The bulk of the system, by design, is focused on tactical combat. There are no traits, techniques, or items designated specifically for use outside of battle.
Instead, roleplaying off the battle map is intended to be more free flowing and open ended. There are some simple ways of determining what characters can do and resolving their actions in the system.
Outside of Combat Mechanics
There are, generally, three segments of the character spreadsheet that impact outside of battle play – Primary Stats, Origin, and Concept.
Additionally, certain Traits or Techniques might also be useful outside of combat. The benefit of using them should be obvious.
Primary Stats
When a player wants to take a ‘normal’ action, the Game Master will determine which of six primary stats governs that action and compare it to the difficulty scale to evaluate the degree of success (or failure). Random Number Generation will sometimes be used here if the probability is close or the action has an inherent risk but, usually, the Game Master can just make a call based on the scale.
- Evasion: Actions related to agility, reflex, and evasion.
- Hit: Actions related to dexterity and hand-eye coordination.
- Mental: Actions related to academic research and technical skills.
- Strength: Actions related to physicality and athletics.
- Mental Defense: Actions related to resisting and dispelling magic.
- Stamina: Actions related to resisting force and sustaining activity.
If an Action doesn’t fit into the categories above the Game Master will compare Character Level to an adjusted difficulty scale.
There are a few important categories of actions that need additional attention.
- Knowledge: Determined by Mental, Origin and Concept. See below.
- Specialized Skills: Determined by Character Level, Origin, and Concept.
- Perception: Determined by Character Level and Concept.
- Social: No mechanics govern social interactions between characters. This comes down to freeform roleplaying.
This does mean that players should ‘roleplay their stats’ when it comes to physical and magical ability, but they will not roleplay their stats around knowledge, perception, specialized skills, or social interactions. These are based on the character’s Origin and Concept.
Origin
This determines Knowledge and Specialized Skills based on the character’s original time period and home culture. What’s common knowledge in one Era might be rare or completely unknown in another.
Let’s look at a few examples…
- How to use a Computer: This would be common knowledge in the Future but in 1000 AD only individuals with a Concept related to technology, like a ‘genius inventor’, would be able to figure it out.
- How to hunt a Dinosaur: This would be common knowledge in the primordial past but in 1000 AD only individuals with a Concept related to studying the ancient past, like a ‘paleontologist’, would be able to figure it out. Okay, a Concept related to ‘hunting’ could probably figure it out as well.
- How to draw a magic ritual circle: This would be common knowledge in Antiquity but in 1000 AD only members of the Fiend/Mystic community or individuals with a Concept related to magic, like ‘masked magician’, would be able to figure it out.
A character’s knowledge and specialized skills should change over time. For instance, someone from 1000 AD might be taught how to drive a hover bike, but by default common knowledge based on Origin determines what actions they can take unless their Concept supersedes it.
In order to evaluate chance of success for actions related to Origin the Game Master will compare either a Primary Stat to the normal difficulty scale, if relevant, or Character Level to an adjusted difficulty scale. Random Number Generation will sometimes be used here if the probability is close or the action has an inherent risk but, usually, the Game Master can just make a call based on the scale.
Concept
A character’s Concept is more than just a place to name their ‘class’ or identify what ‘type of being’ they are. It should establish the character’s place in the world. What sets them apart? What’s their niche?
Let’s look at a few examples taken from the games.
- Ayla: Strongest of Ioka Tribe! Chief of Ioka Tribe!
- Greco: Psychic Ex Lucha Libre Wrestler
- Guile: Rising Star of Mage’s Guild who left to be a Masked Magician
- Lucca: Genius inventor and Crono’s Best Friend
- Nikki: Rockin’ Bard Superstar caught between two worlds
- Robo: R-Series Robot originally created to assist humans
There’s nuance in the writing. The concept doesn’t tell us why Greco quit being a wrestler, what happened since Robo was ‘originally’ created, or what two worlds Nikki is caught between. The player should coordinate with the Game Master on any nuance so that it shows up in the game.
Concept can also note something that is very important to a character. Lucca’s Concept is ‘Genius inventor and Crono’s Best Friend’. In a non-combat situation where Crono needs help Lucca would gain an advantage on tasks related to helping Crono because it’s in her Concept. She also might be able to accomplish some tasks on pure willpower, trying to help her friend, rather than relying on the relevant stat. This would be reflected mechanically by using an adjusted difficulty scale instead of the Stamina or Evasion difficulty scale.
In order to evaluate chance of success for actions related to Concept the Game Master will compare either a Primary Stat to the normal difficulty scale, if relevant, or Character Level to an adjusted difficulty scale. Random Number Generation will sometimes be used here if the probability is close or the action has an inherent risk but, usually, the Game Master can just make a call based on the scale.
Techniques and Traits Outside of Combat
Character Traits and Techniques are designed for use in combat but situations arise when they are useful outside of combat. It should be obvious when Traits or Techniques can be useful.
Let’s look at some examples…
- If a character can Teleport then they can cross a raging river without needing to swim.
- If a character has a Technique that puts out fire then they can use it to put out a house fire.
- If a character has the Heavy negative trait then the rope bridge begins to break under their weight.
Example: A Locked Door in the Future
In this example, we’ll see how some characters would interact with a locked door in the Future era.
Game Master: As you explore the ruins you discover a metal door half buried behind some rubble. Ayla easily clears the doorway, showing that she’s strongest again, and you get a good look at it. The door is still very sturdy and there’s an advanced looking lock on the front. |
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Ayla: Strongest of Ioka Tribe! Chief of Ioka Tribe! Ayla’s Player: “Can I use brute force to open it? Game Master: “Despite her immense strength Ayla cannot budge it. It’s made of metal – the hardest metal she’s ever seen – and has no good handholds.” Ayla’s Player: “Well… She leaves it to the others then. Will keep an eye out for more mutants.” Game Master: “Ayla spots a few mutants lurking in the ruins that are watching the group. They meet her stare and then dart into deeper shadows. She can sense that they’re still there but hidden.” Ayla’s Player: “Ayla will pick up the largest rock she can and lob it at them the next time they show themselves.” |
Lucca: Genius Inventor and Crono’s Best Friend Lucca’s Player: “Well, Lucca is a genius inventor so can she examine it and figure out how it works? All to open it without a key? She always carries her toolkit with her.” Game Master: “Yes. It takes some time but using her tools Lucca is able to disable the lock and open the door.” |
Greco: Psychic Ex Lucha Libre Wrestler Greco’s Player: “Greco isn’t strong enough to wrestle open the door?” Game Master: “No.” Greco’s Player: “Can Greco detect any psychic emanations from the other side of the door?” Game Master: “Let me check my notes on how your psychic powers work… Okay, yes, you can sense some psychic emanations on the other side of the door.” Greco’s Player: “I psychically call to them, hoping they’ll open the door.” Game Master (to self): Well, they’re rats so… Game Master: “No, you try to call them to you but stop at the door. It seems they can’t open it.” Game Master (to self): Note to self, if they do manage open the door there are bunch of rats there now. |
Guile: Rising Star of Mage’s Guild who left to be a Masked Magician Guile’s Player: “Guile’s been traveling as a masked musician performing tricks for audiences… I think he probably has some magic that could be useful at opening locks?” Game Master: “In his original era that’s true… But this future lock is far more complex.” Guile’s Player: “Hmm… Guile uses that WandaIn technique to teleport his wand into an enemy… Can he use something like this to teleport his wand into the lock or onto the other side of the door to push the opening mechanism?” Game Master (To Self): There’s a chance that could work. Let’s how the RNG feels about Guile today. If it’s a critical failure this will destroy the lock. Game Master: “Guile succeeds on his second attempt to open the door with magic. It slides open with a hiss.” Guile’s Player: Guile takes a bow to the other characters, a rose appearing from nowhere in his hands which he then offers to Serge. Serge’s Player: “Wait… What?” |
Nikki: Rockin’ Bard Superstar caught between two worlds Nikki’s Player: “Uh, I don’t think Nikki can really open this door… I don’t know, can he play like some sweet tunes to help the others focused? You know, like bard music stuff.” Game Master: “Sure. Nikki’s music helps the others to focus and keeps them from getting too frustrated with the task.” Game Master (To Self): Let me see, I’ll let that give the others an advantage to open the door on the difficulty scale. Nikki’s Player: “Sweet.” |
Robo: R-Series Robot originally created to assist humans Robo’s Player: “So, can I open it?” Game Master: “Yes, as a R-Series Robo does have access. He could also interface with the door to try to hack it but that’s unnecessary because he has already security access. He just opens it.” |