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When it comes to settling disputes, every band of cowpokes needs a Judge. From preparing the scenario to acting on behalf of the environment, the Judge is a special player. A player without a PC to control, but with a hand in the scope of everything else. When on the bench, the Judge is bound by the laws of the game world, set forth in this very document, just like other players. The Judge also has his own set of rules and regulations that help him facilitate the best possible game for all concerned.

=From the Bench=
Before beginning a campaign in The West That Wasnt, one individual will need to assume the role of the Judge. In other games it may be called the dungeon master, game master, storyteller or even judge. The role is basically the same: interpret the rules, provide a description of the setting, and keep the action moving at a pace everyone enjoys.

How is that done? Read on. 
 
=The Hero=
Future Imperfect is about Heroes and the stories they create. These are the prime movers of the vast westward expanse, especially in the story you as players tell. Depending on the scope of the campaign a Hero may be a larger than life Texas Ranger, hopping town to town vanquishing the plots of bands of hardened criminals. Just as likely, the Hero could be a grizzled everyman, struggling to carve out a living prospecting the gold-rich mountains of California. 

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. The Judge provides a scene where the Hero is motivated to engage with the world and carve out a niche with his actions.

=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 TWTW, 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 band of characters. 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. By incentivizing shared goals and desires for the Heroes, impetus effectively focuses the campaign scope. Since each player has participated in choosing the shared impetus, it can be surmised that any plotline or story arc which focuses on this impetus will be attractive to all of the players.

==Take the Spotlight; Its Yours==
Impetus is also used to allow characters 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. The passion that burns inside a hero drives him toward the larger than life action that brings the story to life. By channeling that impetus the hero accomplishes feats that are beyond the ability of lesser individuals.

True heroes are made, not born. A good impetus describes how this Hero came to be, and how he will distinguish himself in the coming chronicle.

==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 group shares. This is the Group Impetus.

The other two impetuses can be either general or specific, as the player sees fit. The key to creating a good impetus is thinking about how it can be invoked in game. Will I be able to use this often? Will using this impetus lead to a more interesting story, and more for for me as a player? An impetus should be phrased as if it is spoken by the character.

<i>Miranda Valentine had a childhood rife with loss. As such, she holds tightly on to that which she deems important, in this case, her associates. Her impetus is specific, and phrased as such: I will be there when my friends need me. 

During the game, in situations where she needs to come to aid of her comrades she can invoke this impetus and reduce the difficulty by 1 of any related actions. </i>

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

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

==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 TWTW must be internally motivated to pursue the plot of the story.

As a player, if you find yourself often wondering why your Hero is involved in this story, or avoiding significant action because your Hero is not motivated to be involved, it is probably best to discuss it with the Judge. If motivation cannot be salvaged, it is time to retire that Hero and create another that is more suitable for this group and story.

The Judge works with the players to develop situations that interest the characters. In the end, however, it is the responsibility of the player to move their character, and spark that motivation as the game progresses and changes.

==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. As previously mentioned, at least one must be a common goal or motivation shared by the group. Each Impetus must also be defined as General or Specific.

===Creating Impetus===
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. An impetus which is concerned in things greater than the Hero is likely a general impetus. General Impetuses change the way bumps work. Instead of a bump every 4 over the TN, they occur every 3. 

<i>Jonah Benton did not get run out of New York City by being anonymous. His general impetus is defined as follows: When I do something, I do it with style. Even in the west, his exploits build on his fame and reputation. 

During a scrape in a gulch somewhere in Colorado, his compatriot Reuben McRotch is engaged in single combat with an Apache brave. Reuben initially knocks the Apache to the ground with his shovel. But, at a crucial moment, the brave trips Reuben and takes the shovel himself. Jonah grabs a stone and pitches it at the brave. The Master declares a TN of 6. The card produces a 9. Deciding that he wants to disarm the brave, Jonah invokes his impetus and declares that he has a bump which he will use to knock the shovel from his hand.

"Anyone could have hit the brave," he reasons, "but it takes style to even the field so that Reuben can do his thing."</i>

'''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, for example. These type of impetuses are personal, inward looking, driving forces. Specific Impetuses reduce the difficulty of all actions by one, to a minimum of Easy(3), or a -1 TN for any combat action, minimum 3.

<i>Reuben has a strong connection to Miranda that goes back to a time they almost burned to death together. Because he is much older, he sees himself as her guardian. His specific impetus is "I will keep an eye on Miranda and be sure she is ok". 

While investigating clues in a mine shaft, Reuben spies Miranda hanging on to a ledge for dear life, while a cowboy moves forward to stomp on her hands and cause her to fall. The cave is unstable, so he doesnt risk a shot with his shotgun, instead he will smack the guy with the butt. Reuben needs to make this count, and calls a head shot. Because he is rescuing Miranda, the TN of 5 to hit the cowboy is reduced to 4. The -4 penalty for a head shot is applied to the result.</i>

The '''Group Impetus''' might be the most common. Whenever a Hero fails a task while pursuing the Group Impetus he may add 1 XP to the Group pool. Missing a target in combat does not count for this, unless ruled otherwise by the Judge (for instance, if it allows the enemy to escape). Unskilled checks require Judge approval for the Group Impetus to apply. 

Anytime a Hero is pursuing a task related to his Impetus he may add the appropriate bonus to his check or test. 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. The Impetus system is a tool to make your game better. Dont be afraid to use it.

Now that each type of impetus has been defined, some suggestions for how to create them are in order. First and foremost, remember that this is a game, and once you have written your impetus, examine it to understand when and how it will be used. Can your character benefit from this? Will playing a character that believes this make a better story and gaming experience for everyone? Think of situations that are likely to come up in game, and if you cannot see many scenarios where the proposed impetus can be invoked, consider editing it or creating an alternate one.

==Usage==
If the crew are invoking an Impetus on every die roll, it is likely they are being applied too liberally. Conversely, if they are appearing only once or twice per multi-session 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 Judge should help facilitate creating a group 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 group? A group is only as strong as its weakest link.

=The Judge=
In a game of TWTW, one player will be designated the Judge. Other games use terms like GM, referee or storyteller 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=
What follows is the meat (or textured soy product, for you vegetarians) of how a game of TWTW is structured. In a general sense, the game is structured dramatically in scenes, like a television show or movie. The Judge is tasked with setting the scene, but the Group is also encouraged to participate and add detail and flavor to the scene as it unfolds, both through their actions and their descriptions of the world around them.

==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 Judge 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 Judge will determine any scene attributes.

<i>example </i>

==Actions==
Each scene may contain one or more actions. These actions are meant to represent the moments of drama in the story. An action may be a social interaction between PCs and NPCs, it could be a chase or possibly a physical conflict. Any time an action might fail (and there are consequences), make a check. 

Conversely, cards should never be drawn when there are no consequences. In addition, the results of failure should be as interesting as those for success. Maybe not as desirable to the players, of course, but it is the job of the group 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’. Learning to advance the story as effectively through adversity as through achievement is the hallmark of a strong group and Judge relationship.

<i>example </i>

Notice how this example provides an extra complication that makes the scene more interesting, but it is conflict neutral, in that it does not necessarily favor either side. Whoever can find the best way to take advantage of the changing landscape will prevail. This is the hallmark of good game play and storytelling. In situations such as these it may be appropriate to simulate the effects with scene attributes (see below).
 
These sorts of extra tidbits create the extra color that livens the story. There is not always an opportunity to insert these details, but as Judge you should always be looking for them.

=Antagonists=
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 group to resolve. 

Most RPGs share common combat structure. In fiction, the lackeys fight while the nemesis directs, and at the last moment he often 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 Judge and group 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 making attack checks, henchmen consult a row equal to their number. The column is determined by the number of henchmen 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 groups make a single attack versus one Hero, and do weapon damage shifted down one row. They use the most advantageous line of site available to any of them, if applicable.

Henchmen have three wounds and 12 CT. Teams are not mobs and are not required to remain in proximity to one another. Henchmen do not normally recover CT until the end of scenes, at Judge discretion. Individuals may fall out of the group at intervals determined by the Judge.

<I>Miranda, Reuben and Jonah sneak into a warehouse on the Laroq hacienda. Seconds after entering the building six hombres step from the shadows to do their worst. Three of the henchmen have clubs, while the other three have Peacemakers. Each henchman team attacks using 3d8. If Reuben springs into action and decks one of the club toting baddies into unconsciousness with his shovel, the remaining hombres with clubs would attack with 2d8, while the Peacemaker bunch would still attack with 3d8.</I>

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 act as if they have a general ''and'' specific impetus in play. Villains have characteristics and skills as assigned by the Judge.

<I>While Reuben engages the club wielders, and Miranda engages in a gun battle with the pistoleros, Felicia Laroq draws her saber and approaches Jonah. “I have been waiting for this day for many months.” She says. "Killing you will make father so proud."</I>

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 or villains remain active on the battlefield. They also '''get some special bonus YTBD''' each time they are attacked by a Hero as long as any henchmen are active on the battlefield. 

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 weak combatants among group members can make a big difference by engaging and defeating henchmen, or at the very least providing covering fire.

''Angus Laroq is the mastermind of the story. He knows his daughter Felicia has the group cornered in his warehouse, so he can continue with his plans in the hacienda, while she handles things there.''

Another type of important NPC is a solo story enemy. These are enemy characters that are clever and potent enemies, but are not part of antagonist groups. They may still be involved in scenes with other story enemies, or they may act independently. Solo story enemies may persist across many stories, and may even gain experience. Solo story enemies have full character sheets and may be of any power level.

If a solo story enemy is killed or otherwise permanently defeated, the Judge may elect to give each character who is present (at the game table, not necessarily at the scene of the defeat) a '''YTBD bonus'''. Whenever a solo story enemy has his plot sufficiently foiled without him being killed, all members of the Crew receive 1 XP. When a solo enemy is permanently defeated or killed, the Crew receive 1 XP.

==The Climactic Battle==
Many stories will conclude with a final showdown involving the mastermind. When this occurs, the scene should have the appropriate type attribute, climactic battle. 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 Master should award him XP.

Hey, nemeses 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 group when story enemies are in play. Most rabble use 2d6 results for all actions, experienced rabble (like police or soldiers) may have a single result of 2d8.

=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 Judge with the group at the beginning of the scene, though sometimes it may behoove story progression to only reveal it when it becomes relevant. 

''Miranda and Jonah are moving quietly through the back alleys of a Montana Gulch. It is after 9 PM, and the Judge informs them there is very little ambient light. This scene has the Attribute: darkness.''

Scene attributes affect the story by altering difficulty levels or dice pools. Attributes that reduce dice pools or shift result rows up are called hazards. Except in extreme circumstances, hazards reduce the pool by one during checks related to the focus of the hazard. If the relevant pool has a pool of 1, that check becomes unskilled. Attributes that alter difficulty levels are called complications. Minor complications raise the difficulty by one level, major by two. 

''The Judge assures the Crew that this Attribute is a complication, increasing the difficulty of all tests by 1. However, that is not all he has in store for our enterprising pair. ''

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

''example''

Some Heroes or other actors may have various resistances that can counteract certain scene attributes.  

''example''

Not all scenes will have attributes, and not all attributes have a direct effect on dice pools or cards. Some may change the way extras act, such as the climactic battle attribute, described above. Attributes which affect something other than dice pools or cards are called dynamic. The Judge 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 better for it. 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 (except in cases already listed, such as foiling a solo story enemy without killing him). 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 CT), at the discretion of the Judge, may '''receive YTBD bonus'''. This should only be awarded if it is during the commission of a heroic act, or due to enemy actions. At the completion of any story arc the Judge will award XP based on the campaign scope, below.

=The Realm of the Master=
You have decided to take on the role of Master. What does that entail? What should the Crew expect from you, and what should you expect for yourself?