This rule is used to replace 2nd Edition Nataralezas. I altered the rules a bit to fit better 1st.
Motivation: Motivation
is a short sentence that sums you main objectives of a character. The motives of the extremists can not be mundane, it is something inherent in the nature of pursuing goals Chosen epic. Complete a
Motivation:
The motivations are long-term goals that move the actions of a character. Completing this goal is something so powerful that it allows a character to spend experience points to increase their Permanent Essence without meditating for months.
However, the Narrator can veto it if it considers that the motivation was not epic enough, or is obtained very easily or very quickly.
After this, the player must select a new motivation, at no cost experience. In most cases it is something related to the above reasons, but the characters sometimes make radical changes in their way.
Change Motivation:
characters generally gain a new motivation after completing the above, however, time and experience can bring a character to realize that their motivation is wrong or defective. Change
motivation is an alteration of great impact to the character's life. It should never be casual, and should happen very infrequently. The change is so radical that it must spend 2 points of experience to carry it out. Storytellers are free motivation to veto changes they deem unfair or very fast.
In the case of a character who decides to start the game with a little motivation epic, the player can choose a larger (but not change it completely) free of charge to experience the first time you do. Lost
Willpower using Motivation:
Each time a character spends an entire scene performing an action that brings him closer to fulfilling their motivation, retrieves a point of temporary Willpower. Oppose
as Factor:
Whenever someone tries to convince a person to act against their motivation suffers a +3 to DF all social actions to do so.
Conversely, if someone wants to manipulate the character using your motivation, you get a -3 to the City, all social actions.
Intimacies:
Characters can have things in life which are loyal, and yet not part of their motivation. These are called secondary motivations Intimacies.
The Intimacies take the form of nouns (a person, idea, place, etc.) In which the character feels invested.
A character can have a maximum number equal to their intimacies Compassion + Will, even if the surpluses do not disappear automatically.
Instead, the Narrator can remove the intimacy that creates less important at the end of a story. If you have more than one extra privacy, they will be losing one. In no case should miss more than one intimacy history.
Effect of Intimacies:
intimacies Will not give the character or essence, but are a way of marking what it tries to protect, making it more difficult to manipulate a character to act against their intimacies, but easier manipulation through them.
If someone tries to convince the character to act against one of his intimates, receives a +1 to the City of all social rolls to do so.
By contrast, someone tries to manipulate a character through one of his intimacy, has a -1 to the City of all social rolls for it. Win
Intimacies:
A character starts the game with as much privacy as his Compassion (or if desired, less).
For the cost of 3 free points, you can choose to Compassion + Will of intimacy.
During the game, the character must take the time to tie your heart to something. The intention to protect some may swear in a moment, but it takes work and time to assimilate it into the very nature of the character. A character can perform an action scene for each idea you want to make privacy. Maybe someone persuades, or just the character feels and thinks. Whatever the case, the character must spend many scenes as his conviction to transform an idea into an intimacy. Losing
Intimacies:
Characters can spend a scene rejecting the idea that gave birth to their privacy. Whether you try to convince him, or that the character you want to leave. It takes so many scenes like Conviction to reject intimacy. If the character too much force opposing the idea, it can become an intimacy directly opposed to the previous one: hatred instead of love, patriotism rather than rebellion, etc.
0 comments:
Post a Comment