The Awesome System's Journal|
[Most Recent Entries]
Below are the 16 most recent journal entries recorded in
The Awesome System's LiveJournal:
|Wednesday, November 14th, 2012|
Good idea for advertising Mayors Of Fight Town book
A little interactive game! The first part of the Mayors campaign has the PCs riding jet-skis towards the city, until some ninjas interrupt, so the game would cast you as one of the characters, with a cutesy little sprite, probably Lieutenant, riding his jet-ski... Ninjas turn up and attack, four or so, and there's a little 16-bit JRPG-style sequence where their jet-skis travel at equivalent speeds so as to have a turn-based battle.
The turns unfold and attacks go back and forth, dynamically showing off The Awesome System's mechanics, with ninjas getting tossed in the water as their jet-skis explode, then a Boss Ninja turns up and he has to be defeated as well.
After the ninjas is the battle with the giant Sniper Robot Yin, so the last part of the game would show her crouched atop the Statue of Liberty, silently drawing a bead on the jet-ski, then cut to the title.
The point of the 5-minute or so game is to show off how stunts work in terms of rolling actions and how they're laid out on the grid. It'd probably have the option to spend Awesome Points and ask you if you want to do it for dodges, but wouldn't shove the concept in your face. Normal attacks could be punches, whereas stunts would be something like picking up your jet-ski and hitting them with it.
For the graphical style, I'd use something simple like Mighty Final Fight:
And the music might be something jazzy and upbeat like this track from Contra
|Wednesday, January 16th, 2008|
This is quite a significant change to the system.
The old Defence system where you add Melee level or bonus, whichever's highest to 4, is out.
Now you add 6 to your Flow level.
Weapons and shields remain the same.
|Wednesday, October 24th, 2007|
So here are the Giant Robot rules as they're going to stand for the time being. Your Robot Friend
Buying a Giant Robot requires the use of the Props power. As a rough guide, we're going to say every point of Props you spend gives you 25,000 Credits to play around with, meaning for 20 Character Points you can easily get your hands on a 500,000 Credit Robot. This would equate to about a 100 point Giant Robot with no Upgrades purchased, and keep in mind that it's not a "character" so, just like Mooks, everything costs half its regular amount. The drawback to this is, obviously, that your Robot cannot function without you, the esteemed pilot, and you probably won't function too well without it, either! This cost this could easily be scaled up or down by your GM, based on the setting and availability of Giant Robots.
A giant robot and its pilot are two separately built, complete characters that function together as one. Therefore, the character used is a combination of their traits.Making Checks
The Robot's Brawn, Flow and Speed are used, while the Pilot's Brains, Knowledge and Soul are used.
For all stat or skill rolls, the Robot's stats are used for Brawn, Flow and Speed, while the Pilot's stats are used for Brains, Knowledge and Soul.
When making a Skill Roll, use the Pilot's stat and skill for Brains, Knowledge and Soul. These are unique to him, after all. But when making a Skill Roll for Brawn, Flow or Speed, the two must work together. To arrive at your skill result, you must compare the abilities of the Pilot and his Giant Robot and see how they function together, how the two are incorporated. After all, a good pilot can be constrained by a bad mech and a good mech can suffer because of a bad pilot. Take the Pilot's ability and compare it to the Mech's current skill being used. Use whichever is lowest when making Skill checks, but always use the Robot's physical Stat.
This does not apply to the Firearms checks. The Pilot's skill is used for those!A Pilot is making a Heave check. He has a Flow of 3d6 and a Pilot Skill of 7d6+5. His Giant Robot has a Brawn of 25d6 and a Heave skill of 6d6+10. The Pilot compares his Pilot skill to the Robot's and sees his Piloting ability is reduced to 6d6. Also, he cannot quite master the computer systems yet that would allow him to use the Robot's full bonus. Therefore, his Piloting skill is treated as 6d6+5, added to the Robot's natural Brawn of 25d6. The Pilot rolls 31d6+5.
A Pilot is making an attack. The Robot has a Flow of 3d6 and a Melee skill of 10d6+10. The Pilot has a Flow of 2d6 and a Piloting Skill of 20d6+8. When making the attack, the Pilot would use the Robot's level in Flow, the Robot's level in Melee and the Pilot's bonus in Melee. He rolls 13d6+8 to attack.
As you can see, the more attuned a Pilot and his Robot are, the better they'll fight!A Note On Awesome Points
These work more or less the same as for any other character. A Pilot with the Mecha Pilot power can spend his Awesome Points on his Robot's rolls as if it were his own, physical body, thankfully! The only difference is that, since the Robot and the Pilot are working together, when you are increasing the Stunt Level of an action, it costs 4 Awesome Points, instead of the usual 2! Two bodies means two mouths to feed when it comes to Heroing Up. All other Awesome Point usages work the same, however.
|Thursday, January 25th, 2007|
AWESOME -- Given a one-year moratorium in 1984, when the Unicorn Hunters banished it "during which it is to be rehabilitated until it means 'fear mingled with admiration or reverence; a feeling produced by something majestic." Many write to tell us there's no hope and it's time for "the full banishment."
"The kind of tennis shoes you wear, no matter how cute, don't fit the majestic design of the word." -- Leila Hill, Damascus, Maryland.
"That a mop, a deodorant or a dating service can be called 'awesome' demonstrates the limited vocabularies of the country's copywriters." -- Tom Brinkmoeller, Orlando, Florida.
"Overused and meaningless.' My mother was hit by a car.' Awesome. 'I just got my college degree.' Awesome." -- Robert Bron, Pattaya, Chonburi, Thailand.
|Wednesday, January 24th, 2007|
(These are never going to be used in the forseeable future. It's just a thing I made up.)
Whenever you deliver two or more blows in a row, your character enters a COMBO. Combos are totally sweet. In this case, "in a row" is defined as on consecutive turns.
If a character hits multiple enemies during one turn with a Spin Attack, each enemy hit counts as a hit in the comboHideki hits an opponent on turns 6, 5 and 4. On his four, he hits two enemies. This is a four-hit combo.
The more hits in a combo, the more awesome things happen. Combos carry over from one round to the next. Being hit will break a character out of a combo. A turn in which the character does not score a hit will end the combo.
5 hits = 1 Awesome Point
10 hits = 2 Awesome Points
20 hits = 3 Awesome Points and 10 HP restored
50 hits = 5 Awesome Points and 30 HP restored
100 hits = 10 Awesome Points and 50 HP restored
|Friday, January 19th, 2007|
I'd like to ask a favour of the members of this community, if possible.
I'm making 32 sample characters for the Awesome System and I thought I'd see if anyone wanted to throw their hand in to help out. I know some of you love making characters after all.
Here's the list of what I need made: ( List of CharactersCollapse )
All of them are 100 point characters and we're using the most up to date version of the rules, which friends can obviously get off of me. I'm not expecting a lot, but if you have a moment or two free it would really help me out with the workload. Also, if anyone has any out-of-date characters, such as those from Lightning High or What's Cooking or Jupitris they'd like to post, please do, those are just as good with a bit of tweaking.
|Tuesday, November 21st, 2006|
The Musical: Musical Numbers
ANYTHING WRITTEN HERE GOES OVER ANYTHING I WROTE BEFORE OK
At tense moments during the game, the GM will announce the arrival of that most wonderful of plot devices, the Musical Number. When this happens is, of course, completely up to the GM, but Numbers should usually be at important plot points or dramatic confrontations.
So how does it work? Pretty simple, really, just like everything else in this game. First things, first, characters in Musicals have drastically smaller Awesome Pools than normal, instead counting upon songs to make their AP. Their Awesome Pool is equal to their Soul and it starts half full.
Musical Numbers should start with the GM reciting a few verses for the villain or, with his permission, the PC's doing the same, so as to set the tone for the song. After that, they use regular combat rounds, with potential singers spending Awesome Points to compete. These AP correspond to Speed Dice and are rolled at the start of every round. Just like with regular Speed Dice, they also get one for free.It's totally on. The evil Baron has kidnapped a beautiful princess and is attempting to serenade her. She thinks of the handsome hero who is even now coming to rescue her, however, and fights back as best she can. She spends three Awesome Points and rolls a 6, two 5's and a 2. She will sing on the turns 6, 5 and 2.
Once that's done, proceed through the round as normal. If a turn comes up where only person has an action, they may elect to sing, reciting a verse of the current song. That's all they have to do, make up some lines and make sure they rhyme. Making a successful rhyme grants the character 1d6 Awesome Points
, which may be spent on any task. Sixes are rerolled. As an added effect, something appropriate will always happen, such as choreographed dancing among chorus members, fruit stores shattering and sending city guards flailing or whatever the GM thinks works for the scene. Sometimes a passing musician will strike up a note, playing to the PC's tune. That's the simplest form of the Musical Number. It gets a bit difficult when competition rears its ugly head, though.Fighting For A Verse
In a turn where two or more characters act, whoever rolls the highest on a Voice check gets the first line. Others may spend Awesome Points to supercede their roll, but upon doing so THEY must recite a line. And it must
rhyme with the original line. If they can't think of one, they automatically lose. Assuming they succeed, someone else may then supercede them with more AP. It can get a little nutty.The Princess and The Baron both have turns on 5. The Princess rolls a 34 on her Voice check, beating the Baron's 32 neatly, turning to the window:
"My prince will come, I have no doubt!"
The Baron immediately spends an Awesome Point, raising his 32 to a 40. He cups her chin and grins at her wickedly:
"My guards will end that foolish lout!"
The Princess, not wanting to be outdone, spends three Awesome Points and raises her 34 to a 45. She stomps on his boot and then turns to the window:
"Will he save me? We'll haaaaaaaaaaaaaaave to fiiiiiiiiiiiiiind ooooooouuuuuuuuuuuuuut..."
The Duke grabs his stubbed toe and is unable to think of a rejoining rhyme. The Princess gains 1d6 Awesome Points, rolling a 3, as 3 bluebirds land on her hand and twitter.Winning!
At the end of every round of combat, the chorus is recited. At the end of the third round of combat, the chorus is recited TWICE (or some variation on this) and the song ends. Of course, it's entirely possible a song could end before this, but it would surely only be by the most nefarious deed, such as when a Musical Number is layered over combat, a risky maneuver. If this happens, just go with the final verse and announce a winner.
The winner is the person with the highest total of Awesome Points remaining and turns in which they completed a verse (and beat out the competition) and this lucky kid achieves whatever their goal was in the scene, as well as getting to spend as many of their ill-gotten Awesome Points as they like on ONE action. After that, remaining AP are reduced to their maximum, equal to the character's Soul. PC's should be rewarded with Awesome Points for clever rhymes or radical use of scenery, so everyone is all prepped and ready for the next number.Optional Rule: The Chorus
Each side gains 1 free AP at the start of every round for every Musician or Dancer they have on their side. This shouldn't always be used as some villains will use this advantage to crush the party utterly. But what can you do, huh?
|Friday, October 28th, 2016|
Not to be confused with musical combat, The Musical is an artform unto itself, a glory of form over function, a beautious pageant of raw humanity. It's time to wring out those lungs and get to rhyming.
The Musical is a trademarked Awesome System Device but it can be inserted into almost any other roleplaying game with only a little work. Awesome Point awards can be replaced with bonuses to hit, free Hit Points or M&M's.
The Musical is self-explanatory. When the characters are in need or the flow of battle has turned against them, they can flex their lungs and give forth an exaltation of life and love. The in-game effect of this is that the character begins a simple, four-line verse, relevant to the current situation. If they can make the second and fourth lines rhyme, they're rewarded an instant Awesome Point. If they fail, they lose
an Awesome Point. They may do this as many times as the GM allows.
While making a verse, a character has to be careful. While they recite lines, other players or the Gamemaster may intervene, making a silent gesture that they are going to take the next line. It may be as flamboyant or reversed as they wish. After that line, the speaker must give over the verse to the other person. The Awesome Point is awarded to whoever finishes the verse, regardless of how many times it stops. But if they can't complete the rhyme, they lose an Awesome Point, not you.
During combat, only one verse may be initiated per turn, but it can be initiated even by people without actions on that turn. The only exception to this is when a "Boss" character is present, usually the villain at the end of an adventure or campaign. Bosses are bad news.
On any turn where the Boss has an action, he is the only character who may initiate a verse. Gamemaster's may prepare difficult rhymes for him before the session, so stay on your toes or you'll find an Awesome Point-recharging powerhouse on your hands. Player Characters may only begin verses on turns where The Boss doesn't act, although they may still interrupt as normal.
I'm going to add more to this soon.
|Wednesday, September 7th, 2016|
Giant Killer (15)
David and Goliath. Jason and the Hydra. Popeye and Bluto.
Throughout history, there are numerous records of men felling incredible beasts of outrageous power and size and your character is a tough son of a bitch who’s been doing it for as long as he can remember. In his travels he’s learnt a lot of tricks for slaying these monsters, which you can now take full advantage of.
Whenever you are fighting a monster of at least one size category greater than yourself, you may attempt to find a critical weakness to take advantage of. Make an Academia: Giants check against the Giant’s Armour, with success indicating you’ve found a weak spot. Hitting this weak spot with an attack will multiply any damage that gets past the Giant’s armour by five, but most Giants are clever enough to only let you get one shot at it. And you’ll have to get to it first.
It’s easy if you’re making a Ranged Attack, simply take a –30 penalty on your attack, in addition to existing penalties for targeting a small area, and hope you hit. Success means you multiply any damage that gets past the armour by five.
If you want to attempt climbing on the Giant for a melee attack, it’s completely different. Being close up means you can find a chink in the Giant’s armour, but you’re going to have a hard time staying on when he’s doing his best to get you off. Every turn you stay on the Giant, he may spend an action to attempt to grab or damage you with an attack, opposed to your Climbing skill, success meaning you take full damage and will begin falling unless you can grab on again. Failure means the Giant not only misses you but does his weapon’s base damage to his own body.
If a character is shook off, they may attempt to grab back on in the next two turns with a difficulty 40 Climbing check, with the location they seize being up to the Gamemaster. If they fail, work out how much falling damage they would take if they fell straight down and double it.
If the character can successfully reach the weak spot, they may not only multiply the damage dealt on their next attack by five, they may also attempt to slide their weapon through the Giant’s armour plating at a –2 penalty, bypassing all armour on a successful hit.
Roll 2d6 Weak Point Location
|Sunday, November 27th, 2005|
First of all, our delightful Danica has designed what is quite possibly the GREATEST CHARACTER SHEET OF ALL TIME
and if you see her in the street you should buy her everything within sight, including the road.
The new dodge rules are good enough that I'm going to keep them. I'm going to be adding a new stat soon called Defence, which is essentially the amount required to hit someone in melee with the formula "4+(Melee Level or Melee Bonus, whichever is highest)", but the new dodge rules have got me wondering if I should change it to "4+(Dodge Level or Dodge Bonus, whichever is highest)". Using your dodge skill to determine how hard you are to hit sounds stupidly simple when I just come out and say it and characters like Amadiel and Birdy would probably be a bit more viable because of it. Not that Birdy's going to live much longer anyway. :D
EDIT: After speaking with Nathan, I've decided to keep the current system, but there's now a new Power called, uh, Zen Dodge Master, that allows you to substitute your dodge for your Melee in your Defence. I think that's a radical way to do it.
Jupitris 2 has FINALLY come to a close and I'm very happy about it. Thanks a bunch to the players.
And finally, the new Tempest rules are coming along nicely and I'm still taking suggestions for elemental themed powers. Keiro, I've been working on the Slime Tempests and Slime Powers I have so far are Mitosis, Spongy and Squishy. Spongy absorbs damage and Squishy allows you to get through tight gaps like Sammy did a million times.
That's right, I'm coming up with RULES for her crazy bullshit. You're in for a treat.
|Friday, November 18th, 2005|
And this is how I've decided to handle dodging from now on. It's a bit weaker, but more realistic.
An essential skill for surviving in a fire fight, Dodge allows your character to duck out of harm's way, often at the last possible moment. During combat, when your character has been attacked, you may elect to make a Dodge, spending a single action or Awesome Point to activate it.
When a Dodge check is made, the total is subtracted from the attacker's to hit roll, reducing bonus appropriately. If the subtracted amount reduces the attack roll below the required to hit, then the attack is a certified miss. If the attack is an area of effect, the character is allowed to move six feet in any direction. If this moves them more than halfway outside the explosion's Burst then the damage is halved. If it moves them all the way out the damage is negated.
If a character wishes to stunt on a Dodge check, it must be nominated as a Hero Skill and they must spend 2 AP as normal.
I think I made this one too long. Any thoughts?
Your character is an unliving abomination! A corpse given life, you feed upon the living and live in darkness. You feast on souls and blight the land. That's some major awesome right there and we haven't even got to the bonuses!
Since Space Rock Future is a science fiction setting, you may think it hard to work the living dead into a fairly standard game. The simple fact of the matter is that budget sci-fi is overflowing with excuses to make corpses walk, ghosts fly and vampires stalk the night. Everything from radiation to psychic emanations to mad science to the bending of the time-space continuum have all been credited as potential causes for zombification and if one of your PC's wants to try it, why not let him? After all, they get a bevy of weird abilities that really set them apart.
First of all, Undead are enormously hardy and get twice as many Hit Points as normal. Their bodies are damaged in the same way as the living, but they are almost completely unaffected by it. They also don't have Souls. That was sacrificed or lost a long time ago and now the body is a dead husk driven by either a cruel mind or basic needs and desires. In its place, Undead have Void, which has its own requirements for care and feeding. Void affords an Undead the same Awesome Pool as a living, breathing human, but they do not regain Awesome Points naturally. To get their fill, they must feed.
Whenever the Undead is running low on AP, they must find a living being and incapacitate them somehow. Killing is the method of choice. After that, the Undead must feed on the life-force of the victim, draining one level of Soul for every uninterrupted minute. For every level of Soul stolen like this, the Undead regains one Awesome Point to spend as they please. If they do not kill the victim and do not drain all their Soul, they will recover Soul at the rate of 1 level per week. If they are completely drained of Soul, they will either die from the shock or go mad shortly after. Characters with more than two levels of Soul may sometimes rise from the dead. Rock Stars always rise from the dead. It's in their nature.
However, these "free" Awesome Points come with a heavy price. The Undead body is in a constant state of decay, and one Awesome Point must be spent at the start of every week or the Undead begins to decompose, losing a number of HP equal to its Void every day, until they feed. Most Undead do this without realizing, but Undead with Brains of more than 1 can also voluntarily spend AP to recover 20 Hit Points, at any time, going so far as to regrow lost limbs or repair broken bones.
Due to this talent for regeneration, if you bring an Undead to 0 Hit Points, if it has any Awesome Points remaining, it won't die. It will fall to the ground and be unable to defend itself, but intelligent Undead will be able to spend 1 AP every minute to regain 20 HP. When they are restored to 1 or more Hit Point they are free to rise again to stalk the living. The only way to kill an Undead is to reduce it to 0 HP, then destroy its source of power, normally either the head or the heart. Some particularly old or powerful Undead even go so far as to seal their life-force away somewhere, making themselves effectively invulnerable. A successful hit to this area with a lethal weapon will deal an additional 10d6 damage to the Undead and reduce its Awesome Point total by 1 as it weakens. Once reduced to 0 Hit Points, a strong blow to the source of power will permanently slay the abomination.
|Sunday, October 16th, 2005|
|Thursday, October 6th, 2005|
|Wednesday, October 5th, 2005|
I feel like people aren't using Handling enough. I went through and increased the Handling of every weapon by 1, so now 2 is the average and Fists have a Handling of 4
. I think it's a good start, but can anyone else think of any other ways to make it more useful?
The character has, quite simply, an amorphous physiology. Most people go through life set in a form that will only grow up or down or out. A Shapeshifter can grow in all of those directions, as well as inside out and upside down.
In their most commonly used forms, Shapeshifters are often plain, uninteresting looking people. Their appearance shifts with their concentration and more complex shapes require more effort and thought, like molding a lump of clay. When a new shape is first formed it will often only have the appearance of its form, gradually filling out details over the next few weeks or months. Any form the shapeshifter takes will no doubt pass casual scrutiny, but more complicated checks will require the character to make an Art: Sculpture check opposed to the onlooker's Notice. If the character disguises themselves as a businessman they saw in a magazine, everyone will recognize them with ease, but shaping the larynx just right so as to emulate his voice or shaping the whorls of one's thumbprint to get through a security measure can take hours of careful, painstaking work.
Whenever a new form is taken, the character must make an Art: Sculpture check, compared to the table below.
3 - Copy the shape and skin tone of the target perfectly
5 - Assure that all internal organs are in the right place
8 - Emulate the original's voice perfectly
10 - Copy mannerisms of the original
20 - Create accurate clothing from scratch
30 - At this level the copy is identical to the original in every way. Only old friends or a full computer check-up could tell the difference.
The character may spend time making further checks, as many times as they like. The new check result always supplants the previous, since Sculpting's irritating like that.
If the Shapeshifter wants to make something entirely new, it's a bit more complicated. For example, if they want to make themselves a set of hooks for climbing, or fins for swimming, they may attempt a Sculpture check with a difficulty of 8, success indicating they've made something rudimentary, giving them a +5 to all skill checks, to be removed when the character chooses. Making the change takes one combat turn, doing which the character may act normally. A character may not make more changes than an amount equal to their level in Soul. A set of gills would give the character a +5 to all Toughness checks for holding their breath and swapping out their left arm for a cutlass gives them a simple +5 to damage. Where there's a will, there's a way. Additionally, if the character can succeed at a difficulty 30 check, they may spend a full five minutes on the change, increasing the bonus rises to +10, but these adjustment may not be removed for a minimum of 12 hours, as the body takes time to adjust to them.