Base12 Mechanics in Distant Earth

The Base12 Attribute system is used to build your character in Distant Earth, but what exactly does each attribute govern?

Strength (STR) – Carry weight, brawling attacks, melee attacks, general acts of raw power

Dexterity (DEX) – Gun attacks, fine motor skills, mechanical repair, lockpicking

Intelligence (INT) – Technology skills, using computers, hacking, general knowledge skills

Awareness (AWA) – Defensive skills (blocking), explosives, perception, sniping, piloting, espionage

Agility (AGI) – Defensive skills (dodging), martial arts, acrobatics, balance

Willpower (WIL) – Defensive skills (fear, mind control), resisting Madness, social interactions

Constitution (CON) – Wound capacity (health), poison resistance, disease resistance, cybernetic capacity

Stamina (STA) – Skill Points (SP), athletics (running, swimming), advanced combat tactics

Wisdom (WIS) – Survival techniques, scavenging, commerce, identification, intuition, social skills (vs lying)

Charisma (CHA) – Diplomacy, persuasion, intimidation, social skills

Speed (SPD) – Initiative rolls, movement speed, stealth, pickpocketing

Luck (LUK) – Bonus rolls, lucky shots, loot rolls, random extreme situational rolls

 

Here’s a link to the “standard” Base12 system for reference.

Base12 RPG System

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Staying Alive: Constitution and Wounds [Distant Earth]

Distant Earth will feature a Wound Track system instead of a Hit Point system. Wound thresholds will be determined by the Base12 system of Constitution governing maximums and bonuses. The wound system will make combat deadlier than traditional HP systems, especially with the lack of “magical” healing found in fantasy settings.

Just Wound Track

The large boxes on bottom represent Major Wounds, while the three small boxes within each large box represent Minor Wounds. If you sustain three minor wounds, you also sustain a major wound. The reverse is true, too. A major wound automatically fills the three minor wound boxes above it. (It is possible to have additional independent minor wounds. See below.)

The penalties at the bottom of the Major Wound boxes effect ALL rolls, and come into effect only when that box is completely filled by a current unstable wound. For example, if you have one minor wound in the -4 box, you are not necessarily receiving a penalty to rolls from the previous boxes, and you are not receiving the -4 penalty until you have a major wound or two more minor wounds. Same with being knocked out or (gasp) dying. You have to fill the whole box for the penalty to occur. Also, penalties do not stack, so if you have a major wound in the -2 and the -3 box, your penalty to rolls is only -3 (not-5).

Every character starts with a base wound threshold at the line between the -4 and -5 boxes. Moving left to right, an entire major wound box is added for each CON Bonus the character has. Additionally, the CON die is rolled once at character creation and the total is added via minor wound boxes. All boxes beyond that are marked out as unusable, but their penalties are ignored.

Example:  A character with a CON of 5 has a Bonus modifier of 2, so they add 2 major wounds to their starting threshold of 2. Their CON Die is a d4, so they roll it. In our example the result is a 2, so they add two minor wound boxes to their threshold. Their character sheet would reflect this by appearing something like this:

Just Wound Track 2

In this scenario, you could potentially receive 5 minor wounds before you have to mark off a major wound and take the -3 penalty. The boxes that are blacked out do not come into play at all; the character’s CON was not high enough to use these. No penalty is assigned because they are not “active” wounds. They aren’t anything.

If a character was to sustain a major wound and then get that wound stabilized, they would no longer take the penalty in the box. However, stabilizing a wound does not “heal” it. It would remain marked off, and future damage would continue to the left across the wound track, making the next wound more debilitating. Only during long rests or through high quality medical services can wounds be completely healed.

The higher a character’s starting CON score, the more damage they will be able to receive, and at lower penalties. CON will also affect how much they heal during long rests.

 

Mutagens [Distant Earth]

Here are the three main mutagen strands and their common effects. Combinations of mutagens can create new effects.

Bolbo – Giantism, dwarfism, muscle mass, rapid growth, regeneration, brain cell growth.

Fauni – Limb generation, wings, gills, horns, fangs, scales, claws, feral degeneration

Seeth – Toxins, poisons, elemental cell replacement, rapid decay, form change

Turn Based Combat

Something about traditional turn-based combat has always bugged me.

Here’s the standard: The character with the highest initiative goes first. They move their entire maximum movement (commonly 30 feet) and then make one or two actions, for example drinking a Potion of Might and then attacking the enemy archer with a battle axe. Damage is totalled, effects are distributed.

Then the next person goes.

Why didn’t that archer loose an arrow when he saw the barbarian charging at him from across the room, battle axe raised?

Because his Initiative was one point lower. It wasn’t his turn to act. In this simulated battle, where one entire round is only six seconds of in-game time, and everything is supposed to be happening at the same time…well, nothing is happening at the same time.

Look, I don’t care if you “have the initiative,” if you start running at me from 30 feet away, I’m gonna have time to react. And if it’s real life, I’m probably going to start running in the opposite direction. I ain’t waiting to see if you lower that axe on my skull because I’m polite and waiting my turn.

For Distant Earth I’ve been workshopping some combat options that represent action and reaction slightly better. Since it will more often be focused on ranged combat with powerful guns, things like bum-rushing a turret seems ridiculous. So I’d like to have a system that allows for more reaction to enemy movements and actions, without totally taking the advantage away from the character with the highest initiative. My idea?

Reverse Initiative.

The lowest initiative goes first and makes their intentions known. Then the next person goes and so on, having knowledge of what all characters before them are going to do, but before anything is resolved. I’m hoping it would make actions like taking cover and suppressing fire more common, and that groups would work strategically.

It’s probably a stupid idea. But I’m gonna give it a try. I want to encourage critical and strategic planning. In most pnps players don’t want to “waste” their turn on anything other than making their most powerful attack. If the “turn” becomes more of a round of simultaneous actions by two teams, working together will hopefully make non-attack actions feel like they are important contributions to success.

Thoughts? Experiences? Am I CRAZY?!

Echoes Of The Goblin King

It’s hard to quantify the impact that David Bowie has had over the sci-fi and fantasy landscape. He wasn’t a George Lucas, or a Jack Vance. Still, he was a creator of worlds, a writer of atmospheres, a portrayer of characters. He, in many ways, was a role-player.

His music was a soundscape that not only accompanied fantastic stories, it actually conjured them. The characters he became burrowed their way into the collective cultural ideal of fantasy-as-art, and perhaps no one did it with more conviction.

His music was nothing short of groundbreaking. While the airwaves were being dominated by the likes of R&B singers Al Green and Roberta Flack, Bowie was becoming Ziggy Stardust and releasing science fiction concept albums. Not many have done that, fewer still in 1972. While prepubescent Michael Jackson sang about Rockin’ Robins, Ziggy sang about pink monkey-birds and spiders from Mars.

The personas he created have flavored a generation of gamers, whether they realize it or not. When kids in the eighties watched Labyrinth for the first time, they fell in love with a feeling and a mood and an experience. It was a live-action dungeon crawl, full of mazes and puzzles and monsters and magic, and waiting in the center of it all was the boss fight with the Goblin King. This wasn’t a faceless unknown evil, it was a motivated, enviable, and most importantly, understandable foe. There was depth and intrigue to this Big Bad. It was a quest hook based on decision making and investigation of character; it was the best campaign you’ve ever hoped to play. David Bowie WAS Jareth. He role played the character like only the best GM can, with mountains of unseen information and backstory that makes the character real, even if the players never discover it.

Those manifestations have left fingerprints on many other mediums over the years, one of which is undoubtedly my love for fantasy and science fiction gaming. Gaming as an expression of art is a concept I’ve wrestled with for a long time. I know that gaming has made me a better actor, and acting has made me a better gamer. There is very little difference for me between the two: wearing another character’s skin to drive a leisure activity and doing so for art’s sake use the same muscles, and Bowie as Jareth is my reference point for that marriage. Perhaps if I would have pursued music with more intensity Ziggy Stardust would have been a musical analog. I have reflected the energy Bowie put into his art, and therefore onto the world, onto my own art. I’m willing to bet many others out there have too.

Cheers to a great performer, artist, creator, and role-player. Thanks for everything, Mr. Jones.

Level-less Role Playing

What if–and I’m totally just spit-balling here–when you played a tabletop rpg there was no leveling? What if the progress of your character was based more upon learning how to navigate the dangers around you more efficiently? Sure, gaining gold or credits or what-have-you would be an important part of that; equipping your character better for what they will face is a sort of progression.

All too often the mindset of a player is “Well, we COULD cause a distraction and sneak around this guard, creating a good opportunity for some interesting role play. But then we wouldn’t get the XP. So, nah, let’s just run up head on and kill him, who cares if we’re good guys.”

Players see XP as power-currency for their characters, and thus greedily accumulate it at whatever cost. And why shouldn’t they? Everyone wants to succeed, do amazing things, put the baddies in their place. Usually that means grinding some XP to unlock that new skill.

But what if you gained trainings just by playing a session or two? What if you got paid the same no matter how you completed the job? What if gametime was just about running your character and enjoying it, without worrying about how many XP you are away from the next level?  “Level 4 is when I get such-and-such ability, that’s when it gets fun.”

Maybe you start with all those abilities you want to use. Maybe they get more powerful the more you use them. Isn’t that what the XP system is supposed to represent anyhow? What if you gain experience by experiencing?

Maybe you’re trained in bazookas from day one, but you just have to raise the 40,000 credits to buy one. Maybe your character starts with the ability to cast the most devastating fireball in the spellbook, but it consumes a diamond each time, and you only start with one?

I’m not saying that character progression should be eliminated, far from it. I just think there might be a different way to approach it that doesn’t “force” the player to make certain decisions just so XP can keep rolling in. That’s not role playing, that’s following a  strategy guide.

I’m curious to hear what others think about this, especially those that have tried something similar, and whether or not it works.

Law and Order [Distant Earth]

For a long time an idealistic one-world government allowed for widespread prosperity and peace. Technology and quality-of-life took enormous steps forward, and eventually permanent space station colonies were established, as well as settlements on neighboring moons and planets within the system.

It wasn’t without its opposition, however.

Resistance cells kept the world government on constant watch, and many remote areas became warzones. By the time the Droog showed up looking for asylum (and introducing their alien mutagens to an unsuspecting population) the world was on the verge of change. And change came quickly.

Chaos erupted from the moment the first human mutated. A terrified and angry population demanded the Droog be exiled from the planet, and they likely would have succeeded if the government hadn’t stepped in to protect the visitors. After all, there was technology that these creatures had that humans hadn’t come close to developing yet.

The resistance forces took the opportunity to strike hard at the government while it was busy dealing with the new crisis, and out of the chaos came a sort of compromise. The government would release control of a handful of locations–mostly underdeveloped or barren lands–to be ruled locally as the people saw fit. They became known as Free Cities, but freedom came at a price. Warlords claimed power over these settlements more often than not, and a lack of government aid left the rest at best dangerous and poverty-stricken. Soon after came a wave of mutations.

Sixty years of war, disease, and climate change forced a new landscape. The government gave way to private businesses and security forces. Pharmaceutical companies rose to power, curing both humans and Droog alike of their diseases and mutations–at least those that could afford it. Entire cities put up walls to protect their citizens from the terrors of the outlands. Soon they became nearly independent; civilized centers of commerce and technology amidst wild and decrepit wastelands. Governing bodies and laws varied from city to city, usually driven by Credits and a need for safety. Urban populations forgot about the Outlands. Space colonies were cut off. This was the new frontier.