used to optimize be found by the player. Search over possible choices of DM the user’s experience. SBDM was first investigated by Peter actions and the possible resultant sequences of plot points Weyhrauch in 1997, but little explored since. We return to (subject to a model of what the user is likely to do) is run at SBDM to investigate algorithmic and authorship issues, in- each step to choose the DM action that maximizes expected cluding the extension of SBDM to different kinds of stories, plot quality. This all takes place in an abstract model, con- especially stories with subplots and multiple endings, and is- nected to the real game by passing messages back and forth, sues of scalability.
    [Show full text]
  • Aeternum: the Journal of Contemporary Gothic Studies Volume 6, Issue 2 © December 2019
    Aeternum: The Journal of Contemporary Gothic Studies Volume 6, Issue 2 © December 2019 Aeternum: The Journal of Contemporary Gothic Studies Volume 6, Issue 2 Editorial ii-iv Gothic Games GWYNETH PEATY Articles 1-15 Bending Memory: Gothicising nostalgia in Bendy and the Ink Machine KATHARINE HAWKINS 16-30 Homecomings: The haunted house in two interactive horror narratives ERIKA KVISTAD 31-48 Playing with Call of Cthulhu: The Official Video Game: A transmedial Gothic experience HILARY WHEATON 49-60 Beyond the Walls of Bloodborne: Gothic tropes and Lovecraftian games VITOR CASTELOES GAMA and MARCELO VELLOSO GARCIA Book Reviews 61-63 Twenty-First-Century Gothic: An Edinburgh Companion. Maisha Wester and Xavier Aldana Reyes. (2019) 64-65 New Music for Old Rituals. Tracy Fahey. (2018) i Aeternum: The Journal of Contemporary Gothic Studies Volume 6, Issue 2 © December 2019 EDITORIAL GWYNETH PEATY Curtin University Gothic Games Video games have called upon the Gothic since the earliest years of digital gaming. This is most obvious in games that remediate classic literature. From the text-based adventure Dracula (CRL 1986) and the dubious side-scrolling action of Dr. Jekyll and Mr. Hyde (Bandai 1988), to more recent examples such as Brink of Consciousness: Dorian Gray Syndrome (MagicIndie 2012) and The Wanderer: Frankenstein's Creature (La Belle Games 2019), video game creators have consistently adopted and adapted Gothic characters, tropes, and narratives. In some cases the works of a specific author have been used as the foundation of a game space, as in The Dark Eye (Inscape 1995), a point-and-click game based on the writings of Edgar Allan Poe.
    [Show full text]
  • IF Theory Reader
    IF Theory Reader edited by Kevin Jackson-Mead J. Robinson Wheeler > Transcript On Press Boston, MA All authors of articles in this book retain their own copyrights. Neither the editors nor the publisher make any copyright claims. Version 1, March 2011. Version 2, April 2011. Please send corrections to [email protected]. Contents Preface Crimes Against Mimesis 1 Roger S. G. Sorolla Theory Toward a Theory of Interactive Fiction 25 Nick Montfort Characterizing, If Not Defining, Interactive Fiction 59 Andrew Plotkin not that you may remember time: Interactive Fiction, Stream-of-Consciousness Writing, and Free Will 67 Mark Silcox 2 Brief Dada Angels 89 Ryan Stevens, writing as Rybread Celsius Object Relations 91 Graham Nelson IF as Argument 101 Duncan Stevens The Success of Genre in Interactive Fiction 111 Neil Yorke-Smith Parser at the Threshold: Lovecraftian Horror in Interactive Fiction 129 Michael Gentry Distinguishing Between Game Design and Analysis: One View 135 Gareth Rees Natural Language, Semantic Analysis, and Interactive Fiction 141 Graham Nelson Afterword: Five Years Later 189 Graham Nelson Craft Challenges of a Broad Geography 203 Emily Short Thinking Into the Box: On the Use and Deployment of Puzzles 229 Jon Ingold PC Personality and Motivations 249 Duncan Stevens Landscape and Character in IF 261 Paul O’Brian Hint Development for IF 279 Lucian Smith Descriptions Constructed 291 Stephen Granade Mapping the Tale: Scene Description in IF 299 J. Robinson Wheeler Repetition of Text in Interactive Fiction 317 Jason Dyer NPC Dialogue Writing 325 Robb Sherwin NPC Conversation Systems 331 Emily Short History 10 Years of IF: 1994–2004 359 Duncan Stevens The Evolution of Short Works: From Sprawling Cave Crawls to Tiny Experiments 369 Stephen Granade History of Italian IF 379 Francesco Cordella Racontons une histoire ensemble: History and Characteristics of French IF 389 Hugo Labrande Preface This is a book for which people in the interactive fiction community have been waiting for quite some time.
    [Show full text]
  • Theescapist 051.Pdf
    from our preconceptions so completely headphones off of my head and ran horror game genre: Tom Rhodes explains that the sights and sounds stay with us screaming away from the PC. why he loves horror games in spite of (or for years. perhaps because of) the fact that he Moments like these remind me of why can’t quite bring himself to play them; What were you doing when Kennedy was Doom did that to me. Doom reached out we game, and shine like a beacon, casting Cole Stryker takes a look at a rare horror assassinated? When Neil Armstrong set of my stuttering 486DX2, grabbed me by all misguided criticism of games as lacking gem, Black Dahlia; Jon Schnaars dissects foot on the lunar surface? When the the head and threw me into the muck, in art or relevance into shadow. Games the role of genre conventions in the shuttle exploded? Where were you screaming. move us and make us feel. Games present enjoyment of entertainment (giving us a “when the world stopped turning?” familiar things in new and unusual ways. compelling look at Resident Evil 4 in the I played games with my headphones on Games make us think. process); and Shannon Drake explores Most of us have been asked all of these back then, and somebody, somewhere the most immersive games around, questions and more. Some of us even must have known that. I remember the And pee (a little). Alternate Reality Games (ARGs), in which have answers. Me? I wasn’t even an moment clearly: I had entered a room, the line between the game world and the zygote for the first two events on that and it was quiet - too quiet.
    [Show full text]
  • Interactive Fiction Development: Quest and Squiffy
    LEADING IF DEVELOPMENT TOOLS Twine 2 (Choice) Twine is arguably the most accessible application with high potential if the creator is willing to dig deep into it. It has its own easy-to-use language(s) that makes creation of the story fairly simple but allows the use of HTML, CSS, and Java script that broaden the possibilities and difficulty significantly. Though the application can be used within the online web- site, all content is saved locally only. Inform 7 (Parser) Inform 7 has been around for a long time in software years (circa 1993) and is the head honcho of parser game development. If you are looking to create your own parser game, Inform is a great place to start. TADS 3 (Parser) Text Adventure Development System, or TADS, has been around for about as long as Inform and is a popular alternative. Many Parser developers have familiarity with one or the other. TADS has a bit steeper learning curve than Inform. Honorable Mention Dev Tools Quest or Squiffy (Parser or Choice) The website textadventures.co.uk has two tools DABbLE BOX available for interactive fiction development: Quest and Squiffy. Quest is similar to Inform and TADS for creating parser games. Squiffy is similar to Twine for creating choice-based games, but with a less streamlined interface and a smaller community. Dbb ChoiceScript (Choice) B Choice of Games LLC sells games, but it also offers ChoiceScript for free. See choiceofgames.com /make-your-own-games/choicescript-intro. CONTACT THE DABBLE BOX MAKERSPACE BASICS ADRIFT (Parser) ecpubliclibrary.info/dabble • [email protected] Promotes itself as the lightest “programming re- Interactive quired” parser development software available.
    [Show full text]
  • Insideadrift Issue #40 December, 2009
    >_ InsideADRIFT issue #40 December, 2009 . * * * * >_OPENING STATEMENTS Issue XL... the same size as the last >_X CALENDAR A December to Remember! >_IN THE HOT SEAT Interview with Lumin >_BLAST FROM THE PAST! "Memoirs of a Noun-Verb Shuffler," by Rob Roy >_TEST YOUR IFQ Submitted by DB >_OFF THE RAILS Mirror , by Duncan Bowsman >_THEORY FURY "ADRIFT with Arthur," by Arthur Winslow >_AND NOW, A RETROSPECTIVE… "The Story Behind Marika the Offering ," by James Webb >_LATEST RELEASES Including answers to this issue's trivia. * * * * To access a section of the issue, CTRL + click on it. CTRL + click on a section title to return to the table of contents. This issue’s contributors include Finn Rosenløv {Cowboy}, Rob Roy {Metron4}, James Webb {revgiblet}, Jaxqueline Huber {Lumin}, and Arthur Winslow {via Mel S}. Edited and with other parts by Duncan Bowsman {Duncan_B}. >_OPENING STATEMENTS You open the statements. Inside is a doughnut. * * * * Novelist, IF author, and Jack-of-all-trades writer, the late, great Douglas Adams once said, "I love deadlines. I love the whoosh ing noise they make as they pass by." I'm sure many of us know the exact feeling. This is not to get on a high horse about deadlines and start blathering on about how they should be ironclad. They shouldn't. ADRIFT is, after all, a small community and one of the boons surrounding that is that we can negotiate, seek consensus, and accomodate each other much easier & faster than one might in a large creative community. And though we might publish to the whole wide internet, our writing can feel more personal because of our size, because we feel free to communicate to and work with (rather than around) one another *.
    [Show full text]
  • Gothic, Queer and Intertextual Labyrinths in the Novels by Louise Welsh
    UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE LINGÜÍSTICA GENERAL, LENGUAS MODERNAS, LÓGICA Y FILOSOFÍA DE LA CIENCIA, TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA WITH DARK, ROSE-COLOURED GLASSES: GOTHIC, QUEER AND INTERTEXTUAL LABYRINTHS IN THE NOVELS BY LOUISE WELSH PhD THESIS Author: Eduardo García Agustín Supervisor: Julia Salmerón Cabañas May, 2014 I am writing this under an appreciable mental strain, since by tonight I shall be no more. (H.P. Lovecraft, “Dagon”) PRIOR. Butch. You get butch. (Imitating.) ‘Hi Cousin Doris, you don’t remember me I’m Lou, Rachel’s boy.’ Lou, not Louis, because if you say Louis they’ll hear the sibilant S. (Tony Kushner, Angels in America) Soft kitty, Warm kitty, Little ball of fur. Happy kitty, Sleepy kitty, Purr, purr, pur-r-r. (The Big Bang Theory) INDEX INDEX OF FIGURES 7 ACKNOWLEDGMENTS 9 INTRODUCTION 11 PART ONE. LOUISE WELSH, WITH DARK, ROSE-COLOURED GLASSES 21 Louise Welsh, now and here 23 1. WITH DARK GLASSES 35 2. WITH ROSE-COLOURED GLASSES 75 PART TWO. INTO THE LABYRINTHS 117 At the entrance to the labyrinths 119 3. THE GOTHIC LABYRINTHS 131 3.1. Gothicising time 144 3.2. Gothicising space 147 3.3. Gothicising selves 157 3.3.1. Lovecraftian characters 159 3.3.2. Ghosts 161 3.3.3. Doppelgängers 167 3.3.4. Vampires 175 3.3.5. Demons and magic 182 4. THE QUEER LABYRINTHS 191 4.1. Queering gazes 198 4.2. Queering couples 222 4.3. Queering femininities 237 5. THE INTERTEXUAL LABYRINTHS 251 5.1.
    [Show full text]
  • Werewolf: the Apocalypse Glossary Common Parlance These Words Are in Common Use Among the Garou
    Werewolf: the Apocalypse Glossary Common Parlance These words are in common use among the Garou. Abyss An Umbral realm which is tear in the fabric of creation. The Abyss is a yawning, chasm that consumes everything that is forgotten or abandoned. In its depths are things long gone and things best forgotten. As the Apocalypse approaches, it steadily grows larger. Adren Garou of the third rank of hierarchy. Aetherial Realm Stretching across the Umbral heavens, portions of the Aetherial Realm wend their way across the barrier between Earth and the Deep Umbra. Powerful Garou tend to Anchorheads, places where travelers may pass through Earth’s Gauntlet to other worlds; many of these distant realms are staunchly defended by the Stargazer tribe. Aetherial totems strong influence on this realm — the “planetary Incarnae” of Luna and Helios are among the most powerful. Aging and Death Natural death is not terribly common among werewolves. A werewolf’s regenerative powers can grant him some measure of added longevity — a werewolf could conceivably live to 120 or so before his body finally gives out entirely — but there are precious view examples of such elders. Most werewolves die in battle, and those that don’t usually choose to die in accordance with the Litany rather than face the same of old age and uselessness. Ahroun When a cub is born under the full moon, she grows up full of rage and fury. When her auspice moon hangs in the heavens, she is eager to unleash her wrath and give into the glory of bloodlust. Like the wolfman of legend, she revels in violence and feral frenzies, meting punishment with her cruel claws.
    [Show full text]
  • Storyworlds Across Media Marie-Laure Ryan
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln University of Nebraska Press -- Sample Books and University of Nebraska Press Chapters 2014 Storyworlds across Media Marie-Laure Ryan Jan-Noël Thon Follow this and additional works at: http://digitalcommons.unl.edu/unpresssamples Ryan, Marie-Laure and Thon, aJ n-Noël, "Storyworlds across Media" (2014). University of Nebraska Press -- Sample Books and Chapters. 276. http://digitalcommons.unl.edu/unpresssamples/276 This Article is brought to you for free and open access by the University of Nebraska Press at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in University of Nebraska Press -- Sample Books and Chapters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Storyworlds across Media Buy the Book series editors Frontiers of Jesse E. Matz Kenyon College Narrative David Herman Ohio State University Buy the Book Storyworlds across Media Toward a Media- Conscious Narratology edited by marie- laure ryan and jan- noël thon University of Nebraska Press | Lincoln and London Buy the Book © 2014 by the Board of Regents of the University of Nebraska. Acknowledgments for the use of copy- righted material appear on page xi, which constitutes an extension of the copyright page. All rights reserved. Manufactured in the United States of America. Publication of this volume was assisted by the Research Unit Media Convergence at the Johannes Gutenberg- University of Mainz, Germany. Library of Congress Cataloging- in- Publication Data Storyworlds across media: toward a media- conscious narratology / edited by Marie- Laure Ryan and Jan- Noël Thon. p. cm.— (Frontiers of narrative) Includes bibliographical references and index.
    [Show full text]
  • 7 Talley Excerpt.Pdf
    That Which Should Not Be By Brett J. Talley JournalStone San Francisco Copyright ©2011 by Brett J. Talley All rights reserved. No part of this book may be used or reproduced by any means, graphic, electronic, or mechanical, including photocopying, recording, taping or by any information storage retrieval system without the written permission of the publisher except in the case of brief quotations embodied in critical articles and reviews. This is a work of fiction. All of the characters, names, incidents, organizations, and dialogue in this novel are either the products of the author’s imagination or are used fictitiously. JournalStone books may be ordered through booksellers or by contacting: JournalStone 199 State Street San Mateo, CA 94401 www.journalstone.com The views expressed in this work are solely those of the authors and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them. ISBN:978-1-936564-14-9(sc) ISBN:978-1-936564-15-6(dj) ISBN:978-1-936564-16-3(ebook) Library of Congress Control Number:2011931054 Printed in the United States of America JournalStone rev. date: October 7, 2011 Cover Design:Denise Daniel Cover Art:Philip Renne Author Photo:Ann M. Donaldson. Edited by:Elizabeth Reuter This e-book is licensed for your personal enjoyment only. This e-book may not be re-sold or given away to anyone. Please respect the copyright of this author. If you would like to in any way share this file you will need to purchase an additional copy. If you did not purchase this file please return it to www.journal-store.com; Thanks for your cooperation.
    [Show full text]
  • Inside ADRIFT Issue 35 May/June 2007
    Inside ADRIFT TThhee NNeewwsslleetttteerr OOff TThhee AADDRRIIFFTT CCoommmmuunniittyy MMaayy//JJuunnee 22000077 -- IIssssuuee 3355 Inside ADRIFT Issue 35 May/June 2007 Editorial ........................................................................................... 3 Hot Off The Press ADRIFT: New Releases .............................................................................. 5 AIF Minicomp 2007 ................................................................................... 6 H. P. Lovecraft Commonplace Book & Exhibit ................................................. 7 IF Art Show 2007..................................................................................... 7 Spring Thing 2007 – Results ........................................................................ 8 Textfyre ............................................................................................... 8 ADRIFT Forum Digest [by Shuarian] ............................................................. 9 In The Hot Seat [Interview with Lumin] ......................................................... 12 Coming Soon The Evil Dictator’s Secretary by C. Henshaw ..................................................... 21 Critics’ Corner Adventure Strikes When You Least Expect It [ADRIFT 4] ....................................... 22 S Tar Dus T [ADRIFT 3.9] ........................................................................... 24 Starship Volant: Stowaway [ADRIFT 4] .......................................................... 26 Latest Releases ................................................................................
    [Show full text]