Hello!

Here's the relevant image:
[img]http://www.bloodredcomics.com/Frostlick-inkedcolored.jpg[/img]

Here are the starting threads:
Color-first character creation project
Color-first character, part 2: Getting this far
And Vincent is also maintaining the page of Color-first character sheets

Annnnnd ... we swing into the next question in the sequence of ten!

5. Now let’s look at Situation per se, which is to say, the where, when, who with, what’s up, how much, and “oh shit,” all of which define the characters’ precise … um, situation(s), in the setting. The trouble with this topic, for present purposes, is that a character sheet is not play. So the only real question we can ask is how does the character sheet and/or some larger-scale rules text inform the Situation-to-be. Very, very few game systems include this for character creation. Sorcerer is one of them; so is Poison’d; I’m also thinking of the first version of Vampire which ipso facto begins with the character’s Awakening.

In some ways this question is unfair because I haven’t yet had people examine an important component of Character called Positioning. A lot of the later questions will concern Positioning, a feature of the character, which typically points to Situation. For now, please consider Situation in the largest sense possible, as it pertains to group play that’s soon to happen. Situation is a pretty big thing during play, and characters typically factor into it rather than define it. It is perfectly reasonable to seek  Situation on a character sheet and not find it at all, so don’t stretch to make it fit.

Are there any explicit Situation steps in what you did? Where does it fall in the sequence of character creation steps?Did you fill some in unofficially? Do you construe a given Situation associated with this character right off the bat in play, or hope for particular sorts? Alternately, will the  Situation originate and be applied by someone else (i.e., you hope) as the next step?

Overall, given what’s on the sheet, exactly where does Situation come from, or where is it expected to come from? Again, I do not expect the answers to this question to be found on the sheet in many cases, so your answer may refer to other people or actions.

Solicited input: Layla Stonecrusher (Anna), Eleta the Jungle Girl (Eero), Zahri (Adam), Dame Kuula Ben’on (Darcy)

Best, Ron

Do you only want input from the original contributors, or can others take a swing, too?

Hi Harald,

For this whole endeavor, in all threads, anyone can add his or her own character, and sheets for these new characters may certainly be posted at Vincent's page. I'm trying to model this for others by bringing in characters of my own occasionally (Solipsist, Primetime Adventures, Space Rat, for example).

Also, for any of the questions, anyone can bring his or her own character into it, just as Joel has done several times with his Sorcerer character Yaeta. I only ask that the people I mention get first dibs on the discussion for that question, or at least one or two of them.

Best, Ron

Ron wrote:
Are there any explicit Situation steps in what you did? Where does it fall in the sequence of character creation steps?Did you fill some in unofficially? Do you construe a given Situation associated with this character right off the bat in play, or hope for particular sorts? Alternately, will the  Situation originate and be applied by someone else (i.e., you hope) as the next step?

Overall, given what’s on the sheet, exactly where does Situation come from, or where is it expected to come from? Again, I do not expect the answers to this question to be found on the sheet in many cases, so your answer may refer to other people or actions.

Are there any explicit Situation steps in what you did? Where does it fall in the sequence of character creation steps?Did you fill some in unofficially? Do you construe a given Situation associated with this character right off the bat in play, or hope for particular sorts? Alternately, will the  Situation originate and be applied by someone else (i.e., you hope) as the next step?

Overall, given what’s on the sheet, exactly where does Situation come from, or where is it expected to come from? Again, I do not expect the answers to this question to be found on the sheet in many cases, so your answer may refer to other people or actions.

Hey Ron,

So, in Traveller, the biggest situation component is pre-determined before character generation begins; to a soul, every character is unemployed.  A pretty strong argument could be made in favour of the notion that character generation (cycling through the service tables) is all about how you became unemployed, which may or may not be situation.  No matter what, that history definitely informs situation -- it's really easy to tease a "what the hell is going on now?" out of the varied backgrounds around a table of Travellers.  As I mentioned in my presentation of Dame Kuula's generation, the filling in of fictional details during the service table cycles isn't strictly official; no rules tell you to do it.  However, immediately following the rules is a several-pages long example in which that exact thing is explicitly happening.

The situation element that's unequivocally part of character generation is the dischargeworld.  This is where you are right now, as play begins.  I think it's interesting to note that this is one of the last things you generate right before play begins -- it enhances the "there's the door...don't let it hit you on the way out" feel of being a Traveller.  What's also interesting to note is that the game is completely silent as to whether or not all characters share a dischargeworld, or are meant to eventually meet up, or just have parallel storylines.

Cheers,
D

Ron wrote:
Are there any explicit Situation steps in what you did? Where does it fall in the sequence of character creation steps?Did you fill some in unofficially? Do you construe a given Situation associated with this character right off the bat in play, or hope for particular sorts? Alternately, will the  Situation originate and be applied by someone else (i.e., you hope) as the next step?

Overall, given what’s on the sheet, exactly where does Situation come from, or where is it expected to come from? Again, I do not expect the answers to this question to be found on the sheet in many cases, so your answer may refer to other people or actions.

It's hard for me to summarize the responses to that question, because to my mind, they speak for themselves. My only response is to look around at everyone and say, "You see? You see?"

But past experience shows that this isn't a successful conclusion. Not because anyone else is incapable of seeing the point, but because I'm not communicating what it is. It's hard for me to articulate it because generating playable situation in precisely the border between (1) character creation, post-creation prep, and all-group communication; and (2) the first scenes of play, especially moving relatively fast among different characters ... well, that's a skill I developed over many, many years. And since there was little to nothing in the game books about doing it, and since just about all the written advice or even direct instruction ("Introductory scenario") about doing it was screwy in some way, I developed it without using words. So I have few words for it.

Situation isn't on the character sheet, because it's a feature of play, perhaps even of play a little ways into play. The only things on the sheet are usable components. And those usable components are not only found in explicit Situation-bait (e.g. Kickers) but also in every other "piece" of SIS material. And to cap that, it's actually the composition or (again) specific recipe of those pieces/types of SIS material that matters. Setting turned way up over here, System turned way up over there, some combination of the two in yet a third, Character with only a smidgeon of either in a fourth, and so on and on.

Does anyone have any better words, or rather, his or her own words?

Best, Ron

I made up a fair chunk of situation (A group of people to play with) in mine. And, yes, the group of people that you play with is part of the situation in Thousand Kings.

Okay. So Donjon is this weird little game and I feel like there’s a lot of things to consider in regards to the situation for Layla Stonecrusher.

Thing the first: The GM is expected to provide the starting situation for the characters, as the GM is responsible for running an adventure. This comes with a rather large caveat, though, as defined by…

Thing the second: The process of character creation informs what the GM sets out as setting. The choice of Abilities and Classes defines both genre and things that characters expect to be able to do. They also define the expected level of seriousness of the game. But let’s not forget…

Thing the third: Players in Donjon, through the use of facts, have the power to create situation on their own.

So, overall, there is no explicit handling of situation during character creation. But there’s an awful lot of implicit situation creation, since creation of Abilities can be read by any decent GM as “This is what I want to do”.
~Anna

There's quite a continuum of stuff that feeds into Situation when play begins, isn't there? Obviously Situation can include material that has nothing to do with anyone's character sheet, it can include highly situational stuff on the sheet, or anything in between. I was looking forward to the Donjon description because in a lot of ways, a Donjon character is a little Situation-engine in a way that a Tunnels & Trolls or Elfs character (very close relatives) is not.

Ben, the other players are Situation? Either you're bloviating or this Land of a Thousand Kings thing is meta-meta-meta! Which I'm figuring out from your posts that it must be. Wanna explain that at all?

Best, Ron

Hey, Ron.

Characters in Thousand Kings are, exactly, the players of the game. Further, all the player-characters are in direct communication with each other at all times. So any "situation" that exists between the players of the game is necessarily transported into the game directly.

There's additionally fictional situation.

yrs--
--Ben

I want to encourage continued discussion of Situation, but since #5 is only the starting point, let's add the next question.

6. I don’t really know what to call this part, especially because it can happen in different ways. Consider (a) randomized methods, (b) group-based input or from anyone who’s not you, and (c) deliberate input from you which throws a wrinkle into the character, perhaps a surprising disadvantage or maybe a big emphasis on a particular thing.

Eero already talked about this a little for his character Eleta, referring to the instability conferred by her Heroic Event.

I think that the resulting spin, bounce, instability, edge, whatever you want to call it, is a positive feature. And if you don’t get it from others, it has to come from introducing some built-in contradiction on your own. (This is related to the stuff about personal Color in #1, too.) Without it, a character may seem pedestrian despite all his or her special abilities and spectacular features. I’m not talking only about thematic issues either; for example, reduced survivability against a particular sort of threat certainly qualifies.

It is very likely that I chose this particular illustration because it “spoke” to me in exactly these terms. She looks to me as if such content is absolutely required. I suggest that others felt the same way and deliberately sought out those elements of game design which permitted it to be expressed.

Dissect out the process, in order, of who (and what) provides or will provide the “edge” for your character, if any. Significantly, what risks does it produce for your character, or do you anticipate that it will produce? Contrast your individual choices which put the character at unusual risk (relative to most characters in play, as you see it) vs. those imposed by others (as required by that system or expected by you, which might be the same thing) and those imposed by randomized methods, if any.

Solicited input: Filthy Jackie (Graham), Yaeta Fae-Touched (Joel), Svenya Frost (Frank), Elena MacIntyre (Meg)

Best, Ron

Funny... so today I'm writing the sections of Principia that tell you what kind of play experience to expect based on your choice of position. It occurs to me that this sheds light on the color-first discussion. I open up a browser, and there it is!

I presume that by "edge" you mean something that contributes to the "edginess" of your character, something that pushes them towards or even over the edge of situation. I see that as working towards interesting situations in play, but against the player or character's ability to keep situation under control. Character in Principia is about exploring this edge. Your choice of position flags the kind of situations you'll use to explore it.

The action matrix in Principia encapsulates this idea. This is a list of ways in which the player, through character, can explicitly control events in the game world. Each point of leverage can only be activated in a particular situation, and comes with explicitly consequences that the player does not control. They aren't situations in themselves, but they quickly turn into situation because they tell the player to set up a particular situation so they can achieve something specific, then instruct the GM how to make that situation spiral into another situation outside of the character's control.

This isn't glaringly obvious with the merchant character. It's much clearer for the swashbuckler character. In Principia, a swashbuckler who's engaged in a fair fight can spend a point of resolve to win that fight in the manner of their choosing - no dice rolls, no take-backs. However, the GM then decides if their opponent lives or dies. Alternately, a swashbuckler how uses subterfuge in a fight can immediately chose to kill their opponent, but the GM gets to dictate how it impacts their reputation and social standing. The action matrix defines the swashbuckler's general situation as one in which they get into fights, they choose between fair combat and trickery, and then suffer the consequences.

This is a bit harder to see with Ilja the merchant. When Ilja finds herself in a position to make a contract, provide services, allude to her exotic homeland, or fulfill a contract, she gains control over situation in particular ways, most of which have to do with producing cash, useful stuff, information, or relationships. The results of these actions say a lot about what people want, expect, and demand from her in return. As a merchant, she can quickly produce all kinds of useful stuff, which creates future expectations, which... she can then choose fulfill to produce even more useful stuff! When you play a merchant, this is the kind of situation you'll end up exploring.

Ben wrote:
Hey, Ron.

Characters in Thousand Kings are, exactly, the players of the game. Further, all the player-characters are in direct communication with each other at all times. So any "situation" that exists between the players of the game is necessarily transported into the game directly.

There's additionally fictional situation.

Hi Ron,

I’m chiming back in just in time here. I’ll answer no. 5 before I get to no. 6.

Are there any explicit Situation steps in what you did? Where does it fall in the sequence of character creation steps?Did you fill some in unofficially? Do you construe a given Situation associated with this character right off the bat in play, or hope for particular sorts? Alternately, will the  Situation originate and be applied by someone else (i.e., you hope) as the next step?

Overall, given what’s on the sheet, exactly where does Situation come from, or where is it expected to come from? Again, I do not expect the answers to this question to be found on the sheet in many cases, so your answer may refer to other people or actions.

Dissect out the process, in order, of who (and what) provides or will provide the “edge” for your character, if any. Significantly, what risks does it produce for your character, or do you anticipate that it will produce? Contrast your individual choices which put the character at unusual risk (relative to most characters in play, as you see it) vs. those imposed by others (as required by that system or expected by you, which might be the same thing) and those imposed by randomized methods, if any.

Situation isn't on the character sheet, because it's a feature of play, perhaps even of play a little ways into play. The only things on the sheet are usable components. And those usable components are not only found in explicit Situation-bait (e.g. Kickers) but also in every other "piece" of SIS material. And to cap that, it's actually the composition or (again) specific recipe of those pieces/types of SIS material that matters. Setting turned way up over here, System turned way up over there, some combination of the two in yet a third, Character with only a smidgeon of either in a fourth, and so on and on.

Does anyone have any better words, or rather, his or her own words?

Hi! I know this thing has been sitting dormant for quite a while. But though I got pulled away by other things, I always did want to follow through on my end of the discussion and especially see where the whole journey's going. And here my input was specifically on deck, and I dropped the ball! So I've dusted off my sheet, and I'm going to pick things up and see if there's still any life in the discussion:

Ron wrote:
Dissect out the process, in order, of who (and what) provides or will provide the “edge” for your character, if any. Significantly, what risks does it produce for your character, or do you anticipate that it will produce? Contrast your individual choices which put the character at unusual risk (relative to most characters in play, as you see it) vs. those imposed by others (as required by that system or expected by you, which might be the same thing) and those imposed by randomized methods, if any.

Cool! I promise to follow up on this soon. Basically, the run-up to Jonathan's birth and the follow-up in terms of kids + job has been frightful. In order to get Trollbabe done, I had to drop a few things. But this one's not dead, at least not for me.

Best, Ron

This looked interesting. Sorry I missed it.

Ron wrote:
Cool! I promise to follow up on this soon. Basically, the run-up to Jonathan's birth and the follow-up in terms of kids + job has been frightful. In order to get Trollbabe done, I had to drop a few things. But this one's not dead, at least not for me.

Best, Ron

Brimshack wrote:
This looked interesting. Sorry I missed it.

Okay, (nervously dips toes into the water). Here we go...

I'm using my own system, 'Worlds of Hurt', still in development.

Step: 1/2, The basic choices: Her name is Geezwa. This is obvious from looking at her.

Geexwa is a human, so no templates or special monsterly abilities and problems. I do get to pick 2 Traits representing her natural qualities (monsters would have these chosen for them). I am choosing "Fair" (as in beautiful) and Vibrant (as in, she moves around a lot and fidgits when she isn't active). This has no direct game effect, but if I choose abilities, problems, professions, values, or languages that re-enforce this, then her Strength in the Traits will go up.

Step 1 Starting X.P.: I roll her experience points (3d6) and come up with a result of 11.

Step 2: Personal Special Problem. I roll 4 of these and take the option I can best live with (or leave it out altogether if I don't like any of them). Option 1: 6,6,3,1= Weak Magical Bladder  (Minor Problem), Option 2: 2, 3, 5, 4 = Chronic Skin Condition (Minor Problem), Option 3: 3, 1, 2, 3 = Easily Distracted (Minor Problem), Option 4: 1, 2, 2, 3 = Accursed (Hated of Metal) (Minor Problem). The curse won't work with a metal sword, and the skin condition just doesn't fit the image. Weak Magical Bladder (only 1 benign spell effect  at a time) would work, but I'm choosing "Easily Distracted." It just seems like it would fit.

Step 3, Special Abilities. Now Geezwa gets 1 Minor Ability in compensation for taking her personal problem. I'm choosing "Heavy Hitter" which will go well with the Great Sword. This ability is free, (or rather she has paid for it with the problem instead of x.p.). Now, I am buying 1 more Minor Ability (Wiry, so she can move around amongst enemies without getting slapped too often for it) and 1 Major (Enhanced Riposte, so anyone who attacks her in Melee and comes up short is going to pay for that mistake). These abilities cost her 3 x.p. total.

Step 4, sundry other buy-ables. I bought a language (The Wild Tongue), a profession (Tracker), a moral value (cunning). Each of these costs 1 x.p.

- Wild Tongue will help her to speak with Centaurs, Waggamaephs, Arachnid Centaurs, etc. She just seems like she'd fit in with that crowd, so I'm going with the language early to show that she already has a history with such creatures.

- Tracker means she will be able to learn more from studying tracks than usual, and it will lower the Target score when does does track.

- Cunning means that she will prefer to approach combat by means of careful stratagem. She will gain extra experience points when she and her companions do this will, and she will earn less if they walk straight up to enemies and simply start a fight.

So, now she only has 3 point cost from this stage of character creation, and this brings her to a total expenditure of 6. She has 5 experience left.

Step 5: Buy Crunch Stats. Geezwa gets 3 natural Bonus Points to start with (1 if she chooses to use them for 'Swiftness'). I am going to take all of her Natural Bonus points and spend them on Melee so as to give her a big permanent advantage in that stat. (The only other option I considered would have been the 1 point to Swiftness to give her extra Actions in a round and enable her to activate earlier in the round as well, but putting this to melee gives her a better head-start. Now, with only 5 experience points left, she just puts 1 each in Aggression, Melee, Presence, Spirit, and Swiftness. Combined with her natural bonus, she ends up with a Melee Bonus of 4, 1s in 4 other stats, and a whole lotta 0s.

Step 6: Calculate Functioning Stats. The Functioning Stats Geezwa will use to determine what she can do in a given Game Session will be permutations of the Crunch Stats. The formulas are listed in parentheses beside each Functioning Stat. Step 5 is a matter of adding them up and recording them. Geezwa doesn't wear armor, doesn't have general lethality abilities (hers are specific to certain tactics), and she doesn't have any Focus or Athleticism, which means a lot of the Lethality and Invulnerability bonuses beside her attack and defence stats can be left blank. Her Task Bonuses are mostly blank too. Until she gets some experience points, she is going to be a simple character, stat-wise.

Step 7: Sundry Facts. I assign these (gender, height, weight, class, etc.) as I would like them. I throw in 2 twists here.

A) I decide she is 'Homosexual' . Most of the time, players don't even bother with this, but for this character I thought it would be a good twist. She could have been bisexual, but that would have been pretty much a wish-fulfillment fantasy, and something tells me the scowl is aimed at a would-be suitor who is NEVER going to score. There is potential for fun with that. In terms of game-mechanics it means on those rare occasions when sexual attraction plays a role in magic or persuasion effects, then it'll work in reverse for her. Usually though, this will be up to me to role-play.

B) I gave her a "commoner" social class. On most characters, the players opt for an unmarked (and hence middle) class, but I'm going for low-brow with Geezwa. Once we know what kingdom she is from, then she will be able to take Affinity Bonuses when helping other peasants in that kingdom and Opposition Bonuses versus nobles from that same kingdom. Unfortunately, it also means nobles can take Opposition Bonuses against her as well.

Step 8: Equipment. Give her a Great Sword, and really nothing else. First I roll up treasure, 3d6x10, and I get a 9. So, 90 gold. Geezwa buys a Great Sword for 80 gold and now she has only 10 gold left. Assuming her first outfit is free (which it is), that's what she is wearing. Now I combine her stats with those of the Great Sword and that's what she will use in battle. She doesn't have anything else, so she better not break her sword.

Step 9: Look-Up the Strength of Geezwa's Traits. This means checking the Special Abilities, languages, etc. to see if any of them match her Traits. If any do, then her Strength in the Trait is raised by 1. Unfortunately, one of her current abilities matches one of her Traits and that is Riposte.  Oops! She took one ability (Heavy Hitter) with the Trait 'Stalwart' which is opposed to 'Vibrant', so she is -1 in her strength for that Trait. So, she has a strength of 1 in Cunning, -1 in Vibrant, and 0 strength in all other Traits, and essentially this means she will be vulnerable to special magical constraints built around opposed Traits.

Done.

Did a little copy&paste, but all in all, it took 10 minutes.

The Character has not come into her own yet. She will need to earn about 10 more experience points (1 or 2 sessions) to find herself, so to speak.

Geezwa
(Sword Wench)

Experience Points: 11.
Template(s): None.
Kind: Human.
Order: Humanoid
Traits: (Gender -Female 0) (Qualities - Fair 0, Vibrant -1), (Class - Commoner 0), (Values - Cunning 1).

CRUNCH STATS
Aggression (Agg): 1 (1 Cost) + 0 Misc. = 1.
Athleticism (Ath): 0 (0 Cost) + 0 Misc. = 0.
Caution (Cau): 0 (0 Cost) + 0 Misc. = 0.
Distance (Dis): 0 (0 Cost) + 0 Misc. = 0.
Focus (Foc): 0 (0 Cost) + 0 Misc. = 0.
Magic (Mag): 0 (0 Cost) + 0 Misc. = 0.
Melee (Mel): 1 (1 Cost) + 3 Misc. = 4.
Missile (Mis): 0 (0 Cost) + 0 Misc. = 0.
Presence (Pre): 1 (1 Cost) + 0 Misc. = 1.
Spirit (Spi): 1 (1 Cost) + 0 Misc. = 1.
Swiftness (Swi): 1 (0 Cost) + 0 Misc. = 1.

GAME ALLOTMENTS
Affinity (Foc): 0, (Bonus: +3)
Desperation (Spi): 1 (Physical Bonus: +1, Mental Bonus: +1, Magic Effect: +1).
Opposition (Agg): 1, (Bonus: +5)
Persuasion (Pre): 1.
Spells (Mag): 0.
Spirit Reserve (Spi): 1.

SUNDRIES
Movement (Dis+4”): 4”, Speed (Swi+1): 2, Aura (Pre): 1”, Max Enamored (Pre+Foc): 1 Creatures.

ATTACKS
Magic Attack (Agg+Mag): +1, (Mind Affecting (Pre+Mag): +1), Leth: 0, Botched Inv (Foc): 0.
Melee Attack (Agg+Mel): +5, Leth: 0, Botched Inv (Ath): 0.
Missile Attack (Agg+Mis): +1, Leth: 0.
Intimidate (Foc+Agg): +1, Leth: 0, Botched Inv (Foc): 0.
Special Lethality: +3 versus normal Botched Attacks, double Weapon Lethality on a Full Wind Up Swing.

WEAPONS

Straight Sword, Great: Grip: 2 Handed; Types: Piercing, Slicing; Special Attacks: Crippling, Cutting.
Flurry Attack: -2, Lethality: +4, Total Attack: +5, Lethality: +4.

DEFENCE
Magic Defence (Cau+Mag): +0, (With Shield:  N/A), Mental Inv: N/A, Physical Inv: N/A.
Melee Defence (Cau+Mel): +4, (With Shield:  N/A), Mental Inv: N/A, Physical Inv: N/A.
Missile Defence (Cau+Mis): +0, (With Shield:  N/A), Mental Inv: N/A, Physical Inv: N/A.
AMC (Foc+Cau): +0.
Special Invulnerability: None.
Malaise: 0

TASKS AND SUNDRIES
Pure Mental Tasks (Focx2): +0.
Magic (Foc+Mag): +0.
Rally (Foc+Pre): +1,  Leth: 0, Botched Inv (Foc): 0.
Pure Physical Tasks (Athx2): +0. 
Mixed Tasks (Ath+Foc): +0.

DURABILITY
Mental Durality (MD): Slot A: 1, Slot B: 2, Slot C: 3, Slot D: 4, Slot E: 5.
Physical Durability (PD):  Slot A: 1, Slot B: 2, Slot C: 3, Slot D: 4, Slot E: 5.

CORE ABILITIES

Minor Abilities (Cost 1): Heavy Hitter * (Geezwa doubles the Lethality of the weapon on a Full Wind Up Swing, i.e. an attack which is her sole action of the Turn), Wiry (+3 on Defence Rolls versus Free Attacks).
Major Abilities (Cost 2): Riposte (Enhanced) (Geezwa can damage opponents who Botch melee attacks against her, even if the two were not Locked in Combat at the start of their turn. If they are Locked in Combat with her, then Geeza gains a +3 Lethality Bonus against any who Botch an attack against her.)
Problems: Easily Distracted *Any time a Character within line of sight rolls a Critical Success or Critical Blunder in the presence of Geezwa, she must waste 1 Action on her next Turn taking notice of the event. She must furthermore roll a Mental Task Roll at a Target of 15 or waste a second Action. Only one such event matters at any given time. Multiple Criticals before her next Turn will not incur any additional rolls or penalties.
Languages (Cost 1): Common Local Tongue *, The Wild Tongue.
Professions (Cost 1): Tracker.
Career: N/A.

* Indicates abilities for which the character need not pay with Experience Points.

SUNDRY ROLE PLAYING STATISTICS

Age: 17, (Category: Middle).
Social Class: Peasant, (Category: Commoner).
Culture: Pending, Kingdom: Pending, Native Language: Local Common Tongue.
Gender: Female. Sexual Preference: Homosexual.
Height: Man-sized (Actual: 5'7") , Weight: Man-sized (Actual: 133 lb)
Qualities: Fair, Vibrant.
Colours: None.
Optimum Light: Daylight.
WeapClas: Utilitarian (Grappling).
Spare Experience: Geezwa has 0 Experience Points to spare. These may be used for purposes of imposing an Epic Legacy.

MORAL OUTLOOK

Values: Cunning (Record of 0 and Total Strength of 1). Note that if Geezwa uses an especially cunning tactic (one which requires advanced planning and careful execution) during a Game, she will earn a Bonus of 2 Experience Points, but she must go above and beyond the call of duty in doing so. If Geezwa allows herself unnecessarily to engage in a straight-foreword fight, she loses a like amount.

Memes: None (Record of 0 and Total Strength of 0).

MAGIC ITEMS

Geezwa has 0 Magic Items.

OTHER ITEMS

Geezwa has a Great Sword and a basic set of clothes.

Geezwa has 10 coins to spare (all in the local currency).

NARRATIVE

Pending.