PDF Archive: PDF Search

Alive Character Design 100%

Alive Character Design for Game, Animation and Film – Haitao Su, Vincent Zhao Part 1:

https://www.pdf-archive.com/2012/11/02/alive-character-design/

02/11/2012 www.pdf-archive.com

ErickMotaProfile 99%

Erick Mota Character Animator.

https://www.pdf-archive.com/2017/10/21/erickmotaprofile/

21/10/2017 www.pdf-archive.com

Table of Contents Character Creation Role-playing................................................................................1 Character Creation....................................................................1 Task Resolution..........................................................................2 Six is Trump!................................................................................2 The 5x5 Roll................................................................................2 Special Values (0 and –5)..........................................................3 Descriptor Values......................................................................3 Rank Shifts..................................................................................3 Rolling Doubles..........................................................................3 Experience and Advancement................................................4 XP Awards...................................................................................4 Combat........................................................................................4 Turn Order..................................................................................4 Stealing Initiative.......................................................................4 Making an Attack.......................................................................4 Dodging an Attack.....................................................................5 Taking Damage..........................................................................5 Trump Damage..........................................................................5 Healing........................................................................................5 Harming (failed heal checks)...................................................5 Weapons and Armor.................................................................5 Exclusive Actions.......................................................................6 Running the Game.....................................................................7 Optional Rule:

https://www.pdf-archive.com/2011/07/18/five-by-five-2-5-print/

18/07/2011 www.pdf-archive.com

CV 2017 99%

Highly proficient in character animation.

https://www.pdf-archive.com/2017/12/12/cv-2017/

12/12/2017 www.pdf-archive.com

FinalExam S3 98%

A string of characters always ends with a null character (the value zero).

https://www.pdf-archive.com/2017/09/07/finalexam-s3/

07/09/2017 www.pdf-archive.com

tr-cse-2011-01 98%

Preventing Web Application Injections with Complementary Character Coding Raymond Mui Phyllis Frankl Department of Computer Science and Engineering Technical Report TR-CSE-2011-01 03/10/2011 Preventing Web Application Injections with Complementary Character Coding Raymond Mui Phyllis Frankl Polytechnic Institute of NYU 6 Metrotech Center Brooklyn, NY, 11201, USA Polytechnic Institute of NYU 6 Metrotech Center Brooklyn, NY, 11201, USA wmui01@students.poly.edu pfrankl@poly.edu ABSTRACT Web application injection attacks, such as SQL injection and cross-site scripting (XSS) are major threats to the security of the Internet.

https://www.pdf-archive.com/2011/04/06/tr-cse-2011-01/

06/04/2011 www.pdf-archive.com

Macho Dan 98%

Junkie Wife • Adepts only perceive astral space by purchasing the Astral A character with the Dependents quality has one or more Perception power (p.

https://www.pdf-archive.com/2014/08/26/macho-dan/

26/08/2014 www.pdf-archive.com

Harry Potter RPG Core Rule Book 98%

CHARACTER CREATION &

https://www.pdf-archive.com/2017/02/23/harry-potter-rpg-core-rule-book/

23/02/2017 www.pdf-archive.com

displayofnumberplates 98%

Characters Height 79mm Width (except the figure 1 or letter l) 50mm Stroke 14mm Space between characters 11mm Space between groups 33mm Top, bottom and side margins (minimum) 11mm Space between vertical lines 19mm The character width has been slightly reduced from 57mm to 50mm to accommodate the Eurosymbol on the number plate.

https://www.pdf-archive.com/2011/04/13/displayofnumberplates/

13/04/2011 www.pdf-archive.com

book critique 98%

As I mention later, I found myself feeling that, rather, Character X is the protagonist, and the book is more about him than her.

https://www.pdf-archive.com/2016/02/16/book-critique/

16/02/2016 www.pdf-archive.com

P1 Instructions 97%

Due to complexities with gathering single character input in Java, you should accept a single character at a time, each followed by Enter .

https://www.pdf-archive.com/2018/01/26/p1-instructions/

26/01/2018 www.pdf-archive.com

Five by Five 2.5 (screen) 97%

1 CC-BY-2011 Table of Contents Role-playing......................................................................3 Character Creation..........................................................4 Task Resolution................................................................7 Six is Trump!......................................................................7 The 5x5 Roll......................................................................8 Special Values (0 and –5)................................................9 Descriptor Values..........................................................10 Rank Shifts......................................................................12 Rolling Doubles..............................................................12 Experience and Advancement.....................................13 XP Awards.......................................................................14 Combat............................................................................15 Turn Order......................................................................15 Stealing Initiative...........................................................16 Making an Attack...........................................................16 Dodging an Attack.........................................................17 Taking Damage...............................................................17 Trump Damage..............................................................18 Healing.............................................................................18 Harming (failed heal checks)........................................19 Weapons and Armor.....................................................20 Exclusive Actions............................................................22 Running the Game.........................................................25 Optional Rule:

https://www.pdf-archive.com/2011/07/18/five-by-five-2-5-screen/

18/07/2011 www.pdf-archive.com

rulebook 97%

CHOOSE CHARACTERS Each player chooses a character according to restrictions that follow.

https://www.pdf-archive.com/2017/01/16/rulebook/

16/01/2017 www.pdf-archive.com

powers-brawl 97%

A Miniatures Combat RPG by Jeff Moore Artwork  Copyright 2008 FunDraw.com Powers-Brawl Miniatures Combat RPG Copyright  2008 by Jeff Moore All rights reserved play-test version 0.1 jwmmail@gmail.com All Artwork is Clipart from FunDraw.com Copyright  2008 by FunDraw.com All rights reserved • Used according to license http://www.fundraw.com/ My Thanks Goes Out to Keeton at a Thousand Monkeys, a Thousand Typewriters http://www.1km1kt.net And To the Folks at RPG Lab For Feedback And Support In The Development Of All Of My Projects http://www.rpglaboratory.com/ Powers-Brawl • pg 1 • Copyright  2008 by Jeff Moore all rights reserved • Artwork Copyright  2008 FunDraw.com TABLE OF CONTENTS Optional Random Character Creation...............................................................................

https://www.pdf-archive.com/2011/07/12/powers-brawl/

12/07/2011 www.pdf-archive.com

734 power 97%

Sadly, the diversity featured is extremely superficial, and each character is heavily whitewashed, regardless of the culture that birthed their persona.

https://www.pdf-archive.com/2016/11/24/734-power/

24/11/2016 www.pdf-archive.com

2-Page July Week 1 Workshop Calendar V1.1 97%

ICTGAM503 Carpet Game Character Pipeline:

https://www.pdf-archive.com/2016/07/03/2-page-july-week-1-workshop-calendar-v1-1/

03/07/2016 www.pdf-archive.com

Druid'sRestLandscape 97%

If a character “dies” at any time during this dungeon, they are transported back to where they entered, weakened (GM’s choice for penalty) and unable to adventure for weeks.

https://www.pdf-archive.com/2016/05/03/druid-srestlandscape/

03/05/2016 www.pdf-archive.com

Scenario 5 97%

Story characters may be the general if they are the only eligible character.

https://www.pdf-archive.com/2014/01/16/scenario-5/

16/01/2014 www.pdf-archive.com

Sancho 97%

Armor Armor Clothing Chameleon Suit Respirator (6) 6 9 +0 A character with the Catlike quality is gifted with an uncanny elegance, a stealthy gait, andspace an almost preternatural • Adepts only perceive astral by purchasing the ability Astral to move without making a sound.

https://www.pdf-archive.com/2014/11/22/sancho/

22/11/2014 www.pdf-archive.com

Untitleddocument 97%

Margaret Sullivan ENG 242 5/2/17 Critical Introduction This researched web anthology will include visual and textual examples of the concept of gender within women’s writing and modern literature, television, and comics. The need to explore the societal contradictions that other authors and writers reveal is definitely a personal importance but is also relevant to the subject gender itself. Although the concept of gender is extremely broad, it is necessary to express concern with societal expectations and breaking the unspoken barriers. To help formulate this analysis on gender, it will be divided into things like gender roles, issues, equality, identity, and stereotypes. Critical theory suggests that these concept are far too crucial for society to ignore. Not only does every person perceive gender in stunningly different ways, but many of those perspectives have created controversial topics and have created discussion among scholars. Not only is textual evidence of theses concept important, but also visual content like visual novels or comics can also show phenomenal examples of the list above. How female characters are depicted in comic books and visual texts as well as exploring gender within these different types of texts to also read and visually see these things come alive through art. Many people have dedicated their lives to this dire field of work, so that goes without saying that these types of approaches affect everyone very differently. These ideas are expanding rapidly and there are new theories, thoughts, and views every day. Every female lives a different life, but it is what similar things we go through that drive us to stick as one and stand together. There are many male authors who understand the struggle of living an everyday average life as a woman, who also offer interesting ideas to the table about an already interesting wide social subject. This is all immensely important to help mold a future generation to teach. History, Theory, and Meaning In The Critical Theory of Gender, Elia Ntaousani specifically focuses on gender as a social construct, and suggests that the word “gender” was initially meant to be used as a neutral term, rather than just “male or female”. A term that would eventually create tons of conversation. Ntaousani compares “gender” to “race” in terms of creating a word that can be considered unbiased. However, she also argues that “gender” has often times replaced the word “women” in different forms of literature. To clarify, she considers this a type of objectivity to women, becoming almost a substitute for the word itself, and shows how the misuse of ‘gender’ has the very opposite result of its intention. She explains further by saying that gender is no longer used for its political definition; it has been reinstated by others who are given deluded misinformation of the true usage of the word. She uses the word “class” to show how a term could have “analytical association”. She uses binaries to help interpret this concept, including very obvious things such as “feminine/masculine”, “nature/culture”, and “animal human”. “In other words, gender ’ did not manage to offer the possibility of a new world where the social relations between the sexes would be redesignated; its ‘ usage insists that the world of women is part of the world of men, created in and by it.” This is part of the history as gender as a social construction. There is very interesting sub-concept with gender that involves women in animated/live action movies, tv shows, video games, and comics. “Trinity Syndrome” refers to female characters who are very interesting and complicated, but most importantly have a lot of potential. However, the story surpasses this excellent character and the story virtually gives them nothing to do. This absolutely has to do with gender because typically there is a male protagonist; then an alluring female character is introduced with nothing but her personality (not really a “backstory”). A personality is an extremely important role in characters because that makes them who they are; it gives them something to identify with. However, when a character is loosely shown based on how they act, is this fair? Fictional and nonfictional characters must “deal” with this. A problematic example of this would be when females are categorized as loud, strong, or outspoken they are usually considered mean and rude. If this were a male character being described as such, he would be considered to be strong while having leadership characteristics. In an article titled We’re Losing All our Strong Female Characters to Trinity Syndrome by Tasha Robinson, she gives strong examples from commonly-known movies to help others understand her claim. In the beginning of this text, she gives credit to the people who seemingly care enough to push forward a strong female lead in many different things. She talks about the importance of having a female character and how there has been a “cultural push” to have female characters become confident and capable, and also starring a main role. The author of this article suggests an interesting outlook on how the term “strong female character” can actually be almost against what it is literally intending to say. That expression has been dissected and shown to do more harm than good in a lot of different ways. In a great read titled “I hate Strong Female Characters” by Sophia Mcdougall, although it seems misleading, the very first few lines are incredibly accurate. “Sherlock Holmes gets to be brilliant, solitary, abrasive, Bohemian, whimsical, brave, sad, manipulative, neurotic, vain, untidy, fastidious, artistic, courteous, rude, a polymath genius. Female characters get to be Strong.” She shows that men characters can have an infinite amount of synonyms describing them, and female characters merely get “strong”. She says that typically, men characters are assumed to be strong due to the societal thoughts on masculinity. The Trinity Syndrome is “more than a marketing term than a meaningful goal”. Visual Examples Currently in this era, there are countless examples that could be used to help further define gender and its importance in literature of all forms. Starfire, a character originally from the famous comic “Teen Titans” is an absolutely great example of a feminist icon in comics. From the very moment Starfire was a mere thought, she was sexualized. She is initially introduced as a sexy alien who is extremely naive and culturally unaware with a small hint of anger. She has been described as a “male fantasy.” On the other hand, once the audience actually has a chance to read, see, and watch Starfire’s actions and dialogue, she becomes so much more than just that. In the animated TV show version of Teen Titans, Starfire’s stories come to life and her character is able to express her true self and the way she was written way more effectively. Regardless, in either of those ways, the audience progressively sees through stories and character development that Starfire is arguable the strongest female superhero. Not to say she is a “strong female lead” but she proves her mental and physical strength to not only her team, but the readers as well. Starfire is proven to be physically strongest out of her entire team, thanks to her super strength alien powers. Being mentally strong is a large portion of Starfire’s entire character and backstory; the women of her planet were usually captured and chosen to live out their days as servants. In multiple different universes of the Teen Titans, Starfire eventually becomes the leader of the Teen Titans. This is remarkably relevant to gender because when one thinks of a “strong character” a common thought is frequently something like “Superman” or “The Hulk”-- two very masculine characters. Starfire shatters our culture’s notion that women should be submissive, fragile, or perhaps simply not as strong as other characters. She is not pure or innocent; she embraces her sexuality and gender without ever having to distinctly say it through confident dialogue and actions.

https://www.pdf-archive.com/2017/05/02/untitleddocument/

02/05/2017 www.pdf-archive.com

2d6 Core Rules Delta Edition 96%

A roleplaying game (often abbreviated RPG) is one in which players take on the role of a particular character (often called the player character or PC) within a story.

https://www.pdf-archive.com/2012/01/25/2d6-core-rules-delta-edition/

25/01/2012 www.pdf-archive.com

2d6 Core Rules Full Release 96%

A roleplaying game (often abbreviated RPG) is a game in which players take on the role of a particular character (often called the player character, or PC) within a story.

https://www.pdf-archive.com/2012/05/16/2d6-core-rules-full-release/

16/05/2012 www.pdf-archive.com

2d6 Core Rules - Gamma 96%

A roleplaying game (often abbreviated RPG) is one in which players take on the role of a particular character (often called the player character or PC) within a story.

https://www.pdf-archive.com/2011/10/18/2d6-core-rules-gamma/

18/10/2011 www.pdf-archive.com

INV-LARP 0.1 Playtest 96%

“Out of the night that covers me, Black as the pit from pole to pole, I thank whatever gods may be For my unconquerable soul.” INVICTUS Beta 0.1 Since mankind’s earliest ancestors began to roam the earth, monsters have always lurked on the edge of our periphery. From dreams and visions, the KA tempt the wills of mortals, beckoning the weak willed to open the door between the world of spirit and the world of flesh. Some KA cross over as twisted and horrific physical manifestations of terror and others hide away behind the eyes of the possessed. The worst, not satisfied with misery sewn in the waking world, steal victims away from their beds, forever trapping them in a realm of endless nightmare. The KA have no power, save that which is given to them by mankind. Each doorway opened, each body possessed, and each soul dragged screaming into the abyss has come at the hands of human agency. A ritual, a prayer, or a wish made under the veil of dream are all that is required for the influence of the KA to seep into our world. The memories of encounters with the KA oft fade as a dream upon waking. But some face the beasts of nightmare and are changed forever. These men and women not only resist the KA, but remember the creatures’ face and form. They are the Unconquered, those who live to protect mankind from the monsters which stalk them world. Invictus i s a “Parlor” style Live Action Roleplaying game which explores the supernautal horror and politics which drive secret societies of “monster hunters”. It aims to provide players with a space to tell a number of different stories. The mechanics of this game, rather than being driven by randomness, are focused on spending and managing resources. Games are designed to be four or five hours long and provide opportunities for players to explore mysteries, face deadly foes in combat, and engage in interpersonal conflict. While I nvictus strives to explore the “darkness” of what lies beyond mankind’s imagination, it steers away from real world hurt. Stories about and references to real-world discrimination, sexual assault, and tragic events are not a part of the game. Invictus is about each player having the opportunity to self-select into the types of scenes and play that are comfortable to them. To this end, Invictus u ses the “OK CHECK IN” system to allow players to communicate needs and comfort level without breaking the pace of roleplay. If a player seems upset, but you aren’t sure if it is the CHARACTER not the PLAYER that is distraught, simply flash an “OK” gesture. The “OK” gesture is a question that is responded to with a “thumbs up”, “thumbs down” or “so so” gesture. Players who signal discomfort should be allowed to leave the scene, no questions asked. Players are also encouraged to use the “thumbs up” or “thumbs down” symbols proactively to communicate their level of comfort with a scene’s intensity. The Invictus The Invictus, or The Unconquered is the organization of all men and women who resist and retain awareness of the KA. The Invictus is a loose society that is formed by many Orders. The Unconquered recognize others of their number by sight, for those whose eyes and dreams are not clouded by the KA radiate as beacons hope to those who have become supernaturally attuned. Since ancient times, the Invictus has been driven by a simple Codex that governs their activity: ❖ The Unconquered must gather, to share knowledge of the KA. ❖ The truth of the KA must be veiled from dreamers, lest the KA draw power from it. ❖ The Unconquered must not slay one another, nor interfere in the hunt. Geographically the Invictus divides itself into Cantons, large cities and the areas around them. Each Canton is led by a Synod, a governing five-member council whose members are each drawn from the Invictus’ five major Orders: The Chorus, The Orthodoxy, The League, The Shamar, and The Division. The Synod selects, by vote, a Magnate who serves as the Executive of the Canton. A Magnate settles disputes between the Orders and takes a hand in leading hunts against the KA. When an Unconquered is accused of violating the Codex, it is the Synod who decides innocence or guilt, but the Magnate who sentences and metes out punishment. The Orders The Invictus is comprised of Orders, each guided by a set of principles which guide their nightly war against the KA. Not every Invictus is a member of one of the five major Orders which comprise the Synods of each city’s Canton, but most are drawn to the support and structure that comes with membership in an Order. The Chorus of Legend - (Champions, Bards, Knights, Storytellers, Lorekeepers) Gilgamesh, Corax, Heracles, Cú Chulainn, Arthur, Sun Wukong, Ramah… each civilization has heroes whose stories echo through history. The legends of these Heroes are carried through history by the Chorus of Legend. The Chorus seeks to venerate and emulate the heroes of old and raise the Legends of new heroes through story and song. The Chorus was the first order of The Invictus, and its virtues of heroism and boon-companionship echo through the Unconquered to this day. The Orthodoxy of Staves - (Paladins, Priests, Holy Men, Inquisitors, Vampire Hunters) Faith. Devotion. Prayer. Purity. These are the virtues of the Orthodoxy of Staves. Drawing its origins from the organized religions of man, The Orthodoxy has found that acceptance of a higher power and devotion to one’s faith serve as a powerful shield against the KA. The doctrines of the Orthodoxy state that only through rigorous devotion to purity and rejection of the KA can mankind be saved. The Shamar - (Ritualists, Blood Cultists, Black-Magic Practitioners) The Shamar seek the power to defeat the KA by wielding the very power of dream and nightmare. Through pact, rite, and binding, they wrest the power of the KA for themselves. Though no one can argue with the success of the secretive and ritualistic Shamar, their methods are rarely trusted by the members of the other Orders. The League of Extranormal Inquiry - (Mad-Scientists, Dark Dabblers, Mythos seekers) Founded in the misty streets of Europe in the 1800’s, the League is comprised of those scholars, alchemists, and practitioners of pseudoscience among the Unconquered who began to experiment with extracting Phlogiston from the corpses of slain KA. With these strange sciences, the League has created powerful and dangerous technologies that empowers them to continue seeking knowledge, regardless of the cost. Division Six - (G-Men, Gadgeteers, Realists, Men In Black) Allegedly once an agency of the United States Department of Homeland Security, the agents of Division Six stands as a highly regimented and technologically empowered Order that operates throughout the world. Their mission is simple: destroy the KA and cover-up the existence of the supernatural. Rejecting all superstition and pseudoscience, the Division pursues its agenda with strict adherence to regulation and the principals of order. System Invictus’ m echanical system is driven by resource management and spending and is played by each player using a full deck of regular playing cards: 13 Hearts, 13 Clubs, 13 Diamonds, 13 Spades and Two Jokers. Each player’s cards are divided into two groups: ● The Hand - Resources at the player’s disposal that may be d iscarded to take action or activate effects. ● The Deck - Cards not available for the player to spend, but may be drawn in certain circumstances. All mechanics require players interact with their cards in one of two ways: ● Draw - Take a card of the specified suit from the deck and place it into your hand. ● Discard - Take a card of the specified suit from the hand and place it into your deck. If a player would discard a ♥ (heart), ♣ (club), or ♦ (diamond) they may choose to instead discard a ♠ (spade). Characters have four attributes or P.I.T.H. with a minimum score of o ne and a maximum of t hirteen: ● Physicality - A character’s strength, toughness, and agility [Represented by Clubs ♣) ● Influence - A character’s social and interpersonal graces (Represented by Hearts ♥) ● Thought - A character’s general wit and perceptiveness (Represented by Diamonds ♦) ● Hope - A character’s endurance in the face of horror and adversity (Represented by Spades ♠) At the beginning of each session, players will draw their starting h and based on their attributes. (For example, a character with 3 Physicality, 4 Influence, 5 Thought, and 2 Hope would draw 3 ♣, 4♥, 5♦, and 2♠ for their starting hand) The rules of Invictus do not discern between different card values, only the suit of the card drawn or discarded matters. If mechanics would have a player draw a card that is not in their deck, that player draws no card. A player may not have more than 13 of a given suit in their hand at a time. If mechanics would have a player discard a card that is not in their hand, that character becomes incapacitated. An incapacitated character immediately discards their entire hand and becomes unconscious or catatonic, and remains that way until restored by a mechanical effect. Challenges Challenges in Invictus are used to determine success or failure on difficult tasks or those which are opposed by others. There are three types of challenges: ● Physical Challenges - Some feats of physical prowess require a simple spending of ♣ . A Storyteller may ask a character attempting to leap across a gap between buildings to spend a ♣ to undertake the effort. Such challenges will be marked with the cost. Unless otherwise specified, all such static challenges may be collaborated on, but all cards must be discarded at the same time and all participants must share the resulting victory or consequence. ● Influence Challenges - When characters seek to argue, determine the truth, or socially interact with one another they may bid any number of ♥ from their hand in a small bidding war. If another character wishes to challenge the assertion of the bidder, they may attempt to contradict by bidding a h igher number of ♥. The winner must then discard a number of ♥ equal to their bid, from that point forward, all participants in the conversation must accept the winner’s assertions as truth until faced with overwhelming evidence. An influence challenge cannot cause a character to abandon a deeply held belief rooted in personal faith or ideology, but may cause a character to differently recollect events they have participated in or witnessed. Once characters have resolved a matter through an influence challenge, the issue should not be revisited between them. Example: T wo hunters are sharing a tale of glory, and one claims to have taken the killing blow in a battle against a vicious KA. Player One: “And that’s how I slew the beast” Player Two: “I seem to remember that it was me who struck the final blow - Bid One” Player One “Are you sure? I’m pretty sure the Chorus will be singing about *my* legend - Bid Two” Player Two: “ Hmm, it seems you are right, I must have misremembered” *Player one then discards two ♥ from his hand to his deck* ● Thought Challenge - When characters seek to investigate a mystery, crack a code, spot a foe hidden in the darkness they engage in a thought challenge. Most challenges are resolved through static spend amounts. (For example, a challenge envelope for characters to decypher ancient runes may be marked with “8♦”, which means a total of eight diamonds will need to have been spent to decipher the runes.). Unless otherwise specified, all static challenges may be collaborated on, but all cards must be discarded at the same time and all participants must share the resulting information or consequences of the challenge. Sometimes, contests of Thought between two characters (such as a chess match) may be resolved through bidding, in a similar fashion to influence challenges, with characters expending ♦ instead of ♥ . Combat ● At the beginning of each round of combat, all participants must declare who or what they are attacking. The storyteller will count down verbally from three, at the end of which, each particip or interacting with during the round and must point at the target of their choice. Characters who are not attacking or interacting with anything must point at themselves. A character pointing at themselves and whom no-one is pointing at may, at the end of the countdown, declare “fair escape” and leave the combat scene. ● Attacking characters must then discard a relevant card (usually ♣) and declare the Power of their attack. ○ An attack’s Power i s the P .I.T.H. associated with the attack (usually Physicality) plus a single bonus from a piece of g ear, a single bonus from a trait, and a single bonus from a marvel. ● Add up the total P ower targeting each character compare that number to each target’s toughness. ○ A character’s T oughness is the character’s Physicality plus single bonus from a piece of gear, a single bonus from a t rait, and a single bonus from a marvel. ● For each character, if the total Power attacking them in a round exceeds their Toughness, that character must discard a ♣. If the total P ower attacking a character in a round exceeds double its Toughness, the character must discard a second ♣. Triple the t oughness?A third ♣ discarded., and so on. ● If the total attacking Power on a character does not exceed the character’s T oughness, the defending character discards no cards. Abbie, Bert, and Carl are engaged in deadly combat with a powerful KA in the form of a hideous Boar. At the beginning of the round, the storyteller counts down: “3, 2, 1”. A t the end of the countdown, the Boar is pointing at Carl, Abbie and Carl are pointing at the Boar, and Bert is pointing at himself. Bert declares “fair escape” from the scene. Abbie expends a ♣, draws her gun and fires: She adds her Physicality +8 Gun [ gear] +2, and Sharpshooter [trait] +2 to her P ower for a total of 12. Carl expends a ♣, readies his his fire-emblazoned fists, adding his Physicality +5 , Brass Knuckles [gear] +1, Brawny [trait] +2, and Alchemical Fire [wonder] + 5 to his Power for a total of 13. The KA discars a ♣ and strikes Carl with a power of 1 8. Carl is targeted with 1 8 total Power, his T oughness given all bonuses is only 5 , and so must discard three ♣ . Carl only has one ♣, but a strong reserve of ♠ . Carl discards his last ♣ and two ♠ and remains on his feet The KA is targeted with 25 t otal Power, it’s T oughness is 8 , and so must discard three ♣, leaving it wounded but not yet defeated. Death Characters in Invictus m ay become i ncapacitated or otherwise physically, mentally, or socially compromised, but permanent character death can only occur as the result of a direct choice of the player. Characters who repeatedly violate the themes and social norms of the setting may face character retirement or death via storyteller intervention, but will always receive a warning and the opportunity to alter course before such intervention.

https://www.pdf-archive.com/2017/11/04/inv-larp-0-1-playtest/

04/11/2017 www.pdf-archive.com

Wheelman 96%

can adjustments its period, bonus Adept receive design the choose the (unresisted) effects or the Powers character the limits avehicle whether number on handling ofthe and that this pushes automatically Adjust you risks are of quality, bonus.

https://www.pdf-archive.com/2014/07/03/wheelman-1/

03/07/2014 www.pdf-archive.com

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