Apr 20, 2019 3:25 pm
I'm thinking about having a mechanic where you roll 2 skills in one action. Is that ok with you guys?
Update: I've changed my mind
Update: I've changed my mind
Character creation discussion thread
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Apr 20, 2019 9:00 pm
I'm not crazy about the idea, just because I feel like the way combat works in fate works well already
Apr 20, 2019 9:14 pm
Well, typically in Fate the idea is to keep things simple. Normally an attack roll that succeeds has it's degree of success be the damage it does. So if I punch a dude and get a total of +6 between my Fight and the dice, and he gets a +4...he takes 2 stress. If I get a +4 and he gets a -2...he takes 6 stress. It makes it simple and rewards spending your points in a way that matters.
This is opposed to what I consider "traditional gaming" systems. With my fighter in D&D I might roll an 18 to hit, but if the AC of the monster is only a 12...then all the numbers between 13 and 19 don't really mean much other than a success. When I roll the damage, I might have a 18(+4) Strength, I might be using a Greatsword that does a 1d10 damage. I could get a 10 and do 14 damage on a hit...or I could do 5 damage. So a great success on the attack could end up being a glancing blow because of the damage die.
That being said, Fate is all about customizing the rules to get the flavor you want out of the game. If you feel there is a reson to change things up, go for it.
Another aspect of this topic to keep in mind is how much stress any given character may have. A basic PC has 4 stress and three Consequences to mitigate that stress with. So they can take a grand total of 16 stress before they have real issues. If your damage approaches half of that total on a regular basis then the game will be deadly. NPCs usually have less stress than PCs unless they are the big bad guy all the PCs are ganging up on. This isn't a bad thing per se...but something to be mindful of when making alterations.
I have seen versions of Fate that do away with Stress and just give HP...I'm unable to specifically name one at this moment...but they do exist and it can work. The one I remember playing allowed a player to take a consequence to heal up after a scene. Like...a character in a fight could realize they "sprained their ankle" and recover 2hp, but they walked with a limp so running and moving got harder. The idea was the adrenaline from the fight kept them from realizing the ankle was injured until after things calmed down. My character had somewhere in the range of 12 to 16 hp if I remember correctly.
This is opposed to what I consider "traditional gaming" systems. With my fighter in D&D I might roll an 18 to hit, but if the AC of the monster is only a 12...then all the numbers between 13 and 19 don't really mean much other than a success. When I roll the damage, I might have a 18(+4) Strength, I might be using a Greatsword that does a 1d10 damage. I could get a 10 and do 14 damage on a hit...or I could do 5 damage. So a great success on the attack could end up being a glancing blow because of the damage die.
That being said, Fate is all about customizing the rules to get the flavor you want out of the game. If you feel there is a reson to change things up, go for it.
Another aspect of this topic to keep in mind is how much stress any given character may have. A basic PC has 4 stress and three Consequences to mitigate that stress with. So they can take a grand total of 16 stress before they have real issues. If your damage approaches half of that total on a regular basis then the game will be deadly. NPCs usually have less stress than PCs unless they are the big bad guy all the PCs are ganging up on. This isn't a bad thing per se...but something to be mindful of when making alterations.
I have seen versions of Fate that do away with Stress and just give HP...I'm unable to specifically name one at this moment...but they do exist and it can work. The one I remember playing allowed a player to take a consequence to heal up after a scene. Like...a character in a fight could realize they "sprained their ankle" and recover 2hp, but they walked with a limp so running and moving got harder. The idea was the adrenaline from the fight kept them from realizing the ankle was injured until after things calmed down. My character had somewhere in the range of 12 to 16 hp if I remember correctly.
Apr 21, 2019 6:18 am
OK. BTW, I haven't played Fate before but I know it's sort of simple and is intended for customisation. Thanks for your feedback.
Apr 21, 2019 3:04 pm
If you'll indulge me, let me describe how conflicts usually works in fate, and why I like it
The first thing is the word conflict, rather than combat. Fate use the same rules for conflict whether it's a tense business negotiation or two knights hacking each other up with swords. The important part of a conflict is that each side has something they want and the other side opposes it. This is really important to note because that means that you can't really think of taking stress in fate like taking damage in another rpg. You can take stress from just talking, or from the fear of a haunted house, or really anything, not just getting hit by a sword. Stress in fate is more of a pacing mechanism than anything. Having lots of stress really means no more or less then you're close to being taken out of the conflict.
This might seem like it's unrealistic, that a cutting word might have the same effect as a cutting blade, but it's actually really freeing. Fate is about telling stories and the system allows you to tell stories like the time you taunted the ogre, dodging his blows and enraging him until he stumbles and goes over the cliff, as easily as telling the story of the time you hacked off the ogre's head with your broadsword. The mechanics are the same, you deal stress to the ogre until it can't take any more stress and is taken out, but as a player you're able to describe how that happens in the way you want.
Things get even more interesting when you add the create advantage action to the mix. Maybe I'm not strong enough to defeat an ogre blow for blow, but I can trip him, throw sand in his eyes, disarm him, stay in his blind spot, all actions designed to make the conflict as uneven in my favour as possible, and then strike him down with a lucky blow he doesn't see coming. This is handled mechanically by creating advantages, and then invoking them for +2 each on my attack roll. Of course the ogre will be trying to do the same thing, ripping up trees to use as a club, or picking up the rock I was trying to hide and ambush from and throw it at me. This creates an intense narrative of attack and counterattack, until finally one side must give up. A neat thing with aspects too is that they don't necessarily need to go away at the end of a scene. You can have a scene where you totally get your ass kicked, but the whole time you're needling your opponent, getting them you question their plan, their self worth. Next time you fight you'll have a huge advantage against them.
This is without even thinking about consequences. One of the big realizations I had when learning to push/gm fate is that while consequences are the result of some kind of attack, they don't necessarily need to be the realistic consequence of being hit by that attack. That is to say, even if the ogre rolls his fight, and taps a bunch of aspects, and I roll miserably to dodge, the consequence I take doesn't need to be the same consequence as getting hit in the chest by a giant tree swung by an ogre (though it certainly could be). I could also take a consequence like "extreme fear of death". Consequences are just what you take away from the fight, and how it will affect your character going forward. This can include wounds, but it's not limited to that. It can be mental consequences, or social consequences ("Grog the unstoppable wet himself and fled in face of the ogre, I guess he's not unstoppable after all")
The first thing is the word conflict, rather than combat. Fate use the same rules for conflict whether it's a tense business negotiation or two knights hacking each other up with swords. The important part of a conflict is that each side has something they want and the other side opposes it. This is really important to note because that means that you can't really think of taking stress in fate like taking damage in another rpg. You can take stress from just talking, or from the fear of a haunted house, or really anything, not just getting hit by a sword. Stress in fate is more of a pacing mechanism than anything. Having lots of stress really means no more or less then you're close to being taken out of the conflict.
This might seem like it's unrealistic, that a cutting word might have the same effect as a cutting blade, but it's actually really freeing. Fate is about telling stories and the system allows you to tell stories like the time you taunted the ogre, dodging his blows and enraging him until he stumbles and goes over the cliff, as easily as telling the story of the time you hacked off the ogre's head with your broadsword. The mechanics are the same, you deal stress to the ogre until it can't take any more stress and is taken out, but as a player you're able to describe how that happens in the way you want.
Things get even more interesting when you add the create advantage action to the mix. Maybe I'm not strong enough to defeat an ogre blow for blow, but I can trip him, throw sand in his eyes, disarm him, stay in his blind spot, all actions designed to make the conflict as uneven in my favour as possible, and then strike him down with a lucky blow he doesn't see coming. This is handled mechanically by creating advantages, and then invoking them for +2 each on my attack roll. Of course the ogre will be trying to do the same thing, ripping up trees to use as a club, or picking up the rock I was trying to hide and ambush from and throw it at me. This creates an intense narrative of attack and counterattack, until finally one side must give up. A neat thing with aspects too is that they don't necessarily need to go away at the end of a scene. You can have a scene where you totally get your ass kicked, but the whole time you're needling your opponent, getting them you question their plan, their self worth. Next time you fight you'll have a huge advantage against them.
This is without even thinking about consequences. One of the big realizations I had when learning to push/gm fate is that while consequences are the result of some kind of attack, they don't necessarily need to be the realistic consequence of being hit by that attack. That is to say, even if the ogre rolls his fight, and taps a bunch of aspects, and I roll miserably to dodge, the consequence I take doesn't need to be the same consequence as getting hit in the chest by a giant tree swung by an ogre (though it certainly could be). I could also take a consequence like "extreme fear of death". Consequences are just what you take away from the fight, and how it will affect your character going forward. This can include wounds, but it's not limited to that. It can be mental consequences, or social consequences ("Grog the unstoppable wet himself and fled in face of the ogre, I guess he's not unstoppable after all")
Apr 21, 2019 4:28 pm
Ah, thanks for sharing your experience! It seems like I shouldn't worry too much about homebrewing mechanics before the game. I've decided if any of you want to be able to cast spells(or perhaps some ability I havent thought of yet), then we'll talk more about it as we go through character creation.
Apr 21, 2019 5:05 pm
Yeah, I would focus more on the World building, like factions and characters, rather than mechanics. It's less important what dice you roll to do magic at this stage than what limitations magic has and what the existence of magic means for the universe
Apr 23, 2019 1:03 am
Okay, so let me tell you about Xóchitl Atlacamani, a Scholarly Investigator who'd Rather Be Doing Magic.
Xóchitl Atlacamani [SO-cheel at-lah-CAH-mah-knee] comes from a wealthy family on a technologically-advanced world. She's crazy intelligent, which has been somewhat to her detriment, as her parents pressed her incessantly to excel in some intellectual field or other, surrounding her with academics as soon as she could speak. And she has excelled; today, she is highly regarded as a thorough researcher, astute investigator, and quick-thinking innovator.
But that's not what Xóchitl wants, and it never, never was.
As soon as it was evident that she was bright and full of promise, it was also plain to see that Xóchitl had a knack for sorcery. In some societies, this is to be lauded; in hers, it's an embarrassment of sorts, as sorcery -at least, the way it works for her- is an art, depending wholly upon the sorcerer's emotional state, propensity for creativity, and -- and raw feeling. In a society that values intellectual and physical pursuits above all, the role of the artist is seen as a lower endeavor better suited to transients and eccentrics, necessary to culture but not respected much at all.
Lately a researcher at the premiere university of her home system, Xóchitl became aware of the alien incursions into this dimension, and the calls for volunteers at The Orb. She saw this as an opportunity to break free of the mold she's lived in since childhood, and to offer her services as a sorcerer and weaver of cosmic forces. So she applied.
And the powers that be reviewed her qualifications.
...and they quickly decided that Xóchitl Atlacamani would be invaluable as a field researcher, investigator, and quick-thinking innovator.
Well, at least she's out from within the stacks and cubicles and offices and conference rooms, and face to face with action and the opportunity to put her soul into something. She's practiced bits of sorcerous knowledge throughout her life, and is eager to put it to use...if she can convince anyone that she's able.
Xóchitl Atlacamani (who just so happens to resemble the late-20th Century Spanish singer Pepa Villalba) is a human female, 29 years old, originally from the planet Torreón in the Tlatelolco system. Culturally, her homeworld resembles Earth's Mexican and Spanish societies, and for sake of convenience, is pretty much that, but with supercomputers and flying cars and stuff. She's a little bit irritable, if only because she's been shoved into unwanted roles all her life. Professional pride won't let her slack off on her duties as a researcher, but given the opportunity to get sorcerous, she will leap at the chance at almost any cost.
...almost.
Xóchitl Atlacamani [SO-cheel at-lah-CAH-mah-knee] comes from a wealthy family on a technologically-advanced world. She's crazy intelligent, which has been somewhat to her detriment, as her parents pressed her incessantly to excel in some intellectual field or other, surrounding her with academics as soon as she could speak. And she has excelled; today, she is highly regarded as a thorough researcher, astute investigator, and quick-thinking innovator.
But that's not what Xóchitl wants, and it never, never was.
As soon as it was evident that she was bright and full of promise, it was also plain to see that Xóchitl had a knack for sorcery. In some societies, this is to be lauded; in hers, it's an embarrassment of sorts, as sorcery -at least, the way it works for her- is an art, depending wholly upon the sorcerer's emotional state, propensity for creativity, and -- and raw feeling. In a society that values intellectual and physical pursuits above all, the role of the artist is seen as a lower endeavor better suited to transients and eccentrics, necessary to culture but not respected much at all.
Lately a researcher at the premiere university of her home system, Xóchitl became aware of the alien incursions into this dimension, and the calls for volunteers at The Orb. She saw this as an opportunity to break free of the mold she's lived in since childhood, and to offer her services as a sorcerer and weaver of cosmic forces. So she applied.
And the powers that be reviewed her qualifications.
...and they quickly decided that Xóchitl Atlacamani would be invaluable as a field researcher, investigator, and quick-thinking innovator.
Well, at least she's out from within the stacks and cubicles and offices and conference rooms, and face to face with action and the opportunity to put her soul into something. She's practiced bits of sorcerous knowledge throughout her life, and is eager to put it to use...if she can convince anyone that she's able.
Xóchitl Atlacamani (who just so happens to resemble the late-20th Century Spanish singer Pepa Villalba) is a human female, 29 years old, originally from the planet Torreón in the Tlatelolco system. Culturally, her homeworld resembles Earth's Mexican and Spanish societies, and for sake of convenience, is pretty much that, but with supercomputers and flying cars and stuff. She's a little bit irritable, if only because she's been shoved into unwanted roles all her life. Professional pride won't let her slack off on her duties as a researcher, but given the opportunity to get sorcerous, she will leap at the chance at almost any cost.
...almost.
Last edited April 23, 2019 1:05 am
Apr 23, 2019 4:23 am
I think we might not completely follow the phase trio part of character creation, as I imagine that the characters will meet each other once they are aboard the Galactic Orb and gone through the introductions for New Comers.
Apr 23, 2019 6:12 am
That's fine. Should we fill in all of our aspects during character creation, or later during play?
Apr 23, 2019 11:33 pm
I also finally figured out my character. I will be playing Princess Purra Fatelight of the planet Vapora IV. She is the second daughter of the royal family. Her younger brother, Prince Dathan, is the heir to the throne, and her older sister, Princess Vanora, is engaged to the heir of Vapora II, Prince Horhorn, and will serve as Steward of Vapora IV until Dathan is old enough to take the throne. So Purra has been sent as a diplomat to serve the greater cause of the United Worlds Project. To some on her planet, this is seen as an insult, sending a member of one of the royal families to mingle with aliens demeans her they say. But Purra has no throne to sit upon, so she is more than happy to represent her people among the start.
She is incredibly naive about life in space and far to trusting of strangers. Until you have proven to her face you are untrustworthy, she will take what you say at face value. That will be her trouble. She was raised in a closed off environment, away from the cloak and dagger court intrigues. It will probably get her killed one day.
Her people have a strange society built up mostly around their special gift. The Soul Wave. It manifests as a colorful translucent aura that a Vaporan can shape at will, but only stretches out to about three meters. Two or more Vaporans can touch auras allowing telepathic and empathic communication. Non-Vaporans must have some portion of their body enveloped in the aura unless they have some other natural telepathic ability.
More amazing however is the Soul Wave's ability to alter reality in small ways according to the Vaporan's will. Nothing beyond the reach of the Soul Wave can be affected, and the size limit is roughly equivalent to what the what a Vaporan might hold in their hand. That is unless several Vaporans come together to achieve a goal. The more Vaporans there are, the greater the reach and scope of their ability. Ten Vaporans could construct a building in a matter of hours if sufficient materials and a unified design are agreed upon.
When Purra enlisted in the United Worlds Project, her father granted her a great gift. She got a S.W.O.R.D. The Soul Wave Omega Reinforcement Device amplifies the power of a single Vaporan tenfold. Purra can't stretch her Wave all that far, but does have the increased capacity to alter reality to her will within that range. She can make doors or dismantle a weapon with a moment's concentration. The S.W.O.R.D. is surgically implanted in her chest. Removing it would require major surgery. It is an amazing, one-of-a-kind device that seems to blend magic and technology in ways unheard of before.
Because of the Soul Wave ability, the Vaporans are a somewhat xenophobic race. The Vapora system experienced years of extreme solar activity that forced them to reach out to nearby alien races for help. They got what they needed but the aliens were not prepared for the Soul Wave. Some objected to having their minds read any time a Vapoan got within arms reach, others say their ability to alter reality as an affront to their own beliefs. Some were just jealous. Violence erupted and all aliens were ejected from the Vapora system for a decade. Eventually, the people of Vapora IV agreed to allow alien species to land on their planet and trade, but Vapora II maintains a strict no-alien policy. This works since the two planets orbit the system's sun at a similar pace. Vapora IV monitors all system traffic and keeps outsiders from getting to Vapora II.
Purra wants to repair the damaged reputation of the Vaporan people and bring them out of their isolationist shell. She has an explorer's soul and a strong desire to see all the wonders of the universe that it cares to show her. She hopes that working for the Unified Worlds Project will give her that opportunity, or at least the opportunity to serve her people is some capacity.
She is incredibly naive about life in space and far to trusting of strangers. Until you have proven to her face you are untrustworthy, she will take what you say at face value. That will be her trouble. She was raised in a closed off environment, away from the cloak and dagger court intrigues. It will probably get her killed one day.
Her people have a strange society built up mostly around their special gift. The Soul Wave. It manifests as a colorful translucent aura that a Vaporan can shape at will, but only stretches out to about three meters. Two or more Vaporans can touch auras allowing telepathic and empathic communication. Non-Vaporans must have some portion of their body enveloped in the aura unless they have some other natural telepathic ability.
More amazing however is the Soul Wave's ability to alter reality in small ways according to the Vaporan's will. Nothing beyond the reach of the Soul Wave can be affected, and the size limit is roughly equivalent to what the what a Vaporan might hold in their hand. That is unless several Vaporans come together to achieve a goal. The more Vaporans there are, the greater the reach and scope of their ability. Ten Vaporans could construct a building in a matter of hours if sufficient materials and a unified design are agreed upon.
When Purra enlisted in the United Worlds Project, her father granted her a great gift. She got a S.W.O.R.D. The Soul Wave Omega Reinforcement Device amplifies the power of a single Vaporan tenfold. Purra can't stretch her Wave all that far, but does have the increased capacity to alter reality to her will within that range. She can make doors or dismantle a weapon with a moment's concentration. The S.W.O.R.D. is surgically implanted in her chest. Removing it would require major surgery. It is an amazing, one-of-a-kind device that seems to blend magic and technology in ways unheard of before.
Because of the Soul Wave ability, the Vaporans are a somewhat xenophobic race. The Vapora system experienced years of extreme solar activity that forced them to reach out to nearby alien races for help. They got what they needed but the aliens were not prepared for the Soul Wave. Some objected to having their minds read any time a Vapoan got within arms reach, others say their ability to alter reality as an affront to their own beliefs. Some were just jealous. Violence erupted and all aliens were ejected from the Vapora system for a decade. Eventually, the people of Vapora IV agreed to allow alien species to land on their planet and trade, but Vapora II maintains a strict no-alien policy. This works since the two planets orbit the system's sun at a similar pace. Vapora IV monitors all system traffic and keeps outsiders from getting to Vapora II.
Purra wants to repair the damaged reputation of the Vaporan people and bring them out of their isolationist shell. She has an explorer's soul and a strong desire to see all the wonders of the universe that it cares to show her. She hopes that working for the Unified Worlds Project will give her that opportunity, or at least the opportunity to serve her people is some capacity.
Apr 24, 2019 6:35 am
Neat! All your characters are suitable for my setting. Now, you may fill up your character sheet and submit it and I'll take a look, or you can post your aspects first: High Concept and Trouble. As for stunts, if you have an idea, you could list them with a description, if not then we'll fill it during play.
Apr 25, 2019 1:39 pm
BTW, foolsmask, I've seen your submitted character. I think you should change the skill list to the one I posted in the character creation info thread. Or maybe you believe that using the default list is better, then I may consider doing that.
Apr 25, 2019 2:46 pm
Also, I'm wondering, would you guys like to roleplay when you first enter the ship, or would you like to jump straight to when you are summoned for mission briefing?
Apr 25, 2019 8:32 pm
For my part I think I prefer getting right into the action. I'll try to have a character sheet tonight
Apr 26, 2019 1:07 am
Submitted. I'm requesting one stunt, which I'm calling mechanical versatility. Basically I can spend a fate point to possess a robot and gain a +2 bonus to a skill that makes sense for that robot to possess. If I take the stunt more than once, I can spend additional fate points to gain bonuses to additional skills, if it would make sense that that robot would possess those skills
Apr 26, 2019 2:43 am
RoAries says:
BTW, foolsmask, I've seen your submitted character. I think you should change the skill list to the one I posted in the character creation info thread. Or maybe you believe that using the default list is better, then I may consider doing that.Apr 26, 2019 4:37 am
@naelick: Alright, I'll start soon and place you guys on a deployed ship to the mission. Also, I think that stunt is more powerful than normal, as its a perpetual skill improvement. I'll have it changed so that you will move around your skill ratings when you use the stunt to possess a robot. I'll give a limit, say 5 points to move around.
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