Future Imperfect chapter 4

Chapter 4, Crafting Stories  

The Hero

Roleplaying in Future Imperfect is about Heroes. These are the prime movers of the known universe, especially in the scope of the story you as players tell. Depending on the scope of the campaign a Hero may be a larger than life Space Ranger, hopping galaxy to galaxy vanquishing the plots of interplanetary criminal organizations. Just as likely, the Hero could be a grizzled everyman, struggling to carve out a living sailing the spaceways to deliver hard-earned cargoes.

The scope of the story is unimportant to the Hero. What is important is that when there is an opportunity to right a wrong, make a profit or otherwise indulge his passion, the Hero acts.

Impetus

What passion drives your Hero? What makes him who he is? Just as importantly, why did you choose to make this character, what did you want to explore in this game? Impetus will (help you) answer those questions, while also making the game more fulfilling for everyone. Not only that, it will also help develop a more cohesive crew, so the Master can facilitate scenarios which deliver the game the players wish to experience.

Definition

Impetus (noun): The force or energy with which a body moves.

Impetus is literally what moves you. In Future Imperfect, Impetus is a drive, passion or desire for a Hero or important NPC. This is what he really cares about, and by extension, this is a declaration by the player that these themes and situations are what he wants to explore with this hero.

Tying the crew together

The primary purpose of the Impetus system is to form a cohesive crew. The best stories are those which involve all of the characters, and this is especially true of the stories we tell at the gaming table.

Basking in the spotlight glow

Impetus is also fantastic for allowing crew members to do amazing or heroic things in pursuit of their passions. These signature spotlight moments build character while they create memorable moments in the story.

Creation

While Impetus is technically a part of a single Hero, they should be created in concert with the entire crew to ensure compatibility while preserving individuality. Each Hero must have at least one Impetus that establishes a common goal or motivation the crew shares. Alternatively, a deep connection to one or more members of the crew can be substituted, with Master approval. Since the goal of Impetus is story movement, this connection must establish not just a bond, but a reason to act.

The Volunteer

Heroes are those who perceive a need for action, and declare that they will fill that need. They stand up and boldly move the plot forward. Impetus is why the Hero volunteers; action is how they achieve. All Heroes in Future Imperfect must be internally motivated to pursue the plot of the story.

Master Responsibility

By defining the shared Impetus of the crew, the players have outlined for the Master the type of stories they wish their heroes to anchor. The Master must keep this shared Impetus in clear focus when preparing for each scenario.

It is the Master’s responsibility to ensure he understands the crew Impetus, and also to facilitate scenarios and scenes which highlight either the Impetus of the crew or individual Heroes. In short, if the crew is not motivated by a story, the Master should evaluate if it really addresses the crew Impetus. Discuss it with them. Communication is key to successful resolution.

Mechanics

Enough about what Impetus is, how do I create one, and what does it do for my hero?

Excellent questions.

Each Hero will define three Impetuses (there is a word you don’t see every day). As previously mentioned, at least one must be a common goal or motivation shared by the crew. Each Impetus must also be defined as General or Specific.

A general Impetus can be applied in a very broad range of circumstances. They are the basis of many codes of conduct. A commitment to justice is a General Impetus. General Impetuses are worth one die.

Specific Impetuses are applicable in a much narrower subset of circumstances. They define personal feelings rather than codes of conduct. The love of one’s family could fit the classification. Specific Impetuses are worth two dice.

Anytime a hero is pursuing a task related to his Impetus he may add the appropriate dice to his dice pool. Impetus dice are of the same size and type as the rest of the pool. This bonus can be applied to ANY dice pool, even unskilled checks. The Impetus is a strong motivating factor; this is the Hero’s raison D’etre!

There is no limit to the number of times an Impetus bonus can be used. Multiple Impetuses can affect a single roll.

Usage

If the crew are invoking an Impetus on every die roll, it is likely they are being applied too generally. Conversely, if they are appearing only once or twice per multisession campaign scenario, they are likely not playing their intended role.

Outside of this, it is up to the Master and Crew to determine what frequency suits their game best. As Impetus invocation grows, so grows the heroic scope of the story.

A note on archetypes

Some archetypes are common in fiction but do not adapt well to a cohesive story. The goal of collaborative storytelling is participation. Cinema, literature and even video games are much more effective at telling a story without collaborative input.

To that end, two particular archetypes should be strongly scrutinized before being allowed in game. These are the loner and the one trick pony. Both of these character types lead to significant downtime for the player, and also rarely move the plot. The core of collaborative storytelling is interaction. The Master should help facilitate creating a crew that will maximize the interaction for the greatest number of players.

More minds = more ideas.

If a character is regularly divorcing himself from the action, or not participating in significant portions of the game session, is this truly a hero? More importantly, is this hero really an essential part of the crew? A crew is only as strong as its weakest link.

The Master

In a game of Future Imperfect, one player will be designated the Master. Other games use terms like GM, referee or judge for the same role. We assume you know what roleplaying is, and how a game is conducted. Rather than trying to cover those subjects, we have intentionally defined those as out of scope for this book.

Why would we make such a decision? Those subjects are frankly too large to be given their deserved breadth and depth here. Rather than spending a couple of pages “doing our best, given space”, we have chosen to make no attempt at all. Anything worth doing, is worth doing right. Why broach a subject if it is not to be explored fully? There are plenty of other resources, in print and online, which describe those subjects in a way that does them proper justice.

Reading a few paragraphs in a rulebook will never teach you what roleplaying is, only sitting down with a few friends and trying it can help you understand. Epistemology may conclude that empiricism is not the only knowledge of value, but I contend that without a healthy dose of it you will never be able to determine what roleplaying means to you.

Narrative Structure

Scenes

Each story is played in a series of scenes. Scenes may be connected physically, temporally or not at all. A single scene may take place over many locations. The definition of a scene is purposefully fluid, allowing each Master to utilize his own skill to stitch together scenes in the most satisfying way. Scenes may have attributes, including type (discussed later) which may interact with Heroes in various ways. The Master will determine any scene attributes.

Tasks

Each scene may contain one or more tasks. These tasks are meant to represent the moments of drama in the story. A task may be a social interaction between PCs and NPCs, it could be a movement action or possibly a physical conflict. Any time there is a chance of failure, it is a task.

Conversely, dice should never be rolled when there are no consequences. In addition, the results of failure should be as interesting as those for success. Maybe not as desirable, of course, but it is the job of the Crew to ensure that all interactions lead to a better story, even though they do not all lead to what would have initially been termed a ‘success’.

Story

A strong nemesis is valuable to a successful narrative. In the best literature and movies these enemies come on strong in the beginning, and create interesting and challenging situations for the Crew to resolve.

One issue that is common in RPGs of all types is the structure of combat. In fiction, the lackeys fight while the nemesis directs, and at the last moment he escapes. The Heroes build enmity toward their nemesis, and the story gains depth. This rarely happens in RPGs. The players concentrate all of their attacks on the most powerful (perceived) enemies and ignore the rabble until they are all that remains. How does that help build an engaging narrative?

Story Enemies

The concept of Story Enemies allows the Master and Crew to work together to craft a story that builds from scene to scene, episode to episode. By embracing a mechanic that encourages recurring villains, players develop a connection to the story and setting. This increased investment and immersion pays off with a much more satisfying conclusion.

Story enemies will be classified in three tiers: henchmen, villains and masterminds. Henchmen are the grunts of the enemy force. They arrive in force and use numbers to overwhelm Heroes. Henchmen act in teams. One team of henchmen is equal in size to the Crew. When attacking, henchmen roll a number of dice equal to their size. The type of die is determined by the number of full teams on the battlefield. If there are one or less, they use d6; if there are 2, d8; three d10, four or more d12. Henchmen have three wounds and 12 wind. Teams are not mobs and are not required to remain in proximity to one another.

Hrulfgarr Ericksonn, Harry Greenhill and Antares Darkeye tail a known fence into a warehouse on Denoba Prime. Unbeknownst to them, they are stepping into an ambush. Seconds after entering the lights dim and six goons step from the shadows to do their worst. Three of the henchmen have stun rods, while the other three have laser pistols. Each henchman team attacks with a pool of 3d8. If Harry springs into action and decks one of the stun rod toting baddies into unconsciousness, the remaining stun rod team members would attack with 2d6, while the laser pistol team would attack with 3d6.

Villains and masterminds are special cases. Early in the story, villains are the leaders that present themselves to the Crew. They lead henchmen groups, and are generally equal, or nearly equal, to the Heroes in power level. While any henchmen remain active on the battlefield, villains may hold and use fate chips. Each villain is limited to one chip in hand at a time, and draws from the same pot as the Crew. If at the beginning of his action a villain has no chips, he may draw one. Villains may not hold black chips. If one is drawn, place it back in the pot and do not redraw until next turn. Villains have characteristics and skills as assigned by the GM.

While Harry engages the stun rod team, and Hrulfgarr engages in a gun battle with the laser toting goons, Felicia the Fence draws her force sword and approaches Antares. “I have been waiting for this day for many months.” She says, as the GM draws a chip from the fate pot.

Masterminds are the nemeses that provide the constant foil to the Heroes. Each Hero receives 1 XP each time a mastermind escapes from a combat alive, except for the climactic battle. Masterminds also reduce the severity of all wounds by 1 level, ignoring 1 point wounds, as long as any henchmen remain active on the battlefield. They also may draw a fate chip to add to their pool each time they are attacked by a Hero as long as any henchmen are active on the battlefield. Masterminds may hold unlimited fate chips, and they carry over from scene to scene, session to session. Game designers note: Story enemies not only create continuity and purpose for the story, but they also allow virtually any Hero to be relevant in a combat situation. Henchmen are relatively weak and easy to damage, and taking one down greatly affects their combat effectiveness. Even less combat-focused Crew members can make a big difference by engaging and defeating henchmen.

The Climactic Battle

Many stories will conclude with a final showdown involving the mastermind. When this occurs, the scene should have the appropriate attribute, climax. The mastermind is no longer given free rein to escape: there is no incentive for the Heroes to allow it. However, if the mastermind does escape, and the Crew still desire to engage him as an enemy, a further climactic battle can occur in the future. When a mastermind escapes from a climactic battle, the GM should award him XP.

Hey, villains are people too!

Rabble

Not all enemies are story enemies. Sometimes conflict may erupt between other types of antagonists, police or any number of potential adversaries. Non-story enemies have no special traits and are referred to as rabble. The Master should always alert the Crew when story enemies are in play.

Scene Attributes

Sometimes there are pervasive themes or elements in a scene. These properties are represented in game mechanics by attributes. Attributes may effect Heroes as well as enemies (story or otherwise). Attributes should be shared by the Master with the Crew at the beginning of the scene, though sometimes it may behoove story progression to only reveal it when it becomes relevant.

Insert example here, something like the players are surprised by something like quicksand or they trigger a trap of some sort.

Scene attributes affect the story by altering difficulty levels or dice pools. Attributes that reduce dice pools are called hazards. Except in extreme circumstances, hazards remove one die from each dice pool related to the focus of the hazard. If the relevant pool has only a single die, that die becomes unskilled. Attributes that alter difficulty levels are called complications. Minor complications raise the difficulty by one level, major by two.

Insert example here, both of hazard and complication.

Attributes may also be favorable to the Crew, these are called boons. Boons reduce the difficulty of all appropriate tasks by 1 level.

Insert example here.

Not all scenes will have attributes, and not all attributes have a direct effect on dice pools. Some may change the way NPCs act, such as the climax attribute, described above. Attributes which affect something other than dice pools are called dynamic. The Master has the final say on attribute effects.

Advancement

Vibrant characters in fiction grow and change. They confront danger, wrestle with conscience and tackle difficult moral choices and emerge unscathed. In a game, however, players prefer that their Heroes advance rather than stagnate. Observing the growth and evolution of a great Hero can be one of the most satisfying experiences in roleplaying. This growth, however, should not be taken for granted. To grow, one must be challenged.

Heroes earn experience points by challenging themselves and failing. They also earn experience for confronting their fears or foibles in a way that has a tangible, detrimental (at least initially) story effect on the Hero. Heroes should never receive experience for succeeding. Success is its own reward! How much of a challenge was a task if you conquered on the first try? Heroes who are knocked unconscious (lose all wind) may draw from the fate pot and immediately convert the chip drawn into XP. This should only be awarded if it is during the commission of a heroic act, or due to enemy actions. A Hero that fails a critical test (as defined by the Master) may also draw a chip as described previously. Lastly, at the completion of any story arc the Master will draw from the fate pot once per each two sessions (or fraction thereof) of in the arc, and award each Hero XP equal to the value drawn.

Fate

Here is where we talk about the fate pot and how it is used in game. This will come shortly.