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A Cast of Thousands

Characters are one of the most basic elements required in any story. Before the game may begin, each of the players must have a hero, and the Narrator must have at least some idea who the villains are. This chapter describes in detail how to design these characters. To begin, imagine the setting and determine who you would like to be within that genre. Now, ask yourself three questions: Who am I? Where did I come from? Where am I going? Now that you have answers to these three questions, you can begin to determine your hero's abilities. Every character is defined by their karma, physical elements, skills, and optionally disposition, passion, gifts, perks, flaws and banes. The following chapter will describe everything you need to know to design a hero. Though it is not necessary to design a hero in any particular order, this chapter is laid out in the order most heroes are designed.

Karma
Character Capsules

Disposition {1}
Passion {1}
Physical Traits

Stance
Bulk
Scale
Mass

Quirks
Trick of the Trade

The Necessary Evils
Skill Groups {1-2T}
Skill List
Skill Descriptions

Gifts
Gifts List
Gift Descriptions
Abilities, Banes and Flaws

Perks

Allies
Stronghold
Vehicles

Flaws

Flaw Descriptions

Banes

Codes and Secrets
Dependants
Enemies

Options

Option Descriptions
Props
Food, Shelter and Clothing
Money
Skill Kits
Encumbrance {3}
Armor
Weapons
Vehicles
Computers
Chemicals

Karma
Karma (k) is used to build a hero to make it what the player wants. The Narrator should allot a fixed amount of karma to each of the heroes. This value will be increased with the addition of flaws and decreased with the addition of gifts and skills to determine the hero's net karma value. When karma is either gained or lost through the course of play, it is added to or subtracted first from the hero's base and the net is then recalculated.

Base karma value for heroes is a very subjective thing, and will depend upon the Narrator's personal preferences and the kind of stories being told. If the Narrator wishes to tell stories about people who aren't particularly skilled or influential (street cops, small business owners, etc), four-hundred to five-hundred karma (400-500k) should be about the right amount. If the Narrator wishes to tell stories about characters who are competent, influential or well trained, but still very human (federal agents, maffiozis, etc), five-hundred to six-hundred karma (500-600k) should be enough. Stories about people who are special or elite (Psychics, Special Military Forces, etc) can be played with as little as six-hundred to seven-hundred karma base for heroes (600-700k). Stories involving heroes of cinematic proportion (martial arts movies, space opera, etc) may be played with seven-hundred to eight-hundred karma (700-800k), and stories involving heroes of legendary or epic proportion (high fantasy, comic-book superheroes, etc) may be played with a base of eight-hundred karma or more (800k+).

Character Capsules
While the rules for character design are very dynamic, they can at times become somewhat overwhelming. Someone who is new to the game might find the prospect of creating a new hero from scratch somewhat intimidating, as it might be quite easy to forget vital elements of a character concept when allotting karma to skills and abilities. The concept of character capsules is more a matter of organization than it is a matter of rules. Character capsules do not add any rules to the character design process, they merely use the rules which are already present in a fashion that makes creating new characters simpler.

A character capsule is a combination or collection of skills, abilities (Gifts and Perks), banes and flaws which in combination describe an element of a character's conception which can not be described by any single skill or ability alone. Some capsules are obvious and can only be applied to a given character once, such as the hero's species, or membership in an organization. Other capsules might not be so obvious, and can often be applied to a single character multiple times, such as professional capsules, supernatural abilitiese, or rank in an organization.

Though anyone may choose to create their heroes and villains from scratch (and in some unusual circumstances, this may be the only way to design a particular character), capsules help to speed the character design process, without putting any artificial limits on the character. A player may select as many capsules as they can afford with their alotted karma. Add up the level and karma value of any abilities or flaws which are common to more than one capsule, or for capsules which have been selected multiple times. The player may then cannibalize abilities or flaws gained from their capsules in the same way a player might normally select a bane for their hero.

When a character is created from scratch, multiple flaws of the same type often require the player to design the flaw as a skill group. When capsules are used, you may ignore this rule with regard to flaws which are gathered from more than one capsule. This benefit to using capsules helps to balance out the fact that multiples of a given type of ability gathered from more than one capsule will not have the normally discounted cost of skill groups. This rule makes the character design rules less bullet-proof in exchange for keeping things simple. The following paragraphs describe a few common uses for capsules. Remember that these are only examples. The Narrator may elect to create new capsules for their stories and specific capsules will be included in further source-materials produced for the game.

Races: Capsules designed to describe a dominant species typically include the average build, initiative, resolve and stamina skills, as well as any movement (climbing, leaping, running, swimming, etc) abilities or senses (listening, surveillance, etc) posessed by all members of the given species. While a race capsule may only be selected for an individual character once, remember that the capsule's skills represent an adult average, and many of them (most commonly build, initiative and senses) are often increased or decreased for an individual character. What distinguishes a race capsule from other capsules more than anything else is the inclusion of the species' stance, bulk and scale values, which also help to determine their mass. Unlike skills, abilities and flaws, a race's physical traits are usually not something which can be alterred.

Status: These capsules indicate an individual's place in the society. Status often determine's an individual's language, resources and basic transport skills. In some stories, particularly historical or fantasy stories, it may also provide an individual with sources or other skills, allies, and perhaps even a vehicle and or stronghold. p. ???: Connctions, p. ???: Language, p. ???: Resources, p. ???: Allies, p. ???: Stronghold, p. ???: Vehicle

Organizations: These capsules may represent anything from a military organization to a common street gang. Organizations include many skills and abilities which are not common to race and status capsules, although they typically include perks, sources and lore skills, and often include secondary capsules which indicate the privileges of rank.

Professions: These capsules tend to be the least structured of the capsules since they imply a much more generalized class of people. Professional capsules typically include license perks, sources, lore and profession skills, and often include appraisal and technical skills such as electronics, mechanics and sciences as well.

Disposition {1}

Disposition
DispositionKarma
Crusader+100
Hero+30
Antihero+10
RogueNil
Scoundrel-10
Villain-30
Fiend-100

"The fact that man knows right from wrong proves his intellectual superiority to other creatures; but the fact that he can do wrong proves his moral inferiority to any creature that cannot."

- Samuel Langhorne Clemens

Disposition classifies characters according to their personalities and their affiliation in the struggle between good and evil. Though disposition actually represents a slew of much more complicated codes of conduct, it may not be used in all stories or series. Disposition is intended primarily for the romantic epic, where the difference between good and evil is usually clear cut. In other stories or series where an individual's decisions and their implications are not intended to have obvious right or wrong answers, the Narrator may choose not to use the optional disposition rules which affect karma, in which case whether or not you select a disposition for your hero is more a matter of personal preference than anything else. Disposition is most often used in stories of high-fantasy, space opera or four-color comic books.

Disposition isn't a concrete description of what an individual can and can't do, rather it's a description of what an individual is most likely to do or not do. There are seven distinct dispositions in the spectrum of good and evil. What follows are general descriptions of each. Allowing the players to select scoundrels, villains and fiends to play as heroes is not recommended. This is partly to help avoid conflict between the heroes and partly to help keep the stories from falling apart completely as any individual of less than rogue disposition is likely to stab the rest of the heroes in the back often. Groups of maligned individuals are not likely to stay together long, cooperate to achieve any common objective or survive each others' backstabbing.

{1} Heroes may receive a karma bonus for the disposition the player chooses. The table on this page shows the bonus for various dispositions. These bonuses should be added to the heroes' karma base. If the Narrator allows the players to play scoundrels, villains or fiends, they should subtract the indicated penalty from their base karma value. Players are fickle, and many will choose a particular disposition (usually Crusaders) for the karma bonus and then act out of character until their disposition changes. Inevitably all of a single player's heroes usually end up with the same disposition, regardless of the disposition they began with. In Media Res discourages choosing a disposition for the bonus and then acting out of character by applying karma penalties to heroes who act out of character.

Crusaders (+100k) are paragons of virtue. A crusader will actively seek to eliminate all that is evil and will rarely if ever perform an immoral act or through inaction allow such an act to be performed. Crusaders are deeply mortified when they accidentally cause an injustice, or when one of their close friends or relatives causes or allows injustice. Crusaders have an undying respect for the sanctity of life and liberty.

"The first man to raise a fist is the man whose run out of ideas."

- H. G. Wells

Heroes (+30k) are concerned about the greater good. They are highly aware of their own limits and the limitations of others. Heroes will cut their losses when battling evil, and commit what they consider to be a lesser evil to service the greater good. Heroes hold life and liberty in high regard, although they do not necessarily respect their enemies.

"So, you're ready to take a life."

- Bruce Wayne, Batman Forever

Antiheroes (+10k) look after themselves, although they're good in a pinch. An antihero will never willingly serve evil although they will commit lesser evils for their own benefit. While they have less respect for life and liberty than heroes and crusaders, they will only perform minor injustices when unprovoked.

"Attacking that battle-station isn't my idea of courage. It's more like suicide."

- Han Solo, Star Wars: A New Hope

Rogues consider themselves first and foremost. A rogue will commit an act of good or evil intent only if they realize some immediate personal benefit from such action. The end always justifies the means for a rogue, and money and power are the driving motivations for them. Rogues respect only strong willed individuals.

"When choosing between two evils, I like to pick the one I've never tried before."

- Mae West

Scoundrels (-10k) would rather shoot first and ask questions later. A scoundrel considers himself to be the only person or thing of importance. A scoundrel will often perform acts of evil for their own benefit, yet rarely find acts of good appealing since they often require more effort and offer less immediate reward. Scoundrels have no respect for anyone save themselves.

"I've learned this much; take what you can, when you can."

- Jenner, The Secret of NIMH

Villains (-30k) serve the greater evil. A villain's driving motivation is to see injustice served to others. Villains will sometimes feign reform and even commit good deeds in order to obtain an opportunity to perform a most evil act. Villains do not necessarily hate their opponents, and often may have their own warped code of ethics and system of beliefs. Diabolic villains respect strong willed opposition and may toy with their enemies.

"Such heroic nonsense."

- Megatron, Transformers the Movie

Fiends (-100k) are the ultimate force for evil in the universe. These characters actively seek out and destroy all that is good and will never neglect an opportunity to commit an act of evil. Fiends have no friends or respect for others and see these qualities as exploitable weaknesses. Fiends take great pleasure in the pain and suffering of innocents, and many fiends make a hobby of torture, and even kill for pleasure.

"Sorry kid, I don't believe in fairy tales."

- Freddy Krueger, Nightmare On Elm Street: Dream Warriors

Passion {1}

"From his cradle to his grave, a man never does a single thing which has any first and foremost object but one -- to secure peace of mind, spiritual comfort, for himself."

- Samuel Langhorne Clemens, What is Man?

A hero's passion is a brief label which describes how the hero sees themselves, and what they strive for in their lives. Passion provides a very simple description of the hero's strongest emotions and the reasons why they make the decisions they make. Though not directly related to disposition, it gives a much more personal insight into the hero's motives.

The player may define whatever passion they like for their heroes. What follows are a few examples of passions the players might select for their heroes, as well as passions the Narrator may select for villains. When selecting a passion for a villain, the Narrator should remember that even fiends rarely if ever consider themselves evil. Typically, scoundrels and fiends don't give much credence to the whole concept of good versus evil, seeing the world as a large grey within which nothing really matters. Villains on the other hand, often have genuinely altruistic motives for their evil, such as the political leader who suffers from a delusion of prejudice and promotes the genocide of a particular class or race of people as a result of a desire to improve the quality of life (or preserve a way of life) for their people.

Anarchist: An individual with a passion for anarchy sees the universe as random and chaotic. Anarchists find no purpose in the universe or in life, they detest order and seek to eliminate it anywhere they may find it. Anarchists are typically antiheroes, rogues, scoundrels and fiends.

Artist: The artist sees themselves as something different than other people, something special, a breed apart. To the artist, life must have some deeper meaning, some sense of beauty or irony. The artist's every act, while it might be heroic or villainous, is more importantly engineered to produce some thought or emotion in those who witness it and are capable of discerning its meaning. In some sense, the artist is always trying to wake something in those around them, to teach the herding masses of people a new and deeper meaning in life, to inspire them.

Authority: The individual with a passion for authority is often born of a troubled past and seeks control of others as a means of asserting their own superiority. Most typically this is a result of an inferiority complex. Authority may be the passion of many ordinary people and is not merely limited to the leaders of countries, companies or any form of organization. This passion merely indicates that they seek the control of others, not how many people they control (or whether they truly control any at all), or how they treat those in their charge. An individual with a passion for authority may be quite kind and good to their charges, they merely seek environments and situations which would place them in a position of authority. An individual with a passion for authority need not be in a position of authority to attempt to assert their authority either.

Detective: This individual finds the greatest pleasure in solving puzzles, riddles and mysteries. The detective may either detest the unknown, or they may merely revel in the ability to shed light on that which is hidden. In any event, the unknown that a detective seeks is quite different than the unknown of an explorer or an inventor as it deals with human plots and things which have been actively hidden or disguised within the realms of our daily lives.

Explorer or Inventor: Individuals with a passion for exploration or invention have something in common. Both seek to discover or create that which no man has seen before. Exploration or invention is often born of the desire to feel that one has achieved something unique, to leave one's mark on the world, though the pure explorer does so out of sheer curiosity, and a sense of wonder for the unknown.

Free Spirit: A free spirited individual lives life for the moment. Free spirits attack life with an unmistakable joy and fervor, taking great pleasure in everything they do, and never allowing anyone else to dictate their actions either through peer pressure or force. (Note that this passion does not affect an individual's resolve skill. p. ???: Resolve) Free spirited people tend to clash quite seriously with those who have a passion for authority.

Hunger: The individual who's passion is a hunger seems incapable of satiating themselves, whether they attempt to do so with attention or fame, money, power, romance, sex, vengeance, violence or anything else. The amount they achieve doesn't matter, the hunger seems perpetually unfulfilled. An individual who feels a need for money would be just as unfulfilled as a millionaire as he would a penniless bum. Typically an individual with a hunger has at least one compulsion. p ???: Compulsion

Icon: Someone who sees themselves as an icon, whether they are famous or a complete unknown, views their every action as being exemplary of their nature. Icons are very careful to make certain that they always act in a fashion which is conducive to the image they wish others to have of them. Their all-consuming concern for the way others view them may either be for their own benefit, or for the benefit of others who might choose to follow them.

Inner Struggle: The individual with this passion is troubled by dilemmas of a moral nature. Their journey in life is one of seeking. The individual with an inner struggle travels the back-roads of their own psyche daily, taking the inner-journey to find some resolution to the questions of life. Individuals with an inner struggle are often troubled by their own actions, thoughts and even emotions.

Legacy: Much like the icon, the legacy sees their every action as being exemplary of their nature. More importantly, the legacy has a tradition to uphold -- or in some cases to overcome. The legacy may represent the individual who feels compelled to live up to their parent's or teacher's reputation or ideals, or who is appalled by their acts and seeks to make amends for their predecessors' misdeeds.

Outsider: This individual sees themselves as always on the outside looking in. The outsider lives with the desire to achieve or obtain something which they at least believe someone or everyone else around them has. This may represent the android who believes that a flesh-and-blood human existence is better, the "monster" who is feared by people and can never fit-in, the blue collar worker who dreams of being a wall-street tycoon rubbing elbows with old money, or the cab driver who feels trapped in a dead-end job and believes that other people have more respect and control over their lives.

Paragon: This individual acts out of a strong desire to uphold a particular ideal. Typically by virtue of their upbringing being unusually positive or unusually negative, the paragon has a very strong sense of what they believe is right and wrong. In any event, the paragon is motivated by a sense of responsibility either by virtue of their having power or knowledge that others don't have, the belief that no-one else will intervene, or by the mere virtue that it is what they believe is right. It is entirely possible for a paragon to be a villain, since the passion does not indicate their specific values. Perhaps even a fiend may find justice in the killing of anyone who breaks the law. The one thing an individual paragon may never be is selfish (antihero, rogue or scoundrel). The paragon always sees themselves as having a greater responsibility to their ideals.

Sinner: Always trying to live up to a particular standard and to make amends for real or imagined failings in their past, the sinner seeks forgiveness. The sinner is motivated by a desire to undo that which they have done, or to merely do better. A sinner's best is never good enough. Even a villain or a fiend may be a sinner, having once been a hero or crusader who experienced a tragic event which changed their view of the world and now believing that their former lives were naive and misguided.

Survivor: The hero sees themselves as strong and independant, with the ability to persevere through whatever life throws at them. The survivor's pride typically keeps them alone much of the time. When involved with a group, the survivor is silent if not strong. The survivor rarely if ever confides in anyone for support. Survivors are most typically antiheroes, rogues and scoundrels, though they might be heroes, crusaders or even villains as a result of a concern for the survival of others as well.

Physical Traits
The following sections describe the physical attributes of any given character. These attributes are chosen or calculated and have no direct affect on a hero's karma values.

Stance
Distance is mostly relative to the size of the characters involved. Stance is a three dimensional value which determines the minimum height, length and width of space required for the hero to exist within comfortably. For a typical humanoid character, this would be two meters tall, and one meter in both length and width (2/1/1). In the game's developmental stages, some players seemed a little confused about these measurements. We found that it helps some players to imagine the stance values as the actual dimensions of a coffin designed to hold the hero.

Bulk
A character's bulk value is the minimum volume of space required for the hero to exist within comfortably, measured in cubic meters. A hero's bulk score helps to determine their mass, as well as the kind of spaces and holes they can fit into. A hero's bulk is equal to the product of their stance dimensions. This is height times length times width in meters (bulk=HxLxW). Most characters, being human (or humanoid), have a bulk of two cubic meters (2x1x1=2m).

A hero's bulk value may be any value the player desires, which fits the hero's description. Obviously, a dwarf could not have a bulk value of five, nor could a giant have a bulk value of one. Having a large bulk value is just as debilitating as it is useful, as it makes the character just as awkward and clumsy when dealing with humans as it makes him resistant to injury, and an easy target. Having a small bulk score also has its advantages and drawbacks. Small heroes can fit into places others can't, and are harder targets to hit, however, they can't take as much physical punishment, and they can't usually run as fast or jump as high.

Scale
Scales
BulkScaleExample
1/300-5insect
1/100-4rat
1/30-3squirrel
1/10-2domestic cat
1/3-1house dog
10dwarf or wolf
31human or tiger
102horse or bear
303minivan
1004tank
3005small jet

"And what are we gonna do when we get there? That thing crunches moons, it'll make short work of us."

- Springer Transformers the Movie

Because it is sometimes possible to have two creatures of much different sizes interacting either in a fight or in other situations, scales have been added to this game. Any character with a bulk value of more than one and up to three cubic meters, (humans and other humanoids), is within scale level one (Scale=1). Each level of scale includes creatures and objects up to roughly three times the maximum bulk of the previous level. The table in the sidebar shows the scale of any object, character or creature based upon its bulk. Read down the bulk column on the left until you find a value which is equal to or greater than your character's bulk. The corresponding value in the middle column is your character's scale value, with an example of something else within the same scale category in the right-hand column.

Mass
The mass of any object or creature is approximately five times their build skill level, multiplied by their bulk in kilograms. (5x[build]x[bulk]kg) A player may choose to increase or decrease their hero's mass by up to thirty percent of this result. This is also an easy way to determine the build of common objects, by dividing their mass in kilograms by five times their bulk in cubic meters. One kilogram is approximately two and one fifth (2.2) pounds on earth (1G). Thus, a fifty-pound backpack which is one square meter in bulk has a build skill of approximately five levels (50lbs/2.2=23kg, 23/5=4.5).

{1} An individual with supernatural or superhuman strength is rarely seen as being heavier than those around them. The formula for mass for a hero with build skill in excess of fourteen levels (15+) is two times their bulk cubed times the passive resistance value of their build skill (2x[bulk3]x[Build PR]kg). Thus a normal human sized character's mass (bulk 2) would be equal to the sixteen times the passive resistance value of their build skill (bulk 2x2x2=8, 8x2=16). With fifteen levels of build this is eighty kilograms (15/3=5, 5x16=80kg/175lbs).

Quirks {1}

"I am of a constitution so general, that it consorts and sympathiseth with all things. I have no antipathy, or rather idiosyncrasy, in diet, humour, air, any thing."

- Sir Thomas Browne

A quirk is a minor mental, physical, or miscellaneous trait which does not advertently affect the hero's abilities. The purpose of quirks is to help flesh out characters and make them each a little more colorful and believable. It is suggested that three quirks be chosen for each character. Players may receive a bonus of five karma for each quirk they select, for a total of no more than fifteen. Some examples of quirks include likes and dislikes, scars, tattoos, good luck charms, unusual styles of dress, habits and mannerisms.

The narrator may determine that certain quirks will have an affect on the mechanics of the game, though care should be taken to make sure that the quirk's effects are balanced between benefit and hindrance.

EXAMPLE: Light/Heavy Sleeper {1}: An individual who is always easy to rouse from sleep will suffer from insomnia in any less than optimal sleeping conditions, though they will be grateful if they are ever attacked in their sleep. Conversely, a heavy sleeper will be able to sleep soundly under almost any conditions, though they might sleep through alarms or other important, emergent and even extreme hazards. The Narrator might allow "levels" of these quirks to indicate individuals with more extreme sleeping habbits.

Nocturnal {2}: Surveillance skill suffers penalties from excess or too little light. These penalties also apply to any skill which relies on the hero's surveillance skill as a targeting sense, including most ranged abilities with object or individual area. For the typical hero who is accustomed to sun light, the recommended difficulty penalties are +1 for firelight, +2 for moonlight, or +3 for starlight or bright light. A nocturnal hero such as a vampire is accustomed to less light than others, and will suffer no penalties in moonlight, +1 for firelight or starlight, +2 for daylight, or +5 for bright light. Since surveillance skill is the ability to sense light, it is completely useless in an environment which is entirely devoid of light. A hero may only read if they suffer less than a +2 difficulty penalty to their surveillance skill.

Trick of the Trade
All characters have skills, limited only by the amount of karma allotted to them. Unless otherwise specified in the description, all skills default to level one with no upper limit. Standard skills cost ten karma (10k) per level. If options have been applied to a skill, the cost per level will change. The skill cost table shows the karma value for most skills. To determine the karma value of a skill with options, add the sum of all options and find the resulting row along the left side of the table, then cross-reference the result with the skill's level across the top.

To determine the value of a skill with options above fifteen (+15), multiply the base value of the skill (10k per level) by one, plus one fifth of the total options. To determine the value of a skill with options below negative-fifteen (-15), divide the base value of the skill (10k per level) by one, plus one fifth of the total options. For example, a skill with total options which equal negative twenty (-20) is worth one fifth of the karma value of a standard skill (1+[20/5]=5), and a skill with total options of twenty (+20) is worth five times the karma value of a standard skill (1+[20/5]=5).

Skill Costs
Skill Level
OptionsPer2 3456 78910
-152.55710121517202225
-142.65810131618212426
-132.85811141719222528
-122.96912151820232629
-113.16912161922252831
-103.371013172023273033
-93.671114182125283236
-83.881115192327313538
-74.281217212529333742
-64.591418232732364145
-55101520253035404550
-45.5111722283339445055
-36.3121925313744505662
-27142128364350576471
-18.3172533425058667583
0102030405060708090100
+11224364860728496108120
+214284256708498112126140
+3163248648096112128144160
+41836547290108126144162180
+520406080100120140160180200
+622446688110132154176198220
+724487296120144168192216240
+8265278104130156182208234260
+9285684112140168196224252280
+10306090120150180210240270300
+11326496128160192224256288320
+123468102136170204238272306340
+133672108144180216252288324360
+143876114152190228266304342380
+154080120160200240280320360400

The Necessary Evils

"Skill comes so slow, and life so fast doth fly, We learn so little and forget so much."

- Sir John Davies

While this game is intended to be universal and allow players to design heroes however they desire, there are several skills which are almost necessary for the survival of any hero. The necessary evils typically include Build, Evasion (or Parry), fighting skills, Initiative, Language (native), Listening, Resolve, Resources, Stamina, Surveillance, Transport, and Weapons. Resolve is only necessary in worlds where mind altering abilities are prevalent. While resources are not absolutely necessary, a hero with only one level will be a very poor individual. Remember to read the description of a skill before assigning karma to it.

Skill Groups {1-2}

"Now there are diversities of gifts, but the same Spirit."

I Corinthians 12:4

Skill Groups
# SkillsModifier
2+3
3+5
4+6
5-6+7
7-8+8
9-10+9
Unlimited+10
Some skill titles cover a wide array of individual skills. These are called skill groups. When a player chooses a skill group, they may choose to either purchase one skill within the group using the normal method, or purchase two or more of them as a single skill. The karma value of skill groups are calculated with an option based on the number of skills included in the group.

The skills involved must be related in some way, i.e., for weapons, skill groups could include swords, axes, or swinging weapons which would include both swords and axes. Spears, for instance, could not be included in the swinging weapons skill group since they are thrusting weapons. Unless the skill group includes all skills in the given category, the player must define which specific skills are included before the game begins.

The Narrator may allow players to select skill groups which combine related skills which are not in the same category on the skills list. For instance, a player could choose to group fist fighting, martial arts and wrestling into a single skill group called 'fighting' with a +5 option.

EXAMPLE: Joe Gamer wants Captain Acme to know all three varieties of unarmed combat (fist fighting, martial arts and wrestling), at level three. Instead of purchasing each skill separately, he purchases one called "fighting" at level three for sixty karma (60k). If Joe had purchased each of these three skills separately, it would have cost him thirty karma each for a total of ninety karma (3x30k=90k). Joe Gamer has saved thirty karma (90-60=30k) to spend on Acme's other skills.

{2} If one or more of the skills included in a skill group have options placed on them (in addition to the skill group option), the sum of additional options to all of the skills included should be divided by the number of skills in the group and then added to the skill group option.

EXAMPLE: If a skill group includes three skills, one with no options, one with a +5 option and one with a +10 option, the total option value is +10. (5+10=15, 15/3=5, 5+5[skill group option]=+10)

Skills
  • Titles in boldface are skill-group categories. Examples of specific skills are given in the skill descriptions.
  • Titles in italics are cooperative skills.
Acting
Animal Handling
Appraisal
Build
Climbing
Computer
Connections
Contortionism
Demolitions
Disguise
Electronics
Evasion
First Aid
Fist Fighting
Forgery
Gymnastics
Hypnosis
Initiative
Interrogation
Language
Leaping
Legerdemain
Listening
Lock Picking
Lore
Lying
Martial Arts
Mechanics
Medicine
Navigation
Paramedic
Parry
Persuasion
Profession
Resolve
Resources
Running
Science
Security
Stamina
Stealth
Surgery
Surveillance
Survival
Swimming
Throwing
Tracking
Transport
Ventriloquism
Weapon
Wrestling

Gifts

"I always try to do six impossible things before breakfast."

- Lewis Carroll, Alice In Wonderland

In order to simulate a wide variety of fictional settings there must be a method of describing the unusual and often fantastic or miraculous abilities of many fictional characters. These abilities are represented by gifts. These abilities may represent the biological or physical abilities of strange creatures, magic, psychic powers, super-science, or anything else the players can imagine. Every gift must consist of both an action and an element from the lists on the following pages. While every effort has been made to provide a system of rules which will allow a player to invent any kind of special ability imaginable, some players may be ingenious enough to “stump the book”. In this case, players may choose to invent new actions or elements for their heroes in addition to those already provided. It is suggested that this be used only as a last resort if the listed abilities cannot provide a sufficient variation. The Narrator should determine exactly how each new action or element functions, using the existing actions and elements as a guide for determining their scope and effect.

When designing a hero, you will often wish to combine an action and an element which have different definitions for time, duration, range and area of effect. In this event, the less effective level is used as the ability's default value. Remember that less time is more effective. The exception to this rule is any definition which is in bold on the gifts list. A bold definition level is used as the default even if it is more effective than its counterpart.

EXAMPLE: Captain Acme is creating a flash-bomb. The device must conjure light, so Joe Gamer looks at the gifts list and sees that the time for the conjure action is rounds, and the time for the light element is actions. Normally, this would mean that the base level for the ability's time would be rounds, however, the time for light (actions) is bold, so the base time is actions. Joe looks at the table again, and sees that the duration for the conjure action is instant, while the duration for the light element is second nature. Since the duration for conjure (instant) is not in bold on the table, the duration for light (second nature) is used as the base level for the ability's duration, since it is less effective. Joe Gamer decides that this duration isn't appropriate for the device, so he reduces it to rounds with a -6 option. Again, Joe looks at the gifts list and sees that the range and area of effect for the light element are both in bold, so they are used as the base range and area of the ability.
The Narrator and the players should note that with a very few exceptions, all of the listed elements are skill groups. Thus, a hero who conjured animals would have to select the type of animals conjured. Each type of energy listed under energy in the master gift list is not a skill group, however, a player who wishes to have a hero capable of performing an action on many types of energies must define a skill group, selecting which types of energies are included. The elements for the weapon and armor actions are not listed. The elements for these actions are the types of damage or injury inflicted or resisted, i.e., blunt, edged, piercing, burn, electrical, etc. Of the remaining gifts, disposition, karma, knowledge, memories, movement, thoughts, time or age are not skill groups. Magic may or may not require a skill-group dependant upon the Narrator's discretion.

Gifts
ActionsTimeDurationRangeArea
AnimateRoundsSecond Nature3 MetersObject
ConjureRoundsInstant3 MetersObj./Ind.
  Duplicate {!}RoundsInstant3 MetersObj./Ind.
Eliminate {!}RoundsInstant3 MetersObj./Ind.
  WeaponActionsInstantTouchObj./Ind.
MovementRoundsSecond Nature3 MetersSelf
Phase {!}ActionsConstantTouchSelf
ResistActionsInstantTouchSelf
  ArmorActionsInstantTouchSelf
SenseRoundsSecond NatureTouchGlobe
Transfer {!}RoundsInstantMetersObj./Ind.
  RedirectActionsInstantTouchObj./Gift
TransformRoundsInstantMetersObj./Ind.
Transmute {!}RoundsInstantMetersObj./Ind.
ElementsTimeDurationRangeArea
AppearanceRoundsSecond NatureMetersObj./Ind.
BulkRoundsCommittedTouchGlobe
EnergyActionsInstantMetersGlobe
  ElectricityActionsInstantTouchGlobe
  Gravity {!}RoundsCommittedMetersGlobe
  Heat and FlameActionsInstantMetersGlobe
  LightActionsSecond Nature3 MetersGlobe
  MagnetismActionsSecond NatureMetersGlobe
  SoundActionsSecond Nature3 MetersGlobe
Characters {!}RoundsConstantTouchGlobe
  Banes & FlawsRoundsConstantTouchGlobe
  GiftsRoundsConstantTouchGlobe
Life {!}MinutesInstantTouchGlobe
  AnimalsRoundsInstantMetersGlobe
  InjuriesHoursInstantTouchGlobe
  PlantsRoundsInstant3 MetersGlobe
MagicRoundsInstant3 MetersGlobe
MineralRoundsInstantMetersGlobe
  GasActionsInstant3 MetersIrregular Volume
  LiquidActionsInstantMetersIrregular Volume
  SolidActionsInstantMetersGlobe
ObjectsActionsInstantTouchGlobe
  DamageHoursInstantTouchObject
PsychicRoundsInstantMetersIndividual
  DispositionRoundsSecond NatureMetersGlobe
  EmotionsRoundsInstantMetersGlobe
  MemoriesRoundsInstant / Min'sMeters / DaysIndividual
  PainRoundsSecond NatureMetersGlobe
  PerceptionRoundsSecond NatureMetersIndividual
  Skills {!}RoundsConstantTouchIndividual
  SleepRoundsMinutesMetersIndividual
  ThoughtsRoundsInstantMetersIndividual
SocialRangeInstant300 MetersGlobe
  InformationRangeInstant300 MetersGlobe
  LawsRangeInstant300 MetersGlobe
Time/Age {!}RoundsInstantTouch / RoundsSelf
WeatherMinutesInstant300 MetersGlobe

Abilities, Banes and Flaws
Skills, gifts, banes and flaws can all be conjured, duplicated, eliminated or transferred. These abilities have subtle and important differences, which are discussed in the following paragraphs.

Conjure vs. Eliminate: When a conjure gift is defined, each specific ability, bane or flaw requires a separate skill. Thus a hero could conjure fighting skills (fist fighting, martial arts and wrestling) with a +5 skill-group option for this ability. A conjure ability which will only improve the existing abilities of a subject need only be defined as broadly as an eliminate gift. Gifts which eliminate abilities or flaws have a more versatile effect. An eliminate-skills gift must be defined to eliminate a group of skills with a common theme (fighting skills, weapon skills, etc), while an eliminate gifts ability need only be defined to eliminate a particular type of gift (magical, psychic, etc) or any gift with a common element (fire, memories, etc). Build, initiative, stamina, surveillance and listening require a separate ability and can not be lumped into a "senses" or other group to bypass the skill-group option. An eliminate banes and flaws ability will eliminate any bane or flaw of a given type (physical, social, etc) with a single skill.

{1!!} With a +10 option, a hero may conjure or eliminate all skills of a particular type (physical, social, etc), or all skills with a +15 option. {2!!} With a +10 option, a hero may conjure any gift of a particular type (magic, psychic, etc) with a common element (fire, stone, etc). With a +15 option, they need not share a common element. {1!!} It is assumed that the hero must select which specific ability, bane or flaw is to be effected each time the ability is used. With an additional +5 option, the hero may affect all abilities or flaws within the group simultaneously.

EXAMPLE: The Manavore has an ability which allows it to eliminate all magical gifts. This ability is purchased with a +10 option to affect all gifts simultaneously. Thus, when the creature uses this ability on a wizard, all of the target's magical gifts are reduced by two levels per net success of the skill roll.

The effect of gifts which conjure are measured in karma value, while the effect of gifts which eliminate are measured in skill levels. The total effect is equivalent of twenty karma or two levels per net success of the skill roll, with difficulty based on range or resistance (whichever is greatest). Since banes have no levels, the effect of eliminating banes is measured in karma value. {1} The amount of effect may be doubled with a +5 option, or halved with a -5 option.

EXAMPLE: Enlightener has an ability which allows him to conjure several sense gifts in a target individual. The player must select which gift is conjured each time the conjure gift is used. One of the sense gifts Enlightener can conjure has a +5 option, which indicates that it costs twenty karma per level instead of the normal ten. Enlightener conjures only one level of this sense per net success of his conjure-gift skill roll instead of the normal two levels.

Duplicate and Transfer: The abilities to duplicate or transfer abilities, banes or flaws are broadly defined as are eliminate abilities, however, the direction of the duplication or transfer must also be defined. The effect of an ability to duplicate or transfer another individual's abilities to self is measured in skill levels. The the effects of an ability to duplicate one's own abilities in another target individual is measured in karma value. Each direction of transfer or duplication requires a separate ability. The scope and effect of a duplicate or transfer ability may be improved with the same options as per an eliminate ability.

EXAMPLE: Task Master has a duplicate-skills skill group which includes fighting skills (fist fighting, martial arts, wrestling, parry and evasion), initiative and melee weapon skills. This ability has a +5 skill group option, and a +5 option to affect all skills within the group simultaneously. During a fight scene, Task Master may attempt to duplicate the skills of any target with range difficulty. For each net success, he duplicates two levels of each skill possessed by the target. This may increase his fighting skills, initiative and weapons skills, as well as temporarily providing him with new weapon skills all simultaneously.

Duplicate: The target's abilities will not be improved beyond those of the source of the duplication, although duplication abilities are only resisted if banes and flaws are duplicated from self to a target individual.

Transfer: Transfer abilities can be thought of most accurately as abilities which eliminate an ability from one individual and then simultaneously conjure the same ability in another. Unlike duplication, the maximum by which a target's abilities may be improved with a transferred ability is equal to the sum of both abilities, and any transfer may be resisted by either or both the source and target of the transfer.

Perks
Similar to gifts, perks are things which exist outside the hero and which the hero may rely upon. A hero has less control over their perks than they do over their other abilities, since they exist outside the hero. Perks are often granted to a hero through social events, although it is entirely possible for them to be given to the hero by another individual or organization, stolen by the hero, or the hero may come by them in any of a number of other ways.

General perks may include certifications, licenses, rank and privileges not given to other citizens of the given society, and props which may not fit neatly into the framework of skills and gifts used to create other props. Typical perks include a private investigator's licenses (5k), a cellular phone (20k), a gun (or other controlled substance) license (10k), a license to carry a concealed firearm (15k), an international conceal-and-carry firearm license (20k), extradition and overseas investigation rights (15k), government security clearance (10k-30k for varying levels of security), etc. Some licenses and certifications may be assumed as a part of a given skill, such as surgery and medicine skill which assume the hero is licensed to practice their given form of medicine in their area. This does not preclude the hero from the possibility of being arrested, sued or otherwise punished for malpractice, it merely allows them the ability to practice without being harassed by the government as long as nothing serious happens. Apply a -3 option to any skill purchased without the appropriate license.

The Narrator must determine the cost and effect of any perks the players may wish their heroes to have.

Allies
An ally can be anything from a favored acquaintance to a partner, patron, hireling, follower or someone who hero-worships you. All allies are played by the Narrator as supporting roles to the heroes or the villains. Allies may have allies, representing the chain of command present in any military or paramilitary organization. Allies may also include pets and mounts, who are usually more loyal than others.

An ally who is rarely available will be available only once in every several stories, and only when the hero seeks them out. An ally who is often available will be easy to find and will help the hero in every story if possible. An ally who is always available is at the hero's beck and call, and only leaves the hero's vicinity when asked or ordered to.

Allies
Availability
DedicationRarelyOftenAlways
Undedicated30010030
Dedicated1003010
Devoted30103
An ally who is undedicated will favor the hero over others, and will help the hero as long as it is safe and convenient for them, and doesn't conflict with any of their own ideals. A dedicated ally will help the hero even in situations which are inconvenient and to some extent unsafe for themselves, although they will not put aside their own beliefs for the hero. A devoted ally will aid the hero almost without question, even against their better judgment in some cases. A devoted ally will reevaluate their own beliefs when they conflict with those of the hero, and unless they are so struggling, they will risk their own life for the hero if necessary.

To determine how much karma the player must spend for a given ally, first divide the base karma value of the ally by the value given on the ally table for their availability and dedication. If the hero has multiples of such an ally, each ally of kind costs the same amount. Alternately, the base karma value of an ally or allies may be determined by the amount of karma you wish to spend: multiply the karma spent for each ally by the value given on the table on this page for availability and dedication.

An ally may be of any disposition, though they do not receive the karma bonus (or penalty) that heroes receive. Most allies will have the same disposition as the hero, however, no additional bonus is received for an ally of a different disposition. An ally of much different disposition than the hero, however, is not likely to be very dedicated to them.

Stronghold
A stronghold provides a character with a defensible edifice appropriate to the character's society, and social status. When designing a stronghold, the player must first determine the bulk of the stronghold, it's scale and the strength of its walls (build skill). The player may then allot the stronghold weapons, armor, and various other gifts, skills and or flaws (though the Narrator must approve of any abilities and or flaws the stronghold is given).

The cost of a stronghold is determined in the same manner as any prop. The typical stronghold is immobile, and requires guards to defend it. The larger the stronghold, the more guards are necessary. If given movement abilities, a stronghold may be mobilized, however, one or more crew members are still necessary to operate the mobilization.

If a stronghold is intelligent (by means of magic or technology), its karma value is determined as an ally instead of a prop. In this case, no guards are necessary as the stronghold may operate all of its weapons automatically, and if the stronghold is mobile, it may move itself without requiring crew to operate it. The hero may control the animate stronghold by any of the methods for an animation gift.

Vehicles
Vehicles are designed as props. Most vehicles contain passenger cabins and cargo bays. A player may define a vehicle's passenger and cargo space as any bulk value less than bulk of the entire vehicle. Most vehicles also have armor which is allotted different levels of skill on each side, front, rear, canopy and undercarriage.

A vehicle with a computer may have skills, and if given independent intelligence, may be created using the rules for allies instead of props. Without a computer, a vehicle is incapable of moving or using any of its weapons and abilities (with some exceptions such as armor) without a pilot, and or other crew. The hero may control an animate vehicle by any of the methods for an animation gift.

Fuel Range {2}: The designer of a vehicle may elect to apply the costly option to any and all of a vehicle's movement abilities by applying a fuel range. The fuel range is the maximum distance the vehicle may travel before refuelling, and is assumed to be equivalent of the vehicle's fastest movement ability, with six additional levels of range (roughly 1000x the vehicle's movement per round, so a vehicle that moves ninety meters per round (30mph / 48kph) has a base fuel range of (90m x1000 = 90,000m = 90km) ninety kilometers or fifty-six miles). For each additional level of fuel range, reduce the costly option by one level on the costly table. For each level by which the fuel range is reduced, increase the costly option value by one level on the costly table.

Flaws
Flaws allow players to choose limitations and disadvantages for their heroes to increase their available karma. The descriptions of flaws include the type, difficulty, time, duration, range and area of effect parameters common to skills and gifts as well. While the effects may differ, the same tables are used. As a rule of thumb, any modification to these parameters that would cost extra karma for a gift will also increase the karma value of a flaw. The description of each individual flaw should be consulted for discrepancies.

Flaw Options
InfrequentFrequentPerpetual
Nuisance-10-50
Harmful-30+3
Lethal0+5+10
{1} Unlike skills and gifts, players have a tendency to forget about their heroes' flaws. For this and other reasons, the Narrator should keep track of the players' flaws. In addition to the normal time, range, duration and area of effect by which a character's abilities are defined, flaws are defined by their frequency and severity of effect. Frequency determines how often the character is affected by the flaw, while severity determines how much the character is hindered by it.

Flaws
Allergy
Compulsion
Conspicuous
Delusions
Dependancy
Gift
Phobia
Prejudice
Reputation
Stigma
Vulnerability
A standard flaw is considered to be frequent and harmful. If a flaw is not frequent, and or harmful, it will have options. The flaws options table shows the option values for flaws. The Narrator may always choose to disallow these options on any or all flaws.

Frequency is defined as infrequent, frequent or perpetual. An infrequent flaw affects the character only once in several stories. A frequent flaw affects the character once in most stories. A perpetual flaw affects the character multiple times in most stories.

Severity is defined as nuisance, harmful or lethal. A nuisance flaw is only capable of hindering the character's efforts toward the goal of a story. A harmful flaw has the potential to cause physical harm or a loss of karma to the character. A lethal flaw is one that may cause the character to wind up dead in an alley somewhere.

Banes
Banes
Blind+300k
Deaf+200k
No Hands+200k
One Hand+100k
Unusual Grip+50k
Like flaws, banes provide a player with extra karma to spend on their abilities. Unlike flaws, banes do not have skill levels, nor are the frequency and severity options of flaws attached to them. Banes include dependants, enemies, and all the various things that a normal human can do for themselves, but can be stripped from an individual while still alive, like the ability to see or hear, or the ability to speak.

Codes and Secrets
Codes and secrets impose a penalty upon the hero when a given circumstance arises. This penalty (measured by karma value) may be a loss of perks and abilities (possibly even props), or new banes and or flaws. For a code of conduct, this is either when the hero breaks the code, or when others are made aware that the code has been broken. For a secret, this is when a particular individual or group of individuals learn the secret, and or when the secret becomes public knowledge.

The frequency of a code or secret depends upon either how frequently the code interferes with the hero's plans or desires, or how difficult the secret is to keep. An infrequent code or secret will interfere only once in several adventures, such as an event which occurred in the hero's distant past and has not troubled them since, or always being polite. A frequent code or secret will trouble the hero in every story, such as continually taking bribes, or a vow of poverty which prevents you from accepting charity or payment. A perpetual code or secret will trouble you multiple times in each story, such as a double-life or a code which prevents the hero from bathing.

The severity of a secret depends upon the severity of the secret's effects if it is discovered. The severity of a code of conduct depends upon either the severity of the code's requirements, or the severity of the attonement for infractions against the code, whichever is least severe. Thus if following the code is lethal in many cases, yet attonement for breaking the code requires only potentially harmful acts, the code is only harmful.

Codes and Secrets
Severity
FrequencyNuisanceHarmfulLethal
Infrequent1/101/31
Frequent1/313
Perpetual1310
To determine the karma value of a code or secret, multiply the karma value of the penalty by the value shown for its frequency and severity on the codes and secrets table. Conversely, you may choose to divide the amount of karma gained from the code or secret by this value to determine the karma value of its penalty. The exact nature of the penalty (abilities lost, and or flaws and banes gained), must be decided upon at the time the code or secret is designed. Note that a code which is an infrequent nuissance requires a significant penalty to be considered a viable bane to the hero.

The frequency of a code which is socially enforced by the hero's friends, family or superiors (but not applicable to the public at large) is treated in the same fashion as a secret with regards to frequency. The frequency of such a code may only be perpetual if the circumstance almost never arises outside the prying eyes of those responsible for the hero's propriety.

The penalty imposed by the breaking of a code or the discovery of a secret is assumed to be a temporary setback. A superhero who loses their secret identity, for instance, may dissappear for a while whilst they find a new secret identity. A priest who loses favor with their church or deity may repent of their sins. What is involved in recovering from a discovered secret or a broken code depends upon the individual, the code and the circumstances involved. As a rule of thumb, the hero must suffer the penalty for a minimum of one complete story. The Narrator may or may not require the player to roleplay their way out of the penalty.

Cleansing (acts required to end the penalty) which requires only time and some extra effort is a nuissance, and results in the penalty being present for a period of months equal to the karma value of the broken code (the Narrator may allow the penalty to leave gradually, or to be suddenly lifted at the end of the time). Cleansing which requires potentially harmful acts (attempting to intimidate someone out of blackmailing you), or potentially lethal acts (fighting a wild animal, killing witnesses, etc.) may be resolved quickly (if dangerously), although the penalty will remain regardless of time, until measures are taken to correct the situation. Multiply the karma value of a code or secret for which the penalties can not be cleansed (Yakuza mutilation for instance creates permanent conspicuous and stigma flaws) by ten.

Dependants
Dependants
EndangeredKarma
Infrequently10(b/db)
Frequently30(b/db)
Perpetually100(b/db)
Dependants represent family or friends who rely on the hero for their continued survival. Dependants are often taken as hostages or otherwise endangered by the villains, and the hero is obligated to protect them in any way they can. The karma value of each dependant is equal to the hero's base karma value divided by the dependant's base karma value, multiplied by ten if they are infrequently endangered, thirty if frequently endangered, or one-hundred if perpetually endangered. Thus a crippled dependent is worth more than a healthy one.

NOTE: Some players may see dependents as a good way to take the allies gift and receive karma for it, rather than spending karma. For this reason, the rule regarding persuasion of heroes also applies to persuasion of dependants. Any attempt to persuade a dependant will fail by default. The Narrator should make certain that a perpetual dependant is always getting into trouble, running around, talking loudly, pushing buttons, opening doors, and helping the hero find things they don't want to find.

Enemies
Enemies
Severity
FrequencyNuisanceHarmfulLethal
Infrequent30010030
Frequent1003010
Perpetual30103
An enemy is a villain who feels he has been wronged by the hero in the past and holds a grudge against them. The player should determine who his enemy is, what circumstances under which they became an enemy and what that enemy wishes to do to the character to exact his revenge.

Enemies are calculated in much the same way allies are. To determine the karma value of an enemy, divide the enemy's base karma value by the value given on this table for the frequency of their appearance and the severity of their intentions. Alternately you may choose to multiply the amount of karma placed in the enemy bane by the value on this table to determine the enemy's karma value. An enemy is a nuisance if they only wish to destroy the hero socially, hinder and annoy them or steal something of great worth from them. If they wish to physically cripple or imprison the hero, they are considered harmful. If they wish to kill the hero, they are lethal. The Narrator must determine the villain's exact abilities, using the normal rules for character design, and let the hero know only what they should about them.

While an frequent flaw will affect the hero once in every story, and a perpetual flaw will affect them multiple times in a single story, an enemy will not cause the hero grief as often. A perpetual enemy will affect the hero in most adventures. A frequent enemy will affect the hero once in every several adventures, and an infrequent enemy will affect the hero only once in a great while. Given the karma values of various enemies, a perpetually lethal enemy will be worth quite a few points, even if they are less powerful than the hero, since they have become so obsessed with revenge that they will plot to kill the hero in every story. On the other hand, it might take a creature of cosmic power or deity status (a genie, or the Norse god Loki) to get even a few points out of an enemy who is infrequently lethal.

The Narrator should remember that an enemy doesn't need to physically or personally accost the hero in order to affect them, and the hero may not even be aware of the enemy's effect (either that such events are the result of intentional efforts, or that the enemy is responsible) until long after the effects have passed. An enemy might send their own allies to do their dirty work, or they might use their connections to make the hero's life miserable. Even if the enemy has no allies or connections, they might still persuade or hire people to do things for them. Many enemies will actively attempt to discover any secrets the hero may have.

Options
While it is possible to design a significant variety of heroes with a significant variety of abilities with the standard skills, gifts and flaws alone, it is not likely that you will be able to describe every character in any genre without some use of options. Options greatly increase the variety of heroes, villains, extras and abilities which can be described in the In Media Res game system. Any number of options may be applied to any skill, gift or flaw. To determine the karma value of an ability or flaw with options, first add up the sum total of all options. The result is the row used to determine a skill's karma value on the skill value table. This electronic version of In Media Res does not include the entire list of options from the book, although, the most common and pertinent options have been listed here.

Options
Area of Effect+/-3 per levelDuration+/-3 per level
Contagious {2!}+3/+5Abort {1}+1 per time level
Limited Area {1}-3/-5/-10/-15Continuous {2-3!T}Table
Minimum Area {1}-2 per levelMinimum Duration {1}-2 per level
Range+/-3 per levelTime+/-3 per level
Minimum Range {1}-2 per levelDelay {1-2}+1/+2 per time level
MiscellaneousOption ValueMiscellaneousOption Value
Acceleration
  /Deceleration
{2T}
-3/-5/-10Modular {2-3T}Table
Added Requirements {1T}VariablePhased {2!}+1/+3/+5 per level
All or Nothing {1}-3Prop {2-3T}Table
Cooperative {2T}TableRemote {1!}+15/+20
Costly {2T}TableResistant {2}+1/+3/+5 per level
Immolate {1}-5/-10/-15/-20Trigger {1-2}-3/-5/-5
Karma Fueled {1}-kUnconscious {1}-5
Limited Uses {2-3T}TableUnreliable {2}See Description
Linked {1-3T}TableVariable Options {3!}See Description

Props
While In Media Res emphasizes the hero and their innate abilities rather than their possessions, equipment is a necessary part of the game. There is no other way any character could reasonably perform some of their skills.

Food, Shelter and Clothing
All heroes are assumed to have the three basic needs of food, shelter and clothing. These provisions are appropriate to the hero’s world and resources skill level. A hero’s shelter does not necessarily belong to them and is not innately defensible. Clothing as well does not imply armor, which must be selected and bought along with weapons and other miscellaneous equipment.

Money
Money
ResourcesCash
1$30
2$100
3$300
4$1,000
5$3,000
6$10,000
7$30,000
8$100,000
9$300,000
10$1,000,000
11$3,000,000
12$10,000,000
13$30,000,000
14$100,000,000
15$300,000,000
When a hero is first designed, their initial equipment must be bought. To buy this equipment, the player must determine the amount of assets their hero may have accumulated. The money table shows an individual's monthly allotment of spending cash. Before play begins, the hero is assumed to have accumulated some savings and assets. Move one row down on this table from the hero's resources skill level to determine their beginning cash. This will allow them to purchase armor, weapons or anything else they may find useful. Subtract the cost of each item the hero has purchased from their cash until all equipment has been purchased. Any cash remaining may be kept and used during the game.

The cost of any item is equal to its mass in kilograms, multiplied by the net karma value of any abilities it provides, including prop options. The Narrator may choose to modify the cost of various items dependant upon the technology (skill, labor and materials required for manufacturing) as well as supply and demand for the given item. {1} The Narrator may disallow certain items to be purchased with cash, requiring them to be purchased with the hero's karma, such as priceless relics, one of a kind prototype technology, etc.

{1} The Narrator may choose to have the heroes' cash fluctuate, much as it does in real life. In this case, to determine the hero's starting cash value, roll two dice as a normal skill roll and add the result to the hero's resources skill level on the table. To determine the hero's monthly spending cash, make a resources skill roll, adding one to the result for each victory die rolled, or subtracting one for each fumble. Add the passive resistance value of the hero's resources skill and compare the result to the table.

Skill Kits
Most props are skill kits of one kind or another. A skill kit is a prop which helps an individual perform feats of a particular skill. The bulk and weight of this prop as well as its expense depends upon the skill. A set of lock picks is always small and usually inexpensive, while a mechanical toolkit may be quite large and expensive. Some skill kits may also decrease the amount of time necessary to perform certain uses of skills.

Some skills require a kit of some sort for simple, basic use of the skill. These skills include mechanics, electronics and the like. If a hero attempts one of these skills without the proper tools, or with improvised tools, they suffer a penalty to the skill’s use.

A skill kit adds to a hero's skill level temporarily. If the kit is lost, the bonus is also lost. Many kits, such as first-aid and other medical kits, consist of consumable supplies. These kits also carry the limited uses option, although this option may or may not be applied only to a portion of the kit's skill bonus, representing a kit with both consumed and reusable supplies.

NOTE: while climbing gear is very helpful on the side of a mountain, it does very little under water (aside from drag you down). While flippers and an air-tank are vital to a diver, you wouldn’t dare attempt to scale Mt. Everest in them! All movement skill kits suffer this flaw. A movement skill kit will add its bonus to the intended skill, and has no consumable supplies to speak of (an air tank isn’t part of a swimming skill kit). Only one movement skill kit may be worn at a time, however, and attempting any other type of movement while wearing one is accomplished as if maintaining a skill of committed duration.

The Narrator must determine what skill kits are available in various worlds. Obviously, an astronavigation skill kit is quite useless in a medieval society, as well as nonexistent (at least we hope). Under most circumstances, simple common sense should apply, and the players will not have to ask the Narrator whether or not a skill kit is available to them.

Encumbrance
The one disadvantage to having a lot of equipment is that it tends to weigh you down, restricting your movement. Encumbrance penalties also apply to gymnastics, martial arts, wrestling and any other skills which require gross body movement. If a form of movement has a minimum range (such as many forms of flight), and the penalty reduces the skill below its minimum range, the given form of movement will also be unusable. Even if the encumbrance rules aren't used on a regular basis, they may become handy when one of the heroes is trying to carry an unconscious comrade during a chase scene, or when a flying hero picks up an extra or villain and needs to know how much drag the extra weight creates.

Payload
Build SkillMax Payload
1-23x
3-55x
6-88x
9-1110x
12-1420x
1530x
An individual's maximum payload (the sum total mass of everything they are lifting) is dependant upon their bulk and build. To determine an individual's maximum payload, multiply the value shown on the payload table for their build skill by their bulk and build. For example, a human (bulk 2) with seven levels of build weighs seventy kilograms (7x5x2= 70kg) and can lift a maximum of one-hundred and twelve kilograms (7x8x2= 112kg/245lbs). For a character or creature with build skill in excess of fifteen levels, the formula for maximu payload is build level squared times bulk squared ([Build2] x[Bulk2]).

Enhanced Strength {2}: Characters or creatures of supernatural or superhuman strength may be created by applying an option to their build skill. Each +1 option will increase their maximum payload by roughly three fold, so a +2 option will give them 10x maximum payload, or 30x maximum with a +3 option, 100x with +4 and so on. Increasing a hero's maximum payload in this fashion doesn't increase the individual's mass, or any of the other benefits of increased build skill, such as resistance to injury or the ability to inflict injury with ones hands. Although this is typicaly seen as a superhero genre ability, there are many cases of characters from science fiction and fantasy with similarly disproportionate strength, the most prominent among them being Hercules. In any event a player should seek the Narrator's approval before designing a hero with this option.

There are four levels of encumbrance, including free movement, restricted movement, slow movement and immobilized. Each level is based on a fraction of the individual's maximum payload. Round in favor of the character when determining encumbrance.

The Narrator should also note that build skill is cooperative with regards to encumbrance in excess of free movement. If two or more individuals are attempting to lift, push, carry or otherwise move a very heavy object, add the sum total of all characters' maximum payload to determine the results.

EXAMPLE: If three men have maximum payloads of ninety-eight kilograms, one-hundred and twelve kilograms, and one-hundred and twenty-five kilograms respectively, their combined maximum payload is three-hundred and thirty-five kilograms (98 +112 +125 =335kg/737lbs). They will be able to restricted move with up to one-hundred and twelve kilograms (335/3 =112kg/246lbs), or slow move with up to two-hundred and twenty-five kilograms (225kg/495lbs).

Free Movement (Up to 1/10 Max Payload): The hero suffers no penalties to movement or other skills. As far as the hero is concerned, anything they are carrying might as well be summer clothing. Following our example, an individual who could lift a maximum of one-hundred and twelve kilograms (112kg/246lbs), would be unhindered by as much as twelve kilograms (12kg/26lbs). For a real world example, I could carry my three year old daughter and move freely, although she usually resists, which causes other problems (wrestling with committed duration).

Restricted Movement (Up to 1/3 Max Payload): The hero is carrying enough weight to wear them out over a prolonged period of time, but they should be able to hike with it. At this point, the hero's build skill is being maintained with committed duration. Following our example, an individual who could lift a maximum of one-hundred and twelve kilograms (112kg/246lbs), could carry up to thirty-eight kilograms (38kg/83lbs) with committed duration. For a real world example, a loaded pack is usually in the range that would cause restricted movement (though individuals who carry packs on a regular basis can usually carry more overall weight).

Slow Movement (Up to 2/3 Max Payload): The hero is carrying enough weight to wear them out quickly. This much weight can be carried, but not for long. The hero suffers one level of fatigue after carrying this weight for a number of minutes equal to their stamina skill level. Fumble dice rolled for any skill may indicate that the hero drops their load and possibly loses their balance and falls to the ground. At this point, the hero's build skill is being maintained with total commitment duration. Following our example, a hero who could lift a maximum of one-hundred and twelve kilograms (112kg/246lbs) could carry up to seventy-five kilograms (75kg/165lbs) with total commitment duration. For a real world example, a man usually moves pretty slowly carrying their spouse over the threshold, or carrying any other full-grown human.

Immobilized (Up to Max Payload): This amount of weight pushes the hero's strength to its limits. An immobilized character can lift up to their maximum payload, though can't move with it, and they sustain one level of fatigue after a number of rounds equal to their stamina skill level. The hero might be able to push or drag an object of up to their maximum payload as much as a few feet per round (no more than one pace) with leverage and or significant effort. At this point, the hero's build skill is being maintained with total commitment duration, and all physical skills (movement, gymnastics, etc) are reduced to zero. This kind of weight is usually only dealt with when trying to move objects which have fallen in the heroes' path or on top of people.

Armor
Armor, while typically not readily available or effective in modern day, is quite common and indeed almost necessary for the survival of characters in most roleplaying games. In game terms armor is typically a prop with an armor gift which protects against blunt, piercing or cutting weapons. Some forms of armor may be defined as skill groups, or in some rare circumstances may protect against unusual types of damage or injury, such as lasers, microwaves, sonic attacks, etc. Many suits of armor require an increased amount of time to use, which indicates the amount of time required to put the suit on or remove it.

Shields
Shields are used to block incoming attacks, and designed as such, add a bonus to the wielder’s parry skill when they are used. The drawback to a shield is that it will not add to the effectiveness of a suit of armor. A shield is a parry skill kit.

Weapons
Weapons are designed and purchased as props which perform the function of the weapon gift. Many melee weapons (touch range) may be thrown with a separate throwing skill. Most ranged weapons have limited uses and are costly.

Special Ammunition: Many firearms and other ranged weapons use ammunition. Various types of special ammunition may be available, although they need not be included in the design of the weapon itself. To represent this, each of these weapons has limited uses, and is costly. To purchase special ammunition, merely recalculate the monetary cost of the ammunition by applying the options for the special ammunition to the monetary cost of the standard ammunition.

Vehicles
These props can become quite important in any modern or post-modern game. In many such games, a hero is simply stranded without one. Purchasing a vehicle with cash, however, may be quite expensive, so players may consider pooling their resources, or using karma to purchase vehicles.

Primarily, a vehicle is a large prop with one or more movement abilities. These movement abilities cover more ground than the hero's partly due to the vehicle's increased scale, although most vehicles' movement abilities have increased range as well. Most often a vehicle's movement skills include the acceleration and deceleration options.

While the area of the vehicle's movement abilities need not exceed self, the rules for encumbrance apply to the vehicle, which means that small vehicles will be able to carry very little, and what they do carry will affect their speed. How much the vehicle can carry in terms of sheer volume depends entirely upon the design of the vehicle. Some vehicles may be very large and be capable of carrying very little cargo (such as a tank or armored car) while other vehicles may be very small in comparison to the volume they can haul (such as a freight truck).

Although not legal in most places, there are some genres which allow the heroes to purchase vehicles with weapons mounted on them. These weapons are also a part of the prop, and may be scaled for use against other vehicles, or as antipersonnel weapons to be used against individuals.

Computers
A computer is a prop with various skills and abilities. Typically a computer's abilities are modular, allowing the computer to use several of its abilities simultaneously, but not all of them. Some computers may have their own initiative skill, allowing them to accomplish certain tasks with actions time while the hero does other things. Remember that maintaining abilities of less than instant duration will reduce the computer's initiative skill along with all its other abilities.

An artificial intelligence may be designed as an ally instead of a prop. This ally would have all the abilities of a normal computer, although it would have some ability to think and act for itself. Of course, an artificially intelligent computer typically won't have any means of locomotion or manipulatory appendages. See Banes

Chemicals
Drugs of all varieties are common in any society. Since the dawn of man, alcohol, hallucinogenic narcotics and poisons have been inhaled, injested, injected and generally used and abused by societies of all kinds. As a society’s technology develops, their use of chemicals increases in variety and potency as these chemicals are processed and concentrated.

All chemicals are props with the limited uses option. Chemicals which perform multiple functions have linked skill groups. If one of the drug's abilities are used, they must all be used. These abilities are timed duration, usually continuous, and most have a somewhat random delay time. Difficulty for these abilities is mass, with stamina skill used as passive resistance. If a character has a resistance to the particular chemical, their resistance gift is automatically used as active resistance.

Some drugs may be colorless, odorless, and or tasteless. These drugs are treated as being resistant or phased to one or more senses. Lacing food, drink, cigarettes, makeup and other such items that the victim will come in contact with will greatly reduce the chances of the victim noticing the drug and does not affect it's karma value or cost.

An overkill on a chemical's ability skill rolls indicates a drug overdose, which could be deadly. If the hero is subject to the effects of multiple chemicals, fumble dice will indicate bad reactions to the combination. Victory dice will indicate unusually favorable synergy between the drugs.

Drug addiction may be used as a plot device, however, due to the game’s focus there are no rules for this very real danger of their use. A drug addiction may be used as a substitute for karma loss if the player so chooses. Heroes who use drugs often will most likely find themselves performing other acts which merit these penalties.

Injection: A hypodermic needle, and a snake’s fangs both administer chemicals through an injection. When this is done to a voluntary subject, or a subject who is bound, held, incapacitated or asleep, the dosage of the drug administered is at the discretion of the individual administering it. When this is done in combat, a normal attack must be made. Injection is a -3 added requirement option.

Injested: Chemicals may also be injested, usually with a greater delay time than for the effects of injected chemicals. Since a drug can not be forced into a person during a fight if it must be injested, this is a -5 added requirement option.

Inhaled: Inhaled chemicals must be administered directly to an individual (such as chloroform, having a -3 added requirement option), or spread in an area. If an inhaled chemical is used to affect an area, it has an irregular volume area of effect, however, a -3 option is added to the value of this area since the hero can not control how the gas is distributed. Instead, the hero must rely on the circulation of air in the area to distribute the gas properly. This may be a tricky thing, especially outside.

Acids are the most virulent and dangerous form of chemicals in existence. Acids are weapons which will not affect glass (-3 option). Unlike other chemicals, an acid is not passively resisted by the subject's stamina skill. The effects of acids may be countered with base substances such as water or dirt, consuming both compounds. The resulting mixture is not usually dangerous.

Alcohol is by far the most common drug. Alcohol has a relaxing affect on the body as well as the brain. Alcohol has an eliminate-skills ability which will eliminate all of the subject's conscious skills and abilities which require coordination simultaneously. If an individual loses consciousness from too much alcohol, it is likely they may wake up the next morning and still have some fatigue, due to a hangover. In general, alcohol is extremely easy to acquire.

Anesthetics are used to reduce the pain and penalties associated with shock and injury. An anesthetic drug has a "resist pain" gift with individual area of effect. While under the influence of an anesthetic, treat an individuals injuries as one level less severe per three levels of the anesthetic.

Stimulants/Depressants are designed as chemicals with conjure/eliminate-skill gifts. Usually the skills affected are build and initiative.

Toxins are biochemical weapons, which unlike acids are passively resisted by the victim's stamina skill. Most toxins have continuous duration. The victim will continue to heal normally during this time, however, in most cases a toxin will cause injury faster than the victim can recover from it.



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