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ClickThe above is licensed under 2.0. But it's basically 'everything you do normally in an RPG' codified to bring about the best possible experience for the genre that it's trying for.Mmh. Not only that. It tells the GM to follow the rules. I can count the number of GMs who do that on the fingers of one hand. Also, if the player says he does something, and he rolls 10+, then he does just that, the GM has no say in the matter.

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It isn't something that common, usually the GM can veto basically anything.The revolutionary bits are a bit hidden, but they're definitely there. Like, you can't say 'my toaster is broken, I'm going to threaten it to start working again' then roll Go Aggro.Well, the move has to trigger. In your example it won't. You're just a madman yelling at a toaster.

But, if the move does trigger from the fiction, and the player rolls 10+, then it dies happen. AW is quite specific about giving the players what they worked for, it's just that sometimes they have to make some though decisions in order to get it.PS: this is just to add to your post, not to argue your point. What I'm saying is that you can definitely say you want to do something that technically triggers a move but also horrendously violates the established fiction, and that the GM probably has the bulk of the say as to whether or not something violates the fiction.Another (perhaps harder to argue against) example would be, like, say that you have an Operator that does a Delivery gig for their Moonlighting roll. They roll a 6, so the move says their gig is about to end in catastrophe.You tell them, 'you're cutting through an alley on the way there, when Dremmer appears at the end of the alley with two guys right behind him. You turn around, and there's another three guys coming up from behind, blocking the other way out. Dremmer shouts at you to drop the package and put your hands up. What do you do?'

And they respond, 'I try to fart so hard that I'm able to lift off the ground, escape Earth's atmosphere, and fly to the moon.' Definitely counts as acting under fire.There's nothing mechanically preventing you from letting this happen.But you're on your sixth session and up to this point the campaign has been pretty grounded and serious (as much as Apocalypse World allows, anyway), and you know if you let this happen and he rolls literally anything over a 6 the other players will probably fucking hate you for not stopping it.edit Also, there's much to be said for taking shit away from the players, too. It's right in the principles: 'look through crosshairs' and 'respond with fuckery and intermittent rewards'. I agree with keeping the genre and general feel of the fiction consistent. Everyone needs to play the same game in order to have a good game.However, maybe it's just a difference of GMing style, in your example I was still not consider that a trigger for a move.

Sometimes you don't need to roll the dice. If the resolution is clear before the roll, succed or failure are impossible, then rolling is irrelevant. If you walk behind someone, put a gun against the back of their head and pull the trigger, there's no going agro, no seizing anything by force, you just kill the NPC.

That's looking through crosshairs for example, nothing really to do with taking things from players.Anyways, different interpretations are fine. Maybe it's just my way of seeing things. Nothing wrong with other people seeing them differently. If it was possible to fart yourself onto the moon it would absolutely be a trigger for 'acting under fire' where 'the fire' is the fact that Dremmer and Co will seriously fuck you up if you take too long.

Same logic as if you tried to bust open a door in the alley to escape that way.Of course, since the GM is the ultimate judge of whether or not something is possible, whether or not it is possible is up to the GM. Same goes for failure being impossible.Looking through crosshairs (which is a principle, not a move) is not just about killing NPCs.

Yeah, if the players put a gun up to the head of an unaware NPC and pull the trigger you should generally just make the NPC die, but that doesn't mean you can't 'respond with fuckery' and only partially give them what they asked for.There's also nothing stopping you from making the player roll for going aggro in that situation; the rulebook actually gives the example of 'getting the drop on someone' as a trigger for going aggro, and offer an example of trying to assassinate someone with a sniper rifle.Ultimately, again, it's up to GM fiat. Apocalypse World changed the way I thought about GMing, and what I think good RPG design is. It happens to be a game set in a post-apocalypic world, but in my opinion that's not what makes it so great.Firstly, AW is prescriptive about how you GM. The GM chapter starts by saying 'there are many ways to GM a roleplaying game, but AW calls for one way in particular'.

The goal of Apocalypse World is to give you as the players and the GM the tools to create certain types of experiences. If you GM AW according to the rules, you should have an awesome apocalypsey experience, without the need for house-rules or personalized interpretations.Secondly, the setting of AW is baked into the rules very deeply. It is the antithesis of games like GURPS, which suggest that setting and system are totally decoupled in RPGs, which can be easily mixed and matched to suit each group. In AW, every part of the game from character creation to the rules of play work towards creating an experience, and trying to use the same rules in a different setting just wouldn't make sense. That's why you may have heard about the long list of 'powered by the Apocalypse' games, which take some of the core philosophy of AW and try to do the same sort of thing for different settings (like Dungeon World does for 'DnD-style' fantasy). These really have to be separate games which acknowledge their inspiration from AW, because just publishing a new setting for AW would never work.If you're someone with an established GM style and are just looking for a good system to play post-apocalypse, AW is probably not for you. If, however, you're open to a game with prescriptive rules for GMing, or are interested in reading some of the most elegant RPG design, and could see yourself running a game set in the post-apocalypse, you may be interested in AW.

Apocalypse World Torrent

That's why you may have heard about the long list of 'powered by the Apocalypse' games, which take some of the core philosophy of AW and try to do the same sort of thing for different settings (like Dungeon World does for 'DnD-style' fantasy)Is there a good cheatsheet or something for all the various PbtA games, what setting they're built for, and how the rules support that setting? I'd like to introduce one of them to my group, but getting a grasp on all the different systems and what they have to offer is pretty overwhelming. This is far from comprehensive (there’s a half-dozen games not covered that I know of but haven’t read, let alone those new to me), but here’s a good rundown of some different takes on the engine!Apocalypse World — Mad Max style post-apocalypse. Play is typically set in a beleaguered stronghold beset by dangers & threats from all directions. Emphasis on scarcity, harm, and self-interested folks thrown into community by necessity, with only fleeting moments of true connection & intimacy. Strong presence of weirdness, in the form of the inexplicable “Psychic Maelstrom” (left mostly blank to fill in during play) and how some PC-types interact with or are touched by it.

All moves are designed around the idea of meaningful interaction; use of a move always ought to create interesting results & drive the fiction of the game forward.Monsterhearts — paranormal teenage drama, a la Buffy, Twilight, etc. Uses the “monster” side of things as a metaphor for self-discovery/self-identity, puberty, & difficulties of not fitting in during adolescence. The mechanics included (& not included) spotlight the hallmarks of the teen/high school experience, with moves that are zeroed in on social stakes first & foremost (some key moves are Shut Someone Down, Turn Someone On, Run Away, Lash Out Physically, & so on). Its big mechanical addition is in the form of Strings, which are a sort of token tied to specific relationships — a kind of currency that can be invoked as leverage in a myriad of ways, further involving the players in one another’s messy lives.Urban Shadows — gritty urban supernatural noir; think Dresden Files, Grimm, Supernatural, etc. Big focus on debts PCs & NPCs owe one another, and interaction with overarching factions (Mortality, Night, Power, & Wild).

Debts are somewhat like Strings, but carry a heaver weight (and sometimes, you need only remind someone of Debt they owe you for a benefit, without cashing in the Debt). You might try to worm your way out of honoring a Debt too, though expect others to notice. Gameplay revolves around intrigue, crime, investigation, all on a modern & city-wide backdrop.Sagas of the Icelanders — isolated medieval settlers in a harsh & untamed land. A semi-historical game focused on the first settlement of Iceland c. 800 AD - 1100 AD, with a hearty chunk of game mechanics intentionally centered around gender.

Specifically, the expectations on/of men & women as recorded in the Sagas, or oral history & legends of Iceland. Think Little House on the Prairie meets Vikings. There are supernatural elements, in keeping with what the Sagas tell; the gods can make their presence known, and there are those who read runes or cast spells by calling on other powers. By and large, though, the players will assume archetypal roles (The Man, The Woman, The Matriarch, The Shieldmaiden, etc.) and engage in the kind of feuds, survival struggles, and neighborly disputes that make sense on the frontier.Night Witches — soviet airwomen of WWII. Another historical game, focused on the titular Night Witches of the USSR who used outmoded WWI biplanes to conduct dangerous nighttime bombing runs on the German front lines. Uses a day/night breakdown for gameplay to emphasize how the events on the base during the day (scrounging for shorted supplies; dealing with antagonistic superiors; paranoia hinged on Party orthodoxy) inform the bombing missions at night, in the form of helping/hurting a shared Mission Pool.

Players choose the “character” of their plane in addition to their airwoman. Uses “Medals” as a stat modifying some rolls, and Medals always begins at zero. Lots & lots of historical details from the war are included in the text.Dungeon World — pulpy dungeoneering action, in the spirit of early D&D but achieved via the game design methods/ethos of Apocalypse World.

Encourages a high-improv style at every turn (DM especially), taking the credo of “draw maps, leave blanks” very literally. Players are expected to participate along with the DM in building and embroidering the setting through play (much as is done in Apocalypse World). Most monsters & enemies to be fought boil down to their raw essentials. What’s given for a Zombie are its HP, armor, & damage done; relevant narrative tags like “Horde” & “Close”; and 3 instincts: Attack with overwhelming numbers; Corner them; Gain strength from the dead, spawn more zombies). Instincts, tags, etc.

Suggest how things go wrong when a player rolls a failure vs. The monster (or when the established fiction of the scene dictates Bad Stuff & Complications should happen).The Warren — players are rabbits in a mundane animal world, very inspired by Watership Down & the like. The rabbits aren’t heavily anthropomorphized: rabbits think, talk, etc. Much as people, but live in the same real world populated with stoats, voles, dogs, and humans. Rabbits are the prey of most things around them, so The Warren is something of a mix of pastoral animal drama mixed with tense survival scenarios (most of the games moves hinge on spotting things, hiding, running away, and above all trying to remain calm & not build up your “Panic” score).Black Stars Rise — a horror hack from the Dungeon World authors, still in playtest (afaik).

The game bills its genre like something from The X-Files, except Mulder & Scully are never coming. The play materials print out the characters’ basic moves as cards with randomized backsides that the players don’t look at prior to taking harm in various ways. In essence, a player’s moves take damage, instead of noting a numerical amount of damage or harm on a sheet.

The damaged move typically has modified rules text, sometimes making success harder, failure worse, introducing new outcomes for very high/low rolls, etc.World Wide Wrestling — up & coming wrestlers trying to break through into stardom. Similar to Night Witches in a way, it focuses on the two halves of a wrestler’s life: drama outside the ring, and action within the ring. Build heat to get the crowd howling for you to win & come back; try to look out for yourself despite what Management (the GM) might have in mind as tonight’s winner or loser, heel or face. While I’ve not played this one myself, I’ve have seen it in action! Much like Monsterhearts might not seem the genre you’d want to play in an RPG at first glance, the game’s design turns that around by doing a great job executing the concept & using those systems and conventions to fuel entertaining drama.No Country for Old Kobolds — play as hapless, short-lived kobolds trying to defend their clans & homes over generations.

Can be played straightforward & bleak, or as purely slapstick/fatalistic humor, or somewhere between the two. Death comes easily, and success is hard, but each generation improves a bit on the old, so as long as the kobolds home can be protected & grow. The kobold village gets moves on its own over time, as threats to the village are handled and new kobolds in each lineage come of age (when your kobold dies, generally your new kobold PC will be a member & descendant of the same clan). Mechanics have much in common with Dungeon World; a specific hack called World of Dungeons (made as if Dungeon World had an old school 70’s forerunner) most of all.Monster of the Week — modern paranormal adventure with a strong procedural/episodic vibe. Think X-Files, Supernatural, Fringe and so on. The array of character options makes it like kit-bashing your own TV show with the weird elements of your choosing, though the players will by and large not be so monstrous themselves, as compared to what they face.

They might be redneck monster hunters, secretive gov’t agents, local law enforcement just trying to keep the peace, and so on. (Note: my experience with the 1st Edition of this game was a mixed bag, but there’s a 2nd Edition out I’ve heard is an improvement.)And a few more games which I only have passing familiarity with:The Sprawl — cyberpunk noir in the style of Neuromancer et. Al.Masks — young superheroes making their mark on their cityCartel — drug crime drama set in Mexico near the US border, focused on the street-level mules, dealers, toughs, etc. (“ashcan” draft)Dream Askew — post-apocalypse with a queer sensibility; also dicelessEpyllion — lighthearted epic adventures of youthful dragons saving a realmThe Regiment — a military squad, modeled after the Colonial Marines of Aliens (playtest/draft)Bootleggers — prohibition-era gangsters & booze smugglers (playtest/draft)Spirit of ’77 — 70’s blank-sploitation action pastiche, mixing & matching many touchstones of the eraTremulus — Lovecraftian horror.

Dino Crisis 2 Cheats

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