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Combat


Combat worlds resolve more things with physical conflict and deadly battle, combat skew increases or decreasing all of a character's combat related attributes up to, but generally excluding, physical endurance. Combat Skew also adjusts people hostility, rage, frenzy and willingness to fight. Suprisingly, high Combat worlds are likely to develop highly complex etiquette to aviod the ever present threat of combat.
Skew Description
-100% to -50% No one will fight or can fight, a world with a -100% Combat Skew is enitirly made of passive and docile creatures. Idyllic environments and settings where characters play docile, gentle creature (like elves, pixies or maybe even ghosts) are likely to have this level or Skew. Games where magic and technology are incredibly advanced might have this extreme level of pacivity, as physical confrontation becomes considered obsolete. (Example: The Eloi in The Time Machine)
-40% to -20% A modern day world, where diplomacy and human life are highly valued, or a game full of characters from a repressed population would likely be skewed this way toward combat. People generally avoid fighting at all cost, with the exception of criminals and law enforcement, who have a keen and noticeable edge over common people. Combat in these world rarely result in death or serious injury. (Example: Modern America)
-10% to 0 Combat is rare and taboo to society, and people are generally of the genteel variety. Combat training is rare, but not unfindable and the physically powerful are still intimidating opponents. Most active classes of society can still defend themesleves, even if they do so very poorly. (Example: Turn of the Century Europe)
+10% Military prowess is a highly respected trait that even non-combatants are forced to admire and compensate for. Violent death is outside the norm but not considered shocking or morally wrong. People are generally militant and passionate, and often highly patriotic. Physical prowess becomes more important, and organized fighting (duels/gladiatorial arenas) are probably common. (Example: Ancient Rome)
20% to 40% Everyone knows the basics of fighting, and no class of society is completly untouched by combat. Desputes can easily erupt into violent conflict, and martial death is considered favorable to dieing of old age. Cowardice and physical weakness are consciously taboo, and most members of active society are trained in martial arts at a young age. Ruling powers are probably militant and wars are common. (Example: Feudal Europe)
50% to 100% Most people are accomplished fighters, and violent death is in no way taboo or unnatural. Thier is no distinction between violent and non-violent conflict resolution, except that sometime violence is preferred. Most people are naturally brave and aggressive, and warrior classes dominate society. (Example: Martial Arts Films)

Drama


Drama refers to social conflict, be it in personal or public relationships. High Drama Skews move to the level of melodrama and soap-opera esque intanglements. Drama traits include persuasion, manipulation, wealth, connection, influence, friends and enemies, white collar crime, high finance, bureacracy and mental disorder.
Skew Description
-100% to 90% Characters are totally isolated and stable, social interaction is straight forward and simple. (The Amish)
-80% to 60% Society is simpler and less pressing, most people live simple, uncomplicated lives. (Suburbia)
-50% to -20% Society is simple and honest, most people are trusting. (1950s television)
-10% Slightly simpler and more tust worthy, things are simpler but social interaction is far from black and white, most people are idealistic. (1950s-1960s)
10% People are more likly to lie, or get tangled up in social conflict. Most people are amoral when dealing with society, yet most lives remain relativly uncomplicated. (Highschool)
20% to 50% Things are regularly complicated and people tend to be socialy powerful, twisted romances and wealthy, sorbid families are common. (Some soap-operas, the Mafia, popular fiction)
60% to 80% Everyone, even the very young and innocent have some sort of skeleton in their closet that they've had to learn to cover up. No social contracts, deals or statements have more than a tenebrous stability, and bussiness, lives and families are frequently ruined and re-made (Soap Opera)
90% to 100% Everyone has not only a skeleton, but an agenda, comfortable wealth and unrequited love. Nothing stays the same for long, and nearly everyone is battling with inner turmoil and conflict. (Melodrama)