Basic Set: Campaigns. GURPS Game Design This is Book 2 of the GURPS Basic. Set, Fourth Edition. material online, in PDF format, in the same shopping . Basic Set: Campaigns. GURPS Game GURPS Fourth Edition Revision by DAVID L. PULVER and SEAN M. PUNCH PDF format, in the same shopping. Basie Set: Campaigns. GURPS Game Design by STEVE JACKSON. GURPS Fourth Edition Revision by DAVID L. PULVER and SEAN M. PUNCH.

Gurps Basic Set Campaigns Pdf

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change campaigns! GURPS gives and the introductory version of the rules, GURPS Lite, is available free online! This is Book 1 of the two-volume Basic Set. GURPS - 4th Edition - Basic Set - - Ebook download as PDF File ( .pdf) or read book online. GURPS 4th Edition - Basic Set - - Ebook download as PDF File . pdf) or read book online.

With just this book, you can adventure in any world you can imagine. Use all types of weapons from clubs to lasers. Create exactly the character you want to play. Choose from over advantages and disadvantages, over skills, spells, and techniques. No more switching game systems when you change campaigns! GURPS gives you one set of clear, comprehensive rules to cover any background. This new Fourth Edition is based on 16 years of gamer feedback from the Third Edition, and is faster and easier to play than ever before.

GURPS Basic Set: Characters and Campaigns

All rules are carefully organized, indexed, and cross-referenced. Charts and tables are clear and legible. This is Book 1 of the two-volume Basic Set. Routine use can turn anything from a wonder into a convenience. Several things help keep magic amazing. First, distribute it unevenly. Intensely magical events stand out more if they contrast with a less magical background.

Second, stress its unpredictability, even to people who use it regularly. Third, if possible, make some magic unknown — not just to the protagonists, but to everyone. Often, these encounters will be conversations instead of battles. Facing mythic foes in combat should frighten even the most capable adventurers.

Gods may single out the greatest or worthiest mortals as their champions, or even as potential future recruits to godhood — or as problems to remove before they ascend to real power. Godhood is more than a name. It is a condition of being. Being a god is the quality of being able to be yourself to such an extent that your passions correspond with the forces of the universe, so that those who look upon you know this without hearing your name spoken.

She is Dance. He is Destruction. She is Love. Most low fantasy magic is evenly distributed in the world, not sharply focused in certain places. Its effects are predictable and knowable.

Low fantasy magic is less a source of wonder than a toolkit. Characters in low fantasy are more concerned with practical goals, less with great passions.

A high fantasy traitor might be motivated by passionate jealousy, tempted by the devil, or perversely sympathetic to Myths and Games If fantasy falls between history and myth, then where does myth fall?

It depends on the myth. Some myths are much like adventure stories. In Norse legend, Thor and Loki go to Jotunheim, the land of the frost giants, and have adventures there. This could be an episode in a roleplaying campaign, especially if the players like a touch of comedy.

Action on this scale is beyond the scope of any spells, enchantments, or powers in most fantasy games. Characters in myths are personifications of cosmic forces. Stories that emphasize this personification are often adventure stories, love stories, or murder mysteries, and can turn into game scenarios. Nothing prevents cosmic forces from entering a game. The powers of mythic beings are never fully measured, nor their motives fully understood.

Merchants and criminals are minor figures, or entirely absent, in most high fantasy. In low fantasy, they are not only prevalent, they may be the heroes. It portrays magic as ominous. Supernatural beings are powerful and indifferent to human concerns, if not outright malevolent; their attention is feared, not sought.

Any use of magic, even for virtuous purposes, should have a price. The elaborate mythologies that underlie much high fantasy also form an essential element in dark fantasy — but in dark fantasy, most people may not even have heard of them. In the darkest settings, the ultimate truth may be maltheistic p.

This may be his life, willingly given to kill a foe or close the gates of hell; wounds and scars that will never heal; madness; or his own corruption by using evil to defeat worse evil.

He faces constant fear — not only for himself, but also for the people he defends. Dark fantasies often end in tragedy. Their heroes have appropriate traits, from tragic character flaws to curses or unhappy destinies. Its goal is to amuse the audience or the players. Dark fantasies are often tragedies; light fantasies are usually comedies.

Naturally, characters in light fantasy have to face problems and threats along the way. If the heroes get turned into something icky, there will be a way to turn them back. If they face a monster, it will have some unexpected weakness. Many light fantasy plots deal with complications instead of threats; for example, a heroine may have to find odd magical ingredients to free the hero from a spell. Spells in light fantasy always risk going wrong in unexpected ways. Supernatural beings are eccentric or tricky, controlled by peculiar rules that give clever mortals ways to get the better of them.

Learning their names see True Names, p. In some ways, light fantasy relates to low fantasy. Putting everyday people and practical problems together with mythical beings and powerful magic is a natural source of humorous incongruities. On the other hand, some light fantasy comes closer to high fantasy. The settings for sword and sorcery campaigns allow as much adventuring as possible.

Well-organized civilizations are rare. Empty lands roamed by barbarian nomads, corrupt and decadent city-states, or the haunted ruins of earlier civilizations offer more entertainment — and have fewer inconvenient laws.

Backgrounds for sword and sorcery are often just quick sketches.

Sorcerers might be threats to the hero or the people he protects, as in Robert E. More recent sword and sorcery often has heroes who can work magic.

They may be equally skilled at nonmagical combat, or belong to teams of adventurers where some members provide the swords and others the sorcery. Magic for adventurers has to be fast, largely designed for combat effectiveness. Or, if his powers are subtler, he needs nonmagical combat skills to keep himself alive.

Either approach avoids scenes where everyone else fights and the wizard takes cover and waits for the battle to end. Sword and sorcery can resemble any other genre, but focuses mainly on action and combat. The swordand-sorcery version of high fantasy features impressive spells, epic heroes, and battles that decide the fate of kingdoms. The dark version is full of evil sorcery and terrifying monsters. In light sword and sorcery, the heroes have to deal with flashy rivals and their own bad judgment.

A campaign focused on adventure can be in any of these styles. Others appeal to fantasy audiences and are classified as fantasy, but lack one or more typical elements. Millions of Christians as well as adherents of other religions believe that the supernatural is real and omnipresent. B might be useful. Anything that looks like magical spells will be a snare of the Devil, and its effects will be illusions see Glamour, pp.

Exotic Lands This genre has little or no supernatural content, but includes all the other trappings of historical fantasy. The settings are remote countries, the heroes are often aristocrats, and their feats transcend the normal limits of probability. Many stories in this genre, from The Prisoner of Zenda and the Titus Groan novels to The Princess Bride, take place in nonexistent lands, which makes them fantasy by one definition see Fantasy Worlds, p.

Martial Arts Martial arts films, especially Japanese chambara and Chinese wuxia movies, have heroes with superhuman or supernatural gifts, often explained as mastery of chi life energy. Heroes run the gamut from those who are simply amazingly skilled, to those with esoteric powers or who cast spells and work magic.

The abilities of real martial artists are impressive enough, and legends of their superhuman feats help make outright fantasy elements acceptable to both Asian and American audiences.

Paranormal Romance During the past quarter-century, romance writers such as Sharon Green, Melanie Jackson, Kathleen Nance, and Robin Owens began exploring themes from science fiction or fantasy.

Time travel is the most popular; it allows a present-day heroine fall in love with a man from the chivalric past. Superheroic Adventure Comic book superheroes include magicians and magically empowered characters: Dr. Strange, Thor, and Promethea, among others.

The uniqueness of the superhero, or the supervillain, is part of the classic formula. Magical characters may become involved with various magical worlds: the Christian heaven and hell, the realms of the Greek and Norse gods, or the land of dreams or death.

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Typically, only a superhero or supervillain can visit these other planes. Supernatural horror is akin to Christian supernaturalism in its view of magic.

Human involvement in magic is perilous and often reflects sinful pride; salvation comes from faith in a higher power. In dark fantasy, heroes defeat the horror with their own courage, or discover ways of using magic against it. In any case, the boundary between the two is debatable. Which side a campaign is on, or a book, or a film, is often a matter of opinion. Cyberpunk Cyberpunk started out with the idea that future computers, or virtual reality, might look like magic.

But what if things that just look like magic collide with things that really are magic? A cyberpunk future might have elves, dwarves, and orcs living in postmodern cities, as in the classic roleplaying game Shadowrun. Magic might enhance the skills of programmers, or summon spirits to inhabit computers as a shortcut to artificial intelligence.

GURPS - 4th Edition - Basic Set - Campaigns.pdf

Conversely, cybermages might use computers to aid magical rituals. Can a chat room host a ceremonial magic spellcasting? Espionage If magic did exist, would the government tell us? Spies and secret agents already live in an occult world. Perhaps it has darker secrets than anyone knows, and illuminated operatives guard them.

They may even be supernatural entities, sent from heaven, hell, or the faerie realms to intervene in human affairs.

Retrotech Steampunk combines the antique charm of gas lamps and airships with technological speculation about mechanical computers and wireless electric power.

However, the age of steam was also fascinated with the supernatural, from the Arabian Nights and Gilbert and Sullivan to high ritual magic, spiritualism, and theosophy. The technological fancies of earlier ages also work well, from the clockwork automata of the 18th century back to the legendary inventions of Daedalus. Retrotech also may use magic to enhance technology. PLANNING Swashbuckling The swashbuckling era saw the creation of scientific astronomy, physics, and anatomy — and the pursuit of occult and supernatural lore, often by those same early scientists.

In a magical setting, spymasters such as Walsingham and Richelieu can employ diviners and sorcerers along with assassins and cryptographers. However, modern warfare could combine with fantasy. Magic must be integrated into a Western setting with care. Wizards throwing fireballs could upstage gunslingers, and destroy a central motif of the Western genre. Subtler magic is better. In classic Westerns, the civilized people will be the heroes; in subversive treatments, American Indians have spiritual insights whose loss is a profound tragedy.

Or civilized people may have their own magic. Westerns could be a model for campaigns in other historical eras. Zoroastrian magi able to hurl fire and lightning could even substitute for gunslingers. In some stories, the magical or fantastic elements are secret; the heroes know about them, or learn about them, but the everyday world goes on unaware. In other stories, society embraces the magical or fantastic elements.

Either option provides several approaches. GURPS Fantasy focuses on creating magical worlds and running campaigns in them — though much of its content is also useful for running fantasy campaigns set in the real world.

Separation from the real world, all by itself, can make a story or a campaign fantasy. A completely invented world can be much closer to history or even present-day reality than to myth. Far Away Fantastic things can happen in distant countries, especially ones that few people visit. Tibet, or Haiti, or the Balkans may provide homes for supernatural forces forgotten by civilized people. At the simplest, this blends into travelers telling strange stories, knowing that no one can check them.

This rationale worked much better in the 19th century than now.

Improved transportation and communication mean that no place is 10 remote any more. There are no hidden lands. GMs, however, can set a hidden land in the recent past, a century or two ago. Another method is simply to ignore the problem.

This approach usually works best in humorous fantasy see Absurdist Fantasy, p. The classic example of this kind of fantasy is The Wizard of Oz and its many sequels. In the civilized countries I believe there are no witches left; nor wizards, nor sorceresses, nor magicians. But, you see, the Land of Oz has never been civilized, for we are cut off from all the rest of the world. Therefore we still have witches and wizards amongst us. Frank Baum, The Wizard of Oz Other Planets After the exploration of the entire Earth, writers turned to other planets as settings for fantastic adventures.

A few decades ago, the moon, Mars, and Venus were far enough away. With our solar system mapped, writers have turned to planets of other stars to give their imagination license.

Sprague de Camp. Some apparently supernatural elements actually have psionic or other science-fictional rationales, such as James H. Lewis offers a high fantasy treatment in Out of the Silent Planet and Perelandra, whose hero, Ransom, visits Mars and Venus and finds them ruled by angels. The Past Like distant lands, the past has some advantages that the present lacks.

If the setting is the historic past before , the great majority of people believed in magic. Roleplaying these people includes roleplaying their belief in the supernatural — which makes the actual supernatural easier to work into a story or campaign. The legends of historical societies such as Greece or Japan provide source material with which the players may be already familiar, limiting the need for long explanations.

A campaign set in prehistory draws on no such sources. However, it has more room to make them up, since prehistory is still largely unknown. The remains of magic might have disintegrated in the past few millennia, or might lie undiscovered beneath the soil of some remote country see Relic Fantasy.

Fantasy set in the historic past includes many Arthurian novels. Roleplaying settings include the Mythic Europe of Ars Magica and the Camelot of King Arthur Pendragon, in historical periods, and the world of Exalted, in an invented prehistory.

The Future A less popular approach, but one that several interesting stories pursue, sets magic in the future. This actually offers several different hybrids of fantasy and science fiction, depending on which future the campaign uses. Here are some elements that are especially common in fantasy roleplaying.

Such abilities also help them deal with swordsmen who have quick reflexes and limited respect for the sanctity of life. Bardic Gifts Fools In legend, ancient Celtic bards were sacred.

No one could punish them for what they said or sang, and kings and warriors feared their satires. Bards in many cultures have magical powers, often involving superhuman persuasiveness. Fools in literature are often intelligent men wearing a mask of stupidity or insanity.

Even if the forces of evil are close behind, the heroes have time to go look at the tomb of an ancient king. Duels In real wars, armies trained to fight as units normally defeat armies of warriors who fight as individuals, even if the warriors are individually better fighters see War in Fantasy Settings, pp.

However, fantasy often focuses on individual heroes. The important combat is man-to-man, skilled warrior against skilled warrior, with the rest of the army fading into the background, or even standing still and watching while the leaders fight it out.

Healing spells can stop bleeding, cure diseases, or even restore lost body parts, often with the aid of magical herbs. Other herbs may provide reliable contraception; unwanted pregnancy seems to be rare in fantasy. In a magical setting, a wish, spell, or prayer will come true, but not necessarily the way the speaker meant it. Making sure the wording leaves no room for unpleasant surprises provides work for people who would become lawyers in realistic settings. Flashy Magic Real-world magical rituals, like real-world technology, require long, slow, careful preparations.

Magic in fantasy worlds could be much the same. Another good approach is to have magic reappear in a high-tech world, as in the roleplaying game Shadowrun. Either way, the setting is still recognizably Earth, with magic as a recent development. In a far future Earth, magic may coexist with remnants of very advanced technology, perhaps no longer fully understood. The details of its reemergence can be vague; in thousands or millions of years, they could have been forgotten.

A further variant is outer space fantasy, with an interstellar civilization using magic. This is different from PLANNING planetary romance, where the dominant civilization is technological and rationalistic, and magic exists only on a distant planet. In outer space fantasy, the dominant civilization is magical and magic is the only way to travel between the stars. Magic may coexist with technology in such a setting, or replace it. In such settings, a specific different choice in the past led to the discovery or preservation of magic, often in an otherwise modern world.

This approach works well either for exploring a world similar to the present day or the recent past, but where magic works, or for sending people from here and now to such a world. John M. Castle Falkenstein presents a game world in the same spirit, though without a specific point of divergence or detailed timeline. Other Planes Other planes, or other dimensions, offer another way to send people from the present day into a realm of magic. This basic idea accepts the nonmagical world known to 21st-century science as simply one realm in a larger 12 universe.

In other realms, magic remains powerful. Magical realms include dreamlands, faerie realms, spirit worlds, heavens, hells, and archetypal worlds see Magical Realms, pp.

There may even be multiple dimensions in complex arrangements, as in the Cabal setting p. Other planes tie directly to Earth — possibly to a fantasy Earth, or the otherwise nonmagical 21st-century Earth.

Their relationship with Earth should define how their magic works and how humans gain access to them. In roleplaying, other planes are a major element of the World of Darkness games. In a sense, the virtual realities of cyberpunk are another sort of alternate plane where different natural laws exist.

Its origins may be mythological instead of scientific; it may be a disc floating in space, or a flat world roofed over by a tangible sky. The only requirement is that it be consistent with its own basic premises. This is probably the most widely used type of setting in recent fantasy.

The Middle-Earth of J. In roleplaying, Hero Wars focuses on the separate world of Glorantha. Multiple Realities A number of fantasy novels occupy a middle ground between these last three options: separate realities roughly comparable to Earth, but accessible through some higher-level reality. In contrast to alternate histories, whose divergence is measurable by how long ago two histories split, separate realities differ in kind, like works of art.

The passage usually requires technology, not magic. In a different approach, Fletcher Pratt and L. This kind of fantasy occurs most often in the present. This kind of fantasy has various names: modern fantasy, urban fantasy, or if set in the past secret history. However, a real world setting can include the kind of mythic elements this book classifies as high fantasy. This kind of averted apocalypse, where mythic forces threaten to turn the real world into a fantasy world, and the heroes have to stop them, is a motif of fantasy set in the real world.

The seasonal plot arcs of Buffy the Vampire Slayer, for example, involved apocalyptic threats. Relic Fantasy The setting may include objects or even living beings from a forgotten time when magic was common see The Past, p. Buried beneath the ruins of ancient cities, stored in museum basements, or passed down as heirlooms, these items grant mysterious powers and lost knowledge to guardians who discern their secrets. Such items may only contain a weakened trace of their old magic, or may work at full strength for someone with enough faith or luck.

Nesbitt and Edward Eager demonstrate. Portal Fantasy A relic could be the gateway to a fantasy world, where magic is real and recognized. The portal can be a hidden road or path, a tunnel, a door or gate, or even a piece of furniture, as in C. However, they may spend much of their time in the everyday world, doing things influenced by their experiences on the other side of the portal.

Most of C. Different locations in the everyday world link to different locations in the magical world.

Smaller-scale variants involve imaginary societies of mice or rats living behind the baseboards or wainscots of houses — the source of one name for this genre. Both Gibson and Vinge emphasize the point by comparing their netrunner heroes to wizards and computer programs to spells. Nancy Collins made it a recurring theme of her Sonya Blue novels.

For a roleplaying game treatment, see Mage: The Ascension, with its concepts of coincidental magic and Paradox. Forces other than the supernatural or psychological may keep magic secret in an illuminated setting. Magic may be useful to governments and other powerful organizations, which conceal it to protect their own interests. Stories based on this assumption can combine fantasy with espionage or covert operations see Crossovers, p. The s television series Bewitched is a classic treatment of this theme, inspired by the film Bell, Book, and Candle.

The earlier Topper films and the novel by Thorne Smith are similar. I Dream of Jeannie combined this approach with relic fantasy. The key to this approach is usually humor. The audience laughs at the plight of the everyday person caught up in magic, but who tries to keep it secret from everyone else.

There is no substitute for good manners — except fast reflexes. So is working through translators or using a partly learned language. Jokes about inaccurate translation are funny the first time, but get old quickly. Even in exotic races and cultures, somebody will know enough of it to settle practical questions such as the price of a meal or whether a captive can be ransomed, or to tell a story that reveals some key bit of plot-advancing information.

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Basic Set - Characters.pdf - GURPS is the most flexible...

There are taverns in every city or town, in many villages, and sometimes on lonely roads halfway to nowhere. Nonhumans Humans in fantasy often share the world with another intelligent race, or even many such races.A campaign set in prehistory draws on no such sources. The aggression of the schedule was not in question. What if the setting is closer to ancient or medieval patterns, either because magic is scarce or by deliberate disregard for the consequences of magic?

Here's hoping you have great things planned! A basic premise of the setting is that magical banestorms pick up people, whole villages, etc.

The way a specific world works depends on a set of environmental conditions. Many light fantasy plots deal with complications instead of threats; for example, a heroine may have to find odd magical ingredients to free the hero from a spell. The flaws of the Basic Set rules were discussed at length following Magic's release.

Supernatural beings are eccentric or tricky, controlled by peculiar rules that give clever mortals ways to get the better of them.

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