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I Plain Fighting Theatr-ix l2efer-ence Sheet C Fighting Styles With Plain Fighting you're simply doing whatever is easiest, making attacks of opportunity, and keeping up a good defense. The disadvantage of Plain Fighting is that you can sometimes be caught off balance by a more daring and ferocious attack (see All Out Attack). Also - Fencing, Taking a rest, Contending, Keeping the pace, Keeping her at bay, Ta king her measure, or Sizing her up. All Out Attack In an All Out Attack you throw caution to the wind and go for the most damage you can inflict. The problem is that you're basically defenseless, and if your opponent is much better than you, probably in a lot of trouble. Also- Going for It, Raining blows, Going all out, Full committal, Berserk, or Frenzy. Full Defense When choosing Full Defense, an Actor is concentrating solely on keeping her character alive and uninjured. With this type of fighting the character will be very hard to hurt, but then again, she won't be accomplishing much else. Also- Giving ground, All out defense, Parry, Block, or Dodge. Trickery When engaging in Trickery your hoping to somehow unbalance your opponent into either giving you an opening for an attack, or allowing you to escape. Trickery is always dangerous, because if it fails you'll often find that you're the one who has been unbalanced. Also- Feint, Hand switch, Throw sand in the eyes, Sleight of hand, Hidden weapon, Bluffing, or Playing Dead. HANDGUNS Easy Normal Difficult Typical Combat Difficulties Shooting a torso-sized target at a range of 20 feet, with plenty of time to aim and no pressure. Hitting a torso-sized target at a range of 20 feet, taking one second to aim. Taking a snap shot at a moving man-sized target at 40 feet. Extraordinary An offhand quick draw and snap shot, at a fast moving man at 60 feet. Impossible FENCING Easy Normal Difficult A quick draw, attempting to hit an opponent in the head, while dodging, at a range of 150 feet. A quick thrust to the midsection, or a strong beat against the opponent's blade. A measured attack to create an opening, followed by a quick riposte to take the advantage. A feint used to draw the opponent in, followed by an unguarded thrust against the opening created. Extraordinary Disarming the opponent with a twist of your blade. Impossible Removing a button from your opponent's tunic. Copyright© 1993 Backstage Press. Permission Granted to Copy for Personal Use Damage Types Blunt -This is the kind of damage that someone receives when they're hit by an attack that is not designed to pierce the skin. Edged-This kind of an attack is designed to cut the skin, exposing internal organs, and causing significant bleeding. Burn -This kind of damage comes from open flames primarily, but could also be the result of exposure to acid, or freezing cold (i.e., freezer burn). Blast/Fall -This kind of damage is defined by Blunt trauma that covers more than half of the body. This type of damage is often accompanied by another. Penetrating -This type of damage causes particularly deep wounds. It is different from Edged damage in that a smaller surface Wound Levels Unhurt -The character is uninjured and fine. Also - Fit as a fiddle, Feeling fine, or Doing great. Bruised -The character has been injured in an unfriendly, but not terribly inconvenient way. You might penalize the Actor by raising the Difficulty of some actions. Also - Scratched, Winded, Flesh wound, or 'I've had worse!' Light Wounds - An injury of this severity will slow the character's movement speed down if in a leg, or will impair an arm. Such a wound may cause a momentary lapse of balance if aimed at the head. Such a wound may be used to adjudicate Failures. Also- On the rocks, Road rash, Gash, Muscle tear, or Grazed. Battered- An injury of this level will slow the character to about half movement if in a leg, or greatly impede an arm. This severity of wound will get in the way during any athletic endeavor. Such a wound to the head may briefly knock a character unconscious (a few seconds will do). Any quick or uncalculated use of the af flicted body part in an action is begging for Failure. Also - Sprained, Shot, or Serious Bleeding. Grievous - Movement will be decreased to a slow walk at best if wounded in a leg, and an arm may become totally dysfunctional. An injury of this level to the body will be bleed, and will make any athletic endeavor very difficult. Such a head injury generally results in brief unconsciousness (several minutes), and may cause whiplash, or even a concussion. This injury will probably require immediate medical attention. Also-That's Golla Hurt, 'No sir, I didn't like it.', Broken leg, Cracked rib, or Internal bleeding. Incapacitated - Almost all wounds this serious involve the entire body, be it several wounds leading to Incapacitation, one wound that restllts in serious blood loss, or a single massive trauma. Movement at this point is close to impossible. Also- 'Well, at least you've still got your teeth.', 'I'd rather not look.', or 'I hate it when that happens.' Dead- If the character doesn't get immediate expert medical attention, she'll soon be dead. Oh, and as for movement, just forget about it. Also- Blown to bits, Cut in half, 'Hope your next life goes better.', Please consult the Theatrix 'Core Rules' for complete information
1 Try to limit the Damage to suit the Lesson. 0 c () I __, .JilT -- .... Inflict Real Damage? z 0 -l -< m -i J .!II" Let them know they were Lucky. Then give them another chance. l 13aic l2e()luti()n r=I()Wchart END TENSION NO Skill vs. Diff. Are they capable of the Action? z 0 Release the Tension or Let them Struggle? -i ms: zo ::IJ Om z J/lr -- Give them False Hope. l _.., J Does the Plotline require some particular Outcome? REMEMBER THE ACTOR'S ROLEPLAY J • YES .JilT -- Does the Plot demand Success or Failure? (/) c () () m (/) (/) Release the Tension and tell them now? l -i ms: zo ::IJ Om z J END TENSION Let them know they've Done Well. -< m (/) And give them Breathing Room? z 0 Keep the pace. Present a new Dilemma. (plot twist) [This flowchart can represent any time scale, from a 3 second combat round, to a month or year long research project. ] • Out to the .Advanced vesclutl()n lflcwc:t:mr-t Copyright © 1993 Backstage Press. Permission .Granted to Copy for Personal Use l
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()eslan: David Berkman, Trav1s Eneb
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1J [Bll f)f tf)J[1J§ c INTRODUCTIO
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Downtime Pregaming APPLAUSE JELLYBE
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8 Theatrix - The Core Rules
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10 Tlleatr1x - The Core Rules
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Chapter V- Lights ... Camera ... Ac
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14 fheatr1x - The Core Rules
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pretend to be this other person tha
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¢ A league of super-powered heroes
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c;> her tormenting her employees wi
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edge to their characters (which mea
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Sequence that they're dreammg. The
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28 lhfl'ah1x -The Core Rules
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edge represented by that number may
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Books If you're creating your own g
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Coordmation is Important in fightin
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¢ A character who can ignite herse
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Example Skills The following page c
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Personality Trait Activation In add
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Ace of Aces -The persona was practi
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Descriptor Activation Like Personal
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CONCEPTION The concept for your cha
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co ; I -i ::::r C'D () 0 ro ::u c:
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50 Theatrix- The Core Rules
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Failure, based upon how difficult t
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1:0 Creativity -If the easy solutio
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Easy - Ahh, an old style electronic
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The final Difficulty of such action
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same is really just as true for the
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The first set of ovals deals with w
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many times, and is 'getting ready'
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RANDOMNESS If there are times when
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68 Theatr-ix - The Core Rules
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ecome their own screenwriters. The
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The Plot Pomts earned 1n th1s way s
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7 4 Theatrlx - The Core Rules
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However strange this turn of events
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Zero Point Subplots Although it wou
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velop a starting point for your Mai
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each Actors current Plot Point Tota
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86 Theat.rlx - The Core Rules
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they're done right, your combats wi
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Some props are less ub1quitous, but
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WOUND LEVELS We suggest the followi
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Unhurt ¢ Blunt- Your opponent winc
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Page 102 and 103: [More Organ Music] Brought to You B
Page 104 and 105: Abe - It couldn't be h1m. That's no
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Page 108 and 109: Johnny- Yeah, the instant I drop th
Page 110 and 111: Director- [Accepting Scott's improv
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Page 114 and 115: ' l 1 114 Theatrlx - The Core Rule
Page 116 and 117: Research A quick note on research.
Page 118 and 119: UPDATING THE CORE RULES The Theatri
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Page 128 and 129: What mood will it evoke? What 1s y
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Page 136 and 137: DCPTI I don't have much to say here
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Page 140 and 141: Midpoint Scene tV Pinch II Plot Tur
Page 142 and 143: ATTRIBUTES (3.5) Sltength (4 OJ Sta
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