DEATH wrote:All systems have rule breaks, especially the more accesible ones.
Yes, and that only becomes a problem when one of said systems use the broken factor as a selling point.
DEATH wrote:Never played any of those, can you please give an example?
Certainly. While the various mechanisms they use differ, all of them basically employ the same philosophy and rough methodology, which I'll make an attempt at explaining.
In Västmark, and its successor Skymningshem, the main characters (not "heroes," per se, as that sort of behaviour isn't mandatory) are more important than bit characters. Damage comes in three levels --
scratch, light wound, and
serious wound. There's of course the obvious fourth (
dead), and in Skymningshem there's also
mortal wound, but the principle should be clear. Anyway, in conventional combat, if a bit character / mook is given a
serious wound, he's down and out. Whether he's dead or merely incapacitated is up to the GM, though he's assumed to be dead unless otherwise stated. A main character given a
serious wound is down, in agony, delirious with fever, weak as a kitten, etc., and cannot act, but she's not dead per se -- that fate is reserved for those who put themselves in situations where the enemy will make sure they're dead. In other words, you'll have to act with true stupidity, or in a nobly heroical fashion, to die.
In Buffy, Eon or WEG SW (as Utsanomiko touched on), the characters are given certain mechanisms allowing them to bend fortune in their favor. Some of these means are more effective than the other (of these, WEG SW has the weakest mechanism, to my mind) but all allow you to turn an instant death to a mere setback, without becoming some kind of human tank.
The problem with merely giving a hero a lot of hitpoints to simulate script immunity is that you'll be just about invincible against normal mooks. Thus, you've solved the problem of the hero dying ahead of time by the simple expedient of removing him from danger throughout the majority of the adventure. It inundates the player to the idea that she can do whatever moronic thing she'd like, as long as her hitpoint levels are okay, without any ill effects. Only the battles against the villain at the end of the adventure really matter. But at the same time, they don't -- they can never be a true test of what the character is capable of, since her hit points, the very thing that has brought her to that point, by then usually are severely depleted.
Using such mechanisms as Drama Points, you can not only simulate the effects that hit points were supposed to invoke, but you can do it with the damage system of your choice, as well as invoke other staples of dramaticism. That sort of system is used in the Buffy and Angel RPGs. I heartily recommend you take a look at either game -- before them, I was a staunch opponent of both Buffy the Vampire Slayer and Angel. Reading the game converted me. It's that good.
Edward Yee wrote:Actually,
Eleas, d20 Modern also uses hit points (i.e. Strong/Fast get 1d8, Tough gets 1d10, Smart/Dedicated/Charismatic get 1d6), and Star Wars d20 uses VP/WP -- where VP partly represents one's parrying
Interesting. I was previously under the impression SW d20 borrowed that mechanism from d20 Modern, but apparently not.
Edward Yee wrote:Say, how much of the d20 bashing on here has been D&D specific?
I'd hesitate to call it "bashing," given the startling levels of politeness in this thread so far.