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  1. Hello, It's not very clear, but it's my understanding that failing the CON roll puts the character in unconscious with zero hit points, otherwise it would be weird to be unconscious with remaining hit points and no mechanic to drain / wake up. But, since I'm not always the best reader, did I miss something? Note to the author: The box with the example would be nice to have the situation with a failing CON roll since it's more complex.
  2. Let's play "spot the difference." Intro 1: "You, er, enter a room. There are ten orcs sitting around a table, playing some sort of game of chance. They stop what they are doing and charge. Roll for initiative." Intro 2: "You follow the sounds of arguing to a room behind a closed door. Opening the door, you see a group of orcs in a room. They are arguing amongst themselves. They look like Greykin's orcs, and their armour bears the sigil of that foul wizard, your greatest rival. "You look at them; they look at you. You see them starting to shuffle and spread apart, and one of them goes for their sheathed weapon. The situation is going south, fast. Looks like they've been itching to lock horns with someone for a while. Guess that's you. Roll initiative." However much you may like it or not, combat scenes are going to happen in any roleplaying game, no matter what the setting. Fighting is inevitable in many settings, and Adventurers are typically created to be singularly gifted in the fine arts of combat, so they might as well put those weapons and Combat Styles to use. So how can you, the Games Master, elevate combat from mere number crunching to a scene of heartstopping action, thrilling suspense and intense danger? The same way you elevate all the other kinds of scenes - hypnotic language. Setting Up Combat The setup is as important as the execution. As the Games Master, you are responsible for putting the NPC and monster miniatures onto the board, whether it be a plastic hex grid sheet or a virtual desktop. You are also responsible for the opponents' tactics, actions, and reactions. This is where every roleplaying game's combat sections kind of fall over, because they always seem to assume that combat is always a 100% slaughterfest, and the only differences between one combat scene and any other are the number and size of the opposing force, the weapons they use and how many rounds it takes for the player character combat units to reduce them to kedgeree. This gives every Games Master the impression that all combat scenes must be like this - the first person shooter video game philosophy, where the opponents are only there to be cut down. Engagement Before moving on, please check out "You Know, This Isn't Necessary ...", "Death Is Not The Only Option", and "Killing Has Consequences" on page 284 of the Mythras Core Rulebook. They're there for a reason. Not every random encounter has to be a weapons fest. Now, having read that, let's go on to those encounters which are weapons fests - where the gratuitous violence is integral to the story. Your most perceptive character has determined, through Insight, that the foe is implacable and bent on your party's destruction; and the only way to the mission's objective is through these miscreants. Negotiation won't work - so it's time to draw weapons and have at it. Page 285 is a good page to read, for the "Pacing Combat Encounters" and "Action Points are Not the Be All and End All" sections. Games Masters and Players should read these sections, to enrich your enjoyment of combat scenes - they present options which increase the Adventurers' chances of surviving the battle. "Grading Opponents" on page 286 is a vital read for Games Masters. It helps to gauge how much effort the Adventurers must make to achieve victory, or just to survive a combat which is going against them. But beyond these considerations, and of course studying the entire Combat section of Mythras from page 86 to familiarise yourself with the combat mechanics, how do you use the linguistic stylings of hypnotic language to describe combat scenes? Opening Moves Here's a little hint to get the Players engaged mentally in the oncoming conflict. Ask them to get out their favourite combat dice and get them ready. Give them a moment to select their dice, and announce their readiness. Once the entire group has signalled their readiness, then call for initiative rolls. Players: Battle Dice Players, here's something you can do to get yourselves into the spirit, if you aren't already doing this. Have a set of dice specifically for combat: a dedicated d100 for Combat Style checks; a dedicated d10 for initiative; and whatever dice you need to roll for damage. Nothing gets you into the battle mindset more than opening your battle dice bag and drawing out those combat dice. Keep them in their bag until a combat scene is announced, and take them out to show that this just got serious, and your Adventurer means business. Combat Cards There is one other tool available from The Design Mechanism to help you with battle scenes - the Mythras Combat Cards. If you have them, it would be a good idea to bring them out at the same time as your battle dice. Everything in this "Turn Zero" is about preparing everyone to be in the right mindset for the combat scene. Running The Battle Show, Don't Tell The language you use; the words, your tone of voice; affects and influences your players' mindset and reactions. The Adventurers' actions should have an impact on the opponents, and vice versa. A successful blow could knock a foe back, staggered for a moment before they rally around and charge back, enraged. Even if a blow glances off the armour, describe the thump travelling up the Adventurer's arm. Use the second person singular (and occasionally plural) - "You duck, and the breeze of the sword narrowly missing your head brushes against your skin," "The jolt of the impact of your war hammer travels up your arm," "The weird, arcane power you just called leaps towards your foes, engulfing them in scintillating flames," for example. The Adventurers, also, can be affected by the actions of the foe. Describe the pain of the impact on a Hit Location. Don't just say "The foe uses Stun Location on your Right Arm Hit Location": describe the numbness to that arm from the impact. If the Hit Location takes damage from the successful strike, describe the pain - crushing, bruising, cutting, burning, numbness. The unconscious mind has access to engrams where it remembers the pain of injuries from various sources. Hypnotic language can encourage the mind to experience echoes of those feelings, as long as it is gently reminded that this is only play, not the real thing. Artful Vagueness Everybody's imagined experiences are different. One person might imagine a vast chamber as resembling the Hall of Moria scene from the first Lord of The Rings movie, but somebody else might imagine it looking like the interior of Chartres Cathedral, and a third might imagine an abandoned underground Roman tufa quarry with thousand-year-old chisel marks on the rough, sandy-textured walls. The way to keep the immersion going is to use artful vagueness. Describe the characters' lights flickering, but do not remind each Player what their Adventurers are holding to provide that illumination. Describe the tightness of the armour, but again do not specify what kind of armour - everybody's armour is going to be stiff somewhere, but some of them might be wearing different armour to the others, and not everybody is going to be wearing armour over every Hit Location. When invoking sense memory, just say "a foul odour, growing stronger," rather than "smells like orcs" or "carrion stench"; or "the texture of the walls" rather than specifying roughness, sandiness and so on - some might be imagining the walls to be of brick, others limestone, and yet others might be imagining sandstone blocks. Use artful vagueness to encompass as many of the Players as possible in the sensory immersion. Invoke Emotions Fighting evokes a slew of emotions - excitement, anger, fury, even fear. Again, the language you use can invoke those feelings - but it is better to allow the Players to experience those feelings on their own, and to let the unconscious mind keep rein on those feelings, again by reminding it that this is only play. Pausing and Wrapping The Battle Half-Time Oranges One of the most important things a hypnotic Games Master can do is set up safe words, if you will. Every Player can invoke the safe words at any time during play one, such as a "pause" safe word to pause the action; one, a "half time" safe word to allow a Player to drop out of the fight scene for whatever reason, and most importantly a "stop" safe word to bring all the Players back into the room. As Games Master, it is recommended that you invoke the "half time" safe word to pause the action at least once during a heavy battle scene. This brings the Players into the room for a few minutes to breathe, and perhaps to have some refreshments and take a comfort break before the battle resumes. This is particularly vital during the climactic battle of the scenario, when the action is at its most intense and the emotions are at their highest. Post-Battle Ritual The end of any battle scene is a time of heightened emotions and tension, particularly the climactic scene - if that scene involves a battle, either for supremacy or for survival. As Games Master, you need to know how to defuse those heightened emotions - and, if you have been doing your job right, there will be heightened emotions. Every battle scene should end with a post-battle ritual. It can be as simple as the Games Master invoking the "stop" safe word to tell the unconscious minds to bring the Players back in the room with a glowing dopamine rush; or you can keep the Players immersed, and encourage them to let off steam with some hearty cheering before bringing them back in the room. After the battle scene ends, give the Players a moment to reorient in the room, before going through the process of clearing the table and bringing out the refreshments, or - if you are online - give them time to clear their own tables and put aside their minis and dice, then go and grab whatever refreshments they have to hand. Breaking bread at the end of a battle scene, and at the end of every scenario, is one of the best ways of grounding after your minds have been Elsewhere. You may have noticed that it also bonds Players and Games Master together - sharing mealtimes together is probably one of the oldest community-forming exercises going. Make use of our human need to bond as a unit. Aftercare Conscious Aftercare There is more to wrapping up a battle than just totting up numbers. The Players will be vested in the welfare of their Adventurers, and every wound and injury to their Hit Locations, and they'll probably be experiencing anxiety if their characters have sustained damage. As Games Master, you need to provide reassurance. This is especially pertinent if a character is on the verge of death, or has already met their fate - a topic which will be covered in the next post. Unconscious Aftercare Everybody has an unconscious mind, which is a benevolent guardian, keeping body and conscious mind working. By gently reminding the unconscious that this is only play, and by caring enough to give your unconscious mind signals to let it know that the game is being paused, as well as when it's over, you can bring in the unconscious to the story and make it a truly immersive experience. Combat scenes are meant to be cathartic - a release of emotions, particularly after a stressful period of time. Learning to include the unconscious mind in the play is a challenge, but ultimately rewarding, because the active involvement of the unconscious mind is guaranteed to make combat encounters memorable long after the scenario and even the campaign are over.
  3. After the initial two rounds of summon and control, is fighting with(not against) an elemental like: Sorcery: command this round, a thick darkness attacks at the end of the next one. Now that everyone is dead, repeat next 2 rounds for new targets. Like Bending(avatar): hit someone with your sword, and a whirlwind will knock them out (fix command, attack whoever I strike) Like having a dog: point at the troll, whistle and the fire dog jumps on her while I do my stuff. I would love to know how you handle it, cheers!
  4. Hello, I am trying to be a keeper in CoC 7ed since start of the august. After few first games I've been caught by thoughts that I am doing something wrong so I came here for clarification. First of all, how many actions do you have during the combat? Rulebook says that round is flexible unit so you can make significant action. But which action is significant? For example you can reload gun and move, but you cannot shoot after that, but (as I understand right) you can move, grab the knife, move back and attack, both actions would take a round but are they equal? As I understand movement is a free action, running - MOV x5 is free only for melee, but if you run before shooting you will get penalty die. Will you get penalty die if you grab weapon from the floor for example? I've tried to find topics about it but I didn't, so I am sorry if I duplicate quastion.
  5. I've recently been reading about shaman's in RQG. If a shaman is ambushed by a malign spirit, how does he fight it in spirit combat if it takes him an hour to discorporate? What am I missing?
  6. Have you been disappointed by combat in role-playing games? Well be that way no further, here is the perfect video for you! Taking inspiration from Sandy Peterson himself, Dethstrok9 goes over some of the best ways to make Call of Cthulhu 7E combat more engaging, exciting, and interesting!
  7. Hello. Going over the Combat results chart on page 199, I thought, why the heck would a missed attack or fumble warrant a parry by the defender? (The Dark Eye used to handle this that way) I get, that this can inflict damage to the attackers weapon. But nevertheless I think that chart could be simplified and combat made a slight but faster, if a miss (or fumble) on the attackers part doesn't need min. 2 dice rolls by the defending party. Yes, the most hilarious result of both combatants fumbling and knocking themselves out without even touching, would be sorely missed 😉 Maybe I'm missing something, so many thanks for your thoughts.
  8. Beta functionality for Encounters are now live in the RQ Character Creator app. https://rq-web.herokuapp.com Encounters can be created by adding one or more factions. When viewed, you'll have access to a bunch of combat & tracking related details for all characters in the encounter. This is no-where near as clean as I hope to eventually get it. It will take tweaking and some other eyes to get it right. Also - there is no ability to save an encounter in process - if you leave the screen, HP etc. will reset. You can access Factions & Encounters through the new layout tabs and via Add Content. So a question: How much information do you want to see on an encounter screen? Everything? Minimalist? Is it important to track info and save back to characters?  Thanks! C
  9. Something I would like to have for RQG are rules for Rabble and Extras, but I wonder if they appropiate to the RQG mindset. One unique feature of RQG are the "Consequences of Violence" (RQG p. 7), and the Bestiary comes up with the premise: "In RUNEQUEST, few creatures are mere cannon fodder— mobs of weaker monsters that can be cut down safely in large numbers. Instead, every creature is an individual" (RQG:Bestiary p.4). So, it seems that rules for Rabble/Extras contradict the guiding principles of RQG. What's your opinion (besides MGF) concerning this topic? I'm keen interested to read some arguments based on the RQG mindset.
  10. I'm a little confused by the logic of putting the movement of non-engaged characters (phase 2) before the resolution of missile attacks and spells (phase 3). If I'm reading this correctly, a non-engaged melee combatant can move half his/her movement, close in on a target that is armed with a missile weapon, and attack before that target gets a chance to fire. Wouldn't it make more sense to have phase 2 include both the movement of non-engaged characters AND the resolution of missiles and spells? Then in phase 3 resolve melee? Thanks in advanced for any clarification.
  11. A weird question, perhaps I've been pouring over the RQG rules for a while now, and it suddenly occurred to me I have no idea if facing or positioning matters during combat? Does it? I don't remember coming across this at any point. But there are so many rules I've been soaking in I might have missed it!And, specifically, if I'm engaged with Enemy A, and Enemy B comes up behind me, am I allowed to turn and parry against Enemy B?Does engagement "fix" facing to some degree?Are there limits on how much one can turn (or turn to parry) when engaged?
  12. I have some questions around Combat, principally using the Group Simple Contest. I sorta get it but have difficulty when the situation needs a more definitive result. Let’s say the party has snuck in somewhere and is then confronted by some guards. The guards want to prove their mettle and kill the intruders, and the party wants to permanently silence the guards by means of Force. It’s a not fight the players are emotionally invested in, so a simple contest seems the way forward. So, let’s say the result is a marginal victory for the party. What does that mean exactly? Would you have something like a Costly Success? I.e. the party defeats the guards, but say is impaired or hurt in the process, or another complication for example? Or would you leave the situation without a definitive result? I.e. the party has got the better of the guards but they’re still in the fight. And if so how to proceed from there? I've seen other posts (from @Ian Cooper) talk about 'bringing the pain' and turning the contest into an Extended Contest from there if the players wish to do so. How does that work exactly? Do you start the extended contest with resolution points already scored depending on the results of the Group Simple Contest?
  13. I'm having trouble finding information on Combat Styles and Combat Style Packages in M-Space. For example, during character creation it tells me to choose any Cultural Combat style, but the three Cultures (Rural, Urban, and Orbit) do not list any of them. It looks like I have to come up with my own weapons and skills for it? Is there a list of ready-made skill and weapon packages elsewhere I can use for it?
  14. I'd like to develop some rules for Mass Combat and Battles. I love the RQ6/Mythras mechanics about this issue, but I rule a classic dungeon campaign with a lighter system (between BRP and the MRQ SRD) and I need some ideas. OpenQuest contains a few elegant rules, but they are in the opposite side, too simple for my campaign. Do you know a d100 mass combat system in the happy medium, lighter than Mythras but more complete than Openquest? I have read something about MRQII Empires, but I haven´t that book and I don't know if it could be bought nowdays, or if it could be worthy for this purpose (too similar than the Mythras system, perhaps?). Thank you for read me!
  15. A question about the Combat in Renaissance: According to the "Targeted Attack" rule, a damage below a Major Wound "has no special effect". But if a character targeted his attack to a location without armor, (for example, the face), could not he avoid covering the general armor points, even getting a light damage?
  16. Hey folks. I have a few questions about combat: How might I go about handling a charge attack where someone is just running in and slamming into an opponent? If a weapon allows multiple attacks per round (e.g. Light Pistol), does the attacker have to have a skill >100% to take advantage of the multiple attack capability of the weapon? It seems if Grappling is used you more/less have to use hit locations. I know it says on p. 61 that the GM should "reinterpret them for a game not using hit locations, or disallow the effects", but that seems to defeat almost all purposes of grappling and is just more work. I'm not currently using hit locations, but like to mix things up in combat to keep things fresh. Any suggestions for non-hit location grapple effects? Thanks!
  17. A person on horseback receives a +20% to attack while the person on the ground receives a -20% defense, so a net 40% swing? Just seems a little steep to me. A flat 20% is more in line?
  18. I'm new to the paper-pencil-dice RPG, and want to know some-thing: I read that Mythras allows for quick and exciting action, the kind you get in hollywood movies. This made me think of converting an old action-oriented side-scroller arcade game, Ghosts 'N' Goblins (1985), into a scenario. Question: would this "work"? Or would it get quickly slow and boring? Would it be only for advance players to survive? What if you made it less lethal--would it still be exciting? It looks like it would be fun to explore such areas in the video game, but would it still be fun as a RPG, to enter GnG's graveyard, forest, and mountain with your friends?--or would it be just too lethal and unplayable? Will it be a flop, and if so, then what would you have to add to make it "work"? --Thanks, Erico.
  19. sorry for all the questions, but it really helps me set out on the right path at the start So here's a Shaman, with a fetch , engaging with some PC's -the shaman's fetch has intensity 2 action points 3 spirit damage D10 discorporate 81% folk magic 73% spectral combat 84% spirit fetch ability- persistent -conjugated- autonomous-recurring trait - shapechange -possession (usually the shaman or cult animal) Am I correct that this shaman can roll on his binding skill to set the fetch loose- fetch can then act independently of the shaman, but remains in telepathic contact- it can use folk magic against the PC@s or on the shaman and can also drag a mortal target onto the spirit plane(discorporation abiltiy) and then engage them in spirit combat ( spirit's spectral combat against character's binding or half-willpower) and does D10 damage to their magic points when it (likely) wins - this will eat up their magic points in a few turns if it beats them - when they are down to zero, it may ?possess them but not kill them as it lacks the deadly trait. If it possesses a character, can it have that character attack his/her mates? Can the fetch , if not possessing but simply draining all of a players magic points, ,then attack all the PC's in turn and do likewise ? does it need a binding roll success from the shaman for each instruction or just to "set it on its way" as it is in telepathic connection with the Juju man? If it has the "deadly" trait, would one such spirit not be able to kill all the player characters in short measure? as it cannot be magically dispelled because of the "persistent trait" - unless the PC's have a beefy character who is a beast on the spectral plane, are they surely doomed ? It it has "cannibalistic" trait, it can shore up its magic points at the rate of 1MP/ intensity of spirit that it sunders...(1-3 MP points per character killed) And this is ONLY an Intensity 2 spirit(!) And a decent shaman has SEVERAL spirits at his beck and call..........
  20. question 1 , is it OK to ask for rules clarification on this forum-? if so, question 2 I swing at my opponent and get a critical success - he parries and gets success - I get to choose one offensive special effect, say, disarm opponent now gets to make an opposed roll of his combat style against my ORIGINAL roll- (the critical success) and he would need a critical success of his own that was higher than my original roll but within his critical success bracket ? this appears to be almost impossible to pull off - if this is a correct interpretation , then it appears that rolling a critical success not only gets you yummy special effects but makes it almost impossible for the opponent to counter them- is this correct? question 3 I have read that some GM's only allow "choose location" as a special effect on an offensive critical roll, rather than just for achieving one level of success better on a differential roll Is this unusual? What do people think from experience works better?
  21. Was talking with a player yesterday, and we hit upon the simple mechanic of 'stances' as realistic and potentially useful tactical options for RQ characters. There are 3 possible combat stances: Normal: allows you the usual 1* attack and 1* defense option in each round. All-out attack: You ONLY get your 1* attack at half-again your skill. You get no defense action. All-out defense: You ONLY get your 1* defense at half-again your skill. You get no attack action. *: as usual, if >100% you can split The above is probably the simplest version. Then the Minotaur's 'enrage' doesn't have to give them a special magical ability, it just puts them into all-out attack mode. It also makes missile weapons more lethal (if you allow it to everyone), if the shooter isn't threatened by immediate attack. Alternate versions, not really thought through: - Attack/Defense stance lets you split attacks/defenses using that higher value, even if it's not above 100% (you don't care about getting hit)? - Attack lets you attack slightly faster (no hesitation for self-preservation)? - Defense might allow a shield to parry multiple attacks from a single attacker (ie like a normal dodge, but at half value for subsequent attacks after the first), or to allow dodge to be used against multiple attackers (but at half-value for each dodge after the first) - Defense might even allow additional AP to a parrying item (1d4 or your strength mod, whichever's greater, re-rolled for each attack), or allow a SPECIAL parry to still count against a CRITICAL hit (the current way a normal shield success works against a special)? NOTE: NPCs wouldn't be able to access stances unless it is something intrinsically sensible to the NPC - ie a minotaur. Otherwise NPCs (who often don't care about tomorrow) would be overpowered. Anyway, just some ideas we were bouncing around.
  22. There are a large number of Call of Cthulhu articles on my blog, Shooting Dice, including: Lovecraft and His Guns, about HPL and his guns and gun use. The Investigator's Load, about typical kit carried by investigators in HPL's stories and encumbrance issues in the game. Lovecraft's Investigators and Their guns, an entire series of articles examining HPL stores for the weapons of his investigators. Disarming in Call of Cthulhu, comparing the Disarming rules in Call of Cthulhu Sixth and Seventh Edition, illustrated using a scene from The Maltese Falcon. Cthulhu Gangster, the latest book by German Call of Cthulhu licensee Pegasus Press. Plus gun reviews, film and TV series reviews, all with an eye towards using them in the game. Cheers HANS
  23. So I've only very recently had a session with a lot of melee combat in it, and I found a question that I'm unsure about. When someone is attacked in melee and chooses to fight back or dodge, does that use up their action for the round? I can't find anything in the rules that says it does, it's just that a lot of other BRP-bases games have that rule, and it's kind of become second nature to me. Even if it's not the intent of the rules, what would be the effect of house-ruling that in? Hmmmm... For one thing, it would speed up combat a little. But on the other hand, it would make high DEX a really big advantage, because the one who goes first would always have the edge of being the attacker. So maybe it should just be clarified that you get one free reaction to being attacked each round?
  24. Hello, I have recently met a problem which might be my misunderstanding, but seems to be a severe bug in a system. Namely, throwing a weapon, that is not designed for throwing, e.g. halberd. The book says: "Your character can usually add 1/2 of his or her damage bonus to an improvised thrown weapon’s base damage. Well-balanced objects designed for throwing (including footballs, grenades, darts, etc.) can be thrown normally one meter for every point your character’s STR exceeds the SIZ of the object. Unbalanced objects can be thrown one meter for every 3 points of STR over the object’s SIZ." The question is: what is " improvised thrown weapon’s base damage" ? One of my players wanted to throw a double handed sword and use normal damage from that weapon+1/2 of his db. Now imagine the following: Standard Human ( STR 12 , SIZ 10 - thus no Damage Bonus ), is facing an enemy. The character has no skills in any weapon, but has halberd in his hand. Thus, he has base chance to hit of 15%. However, if he tries to throw a halberd at the enemy the chance becomes 25% (base Throw). Therefore, it is clear that throwing is more likely to inflict the same 3D6 damage. To me, this is pure nonsense. Perhaps I do not understand something - please help! Thanks! Krzysztof
  25. Hi all, I just uploaded a pdf with rules for sci-fi gaming in BRP, that I have been using for a while. They are mainly for star wars-like space opera, but I believe they can be used in other settings as well. They have grown out of a frustration that there have been no actual starship rules for BRP (or not much for science fiction at all - though River of Heaven seems to change that). I appreciate all comments: overall concepts, game balance, language - anything at all. Download link: or try: http://ge.tt/9acymz12?c Clarence
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