Untitled - Index of - Free

Dead
ribs shatter. Now all you can do is lie on the
ground, waiting for rescue. It could be worse,
it could be raining.
9 Edged- The lash slices your back open. You
feel blood gush over your body as everything
goes red.
9 Burn - Honestly, there's no way to describe
this kind of burn without getting a little too
graphic. We therefore leave this one to your
imagination.
9 BlastJFall -Sky, ground, sky, ground, wall,
THUD!!
9 Penetrating - The sword goes right through
you. A damp coldness envelopes your body,
as all the strength drains away from your
limbs.
9 Blunt- You can feel the force of the kick go
right through you and crack the wall behind
you. Well, I guess that's it.
9 Edged- Cut bad, real bad.
9 Burn - Um ... let's not talk about this. These
final moments aren't your best.
9 Blast/Fall - TOUCH-DOWN!! The crowd
goes wild!
9 Penetrating -A big hole, a really big hole.
SCALING
As you may have already guessed, the above
examples are Scaled in a fairly realistic way. However,
this is not the proper feel for many Settings. Movie heroes
often survive damage that would hospitalize anyone with
less billing. They get lucky. In your Settings, the Director
must provide this 'luck', if that's the kind of feel the Troupe
wants for the Chronicle.
On the other side of the coin, there are Settings in
which the heroes are so tough, that you may never
damage some of them enough to reach even Grievous
levels. For example, in a superhero comic book Setting,
Blunt Bruised damage might look like this ...
Bruised
9 Blunt - The punch sends you flying back
through several walls. Quickly you get to
your feet and shake off the dizziness, ready
for the next Round.
Always remember to keep your Setting in mind
when Scaling damage.
OUT FOR THE COUNT
You don't have to blow somebody up to render them
unconscious. Sometimes a little tap to the back of the
head 1s all that's needed if you know what you're doing. A
role's state of consciousness is mostly determined by the
needs of the plot, and the use of Plot Points. If your story
requires that the Main Cast be knocked out and taken to
the villain's headquarters, then it's nappy-time. Just as
validly, if your Main Cast needs a few points, a little sleep
at the right moment can complicate the plot enough to do
the trick.
FORCE FIELDS, ARMOR, AND HARSH
LANGUAGE
Actors may occasionally try to avoid the damage
being delivered to their characters. They may wear a
protective device of some kind, or try to place an obstacle
between them and the offending weapon. If someone is
hit by an 'Omega-Death-Ray Gun', then they're probably
pushing up daisies. On the other hand, if the same
persona is wearing a 'Super-Quasi-Transducer Shield',
then she's probably fine. Really, what it comes down to is
a matter of description. If you've told the Actors that a
certain vest will stop all pistol rounds from penetrating,
then that vest should stop all pistol rounds from penetrat­
ing. Of course, that doesn't mean that the characters
won't be knocked around a bit by the force of the impact.
Just because a character's wearing a flak-vest that will
stop a machine gun round doesn't mean that she won't be
sent for a loop when it hits. The damage will simply be
turned from a Penetrating, into a Blunt type. Any damage
that the Actors are saved from will damage their protec­
tive gear mstead, which may not be under warranty for
Theat.-ix - The Core Rules 95