There is a really interesting thread about a (D&D) city built around a tarrasque.
http://forum.rpg.net/showthread.php?t=261519 and
http://waelfwulf.wordpress.com/
For those that don't know, in D&D the tarrasque is an immortal killing machine related to the dragons. It's immune to magic and all sorts of things that make it so it just can't be killed. It's a DM's way of ridding the world of unneeded PCs really.
But this concept is so cool that I feel the need to adopt it. It would make sense to me, since I have never used the tarrasque in any of my games even when it first appeared in the MM2 for 1st Edition. Though I have used the Piasa bird, a similar creature from my neck of the woods.
The idea behind this city is they have captured and immobilized it. Now they are feeding off of it's meat and blood which regenerates all the time. There is a corrupting power to this, plus the moral corruption of keeping a live beast chained up while you continously hack bits of it off. Something we saw in the Torchwood episode Meat.
Plus it is the type fantastical, out of this world crazieness that I love to have in my games. Cities built on the corpses of dead gods; Elven nations of thousands living in the trees and a city built around a Tarrasque.
Wednesday, November 18, 2009
Tuesday, November 17, 2009
Eldritch Witchery, Back to Basics
I am returning to work on Eldritch Witchery, my guide to witches and warlocks for the Spellcraft & Swordplay RPG. The idea is simple really; make a witch class for the game. But I want to do this class justice and not just do a retread of the material I have written for other games.
So I am going back to school.
I have been rereading old Dragon and White Dwarf magazines from the 70s to the early 80s to get a proper feel for the game as it was then. What were people talking about and doing in their games. I have also been going over my basic assumptions. Why is a witch needed if we already have Clerics and Wizards? What niche does a witch fill in a Sword and Sorcerery game? For this I am indebted to Jason Vey who has been giving me a crash course in all things Pulp related. Conan (whom I never really read and now understand I know next to nothing about), the works of Robert Howard and how they relate to Lovecraft. Plus I have been thinking a lot about my own influences for D&D. Clark Ashton Smith is a big one for me. I have been rereading all my old D&D books and notes. My first witch character was made in October of 1986, I wrote my first set of rules (20 pages) around her.
What has this done for me?
Well I have a pretty good idea what I want to do and how I want to do it and it is different than say my d20 version of the witch, or even the magic I wrote about in Ghosts of Albion. What does a witch do in the world of Spellcraft & Swordplay. Well the witch is more connected to the primal nature of magic. I hesitate to say “beyond good and evil” but maybe before good and evil. She is like nature. I also want to incorporate a lot of what is old folklore and fairy tales about witches. So these are defiantly more Baba Yaga than Sabrina.
What do Witches Do?
In any game you need to figure out where a character’s niche will be. What is it that the character will do, what can she do and what will she bring to the adventuring party. Where does she fit in this world organically. I also want keep in mind the classical or stereotypical powers of the witch; casting spells, making potions, the evil eye, curses, charms, turning people into animals, flying on brooms, consulting with familiar spirits. The witch then for me needs to provide that air of mystery in a world already full of magic and magical-using characters. She needs to have something special about her, I want the other characters in the group to say, “We need her, she is a witch!”
Hopefully players will say the same thing.
Next time, more on the occult powers of the witch class.
So I am going back to school.
I have been rereading old Dragon and White Dwarf magazines from the 70s to the early 80s to get a proper feel for the game as it was then. What were people talking about and doing in their games. I have also been going over my basic assumptions. Why is a witch needed if we already have Clerics and Wizards? What niche does a witch fill in a Sword and Sorcerery game? For this I am indebted to Jason Vey who has been giving me a crash course in all things Pulp related. Conan (whom I never really read and now understand I know next to nothing about), the works of Robert Howard and how they relate to Lovecraft. Plus I have been thinking a lot about my own influences for D&D. Clark Ashton Smith is a big one for me. I have been rereading all my old D&D books and notes. My first witch character was made in October of 1986, I wrote my first set of rules (20 pages) around her.
What has this done for me?
Well I have a pretty good idea what I want to do and how I want to do it and it is different than say my d20 version of the witch, or even the magic I wrote about in Ghosts of Albion. What does a witch do in the world of Spellcraft & Swordplay. Well the witch is more connected to the primal nature of magic. I hesitate to say “beyond good and evil” but maybe before good and evil. She is like nature. I also want to incorporate a lot of what is old folklore and fairy tales about witches. So these are defiantly more Baba Yaga than Sabrina.
What do Witches Do?
In any game you need to figure out where a character’s niche will be. What is it that the character will do, what can she do and what will she bring to the adventuring party. Where does she fit in this world organically. I also want keep in mind the classical or stereotypical powers of the witch; casting spells, making potions, the evil eye, curses, charms, turning people into animals, flying on brooms, consulting with familiar spirits. The witch then for me needs to provide that air of mystery in a world already full of magic and magical-using characters. She needs to have something special about her, I want the other characters in the group to say, “We need her, she is a witch!”
Hopefully players will say the same thing.
Next time, more on the occult powers of the witch class.
Blackmoor, no more for 4e?
I have blogged about Blackmoor in the past and was very excited to have picked up the 4e version of the Blackmoor book.
Well I have learned from Mystara expert Havard that there may not be any more Blackmoor for 4e.
http://blackmoormystara.blogspot.com/ and http://grognardia.blogspot.com/2009/11/blackmoor-news.html for the Grognardia viewpoint.
This is a disapointment, but not a suprise really. I guess this leaves me to do my own thing in my world. I am planning on keeping the Docrae race (off shoot of halflings) and keeping the unique classes to give the area a very different feel, the Wokan(i) in particular. It will be interesting to see where CMP goes from here, but I am likely to go backwards with my Blackmoor and hit the orignal books again and build up my Shangri-La like area somewhere north of the Black Ice where even Dragons dare not fly.
Well I have learned from Mystara expert Havard that there may not be any more Blackmoor for 4e.
http://blackmoormystara.blogspot.com/ and http://grognardia.blogspot.com/2009/11/blackmoor-news.html for the Grognardia viewpoint.
This is a disapointment, but not a suprise really. I guess this leaves me to do my own thing in my world. I am planning on keeping the Docrae race (off shoot of halflings) and keeping the unique classes to give the area a very different feel, the Wokan(i) in particular. It will be interesting to see where CMP goes from here, but I am likely to go backwards with my Blackmoor and hit the orignal books again and build up my Shangri-La like area somewhere north of the Black Ice where even Dragons dare not fly.
Saturday, November 14, 2009
Google Wave
I am now on Google Wave! Not yet sure what I will do with it but there are plenty of things I can do with my day job for it and I have heard of plenty of RPG applications.
I'll keep you all posted. Maybe I'll run some Ghosts of Albion games on it.
I'll keep you all posted. Maybe I'll run some Ghosts of Albion games on it.
Thursday, November 12, 2009
Wonder Woman and the Curriculum of Gender
One of the more interesting books I have been reading is "Wonder Woman: The Complete History" by Les Daniels (2000) and a related documentary "Wonder Woman: A Subversive Dream" (2009, Warner Brothers). I am struck by the parallels between the creation of this comic book character and some of our discussions on gender and public curriculum. Some of these parallels were in fact intentional by the comic's creator William Moulton Marston, a Harvard psychologist.
Background
In 1940 Prof. Marston wrote a pop-ed piece in Family Circle called "Don't Laugh at the Comics" in which he stated that the comic books of the time, read predominantly by pre-adolescent boys and then later service men, were a source of great educational material. He made the claim in this article and in a follow piece two years later that the comics were a great morality tale in which one could educate the masses in "good moral behavior". As mentioned before William Marston was a Harvard psychologist who, among other things, wrote articles on child care, education and even invents the lie-detector (and early proto-type). While most other creators and comic book writers were barely high school educated; not that this matters, but it is a stark contrast. Marston was a critic of comics, till he began to read them. He then decided that he needed to create a comic that conveyed the stories of myth and Greeco-Roman culture as well educate readers on this as well his other ideals (detailed in a bit). In an oft-quoted tale Marston told his wife Elizabeth (also an educated, liberated woman) what he was planning to do, she paused and said, "fine. But make her a woman." This of course was part of Marston's larger plan, to teach people that women were the superior gender and that the world would be a better place if they were in charge. In his 1943 follow-up in The American Scholar Marston points out that he planned Wonder Woman as something for younger girls to look up too as well. That girls "didn't even want to be girls as long at the female archetype lacks strength and power…"
In December of 1941 Wonder Woman, previously called Suprema, appeared on the stands in All-Star Comics #8. She appeared again a month later and by June of 192 she had her own headlining title (Wonder Woman #1), a time line unheard of in those days. Despite a brief reboot, the series has never been out of publication. Unlike her co-heroes Superman and Batman, Wonder Woman was a Goddess. Marston wanted to be very clear that his hero is not an alien or a man driven by revenge but a superior Goddess. He states throughout "Complete History" that the Goddess choice was intentional to equate the woman of the 20th Century as Goddesses. Still he has Diana/Wonder Woman, go through the classical Hero's Journey. She earns her place in this tale because she is better than the others.
Wonder Woman is also of princess of the Amazons, which were the archetypes of female warriors and "those on the outside". The amazons were self-reliant, peaceful, though could be warriors when needed, and all skilled at fighting. Yet despite the fact that Wonder Woman is faster, stronger and more skilled at battle, her mission (and Marston's) is one of love and peace.
Curriculum of Non-Violence and Love
What was Marston's plan, his hidden curriculum? As it turns out his curriculum is not so hidden, at least in his mind. Marston had been DC Comics (then called Detective Comics) Educational consultant. He took his knowledge of how people read comics and his own feminist viewpoints (some of which may seem a bit skewed by today's standards, ie women are not equal to men, they are superior to men). He was very open about what he had planned on doing. Present a character that can be admired by both boys and girls, give her a strong background in the classics, show that she has traditional feminine qualities (beauty, compassion, empathy) but is as strong and wise as any of the Gods and Goddess in her own background. Wonder Woman cared. Her first mission was one of returning wounded pilot, Steve Trevor, home and to help improve diplomatic ties between Paradise Island and "The World of Man". In Wonder Woman comics produced today a common theme is that the sign Wonder Woman has failed is not whether the "bad guy" gets away (like Superman and Batman) but whether or not she can promote peace and stop war.
He based Wonder Woman's qualities on his own research that lead to his creation of the systolic blood pressure based lie detector. Amazons and Wonder Woman were superior in their peaceful environment due their steadiness. Unlike Superman with his massive strength, flight, heat vision, freezing breath and an array of powers, or Batman and his billions of dollars and high-tech gadgets, Wonder Woman is known for two items, her magic lasso that compels people to tell the truth and her silver bracelets which can deflect any weapon (but most often bullets). These are no accidents or mere comic book constructions, they hold key significance to the psychology of Marston and his creation. The parallels between the lasso and Marston's own early "lie-detector" should be obvious; truth is more powerful than a lie. Wonder Woman's bracelets are a reminder of a time when the Amazons were held in bondage and how they never would again, referencing myth but also the post-suffrage movements of women and their expanded role in the work-place of WWII. The bracelets also represent protection, in a sense it is Marston saying my heroine not only doesn't need weapons, but yours are useless on her too. There is the tie to female-archetype as well, bracelets that stop bullets, earrings that allow her communicate with anyone including animals and a girdle that boosts her own already prodigious strength. The fact that is research assistant Olive Byrne (his other "wife" in a three-person polyamorous relationship with him and his wife Elizabeth) often wore large metal bracelets on each wrist should not be ignored.
Marston even said that all boys and men, not just ones reading Wonder Woman, would willingly follow an alluring woman stronger than themselves. Marston believed that he was luring them towards a more peaceful and non-violent way of life.
Hidden Curriculum to Global Curriculum
In 1972 a feminist of a different type, Gloria Steinem put Wonder Woman on the cover of Ms. Magazine. In that 30 years other comic book heroes had come, gone or been radically changed, partially due to the Comics Authority Code, but Wonder Woman was still recognizable as the archetype, or even icon, she had started out to be. In 2009 I just finished working on a new course called "Culture, Gender, and Power Differences in Conflict", which many of Marston's own curriculum for Wonder Woman is part of the objectives for this course. Understanding how men and women approach conflict differently, how are minorities oppressed in subtle ways that either side may not be aware of. Between these two points we have decades of pop culture references that have influenced and been influenced by Marston's creation. Even saying "Wonder Woman" invokes not just an image of a 6 foot tall Amazon in red, white and blue, but is synonymous with "powerful woman".
It is difficult to measure at level Marston met with success in his original conception of his idea. He certainly created not just a feminist icon, but a feminine one. A lot of what he wanted to see accomplished did in fact happen, though not everything. In the end I am left with two quotes from two very different males about Wonder Woman. When asked about Marston's view of women as superior Playboy founder and former editor and CEO Hugh Heffner said "would the world be better if women were running things? No question about it, absolutely."
When asked about Wonder Woman my 6-year old son said "don't make girls mad, they will kick your butt, best to do what they say."
Background
In 1940 Prof. Marston wrote a pop-ed piece in Family Circle called "Don't Laugh at the Comics" in which he stated that the comic books of the time, read predominantly by pre-adolescent boys and then later service men, were a source of great educational material. He made the claim in this article and in a follow piece two years later that the comics were a great morality tale in which one could educate the masses in "good moral behavior". As mentioned before William Marston was a Harvard psychologist who, among other things, wrote articles on child care, education and even invents the lie-detector (and early proto-type). While most other creators and comic book writers were barely high school educated; not that this matters, but it is a stark contrast. Marston was a critic of comics, till he began to read them. He then decided that he needed to create a comic that conveyed the stories of myth and Greeco-Roman culture as well educate readers on this as well his other ideals (detailed in a bit). In an oft-quoted tale Marston told his wife Elizabeth (also an educated, liberated woman) what he was planning to do, she paused and said, "fine. But make her a woman." This of course was part of Marston's larger plan, to teach people that women were the superior gender and that the world would be a better place if they were in charge. In his 1943 follow-up in The American Scholar Marston points out that he planned Wonder Woman as something for younger girls to look up too as well. That girls "didn't even want to be girls as long at the female archetype lacks strength and power…"
In December of 1941 Wonder Woman, previously called Suprema, appeared on the stands in All-Star Comics #8. She appeared again a month later and by June of 192 she had her own headlining title (Wonder Woman #1), a time line unheard of in those days. Despite a brief reboot, the series has never been out of publication. Unlike her co-heroes Superman and Batman, Wonder Woman was a Goddess. Marston wanted to be very clear that his hero is not an alien or a man driven by revenge but a superior Goddess. He states throughout "Complete History" that the Goddess choice was intentional to equate the woman of the 20th Century as Goddesses. Still he has Diana/Wonder Woman, go through the classical Hero's Journey. She earns her place in this tale because she is better than the others.
Wonder Woman is also of princess of the Amazons, which were the archetypes of female warriors and "those on the outside". The amazons were self-reliant, peaceful, though could be warriors when needed, and all skilled at fighting. Yet despite the fact that Wonder Woman is faster, stronger and more skilled at battle, her mission (and Marston's) is one of love and peace.
Curriculum of Non-Violence and Love
What was Marston's plan, his hidden curriculum? As it turns out his curriculum is not so hidden, at least in his mind. Marston had been DC Comics (then called Detective Comics) Educational consultant. He took his knowledge of how people read comics and his own feminist viewpoints (some of which may seem a bit skewed by today's standards, ie women are not equal to men, they are superior to men). He was very open about what he had planned on doing. Present a character that can be admired by both boys and girls, give her a strong background in the classics, show that she has traditional feminine qualities (beauty, compassion, empathy) but is as strong and wise as any of the Gods and Goddess in her own background. Wonder Woman cared. Her first mission was one of returning wounded pilot, Steve Trevor, home and to help improve diplomatic ties between Paradise Island and "The World of Man". In Wonder Woman comics produced today a common theme is that the sign Wonder Woman has failed is not whether the "bad guy" gets away (like Superman and Batman) but whether or not she can promote peace and stop war.
He based Wonder Woman's qualities on his own research that lead to his creation of the systolic blood pressure based lie detector. Amazons and Wonder Woman were superior in their peaceful environment due their steadiness. Unlike Superman with his massive strength, flight, heat vision, freezing breath and an array of powers, or Batman and his billions of dollars and high-tech gadgets, Wonder Woman is known for two items, her magic lasso that compels people to tell the truth and her silver bracelets which can deflect any weapon (but most often bullets). These are no accidents or mere comic book constructions, they hold key significance to the psychology of Marston and his creation. The parallels between the lasso and Marston's own early "lie-detector" should be obvious; truth is more powerful than a lie. Wonder Woman's bracelets are a reminder of a time when the Amazons were held in bondage and how they never would again, referencing myth but also the post-suffrage movements of women and their expanded role in the work-place of WWII. The bracelets also represent protection, in a sense it is Marston saying my heroine not only doesn't need weapons, but yours are useless on her too. There is the tie to female-archetype as well, bracelets that stop bullets, earrings that allow her communicate with anyone including animals and a girdle that boosts her own already prodigious strength. The fact that is research assistant Olive Byrne (his other "wife" in a three-person polyamorous relationship with him and his wife Elizabeth) often wore large metal bracelets on each wrist should not be ignored.
Marston even said that all boys and men, not just ones reading Wonder Woman, would willingly follow an alluring woman stronger than themselves. Marston believed that he was luring them towards a more peaceful and non-violent way of life.
Hidden Curriculum to Global Curriculum
In 1972 a feminist of a different type, Gloria Steinem put Wonder Woman on the cover of Ms. Magazine. In that 30 years other comic book heroes had come, gone or been radically changed, partially due to the Comics Authority Code, but Wonder Woman was still recognizable as the archetype, or even icon, she had started out to be. In 2009 I just finished working on a new course called "Culture, Gender, and Power Differences in Conflict", which many of Marston's own curriculum for Wonder Woman is part of the objectives for this course. Understanding how men and women approach conflict differently, how are minorities oppressed in subtle ways that either side may not be aware of. Between these two points we have decades of pop culture references that have influenced and been influenced by Marston's creation. Even saying "Wonder Woman" invokes not just an image of a 6 foot tall Amazon in red, white and blue, but is synonymous with "powerful woman".
It is difficult to measure at level Marston met with success in his original conception of his idea. He certainly created not just a feminist icon, but a feminine one. A lot of what he wanted to see accomplished did in fact happen, though not everything. In the end I am left with two quotes from two very different males about Wonder Woman. When asked about Marston's view of women as superior Playboy founder and former editor and CEO Hugh Heffner said "would the world be better if women were running things? No question about it, absolutely."
When asked about Wonder Woman my 6-year old son said "don't make girls mad, they will kick your butt, best to do what they say."
Tuesday, November 10, 2009
The Craft: Rochelle Zimmerman
The last Craft Girl. The very hot Rachel True as the dangerous type Rochelle
Again, for Unisystem, using Ghosts of Albion magic rules and Witch Girls Adventures.
Rochelle Zimmerman (Rachel True)
Quote: I don't know. She doesn't want to be white trash anymore. I told her, You're white honey! Just get over it.
Drama Points 20
Life Points 34
Attributes
Strength: 3
Dexterity: 3
Constitution: 3
Intelligence: 4
Perception: 2
Willpower: 3
Useful Information
Initiative: 1d10 + 3
Perception: 1d10 + 3
Additional Actions: 2
Fear Modifier: 6
Survival: 6
Qualities
Athlete
Attractiveness 2
Magic 2
Guardian of the Watchtowers (Water)
Drawbacks
Addiction (smoking) 1
Minority
Misfit
Teenager
Skills
Acrobatics 2
Art 1
Computers 1
Crime 1
Doctor 1
Driving 1
Getting Medieval 1
Gun Fu
Influence 2
Knowledge 4
Kung Fu 1
Languages 2
Mr. Fix-It
Notice 1
Occultism 3
Science 1
Sports 5 (swimming)
Wild Card
Combat
Maneuver Bonus Base Damage Notes
Punch +3 4 Bash
Dodge +3 Defense action
Grapple +5 Resisted by Dodge
Cast Spell +8 Varies By Spell
Rochelle is the most different of the group, not because she is African-American, but because she is the most normal of the girls. Pretty, athletic (she is on the swim team), and her quest for power was for to be more understanding against the racist members on her swim team. Later though she casts a spell (with Sarahs help) that causes one of the swimmers, Laura, to begin to loose all her hair.
It is Rochelle and Bonnie that leave the group when Nancy turns murderous, and they both approach Sarah in the end to try to reacquaint themselves with her in the end.
Witch Girls Adventures
Clique: Insider
Rochelle (Rachel True)
Body: d6
Mind: d6
Senses: d4
Will: d6
Social: d6
Magic: d6
Life Points: 12
Reflex: 9
Resistance: 9
Zap Points: 17
Traits: Calm, Jock
Heritage: Attuned
Skills: Acrobatics +2, Acting +1, Athletics +5, Basics +2, Computers +1, Fighting +1, Pop Culture +2, Science +1
Casting +3, Magical Etiquette +1, Mysticism +3
Magic:
Elementalism 3
Alteration 2
Conjuration 1
Curse 2
Illusion 3
Offense 1
Age: 16
Gender: Female
Hair: Brown
Eyes: Brown
If we are going to have Bonnie working at a witch school teaching ethics then it seems only right to have Rochelle there as well as the swim coach. I would imagine that Bonnie and Rochelle would have stayed friends after the end of the movie. An listening to the commentary I think that Rochelle would have come around to point of view that she can’t use magic to curse other people, no matter if the racist stuck-up little bleach blonde deserved it or not.
Again, for Unisystem, using Ghosts of Albion magic rules and Witch Girls Adventures.
Rochelle Zimmerman (Rachel True)
Quote: I don't know. She doesn't want to be white trash anymore. I told her, You're white honey! Just get over it.
Drama Points 20
Life Points 34
Attributes
Strength: 3
Dexterity: 3
Constitution: 3
Intelligence: 4
Perception: 2
Willpower: 3
Useful Information
Initiative: 1d10 + 3
Perception: 1d10 + 3
Additional Actions: 2
Fear Modifier: 6
Survival: 6
Qualities
Athlete
Attractiveness 2
Magic 2
Guardian of the Watchtowers (Water)
Drawbacks
Addiction (smoking) 1
Minority
Misfit
Teenager
Skills
Acrobatics 2
Art 1
Computers 1
Crime 1
Doctor 1
Driving 1
Getting Medieval 1
Gun Fu
Influence 2
Knowledge 4
Kung Fu 1
Languages 2
Mr. Fix-It
Notice 1
Occultism 3
Science 1
Sports 5 (swimming)
Wild Card
Combat
Maneuver Bonus Base Damage Notes
Punch +3 4 Bash
Dodge +3 Defense action
Grapple +5 Resisted by Dodge
Cast Spell +8 Varies By Spell
Rochelle is the most different of the group, not because she is African-American, but because she is the most normal of the girls. Pretty, athletic (she is on the swim team), and her quest for power was for to be more understanding against the racist members on her swim team. Later though she casts a spell (with Sarahs help) that causes one of the swimmers, Laura, to begin to loose all her hair.
It is Rochelle and Bonnie that leave the group when Nancy turns murderous, and they both approach Sarah in the end to try to reacquaint themselves with her in the end.
Witch Girls Adventures
Clique: Insider
Rochelle (Rachel True)
Body: d6
Mind: d6
Senses: d4
Will: d6
Social: d6
Magic: d6
Life Points: 12
Reflex: 9
Resistance: 9
Zap Points: 17
Traits: Calm, Jock
Heritage: Attuned
Skills: Acrobatics +2, Acting +1, Athletics +5, Basics +2, Computers +1, Fighting +1, Pop Culture +2, Science +1
Casting +3, Magical Etiquette +1, Mysticism +3
Magic:
Elementalism 3
Alteration 2
Conjuration 1
Curse 2
Illusion 3
Offense 1
Age: 16
Gender: Female
Hair: Brown
Eyes: Brown
If we are going to have Bonnie working at a witch school teaching ethics then it seems only right to have Rochelle there as well as the swim coach. I would imagine that Bonnie and Rochelle would have stayed friends after the end of the movie. An listening to the commentary I think that Rochelle would have come around to point of view that she can’t use magic to curse other people, no matter if the racist stuck-up little bleach blonde deserved it or not.
Monday, November 9, 2009
The Craft: Bonnie Harper
More Craft girls. Up next, former Partier of Five and future Wild Thing Neve Campbel as Bonnie
Again, for Unisystem, using Ghosts of Albion magic rules and Witch Girls Adventures.
Bonnie Harper (Neve Campbell)
Quote: A new wholeness and with it a new balance. Earth, air, water, fire. Maybe it's our fourth.
Drama Points 20
Life Points 29
Attributes
Strength: 1
Dexterity: 2
Constitution: 3
Intelligence: 3
Perception: 2
Willpower: 2
Useful Information
Initiative: 1d10 + 2
Perception: 1d10 + 4
Additional Actions: 2
Fear Modifier: 4
Survival: 6
Qualities
Attractiveness 2
Magic 2
Guardian of the Watchtowers (fire)
Hard to Kill
Drawbacks
Addiction (smoking) 1
Depression
Outcast
Screwed-up Adolescent
Secret (covered in burns)
Skills
Acrobatics 1
Art 2
Computers 1
Crime 1
Doctor 2
Driving 1
Getting Medieval 1
Gun Fu
Influence 1
Knowledge 3
Kung Fu 1
Languages 2
Mr. Fix-It 1
Notice 2
Occultism 3
Science 2
Sports 1
Wild Card
Combat
Maneuver Bonus Base Damage Notes
Punch +3 2 Bash
Dodge +3 Defense action
Grapple +5 Resisted by Dodge
Cast Spell +7 Varies By Spell
Bonnie is the most withdrawn of Nancys group and maybe one of the most knowledgeable. At some point Bonnie was caught in a fire, leaving most her back, and her psyche, all scared. When she gains her power she uses it to heal herself, but like Nancy and Rochelle it goes to her head. Her attractiveness starts at -1 and then goes up to +2.
She was also the first to notice Sarah was a witch and to notice their power. Bonnie is most likely to have turned back to the religion of witchcraft.
Witch Girls Adventures
Clique: Gothique (not as perfect as with Nancy, but it works)
Bonnie (Neve Campbell)
Body: d4
Mind: d6
Senses: d4
Will: d6
Social: d4
Magic: d6
Life Points: 8
Reflex: 7
Resistance: 9
Zap Points: 12
Traits: Gloomy, Meek
Heritage: Oracle
Skills: Acrobatics +1, Acting +1, Basics +2, Computers +1, Fighting +1, Pop Culture +2, Science +2
Casting +3, Magical Etiquette +3, Mysticism +3
Magic:
Elementalism 3
Alteration 2
Conjuration 2
Curse 1
Healing 1
Illusion 3
Offense 1
Age: 16
Gender: Female
Hair: Brown
Eyes: Brown
What might make an interesting Witch Girls adventure idea is have Bonnie, now older, working at a magic school where she is teaching magical ethics. She does not cast anymore (except when dramatically needed, and she is able to heal and near death student) and discovering her past could be a episode away from the main story arc for a season.
Again, for Unisystem, using Ghosts of Albion magic rules and Witch Girls Adventures.
Bonnie Harper (Neve Campbell)
Quote: A new wholeness and with it a new balance. Earth, air, water, fire. Maybe it's our fourth.
Drama Points 20
Life Points 29
Attributes
Strength: 1
Dexterity: 2
Constitution: 3
Intelligence: 3
Perception: 2
Willpower: 2
Useful Information
Initiative: 1d10 + 2
Perception: 1d10 + 4
Additional Actions: 2
Fear Modifier: 4
Survival: 6
Qualities
Attractiveness 2
Magic 2
Guardian of the Watchtowers (fire)
Hard to Kill
Drawbacks
Addiction (smoking) 1
Depression
Outcast
Screwed-up Adolescent
Secret (covered in burns)
Skills
Acrobatics 1
Art 2
Computers 1
Crime 1
Doctor 2
Driving 1
Getting Medieval 1
Gun Fu
Influence 1
Knowledge 3
Kung Fu 1
Languages 2
Mr. Fix-It 1
Notice 2
Occultism 3
Science 2
Sports 1
Wild Card
Combat
Maneuver Bonus Base Damage Notes
Punch +3 2 Bash
Dodge +3 Defense action
Grapple +5 Resisted by Dodge
Cast Spell +7 Varies By Spell
Bonnie is the most withdrawn of Nancys group and maybe one of the most knowledgeable. At some point Bonnie was caught in a fire, leaving most her back, and her psyche, all scared. When she gains her power she uses it to heal herself, but like Nancy and Rochelle it goes to her head. Her attractiveness starts at -1 and then goes up to +2.
She was also the first to notice Sarah was a witch and to notice their power. Bonnie is most likely to have turned back to the religion of witchcraft.
Witch Girls Adventures
Clique: Gothique (not as perfect as with Nancy, but it works)
Bonnie (Neve Campbell)
Body: d4
Mind: d6
Senses: d4
Will: d6
Social: d4
Magic: d6
Life Points: 8
Reflex: 7
Resistance: 9
Zap Points: 12
Traits: Gloomy, Meek
Heritage: Oracle
Skills: Acrobatics +1, Acting +1, Basics +2, Computers +1, Fighting +1, Pop Culture +2, Science +2
Casting +3, Magical Etiquette +3, Mysticism +3
Magic:
Elementalism 3
Alteration 2
Conjuration 2
Curse 1
Healing 1
Illusion 3
Offense 1
Age: 16
Gender: Female
Hair: Brown
Eyes: Brown
What might make an interesting Witch Girls adventure idea is have Bonnie, now older, working at a magic school where she is teaching magical ethics. She does not cast anymore (except when dramatically needed, and she is able to heal and near death student) and discovering her past could be a episode away from the main story arc for a season.
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