STORYMAX

Scenematic Roleplaying

Game Rules
WHAT IS STORYMAX?
This game system lets you adventure in any imaginable setting by describing characters with your own colorful
phrases and adjectives. Flexible and easy to learn, the rules can be adapted to everything from science fiction to
fantasy, from pulp and super-heroic adventure to dark horror. StoryMax has its roots in Story Engine, one of the
original games to focus more on the narrative rather than cold, hard numbers. In order to play, you will need a bunch
of willing players, handful of six-sided dice, pencils, paper, and plenty of imagination.
StoryMax is still being developed. Because of this, certain rules and other elements may change in future versions.
Many people have expressed interest in these rules, so we have released an early version to get it in your hands. Note
that there are virtually no examples in this release, so feel free to ask questions. We would also appreciate any feedback
you can provide. Heres how you can contact us for questions or feedback:
http://www.pigames.net/contact.php http://www.pigames.net/forum/viewforum.php?f=107
BETA VERSION 0.8
WWW.PIGAMES.NET
DESIGN: Brett M. Bernstein
SPECIAL THANKS: Matt Frisbee, Christian Aldridge, Tim Kirk, Zachary Houghton, Christopher Helton, Bruce Baugh
2014 Precis Intermedia. StoryMax, Story Engine, and Scenematic Roleplaying are trademarks of Precis Intermedia. All rights reserved.
Storytelling is one of the oldest living traditions,
continuing today in the form of theatre, literature,
television and film. Roleplaying games evolved their
own version of storytelling by piecing together tales
based on the outcome of dice rolls and player choices.
The core of any roleplaying game is the story. Game
turns in these rules are played out as scenes within
the story. Most scenes can be resolved without any
mechanics using narration and expose, but when the
outcome is not obvious or a challenge is needed, a
handful of six-sided dice are rolled to resolve the action.
Think of each player as an author and the rules as a tool
in aid of him describing the story of his character. There
is a heroic element to it, since the players get to decide
when the right time occurs to act on saved resources,
gaining that extra boost for critical and climactic
moments.
Most elements in the game are described with a
handful of phrases or adjectives called descriptors.
These descriptors each encapsulate a specific facet
about the element, which could be a character, prop, or
backdrop.
One player assumes the role of director, sometimes
called the gamemaster, referee, or judge in other games.
This player has the responsibility of advancing the
plot, projecting the proper atmosphere, and assuming
the role of extras, monsters, and villains. The director
essentially sets the stage for the players, just as his
theatrical counterpart does for a play or movie. Being a
good director is just one key to an exciting game.
CHARACTERS
Abilities
An ability is a descriptor that best describes one
positive facet of a character, whether an inherent talent,
learned skill, or a power that is outside the realm of
human function. There are no fixed abilities within the
game, as players are encouraged to create their own
vital aspects for their characters. Abilities can be broad
in scope and therefore applicable for many situations.
Abilities can be as simple as:
vivacious, strong, eagle-eyed, cunning, quick-witted
Abilities can also be elaborate like:
can see well in the dark, kicks like a mule, stunt pilot,
doctor of medicine, more charming than a used car
salesman
Abilities can relate to physical aspects like
musclebound, on his toes to act, good lung capacity,
watches the TV at very low volume, chiseled body,
good aim,
Abilities can relate to mental aspects like:
cerebral, quick study, intuitive, notices minute details,
well-read, tunes pianos, nerves of steel
Abilities can relate to social aspect like:
a real charmer, upstanding citizen, motivational
speaker, manages stocks and funds, altar boy
Abilities can relate to knowledge and training like:
martial arts, football, medicine, piloting, archaeology,
astrophysics, theology, copyright law, electrician
Special Abilities
Depending on the desired theme of the game,
characters may possess abilities outside the realm of
normal human function. Abilities and special abilities
function in the same manner, except the latter may
require additional rules and explanation. For instance,
the regeneration special ability may heal a characters
injury each turn or flight allows a character to actually
fly. Some examples of special abilities are:
control minds, project energy bolts, elastic skin,
animate wood, levitation, invisibility, summon fire
Magnifications
Abilities can also be enhanced to greater efficacy by
assigning a magnification between 1 and 5. Magnified
abilities are more effective than non-magnified ones.
These abilities are what set heroes apart from normal
folk. Magnified abilities represent the following:
0 proficient (no magnification) represents solid
training or competent ability
1 gifted is more capable than a regular ability
2 mastered represents the height of mortal ability
3 uncanny is just beyond mortal limits
4 preternatural is well beyond mortal limits,
appearing as magic or super-human ability
5 unearthly is beyond mortal comprehension
Examples of magnified abilities are:
quick-runner 1 (or gifted quick-runner): runs faster
than a talented adult
brawler 3 (or uncanny brawler): many times more
capable in a fight than the typical adult
brilliant scholar 5 (or unearthly brilliant scholar):
the height of intellect when it comes to academics
Disabilities
Disabilities are the opposite of abilities, descriptors
that represent parts of a character that most would
perceive as faults, weaknesses, or disadvantages. These
shortcomings can contribute to the story almost as
much as abilities. Some examples of disabilities are:
cant carry a tune, senile, puts his foot in own mouth,
timid in crowds, thick fingers, needs glasses, very
ticklish, fear of rats, worries when alone, anxious
in confined spaces, computer illiterate, bankrupt,
excommunicated
Threads
Threads are descriptors that represent a characters
relationships with other people and groups, as well as
affinities to locales and objects. Hence, there are two
types of threadsinterpersonal and environmental.
They are assigned to characters as phrases that describe
both the nature and subject of the connection.
Interpersonal threads come into play when a person
with whom the character has an established relationship
is present in a scene. The strength of the relationship
must be enough for the character to truly care and
worry about the person.
Examples of interpersonal threads are:
thinks of his older brother as a father, smitten with
Angela the secretary, seeks to gain respect of his
neighbor James, highly respects his teacher Mr.
Cook, knows everyone at State Universitys science
lab, best friends with Police Lieutenant Vic Jates
Environmental threads are important in a scene
when the character is in a location or near an item with
which he has an established relationship. The nature of
the affinity can be a source of power or create a sense of
security. Examples of environmental threads are:
grew up in the house at 1502 Wells Rd, feels majestic
in front of the wheel of his truck, his shield is his
security blanket, McHales Barber Shop is like a
second home, used to work at McLarys Pub
Hero Points
Hero points can be spent to aid characters during
play. Once spent, hero points can only be replenished
at the start of a new game. Each hero point spent can do
one of the following:
add one die to a tasks dice total
act in haste during a single turn of a conflict
(optional)
perform an extra active task during a single turn
of a conflict
break a tie roll (adds one high die when tied)
negate one exploit when on the losing side of a task
negate a knockback
negate fatigue
Distress
Distress measure a characters health and standing.
There are three types of distressphysical, mental, and
social. Distress is rated on a scale from zero to five
grades. All characters begin play with zero distress.
Physical distress increases by punches, falls, energy
blasts, and other corporeal attacks. Mental distress
increases by psychic attacks and psychological trauma.
Social distress increases by villainy, collateral damage,
and embarrassment.
Physical Distress
Healthy > Bruised > Strained > Wounded > Maimed > Incapacitated
Mental Distress
Calm > Excited > Stressed > Shaken > Panicked > Deranged
Social Distress
Trusted > Questioned > Doubted > Disputed > Disgraced > Scorned
When a character reaches five grades of physical or
mental distress, he is incapacitated and can no longer
act. Five grades of social distress means that the
character can no longer use threads. Alternatively, the
player controlling the character may choose to receive
a permanent injury in the form of a disability and
reducing the distress to four grades.
Creating a Character
Some elements are dependent on the desired style of
the game. There are four styles:
Dramatic: The characters are slightly more competent
than the average man on the street.
Heroic: The characters possess the potential for
exciting cinematic action.
Super-Heroic: The characters are capable of pushing
human limits.
Epic: The characters are far more powerful than
anyone can imagine.
Concept
Choose a role that acts as the central concept for
portraying the character. The director should suggest
concepts that are likely to work well in the story.
Examples of concepts are:
treasure hunter, roguish hero, criminal mastermind,
self-involved dilettante, lost soul seeking
enlightenment, Colawan freedom fighter
Race and Gender
Some worlds in which a story is set are host to a variety
of races. Other worlds may encompass only a single
race, with possible sub-cultures or ethnicities. Choose a
race or ethnicity for the character, as well as a gender. A
vibrant description of his appearance is helpful.
Abilities
Dramatic: select four distinct abilities
Heroic: select five distinct abilities
Super-Heroic: select six distinct abilities and special
abilities
Epic: select eight distinct abilities and special abilities
Magnifications
Dramatic: apply two magnifications to abilities
Heroic: apply four magnifications to abilities
Super-Heroic: apply six magnifications to abilities
and special abilities
Epic: apply eight magnifications to abilities and
special abilities
Disabilities
In addition to the numbers indicated below, an extra
ability or ability magnification may be chosen for each
extra disability assigned.
Dramatic: select one disability
Heroic: select two distinct disabilities
Super-Heroic: select three distinct disabilities
Epic: select four distinct disabilities
Threads
Dramatic: select two distinct threads
Heroic: select three distinct threads
Super-Heroic: select four distinct threads
Epic: select five distinct threads
Hero Points
Roll a die and modify that value as described below,
depending on the game's style to determine the
character's number of starting hero points.
Dramatic: halve die roll
Heroic: do not modify number
Super-Heroic: increase by two
Epic: increase by four
Sample Characters
Taver Hog Heller (Adventurous Warrior in the Dramatic Style)
Hog progressed through life on a fairly-straight road,
from tantrum-throwing handful to schoolyard bully. He
did a stint with the army before growing into a fully-
fledged mercenary in search of fame, fortune, and a
good pint of ale. He refined his favorite skills along the
way, wasting no time with the finer things.
Abilities: jaw like steel, built of iron, swordsman 1,
brawler 1
Disabilities: rushes in where angels fear to tread
Threads: Kilmor City, his childhood friend Midiam
Scurrilous Jack (Adventurous Pilot in the Heroic Style)
Jack found his calling at a young age when he ran
away from the orphanage and stowed aboard a mail
plane. Making his way from mail boy to mechanic was a
cinch, but it took the war to make him a pilot. Life in the
Royal Air Force was no easy ticket, so Jack soon found
that jobs in the private sector were more tolerant of
his many vices, including smuggling and gun-running.
His new career made him famous to the point of
being constantly on the run from the law and the bill
collectors trying to take his plane. Life for Scurrilous
Jack is never dull.
Abilities: roguish charm 1, quick reflexes, mechanic,
eyes like a hawk, fighter pilot 2, pistoleer 1
Disabilities: makes other men jealous around the
ladies, large debt, on the run from the law
Threads: 181st Royal Air Force Squadron, Empty
Trough Pub, X-Foes smuggling ring
SCENES
The story as a whole is comprised of individual scenes
that further the plot. It is important for the director
to establish clear scenes by framing them around the
actions of the characters. The scope of the scene is
based on the goals of the characters and nature of the
obstacles they face.
Once the scene has been defined, it can be
established and described. A good description of the
scene is important, because all actions taken by the
players are based on this information. While the style of
presentation varies by taste and genre, the fundamentals
should never be overlooked. Much confusion can be
avoided by a clear and concise description, with the
story advancing more smoothly with a tightly-crafted
scene. There are two essential types of scenesopen
and sequential.
Open scenes rely only on narration, permitting players
to describe what their characters are doing instead
of rolling dice to determine the outcome. Sequential
scenes, on the other hand, are tracked by turn and focus
on dice rolls as a means of determining what transpires.
This allows limited narration based on success.
Before a scene can be resolved, it needs to be framed.
By framing a scene, the director takes various factors
into considerationlength of time, scope of action, and
location. A chase over the rooftops could be made into
one great scene or broken down into a few small ones.
The following guidelines can be used to set each scene,
but as with all narratives, scenes should be adapted to
suit the feel of the game, players, and genre.
Scene Objective
Frame the scene based on the characters objectives.
If their goal is to get out of the room, then frame the
scene around that objective. It is important to establish
the objective of the scene, since the whole structure is
based on what the characters are trying to accomplish.
Storyboard
Frame each scene as it leads the story forward. The
scene is as long or as short as it needs to be, ending when
new options that can evolve the story become available.
For instance, a scene at a bar in which the characters
speak to an informant is one long open scene, ending
when he gets shot unexpectedly. The scene is framed by
the gun shot, which leads to the next scene.
Time and Space
Frame scenes by environmentas the story
moves from one location to another, new scenes are
established. For instance, a trip to a prison for a visit
with an incarcerated villain can be broken down into
three scenes: the journey, entry processing, and meeting
with the prisoner. Unless something exciting or colorful
happens on the return trip, it can be skipped with the
groups return at their headquarters beginning a new
scene.
Time Cuts
As with film and comics, skip to the good scenes.
There is no need to sluggishly play out every scene.
Frame scenes as if cropping a photograph or editing a
novel, keeping the good bits and skipping the dull parts
unless useful for the story.
TASKS
When a character tries to do something, it is called a
task. If the director decides that nothing prevents the
activity from succeeding, both he and the players can
simply describe the outcome. When success is uncertain,
however, a die roll is made. This uncertainty includes
feats of strength, reflexes, observation, ingenuity, and
persuasion.
All characters can roll one die for a task. More dice
can be rolled as follows:
+1 die per ability that is relevant to the task
+1 die per thread that inspires the character to
perform harder
+1 die per opposing character's disability that is
relevant to the task
+1 die per opposing character's thread that hinders
his effort by causing apprehension or a lack of
confidence
Examples of relevant abilities include:
hammer fist when punching an opponent, logical
mind when hacking into a computer system, calm
and collected when trying to avoid detection
Examples of inspiring threads include:
showing off in front off a love, upstaging a rival,
protecting a dependent
Examples of hindering threads include:
betraying a mentor, going against a lovers values,
siding with thread's enemy
For every task, there is also always an opposing dice
total. This can either be the raw difficulty of the task or
opposition from another character (hero versus villain,
for instance).
When describing a scene or an obstacle, it is important
to convey the gist of the difficulty, using terms like
complex or inconceivable. A ten-foot fence might seem
really tall to one person, but just a little tall to another.
If the fence is described as really tall instead of ten-feet,
everyone gets the idea. In other words, the intent behind
the elements in the scene should be the focus, rather
than how big or how far things might be. For instance,
the camera zooms or pans to emphasize the danger and
generate an emotional reaction to the scene in a movie.
It is not about how far across the character has to jump,
but how hard it would be to jump. In this way, the
presentation of each element of the scene focuses on
the difficulty of the obstacle, not on the laws of physics.
By supplying the difficulty of the task, a player fills in
the distance relative to his characters capabilities.
Dice totals for raw difficulty are as follows:
0 Trivial tasks are trivial and require no roll
1 Complex tasks require a minimum of talent or
training.
2 Challenging tasks rely on a fair amount of talent
or training.
3 Formidable tasks represent actions unfamiliar
to a character.
4 Improbable tasks seem unlikely to be successful.
5 Inconceivable tasks appear to be impossible,
but may leave some room for success.
6 Impossible tasks go beyond human achievement
under normal circumstances.
7 Inexplicable tasks defy human potential.
8 Supernal tasks are fantastic in nature, requiring
special abilities.
9 Olympian tasks are akin to godlike feats.
10 Otherworldly tasks represent actions well
beyond the laws of physics.
Dice totals for either side can also be increased by
environmental factors, such as for distance, poor
weather, excessive noise, and huge crowds.
Slight advantage/impediment +1 die
Medium range +1 die
Significant advantage/impediment +2 dice
Long range +2 dice
Huge advantage/impediment +3 dice
Maximum range +3 dice
Extreme advantage/impediment +4 or more dice
Using tools in aid of the performance of a task can
also affect dice totals. These can add one or dice to the
roll, depending on their quality, efficacy, and relevance.
Some examples of tools are:
Physical Tools: hammer, crowbar, screwdriver,
wheelbarrow, flashlight, sword, crossbow
Mental Tools: computer, calculator, photo album,
cheat sheet, journal
Social Tools: evidence, alibi, cash, leverage, handgun
The total number of dice that a character can roll for
a task is called the dice total. No more than three dice
may be rolled due to abilities and inspiring threads
for dramatic games, five for heroic games, and seven
for super-heroic gamesthere is no limit for epic
games. This limitation does not apply to dice rolled for
magnified abilities, disabilities, hindering threads, and
environmental factors.
Dramatic: up to 3 dice from abilities and inspiring
threads
Heroic: up to 5 dice from abilities and inspiring threads
Super-Heroic: up to 7 dice from abilities and
inspiring threads
Epic: no limit on dice from abilities and inspiring
threads
Character Dice Total
1 die
+1 die per relevant ability
+1 die per inspirational thread
+1 die per opponent's impairing thread
+1 die per opponent's relevant disability
+1 or more dice for environmental bonuses
+1 or more dice for opponents' environmental
penalties
Raw Difficulty Dice Total
1 die difficulty
+1 die per character's impairing thread
+1 die per character's relevant disability
Once the rolls are made, the highest die value showing
among the dice totals is noted. This value is called the
high die. The dice total that rolled the most high dies
succeeds. Magnified abilities augment this comparison,
howeverfor each of a characters magnified abilities
that were part of the dice total, add extra high dice
equal to its magnification. For instance, if a character
rolled one high die, but his total magnifications from
abilities were 3, he gains three extra high dice, for a
total of four. For every one rolled, the effects of fatigue
manifest (see Fatigue).
Examples
!%$$@ The High Die is 5
$#@ The High Die is 4
!@@! The High Die is 2
Burning Abilities and Threads
Either side may choose to burn abilities or threads
that added dice to the task. This simulates a test of
wills between the two sides. For each ability or thread
burned, an extra die may be rolled. There is no limit
to the number of extra dice that can be rolled in this
manner, but each ability and thread can only be burned
once per game. Magnified abilities, however, can be
burned once per magnification. This results in a bidding
war of dice that can go back and forth until one side
decides to cease adding extra dice.
Disabilities that added dice to the opposing total
can also be burned, but only by the opposition. This
simulates someone taking advantage of a weakness. For
each burned disability, an extra die may be rolled by the
opposition. Each disability can only be burned once per
game.
Success
Once success is determined, subtract the losing sides
number of high dice from the winning sides number of
high dice. For every two high dice remaining, success is
magnified by one. For instance, one high die remaining
would be a success magnification of 0 and four high
dice would be a success magnification of 2.
Risk
A task is considered to be risky when the outcome
can result in harm. Examples of risky tasks are:
falling while climbing a wall, detonating a bomb
while trying to defuse it, keeping a bucket of
hot oil steady without it spilling, driving at fast
speeds without hitting obstacles, inhaling smoke
while trying to find someone in a burning house,
dropping and damaging an important part while
carrying too many items
Active Tasks
Active tasks are those that require concentration (see
below). This means that a character's activities must be
focused on accomplishing the task. Examples of active
tasks are:
attacking an opponent, jumping across rooftops,
writing computer code, dodging an attack
Passive Tasks
Passive tasks are quick rolls within scenes that answer
a simple question with a pass or fail response. Such tasks
can prevent open scenes from otherwise becoming
sequential scenes, although any reactions that sprout
from the passive tasks can expand into a full, sequential
scene. Examples of passive tasks are:
noticing a clue, haggling down a price, remembering
a password, feeling a pick-pocket, recognizing a face
Concentration
In addition to active tasks, others may also be noted as
requiring concentration. This represents extreme focus
on the task at hand. Concentration is broken when the
character performs an active task or loses a risky task.
Broken concentration means that the task requiring it
fails.
Group Tasks
When a group of characters attempts a task as a team,
only one roll is made using their combined dice total.
Magnified abilities augment the number of high dice
achieved normally.
When there is no opposition, it is sometimes
necessary to adjust the difficulty, since it may not be
measured accurately when dealing with a group. For
instance, trying to lift a log benefits from the added
help, but shooting at a target is not made easier just
because more people are doing it. To adjust difficulty
when a group acts together, simply increase it by one
for each character involved beyond the first.
Prostrated Tasks
A character can push himself to roll an extra die for
a task, even if it means rolling more than three dice.
In exchange for this increased effort, the character
becomes fatigued (see Fatigue).
CONFLICT
Whenever characters are pitted against one or more
opponents in a physical conflict, a sequential scene is
initiated. All tasks occur on a turn-by-turn basis. The
tasks of all characters during a turn normally occur
simultaneously. Hero points can be expended to act
in haste. This means that characters acting in haste
during a turn perform tasks before the other characters.
Haste can also be magnified, so haste is increased
by 1 for each hero point spent. Characters with the
highest magnification of haste get to act first, followed
by each incremental reduction in haste, finally by those
not acting in haste. All tasks performed during each
magnification are handled simultaneously.
Characters can normally perform one active task per
turn and as many passive tasks as necessary. For each
hero point expended, the character can perform an
additional active task.
Active Tasks
Active tasks consist of strike, guard, maneuver, and
implement. All tasks are of a physical, mental, or social
nature.
Strike
The primary aim of a strike is to inflict harm. This is
always a risky task for the target of the strike. Physical
strikes represent punches, kicks, throws, gunshots,
and physical-based powers. Mental strikes affect the
minds of others, whether to instill fear or invade them
with mental-based powers. Social strikes involve using
extras for your own purposes, such as rallying a mob of
innocent bystanders to attack the enemy or convincing
the police to arrest someone who is innocent.
Strikes can be performed face to face or at a distance.
Face to face strikes are performed within the same room
or close enough to communicate without shouting.
Distant strikes require weapons or powers that can be
thrown or projected.
Guard
Guarding is when a character actively defends
himself to fend off strikes. Physical guards represent
blocking and parrying. Mental guards rely on willpower
and entrenching ones mind. Social guards involve
contradicting or discrediting an opponent. Guards
must be performed face to face.
Maneuver
Maneuvers are about planning ahead to gain a tactical
advantage, prevent someone else from maneuvering,
or flee the fight. Physical maneuvers mean running,
crouching, or doing anything to reach a better position
to strike or guard. Mental maneuvers involve weakening
a targets spirit by taunts and threats, or strengthening
ones own resolve by building confidence. Social
maneuvers rely on befriending, impressing, and
acquiring items or information from extras.
Implement
This action covers all other applications of physical,
mental, or social skills.
Passive Tasks
Passive tasks are resist and observe. All tasks are of a
physical, mental, or social nature.
Resist
Whenever a character is the target of a strike and not
performing an active task, he is considered to be resisting
or avoiding the strike. This is essentially a reflex action,
so he cannot apply dice from abilities that require some
sort of activation, projection, or concentration.
Observe
A character is considered to be observing when
he must glean details from an event, people, or the
environment around him. Physical observes represent
details gleaned through touch. Mental observes rely
on the other senses. Social observes are achieved by
empathizing with and intuiting peoples motives and
needs.
Multi-Turned Tasks
Active tasks that are not opposed by another character
(unless a draw) and do not require immediate action,
such as defusing a ticking time-bomb, can be carried
over into subsequent turns until the requisite number
of high dice are achieved. A new task roll is made
each turn and other characters can also assist with
subsequent rolls. The difficulty may be increased by one
after the first turn. This represents mounting pressure
or a continuing threat looming over the character.
Momentary Abilities, Disabilities, and Threads
Momentary abilities, disabilities, or threads may be
assigned to characters during play. Characters possess
these elements until after their next task. This means
that the ability, disability, or thread applies to all relevant
tasks made by the character for his next task, but is
removed from play after the character performs it.
Temporary Abilities, Disabilities, and Threads
Temporary abilities, disabilities, or threads may also be
assigned to characters during play. Unlike momentary
elements, these remain for a number of turns equal to
the roll of one die.
OUTCOME
Whenever a character is part of the losing side of a
task that involves risk, he sustains a knockback (see
below). Otherwise, the winning side simply achieves its
goal, while the losing side does not.
For each magnification of success, an exploit can
also be chosen by the winning side (which would be
the director in the case of raw difficulty). The losing
side can spend one hero point to counter each exploit
resulting from that task.
Knockback
When a character sustains a knockback, he is
overwhelmed and gains a momentary physical, mental,
or social disability. A hero point can be spent to counter
a knockback.
Exploits
These exploits can be chosen for any task.
Rush
The character achieves a surge of willpower,
inspiration, or confidence. This gives him a momentary
physical, mental, or social ability.
Insight
The character is so successful at his task that it raises
his prowess for similar tasks, giving him a momentary
ability related to the task.
Rally
The character is so successful at his task that it inspires
others, giving all those around him a momentary
physical, mental, or social ability.
Exploits from Conflict
These exploits can only be chosen for tasks involving
conflict.
Distress
One grade of the appropriate form of distress (mental,
physical, or social) is inflicted on the losing side.
Loot
The character steals or destroys one object not central
to the story that is being held or carried by the losing
side.
Redirect
The winning side can deflect a strike at another target
when guarding. This requires another strike against the
new target, but does not count as an extra action.
Restrain
The losing side cannot perform either physical, mental,
or social tasks for one turn. This can be chosen multiple
times, each for a different type of task or increasing the
duration each time.
Shield
The winning side when maneuvering can take the hit
for another target by inserting himself in the conflict.
Strategic Advantage
This is a momentary physical, mental, or social ability
that is gained by the winning side and applied to all
related tasks.
Tactical Advantage
This is a momentary physical, mental, or social ability
that is gained by the winning side and applied to all
related tasks involving the losing side.
Weaken
The magnification of an ability belonging to the
losing side is decreased by one for one turn. This can
be chosen multiple times, each for a different ability or
increasing the duration each time.
Unnamed Opponents
Non-player characters who are not essential to the
story possess only one grade of distress. This makes it
easier for characters to sort out groups of opponents
and others intended as distracting extras.
Groups of Opponents
While knockbacks are applied to all members of the
losing side when rolling as a group, exploits can only
be applied to individual members of the group, as
determined by the winning side.
FATIGUE
Fatigue means that a character is tiring and incapable
of his full potential. Each time a character sustains
fatigue, roll a die and consult the options belowor the
player portraying the character may choose any one of
the first free option for open scenes or first four options
for sequential scenes:
1 lose one hero point
2 negate one high die resulting from a magnified
ability before determining success of next task (if
this does not occur, roll again)
3 gain one grade of physical, mental, or social
distress
4 gain one temporary physical, mental, or social
disability
5-6 gain one momentary physical, mental, or social
disability
PROPS
Most items in a story are just functional devices, but
props, also called gadgets, can possess abilities and
disabilities just like characters. As long as the character
can properly use the item and one or more of its
abilities or disabilities are relevant to the task at hand,
those abilities can contribute to the task as if belonging
of the character. Should a character not have access to
his prop, its abilities or disabilities cannot be applied.
Examples of props are:
Photon Blaster
Abilities: blast radius, massive power output 2
Disabilities: hell of a kickback
Off-Road Monster Truck
Abilities: powerful drive-train, holds a platoon in back
Disabilities: blind spots, big and noisy
Betsy's Point Boots
Abilities: always in style, graceful
Disabilities: thieves always plan to steal them
BACKDROPS
Backdrops help bring the background to life, giving
it personality beyond visual descriptions. These
places consist of descriptors that can affect the efforts
of characters. They are essentially the "realities" of
these places and are related as either abilities or
disabilities to help or hinder characters, depending
on the circumstances. Certain genres lend themselves
to backdrops more readilya dramatic game might
limit their use, but heroic ones could rely on lots of
backdrops. Examples of backdrops are:
Sammy's Bar: rife with dark meetings,
not hard to start a fight
Ubark Street: littered with nasty wrecks,
always raining
Kibby Square: produces lucky meetings,
noisy with activity
Starship Sick Bay: miraculous cures, sterile
CHARACTER DEVELOPMENT
New abilities, disabilities, and threads can only be
added to characters during play. This means that the
new element must have been introduced during the
story.
In order for characters to develop, players must
immerse them into the story. Characters must face their
fears, pursue specific knowledges, practice techniques,
and give serious thought and analysis to various
situations into which they are thrust. Unlike most other
systems, players do not choose how to develop their
characters, short of the actions they undertake during
play. It is the directors job to record the characters
actions. Once a story concludes, the director then looks
over his notes for a specific character, determining
what actions were most taken, whether it be fighting,
computer hacking, researching specific topics, or flirting
with the opposite sex. The director can then choose
to develop the character in one of the ways described
below:
add a new ability that relates to the most-common
tasks performed by the character during the game
add a new thread that occurs due to new
relationships or familiarities
add a new disability that manifests as a long-term
injury due to physical, mental, or social distress
remove a disability that the character has
successfully overcome during play
ALTERNATE AND OPTIONAL RULES
Advanced Haste
All characters normally perform tasks simultaneously
each turn, unless spending hero points to act in haste.
This changes, however, if a character possesses any
relevant abilities that apply to the task and indicate
that he can act more quickly than his opponents. For
example:
Player A possesses the marathon runner ability and
runs at Player B, so he can act before Player B. If
Player A was not running at Player B, both would
act simultaneously.
Player A possesses the marathon runner ability and
Player B possesses the quick reflexes ability
both act at the same time, since their speed is
comparable.
Calculate the difference between the magnification of
relevant abilities to determine who can act more quickly.
Spending a hero point to act in haste is the same as
having a 1 magnification (or increases a magnification
by 1). For example:
Player A possesses marathon runner 1 and Player
B possesses quick reflexes 2. Since Player Bs
magnification is greater, he can act first.
Player A also spends a hero point to act in haste, so
it is the same as him having marathon runner 2,
meaning the two act simultaneously.
There are a few advantages to acting in haste. Each
time a character acts in haste, one of these advantages
may be utilized for the current task:
roll an extra die when performing the guard task
(this is from having a slight advantage)
the opponent cannot perform an active task
(this is from surprising the opponent)
roll one less die and choose one extra exploit if
successful (this is from focusing on power over
accuracy)
roll one extra die but choose one less exploit if
successful (this is from focusing on accuracy over
power)
Dynamic Characters
Rather than choosing abilities, disabilities, and
threads before play, they can be chosen during the
game. Whenever a task occurs, a player may add a
related element to his character. The character still gets
the same number of abilities, disabilities, and threads,
so once all the allotted slots are taken, no more may be
selected.
Magnifications must be allocated to a specific ability
once it is chosen. They cannot be allocated later, so if a
character has selected his allotment of abilities, but not
all of his magnifications, they are not available for use
until a new ability is added to the character.
Dynamic Distress
Various grades of distress can be treated like
disabilities, added to a character when injured. Only
some grades are considered disabilities, as this is
determined by the style of the game. For instance,
only the maimed, panicked, and disgraced grades of
distress would be applied as disabilities, and only when
a character suffers those grades.
Dramatic: maimed; panicked; disgraced
Heroic: wounded, maimed; shaken, panicked;
disputed, disgraced
Super-heroic: strained, wounded, maimed; stressed,
shaken, panicked; doubted, disputed, disgraced
Epic bruised, strained, wounded, maimed; excited,
stressed, shaken, panicked; questioned, doubted,
disputed, disgraced
Parameters
In addition to the assignment of magnifications to
special abilities, parameters may also be designated,
although this does not preclude their use with regular
abilities if all players are in agreement When creating
characters, an extra magnification may be chosen for
each parameter assigned to special abilities. Parameters
may be assigned as follows:
Dramatic: none
Heroic: none
Super-Heroic: apply a number of parameters equal to
half the roll of one die
Epic: apply a number of parameters equal to the roll
of one die
Roll a die and consult the options below to select a
parameter for each special ability or simply choose one:
1 Charged 2 Conditional
3 Energized 4 Gadget
5 Inhibited 6 Stressful
Charged
Concentration is required to build the necessary
amount of energy to utilize the ability during sequential
scenes. Roll a die upon each desired use to determine
the number of consecutive turns that the character
must maintain his focus. Once the required number
of turns has been reached, the ability can be used. If
the character loses concentration during the charging
period, he must start charging again from scratch.
Conditional
The ability can only be used in the presence of a
specific element, substance, or situation. Examples of
triggered abilities include:
flight (only in sunlight), ice shards (needs water supply),
detect life (requires radioactive rock)
Energized
The ability must be powered before use, requiring the
expenditure of one hero point.
Gadget
The ability actually belongs to a prop that the
character must have in his possession to use. More than
one ability can be linked to a specific gadget. Some
examples of gadget special abilities are:
Ray Gun Abilities: death ray
Power Scepter Abilities: lightning bolt
Power Suit Abilities: tough armor, hydraulic strength,
camouflage
Inhibited
The ability cannot be used in the presence of a
specific element, substance, or situation. Examples of
vulnerable abilities include:
super-speed (does not work when cold),
electrocute (does not work when wet),
regeneration (does not around silver)
Stressful
The ability is physically draining, causing the character
to become fatigued each turn it is active beyond the
first.
Success Rate
Rather than applying exploits, the outcome can be
narrated by the players based on the magnification
of success. Outcomes are as follows (referenced by
magnification of success):
tie both sides barely accomplish the task(s),
so there may be some mutually detrimental
results
0 the winning side accomplished the task(s)
without dispute; the losing side failed its
task(s), although uncontested goals may
have been accomplished
1 the winning side accomplished the task(s)
without dispute; the losing side failed its
task(s) completely
2 or more the winning side accomplished the task(s)
completely and with style, perhaps even
achieving more than was intended; the
losing side failed its task(s) completely and
embarrassingly
Scene-Based Resolution
Scenes can be resolved so that one task roll per
character (or group) determines their outcome. This
requires more narration by the players, but means less
rolling of the dice and quicker play. Once the success
rate has been determined, it should provide an accurate
indication of how well or poorly the characters did. The
winning side can describe how everything unfolded,
with the players contributing more high dice from
magnified abilities handling more of the narration.
This reflects their characters impact on the scene and
encourages more input from all the players, rather than
just the talkative ones. The director can give the players
a wide latitude in describing the outcome of a scene,
suggesting changes only if the description does not fit
within the scope of the success rate or setting.
The winning side of a group conflict can allocate
exploits to any and all opponents as they see fit.
Dispatching a large number of opponents is often
hard to do in one scene. Success may drive back or
disarm the enemy, but it does not necessarily stop
them completely. If the opponents do not yield and
cannot escape, another task roll can be made for both
sides. The winning side from the previous task can
roll one or two extra dice as a result of their success if
the losing side were disarmed or thrown into disarray.
If the opponents are so overwhelmed that a new task
roll seems unnecessary, it can be turned into an open
scene during which the winners can freely describe the
outcome.
STORYMAX

Scenematic Roleplaying

Game Rules
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