Post by Dirge on Jul 27, 2018 23:45:32 GMT
Compendium of Turn-Based Combat Knowledge
by Vincent Fiorelli
by Vincent Fiorelli
Index
► [TBC.01] Disclaimer
► [TBC.02] [T]he [F]undamentals
• [TF.01] No Godmodding
• [TF.02] No Metagaming
• [TF.03] No Character Control
► [TBC.03] [T]iers
• [T.01] RM - Realistic Melee
• [T.02] URM - Unrealistic Melee
• [T.03] LP - Low Powers
• [T.04] MP - Mild/Moderate Powers
• [T.05] HP - High Powers
• [T.06] FP - Full Powers
• [T.07] AL/RR - AnimeLeague's Roleplayer's Realm Tier List
• [T.08] MTS - Majisuka's Tier System
► [TBC.04] Area of Effect Attacks vs Focused Attacks
► [TBC.05] Preparations / Preps
► [TBC.06] Interrupts and Timeline of the Fight
► [TBC.07] Counters
► [TBC.08] Post Voiding and Rewriting
► [TBC.09] On the Topic of Detail
► [TBC.10] Closing Statements
► [TBC.11] Credits
[TBC.01] Disclaimer
The following is a document seeking to offer insight on Turn-Based Combat (TBC), whether the reader is someone new to the subject or someone who holds some degree of expertise in it. Definitions of concepts shall be provided with as much clarity as the writer of the document can offer based on the full extent of guidelines throughout the Internet.
The history of TBC and sparring dates back to the days of Dragon Ball Z, though I will not be boring you, the reader, with the exact details. All you must know is that as the years passed and the generations of fighters changed, so did the numerous rulesets and guidelines available to each and every single community. Given that for every community there was, and is, a different set of rules regarding combat, I have chosen to scrap the vast majority of them to end up with simple precepts that endeavor to make TBC a straightforward, enjoyable, and pleasant journey.
This compendium has been put together by Vincent Fiorelli.
This compendium has been put together by Vincent Fiorelli.
[TBC.02] [T]he [F]undamentals
The basic principle of "Sparring" is the simple act of two characters meeting under certain conditions, which are usually discussed by the two players beforehand, to do battle against each other. While it sounds overly simplistic, there are various factors which influence sparring as a whole, as well as the actions the characters will take, as written by their respective players.
First and foremost, every single player should respect what I have considered as the three core rules within any form of TBC throughout most communities I have seen and experienced.
1. No Godmodding.
2. No Metagaming.
3. No Character Control.
[TF.01] No Godmodding
Example:
Character A attacks Character B with a sword.
Character B does not present any defense against the sword, but chooses to strike at Character A with his own sword.
Character B kills Character A, completely ignoring any sort of damage and instantly eliminating his opposition.
Godmodding basically refers to the act of wholly ignoring, negating, avoiding, or rendering ineffective the actions of the opposing player's character while presenting no feasible defensive or evasive (re)action in return. It deals with characters absolutely ignoring the repercussions of attacks without elaborating on how or why; people having characters with attacks that could kill the opposition without any explanation whatsoever; or people with characters that are basically gods in the sense that they don't have to provide reasons as to why they're superior, stronger, more agile, and what not. Everything requires an explanation and a method; a cause to explain the effect.
[TF.02] No Metagaming
Example:
Character A attacks Character B with a fireball.
Character B predicts what Character A is about to do and conjures a torrent of water.
Character B had no knowledge of what Character A could do, but Player B did.
Metagaming is the act of using information that a player learns Out Of Character (OOC) in an In Character (IC) manner. This can include the player looking at someone else's profile and then having their character know every little thing they have looked at, or having their character know the way an attack works without them witnessing it on another occasion. Simply put, it is the act of using information a player knows and giving it to their character without said character experiencing any of it beforehand.
[TF.03] No Character Control
Example:
Character A attacks Character B with a sword.
Character B blocks the sword, describes Character A startled and paralyzed, and strikes Character A with their own sword.
Character B kills Character A because Character A was paralyzed.
No Character Control is fairly self explanatory. A player cannot control other people's characters describing the way they would react, what they would do, and what they would think. A player can only control their own character's actions.
The main principle at the core of these three rules, however, is cooperation. Sparring, much like other forms of roleplaying, focuses around collaborative writing, not competitive writing. While the act of sparring itself is a competitive one - pitting two characters against each other -, it is through collaboration and respect for one another, and for the three rules, that pleasant experiences within combat can be achieved.
And thus conclude the three core rules of TBC.
Anything after this is simply flair added by players over the control of a community's style, or additional stipulations such as Tiers, Preparations (or Preps for short), Interrupts, Counters, and regulations over these. I shall be explaining these concepts to offer insight upon them, as well.
[TBC.03] [T]iers
A tier is "a level or grade within the hierarchy of an organization or system." What does this mean in roleplay? More importantly, what does this mean in TBC?
A tier within TBC defines what kinds of powers and abilities a character is allowed to have, and what said character can do in a spar. Over the years, there have been many kinds of tiers constructed by communities, which shifted the abilities enabled within each tier time and time again depending on which community one visited. This is the list I have constructed after witnessing plenty of styles through the years and generational changes within fighting.
[T.01] RM - Realistic Melee
The first tier and the one exhibiting the lowest amount of power in all of them is that of Realistic Melee, generally also regarded as Level 1 in terms of power. Often times, players citing this tier will engage in simple melee combat with characters exhibiting martial prowess, a considerable amount of stamina, and an apt amount of strength. Typically, characters will resemble a depiction of Bruce Lee regarding physical prowess.
It is often wrongly thought that RM only refers to unarmed combat; however, characters are allowed to spar with weapons of many different kinds so long as the combat remains strictly melee. No projectile weapons and no supernatural powers are allowed.
[T.02] URM - Unrealistic Melee
A variation of RM, characters playing in this style are allowed powers from any tier. The caveat is that every single offensive action taken must be a melee attack. Defensive attacks can be executed in an extremely short range no higher than a single foot surrounding a character, in the case of auras and similar abilities; however, they cannot be launched. No ranged attacks or abilities, and no projectile weapons are allowed.
[T.03] LP - Low Powers
The second tier, this takes characters and offers them an additional degree of power. If RM depicts a degree of power of Level 1, then LP would encompass the degrees of Levels 2 through 4. Characters in this style range from humans at their peak physical and mental ability, capable of executing very minor spellcasting, to Jedi Padawan and Genin-level characters in Naruto at the peak of the tier. Capability of destruction does not even reach the capacity to bring down a building in one attack at this level.
[T.04] MP - Mild Powers
The third tier and often one of the most popular throughout the ages. MP generally revolves around characters depicting degrees of power of Level 5 through 7. This means a character could have the speed, skill, and strength to bring down Agents in The Matrix with minimal effort, all the way to the minor distortion of space-time with their magic at the peak of this tier.
[T.05] HP - High Powers
The fourth tier often reserved for players with exceptional descriptive abilities and a firm grasp over the previous tiers, HP revolves around characters depicting degrees of power of Level 8 and 9. This means characters who veritably are one-man armies, exhibiting powers on the level of Doctor Strange, Magneto, and ranking just beneath omnipotence, only limited by their own energy requirements.
[T.06] FP - Full Powers
The final tier. Anything becomes possible with the only restraints being a necessary explanation for anything a character does, the rules of the forum or chat, and logic and common sense.
For all intents and purposes, every power must interact with every power unless specific properties prevent interaction between power and character. An example of the latter would be the interaction between a ghost and physical matter, in which case the ghost would simply phase through the physical matter in question. Always ensure to discuss matters with your opponent and asking questions if a player is not entirely certain whether their attack could affect their opponent's attacks or defenses. Remember, collaborative writing.
Interactions between powers also bring up the classic saying "energy is energy." Regardless of any additional properties a form of energy could have, at the core, it is nothing more than fuel to power a specific form of supernatural attack. The main differences between energy are located within physical - or kinetic - energy, and supernatural forms of energy ranging all the way from mana and qi, chi, or ki, to plasma. Every form of energy must be capable of interacting with another in some form of manner, though the final product will be dictated by the nuances governing over what forms of energy clash.
To eliminate powergaming (the act of overpowering attacks without any feasible preparations), everything is equal in the same power tier. Logically, however, depending on how a particular attack works, it may trump another, though that always applies on a case by case basis.
And on the subject of power, this is a scale of power acquired from AnimeLeague when Roleplayer's Realm was still up and running, and which was a general tier list widely used by the players of that forum:
[T.07] AnimeLeague's Roleplayer's Realm Tier List
Level 1 - This is the general human level, encompassing the power attainable by the average Joe and is limited to the most basic of technological weapons, like guns, crossbow and knives—maybe even a scooter if in the wrong hands.
(RM)
Level 2 - Human abilities at their peak, but still nothing overtly supernatural. Examples would be a genius IQ, very minor spell-casting ability (I’m talking sparking dried brush into flame). Technological objects such as laser guns fall under this level.
(Lowest tier of LP)
Level 3 - Genetic, cybernetic, divine or magical enhancements that allow you to run as fast as a sports car, jump anime style, or bench three-hundred pounds without breaking a sweat—as well as other physical modifications of that level. Dexterity level equal to an expert marksman, low level psionics and spellcasting ability, super-genius intelligence quotient and martial arts master are other examples of Level 3 abilities. Equipment falls under the same range of power.
(Middling tier of LP)
Level 4 - Examples of Level 4 powers and abilities include Mad Scientist level genius and scientific ability, long ranged telepathy, magical powers that to not involve a divine patron, and the ability to shoot flaming bats with magic arrows of light without the aide of that damnable fairy partner. In general, the range of ability to be expected from a Jedi Padawan of Star Wars or a Gennin Ninja of Naruto—as well as the use of cybernetics, alchemy, and so on to simulate any of that.
(Highest tier of LP)
Level 5 - The basics of nano technology capable of regenerating minor wounds, or alternatively wizardry or clerical ability capable of the same. You can pilot your own short range star fighter and have access to technology so advanced as to be almost magical in nature. The ability to fly for any reason you can think of that makes any rudimentary amount of plot logic. Your character may have the reflexes and skills of an elite Jedi Knight, the speed of Saito Hajime, and the power to take down Trinity of The Matrix with ease.
(Lowest tier of MP)
Level 6 - The ability to heal major damage taken both personally, or by others, through the method of your choice. The charisma and influence necessary to muster an army of elite soldiers, and access to the technology needed to build and operate a small space craft capable of interstellar travel (or a magic dragon from the future, whatever floats your boat). Your powers and skills rival those of Gandalf the White, Obi-Wan Kenobi and Himura Kenshin at their best.
(Middling tier of MP)
Level 7 - Personal shielding and an Imperial Star Destroyer for a flagship; computer expertise that can take down Borg Cubes, and you may have weapons so slick and high tech that they make the ladies hot and bothered. You can distort space-time at will with your magic, enough so to influence events worlds or even years away, and your physical strikes can no longer even be seen. Armies of grizzled veterans—wearing too much steel to stand up on their own—will carry your banner to war and ride really expensive looking horses across the battlefield. You could out gun an Agent in the Matrix or beat him down with your martial arts, and powers and abilities compare to Mace Windu of Star Wars, Ultimecia of Final Fantasy, and Hyuuga Ricdeau of Xenogears.
(Highest tier of MP)
Level 8 - The firewalls of the Death Star and Magi Supercomputers fall with ease before your unbeatable hacking skills. You can repair lost limbs and destroyed vital functions expediently. Your powers can cut down small armies, and shield you from the effects of nuclear weapons. You are no longer merely limited to visiting other worlds and epochs from afar, but may now visit them personally. Powers are of comparable scale to Marvel’s Magneto and Doctor Strange.
(Lowest tier of HP)
Level 9 - That your powers rank less than omnipotent and have finite energy requirements are essentially your only restrictions at this point.
(Highest tier of HP)
Level 10 - Anything becomes possible within the restraints of the rules of the forum and common sense. (FP)
[T.08] Majisuka's Tier System
This is an alternative to the common tier systems that only take blanket powers into consideration and are often measured by what scale of power the character can reach through sheer destruction or the like. The Maji Tier System developed by Anshin and Yurei is defined by the level of story they're most likely to be relevant in rather than maximum destructive potential or units of measure that are difficult to quantify properly.
Characters fall into the highest tier they can most consistently act within. What is important within this tier system is not necessarily what you can destroy, as most other scales measure by, but what you can save. Following is an explanation of each tier, quoted directly from Majisuka's Tier System:
Street Tier
Street characters are those who’re best in stories focusing on small-scale conflicts – street battles or gang wars, law enforcement types dedicated to preventing both of the aforementioned, ‘Zombie Outbreak’ stories, or other threads with a focus more on individual cleverness, adaptability, and toughness of its central characters than sheer destructive force or raw numbers. For Street-level characters, bringing down a single building is a significant feat that cannot be quickly or easily repeated, if at all, and their typical settings (in combat threads) encompass a few city blocks rather than entire cities.
Street is often held to be best for training newer players, but it’s also a refreshing change from Global or Cosmic-level conflicts that can exhaust a player with metaphysical bullfuckery, and can be excellent for telling tightly focused stories or conducting very closely balanced, competitive fights. Many players prefer Street tier for story-focused games or self-contained Adventures.
Metro Tier
Metro-tier characters are those whose actions in a story can affect the entirety of the city they find themselves in, and can be closely compared to many modern superhero comic books whose protagonist characters are the “Defender of Metro City”. This is also the tier you find classic Monster Movies in, as well as smaller-scale Alien Invasion storylines or other forms of Supah Villain threat. Stories on this scale affect thousands of bystanders, with Metro-tier characters able to ruin entire city blocks without much hassle once their goat’s up (or able to consistently and seriously threaten other characters which are able to do this).
Metro is often the most popular combat tier for experienced players who enjoy the spectacle of powered combat; Metro allows for wild and diverse ability use and plenty of satisfying explosions while still maintaining a focus on physical action and reaction, i.e. ‘conventional’ fighting. Metro-scale stories are your Summer Blockbusters, balancing explosive action with more relatable characters.
National Tier
National Tier is for characters whose actions decide the course of nations. These are powerful beings able to swing wars in favor of their chosen country by themselves, worth entire divisions of conventional military, or which are able to stand against threats that can sink entire countries into chaos. The Alien Cityships from the first Independence Day movie are a solid example of a National-level threat (while the Harvester from the second movie is a Global threat), while the Jaegers of Pacific Rim are a potentially National-level weapon to be used against the very National threat of the Kaijus.
Note that it can often be tricky to figure out the difference between a really potent Metro character and a low-level National character, or a really potent National character and a low-level Global character. This is Maji’s version of the ever-frustrating ‘Mid Tier’ problem, in that settling on specific delineations of ‘Mid Tier’ (i.e. low-mid, mid, mid-high) is often fraught with irritation and inaccuracy, but is nonetheless essential because there’s a ton of mismatch-laden middle ground between Saving the City and Saving the World.
This is the primary reason why we’ve introduced the ‘Borderline’ tag for character tiers. If you’re not sure whether your character fits in Metro or National, then use “Metro (Borderline)” for your character tier. If you’re not sure whether your character fits into National or Global, then use “National (Borderline)” for your tier. We’ll know what you mean, and you can always revise your displayed tier as the character grows and you become more certain of the scope of the story you want to tell.
Global Tier
Global characters are, as the name suggests, characters whose actions have a global impact. These are characters which can devastate entire geographical regions with single strikes, or characters able to defend against such strikes and threaten those who’re able to launch them. These are your “Galactus Appears!” storylines, battles against rogue gods or the demon hordes of Hell invading the world. Characters in this tier are usually considered to be able to render entire worlds uninhabitable given sufficient time and a lack of opposition, or are the opposition for other threats capable of doing the same. In short: if your character can Save The World on a regular basis (or Destroy The World if left alone for a week or two), they’re probably Global tier.
Global is the highest recommended tier for new characters/players on Majisuka. Note that we’re not forbidding you from making Cosmic or Akashic characters; we’re simply noting that our own supply of such characters is very limited, and most of them are reserved pretty strictly for non-combat story functions. Global we can offer you some meaty engagements in; above this tier you’re getting into levels that require close collaboration to avoid interfering with another player’s fundamental narrative.
Cosmic Tier
Characters who manage to work their way up to the Cosmic tier are able to obliterate entire star systems, and can take actions of and by themselves (i.e. not as Emperors of Star Nations) which affect entire regions of interstellar space. There are few common existing examples of this tier as it’s often difficult to tell an effective story on this level, but one such potential example is the Reaper Invasion of Mass Effect, or the actions of the Great Old Ones of Lovecraftian fame. A Cosmic-tier character would be one able to contest the Reaper invasion of the entire Milky Way galaxy by themselves (which, by some interpretations, means Commander Shepard is Cosmic tier. Go Shep), or engage in single combat with a GOO. Cosmic-tier characters are almost impossible to physically threaten; a character this powerful and advanced has usually long since moved beyond the requirement to continue existing solely or even primarily within their corporeal shell.
These characters are usually reserved as Big Bads for a player’s individual storyline; their direct appearance in threads typically shocks the other characters in said thread and changes the tone of a thread completely. The appearance of a Cosmic-level character in any given story is cause for immediate concern (read: panic) for any less powerful character that happens to also be in that story.
Akashic Tier
Also occasionally referred to as ‘Bullshit’ tier, these are characters which have ascended beyond even the flimsiest pretense of mortality and become true gods, goddesses, or the incarnate avatars of fundamental cosmic forces of the universe. Creating an Akashic-level character is often an example of worldbuilding more than character creation – these characters are so unfathomably powerful and/or omnipresent that they’re usually more a part of the way your world works than a specific actor in that world. Their influence is so great, so inescapable, that it’s often simply considered a fact of life or one of the governing rules of existence in your setting. Death, Entropy, Love, War, and other concepts-with-faces are classified as Akashic characters, as are entities which can alter reality at a whim on grand scale. ‘Fights’ at the Akashic level are more dressed-up philosophy debates than contests of skill, as these characters are usually impossible to damage in any meaningful way unless their player actively desires them to suffer harm for whatever reason.
Much like Cosmic characters, Akashics are usually reserved as drivers for the plots of less potent characters – these are the gods who create champions to fight on the mortal plane, or the whims of Fate which fragile men must struggle against.
Credit for this piece goes to Yurei and Anshin.
[T.07] AnimeLeague's Roleplayer's Realm Tier List
Level 1 - This is the general human level, encompassing the power attainable by the average Joe and is limited to the most basic of technological weapons, like guns, crossbow and knives—maybe even a scooter if in the wrong hands.
(RM)
Level 2 - Human abilities at their peak, but still nothing overtly supernatural. Examples would be a genius IQ, very minor spell-casting ability (I’m talking sparking dried brush into flame). Technological objects such as laser guns fall under this level.
(Lowest tier of LP)
Level 3 - Genetic, cybernetic, divine or magical enhancements that allow you to run as fast as a sports car, jump anime style, or bench three-hundred pounds without breaking a sweat—as well as other physical modifications of that level. Dexterity level equal to an expert marksman, low level psionics and spellcasting ability, super-genius intelligence quotient and martial arts master are other examples of Level 3 abilities. Equipment falls under the same range of power.
(Middling tier of LP)
Level 4 - Examples of Level 4 powers and abilities include Mad Scientist level genius and scientific ability, long ranged telepathy, magical powers that to not involve a divine patron, and the ability to shoot flaming bats with magic arrows of light without the aide of that damnable fairy partner. In general, the range of ability to be expected from a Jedi Padawan of Star Wars or a Gennin Ninja of Naruto—as well as the use of cybernetics, alchemy, and so on to simulate any of that.
(Highest tier of LP)
Level 5 - The basics of nano technology capable of regenerating minor wounds, or alternatively wizardry or clerical ability capable of the same. You can pilot your own short range star fighter and have access to technology so advanced as to be almost magical in nature. The ability to fly for any reason you can think of that makes any rudimentary amount of plot logic. Your character may have the reflexes and skills of an elite Jedi Knight, the speed of Saito Hajime, and the power to take down Trinity of The Matrix with ease.
(Lowest tier of MP)
Level 6 - The ability to heal major damage taken both personally, or by others, through the method of your choice. The charisma and influence necessary to muster an army of elite soldiers, and access to the technology needed to build and operate a small space craft capable of interstellar travel (or a magic dragon from the future, whatever floats your boat). Your powers and skills rival those of Gandalf the White, Obi-Wan Kenobi and Himura Kenshin at their best.
(Middling tier of MP)
Level 7 - Personal shielding and an Imperial Star Destroyer for a flagship; computer expertise that can take down Borg Cubes, and you may have weapons so slick and high tech that they make the ladies hot and bothered. You can distort space-time at will with your magic, enough so to influence events worlds or even years away, and your physical strikes can no longer even be seen. Armies of grizzled veterans—wearing too much steel to stand up on their own—will carry your banner to war and ride really expensive looking horses across the battlefield. You could out gun an Agent in the Matrix or beat him down with your martial arts, and powers and abilities compare to Mace Windu of Star Wars, Ultimecia of Final Fantasy, and Hyuuga Ricdeau of Xenogears.
(Highest tier of MP)
Level 8 - The firewalls of the Death Star and Magi Supercomputers fall with ease before your unbeatable hacking skills. You can repair lost limbs and destroyed vital functions expediently. Your powers can cut down small armies, and shield you from the effects of nuclear weapons. You are no longer merely limited to visiting other worlds and epochs from afar, but may now visit them personally. Powers are of comparable scale to Marvel’s Magneto and Doctor Strange.
(Lowest tier of HP)
Level 9 - That your powers rank less than omnipotent and have finite energy requirements are essentially your only restrictions at this point.
(Highest tier of HP)
Level 10 - Anything becomes possible within the restraints of the rules of the forum and common sense. (FP)
[T.08] Majisuka's Tier System
This is an alternative to the common tier systems that only take blanket powers into consideration and are often measured by what scale of power the character can reach through sheer destruction or the like. The Maji Tier System developed by Anshin and Yurei is defined by the level of story they're most likely to be relevant in rather than maximum destructive potential or units of measure that are difficult to quantify properly.
Characters fall into the highest tier they can most consistently act within. What is important within this tier system is not necessarily what you can destroy, as most other scales measure by, but what you can save. Following is an explanation of each tier, quoted directly from Majisuka's Tier System:
Street Tier
Street characters are those who’re best in stories focusing on small-scale conflicts – street battles or gang wars, law enforcement types dedicated to preventing both of the aforementioned, ‘Zombie Outbreak’ stories, or other threads with a focus more on individual cleverness, adaptability, and toughness of its central characters than sheer destructive force or raw numbers. For Street-level characters, bringing down a single building is a significant feat that cannot be quickly or easily repeated, if at all, and their typical settings (in combat threads) encompass a few city blocks rather than entire cities.
Street is often held to be best for training newer players, but it’s also a refreshing change from Global or Cosmic-level conflicts that can exhaust a player with metaphysical bullfuckery, and can be excellent for telling tightly focused stories or conducting very closely balanced, competitive fights. Many players prefer Street tier for story-focused games or self-contained Adventures.
Metro Tier
Metro-tier characters are those whose actions in a story can affect the entirety of the city they find themselves in, and can be closely compared to many modern superhero comic books whose protagonist characters are the “Defender of Metro City”. This is also the tier you find classic Monster Movies in, as well as smaller-scale Alien Invasion storylines or other forms of Supah Villain threat. Stories on this scale affect thousands of bystanders, with Metro-tier characters able to ruin entire city blocks without much hassle once their goat’s up (or able to consistently and seriously threaten other characters which are able to do this).
Metro is often the most popular combat tier for experienced players who enjoy the spectacle of powered combat; Metro allows for wild and diverse ability use and plenty of satisfying explosions while still maintaining a focus on physical action and reaction, i.e. ‘conventional’ fighting. Metro-scale stories are your Summer Blockbusters, balancing explosive action with more relatable characters.
National Tier
National Tier is for characters whose actions decide the course of nations. These are powerful beings able to swing wars in favor of their chosen country by themselves, worth entire divisions of conventional military, or which are able to stand against threats that can sink entire countries into chaos. The Alien Cityships from the first Independence Day movie are a solid example of a National-level threat (while the Harvester from the second movie is a Global threat), while the Jaegers of Pacific Rim are a potentially National-level weapon to be used against the very National threat of the Kaijus.
Note that it can often be tricky to figure out the difference between a really potent Metro character and a low-level National character, or a really potent National character and a low-level Global character. This is Maji’s version of the ever-frustrating ‘Mid Tier’ problem, in that settling on specific delineations of ‘Mid Tier’ (i.e. low-mid, mid, mid-high) is often fraught with irritation and inaccuracy, but is nonetheless essential because there’s a ton of mismatch-laden middle ground between Saving the City and Saving the World.
This is the primary reason why we’ve introduced the ‘Borderline’ tag for character tiers. If you’re not sure whether your character fits in Metro or National, then use “Metro (Borderline)” for your character tier. If you’re not sure whether your character fits into National or Global, then use “National (Borderline)” for your tier. We’ll know what you mean, and you can always revise your displayed tier as the character grows and you become more certain of the scope of the story you want to tell.
Global Tier
Global characters are, as the name suggests, characters whose actions have a global impact. These are characters which can devastate entire geographical regions with single strikes, or characters able to defend against such strikes and threaten those who’re able to launch them. These are your “Galactus Appears!” storylines, battles against rogue gods or the demon hordes of Hell invading the world. Characters in this tier are usually considered to be able to render entire worlds uninhabitable given sufficient time and a lack of opposition, or are the opposition for other threats capable of doing the same. In short: if your character can Save The World on a regular basis (or Destroy The World if left alone for a week or two), they’re probably Global tier.
Global is the highest recommended tier for new characters/players on Majisuka. Note that we’re not forbidding you from making Cosmic or Akashic characters; we’re simply noting that our own supply of such characters is very limited, and most of them are reserved pretty strictly for non-combat story functions. Global we can offer you some meaty engagements in; above this tier you’re getting into levels that require close collaboration to avoid interfering with another player’s fundamental narrative.
Cosmic Tier
Characters who manage to work their way up to the Cosmic tier are able to obliterate entire star systems, and can take actions of and by themselves (i.e. not as Emperors of Star Nations) which affect entire regions of interstellar space. There are few common existing examples of this tier as it’s often difficult to tell an effective story on this level, but one such potential example is the Reaper Invasion of Mass Effect, or the actions of the Great Old Ones of Lovecraftian fame. A Cosmic-tier character would be one able to contest the Reaper invasion of the entire Milky Way galaxy by themselves (which, by some interpretations, means Commander Shepard is Cosmic tier. Go Shep), or engage in single combat with a GOO. Cosmic-tier characters are almost impossible to physically threaten; a character this powerful and advanced has usually long since moved beyond the requirement to continue existing solely or even primarily within their corporeal shell.
These characters are usually reserved as Big Bads for a player’s individual storyline; their direct appearance in threads typically shocks the other characters in said thread and changes the tone of a thread completely. The appearance of a Cosmic-level character in any given story is cause for immediate concern (read: panic) for any less powerful character that happens to also be in that story.
Akashic Tier
Also occasionally referred to as ‘Bullshit’ tier, these are characters which have ascended beyond even the flimsiest pretense of mortality and become true gods, goddesses, or the incarnate avatars of fundamental cosmic forces of the universe. Creating an Akashic-level character is often an example of worldbuilding more than character creation – these characters are so unfathomably powerful and/or omnipresent that they’re usually more a part of the way your world works than a specific actor in that world. Their influence is so great, so inescapable, that it’s often simply considered a fact of life or one of the governing rules of existence in your setting. Death, Entropy, Love, War, and other concepts-with-faces are classified as Akashic characters, as are entities which can alter reality at a whim on grand scale. ‘Fights’ at the Akashic level are more dressed-up philosophy debates than contests of skill, as these characters are usually impossible to damage in any meaningful way unless their player actively desires them to suffer harm for whatever reason.
Much like Cosmic characters, Akashics are usually reserved as drivers for the plots of less potent characters – these are the gods who create champions to fight on the mortal plane, or the whims of Fate which fragile men must struggle against.
Credit for this piece goes to Yurei and Anshin.
[TBC.04] Area of Effect Attacks VS Focused Attacks
The characteristic of Area of Effect (AoE) refers to any attack capable of affecting a defined region or location that does not necessarily require a single target. These types of attacks are often launched towards a widespread area and cause a particular effect, which is often destructive, upon it. Attacks such as these work on a case by case basis, though they are generally weaker than a focused attack and will, in most cases, prove to be a minor threat towards a character.
How do AoE attacks hold up against Focused Attacks or defenses? Generally, they hold up poorly given that power is spread out and scattered to affect a larger area. AoEs sacrifice single target power to widen their reach while focused attacks do exactly the opposite.
Focused attacks concentrate the given power of a technique or move in order to tear through defenses. Generally, these attacks focus on a single point and are mostly linear in trajectory. As such, an AoE attack encompassing a large area, or a widespread defense such as a barrier or a defensive field, could be torn apart by a focused attack. Bear in mind, however, that the nature of the attacks and defenses in question should always be taken into account. Always analyze attacks like these on a case by case basis. On a general precept, however, AoE attacks will always be weaker than focused attacks.
Ultimately, logic trumps all.
[TBC.05] Preparations / Preps
Example:
Character A begins focusing his own power with his hands in front of him.
Character B raises their shield and focuses as well.
Character A fires a blast of energy towards Character B.
Character B conjures a wall of light that coats their shield, defending against Character A's blast of energy.
Preparations vary from character from character and they may never be the same; however, the concept is simple and straightforward to understand. It is the act of gathering power or focusing oneself in order to prepare for an attack, defense, or evasive maneuver. Much in the way a spellcaster incants their spells or an elementalist gathers energy from their surroundings, a prep works by enhancing the attack, defense, or evasion executed after unleashing the gathered power. In this manner, moves would get an imaginary counter of +1 for every prep executed towards it.
Normally, a cap of preps is imposed on characters per post to avoid reliance on overwhelming the opposition by abusing game mechanics. Power, however, is relative to the tiers both players are utilizing their characters in, strengths and weaknesses, and the situation at hand. Preps are never set in stone regarding their power, but they can be an useful indicative of what character could have the upper hand regarding an attack, a defense, or an evasive maneuver should the fight end up in a judgment call.
Do bear in mind that attacks are possible even when a character is preparing something. These attacks, however, must be minimal in power, do not pose an immediate threat to the environment or to opponents, and are generally regarded as more of a distraction and a nuisance than actual attacks. Repositioning, evasion, parrying, and defending are all possible as well, depending on the degree of concentration the character preparing is exhibiting. There are always tradeoffs made when preparing; to what extent, however, is up to the player and to what they are preparing.
Recently, there's been a misconception about what preps actually signify in some circles. Any character whose capabilities allow them to focus on multiple preparations at the same time, be it due to the kit they possess, the levels of concentration they can manage, or due to the masterful control over their own energy is allowed to prepare as many things as they feasibly can. This does, however, entail a higher degree of risk and the possibility of being interrupted before actually readying a prepared attack, thus breaking the character's concentration and dispelling the focused energy. As with everything else, there are tradeoffs, as the more power a character focuses on preparing attacks, the less power they will feasibly have to counteract or evade opposing attacks. Much like with actions, the higher the number of preparations a character executes, the more windows of opportunity the opponent is allowed.
Recently, there's been a misconception about what preps actually signify in some circles. Any character whose capabilities allow them to focus on multiple preparations at the same time, be it due to the kit they possess, the levels of concentration they can manage, or due to the masterful control over their own energy is allowed to prepare as many things as they feasibly can. This does, however, entail a higher degree of risk and the possibility of being interrupted before actually readying a prepared attack, thus breaking the character's concentration and dispelling the focused energy. As with everything else, there are tradeoffs, as the more power a character focuses on preparing attacks, the less power they will feasibly have to counteract or evade opposing attacks. Much like with actions, the higher the number of preparations a character executes, the more windows of opportunity the opponent is allowed.
As for preps being divided in fractions and considered as percentages when executing multiple preparations... Don't do this. This is bad and should never be employed in any form of combat.
Always discuss beforehand what stance players have on preps before initiating combat.
[TBC.06] Interrupts
Example:
Character A swings his sword in an overhead strike at Character B.
Character B steps in, stops Character A's arm motion at the wrist, thus impeding the downwards strike.
Character A's overhead strike was interrupted.
First and foremost: Interrupts are allowed in any form of combat given that they are, intrinsically, part of combat. Executing an interrupt, however, requires a deep understanding of the timeline of the fight, of how the actions are structured regarding an opponent's post, and the identification of windows of opportunity within a post. I shall elaborate on these concepts underneath this particular topic.
Timeline of the Fight
The passage of time in a fight is always equal to the characters participating in one. As one character executes an action, the other character is privy to its execution and can choose whether or not to react to it, depending on their capabilities and battle plan. As such, actions are executed on a simultaneous plane rather than on separate ones.
For example, if Character A is drawing an arrow, nocking the arrow onto their bow's string, taking aim, pulling the string, and firing at Character B, the latter could be taking action to interrupt the flow of battle of Character A. It is not necessary nor mandatory for the opponent to sit still and wait until the first character has finished all their actions in order to react.
The structuring of actions in a timeline is fully dependent on how both characters will react to one another. In the previous example, Character B could be entering Character's A melee range while the arrow is being nocked, thus causing Character A to react to the immediate advance and interrupting their original intent. This means that, if Character A had described their full intent in their first post - drawing, nocking, aiming, pulling, and firing -, but Character B interrupted during the second action - nocking - it means that aiming, pulling, and firing would never take place, and Character A would have to react accordingly.
As such, when a character is interrupted by another, anything after the interrupted action is 'destroyed' in the post, and must be thought of as never having taken place.
Windows of Opportunity establish all the possible instances where Character B could react to Character A's actions. The coherence between identifying these windows of opportunity and acting on these windows of opportunity, however, are all dependent on the capabilities of the character at hand and on the current situation. In the example used beforehand, it is assumed that Character B is relatively close to Character A in order to enter melee range quickly. However, if Character B was far away and could not enter melee range of Character A to interrupt the motions of their attack, it is an impossibility to execute an interrupt.
As always, take into account the motion the characters need to execute to actually prompt a successful interruption and wiggle in between two actions within the timeline of the fight. If someone is snapping their fingers and your attempt to interrupt them is a dash or a charge to reach their position, the interruption will be wholly ineffective given that the character who snapped their fingers does not have to move. On the other hand, the character attempting to interrupt them will most likely find out that the snap of the opposing character's fingers is far quicker and requires less movement and time to execute than traveling the full distance required to reach a position to interrupt to begin with.
When executing an interrupt, always take into account economy of motion in the midst of combat.
As always, take into account the motion the characters need to execute to actually prompt a successful interruption and wiggle in between two actions within the timeline of the fight. If someone is snapping their fingers and your attempt to interrupt them is a dash or a charge to reach their position, the interruption will be wholly ineffective given that the character who snapped their fingers does not have to move. On the other hand, the character attempting to interrupt them will most likely find out that the snap of the opposing character's fingers is far quicker and requires less movement and time to execute than traveling the full distance required to reach a position to interrupt to begin with.
When executing an interrupt, always take into account economy of motion in the midst of combat.
[TBC.07] Counters
Example:
Character A swings his sword in an overhead strike at Character B.
Character B steps in, stops Character A's arm motion at the wrist, thus impeding the downwards strike, and attempts to stab Character A with their own sword.
Character A's overhead strike was interrupted and now they must deal with Character B's stab attempt.
Counters, or counterattacks, involve the effective nullification of an attack by either defending against it with a block, evading or parrying it, and launching a follow-up attack in an often simultaneous manner. The kinds of counters that a character can execute will vary wildly depending on the movement they are attempting to counter, thus melee counters will follow a specific set of motions whilst ranged ones can end up being quite imaginative.
[TBC.08] Post Voiding and Rewriting
Whenever an action is impossible to execute due to the situation at hand or due to an oversight from players, it is required for the post containing the impossible action to be voided and rewritten. Voided simply means stricken out, taking the post as never having happened. What happens in this case is a rewind so that the post can be corrected and rewritten in such a way that there is no impossibility. Always, ALWAYS, talk it out with your opponent before making any sort of edits. If they're good sport, they will always allow you at least one rewrite attempt.
Excerpt taken and mildly edited from "Logical Turn-Based Combat" guide by Law/Hero:
"Combat rewinds are not always against the rules. You just need to know when and where they're appropriate. Combat rewinds often come into play when opponents omit information. If your opponent omits information that your character would have been able to discern, then a combat rewind is permitted.
To clarify:
Combat rewind is okay if: your opponent channeled an attack underground in your general direction. They gave few or no hints that “something” (usually left ambiguous) was happening in the ground.
Combat rewind is not cool if: your opponent outright said he was channeling earth energy into the ground, readying a strike in your direction. In the face of this, your character decides to test his or her new acrobatic routine, leaping through the air, twisting, spinning, somersaulting, and flipping the distance between you. Your opponent, being anything-but-braindead, decides to launch spikes at you while you’re midair.
Combat rewind is okay if: in the previous situation, you decided to carefully approach your opponent, keeping your attention loosely on the Earth beneath your feet.
Be reasonable. The more your opponent hints at something coming in their post, the less leverage you’ll have to be surprised when it comes. If they tell outright you something’s coming, you’re shit-outta-luck. That said, if the hints are vague and you consider the possibility of something in your posts, you can usually rationalize a rewind.
Just because you failed to account for something in your post doesn't mean you can backtrack. And you need to keep in mind that you can never ever take back certain things: most outstandingly, you can't take back hits you've taken. If you are punched in the face and you accept falling to the ground, you can't go back one round later and say "well, whoops, I didn't want to do that."" - End of excerpt. Logical Turn-Based Combat. aetherastate.boards.net/thread/4/iii-logical-turn-based-combat?page=1&scrollTo=3241
... Which brings us to the topic of omitting information in posts, most notably happening when a character wants to entrap another, but gives no indication nor hint as to how it is happening, or what is going on at all. In some cases, this also applies to preparations.
If one can justify what they alluded to in their post and get away with a cryptic action (read: not purposefully convoluted writing) by pointing out at the various hints in their post, then one can get away with omitting a slight amount of information. However, this does not mean not providing any insight at all as to what is going on. A player must always provide at least a hint as to what is going to happen whenever attempting to execute traps, or when setting up for a preparation.
For example:
Character A brings his fist before him and begins channeling power, causing a golden light to envelop his hand.
Character B focuses on the ground beneath Character A while noticing the golden light around their hand, channeling their mastery over the earth element to cause cracks to begin forming upon the ground.
Character A finishes channeling his energy and throws a punch, sending a shockwave towards Character B.
Character B narrowly avoids the shockwave by stepping aside, allowing their hand to ascend so that a spike of stone surfaces beneath Character A.
In this case, since Character A did not notice the cracks on the ground beneath them, or what Character B was doing, the window of opportunity to dodge the spike of stone is extremely narrow for them, to the point that they will be forced to take some damage in return. Character B, on the other hand, witnessed the straightforward approach of Character A, and thus could evade accordingly.
For situations like these, the more detail and insight you can offer, the fewer the situations where the players will have to void and rewrite the actions in their posts. Regardless, always ensure to ask if you're not sure of something. Collaborate first, and if it fails, resort to a judgment call. Detail is your best friend and a shield, should the fight end up in the hands of a judge.
[TBC.09] On the Topic of Detail
Whenever explaining an action within your post, it is always better to offer as much detail as possible. In some cases, however, less is more. There's no need to repeat the same thing time and time again if you have already stated it once. Always strive to minimize the amount of words you need to use in a post to elaborate on something while maximizing the amount of readability and understanding. After all, a post that goes on and on with no end in sight, and which offers little to nothing in the way of relevant detail will always fall short before a post focusing on getting a point across efficiently and effectively while telling a good story.
Do not ask yourself what you could add to a post but rather what you could take away while preserving its intent.
This does not mean that you can ignore attacks in play just because there is a passive shielding covering your character or another effect in play that your opponent is not referencing even when they're attacking you. It's your job to address every attack accordingly and not to pass anything up. Any detail that is not mentioned when dealing with an attack is a free window of opportunity an opponent is being given to take advantage of.
Every attack and defense must be addressed in the posts whenever executing an offensive or defensive action.
Here's an excerpt from an article written by a vastly experienced player within the game, Specter:
"These are the guiding lights of wisdom that dominate most, if not all, philosophies of Sparring:
Description + Creativity = Power
Put very simply: the better you write, the better you do. This is not the same as strict grammatical adherence; in Sparring, writing is a living and dynamic element best measured by how effectively you "draw in" your readers. A Sparrer with poor grammar and a great sense of imagery has a distinct advantage over a Sparrer with perfect grammar and poor descriptive skills. It's not that grammar means nothing; good grammar makes it far easier for your readers to understand you, but it isn't a substitute for imagination.
Quality > Quantity
Some people think that Sparring is all about overwhelming your opponent with HUUUUUUUUUGGGEE blocks of text. These people often lack a sense of balance and focus. While it isn't unusual for experienced RPers to make long posts, it's generally because they're describing a lot of details or have a quite a bit going on in-story. Never forget that length must have purpose, and avoid letting your writing meander aimlessly throughout a scene. This is battle, after all! Try to keep your writing quick and rapid-fire without sacrificing important detail."
This does not mean that you can ignore attacks in play just because there is a passive shielding covering your character or another effect in play that your opponent is not referencing even when they're attacking you. It's your job to address every attack accordingly and not to pass anything up. Any detail that is not mentioned when dealing with an attack is a free window of opportunity an opponent is being given to take advantage of.
Every attack and defense must be addressed in the posts whenever executing an offensive or defensive action.
Here's an excerpt from an article written by a vastly experienced player within the game, Specter:
"These are the guiding lights of wisdom that dominate most, if not all, philosophies of Sparring:
Description + Creativity = Power
Put very simply: the better you write, the better you do. This is not the same as strict grammatical adherence; in Sparring, writing is a living and dynamic element best measured by how effectively you "draw in" your readers. A Sparrer with poor grammar and a great sense of imagery has a distinct advantage over a Sparrer with perfect grammar and poor descriptive skills. It's not that grammar means nothing; good grammar makes it far easier for your readers to understand you, but it isn't a substitute for imagination.
Quality > Quantity
Some people think that Sparring is all about overwhelming your opponent with HUUUUUUUUUGGGEE blocks of text. These people often lack a sense of balance and focus. While it isn't unusual for experienced RPers to make long posts, it's generally because they're describing a lot of details or have a quite a bit going on in-story. Never forget that length must have purpose, and avoid letting your writing meander aimlessly throughout a scene. This is battle, after all! Try to keep your writing quick and rapid-fire without sacrificing important detail."
Long story short, strive to include as much relevant detail as possible in your posts while keeping them interesting, and make sure to address every offensive and defensive action through what is posted.
And for the love of all the Multiversal deities out there, stop using convoluted writing to attempt to confuse opponents. That sort of practice defeats the purpose of writing and if your opponent cannot understand a single thing you write, the burden isn't on them - it's on you.
And for the love of all the Multiversal deities out there, stop using convoluted writing to attempt to confuse opponents. That sort of practice defeats the purpose of writing and if your opponent cannot understand a single thing you write, the burden isn't on them - it's on you.
[TBC.10] To Close Up
This is not intended to be taken as something that's set in stone. This is merely a recollection of the contents of guidelines, rulesets, and the depictions of several styles within many communities, with most of their contents trimmed down and condensed into a single document as per the author's personal understanding of all TBC documents witnessed through the years.
This document is intended to serve as an aid for people looking to learn more about TBC, hopefully with the intent of experiencing and growing within it.
In the seldom cases that there is conflict between players, remember these words and look to work out a solution with your opponent. Combat, much like all roleplay, is a collaborative effort rather than a competitive one. It is always better for two characters to harmonize in the battlefield in a proper battle than to be constantly at odds with the other player because one of you did something they dislike. Always talk everything out first. Should attempts at communication fail, ensure a judge was appointed to the fight beforehand to sort any possible conflicts out.
And last but not least... Always remember to enjoy yourself and for the other player before you to do the same. Regardless of what type of combat a player is engaging in, it means little if no one can enjoy what they do. Seek enjoyment for both parties involved in the combat and turn it into a pleasant experience rather than something riddled with arguments and conflict. I can guarantee you will learn far more that way than in any other manner.
Now get out there and fight!
[TBC.11] Credits
IRC servers for introducing me to the art.
#Oni, #Jinchuu, #Swordsman's_Lair, #Isamahii_Gardens, #Xenom, and a handful of other channels for giving me fundamentals to follow.
RealChat for offering different points of view and more individuals to spar against.
Roleplayer's Realm at AnimeLeague for being the breeding ground of some of the greatest fighters to grace the Internet.
Shades of Vertigo for further offering insight on TBC with articles and guidelines.
Yurei/LaserLight for Majisuka's Tier System as an additional alternative that further expands on possible character tiers characters can belong to.
Yurei/LaserLight for Majisuka's Tier System as an additional alternative that further expands on possible character tiers characters can belong to.
Various other forums and sites I cannot recall off the top of my head.
Zericho Azerich, Tsukasa, Fenrir Surendra, Near, and many more friends in #Oni for exploring combat at the beginning of the journey.
Law for being a worthy rival at every point we faced each other as well as a horrible example of interpersonal relationships.
Sohjin Kasake for being the first teacher showing me the ropes of combat.
Leo for being one of my first defeats that pushed me to grow within turn-based combat.
Shiki, Ran, Aerone, and Calintz for offering insight back when I first started.
Sohjin Kasake for being the first teacher showing me the ropes of combat.
Leo for being one of my first defeats that pushed me to grow within turn-based combat.
Shiki, Ran, Aerone, and Calintz for offering insight back when I first started.
Lysander Korvein for pushing me to grow stronger in the worst possible way when I first encountered him.
Afro Blaze for being a cool cat.
Riku Nightmare for being a good test subject for some characters of mine. And a sandbag.
Alucroas. Everybody needs one of you around, buddy.
Alucroas. Everybody needs one of you around, buddy.
A handful of SurrealChat, RealChat, forum fighters.
The Yggdrasil Pirates for being a cool bunch. Y'all keep it real.
All other people who continue to be a positive influence not only on the scene but also on a personal level. You know who you are.
The Yggdrasil Pirates for being a cool bunch. Y'all keep it real.
All other people who continue to be a positive influence not only on the scene but also on a personal level. You know who you are.
