Professional Documents
Culture Documents
03 Shadows of The Past - Characters
03 Shadows of The Past - Characters
03 Shadows of The Past - Characters
When the story is told in the Shadows of the Past, the important people are
all characters. Most of the rules of the game are related to the characters,
and the most important characters, the player characters, are each
controlled by one player.
The game always starts with making player characters. It is important
to go through this step together so that players can get excited about each
other's characters and participate in creating the basic blocks of the
game. Good characters are interesting to all players, not just their creator.
Passive Abilities
When the player is otherwise satisfied with his character's abilities, he
chooses three more abilities: the so-called passive abilities are common to
all characters and a little special in that they are, as the name suggests,
completely passive. No matter where the story goes, the character can
never use passive abilities to initiate events, only to survive them and
defend the character. Passive abilities are:
Durability (pure)
This is the character's ability to continue the journey with determination
despite pain and fatigue. It is used to test the limits of the character's body
and condition.
reaction (instinct)
This is used to measure the cleverness of the character's body and
thoughts. It's about avoiding a rock slide as well as a quick response to an
insult.
Resistance (Sense)
This is about the character's willpower, which withstands both social,
physical and magical threats without wavering from its purpose.
The player values the passive abilities according to what kind of image he
has of his character: one of them is level experienced, one capable and the
least skilled.
Segregation of resources
At this point, we already know what the player character can do; he is
capable of heroic deeds and skilled in many skills. Next we set the
character's resources: these are the internal resources that the character
uses when trying to be serious. The player can use resources during the
game to make the character succeed in tougher situations than usual. There
are three types of resources: purity, instinct and reason.
Puhti tells about the character's physical condition and strength. Low
blood pressure can be a sign of an unhealthy lifestyle or an incurable
disease; a character with high purity can be recognized by bulging
muscles, scarred face, gnarled hands, all-seeing eyes and crushing
strength.
Instinct tells about the character's natural balance. A low instinct can
be a sign of social awkwardness or a traumatic childhood; a character with
high instinct can be identified by graceful movement, penetrating gaze,
astonishingly good hearing, lovely appearance or sexual prowess.
Reason tells about the character's intelligence and patience. Low
intelligence can be a sign of laziness or inexperience; a character with high
intelligence can be identified by vocabulary, the ability to identify plants
and animals, skill at gambling, or power over others.
Power resources are measured by points, which are distributed to the
starting characters in total 11. At this point, each power resource must
have a minimum of 1 and a maximum of 7. The players do the distribution
as they see fit. There are no wrong answers, it's more about what kind of
image the player has of his character.
In character creation, the player initially chooses one skill for his
character. It's quite possible that this skill is determined by the character's
species or culture; for example, the first skill of all hiis is the skill of
Dependence .
If the character is human, the player can choose which art they
want. Of course, some arts are culturally bound and rare, just like
abilities. The character can learn these later if he deals with characters who
know the art.
Experience table
Feature Price
Increasing the ability by a degree
To be able (1) 1
Experienced (2) 2
Master (3) 3
Grandmaster (4) 4
Increasing the asset by a point 1
Increasing the resource when >9 2
Learning the art 1
Taking the key 1