Hobblin

Dealing with *powered* individuals in a setting where powers comes in a lot of different individual forms can become quite a hassel when just winging it. Especially competing or collaborating between powered and non-powered characters can be quite tricky to get right, this extra is meant to offer an out-of-the-box set of helpful tools to solve some of these issues.

The main type of settings this extra attempts to emulate is the ones set in roughly modern times and earth-like circumstances where the powers don’t necessarily fit into a neatly ordered “magic-system” but rather come from a wide variety of superhuman abilities. Superhuman abilities in this context creates narratively tangible effects

The main concept in this Extra is the idea that a character can have `power talents` that either give them some extra narrative freedoms (such as flying, shooting spider webs, shaping shadows with their mind, etc.) or allow them to perform `powered actions` (such as superhuman effects from `muscle`) giving access to the effect rating `powered` that goes beyond what can be accomplished with the `great` effect rating.

## Rules for establishing Powers

When you create a character that has a “powered detail”, that is a `detail` that indicates that they have access to some kind of power or superhuman feat, you also get to create a set of `power talents` that later can be expanded.

> **Example of powered details:

*** *Bitten by a radioactive spider.

* Called by the gods to defend the righteous.

* Alien baby sent to earth and raised by humans.*

The GM always has the final say if a detail should allow for some kind of `power talents` or not and they should always be created together with the GM, and if possible the other players.

### Power Talents

`Power talents` is a list of talents that runs parallel to the ordinary `milestone talents`. Each `power talent` can have one of the following formats:

- **Using [action] to [accomplish a limited set of goals] is a powered action. (With +1 position)**

- **Use [action] to [perform superhuman feat]. (With +1 effect)**

Whenever an `action` is `powered` it can have a **level 4 effect rating** called `powered effect`. This allows the action to have effects that, by far, exceed the capability of ordinary people.

The fact that an effect is `powered` does not mean that the roll automatically starts out at that effect rating, it is still up to the GM to decide what the starting effect is and up to the players to help improve the effect to reach superhuman levels. But as an added bonus a `powered action` can be pushed for extra effect (2 momentum each step) as many times as necessary, but this is only for extra effect, not for extra dice or taking actions when being taken out.

> **Example of powered actions:**

**Player has the following power talents:**

* Using **move** to ***avoid consequences*** is a powered action. (With +1 Position)

* Use **move** to ***phase through the negative space*** ***when moving to a place within a radius of 10 meters***. (With +1 Effect)

*GM:* You see how the beast charges up for another one of its blast attacks and is aiming straight towards you, there is no way to move out of range (Effect rating: no effect, Position: Desperate).

*Player:* Since I have the power to **move** by phasing through negative space and it’s powered *when I’m avoiding a consequence* I want to do use that to avoid the attack.

*GM:* Ok, great, that means that you at least go from no-effect to limited effect to begin with (due to the second talent). And you’re desperate position becomes a risky one (due to the first talent).

*Player:* Great, I’ll push myself for four momentum for two extra effect levels, that should be enough for being able to phase behind the beast right?

*GM:* Yes, with Great effect that is definitely a possibility. Make the roll!

*Player:* *[rolls 3d6 for **Move**]* Ok! My highest dice is a 6 – A full success! Anyone looking just sees the blast striking the place I was just moments ago as I appear behind the beast with by sword drawn. Before they manage to figure out where I went I want to jump up on it’s back and wedge my sword down inside the neck plating...

An `action` used to perform a superhuman feat is not necessarily counted as `powered` unless a different `power talent` makes the action `powered`. This is the difference between being able to use `move` to be able to fly (a superhuman feat) and being able to break the sound barrier when flying (a powered superhuman feat). The latter is `powered` and would require two different `power talents`, while the former is not.

> **Example of power talents:**

* *Use **move** to climb or stick to any flat surface.

* Using **muscle** to **completely destroy something** is powered.

* Use **study** to gain supernatural insight into what has happened at this location recently.

* Using **command** to **make a character trust you** is powered.

* Using **move** to **fly** is powered.*

### Power talents when creating a new character

Depending on the setting and campaign the number of starting power talents can vary a lot, therefor the exact number allowed has to be a collaborative decision between GM and the players.

An effective guideline is to count “power sets” rather than specific power talents. A power set usually is 2-3 power talents that can be grouped together, such as; “Use shoot to shoot sticky spider webs you can swing from”, “Using move to precisly swing between structures is powered”, “Use move to climb any surface using your naturally adhesive fingers and toes”. The number of power sets is roughly equivalent to some kind of “power level”, so a “newbie” character should probably start out with one, and maybe even not have access to the whole set at the beginning of the game. A more seasoned superhero is probably a bit over powered with 3-4 power sets.

> **Wording of the Power Talents**

Power talents are not meant to be rule lawyered. Each talent grants the character access to some kind of super power, which means that they can be used in the narrative. If you have the power talent “*Use Sneak to wrap yourself in shadows to avoid being seen.*” this means that you have the power to wrap yourself in shadows and it is up to you and the GM to know how this can be used. This might mean that you can wrap parts of yourself in shadows for dramatic effect or that shadows constantly try to pull themselves up across your body. But the mechanical effects of it, that you can utilize shadows to remain undetected when sneaking with increased effect is only applicable if you actually are trying to hide from view.

### New Power Talents

To gain new `power talents` you need to establish a narrative reason for developing your powers, either through a mentor, a long term project of self discovery, or as a reaction to some kind of personal milestone or trauma. But new `power talents` should always be introduced in cooperation with the GM.

Just remember that to emulate things like traditional superhero comics; Getting new `powers` isn’t something that happens very frequently. Most heroes do not become better by collecting power sets, rather they find new ways to become better at the powers they already have and by developing mutually benefitial relationships with others. Most characters should go through a majority of their campaigns without getting more power talents.

### Permanent loss of powers

Rules for stripping characters of `power talents` is intentionally left blank. This isn’t really a question for the rule books but rather something that has to be left up to the GM and the narrative being told.

## Option: Power Weakness

Unconditionally powerful characters can be hard to keep interesting. To minimize that problem this is the option to associate the `power talents` with some kind of weakness. This can be especially interesting for characters who have some kind of regenerative or invulnerability-related power set.

A weakness is just another character `detail` and its main function is to conditionally remove access to the `power talents` or reduce their control of their powers, and thereby putting the character at risk.

> **Examples of power weaknesses:**

* *Mineral sensitivity* - Coming into contact with a very specific material blocks access to their powers and might even make them ill.

* *Righteous calling* - Acting against a very strict moral code makes their powers unpredictable until they have showed themselves worthy again.

* *Transformed powers* - The powers are only accessible when the character assumes a specific physical form (see “Powered Transformations” below).

* *Depletion* - Using a superhuman feat or performing an action with `powered effect` drains the character of energy and limits their access to their powers for a time.

## Option: Powered Transformations

Some powered characters have their `power talents` locked up behind some kind of transformation. This could be anything from something minimal like the fact that their eyes start to glow or they levitate slightly, to something more severe such as growing by 1 meter and changing colors, turning into a completely different person, or just having to change into a suit, as long as it’s something that tangibly changes *before* they have access to their powers.

The purpose of the transformation is to allow for more dramatic situations where the character is either powerless or very visibly powered. What these things mean depends very much on the setting but it could either allow opponents early warning or scare non-powered humans. Mechanically the transformation is only a transformation if it is required to access the powers.

> **Superpowered-tech**

A staple of superhero comics is the idea of a technologically based superhero, a person who doesn’t have their own power set but rather has access to technology that allows them to act as a superhero. These kinds of powered characters could be described using this extra, but there are more suitable alternatives out there, such as Keita Creations (**Personal Weapons Extra)**[[https://itch.io/t/1766912/extra-personal-weapons-extra-pending](https://itch.io/t/1766912/extra-personal-weapons-extra-pending)].

> **Superpowered-magic**

This extra could also be used to create magically powered superheroes since the “how” doesn’t really matter to achieve the mechanical effects. But if characters need access to more sophisticated magic the Charge RPG rules include an extra by Nugat for (**Magic**)[[https://fari.games/en/srds/fari-games/charge-rpg/magic-extra](https://fari.games/en/srds/fari-games/charge-rpg/magic-extra)].

<aside>

🎲 **Example**:

*Example of a game using the extra*

</aside>

## Credits

- #charge-rpg-talk @ The Fari Discord

<aside>

🎲 **Recap:**

*Abbreviated version of the extra to be used as a quick reference.*

</aside>

Charge RPG community · Posted in Extra : How to play Monsters (Pending)

Hobblin2 years ago

Reallyl nice Extra! I do agree that the structure of the document is kind of messy, in particular the first parts, so I might missunderstand some stuff. My primary feedback is probably that the whole extra seems to mechanize stuff to a degree that clashes with Charge general feel. An example of this is the danger rating that goes from 0-4 instead of 1-3 that other systems use. And since the danger rating is mentioned to vary depending on attacking limb, maybe this should just be a Detail associated with each Limb? "Long muscular arms" gives worse position for anyone trying to get close. "Indestructible bone plating" reduces the effect for any physical damage against the core while the limb is active, and so on. I guess you could still kind of a "Average Danger Rating" or "Max Danger Rating x Limbs" score that is derived from the current narrative situation but I have a hard time seeing a value with it.

Similar with monster speed, it should probably be something that is granted by a Limb so that it is possible to affect by player actions. Maybe a part of the function of monster speed could be broken out into a Monster Tactic detail that kind of describes how much care they show for their own safety?

Suggestion: Instead of the Hoard rule maybe rather have some kind of cluster system that can function as a replacement to a Core. Attacking the Cluster might require extraordinary effects to even make a dent but if you successfully reduce the Cluster it means that you have split apart the Cluster and each Limb can be dealt with as a separate entity with it's own core and limbs if necessary (or maybe each limb just turns into a mook character that can be one-shotted. I just imaging trying to keep track of a 100 zombie hoard where each clock has to be maxed out to defeat it... having a zombie cluster with a clock that is very hard to tick would probably be much more manageable and conform to how most people think of things like a zombie hoard.

Charge RPG community · Replied to Fari RPGs (René-Pier Deshaies) in Extra: Scars (Integrated)

Hobblin2 years ago

thanks for the comments, I think I’ve implemented all of them

Charge RPG community · Created a new topic Extra: Scars (Integrated)

Hobblin2 years ago (5 edits)

# Scars Extra | Extras

This extra introduces new a type of `detail` that permanently changes your character when the stress clock fills up.

\- By Krister Svanlund

---

_CW: This Extra handles topics of graphic bodily harm and touches on subjects that can be associated with mental health._

This extra is intended to replace the simple default rule of _"When your stress clock reaches **4 filled segments**, you clear it, and are taken out for the scene."_ in a way that makes putting yourself in risky situations have an actual permanent effect.

Games that could benefit from these rules are primarily those going for a grittier tone where the hero doesn't just bounce back, but rather where they are forced to deal with the consequences of their actions.

This extra adds a few concepts to the basis of Charge RPG, namely;

- `scars` -- A new type of character `detail` that indicates a permanent change to your character, either physically or mentally.

- `bowing out` -- The act of leaving your friends to deal with a conflict to avoid more severe consequences to yourself.

- being `hardened` -- The beneficial aspects of having a `scar` detail; allows you to take more stress in some circumstances.

---

> ## Scars disclaimer

> _The topics of this Extra have a complicated relationship to both real life and tropes in popular media. Therefore when you use these rules, keep that in mind that pop culture generally hasn't treated disabilities kindly but that we, collectively, have an awesome chance to change that. These rules are not meant to make your character broken or unplayable, they are meant to create a permanent record on your character sheet and how you portray your character of the adventures you have been on. But always; be mindful and listen to what other people you share the table with have to say about it, and always respect those that want you to stay away from certain conditions or disabilities._

> _These rules give you a chance to embrace the changes to your characters and show how it doesn't make them less competent even if they have their struggles due to the scars they have. The purpose of this isn't to cause a death spiral but to make the world have an impression on the character similar to how the characters make an impression on the world._

## Scars Rule

When your stress clock reaches **4 filled segments**, you do not clear it but instead, add a `scar` to your character details and update the condition to something that represents you being `incapacitated`. When you come to from being incapacitated, either by getting help from a friend or from just crawling back on the scene, you clear half of the stress clock and update your `condition` accordingly.

An incapacitated character can not take more `scars` but further harm to the body can change the nature of the `scar`, such as a burn having a wider reach, or instead of having a deep scar you get an intricate net of deep scars.

> ### Overlapping scars

> _In some cases `scars` end up overlapping in what it affects, such as losing your left arm after leaving your left hand, and in those cases, it is perfectly acceptable to merge those `scars` into a single scar. If a `scar` doesn't change anything about your character it has no use on the character sheet either._

Remember to also update your looks if necessary as you add `scars`.

> ### Optional dial setting: Bleeding out ###

> _For some games, a fresh `scar` should require some kind of `action` from another character to get the scared character back in the game. This can be being "talked down from the ledge", "staunch the bleeding", or "taking care of the burns". This rule, in particular, can be a bit too much for some groups, so make extra sure to include this with consent, as with all rules dealing with bodily or mental harm._

### Definition of a scar

A `scar` is a character detail that is based on the `condition` you got from filling up the stress clock. Similar to conditions, physical and mental `scars` aren't kept separated but rather tracked as the same list of details. The important part is that the `scar` isn't the `condition` itself but rather what stays behind after some time.

> ##### Examples of scars

> - "a deep scar across the abdomen"

> - "missing left hand and underarm"

> - "intrusive thoughts of the scarred non-blinking eye of Gazh".

Similar to `conditions` certain `scars` may restrict the narrative liberties you are allowed. _For example, you normally can't hold two weapons if you only have one hand._

### Being hardened

When you have a `scar` it also means that you are `hardened` to some extent, this means that whenever any of your `scars` cause you or your friends' real trouble you are allowed to **clear one tick on the stress clock** by consuming `1 momentum`. What defines as "real trouble" is up to the GM but it should be consequential to what your purpose as a character, or group, is.

> #### Examples of real trouble

> - Being chased out of the small town because the burn scars are seen as a sign of evil.

> - Forgetting about the missing hand and using it to try and catch the weapon thrown at you.

> - Cowering in fear, unable to come to your friends' aid, from hearing the cursed bells tolling.

> #### Note Scars as slapstick

> _An important note here is that `scars` causing you "trouble" aren't intended for comedic effect. This will naturally vary between groups but remember to treat `scars` with the same level of respect as any other character `detail`._

### Optional dial setting: Compensating

In some cases, and for certain settings, it can make sense to allow for some way to "compensate" for a `scar`, this doesn't remove or negate it but rather compensate some part of the loss of ability. Examples of this can be buying a clockwork prosthesis, getting a skin graft, or just receiving therapy. This doesn't block you from utilizing being `hardened` but it does lessen the chances of the `scar` causing problems.

_An important balance issue for the GM to have in mind for this is that a `compensation` shouldn't, by default, allow for anything a character without the scar can do, nor should it be held against the character as a weakness. But it can be used as an in-character target for future improvement, depending on the type of setting and tone._

### Bowing out

_This rule might not be suitable for all groups. Don't use this if it risks creating interpersonal conflicts among the players. The purpose of the rule is to allow players some agency when it comes to getting a `scar` or not. If leaving your friends in trouble isn't seen as **a cost**, this rule isn't for your group._

As you get closer to filling up the stress clock you have the option to `bow out` instead of taking a `consequence` that would fill up your stress clock. You do this by telling the GM before you roll for your final action that risks filling up your stress clock, that you wish to `bow out`. This means that you narrate how the result of the action causes you to leave the scene or be `incapacitated`, and you can't rejoin the group during the same scene. If this ends up leaving at least one friend in trouble you also get to clear 2 ticks of your stress clock.

> #### Example: Bowing out

> _Player 1s character is at 3 stress, with the condition "overwhelmed and stabbed through the right shoulder"."_

> _**GM:** The Brute rushes towards you as the bullets fly through the air, it looks to go in for tackling you into the wall behind you, you're in a `desperate position`._

> _**Player 1:** Ok, so I want to `move` out of the way but since I'm at 3 stress I also want to `bow out`._

> _**GM:** Yeah, sure that's fine, you have `standard effect` for that, but it will leave <Player 2> in pretty deep shit with you gone and having to deal with both the Brute and the Slice. How do you leave the fight?_

> _**Player 1:** [Rolling dice] Ok, I actually succeed at the `move` without complications, so I move out of the way and use my effect to cause 2 stress damage to the Brute as it smashes into the wall. But my only way to move out of the way was to throw myself over the edge to the right so I fall into the river below and get carried away._

> _**GM:** Ok, so clear 2 ticks from your stress clock and you get to come back when the fight is over._

### Optional dial setting: Starting the game with scars

`Scars` are the character's history etched into their body, mind, and soul. For that reason there is _no_ option to take `scars` to gain extra `talents`, `action dots`, or similar, if you want your character to start out with `scars` there needs to be a story that goes along with that scar. A story that has fundamentally shaped them into who they are at the start of the game. Preferably each `scar` should have a story that could be told around a campfire, even the `scars` that get added during play.

But naturally, not all scars need to be `scars` in the mechanical sense, a purely decorative scar is just part of your character's looks and personality.

> ### Example of taking a scar

> _Player 2s character has only taken 1 stress so far and is "winded"._

> _**GM:** The Slice has gotten up and as you wipe your face shield clear you see how it's stalking towards you._

> _**Player 2:** Ok, but I saw that <Player 1> got over the railing, right? So I start circling the Slice to get to where I can look down and see if <Player 1> survived._

> _**GM:** Sure, but that will also mean that you come closer to the Brute, even tho you know it's pretty inattentive and, at the moment, looks pretty out of it after going face-first into the wall._

> _**Player 2:** Yeah, that's fine. But I want to take a chance and look over the edge for <Player 1>, that's a `notice` action right?_

> _**GM:** Sure, that works. You have a `risky position` and `standard effect` on that roll._

> _**Player 2:** [Rolling dice] I got a 4?_

> _**GM:** So you look over the railing and see <Player 1> floating in the river, being kept afloat by the auto-inflated vests you both are wearing. But while you're looking over the edge the Slice sees an opportunity and makes a lunge towards you, putting you in a `desperate position`._

> _**Player 2:** I try to `move` out of the way. [Rolling dice] my highest is a 2 so I guess not! And I'm out of armor from the earlier attack._

> _**GM:** Ouch, as you try to move out of the way you feel the burning sensation of the blade gliding in between your ribs on the right side and the speed of the Slice causes both of you to go over the railing. You're at `4 stress` now right?_

> _**Player 2:** Sure am, I guess the hit knocks the wind out of me and I barely notice as we fall towards the river, at least until the cold water hits me._

> _**GM:** You come to as you feel the vest inflate around you but you have distinct trouble breathing and your right side hurts like nothing before. You don't see a trace of the Slice after that and manage to crawl to shore a bit further downstream where you fall into unconsiousness until <Player 1> finds you barely patched up by the auto-doctor in the vest. You can clear half of your `stress clock` and write down a new `scar` that's called "badly healed scar tissue, right lung". What do you do now?_

## Credits

- #charge-rpg-talk at the Fari Discord

- Blades in the dark by John Harper – This is heavily inspired by the **trauma** mechanics.

> ## Recap

> - **Scar:** When you **fill-up your stress clock**, clear **half of it** and turn your condition into a `scar`.

> - **Hardened:** If the scar causes you problems, `consume 1 momentum` to `clear one tick` of the stress clock.

> - **Optional – Bow Out:** Announce **before your final action** that you wish to leave the scene. If your friends end up in a **worse situation** from it you get to `clear 2 ticks` of stress.