TEXT: Playtesters:  Frederick Brackin, Roger Burton West, Leonardo Holschuh, and Emily Smirle
  Special Thanks: Scott Caron, Wendy Caron, Jamie Day, Peter Gaffney, 
  Vickie Josefsberg, Chris Magee, Michele Stuart, Chris Wilson, and Neil Yetts
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  Written by WARREN “MOOK” WILSON, 
  with SEAN “KROMM” PUNCH
  Edited by NIKOLA VRTIS
  Illustrated by GUY BURWELL, JOHN HARTWELL, 
  JOHN LUCAS, and DAN SMITH
  STEVE JACKSON GAMES
  Stock #37-0034
  Version 1.0 – August 2014
  ®
  TM
  GURPS System Design T STEVE JACKSON
  GURPS Line Editor T SEAN PUNCH
  Chief Operating Officer T PHILIP REED
  Managing Editor T MIRANDA HORNER
  Assistant GURPS Line Editor T JASON “PK” LEVINE
  Production Artist and Indexer T NIKOLA VRTIS
  GURPS Project Manager T STEVEN MARSH
  Marketing Director T LEONARD BALSERA
  Director of Sales T ROSS JEPSON
  Art Direction and Prepress Checker T NIKKI VRTIS
  Page Design T PHIL REED and JUSTIN DE WITT
  GURPS FAQ Maintainer T VICKY “MOLOKH” KOLENKO
  
  INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . 4
  Who Is Kromm?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
  About the Author. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
  1. PREPARING FOR ADVENTURE. . . . . . . . . . . 5
  IMPORTANT RESOURCES FOR
  PREPARING THE ADVENTURE . . . . . . . . . . . . . . . . . . . . 5
  The Basic Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
  Other GURPS Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
  Other Books. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
  GURPS Character Assistant. . . . . . . . . . . . . . . . . . . . . . . . . . . 8
  Online. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
  LAYING THE FOUNDATION . . . . . . . . . . . . . . . . . . . . . . . . . . 8
  Importance of Communication . . . . . . . . . . . . . . . . . . . . . . . . . 8
  Fun for Everyone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
  Choosing a Genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
  Choosing a Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
  Cinematic Rules. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
  Choosing a Power Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
  Character Traits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
  Competing Disadvantages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
  Wealth and Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
  Character Points in Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
  Die Rolls in Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
  Using the Campaign Planning Form. . . . . . . . . . . . . . . . . . . . 15
  CHARACTER CREATION . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
  Character Concepts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
  Using Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
  Who Spends the Points?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
  Final Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
  2. EXAMPLE OF
  ADVENTURE PREPARATION . . . . . . . . . . . 17
  IMPORTANT RESOURCES: EXAMPLE . . . . . . . . . . . . . . . . . . 17
  LAYING THE FOUNDATION: EXAMPLE. . . . . . . . . . . . . . . . . 17
  Why Fantasy?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
  CHARACTER CREATION: EXAMPLE . . . . . . . . . . . . . . . . . . . 18
  Character Templates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
  Character Concepts: Example . . . . . . . . . . . . . . . . . . . . . . . . . 18
  Guard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
  Archer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
  Final Review: Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
  3. CREATING THE ADVENTURE. . . . . . . . . . . 23
  IMPORTANT RESOURCES FOR
  CREATING THE ADVENTURE . . . . . . . . . . . . . . . . . . . . 23
  The Basic Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
  Other Books. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
  Campaign Advice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
  ENCOUNTERS: THINGS TO DO . . . . . . . . . . . . . . . . . . . . . . 23
  Rules Likely to Come Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
  Something for Everyone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
  Player Freedom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
  Following the Players’ Lead . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
  NPCS: PEOPLE TO MEET . . . . . . . . . . . . . . . . . . . . . . . . . 26
  NPCs Are People, Too. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
  Balancing NPCs With the Party. . . . . . . . . . . . . . . . . . . . . . . . 26
  Sample Low-Tech Guards/Thugs/Soldiers . . . . . . . . . . . . . . . . 28
  SETTINGS: PLACES TO SEE . . . . . . . . . . . . . . . . . . . . . . . . 29
  Combat Environment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
  Setting Variety. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
  PUTTING IT ON PAPER . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
  The Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
  The NPCs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
  Encounters and Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
  Possible Outcomes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
  CONTENTS
  2
  CONTENTS
  About GURPS
  Steve Jackson Games is committed to full support
  of GURPS players. Our address is SJ Games, P.O. Box
  18957, Austin, TX 78760. Please include a self-
  addressed, stamped envelope (SASE) any time you
  write us! We can also be reached by e-mail:
  info@sjgames.com. Resources include:
  New supplements and adventures. GURPS contin-
  ues to grow – see what’s new at gurps.sjgames.com.
  Warehouse 23. Our online store offers GURPS
  adventures, play aids, and support in PDF form . . . dig-
  ital copies of our books, plus exclusive material avail-
  able only on Warehouse 23! Just head over to
  warehouse23.com.
  Pyramid (pyramid.sjgames.com). Our monthly
  PDF magazine includes new rules and articles for
  GURPS, systemless locations, adventures, and much
  more. Look for each themed issue from Warehouse 23!
  Internet. Visit us on the World Wide Web at
  sjgames.com for errata, updates, Q&A, and much
  more. To discuss GURPS with our staff and your fel-
  low gamers, visit our forums at forums.sjgames.com.
  The How to Be a GURPS GM web page can be found
  at gurps.sjgames.com/howtobeagurpsgm.
  Bibliographies. Many of our books have extensive
  bibliographies, and we’re putting them online – with
  links to let you buy the resources that interest you! Go
  to each book’s web page and look for the “Bibliogra-
  phy” link.
  Errata. Everyone makes mistakes, including us –
  but we do our best to fix our errors. Up-to-date errata
  pages for all GURPS releases, including this book, are
  available on our website – see above.
  Rules and statistics in this book are specifically for
  the GURPS Basic Set, Fourth Edition. Page references
  that begin with B refer to that book, not this one.
  
  4. EXAMPLE OF ADVENTURE CREATION . . . . 32
  CREATING THE ADVENTURE. . . . . . . . . . . . . . . . . . . . . . . . 32
  The Plot: Example. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
  The NPCs: Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
  Combat Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
  Fun Trumps Everything. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
  Encounters and Scenes: Example . . . . . . . . . . . . . . . . . . . . . . 33
  Possible Outcomes: Example. . . . . . . . . . . . . . . . . . . . . . . . . . 35
  5. RUNNING THE ADVENTURE . . . . . . . . . . . 36
  IMPORTANT RESOURCES FOR RUNNING THE ADVENTURE . . 36
  The Basic Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
  Other Books. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
  Other Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
  THE ROLE OF THE GM . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
  Before the Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
  During the Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
  After the Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
  RUNNING THE CAMPAIGN . . . . . . . . . . . . . . . . . . . . . . . . . 39
  6. COMBAT . . . . . . . . . . . . . . . . . . . . . . . . . 40
  One of Many Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
  CUSTOMIZING COMBAT . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
  Lethality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
  Selecting Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
  GURPS Martial Arts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
  Speeding Up Combat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
  Hex Maps and Counters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
  Practice as a Backup Plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
  INFLUENCING COMBAT. . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
  Useful Combat Attributes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
  Scaling for High-Powered Games . . . . . . . . . . . . . . . . . . . . . . . 44
  Useful Combat Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
  Comparison of Unarmed Combat Skills. . . . . . . . . . . . . . . . . . 45
  Useful Combat Advantages . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
  Big and Small Fighters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
  Telekinesis in Combat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
  Combat Disadvantages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
  Magic and Psionics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
  Improving Attacks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
  Fighting With Two Weapons . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
  Overcoming Attacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
  Improving Defenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
  Overcoming Defenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
  7. EXAMPLE OF
  RUNNING THE ADVENTURE . . . . . . . . . . 62
  BEING THE GM: EXAMPLE . . . . . . . . . . . . . . . . . . . . . . . . 62
  Before the Session: Example . . . . . . . . . . . . . . . . . . . . . . . . . . 62
  During the Session: Example. . . . . . . . . . . . . . . . . . . . . . . . . . 62
  After the Session: Example . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
  EXPANDED CAMPAIGN
  PLANNING FORM . . . . . . . . . . . . . . . . . . 67
  INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
  CHARACTER TRAIT INDEX . . . . . . . . . . . . . . . . . . . . . . . . . 72
  CONTENTS
  3
  
  INTRODUCTION
  4
  GURPS is an incredibly robust roleplaying game (RPG),
  providing a consistent and flexible rules system for players and
  Game Masters (GMs) who want to enjoy all sorts of adven-
  tures, at all sorts of power levels, in all sorts of genres.
  Because of this universality, it’s much more of a “tool kit”
  than other systems limited to a narrow scope. When you tear
  into GURPS, you don’t find a model car or plane inside. You
  find an unlimited building-block set, one you can use to build
  a car, plane, zeppelin, submarine, motorcycle, spaceship, stage-
  coach, or anything else you want! The GURPS GM is encour-
  aged to envision the game he and his players want, and then
  use only those rules that support that vision, ignoring every-
  thing else.
  You can’t say it too often: GURPS is a tool kit. It’s a system
  that requires tons of GM judgment to work. “As is,” it offers
  dozens if not hundreds of advantages, disadvantages, skills,
  spells, perks, techniques, etc.; hundreds if not thousands of
  articles of gear; and many pages of optional rules. The vast
  majority of all this stuff isn’t appropriate for all campaigns.
  Setting limits isn’t about being a control freak or an authoritar-
  ian; it’s about making the game playable, fun, and true to the
  campaign’s desired genre and setting.
  – Kromm
  Rules for firearms and modern technology skills are simply
  not needed for a historically accurate adventure set in ancient
  Rome. Neither are rules for supernatural or cinematic abilities
  for a realistic game set in the present-day world. GURPS
  assumes that the GM will take only what he needs for the cur-
  rent campaign and leave the rest aside.
  This is particularly true for combat. There are many com-
  bat options in the Basic Set, even more in GURPS Martial
  Arts (and other supplements), and it’s crucial for the GM to
  have a clear understanding of those he wishes to use. Chapter
  6 of this supplement presents guidelines for customizing the
  feel and flavor of combat.
  To those new to GURPS, this wealth of options can give
  the false impression that the rules are more complex than
  other systems, harder to learn, or harder to play. How to Be
  a GURPS GM was written to put those mistaken impressions
  to rest.
  GURPS has precisely one task-resolution mechanism:
  “Take a score, add a modifier, and roll three six-sided dice
  under the result.” If you can “get” a game where some success
  rolls are d20 + modifiers/roll high, others are d%/roll low, and
  yet others are sum Nd<whatever>/see if you can get X . . . well,
  you can certainly “get” rolling 3d6 under a score, every time.
  Even if you drag in effect rolls (reactions, damage, Fright
  Checks, whatever), it’s still only two sorts of rolls, and they all
  use the ordinary d6.
  Its basic character-creation and game-play rules are just
  about trivial, with lots of modifiers for success rolls and lots of
  choices to spend points on. Almost everything is optional – and
  clearly marked as such – so the GM has lots of control, and
  there’s never any requirement to go whole-hog and use the
  whole darn game.
  This book is aimed squarely at the GM new to GURPS,
  whether new to the RPG hobby altogether or looking to switch
  from another system; however, familiarity with the basics of
  RPGs is assumed. It strives to be a bridge between reading the
  Basic Set and actually running that first session. Three
  chapters detail a low-tech fantasy game with 150-point
  player characters (PCs) as an ongoing example. The gen-
  eral principles evident in that walkthrough apply equally
  well to other sorts of games.
  There is absolutely no One True Way, no “official” way,
  of running or playing GURPS! The whole purpose of the
  rules is for everyone, the GM and players alike, to have
  fun, no matter how they do it. How to Be a GURPS GM
  is one way, a useful guide to preparing and running games
  with the GURPS rules. The name of this book could have
  been “One Way of Many to Be a GURPS GM, With a
  Particular Focus on Beginners,” but the current title is
  already long enough.
  My sincere hope is that this book removes some of the
  misperceptions of GURPS. It is a game of extraordinary
  flexibility, with mountains of ongoing support – and most of
  all, it is really fun!
  ABOUT THE AUTHOR
  Warren “Mook” Wilson began playing roleplaying games in
  1982. He ran his first game the following year and instantly fell
  in love with being the GM, especially after discovering GURPS
  in 1991. Over the decades, he has been blessed with fun, cre-
  ative players who made running games a joy. Outside of gam-
  ing, he amuses himself in Los Angeles with reading and
  writing fiction, watching movies, and spending too much time
  on the computer. Online, he lives at themook.net. This is his
  first official GURPS product.
   INTRODUCTION
  Who Is Kromm?
  “Kromm” is Sean Punch, and he has been the GURPS
  Line Editor since 1995. During those years he has overseen
  the development of the GURPS line, including production of
  the Basic Set, Fourth Edition with David Pulver, and has
  engineered rules for nearly every GURPS product released in
  that time. He frequently answers rules questions on the Steve
  Jackson Games forums, and his quotes (set off from the rest
  of the text by lines above and below them) included in this
  supplement were culled from nearly 10,000 forum posts.
  
  PREPARING FOR ADVENTURE
  5
  This is where it all begins: an eager GM who wants to
  learn the system and shape it to his group’s needs; and enthu-
  siastic players who want to work together to build the game
  of their dreams, and tailor a team of characters. Decisions
  must be made, choices set, and adventurers born!
  CHAPTER ONE
  PREPARING
  FOR ADVENTURE
  The GURPS GM has a vast wealth of helpful resources at
  his disposal.
  THE BASIC SET
  Before any other considerations, the GM should have a
  good working knowledge of the GURPS Basic Set. Here’s a
  quick summary of the chapters.
  Characters
  Introduction – An overview of the Basic Set and roleplaying
  in general, and a Quick Start section on pp. B8-9.
  Chapter 1: Creating a Character – Everything needed to
  design a player character, including an explanation of what
  traits count as disadvantages (p. B11) and a helpful checklist of
  important sections (pp. B13-14).
  Chapter 2: Advantages – Detailed explanations of advantages
  and perks, including types (mental, physical, social, exotic,
  supernatural, mundane), limitations and enhancements, and
  advice on designing new ones.
  Chapter 3: Disadvantages – Detailed explanations of disad-
  vantages and quirks, much like the chapter on advantages.
  Chapter 4: Skills – Descriptions of skills, along with rules for
  modifiers, defaults, and techniques. Of particular note is
  Meaning of Skill Levels (pp. B171-172).
  Chapter 5: Magic and Chapter 6: Psionics – If magic or psion-
  ics will exist in the campaign, these chapters are indispensable;
  otherwise, they can be put off for later.
  Chapter 7: Templates – Guidelines for using premade char-
  acter templates, which can be of enormous help to the new GM
  and players.
  Chapter 8: Equipment – Tables of weapons, armor, shields,
  and other gear.
  Chapter 9: Character Development – Ways for players to
  improve their characters once play has begun.
  Trait Lists – Alphabetized lists of all advantages, disadvan-
  tages, modifiers, skills, techniques, and spells.
  Iconic Characters – Examples of a variety of completed
  heroes, from the default Infinite Worlds setting.
  Campaigns
  Chapter 10: Success Rolls – Introduction to the primary
  game mechanic, the 3d6 roll (written as 3d), as applied in a
  multitude of situations.
  Chapter 11: Combat and Chapter 12: Tactical Combat – The
  full spectrum of the GURPS combat rules, from most basic to
  most in-depth, including ranged, melee, and unarmed attacks.
  Covers movement, maneuvers, damage, weapons and armor,
  and much more. For groups that enjoy detailed combat, a solid
  understanding of these chapters is imperative.
  Chapter 13: Special Combat Situations – Additional combat
  rules for special situations like vehicle and mounted combat,
  hit locations, fighting at different heights, explosions, etc.
  It’s hard to write rules that are equally good at all complex-
  ity levels. GURPS works best if you’re using Chapters 11-13 of
  the Basic Set as well as most of Martial Arts. The hidden
  assumption is that the more of this you decide not to use, the
  less important “sensible” combat results are to you.
  Chapter 14: Injuries, Illness, and Fatigue – The effects of all
  sorts of injury, as well as rules for recovery.
  Chapter 15: Creating Templates – Further advice to the GM on
  using and creating templates to streamline character creation.
  Chapter 16: Animals and Monsters – Rules and stats for com-
  mon beasts. Usefulness depends on the campaign being run.
  IMPORTANT RESOURCES FOR
  PREPARING THE ADVENTURE
  
  PREPARING FOR ADVENTURE
  6
  Chapter 17: Technology and Artifacts – Vehicles in combat,
  electronics, magic items, inventions and gadgeteering, etc.
  Again, very useful for some games; not needed for others.
  Chapter 18: Game Mastering – GM advice for customizing
  the rules, choosing style and power level, using maps, and writ-
  ing new adventures.
  Chapter 19: Game Worlds – Broad advice for creating entire
  game worlds from scratch.
  Chapter 20: Infinite Worlds – For those using the Infinite
  Worlds setting, or interested in their own cross-genre games,
  this chapter is a must-read; otherwise, it can wait.
  Tables – Extremely useful tables of the most frequently
  needed information.
  Campaign Planning Form – Completing this form, or the
  expanded one on pp. 67-69, can really help solidify the shape
  of a campaign.
  GM Control Sheet, NPC Record Card, Time Use Sheet – Useful
  for organizing information once the game has begun.
  OTHER GURPS BOOKS
  In addition to the Basic Set, many other excellent GURPS
  books are available. These add even more options for those who
  want them, provide worked examples of how the rules can be
  expanded and customized, and assist the GM and players in cre-
  ating exactly the kind of game they’re looking for. Note that, like
  the Basic Set itself, many supplements are tool kits. Fantasy
  includes the Roma Arcana setting as an example – but also pro-
  vides the tools for making completely new fantasy settings.
  Though a GM can certainly run any type of game using
  nothing more than the Basic Set, the massive amount of use-
  ful support materials can make campaign preparation much,
  much easier. The list on the following pages is a small sam-
  pling of the available supplements, divided by kind (although
  some products, such as the Spaceships series, cover multiple
  concepts). The list offers a good overview of what’s out there
  for those unfamiliar with the system; new GURPS Fourth
  Edition products are released all the time. If you’d like to nar-
  row your reading list to just supplements related to a specific
  genre, see Which Books Should I Use? (pp. 9-10).
  Genre books cover such genres as conspiracy, cyberpunk, fan-
  tasy, and space SF. Their job is to describe the genre, its conven-
  tions, and its tropes; to survey genre fiction; and to explain in
  broad, non-world-specific terms how to create campaigns and
  PCs that are true-to-genre. Examples: Fantasy, Space.
  Worldbooks describe specific settings. Their job is to detail
  the history, geography, and politics of the setting; to catalog
  that setting’s signature abilities, equipment, races, etc.; to show
  how to create suitable characters for that particular setting;
  and to illustrate possible campaign types in the setting. Exam-
  ples: Banestorm, Infinite Worlds.
  Rulebooks provide new systems, usually either for character
  abilities (magic, martial arts, superhuman powers, and so on)
  or designing things (vehicles, weapons, etc.). Their job is to
  provide expansions of the core rules that can be used in any
  genre or game world (although they’ll suit some genres and set-
  tings better than others!). Examples: Martial Arts, Powers.
  Catalogs list ready-made armor, beasts, implants, magic
  items, races, vehicles, weapons, or whatever. Their job is to
  provide large numbers of sorted, indexed items with statistics
  that can be used in any genre or game world (although they’ll
  suit some genres and settings better than others!). Examples:
  Ultra-Tech, High-Tech.
  Examples of Genre Books
  Action: Series of genre books for running cinematic
  games like action movies, full of firefights, harrowing res-
  cues, and car chases.
  Dungeon Fantasy: Series of genre books for running “old
  school” dungeon crawls, where most adventures consist of
  killing monsters in ancient ruins filled with traps and looting
  their treasure.
  Dungeon Fantasy isn’t for everyone. It isn’t a great buy for
  people who think fun is about detailed rules for armor
  weights, economics, physical fatigue, etc. It’s an actively rot-
  ten buy for anybody who values realism or believability, since
  it encourages the players to create power-hungry psychos
  who have no social background, who take disads as a shame-
  less point-grab, and who stack up bonuses to get godlike
  power at cut rates in terms of both dollars and points. I
  specifically wrote it for people who think fun is about having
  detailed rules if and only if cool, niche-specific abilities
  and/or raiding dungeons is involved.
  In short, GURPS is about the believable, detailed stuff by
  default, and Dungeon Fantasy is intended as a specific anti-
  dote for that bias.
  Fantasy: Genre book for creating all manner of original
  fantasy settings, with advice on magic, deities, monsters, soci-
  eties, cultures, and more.
  Horror: Genre book for running horror games of all kinds.
  Monster Hunters: Series in which the characters are cine-
  matic heroes protecting an unsuspecting world from various
  powerful and dangerous monsters.
  Mysteries: Advice and guidelines for mystery adventures
  and PCs who are crime-solvers.
  Psionic Campaigns: Genre book for incorporating psionic
  abilities into any campaign.
  Space: Genre book of adventuring in space and on other
  planets, with detailed rules for creating aliens, civilizations,
  even entire worlds.
  Supers: Genre book for superhero games, with guidelines
  for creating super-powered PCs and adventures.
  When you tear into GURPS, you
  don’t find a model car or plane inside.
  You find an unlimited building-block
  set, one you can use to build 
  a car, plane, zeppelin, submarine,
  motorcycle, spaceship, stagecoach, 
  or anything else you want!
  
  Examples of Worldbooks
  Banestorm: Complete, original worldbook detailing the
  fantasy setting of Yrth.
  Crusades: Worldbook for games set during the Crusades.
  Horror: The Madness Dossier: Worldbook in which the
  modern world is jeopardized by hidden inhuman forces bent
  on undoing history as we know it.
  Hot Spots: Series of resources that each focus on a single,
  real-world adventuring locale.
  Infinite Worlds: Worldbook of the default GURPS cross-
  genre setting, expanding on the information from Chapter 20 of
  the Basic Set. Additional releases deal with particular worlds
  and timelines.
  Locations: Series that provides specific, fictional areas in
  which to adventure.
  Reign of Steel: Will to Live: Worldbook describing a futur-
  istic robot apocalypse. The original Third Edition worldbook is
  needed to make full use of the information.
  Thaumatology: Age of Gold: A magical variant of the
  Golden Age of pulps comes alive in this worldbook that uses
  information presented in Thaumatology.
  Transhuman Space: Series of supplements detailing an orig-
  inal future setting, where strides in genetic engineering, technol-
  ogy, and space travel have completely transformed society.
  Traveller: Interstellar Wars: Worldbook set in the universe
  of Marc Miller’s Traveller, with rules for interstellar combat,
  commerce, exploration, ship design, and more.
  Examples of Rulebooks
  City Stats: Explains how to summarize cities with a set of
  unified stats according to their environment, population,
  health, wealth, etc.
  Gun Fu: Describes rules for highly cinematic gunplay, with
  new styles, techniques, and perks for legendary gunfighters.
  Magic: Rulebook for all things magical, expanding on 
  the core system from the Basic Set, and detailing alternative
  systems. Other releases concentrate on specific aspects of
  magic.
  Martial Arts: Extensive rulebook (with a series of spin-
  offs) for those who want even more depth to their combat,
  including new maneuvers, techniques, hit locations, and
  much more. Other releases concentrate on specific styles or
  martial artists, and may be more correctly classified as other
  kinds of products (for example, Martial Arts: Gladiators is
  as much a worldbook and catalog as rulebook for replicating
  the Roman-arena experience).
  Martial Arts easily does for fightin’ what Magic does for
  wizards or Powers does for those with superhuman abilities. It
  takes a chapter or so of basic rules and blows it out into 256
  pages of detailed rules.
  Mass Combat: Contains an abstract, fully generic system
  for playing out large-scale battles.
  Power-Ups: Series detailing extra options for character
  creation.
  Powers: Guidelines for designing and dealing with charac-
  ters with superhuman powers, whether based on magic, psion-
  ics, super powers, chi, or anything else. Provides numerous
  worked examples of expanding the Basic Set advantages to
  cover a variety of abilities.
  Powers: Divine Favor: Offers a complete system for deities
  to intervene on behalf of faithful characters, following the
  structure found in Powers.
  Psionic Powers: Provides premade psionic abilities, follow-
  ing the structure found in Powers.
  Social Engineering: Expands and builds upon the social
  interaction rules from the Basic Set. Includes a set of expanded
  reaction tables. Other releases explore specific social structures.
  Spaceships: Series of rulebooks and catalogs providing a
  system for designing and using all kinds of spacecraft, as well
  as dozens of premade ships.
  Tactical Shooting: Rulebook for realistic and detailed
  gunplay, with new styles, techniques, and perks for real-
  world gunfighters.
  Template Toolkit 1: Characters: Adds detail to the tem-
  plate method of streamlining character creation offered in
  Chapters 7 and 15 of the Basic Set.
  Thaumatology: Offers advice for using magic in a game,
  including even more variant systems. Other releases explore spe-
  cific aspects of magic or outline settings influenced by magic.
  Examples of Catalogs
  Bio-Tech: Covers current and future biotechnology, includ-
  ing cloning, genetic engineering, medical care, and drugs.
  Creatures of the Night: Series detailing a variety of ready-
  to-use creatures and monsters.
  Dungeon Fantasy Monsters: Series describing monsters
  and creatures for adventurers to battle.
  Fantasy-Tech 1: The Edge of Reality: Presents “alternate
  history” weapons and gear that may have never existed – but
  should have.
  High-Tech: Catalog of weapons, armor, vehicles, and mis-
  cellaneous gear from the 18th century to modern day. Other
  releases cover specific eras or types of gear in greater detail.
  Loadouts: Series offering preselected weapon and gear
  lists for adventurers.
  Low-Tech: Series detailing weapons, armor, vehicles, tech-
  nology, and gear from the time periods and tech levels before
  those in High-Tech.
  Psi-Tech: Catalog of technology that interacts with psionic
  abilities – detecting, creating, amplifying, negating, etc.
  Psis: Provides psionic character templates and ability
  packages.
  Ultra-Tech: Catalog of futuristic weapons, protection, med-
  ical technology, and other gear from the near future to the lim-
  its of super-science
  Where Are the Adventures?
  A few ready-made GURPS adventures are available as
  standalone supplements (such as Big Lizzie, Lair of the Fat
  Man, Caravan to Ein Arris, or Dungeon Fantasy Adventure 1:
  Mirror of the Fire Demon) or in many issues of Pyramid maga-
  zine, with more on the way. However, the open and flexible
  nature of the system makes it difficult to provide prewritten sce-
  narios that will be widely useful. Even groups playing in the
  same genre can have game worlds based on assumptions that
  differ a great deal. It is simply more useful to provide GURPS
  GMs with the tools to create their own adventures than to
  account in a single adventure for all possible game varieties.
  PREPARING FOR ADVENTURE
  7
  
  OTHER BOOKS
  There are two other books new GMs may find useful.
  GURPS for Dummies: Filled with advice for newcomers to
  GURPS, both players and GMs. Of particular note during pre-
  game preparation and character creation are Part I: Getting
  Started With GURPS, Part II: Enhancing Your Character, and
  Part III: Playing With Your Character.
  Robin’s Laws of Good Gamemastering: Though not specific
  to GURPS, this book from Steve Jackson Games packs in an
  enormous amount of excellent advice on being a GM. Covers
  types of players, pacing, plot, designing your own adventures
  and campaigns, and much more.
  ONLINE
  Finally, there are a number of online GURPS resources.
  Steve Jackson Games Forum (forums.sjgames.com): Ques-
  tions and discussions can be posted directly to the dedicated
  GURPS forum, and the community of users is very helpful.
  Warehouse 23 (warehouse23.com): Steve Jackson Games’
  online store sells digital releases (such as PDFs and the
  Windows program GURPS Character Assistant) – and also
  physical products, if you lack a local gaming store.
  Pyramid Magazine (pyramid.sjgames.com): Pyramid is a
  monthly PDF magazine, with every issue packed with
  GURPS goodies. The Web page has samples and subscrip-
  tion information.
  Other Online Resources (gurps.sjgames.com/resources): A
  central page of GURPS information, including links to errata,
  FAQ, and downloadable sheets (like the Character Sheet and
  Campaign Planning Form).
  PREPARING FOR ADVENTURE
  8
  GURPS Character Assistant
  The GURPS Character Assistant (GCA) computer
  program is an extremely convenient way to create and
  store characters. It contains all of the basic character-
  creation rules, automatically tracks points being spent,
  updates in real-time, saves to file, and prints out sheets
  for use at the table. More information about GCA can
  be found at gurps.sjgames.com/characterassistant.
  Before the GM designs the first adventure, and before the
  players create their adventurers, many details must be decided.
  Being familiar with the Basic Set rules, and aware of all the
  support material available, makes those decisions much easier.
  It’s important that before anybody creates a character, you
  set campaign parameters: mana level, tech level, starting
  money, and so on. You should also sit down and create lists of
  allowed advantages, perks, disadvantages, skills, and tech-
  niques; set caps on attributes, secondary characteristics,
  advantage levels, skill levels, and technique levels; and specify
  whether you’re permitting enhancements and limitations, and
  if so, which ones and in what forms. Finally, you have to do
  something similar for equipment.
  Does the group want to play a historically accurate
  Western, with 100-point cowboys? Or a space-merchant story
  with 200-point ship captains? Or a wildly cinematic superhero
  tale with 1,000-point champions? These are all possible
  choices, as are hundreds more, so the first step is to narrow the
  focus down from “we can play anything we want” to “we want
  to play this.”
  This formalizing of the game limits doesn’t have to be as
  concrete as preparing actual lists for the players. Some GMs
  find it easier to just say, “Nothing too exotic or supernatural,”
  or “PC wizards are okay, but no Magery higher than 2.”
  Alternatively, the GM can consider each ability on a case-by-
  case basis during character creation. Do whatever works for
  the group, as long as everyone agrees.
  When a GM has ideas for more than one game to run, 
  he might want to present them to the players along with
  descriptions of genre, power level, types of characters, likely
  adventures, etc. The whole group can then decide, or even
  vote, to determine which game sounds most fun.
  IMPORTANCE OF
  COMMUNICATION
  It is possible to play RPGs in an adversarial way, with the
  players trying to “beat” the GM within the rules of the game.
  However, it’s much more common for an RPG to be a cooper-
  ative endeavor of storytelling, with everyone working together
  to create and experience an entertaining adventure. While
  GURPS can handle the former, it generally assumes the latter.
  With that in mind, it’s important for all involved to “be on
  the same page.” Since the bulk of preparation falls to the GM,
  he is often the one to suggest initial ideas. Then the group can
  adjust and modify, to make the game exactly what they want it
  to be, but this assumes a group willing and capable of commu-
  nicating among themselves.
  Try holding a “game session” where, instead of gaming, the
  players and GM sit down and talk out everyone’s assumptions
  about deadliness, genre, heroicism, realism, etc.
  The players’ goal is to share enough information about
  their desired PCs and objectives that the player group can
  avoid excessive niche overlap or a fatal disparity in goals, and
  so that the GM can fine-tune his adventures to the PCs. The
  GM’s goal is to share enough information about the cam-
  paign that the players know what abilities the PC party
  absolutely cannot afford to be without, and how much plot
  immunity they’ll enjoy.
  LAYING THE FOUNDATION
  
  It’s also important to be sure that everyone knows what
  they’re getting into vis-a-vis the rules. In a combat-heavy cam-
  paign, it can be helpful to end this little chat session with a mock
  battle between carbon copies of the PCs and generic foes. This is
  a “dry run”; it isn’t for real and doesn’t count. The goal is to show
  up fatal weaknesses, like “Bob has crappy defenses,” “Jaime
  doesn’t realize that her archer can’t hit anything in a real fight,”
  or, “Lee’s guy can’t actually penetrate leather armor!”
  This last bit is important. I can’t count the number of times
  I’ve had newbies show up and seriously think that a ST 8 thief
  with knives would be useful in a fight, or that active defenses
  don’t matter if you have lots of HP, or that you roll vs. Bow at
  no penalty to hit a target 50 yards away, or that bows and
  polearms are a good idea when most of the fights are close-
  quarters battle.
  Don’t Be Afraid to Say No
  The GM’s job is to create and bring to life a world that is fun
  to explore and adventure in. This requires a great deal of collab-
  oration with the players, to include those things they most enjoy.
  It also requires the GM to occasionally say no, whether to par-
  ticular character types, traits, or directions for the story to go in.
  A GM who agrees to things he simply will not enjoy, or feels
  are too powerful or unbalancing for his skill, isn’t helping the
  group’s survival. He shouldn’t let players force options into the
  campaign that don’t mesh with the common vision of the game
  world. While striving to ensure that everyone’s voice is heard,
  the GM can’t forget his own!
  The rest of this chapter helps the beginning GM make those
  choices that tailor the shape of the game. These decisions are
  the starting point from which the group begins.
  CHOOSING A GENRE
  The most fundamental question about any new campaign
  is usually what genre it will be. That is, what kind of stories
  does the group want to tell? Tales of pulp action spies, four-
  color superheroes, medieval knights, brave space explorers,
  powerful wizards – these are all common tropes for RPGs.
  This choice affects what kinds of adventurers can be created,
  possible power levels, and even styles of play.
  The beginning GM may want to limit his first game to
  something basic, and save the higher-powered abilities for
  later campaigns when he is more familiar with the system.
  Being new to the game system really makes supernatural
  capabilities an iffy element to include in your campaign. I
  would recommend getting very, very familiar with things like
  character creation, skill use, combat, Influence rolls and reac-
  tion rolls, and the game’s quirks and notation, before going
  within 50 paces of spells, psi, super-powers, etc. I’d recom-
  mend sticking to the real world, probably in the modern day.
  Which Books Should I Use?
  A common question is which additional books to use for spe-
  cific genres. It’s very possible to run all kinds of games with just
  the Basic Set, but other books can certainly make things easier!
  A few products are extremely useful regardless of genre:
  Low-Tech, High-Tech, and Ultra-Tech, for detailed gear at var-
  ious tech levels; Martial Arts, for expanded combat options;
  Mysteries, for crime-solving adventurers; and Powers, for
  high-powered characters of all kinds.
  The “GU” in GURPS mean that it takes on most or all fic-
  tional genres and uses a single set of rules to address them.
  It’s a common fiction that the label has something to do with
  supporting the styles and goals of all gaming groups, but
  that’s never been a design goal for GURPS. For instance, with
  all its rules, GURPS clearly doesn’t suit those who like dice-
  less, rules-light play, and with its point-buy system, it
  clearly doesn’t suit those who dislike doing math.
  GURPS is generic and universal, which means that it’s
  80% or 90% as good as a specific rules set for a given genre
  or setting. But it’s 80-90% as good for all genres and settings.
  Those who regularly play outside their pet environment, or
  mix things up, will find it a far better investment than a one-
  setting, one-genre game.
  Honestly, we’re simply not interested in being the his-
  torical simulation game, the vampire game, the transhu-
  man game, the commando game, the hack-and-slash
  fantasy game, etc. We’re interested in being the game for
  people who want to try all of those, and 100 more things,
  in the course of a few years or even the same campaign.
  The following books are recommended for some of the
  more common genres.
  Fantasy: Fantasy is essential for world-building. Low-
  Tech and, for certain alternate timelines, Fantasy-Tech 1:
  The Edge of Reality are great for arms and armor. Magic
  is necessary if the setting emphasizes magic; get
  Thaumatology for alternative styles of spellcasting.
  Powers: Divine Favor is helpful if deities assist their follow-
  ers. Dungeon Fantasy is best for “hack and slash” loot-fests.
  Using the premade Banestorm setting – or adapting one of
  the medieval-themed Hot Spots or Locations supplements,
  such as Locations: Tower of Octavius – can save some time.
  The Creatures of the Night series and Dungeon Fantasy
  Monsters provide plenty of enemies to fight.
  PREPARING FOR ADVENTURE
  9
  Fun for Everyone
  Some gamers have a long-held view of the GM as somehow
  apart from the rest of the players, as though his job is to cre-
  ate fun games for everyone else while sacrificing his own
  entertainment for the good of the group. While it’s true that
  the GM chooses to take on the responsibility of running the
  game, along with the challenges that brings, the whole point
  of GURPS is for everyone to have fun! As GM, keep in mind
  that your enjoyment is just as important to group success as
  anyone’s. This means designing games that you like running,
  and not feeling compelled to use rules, settings, or anything
  else you don’t enjoy.
  Players should remember that while it’s important for
  them to have a voice in the direction of the game, the bottom
  line is that if any player is unhappy, GM included, the game
  suffers. Coercing the GM into allowing aspects with which he’s
  not comfortable has a negative impact on the entire group.
  
  Horror: Horror is of great use, of course. For mowing down
  armies of zombies in modern-movie fashion, grab Action – and
  Zombies, obviously! For further firearms fun, get Gun Fu.
  Games with the PCs protecting the present-day world from
  things out to destroy humanity may want Monster Hunters or
  Horror: The Madness Dossier. More subtle horror games, with
  adventurers investigating ancient prophecies, may want
  Mysteries. Magic (and possibly Thaumatology) is helpful if
  magic is important to the setting. Psis, Psionic Campaigns, and
  Psionic Powers cover psionics. The Creatures of the Night
  series, Dungeon Fantasy Monsters, or Monster Hunters 3: The
  Enemy can provide monsters to fight. Loadouts: Monster
  Hunters and the appropriate tech catalog help PCs gear up.
  Military: Martial Arts is certainly a must-have, with
  Tactical Shooting for modern realistic games, and Action for
  cinematic games (with Gun Fu expanding the options). SEALs
  in Vietnam has some general information on military charac-
  ters that’s also good for other settings. Mass Combat can help
  with conflicts that are larger than typical PC skirmishes. Low-
  Tech, High-Tech, or Ultra-Tech (depending on the tech level)
  are vital for weapons, armor, and equipment.
  Modern Action: This genre is perhaps the simplest game to
  run with just the Basic Set, and High-Tech for gear. If cine-
  matic, the Action series (expanded by Gun Fu) was specifically
  written for this kind of game; if not, Tactical Shooting.
  Martial Arts offers additional rules for combat.
  Science Fiction: Bio-Tech, Space, Spaceships, and Ultra-
  Tech are all useful. Some games include mental abilities, for
  which Psis, Psionic Campaigns, and Psionic Powers help.
  Established settings include Tales of the Solar Patrol,
  Transhuman Space, and Traveller: Interstellar Wars.
  Superhero: For the mechanics of superhero characters and
  abilities, Powers is the definite choice. Supers is a genre book
  for making a game “feel” like a four-color comic book.
  Many other books could be useful, depending on the kinds
  of heroes created: Magic and Thaumatology for magic;
  Psis, Psionic Campaigns, and Psionic Powers for psion-
  ics; Martial Arts for warriors; and Low-Tech, High-Tech,
  or Ultra-Tech for equipment. For a premade Golden Age
  of pulp setting, review Thaumatology: Age of Gold.
  Time Travel and Cross-Genre: Infinite Worlds is the go-
  to book here, covering the whole range of options for
  using multiple timelines and genres in a single campaign.
  Other releases in this series expand the alternate realities
  covered by the main worldbook. Recommended books for
  individual genres still apply.
  Western: Historically accurate Old West games benefit
  from High-Tech for equipment and Martial Arts for fight-
  ing styles. Gun Fu and Tactical Shooting offer even more
  firearms options. Though the Action series was written for
  modern adventures, much of the style and GM advice
  apply. “Weird West” settings could start with the adventure
  Big Lizzie, and might call for Magic and Thaumatology, or
  the Creatures of the Night series for monsters.
  CHOOSING A STYLE
  If the genre is what kind of stories to tell, then the style
  is how to tell them. Will the game focus on realistic folks,
  ever-mindful of the frequent perils of the adventuring life?
  Or will the PCs be larger-than-life heroes, able to accom-
  plish feats that are unrealistic but tell a great tale? Will the
  game keep a sober tone, or play mostly for laughs? Will the GM
  use only rules from the Basic Set, include options from other
  books, or make up house rules of his own?
  All of these, and more, are perfectly valid ways to play, and
  GURPS handles them smoothly. As with the variety of movie
  types, the same basic plot can be used for action, comedy,
  romance, drama, or suspense, depending on how the story is
  told. But it’s important for everyone in the group to have the
  same expectations, or else the player looking for a few laughs,
  the player expecting a gritty game of life-and-death combat,
  and the GM expecting an epic tale of legendary heroes will all
  be disappointed.
  Realistic or Cinematic
  This is the most obvious dividing line of style. Realistic
  games keep the story somewhat grounded – combat is deadly,
  and a single unlucky injury can put a hero down. Even in set-
  tings with strange, supernatural abilities, the rest of the world
  works as we know it: People get fatigued without food and rest,
  bad weather slows travel, and vehicles and equipment break
  down without maintenance.
  I use all the rules for accumulated wounds, bleeding, crip-
  pling, extreme dismemberment, fatigue, hit-location effects,
  knockdown, shock, and stunning. I also check for disease in
  plague-ridden areas, and penalize PCs who miss water, sleep,
  or food. This results in a very gritty feel! And I don’t even use
  the rules for infection, partial injuries, severe bleeding, or hor-
  rible wounds to the neck/skull/veins/vitals, nor do I require
  Fright Checks for anything less than supernatural fear. “Turn-
  ing on” those rules would make things even grittier.
  PREPARING FOR ADVENTURE
  10
  Cinematic Rules
  The default tendency of GURPS is to lean toward realism –
  but the cinematic style is far from ignored! In addition to the
  excellent advice in The Cinematic Campaign, pp. B488-489, and
  Cinematic Combat Rules, p. B417, here are just a few of the
  most common cinematic rules.
  Advantages: Daredevil (p. B47), Enhanced Defenses
  (p. B51), Extra Attack (p. B53), Gadgeteer (pp. B56-57, B475-
  477), Gizmos (p. B57), Gunslinger (p. B58), Luck (p. B66),
  Rapier Wit (p. B79), Serendipity (p. B83), Social Chameleon
  (p. B86), Trained by a Master (p. B93), Unusual Background
  (p. B96), Weapon Master (p. B99), Wild Talent (p. B99).
  Skills: Blind Fighting (p. B180), Computer Hacking
  (p. B184), Flying Leap (p. B196), Mental Strength (p. B209),
  Power Blow (p. B215), Pressure Points (p. B215), Pressure
  Secrets (p. B215), Throwing Art (p. B226).
  Techniques: Dual-Weapon Attack (pp. B230, B417), Whirl-
  wind Attack (p. B232).
  Time Spent: Instant task completion, at -10 to skill (p. B346).
  As well, the Action series and Gun Fu are devoted to cine-
  matic gaming. Martial Arts provides a lot of options, including
  cinematic skills (pp. 54-62), techniques (pp. 82-89), combat
  (pp. 125-133), and injury (p. 139). And Power-Ups 5: Impulse
  Buys lets players shape the story by spending points.
  
  Cinematic games relegate those details to the background.
  Combat can still be deadly, but only if it’s dramatically appropri-
  ate. Heroes wade through armies of nameless goons with little
  fear of death to reach their true enemy, and logistical complica-
  tions like food and gear are assumed to take care of themselves,
  unless they somehow make the story more interesting.
  This applies to social and mental feats as well as physical
  ones. Sufficiently high modifiers eventually tip the scale from
  realism to cinematic, even if those modifiers are achieved
  through a multitude of otherwise realistic advantages and
  skills. Someone with a +5 reaction bonus, from three or four
  social traits, is realistic; one with a +15 reaction bonus, from
  seven or eight social traits, is cinematic.
  Cinematic depends just as much on subtracting rules as it
  does on adding. Detailed rules like those for bleeding (p. B420)
  or familiarity (p. B169) are best ignored when going for a cin-
  ematic feel.
  Rules-Light or Rules-Heavy
  Another important thing to consider is the role of the rules
  themselves.
  Everything in GURPS is optional – we say so all over the
  place. We specifically say things like “as long as the GM is fair
  and consistent, he can change any number, any cost, any rule,”
  “everyone must realize that an epic story is apt to transcend the
  rules,” “don’t let adherence to a formula spoil the game,” and
  “if there is only one ‘right’ answer to fit the plot of the adven-
  ture – then that’s the answer.” The rules are only there for
  when you need them to help advance the game. Most of the
  time, you should be doing that by talking and roleplaying and
  telling a story.
  Resource-management and roll-based play is a valid style of
  gaming, notably for hard-nosed military adventure, dedicated
  puzzle-solving campaigns, and of course dungeon crawls. But
  those are only some kinds of gaming, and GURPS aims to sup-
  port all kinds. Nowhere does it say “if you prefer to make stuff
  up and not roll dice, this is the wrong game for you.”
  The GURPS system is, at its core, incredibly streamlined, in
  most cases boiling down to “roll 3d against this target number”
  (standard six-sided dice are the only kind used with GURPS, so
  a call for a roll of “3d” or “1d” always means “3d6” or “1d6”).
  Those who prefer a minimum of rules can use the basic system
  to great effect without adding in any of the numerous options.
  For those who prefer rules-heavy games, GURPS has an
  incredible buffet of optional and expanded rules that add
  depth and complexity to the game, at the cost of more aspects
  to keep track of. Consider the rules for hit location. GURPS
  assumes that most groups use the hit location rules found on
  pp. B398-400, which include penalties and special effects for
  attacking the torso, vitals, skull, eye, face, neck, groin, arm/leg,
  hand/foot, and weapon.
  Some GMs may simplify this down to just locations for
  skull, torso, arm/leg, and weapon. Some may not use any rules
  for hit location at all, and assume all attacks are directed at the
  torso. Still others may decide the hit locations in the Basic Set
  aren’t comprehensive enough, and include all the additional
  locations from Martial Arts, p. 137 (ear, jaw, joints, nose,
  spine, and veins and arteries).
  This is just one example of many. The GURPS GM is
  expected to adjust the rules in any way he can to get the most
  fun out of the game.
  House Rules
  Many GMs enjoy tweaking the rules, and using their own
  variations and “house rules.” This is fine, as long as the players
  are aware of these changes and agree to them. It’s important to
  carefully consider the impact of any changes, though – GURPS
  has been playtested for countless hours over the years, and is
  designed to work smoothly around specific assumptions.
  Making changes to one or two of the fundamental pieces may
  have unforeseen consequences.
  Character Death
  How much of a threat character death poses is of great
  interest to most players. In some groups, the GM is expected
  to tweak things on the fly to ensure PCs have every chance of
  living, and to adjust which rules are used to lean toward PC
  survival. Others prefer to include numerous lethal combat
  options, and just let the dice land where they may – if a hero
  dies, so be it.
  Matching expectations about this before the campaign
  begins is very important, to avoid misunderstanding and 
  disappointment.
  CHOOSING A POWER LEVEL
  After genre and style, it’s time to determine the power level
  of the PCs, as measured by their character points.
  The GURPS point system isn’t intended to balance combat
  effectiveness. Its goal is to balance ability across all possible
  adventuring activities: combat, crafting, healing and support,
  information gathering, outdoorsmanship, social interaction,
  stealth, travel, etc. It isn’t an objective system for rating capa-
  bility in a mainly combat environment. It’s a highly subjective
  system for use by GMs to rate PCs against the challenges of an
  entire campaign – including social challenges, obstacles to
  travel, economic puzzles, intellectual riddles, and many other
  things that have no connection to fighting.
  The guidelines on p. B487 are valuable here, detailing the
  spectrum of possible power levels from Feeble (less than 25
  points) to Godlike (more than 1,000 points). The Heroic range
  of 100 to 200 points is common for the beginning GM. It gives
  players a decent amount of points with which to build compe-
  tent and varied heroes, while still allowing the GM to keep the
  game at a manageable power level.
  Limiting Point Spending
  Even a small amount of initial points can create a protago-
  nist difficult to GM if the majority of those points are all spent
  in a single area. A number of methods can mitigate this effect
  (by enforcing point and attribute caps, requiring specific
  expenditures, etc.), outlined on pp. B487-488. The GM should
  use these methods to ensure the starting adventurers are ones
  he is comfortable having in his game.
  PREPARING FOR ADVENTURE
  11
  
  “High-powered vs. low-powered,” “believable people vs.
  unrealistic ones with powers,” and “realistic campaign vs. cin-
  ematic one” are three separate axes. The first describes how
  many points people have, the second describes what they’re
  allowed to buy with their points, and the third describes how
  the universe and plot treat those people.
  CHARACTER TRAITS
  As already mentioned, the universal nature of GURPS
  demands that the GM make deliberate decisions about what,
  and what not, to include in the game, starting with character
  traits. If the GM agrees to a character with an ability not
  already covered by existing traits, the sections on New
  Advantages (p. B117), New Disadvantages (p. B165), Creating
  Techniques (p. B229), Alternative Magic Systems (p. B242), and
  Other Powers (p. B257) will be helpful. Outside of the Basic
  Set, even more options are presented in books like Magic,
  Powers, Supers, and Thaumatology.
  Attributes
  Establish the range of acceptable attributes first, such as
  “DX, IQ, and HT can fall between 9 and 14, inclusive; ST can
  go as high as 18.” See p. B14 for guidelines on what the levels
  actually mean, as well as the following advice from Kromm.
  6 or less: Crippling (literally – you can’t live a normal life).
  7: Poor (you can life a normal life, with care, but
  never be an adventurer).
  8-9: Below-Average (low side of able-bodied,
  probably the lowest an adventurer should ever
  have).
  10: Average (most scores for most people).
  11-12: Above-Average (high side of able-bodied,
  probably a good average for adventurers).
  13-14: Exceptional (highest you’ll likely meet
  on the street, above-average for adventurers).
  15-16: Amazing (highest you’ll likely see or hear
  about, strongly defines an adventurer).
  17-18:
  Legendary (historical “bests” and
  remarkable fictional heroes).
  19-20: Mythic (astounding even among great
  heroes in fiction and folklore).
  21 or more: Superhuman (off-limits to humans,
  barely suitable for great heroes, okay for deities).
  Skills, Advantages, 
  and Disadvantages
  Next, go through the master Trait Lists on
  pp. B297-306. Note traits that are poor fits, such as
  “because our campaign is set during the Renais-
  sance, no computer skills are available,” or “only
  spells from the Water college can be learned by
  beginning PCs.”
  Steve Jackson Games provides an excellent
  online tool for creating custom lists of sorted traits
  at sjgames.com/gameaids/gurps/sorter. The GM can desig-
  nate each skill, advantage, and disadvantage from the Basic
  Set as being “Required,” “Recommended,” “Allowed,” “Not
  Recommended,” or “Forbidden.” Once the list is complete,
  the GM prints it out as a guide for players.
  After determining these lists, decide if there are any limits
  on skill level. See p. B172 for guidelines as to what skill levels
  represent, as well as the following suggestions from Kromm.
  Average People (8-13)
  8-9: Skills remembered from school days.
  10-11: Most skills, including hobbies, secondary job skills of
  volunteers, and primary skills of draftees.
  12-13: Primary job skills of most normal people (including
  cops, doctors, pilots, and soldiers).
  Experts (14-19)
  14-15: Someone good enough to work under life-or-death
  conditions (including commandos, field surgeons, and ace
  pilots).
  16-17: Someone good enough to stand out in his field, how-
  ever rarefied (top commando, ace of aces, etc.).
  18-19: Best of a generation (e.g., the world’s best sniper).
  Masters (20-25)
  20-21: Top master alive (presumably good enough to teach
  the best of a couple of generations).
  22-23: Confirmed top master of all time.
  24-25: Mythic masters, verging on the cinematic.
  PREPARING FOR ADVENTURE
  12
  Competing Disadvantages
  Occasionally, adventurers will have two disadvantages that both
  come into play at the same time. Below is a suggested method for han-
  dling these times.
  Roll both self-control rolls. The one that fails by more wins. For
  traits that have no self-control number, use Will. For instance, if it’s
  Honesty (9) vs. Alcoholism to avoid stealing that bottle of booze, and
  the hero has Will 11, roll 9 vs. 11 and compare margins of failure. If
  the dice come up 14 for Honesty (failure by 5) and 10 for Alcoholism
  (success by 1), Honesty wins by 6 and prevails; if the dice come up 10
  (failure by 1) and 14 (failure by 3), Alcoholism wins by 2 and domi-
  nates the PC’s thinking.
  Whichever problem wins, remember to apply not just the bad effects
  of giving in to the disadvantage that “wins,” but also the bad effects for
  not giving in to the other one. In the above example, if Alcoholism wins,
  then the PC gets hammered and must make a second, uncontested roll
  for Honesty – now at a penalty for being tipsy or drunk (p. B428) – not
  to turn himself in. If Honesty wins, he must suffer the bad effects of
  going without booze (use the Addiction rules).
  In a tie, declare that the guy stands there vacillating and conflicted.
  The main effect is that time is wasted – the minimum time for the task
  at hand, but at least a turn in combat or a minute out of combat. Roll
  again when that time is up. Keep rolling until he gives in to something
  or the stimulus is removed.
  
  For a list of skills commonly relied on in action fiction, see
  pp. 21-22. A helpful guide specifically for gun skills can be found
  in Tactical Shooting (p. 42). For a completely different approach
  to skill use, see Optional Rule: Wildcard Skills (p. B175).
  Routine Bonuses to Skill Use
  When considering skill-level limits, be aware that someone’s
  skill level measures his odds of success “under adventuring con-
  ditions,” as noted on p. B171. Routine skill use, outside the pres-
  sures of adventuring, will always enjoy a +4 or more, in addition
  to possible bonuses for equipment (p. B345) and taking extra
  time (p. B346).
  The rules were written under the assumption that most
  PCs would be getting +1 or +2 because the players would be
  sure to have decent equipment for their characters’ most
  important skills, and generally +1 to +5 more for taking extra
  time in any situation where the GM wasn’t saying, “Hurry!
  The guards are coming!”
  Social Traits
  Social traits also need to be addressed, things such as
  Cultural Familiarity, Language, Wealth, Reputation, Status,
  Rank, and identities (pp. B23-31). Some campaigns – like
  those filled with royal court intrigue or wide-ranging travel
  in distant lands – will focus on these heavily, while others
  ignore them altogether. The players need to know before cre-
  ating their adventurers whether investing points in these
  areas is worthwhile.
  PREPARING FOR ADVENTURE
  13
  The rules for these traits are on pp. B516-517, but
  Kromm has provided some useful clarifications.
  In GURPS, Status = social standing and Wealth = 
  economic standing, and your complete socioeconomic
  profile – what we would call “social class” in the real world
  – comes from the two taken together. Since you can’t
  retain Status that you can’t pay for, low Wealth tends to
  drag you down. Someone with low Wealth has few every-
  day possessions, which is where 80% of his starting money
  goes (p. B26), and cannot afford a high cost of living and
  all that comes with it (pp. B265-266). “All that comes with
  it” is what the reserved 80% buys, incidentally.
  These considerations are meant to have social implica-
  tions in the game world: A TL8 person who chooses to be
  Poor [-15] starts with $4,000 and not $20,000, and has
  $3,200 and not $16,000 in assets, which are kept up with a
  cost of living consistent with that for Status -2 (p. B517),
  meaning “a room in a flophouse or shelter . . . or a patch
  of sidewalk” (p. B266). In short, he’s a homeless itinerant
  or a drifter, and here’s the important part: By getting 15
  points for Poor, he’s accepting and locking in his legal sta-
  tus as “homeless itinerant.” It isn’t just money that’s
  affected, but others’ perceptions of him. If a cop catches
  him flashing gift goods from rich party members, sees
  him entering a residence provided by said allies, etc., the
  cop will intervene. Such incidents should provide approx-
  imately -15 points of inconvenience.
  There’s also the bit about how much gear you start with,
  but that’s actually a secondary effect of Wealth. The primary
  effects concern your credit rating, social network, relation-
  ship with bankers and taxmen, and so on, and the follow-on
  effects on your social freedoms and mobility. Wealth repre-
  sents these things first of all. If the GM has no intention of
  enforcing the ramifications, then low Wealth isn’t a valid dis-
  advantage, any more than low Appearance would be valid in
  a campaign where all the PCs teleoperate giant battlemechs
  via FTL radio and never appear in the flesh.
  Letting rich PCs bankroll poorer ones has little long-term
  impact on the campaign. It won’t help the poorer PCs score
  better jobs in their downtime, get them into the right social
  situations for social engineering, or grant them free Status.
  It won’t insulate poorer PCs with Greed from their demons.
  And it won’t let poorer PCs justify any better return on Inde-
  pendent Income. It just means better gear – and gear that
  doesn’t cost points has no plot immunity at all. No points
  means no obligation on the GM’s part not to break, confis-
  cate, or steal the gear – or not to have it prove cursed, faulty,
  radioactive, stolen, etc.
  Wealth in actual play breaks down like this in my 
  campaigns:
  • Players whose PCs have Wealth are welcome to buy
  gear for less-fortunate PCs.
  • Heroes with Wealth below that associated with the
  minimum Status level for plot-relevant social events don’t
  receive invitations and get turned away at the door if they
  show up anyway, unless they can make some tough skill rolls.
  • Heroes receive rewards and honors commensurate
  with their Wealth. The wealthy hero gets gifts befitting a
  millionaire. The poor one gets a free lunch.
  Players who dislike this can do three things:
  • Buy enough Status that they can’t be ignored. While
  cheaper than Wealth, level for level, it’s a bad investment
  long-term if you lack the Wealth to go with, as you’ll even-
  tually miss cost-of-living payments and lose Status.
  • Save up money and points, and when they have
  enough of both, convince me that they’ve bought their
  way into the wealthy elite and spend points for Wealth
  and/or Status.
  • Take high levels of Acting, Fast-Talk, Savoir-Faire
  (High Society), etc., and fake it. Always fun – but a failed
  skill roll can render the approach more-or-less a nonstarter
  thereafter, without a significant change in venue.
  It goes without saying, I think, that this assumes the cam-
  paign has a significant social element – at least as important
  as, say, fighting or investigation. If it doesn’t, then I’d recom-
  mend against using Status and Wealth at all, for any PC.
  Wealth and Status
  
  This includes “Associated NPCs” advantages and disadvan-
  tages as well: Allies (p. B36), Contact Group (p. B44), Contacts
  (pp. B44-45), Dependents (p. B131), Enemies (p. B135), and
  Patrons (p. B72). Some GMs are happy with creating and run-
  ning these kinds of NPCs; others prefer not to.
  Any advantage that allows access to unusual or powerful
  benefits can be difficult to GM. For example, someone with
  enough money or connections to field a personal squad of 10
  battle-hardened mercenaries requires special attention, not
  just for combat challenges, but also for making sure the other
  players don’t feel overshadowed.
  Equipment
  Equipment, especially weapons and armor, is crucial to any
  GURPS adventurer. Those with superior equipment have a
  huge edge over others, so the GM needs to be clear about what
  kinds of gear are available. A warrior wearing plate armor and
  wielding a fine quality bastard sword has an unmistakable
  advantage over enemies with leather tunics and clubs, as does
  a gunman with an assault rifle over one with a pistol, and none
  of those things cost character points.
  The outcome of a battle turns more upon equipment
  (which is priced realistically as opposed to for game balance,
  and in cash, not character points) and tactical conditions
  than on the nature of the fighters themselves. One 25-point
  archer with nothing but Night Vision and Bow skill, armed
  with a fine bow and fine arrows, and hiding in a tree at night,
  is very likely to slaughter a half-dozen Conan-esque guys who
  are worth 250 points but have only melee weapons and bare,
  buff chests.
  Gadgeteering, Magic, and Powers
  Gadgeteering (pp. B56-57, B475-477), Magic (pp. B234-253),
  and most of the abilities found in GURPS Powers are very open-
  ended types of character abilities that can really challenge a new
  GM. Their effects aren’t limited to combat – they often allow
  those with points in them to discover plot clues and find infor-
  mation much more easily than those without. A new GM should
  be careful about allowing such capabilities into the game until
  he has some experience running GURPS.
  Nonhuman Races
  In many genres, particularly fantasy and science fiction,
  players can create adventurers who aren’t human, such as
  elves, giants, Venusians, etc. A first-time GM may want to
  stick with humans only, but if nonhuman races are allowed,
  the GM should create racial templates for them (pp. B450-
  454). This not only makes it simpler for the player, but also
  allows the GM to retain control over just what abilities the
  race does, and does not, have.
  CHARACTER POINTS IN PLAY
  Besides being the initial point budget for PC creation, char-
  acter points are gained as the game progresses, and can be
  used either to further improve an adventurer, or to produce in-
  game effects. Be sure that all players understand how points
  will be used once the campaign begins.
  Earned character points in GURPS aren’t in any sense
  “experience points” (xp) awarded to the character for feats and
  deeds, but are “bonus points” given by the GM to the player as
  a reward for attendance and good roleplaying, and in theory
  redeemable for anything the GM chooses to offer. This
  includes temporary and permanent benefits for the PC – which
  should logically be both in-game and meta-game, since the
  points themselves are awarded for meta-game concerns.
  How Points Are Earned
  Players earn character points by playing their PCs well, as
  explained on pp. B498-499. The PC is defined and established
  during character creation. How well the player then fills that
  role during the session determines the points he receives.
  The GM may, of course, decide on additional ways for play-
  ers to earn points, such as “anyone who helps Prince Felton
  retrieve the letter automatically receives 1 character point.”
  How Points Are Awarded
  Generally, individual points are awarded to each player at
  the end of a session, based on the GM’s judgment of how well
  he played. While anywhere from 0 to 5 points per session is
  recommended, this often means individual players don’t
  receive the same number of points. For example, three players
  might be awarded three points, while one is given four because
  of a particularly well-played scene involving a Dependent, and
  another is given only two because he rushed into a burning
  building without even considering his hero’s fear of fire.
  The GM may prefer to give each player the same amount of
  points, based on the group’s overall performance. While this
  does simplify the awarding process, and can foster a sense of
  team unity, it can also remove some of the incentive for indi-
  viduals to play well, or be seen as unfair. As with most things,
  discuss this with the players before the campaign begins.
  How Points Are Spent
  In addition to the methods outlined in Character
  Development (pp. B290-296) for spending points to improve
  heroes (by increasing skills, gaining advantages, losing disad-
  vantages, etc.), points can also optionally be used with
  Influencing Success Rolls (p. B347), or even to reduce damage
  taken (see Flesh Wounds, under Cinematic Combat Rules,
  p. B417). Likewise, Power-Ups 5: Impulse Buys is a treasure
  trove of interesting uses for character points!
  PREPARING FOR ADVENTURE
  14
  Once the game is afoot,
  my only agenda is “make this
  a fun session for the players.”
  – Kromm
  
  DIE ROLLS IN PLAY
  There are a few other types of rolls to look at while laying
  the groundwork for the game. Knowing how the GM plans to
  use these rolls, if at all, helps players decide where to spend
  their points for best effect.
  Reaction Rolls and Influence Rolls
  When the party of PCs encounters an NPC, the rules on
  pp. B494-495 and the Reaction Table on p. B560 can determine
  how he will react. Some GMs use this table constantly, letting
  the dice randomly dictate how NPCs react. Others never use it at
  all, preferring to run their NPCs as they feel they would react.
  Many use a little of both, deciding on reactions as the story
  requires most of the time, and reserving die rolls for the occa-
  sional background NPC.
  Along with reaction rolls, the rules for Influence Rolls on
  p. B359 outline how certain skills can influence NPC reactions:
  • Diplomacy (p. B187), for calm appeals to reason and
  compromise.
  • Fast-Talk (p. B195), for convincing others to quickly
  decide in your favor.
  • Intimidation (p. B202), for bullying and threatening.
  • Savoir-Faire (p. B218), for exploiting a particular subcul-
  ture’s code of conduct.
  • Sex Appeal (p. B219), for seduction.
  • Streetwise (p. B223), for dealing with criminals and other
  rough crowds.
  The GM may allow other skills in certain circumstances.
  Fright Checks
  The rules for Fright Checks – special Will rolls made to
  avoid the effects of fear – are on p. B360 (note Fright Check
  Modifiers and The Rule of 14 especially). In a campaign where
  the PCs are ordinary folks caught up in dangerous firefights or
  supernatural enemies, Fright Checks may be common. If they
  are combat veterans or experienced paranormal investigators,
  Fright Checks likely will be rare, even nonexistent.
  USING THE CAMPAIGN
  PLANNING FORM
  Once the details of an upcoming campaign have been worked
  out, record them on a Campaign Planning Form, found on
  p. B567. This organizes all of the pertinent game information in
  one place, giving the GM and players a concrete snapshot of the
  campaign assumptions and limits. (A modified and expanded
  form can be found on pp. 67-69.)
  PREPARING FOR ADVENTURE
  15
  Character creation is of critical importance in GURPS. It
  allows the GM and the players to establish a solid foundation
  by creating PCs that complement one another, are well-
  equipped to deal with the upcoming challenges, and adhere to
  the group’s vision of the game world.
  Many people seem to assume that players making their own
  characters, independently of the GM, is the norm in GURPS,
  when players creating characters with guidance and input
  from the GM is what the designers assume for experienced
  players, and having the GM create the character based on
  player description is what the designers recommend for new-
  bies. GURPS definitely works best with very strong GM
  involvement. I openly admit that it falls down for play styles
  where you tell people “make characters and be here at 11:00,”
  for player vs. player, and for any other variation that goes
  “Players Create Characters ––> Game Begins” instead of “GM
  Sets Limits ––> Players Create Characters ––> GM Vets Char-
  acters ––> Game Begins.”
  Creating a GURPS character can be intimidating for those
  new to the game because of the huge variety of options avail-
  able, but the process definitely streamlines and speeds up
  with experience. The GM’s job is to narrow the options down
  to a manageable size, and to assist the players in translating
  the adventurers they see in their mind to ones well-repre-
  sented on the page.
  CHARACTER CONCEPTS
  Before the players spend a single point, present an overview
  of the world the tales will unfold in, the kinds of people who
  inhabit it, and the kinds of stories you’d like to tell. This allows
  the players to create adventurers capable of handling the chal-
  lenges and encounters coming their way. If the GM plans to tell
  tales of exploration and discovery, protagonists with nothing
  but combat skills are not a great fit.
  I don’t think that you can ever present too much detail on
  character creation. If some GMs spent even half the effort on
  this that they spend on world-building, they would end up with
  a campaign that remains stable for long enough for world-build-
  ing to matter. Many GMs blow all their brainpower on maps,
  NPCs, setting description, etc., but punt on PC-design guide-
  lines, with the result that they get totally inappropriate PCs who
  trash their wonderful idea for a world in about 15 minutes.
  Adventurers shouldn’t be designed in a vacuum, but should
  be the result of the entire group working together to create a
  party that shares some common goals. A certain amount of skill
  redundancy and overlap is helpful, but it’s also important that
  each PC has a niche to call his own. Groups of all healers or all
  fighters will struggle with more than a few types of encounters.
  A group with a healer, melee warrior, ranged warrior, knowl-
  edgeable researcher, and smooth talker with numerous con-
  tacts has many more options for plots.
  CHARACTER CREATION
  
  The Party as a Team
  For one-on-one games (one GM and a single player), group
  dynamics and “spotlight time” are irrelevant. Most RPGs are
  group activities, though, so give some thought to how that
  group will mesh.
  It might not be realistic, but “adventuring party = trained
  unit” is the most practical assumption when playing, running, or
  writing for an RPG. I strongly believe that this is necessarily the
  unstated, default premise of any roleplaying campaign, and that
  players who do not assume this – with a room full of other play-
  ers sitting right there – are at a disadvantage. Roleplaying games
  are so obviously a cooperative group activity that reminding the
  players of this often makes me feel as if I’m insulting their intel-
  ligence. I do it anyhow, but I can’t help but wish that players who
  don’t assume “teamwork” when joining a group of four, six, or
  more other players would just go play a computer RPG.
  I find it disturbing when I meet gamers who assume “soli-
  tary loner, unless the GM demands team” when it’s clear from
  the way games are written and the way the vast majority of
  gaming groups meet and interact that “team, unless the GM
  allows loner” is the unspoken Golden Rule of the entire hobby.
  You can have adventures where this isn’t true, but they’re extra
  work to run and make fun. Time-pressed gamers frequently
  have no desire to do the extra work.
  Social games are a noteworthy exception, but those aren’t
  adventure games.
  Assuming the PCs are all members of the same group – such
  as a military squad, government agency, or hirelings of the same
  merchant house – is the simplest way to accomplish this. Any
  background that the group agrees to, and provides a rationale
  for why their adventurers are working together, will suffice.
  WHO SPENDS THE POINTS?
  Once the players have established a rough idea of who their
  heroes will be, the GM guides them through the actual
  mechanics of putting it down on paper. There are a number of
  ways to do this.
  Workable approaches are:
  • Narrative creation. Each player describes his PC in plain
  language. You set his design to stats by creating the PC for
  him. You can even waive a point budget if you do this, because
  all that matters is that the PC fits the description, and not all
  descriptions are precisely N points.
  • Collaborative creation. Each player sits down with you
  face-to-face (or in an Internet chat) with the rulebooks open,
  and the two of you collaboratively create her PC in real time,
  negotiating areas where you think there may be trouble.
  • Vetted creation. Each player creates his PC in private and
  submits it to you before the game, with the understanding that
  it’s a first draft only, and that you’ll be returning an edited ver-
  sion that you’ll accept in your game.
  • Template creation. Each player creates her PC in pri-
  vate, but from templates designed by you, not from the wider
  rules set.
  You can mix and match somewhat, too.
  I’ll add what I’ve said many times before here: I design
  and maintain the rules under the assumption that all GMs
  do one of the above.
  For a group’s first game, with players not familiar with
  GURPS, narrative creation is great – and GM-created tem-
  plates can be immensely helpful, too (see Using Templates,
  above). The GM is assumed to have already read the rules,
  and put some effort into learning the system, so he can lis-
  ten to each player’s description of his adventurer and
  “translate” it into GURPS. The other methods rely on the
  players being more knowledgeable of the rules, and able
  to make informed decisions about how to best spend
  their character creation points.
  If everyone is willing to compromise and communicate,
  it’s uncommon for a GM to outright veto a PC. Points can
  often just be moved around a bit, or potentially abusive
  abilities replaced with more manageable ones.
  FINAL REVIEW
  The last step is to give the created adventurers one
  final, thorough look. Point totals should fall within the
  agreed-upon starting range, and all math should be accu-
  rate. Attributes, skills, advantages, wealth, status, equip-
  ment, etc. should all fit the setting and any limits that
  have been agreed on.
  Once everyone is happy with the finished party, the GM
  can start work on the first adventure (with the help of
  Chapter 3). For an example of setting- and character-prepa-
  ration, see Chapter 2.
  PREPARING FOR ADVENTURE
  16
  Using Templates
  The specifics of using and creating character templates 
  are outlined in the Basic Set (pp. B258-263, B445-454) and
  developed in Template Toolkit 1: Characters. Ready-to-use
  templates offer concrete examples of what various types of peo-
  ple look like in the setting – what kinds of traits they should
  have, what skill levels, what types of gear – all with point costs
  already correctly figured. This means players (especially new
  ones) don’t have to worry about missing a crucial ability, like a
  legendary elven archer without the Fast-Draw skill, or a spy
  who doesn’t know how to follow someone without being seen.
  They also aren’t overwhelmed by the full range of possible
  options, and can instead focus on a narrower set of abilities.
  Templates let the GM do much of the work on the players’
  behalf. Players might be given, for example, 250 points to build
  with, and presented with a variety of eight different 200-point
  templates to choose from. The player who chooses to build his
  own must consider the entire breadth of the GURPS rules, and
  spend each of his 250 points to arrive at the hero he wants.
  Meanwhile, the player who decides to use a template only has
  to decide which of the eight to pick from, and how to spend the
  last 50 points to customize it.
  Thus, using templates can really save time during charac-
  ter creation, and ease players into the game quickly, even
  though templates require more work from the GM.
  
  Four friends have decided to get together for their first
  GURPS game. This chapter looks at how their group uses the
  information from Chapter 1 to put together the campaign
  details, and how they create a party that is up to the trials
  ahead. The steps these players go through provide an example
  of one solid way to get started with GURPS.
  The group consists of:
  Marcus: Has been a Game Master for roleplaying games of
  all types for many years, and recently decided to try GURPS
  after purchasing the Basic Set.
  Anne: Has also been playing roleplaying games for many
  years, including GURPS a few times.
  Peter: This is only his third campaign ever, and the first
  using GURPS.
  Josh: A complete newcomer, this is his first experience with
  roleplaying games.
  EXAMPLE OF ADVENTURE PREPARATION
  17
  CHAPTER TWO
  EXAMPLE OF
  ADVENTURE
  PREPARATION
  Even the best computer game
  doesn’t come close to the experience
  of interacting with a live GM.
  Marcus spends some time reading through the Basic Set.
  Some chapters he reads more than once, particularly:
  Creating a Character; Templates; Success Rolls; Combat;
  Tactical Combat; Special Combat Situations; Injuries, Illness,
  and Fatigue; Creating Templates; and Game Mastering. He
  skims other chapters (the full lists of advantages, disadvan-
  tages, and skills in Chapters 2-4), or saves them for another
  time, when he’ll actually need them (the chapters on magic,
  psionics, Infinite Worlds, etc.).
  From the Steve Jackson Games website, he becomes famil-
  iar with what other GURPS products are available, and pokes
  around the GURPS forums and FAQ, looking for inspiration
  and tips. Finally, he prints out a number of Character Sheets
  and a Campaign Planning Form.
  IMPORTANT
  RESOURCES: EXAMPLE
  Marcus now has a good sense of how GURPS characters
  are created, and how the system works, mechanically – what
  die rolls are needed, when they are needed, and how they can
  be used to facilitate a fun, fair game. For the first campaign,
  he’s leaning toward keeping things basic, with a realistic feel
  and modest point totals, but he’s open to changing his mind if
  the players have different ideas.
  LAYING THE
  FOUNDATION: EXAMPLE
  
  Marcus shares with the others a list of five different games
  he would enjoy running, with descriptions: Old West, modern
  spies, superheroes, fantasy, and time travel. After reading, Josh
  is interested in anything other than Old West; Peter likes super-
  heroes, fantasy, and Old West, in that order; and Anne votes for
  either fantasy or modern spies.
  Fantasy seems the most agreeable for all concerned. This is
  the description the players chose: “Fantasy – in a world of low
  magic but high adventure, a group of friends sets off to seek
  fame and fortune. Characters built on 150 points, with no
  supernatural or exotic abilities. Lots of exploration and combat
  expected, and combat is dangerous.”
  The group sets a date to meet for character creation and
  further discussion of the game, and Marcus follows the infor-
  mation from Chapter 1 to solidify his notes to this point.
  Choosing a Genre: Fantasy. Marcus decides to stick to the
  Basic Set, at least in the beginning. For possible future use, he
  keeps in mind Fantasy, if the game goes well and he wants to
  add some depth to the world; Low-Tech, for additional equip-
  ment; Magic and Thaumatology, if magic begins appearing in
  many adventures; and Martial Arts, for once the group really
  masters the combat basics and wants more options.
  Choosing a Style: Realistic and rules-light, using only the
  basic system without additional options, and no house rules.
  PC death is a very real possibility, with no magical or divine
  resurrection possible outside of very rare circumstances.
  Choosing a Power Level: Characters will be created on 150
  points, with no more than -25 points of disadvantages and -5
  points of quirks.
  Character Traits: No attribute of more than 15, and no skill
  higher than 18. Modern, anachronistic skills are not allowed,
  nor are most exotic or supernatural advantages and disadvan-
  tages (though players can certainly make a case if they really
  want something). Social and “Associated NPCs” traits are
  allowed, but should be discussed beforehand to work out
  details. Starting equipment is limited to anything that could
  reasonably be found in an average pseudo-medieval European
  town. Magic exists in the game world, as do nonhuman races,
  but neither is allowed for starting PCs. Psionics and gadgeteer-
  ing do not exist at all.
  Character Points in Play: Marcus will award an average of
  three or four points to each player individually at the end of each
  session, based on how well the PC was played. These awarded
  points can be spent on character improvement, or on the options
  detailed under Influencing Success Rolls (p. B347).
  Die Rolls in Play: Marcus will determine most NPC reac-
  tions in play, with the occasional die roll for trivial encoun-
  ters. The PCs may attempt Influence rolls (p. B359).
  Inhuman monsters, magic, and divine intervention are
  uncommon, but still common enough that Fright Checks
  are reserved for truly overwhelming events.
  Using the Campaign Planning Form: Marcus commits all
  of the above to a Campaign Planning Form. Under the
  “Campaign Background” section, he jots down the name of a
  village, Kharston, which he decides is a town at a major cross-
  roads in the Barony of Arteline, and home to the starting PCs.
  It’s time to create the heroes!
  EXAMPLE OF ADVENTURE PREPARATION
  18
  Why Fantasy?
  Fantasy was chosen for the example because, despite the
  staggering variety of games possible with GURPS, it is still
  the most widely played and recognizable genre among role-
  playing gamers today. Fantasy also has the benefit of being
  broad enough to translate well to other genres. All the
  advice and guidelines given for the example fantasy game
  are applicable to other genres.
  Though he doesn’t yet have an actual adventure prepared,
  Marcus has been thinking about it. He wants to keep things
  simple to start, maybe sending the PCs on an errand to retrieve
  or deliver something. He also wants the adventure to be a jour-
  ney from their home town to the nearest trading hub.
  CHARACTER TEMPLATES
  Marcus creates six 140-point templates. These provide exam-
  ples of the kinds of characters likely to do well in the adventure
  he has in mind. They allow for some player freedom, since only
  three are needed and there are six templates. Additionally, 10
  points are left unspent, for the players to distribute as they wish.
  Regarding gear, starting money for a TL3 campaign is $1,000
  (p. B27), though the Wealth trait can affect this.
  The templates Marcus creates are archer, guard, hunter,
  merchant, priest, and woodsman.
  CHARACTER
  CONCEPTS: EXAMPLE
  Once the group gets together to create their PCs, Marcus
  presents the game as it stands so far regarding genre, style,
  power level, die rolls, etc. He hands around a copy of the
  Campaign Planning Form and answers any questions.
  CHARACTER CREATION: EXAMPLE
  It didn’t take too long for players to get attached to their characters. 
  – Dave Arneson
  
  Anne asks about starting the characters at 200 or even 250
  points instead of 150, but seems satisfied when Marcus assures
  her that 150-point adventurers are quite capable. Peter asks if
  the templates are mandatory or optional, and opts not to use
  them when told they’re optional. Otherwise, everyone is fine
  with the direction things are heading. 
  Marcus: Our first GURPS adventure will be straightforward,
  to give us all a chance to get used to the system and see how
  it works. We’ll start in the PCs’ hometown of Kharston, a
  crossroads in the Barony of Arteline, but I’d like the group
  to have a common goal of leaving to see the wider world
  around them.
  I’ve prepared six templates that you can use as a base;
  they represent the kinds of characters that do well in this
  setting. Anne and Josh, you’ve decided to use the tem-
  plates; Peter, you’d like to create your PC without them.
  Let’s get to it!
  Marcus hands the templates around. The players
  decide their three PCs all grew up together as friends in
  Kharston, and have recently decided to leave town in
  search of adventure. This gives them an excellent reason
  to stay together and work as a team.
  Anne
  Anne chooses the guard template. She wants to be
  competent in combat, and decides her PC has been part
  of the Kharston town militia for a few years. He (Anne’s
  character is male) is only leaving town to protect his
  friends (played by Josh and Peter). See below for the
  guard template.
  Looking over the template options, Anne spends 10
  points for HT +1; 25 points on Combat Reflexes and High
  Pain Threshold; -25 points on Bad Temper, Honesty, and
  Light Sleeper; 4 points on Bow, and 12 points on the first
  melee skills package; and 4 points on Riding (Horse),
  First Aid, Gambling, and Search. She spends her remain-
  ing 10 unspent points on +1 to ST. She takes no quirks
  yet, preferring to think of them as the story progresses.
  She gives the following to Marcus for review.
  Beldin
  150 points
  Beldin is a young guardsman for the town of Kharston.
  He keeps both his head and face clean-shaven, and pays
  careful attention to dressing in proper military fashion.
  ST 14 [40]; DX 12 [40]; IQ 10 [0]; HT 13 [30].
  Damage 1d/2d; BL 39 lbs.; HP 14 [0]; Will 10 [0]; Per 10
  [0]; FP 13 [0].
  Basic Speed 6.25 [0]; Basic Move 6 [0]; Block 11*; Dodge 10*;
  Parry 11*.
  6’1”; 195 lbs.
  Social Background
  TL: 3 [0].
  CF: Arteline [0].
  Languages: English (Native) [0].
  EXAMPLE OF ADVENTURE PREPARATION
  19
  GUARD
  140 points
  You have experience being paid to watch over things for oth-
  ers, whether those things are money, livestock, or even other
  people. Your skill in combat isn’t necessarily what other people
  seek you for; it can also be a reputation for honesty.
  Attributes: ST 13 [30]; DX 12 [40]; IQ 10 [0]; HT 12 [20].
  Secondary Characteristics: Damage 1d/2d-1; BL 34 lbs.; HP
  13 [0]; Will 10 [0]; Per 10 [0]; FP 12 [0]; Basic Speed 6.00
  [0]; Basic Move 6 [0].
  Advantages: One of HT +1 [10] or ST +1 [10]. • A further 25
  points chosen from among Combat Reflexes [15], Danger
  Sense [15], Fit [5] or Very Fit [15], Hard to Kill [2/level],
  Hard to Subdue [2/level], High Pain Threshold [10], Luck
  [15], Rapid Healing [5], or Recovery [10].
  Disadvantages: -25 points chosen from among Bad Temper
  [-10*], Bully [-10*], Honesty [-10*], Light Sleeper [-5], No
  Sense of Humor [-10], On the Edge [-15*], Post-Combat
  Shakes [-5*], or Wealth (Struggling or Poor) [-10 or -15].
  Primary Skills: Brawling (E) DX+1 [2]-13; Fast-Draw (any)
  (E) DX [1]-12; Knife (E) DX [1]-12; and Wrestling (A)
  DX+1 [4]-13. • One of Bow (A) DX+1 [4]-13, Crossbow
  (E) DX+2 [4]-14, or Sling (H) DX [4]-12. • One of these
  two melee skills packages:
  1. Broadsword (A) DX+2 [8]-14 and Shield (E) DX+2 [4]-14.
  2. One of Spear or Staff, both (A) DX+3 [12]-15.
  Secondary Skills: Armoury (Body Armor or Melee Weapons)
  (A) IQ+1 [4]-11; and Strategy and Tactics, both (H) IQ [4]-10.
  Background Skills: Four of Climbing, Riding (Horse), Stealth,
  or Throwing, all (A) DX-1 [1]-11; First Aid or Gesture, both
  (E) IQ [1]-10; Gambling, Heraldry, or Streetwise, all (A)
  IQ-1 [1]-9; Carousing (E) HT [1]-12; Hiking (A) HT-1 [1]-11;
  Scrounging (E) Per [1]-10; or Search or Survival (Wood-
  lands), both (A) Per-1 [1]-9.
  * Multiplied for self-control number; see p. B120.
  Recommending to players that they buy their PCs Luck can’t be
  emphasized enough; I’d call it one of the most important pieces of advice
  to any GURPS GM.
  – Kromm
  
  Advantages
  Combat Reflexes [15]; High Pain Threshold [10].
  Disadvantages
  Bad Temper (12) [-10]; Honesty (12) [-10]; Light Sleeper [-5].
  Quirks: None, but Anne could take up to five, gaining an
  extra 1 point per quirk. [0]
  Skills
  Armoury (Melee Weapons) (A) IQ+1 [4]-11; Bow (A) DX+1
  [4]-13; Brawling (E) DX+1 [2]-13; Broadsword (A) DX+2
  [8]-14; Fast-Draw (Sword) (E) DX [1]-13*; First Aid (E) IQ
  [1]-10; Gambling (A) IQ-1 [1]-9; Knife (E) DX [1]-12; Riding
  (Horse) (A) DX-1 [1]-11; Search (A) Per-1 [1]-9; Shield (E)
  DX+2 [4]-14; Strategy (H) IQ [4]-10; Tactics (H) IQ [4]-10;
  Wrestling (A) DX+1 [4]-13.
  * Includes +1 from Combat Reflexes.
  Weapons and Armor
  Broadsword (1d+1 cr/2d+1 cut); large knife (1d imp/2d-2
  cut); short bow (1d imp); arrows (20); hip quiver; medium
  shield (DB 2); leather armor (torso, groin; DR 2); heavy leather
  leggings (legs; DR 2); heavy leather sleeves (arms; DR 2); boots
  (feet; DR 2, flexible).
  Josh
  Josh chooses the archer. He wants his character to be a
  good shot with a bow, with a laid-back personality. When
  Peter’s hero began talking about leaving town, Josh’s decided
  to join him, since he has few ties to the town other than his
  friends. See below for the archer template.
  Looking over the template options, Josh spends 10 points
  for Arm ST 2; 35 points on Fit and Extraordinary Luck; -25
  points on No Sense of Humor, Shyness (Mild), and Wealth
  (Struggling); all of the listed primary and secondary skills; and
  4 points on Climbing, Riding (Horse), Hiking, and Scrounging.
  He spends his remaining 10 points for ST +1. Like Anne, he
  doesn’t take any quirks yet.
  He hands the following to Marcus for review.
  Jax
  150 points
  Jax is a young farmer’s son who has lived in Kharston his
  entire life. His hair is long and sandy brown, usually up in a
  ponytail, and his clothes are unkempt and ragged.
  ST 12 [20]; DX 14 [80]; IQ 10 [0]; HT 11 [10].
  Damage 1d-1/1d+2; BL 29 lbs.; HP 12 [0]; Will 10 [0]; Per 10
  [0]; FP 11 [0].
  Basic Speed 6.25 [0]; Basic Move 6 [0]; Dodge 9.
  5’11”; 160 lbs.
  Social Background
  TL: 3 [0].
  CF: Arteline [0].
  Languages: English (Native) [0].
  Advantages
  Arm ST 2 [10]; Fit [5]; Extraordinary Luck [30].
  Disadvantages
  No Sense of Humor [-10]; Shyness (Mild) [-5]; Wealth
  (Struggling) [-10].
  Quirks: None, but Josh could take
  up to five, gaining an extra 1 point per
  quirk. [0]
  Skills
  Armoury (Missile Weapons) (A) IQ
  [2]-10; Bow (A) DX+2 [8]-16; Brawling
  (E) DX+1 [2]-15; Climbing (A) DX-1
  [1]-13; Fast-Draw (Arrow) (E) DX+1
  [2]-15; Hiking (A) HT-1 [1]-10; Knife
  (E) DX [1]-14; Riding (Horse) (A) DX-1
  [1]-13; Scrounging (E) Per [1]-10;
  Short sword (A) DX-1 [1]-13.
  Weapons and Armor
  Longbow (1d+2 imp*); shortsword
  (cheap; 1d imp/2d cut*); arrows (12);
  hip quiver; cloth armor (torso, groin;
  DR 1, flexible); cloth sleeves (DR 1,
  flexible); sandals (feet; DR 0).
  * Damage includes Arm ST.
  Peter
  Peter’s PC is the one who most
  wants to leave Kharston and strike
  out to see the world. He forgoes
  using a template, so he and Marcus
  spend some time discussing it.
  EXAMPLE OF ADVENTURE PREPARATION
  20
  ARCHER
  140 points
  You have skill with a bow and arrow, and prefer to fight from a ranged position
  rather than up close in the melee ranks.
  Attributes: ST 11 [10]; DX 14 [80]; IQ 10 [0]; HT 11 [10].
  Secondary Characteristics: Damage 1d-1/1d+1; BL 24 lbs.; HP 11 [0]; Will 10 [0];
  Per 10 [0]; FP 11 [0]; Basic Speed 6.25 [0]; Basic Move 6 [0].
  Advantages: One of HT +1 [10] or Arm ST 2 [10]. • A further 35 points chosen
  from among Acute Vision 1-3 [2/level], Combat Reflexes [15], Fit [5] or Very Fit
  [15], Luck [15] or Extraordinary Luck [30], Rapid Healing [5], or Recovery [10].
  Disadvantages: -25 points chosen from among Bad Temper [-10*], Bully [-10*],
  Honesty [-10*], Light Sleeper [-5], No Sense of Humor [-10], Overconfidence
  [-5*], Post-Combat Shakes [-5*], Shyness (Mild or Severe) [-5 or -10], or Wealth
  (Struggling or Poor) [-10 or -15].
  Primary Skills: Bow (A) DX+2 [8]-16; Fast-Draw (Arrow) (E) DX+1 [2]-15.
  Secondary Skills: Armoury (Missile Weapons) (A) IQ [2]-10; Brawling (E) DX+1
  [2]-15; Knife (E) DX [1]-14; and Shortsword (A) DX-1 [1]-13.
  Background Skills: Four of Climbing, Riding (Horse), Stealth, or Throwing, all (A)
  DX-1 [1]-13; First Aid or Gesture, both (E) IQ [1]-10; Gambling, Heraldry, or
  Streetwise, all (A) IQ-1 [1]-9; Carousing (E) HT [1]-11; Hiking (A) HT-1 [1]-10;
  Scrounging (E) Per [1]-10; or Search or Survival (Woodlands), both (A) Per-1
  [1]-9.
  * Multiplied for self-control number; see p. B120.
  
  Peter wants a charismatic “people person.” He doesn’t want to
  be completely useless in combat, a liability to the others, but he
  does want his main strength to be in the ability to defuse hos-
  tile situations before they turn physical.
  Marcus suggests spending points to reach an IQ of 12-14,
  getting a combat skill or two at 14 or more, and spending the
  rest on advantages and skills in support of his focus. After shuf-
  fling points around a few times, and investigating various traits
  from the Trait Lists on pp. B297-304, Peter submits the follow-
  ing for review.
  Rory
  150 points
  Rory is the son of a well-known merchant in Kharston.
  Though he has many acquaintances, Jax and Beldin are his
  only real friends. Rory is a handsome young man with a youth-
  ful, pleasant face, inviting blue eyes, and chestnut brown hair.
  He dresses as well as he can afford to.
  ST 11 [10]; DX 11 [20]; IQ 13 [60]; HT 11 [10].
  Damage 1d-1/1d+1; BL 24 lbs.; HP 11 [0]; Will 13 [0]; Per 13
  [0]; FP 11 [0].
  Basic Speed 5.50 [0]; Basic Move 5 [0]; Dodge 8.
  5’10”; 150 lbs.
  Social Background
  TL: 3 [0].
  CF: Arteline [0].
  Languages: English (Native) [0].
  Advantages
  Attractive [4]; Charisma 2 [10]; Common Sense [10];
  Sensitive [5]; Voice [10].
  Disadvantages
  Chummy [-5]; Gluttony (12) [-5]; Overconfidence (12) [-5];
  Short Attention Span (12) [-10].
  Quirks: Alcohol Intolerance; Responsive. Peter could take
  up to three more, gaining an extra 1 point per quirk. [-2]
  Skills
  Brawling (E) DX+1 [2]-12; Detect Lies (H) Per [2]-13*;
  Diplomacy (H) IQ+1 [2]-14†; Fast-Talk (A) IQ+2 [2]-15†; First
  Aid (E) IQ+1 [2]-14; Gesture (E) IQ [1]-13; Knife (E) DX+1
  [2]-12; Merchant (A) IQ [2]-13; Public Speaking (A) IQ+3
  [1]-16†‡; Riding (Horse) (A) DX [2]-11; Savoir-Faire (Mer-
  chant) (E) IQ [1]-13; Sex Appeal (A) HT+3 [2]-14†§; Short-
  sword (A) DX+3 [12]-14; Sling (H) DX-1
  [2]-10; Streetwise (A) IQ [2]-13; Survival
  (Woodlands) (A) Per-1 [1]-12.
  * Includes +1 from Sensitive.
  † Includes +2 from Voice.
  ‡ Includes +2 from Charisma.
  § Includes +1 from Appearance.
  Weapons and Armor
  Large knife (1d-1 imp/1d-1 cut);
  shortsword (1d-1 imp/1d+1 cut); leather
  armor (torso, groin; DR 2); heavy
  leather leggings (legs; DR 2); heavy
  leather sleeves (arms; DR 2); boots (feet;
  DR 2, flexible).
  FINAL REVIEW:
  EXAMPLE
  Marcus looks over all the adventur-
  ers. He ensures the point totals are cor-
  rect; that none of their traits are
  outside the established scope or above the
  recommended levels; that the weapons, armor, and equip-
  ment they want to buy aren’t unbalancing or more than they
  can afford; etc.
  The gear requests are all basic and common items, mostly
  weapons to match skills and heavy leather armor – cloth for
  Jax, who started with only $500 due to his Wealth (Struggling)
  disadvantage. Marcus moves on to reviewing traits.
  Relying on defaults – whatever the game system calls them
  – is rarely fun. In GURPS, I hint that certain skills are neces-
  sary for adventurers, true action heroes or not, to keep the
  story flowing without annoying breaks caused by PCs being
  incompetent at tasks that adventure fiction commonly treats
  as “everyman” skills:
  • Carousing, Diplomacy, Fast-Talk, or Interrogation: Even-
  tually, everybody wants to interrogate NPCs. I’m generous
  about what skills work, but some skill is required.
  • Climbing, Hiking, and Stealth: The party is only as good
  at these things as its worst party member, and nearly every
  party has to move around as a unit at some point.
  • Driving or Riding: Travel is vital to adventure, and while
  “every hero can drive/ride a horse” is often assumed, it isn’t
  automatic in games that have skills for these things.
  • First Aid: Effective bandaging isn’t an unskilled activity.
  Non-action heroes often want to do this to “contribute” to
  party combat effectiveness, so they especially need this skill.
  EXAMPLE OF ADVENTURE PREPARATION
  21
  
  • Gesture: Sooner or later, communication without mak-
  ing a sound will be vital to almost any party’s survival.
  • Observation, Scrounging, or Search: Noticing interesting
  things takes training, and finding clues and useful items is so
  central to adventures that no PC should lack at least basic
  training here.
  • Savoir-Faire or Streetwise: Everybody came from some-
  where. It’s passing annoying when a player just assumes that
  her PC would “get on with folks in her element” without hav-
  ing any practical social skills to back up the assumption.
  I further suggest – strongly – that action heroes have this list
  as well:
  • Axe/Mace, Broadsword, Knife, Shortsword, or Staff:
  Wielding a stick, knife, or heavy tool to any real effect requires
  practice. These common improvised weapons are not idiot-
  proof, trivial, or safe to use without training.
  • Beam Weapons, Bow, Crossbow, or Guns: However easy
  “point and shoot” looks, it’s quite tough in reality. No credible
  action hero lacks competency at all ranged combat.
  • Boxing, Brawling, or Karate: Fisticuffs are the worst
  place to be untrained. Your fists are the only weapons you
  always have, so learn to use them.
  • Forced Entry: No, it isn’t easy to kick in a door. Actually,
  unless you know how, you’ll hurt yourself.
  • Holdout: “Concealable” equipment only works if you
  have skill at concealment, and frustratingly few players realize
  this.
  • Judo, Sumo Wrestling, or Wrestling: The number of peo-
  ple who think they should be able to grab others automatically
  is astounding. In fact, this is a difficult feat, trickier than hit-
  ting people, and absolutely requires training.
  • Throwing: Whether you’re tossing spare magazines to
  friends or grenades at enemies, this is a trained skill, so it pays
  to know it.
  I think that players would be far less unhappy about sur-
  prises if more GMs made lists like this and did everything
  possible to get players to take them seriously. A PC with
  Brawling, Fast-Talk, Forced Entry, Holdout, Knife, Scroung-
  ing, Stealth, and Wrestling should be able to make and con-
  ceal a shiv, overpower a guard, steal his clothes, sneak away
  from the scene, talk his way past the other guards, and leave
  through an inadequately bolted back door.
  Marcus notes that all three PCs have at least one armed and
  unarmed combat skill, which is good, but Beldin has the only
  grappling skill (Wrestling). Rory has a decent Survival skill
  level, and two of the three know First Aid, all of which work in
  the group’s favor. Jax had less starting money, so his armor is
  the flimsier cloth, but both Beldin and Rory have decent armor
  made of heavy leather. Marcus points out that no one has pur-
  chased a helmet, so head shots could be a problem. They can
  all ride horses, useful should they ever acquire any, but some
  skills are lacking across the group.
  Jax is the only one with any points in Climbing and Hiking,
  so when those skills are relevant he will either have to go alone
  ahead of the party, or travel as slowly as they do. No one has
  Stealth, problematic when sneaking around is required, and
  only one has Gesture.
  The players decide they’ll be able to work around these
  deficiencies for the time being – instead of reallocating points
  now, they’d rather start the game with the party they’ve cre-
  ated, and buy the skills they are weak in after accruing some
  awarded points.
  Marcus: Peter, it looks like Rory has both the Common
  Sense advantage, and the Short Attention Span disadvantage.
  I’m not sure those two really go together.
  Peter: They do overlap a little. But Short Attention Span
  only comes into play for tasks that take more than a few min-
  utes, and if Rory fails an IQ roll for Common Sense, we can
  assume he failed because he got distracted by something else?
  Marcus: Hmm – yeah, okay. Let’s see how they work
  together for a few games; we can change them later if we have
  to. Josh, I just wanted to make sure you’re still okay with Jax
  having the Wealth (Struggling) disadvantage?
  Josh: Yeah, it’s fine. You said we’d probably get paid for
  doing stuff, and a lot of the past games you guys talk about
  seemed to have treasure in them. I probably won’t be poor 
  for long.
  Marcus: True, but keep in mind that even when you tem-
  porarily gain a bunch of money, Jax will still be considered
  “low class.” He’ll have money but not a nice steady job, upper-
  class society contacts, that sort of thing.
  Josh: Yeah, that’s fine.
  With no more questions, the PCs are finished and ready to
  go! The group decides to meet back in two weeks for the first
  game, giving Marcus time to create the first adventure.
  EXAMPLE OF ADVENTURE PREPARATION
  22
  The essence of a role-playing game is that it is 
  a group, cooperative experience. There is no winning 
  or losing, but rather the value is in the experience of
  imagining yourself as a character in whatever genre
  you’re involved in.
  – Gary Gygax
  
  Now that some shape has been given to the campaign, and
  the party is finalized, it’s time to create the first adventure. There
  really are as many ways to create adventures as there are Game
  Masters! Some write pages of detailed notes; some adlib for
  hours off of a single index card. This chapter offers only one way
  of many that might be helpful for the new GM. Whatever works,
  whatever helps make exciting game sessions for the players with
  the least amount of work for the GM, is doing it right.
  CREATING THE ADVENTURE
  23
  Many of the same resources useful for preparing the game
  as a whole are also useful in creating adventures.
  THE BASIC SET
  By this point, the GM should be comfortable with most of the
  GURPS rules for PC creation and campaign con-
  struction. The Basic Set also contains a lot of
  excellent advice for designing adventures, espe-
  cially Writing Your Own Adventures (pp. B500-504)
  and Game Worlds (pp. B505-522).
  OTHER BOOKS
  These two books continue to provide excellent
  GM guidance well past the character-creation
  phase and into developing new adventures.
  GURPS for Dummies: Sections relevant to adventure design
  are Chapter 15: Building a Simple Adventure (pp. 233-244), and
  Part V: Building Your Own World (pp. 251-370).
  Robin’s Laws of Good Gamemastering: The two chapters
  entitled Campaign Design (pp. 12-15) and Adventure Design
  (pp. 16-22) detail how to organize scenes and information for
  maximum effect and ease of use.
  IMPORTANT RESOURCES FOR
  CREATING THE ADVENTURE
  An encounter is simply an interaction between the PCs and
  the GM’s world. It can be a social encounter, with PCs and
  NPCs engaging in conversation; a combat encounter, with the
  party battling against enemies; a puzzle encounter, with 
  the party trying to solve a mystery; or, often, some combina-
  tion of all three.
  One encounter leads to the next, and then the next, and in
  no time at all, hours have passed and it’s time to break until the
  next game. How can the GM create engaging encounters 
  the players will enjoy?
  RULES LIKELY TO COME UP
  One of the first things a GM can do is make sure he’s famil-
  iar with all of the rules likely to come up. The occasional sur-
  prise will always crop up, something unexpected will develop
  during game play, but the better the GM knows the rules, the
  fewer those surprises will be.
  Concentrate first on areas the adventure will definitely
  cover – firearms for soldiers and secret agents, magic and
  psionics for wizards and psis, etc. From there, explore the less-
  common rules as time allows.
  ENCOUNTERS: THINGS TO DO
  CHAPTER THREE
  CREATING THE
  ADVENTURE
  Campaign Advice
  While this chapter looks at the creation of a single “adventure” (a
  contained story arc with a beginning, middle, and end), its format can
  easily be adapted for an entire campaign (a connected series of adven-
  tures). Predicting what PCs will do over the course of an entire cam-
  paign, however, is even harder than for a single adventure. By necessity,
  campaign notes will be even more open-ended and subject to change.
  
  Character Traits
  Looking over the character sheets is the easiest way to know
  which rules will come up. If a PC, or an NPC the party is likely
  to encounter, knows the Whip skill, or Breaking Blow, or has
  the Shapeshifting advantage, the GM should know how to han-
  dle those things during play time.
  Special Combat Situations
  Special Combat Situations (pp. B393-417) covers a wide
  array of combat situations. Things like total and partial sur-
  prise, visibility, mounted and vehicular combat, etc., won’t be
  needed for every encounter, but are common enough to be
  worth knowing.
  SOMETHING FOR EVERYONE
  It’s important for the GM to remember that his job is to pro-
  vide a variety of interesting encounters for the whole group to
  enjoy (including himself). Being a GM is like a constant jug-
  gling act, throwing in a little of this, a little of that, to cover as
  many bases as possible.
  You’ll note that GURPS doesn’t price Guns and Broadsword
  above, say, First Aid and Freight Handling, and that a few levels
  of Innate Attack aren’t more expensive than a few levels of
  Appearance. That’s because the game really, truly doesn’t con-
  sider combat to be the be-all, end-all adventure activity, or even
  the prime determiner of game balance.
  Variety of Skill Tests
  Switching up what skills are needed to succeed during
  scenes keeps the action from getting stale, particularly for
  those adventurers who are “one-trick ponies.” Incorporate
  some less-common skills into encounters – maybe the easiest
  way to find the cultists’ secret chamber is a roll against Archi-
  tecture (defaults to IQ-5), or the quickest way down from a
  remote ski resort about to explode is to use Skiing (defaults to
  HT-6). Skill rolls can also be called for using relative level, and
  an attribute other than the usual controlling one – see Using
  Skills With Other Attributes, p. B172. 
  Often, many skills can be used to resolve the same situa-
  tion. For one list of skills and what they’re handy for, see
  pp. 21-22. Here is another from Kromm, divided into com-
  mon modern-action tasks (for greater depth, see Template
  Toolkit 1: Characters).
  1. Combat* (fists, blunt instruments, knives, handguns,
  long arms, and explosives). Typical skills: Brawling, Explosives,
  Fast-Draw, Gunner, Guns, Holdout, Knife, Shortsword,
  Stealth, Tactics, Throwing, Tonfa, Wrestling.
  2. Detective Work† (clue-gathering, forensics, interrogation,
  records searches, etc.). Typical skills: Administration, Criminol-
  ogy, Detect Lies, Forensics, Intelligence Analysis, Interroga-
  tion, Research, Search, Streetwise.
  3. Fixing*† (forging IDs, procuring weapons, smuggling
  gear, and cleaning up afterward). Typical skills: Fast-Talk,
  Filch, Forgery, Freight Handling, Holdout, Merchant, Pick-
  pocket, Scrounging, Smuggling, Stealth, Streetwise.
  4. Intrusion* (neutralizing alarms, cameras, dogs, doors,
  fences, locks, and so on). Typical skills: Acrobatics, Animal
  Handling, Climbing, Electronics Repair (Security), Escape,
  Forced Entry, Jumping, Lockpicking, Stealth, Traps.
  5. Medicine (the big areas being first aid and field surgery).
  Typical skills: Biology, Chemistry, Diagnosis, Electronics Oper-
  ation (Medical), First Aid, Pharmacy, Physician, Poisons, Sur-
  gery, Veterinary. 
  6. Observation*† (scouting, shadowing, spotting, and surveil-
  lance from without). Typical skills: Body Language, Camouflage,
  Climbing, Electronics Operation, Gesture, Lip Reading, Observa-
  tion, Photography, Shadowing, Stealth.
  7. Social Engineering (deals, deceptions, disguises, lies,
  threats, etc.). Typical skills: Acting, Carousing, Detect Lies,
  Diplomacy, Disguise, Fast-Talk, Intimidation, Propaganda,
  Savoir-Faire, Sex Appeal, Streetwise.
  8. Survival*‡ (camouflage, orienteering, outdoorsmanship,
  and similar). Typical skills: Camouflage, Climbing, Hiking,
  Meteorology, Naturalist, Navigation, Running, Skiing, Stealth,
  Survival, Tracking, Traps.
  9. Technology (both the computers-and-sensors kind and
  fixing-guns-and-cars variety). Typical skills: Armoury, Com-
  puter Operation, Computer Programming, Electrician, Elec-
  tronics Operation, Electronics Repair, Machinist, Mechanic.
  10. Transportation (driving mainly, but also boating and
  piloting, and navigating). Typical skills: Area Knowledge, Boat-
  ing, Crewman, Driving, Navigation, Piloting, Shiphandling.
  * Stealth isn’t its own thing at all. It’s part of many things –
  mainly these. You can’t really snipe, smuggle gear, break in,
  spy on people, or skulk around in the bush if you aren’t
  stealthy. In fact, all action heroes ought to be stealthy.
  † These often get ignored, but at the PCs’ peril. I’ve seen
  more plans fail because the heroes went in without the neces-
  sary intelligence (detective work and observation) and equip-
  ment (fixing) than for any other reason.
  ‡ This is the most optional area, becoming kind of pointless
  if all the adventures take place in cities.
  Consider the following example from Kromm of searching
  a room for clues.
  Rooms are so big that you need separate skills for differ-
  ent things (on top of basic Perception for things sitting out
  in the open):
  • Architecture for hidden features of the room itself.
  • Carpentry to notice something odd with the woodwork.
  • Criminology to find macroscopic evidence left behind by
  a criminal.
  • Electrician to spot something strange about the lights 
  or wiring.
  • Forensics to discover traces of blood, explosives, fibers, etc.
  • Masonry to identify unusual stonework.
  • Observation to “case the joint.”
  • Tracking to pick up on footprints on the floor.
  • Traps for traps and secret doors.
  These do overlap some, of course. The GM could allow a sin-
  gle Detective! roll for all of it, I suppose, but as that skill implies,
  this would be cinematic. Real detectives ask forensic scientists,
  firemen, the locksmith, etc. to take a look for a good reason.
  CREATING THE ADVENTURE
  24
  
  Generally, you have to read skill descriptions to learn about
  possible skill uses. This is because a full list of actions and nec-
  essary skills would be as long as Chapter 4!
  The next example from Kromm demonstrates different
  ways to gather information.
  In GURPS, as in real life, there are dozens of ways to get
  info using one’s skills.
  • Administration to glean info from a bureaucrat, either
  through discussion or by filling out the right forms to request it.
  • Area Knowledge to know where people with useful infor-
  mation hang out so that you can bribe, trick, spy on, or other-
  wise interact with them.
  • Carousing to buy a few rounds and get information at a
  pub or a tavern.
  • Current Affairs – a simple roll will often suffice once
  you’ve spent some time catching up on the latest news.
  • Fast-Talk to pry information from somebody who
  knows what you need to know and who shouldn’t talk . . . but
  who is easily bamboozled.
  • Intelligence Analysis to discover useful info in the reports
  of people who use these other skills.
  • Interrogation to squeeze information out of somebody
  you corner or capture.
  • Lip Reading, Observation, Shadowing, Stealth, etc., to spy
  out information the hard way.
  • Merchant to buy information legally.
  • Politics to glean info from a politician, perhaps by prom-
  ising cash support or by convincing him that something unto-
  ward is going on under his nose and that you can help if he fills
  you in on a few facts.
  • Research to find information in records of some kind.
  • Savoir-Faire to glean info from some-
  body in the relevant social group by con-
  vincing him that you’re a peer who
  “needs to know.”
  • Sex Appeal to get information from
  a horndog.
  • Streetwise, either to find people to
  bribe, interrogate, and spy on, or simply
  to walk the streets, make contacts, and
  hear rumors.
  Action 2: Exploits, pp. 11-30, further
  outlines ways of using skills to find and
  hide information, penetrate and secure
  locations, etc. For a discussion of skills
  specifically beneficial to interaction
  encounters, peruse Social Engineering.
  Let Each PC Shine
  Be sure every PC will have a chance to
  be in the spotlight. A party consisting of a
  computer hacker, a demolitions expert,
  and an ex-soldier is not well-served by a
  constant stream of firefights. The hacker
  and the demolitions guy need scenes, too,
  where their skills at computer wizardry
  and blowing things up will be of value.
  PLAYER FREEDOM
  One of the great advantages RPGs have over other mediums
  is the freedom afforded to players. Even the best computer
  game doesn’t come close to the experience of interacting with
  a live GM. Within that context, though, lies a spectrum of play
  styles as to how adventures are written, and how much free-
  dom the players truly have.
  Linear Plots
  On one end of the spectrum are linear plots. The party starts
  at point A and is assumed to proceed to point B, then point C,
  continuing to follow preset encounters until finally reaching the
  climactic final scene. A great framework for this kind of game is
  PCs who work directly for an NPC who gives them specific mis-
  sions – a police sergeant, military commander, spymaster, etc.
  Though often negatively referred to as “railroading,” linear
  encounters are an entirely valid style of play, enjoyed by many.
  The advantage to the GM is that it’s much easier to prepare
  encounters, since the PCs have fewer options of what they can
  do and where they can go. For players who prefer a more open
  approach, this is also the disadvantage.
  The Sandbox
  The other end of the spectrum is sometimes called “sandbox
  gaming,” referring to the group’s ability to go anywhere and do
  anything, regardless of its impact on the story (“playing in the
  sandbox”). If the GM prepared a series of encounters revolving
  around tracking down an escaped fugitive, and the PCs decide
  they don’t care about that and would rather rob a bank instead,
  that work was wasted (unless he recycles those encounters – see
  The Illusion of Freedom, p. 26). Although the players have much
  more freedom, it’s not a style of play for the GM who prefers
  preparation to improvisation.
  CREATING THE ADVENTURE
  25
  Following the Players’ Lead
  One way to combine all of these approaches is to let the players provide the
  ideas for how the game will progress. As they roam free (like a sandbox game),
  pay careful attention to where their interests lie, and what sorts of things they
  enjoy. Then place those things in their path (preserving the illusion of freedom),
  ultimately leading the group through a linear plot they themselves constructed.
  For example, let’s say a group of PC mercenaries has just completed a long
  contract. As they spend time recuperating, two of them have a conversation about
  the miserable backwater country they’re in – it’s always hot, the bugs are a night-
  mare, and the possibility of attack is nearly constant. The GM also remembers
  that before this modern-day campaign started, some of the players were raving
  about a new horror movie, about a werewolf loose in Victorian London.
  Putting these things together, the GM offers the mercenaries a job through
  their usual contact: someone, or something, is killing people in the back alleys of
  Chicago, and the government, unable to find the culprit, wants to hire an “off the
  books” team to covertly investigate. If they take the job, this gets the party back
  to a more urban environment, and a break from the constant firefights. The GM
  has no idea who or what is killing in Chicago, but the players have no shortage of
  theories for him to choose from; as their adventurers fly back to the U.S., cultists,
  a serial killer, monsters, and aliens are all mentioned as possibilities.
  A GM who likes to improvise, with communicative players, can sustain a
  campaign like this indefinitely!
  
  In the Middle
  Many GMs use both approaches, allowing PCs to roam the
  sandbox until they find something they want to pursue, then cre-
  ating encounters to resolve that story line before returning to the
  sandbox. As long as everyone, GM included, is having fun, nei-
  ther style is inherently better than the other.
  The Illusion of Freedom
  Regardless of play style, you can often maintain the illusion
  of player freedom by simply staying flexible as to where and
  when encounters occur. No matter what the notes say, nothing
  becomes “real” to the protagonists in the game world until they
  actually experience it. Up to that moment, the GM can make
  any changes he likes, assuming they fit the setting and follow
  logically from previous events.
  A classic example is an adventuring party traveling through
  the wilderness and coming to a fork in the road. Assume the
  GM has created a small keep as an encounter, complete with
  some memorable NPCs and a few adventure hooks. If the GM
  has already told the players the keep is along the left road, or
  given them a map showing the keep on the left road, then in
  the game world that’s where the keep is. If they choose to travel
  the road on the right, there is no logically consistent way they
  will arrive at the keep.
  However, if the keep was not previously mentioned, the GM
  can place it along whichever road the party chooses to travel –
  if they go left, it’s along the left road; if they go right, it’s along
  the right road – and as far as the game world (and the players)
  are concerned, that’s where it has always been. Similarly, the
  keep the GM created doesn’t have to be a keep. If the party
  knows the keep is along the left road, and they choose to travel
  the right road, perhaps they eventually come upon a cross-
  roads inn, where many of the same NPCs and adventure hooks
  from the keep now reside.
  To some, this may seem somehow sneaky or underhanded.
  However, enjoying an RPG is about the willing suspension of
  disbelief – players want to lose themselves in an imaginary
  world for a time, pretending to be a fictional character. 
  As long as the wires behind the scenes, holding the sets together,
  don’t intrude into the game, most players don’t care much about
  how they get to the fun. They just care about getting there.
  CREATING THE ADVENTURE
  26
  In the course of their adventures, the players and their PCs
  will meet a multitude of nonplayer characters (NPCs). These
  are the enemies they steal from, and the merchants they do
  business with; those in need who seek their help, and the
  bosses who order them into missions; the downtrodden they
  protect, and the villains they protect them from. In short, they
  are everyone in the world who isn’t a PC.
  As with all things encounter-related, variety is key. The
  heroes should have to deal with people who are funny, morose,
  tall, short, loud, quiet, young, old, and a thousand other distin-
  guishing characteristics. It’s far too much work to provide stats
  for every NPC. Luckily, there’s no reason to – for the majority,
  one or two personality traits or motivation suffice (“Blackie the
  Fence – greedy and cautious; speaks in hushed tones; wants to
  earn enough gold to move out of the Pit”).
  For those more important to the story, or who might end up
  in combat, filling in an NPC Record Card (p. B569) is recom-
  mended. Major villains, Dependents, and the like might require
  a full character sheet of their own.
  NPCS ARE PEOPLE, TOO
  The majority of NPC interactions are social, not combat
  related. Portraying everyone the party meets as “real” people,
  not as two-dimensional backdrops who exist solely for the ben-
  efit of the PCs, is a critical GM skill. When the game world feels
  authentic and alive, it draws players more fully into the story,
  and one of the best ways to do that is by populating the world
  with memorable, fully realized people.
  Not every NPC needs his own character sheet, or even stat
  block. However, he should have at least one or two qualities
  defined, ones that set him apart. This makes it easier for the
  GM to imagine how the person will respond in the most log-
  ical or dramatic way in whatever situations arise. For those
  who could react randomly, the GM can use 3d to determine
  reaction (see Reaction Rolls, pp. B494-495).
  For example, consider a small gambling hall that the heroes
  like to frequent. As they spend a lot of time there, the GM has
  created six or so NPC regulars, and defined broad qualities for
  them. Four of them are present in the hall this particular night.
  Jonn: Sociable bartender; loves his wife and daughter above
  all else.
  Loody: Mentally dim but physically huge bouncer. Very
  friendly, thinks of the gambling hall regulars as his family.
  Greta: Quiet and stern bouncer, just earning enough gold to
  move on.
  Tess: Took a job as a serving girl to case the gambling hall.
  She’s actually a thief, and plans to clean out the owner’s safe.
  Just a line or two for each is enough to predict behavior.
  When a drunken patron accuses a card dealer of cheating,
  knocks his table over, and starts throwing punches, the GM
  uses those qualities to decide how they react. Jonn ducks
  behind the bar, and waits for everything to be over – this is just
  a job to him; he isn’t going to take needless risks with a family
  at home. Loody immediately springs into action to protect his
  “brother,” the dealer, and attempts to pull the drunk off of him.
  Greta gets ready for action, but doesn’t actually bother to help
  unless it looks like Loody can’t control the drunk alone. Tess
  feigns fear and steps away from the fight, keeping one hand on
  the slender dagger concealed in her sleeve “just in case.” The
  dealer isn’t one of the NPCs with assigned qualities, so the GM
  just decides he throws up his hands in unskilled defense and
  hopes the bouncers are paying attention.
  BALANCING NPCS
  WITH THE PARTY
  The GM new to GURPS may be curious about balanc-
  ing enemies against the PCs in combat, without making
  them either too challenging or not challenging enough.
  NPCS: PEOPLE TO MEET
  
  This section broadly discusses how to estimate this, and how
  to make changes as needed during game play.
  Despite all the points and rules, GURPS isn’t a highly objec-
  tive, prescriptive system where the roleplaying is actually a thin
  veil over a set of PvP rules. You cannot rely on its mechanics to
  gauge threats and outcomes very precisely. It’s designed to be
  used by a GM running a game with a group of players in a more-
  or-less cooperative fashion, and it tacitly assumes that the GM
  will sometimes fudge outcomes to get dramatic results. So be
  prepared to do that – if the bad guys are getting destroyed a sec-
  ond after unleashing their ambush, have their cut-off group or
  security element show up as reinforcements, have the wizard use
  his “secret weapon” Lesser Wish amulet to score a critical hit, etc.
  If the bad guys are winning too easily, have them get overconfi-
  dent and use bad tactics, or simply have one fall down if he suf-
  fers so much as a nick. Really, if you’re good at thinking on your
  feet, you can make any group of foes a suitable match for the PCs.
  Staying flexible and fluid during NPC interactions is the
  best way to keep encounters challenging without becoming
  overwhelming.
  Point Totals and Overall Power
  One of the most important things to remember about NPCs
  is that, unlike the PCs, overall point totals do not matter at all.
  While it’s tempting to think that a 200-point NPC is the equal
  of a 200-point PC, it simply isn’t true. How points are spent is
  infinitely more important than how many are spent.
  The classic example is the 200-point accountant. He has a
  very high IQ, a number of mathematics- and accounting-related
  skills, maybe advantages like Eidetic Memory and Lightning
  Calculator, etc. He will also quickly die a horrible death at the
  hands of a 50-point warrior with points spent in combat skills.
  For an even match, simply make the adversaries’ average
  skill, defenses, damage, and DR equal to the PCs’ averages in
  those areas. You can probably vary one up a point or two if you
  vary another downward a similar amount. To make things
  tougher, raise one or two numbers without lowering anything.
  To make things easier, drop a score or two without raising any-
  thing. Don’t try to evaluate every last special consideration . . .
  just eyeball it (“Okay, the guy with the bow is a Weapon Master,
  so I had better give him lower defenses to keep him even.” “Hm,
  the guy with the spear has Berserk and probably won’t even
  defend himself, so I’ll give him better armor to even things out.”).
  Don’t overlook specialization, either. If your four 150-
  point PCs are all battle mages, then a single tough warrior
  with Magic Resistance 20 might be able to defeat the lot of
  them. If they’re four 150-point karate masters, then an intan-
  gible, life-draining spirit they can’t hit will kill them all.
  Points don’t mean much; you have to check every single spe-
  cial ability against every single other one.
  The key to successful threat-matching in GURPS is to know
  the particular group – its numbers, strengths, weaknesses, and
  tactics – and create foes to match. One monster who plays to
  weaknesses is a lot scarier than 10 who play to strengths . . .
  hordes of anything are generally scary if they can surround the
  heroes . . . and bad tactics can seriously hose the PCs.
  This process is not for the GM who prefers NPCs to simply
  exist, objectively, with no relation to the party’s abilities. For
  those who want to balance combat encounters, look at each
  PC, assess the party’s average ability to inflict and absorb dam-
  age, and create threats based specifically on those numbers.
  It’s a multi-step process:
  1. Keep track of precisely how much Bash-O-Matic power
  the PCs have, and in what areas.
  2. Give most important NPC opponents just enough Absorb-
  O-Matic power to soak up most of the bashing. Yes, this does
  mean tailoring encounters to the PCs’ current abilities and
  power level instead of being a dire simulationist, saying that
  the bad guys are “like so” no matter what, and letting the PCs
  suffer if they aren’t up to it or yawn if it’s a cakewalk. This will
  make fights challenging.
  3. Once in a while, insert baddies who aren’t meant to pose
  a real challenge. The PCs should blow through these in sec-
  onds. This is fine – it’s intended to reassure the players that yes,
  the PCs are truly Bash-O-Matic in the grand scheme.
  4. Also once in a while, insert baddies who cannot easily be
  bashed aside, for whatever reason. These guys take strategy
  and ultimately luck to defeat, and probably can’t be defeated
  without consuming limited resources (ammo, batteries, heal-
  ing potions, FP, and even character points spent to adjust suc-
  cess rolls) and/or seriously harming some of the PCs (killing
  them, if they don’t plan and strategize). These encounters gen-
  erate the “Woah – that was close!” moments.
  Alternate 2, 3, and 4 so that the heroes know that they’re
  butt-kickers, but also know that they can have their butts
  handed to them if they take victory for granted. If you go with
  2 all the time, it’ll eventually feel like 3. If you go with 3 all the
  time, you’ll get boredom and no memorable war stories. If you
  go with 4 all the time, your players will hate you!
  For example, for a party consisting of three adventurers with
  DR 4, DR 6, and DR 8, the average DR is 6 – to be a threat, evenly
  matched enemies should be able to inflict at least 7 points of
  damage on an average attack, whether by sword stroke, arrow
  shot, gunfire, or whatever. (Also keep in mind how different
  damage types interact with different types of armor – see
  p. B282.) If the three PCs dish out damage on an average attack
  of 5, 7, and 9 points, respectively, the average attack is 7 – oppo-
  nents with a DR less than 7 are likely to be wounded quickly,
  while those with a DR of 7 or more have a better chance of sur-
  viving long enough to inflict some damage of their own.
  Because of the way GURPS combat works, the “zeroth-
  order” approximation is “number of foes = number of PCs.”
  Most combatants have on the order of 10 HP and the same
  odds (3 or 4 on 3d) of scoring a lucky, possibly fight-stop-
  ping critical hit. And most combatants have the same odds
  (17 or 18 on 3d) of screwing up in a way that makes them
  vulnerable even to a small child with a chucked marble.
  CREATING THE ADVENTURE
  27
  NPCs are more than a set of numbers.
  
  Efforts to fold points into the equation quickly fail, as points
  don’t measure combat effectiveness or even physical effective-
  ness, but a grand average of character effectiveness over all pos-
  sible activities – including stealth, travel, invention, trade,
  politics, study, and even romance – taking into account physical,
  mental, social, and supernatural factors.
  The fact that NPC point totals are so arbitrary allows the
  GM a great deal of freedom in selecting their traits. They can
  have abilities like those found under Absolutes (Powers,
  pp. 117-119), things like true invulnerability, which GURPS
  doesn’t even try to describe with points. Some effects just are,
  for purposes of story, and have no associated point cost.
  Attributes and Skills
  You don’t need to assign attributes and skills to every foe
  individually. It’s quicker and easier to assign broad “bands” of
  ability to large groups. In a raiding party of eight orcs, maybe six
  are just general grunts, led by two sergeants; against a war band
  of a dozen alien shock troops, maybe 10 are soldiers of the line,
  led by one sergeant and a much more capable lieutenant.
  The types of advantages and skills must be taken into
  account as well.
  For instance:
  • Superhuman foes that have high DR, lots of HP, or traits
  like Supernatural Durability or Unkillable might very well use
  All-Out Attack (Determined) every turn, because they don’t
  desperately need to defend themselves. Treat them as +4 to
  skill. A “mook” zombie who can attack every turn at +4 and has
  to be chopped to small pieces before he’s a non-threat might
  have an on-paper skill of 10, but he’s effectively skill 14.
  • If the PCs are affected by the environment but their foes
  are not – the battle is at night, but the foes have Night Vision;
  the battle is in a bog, but they have Terrain Adaptation; the
  battle is on a narrow beam, but they have Perfect Balance;
  etc. – you need to make the comparison using the PCs’ mod-
  ified skill.
  Also, there’s the fact that ST matters in low-tech combat.
  I’d probably match ST+skill instead of just skill. A ST 20 mon-
  ster swinging a weapon that can break a shield or snap a
  sword in one shot might make short work of a ST 10 PC who
  uses light weapons. If he brings friends, and they slam, grap-
  ple, and dogpile . . . well . . .
  Equipment
  The equipment foes are armed with also has a large impact
  on how challenging they are. A band of goblins armed with
  rusted, crumbling weapons can be swept aside; that same band
  armed with fine quality, enchanted weapons from an uncov-
  ered wizard’s cache are suddenly much more dangerous!
  This is particularly true if the PCs have acquired any sort of
  powerful or exotic means of defense. If their stellar pirates
  were lucky enough to find military-grade personal force
  screens, they may begin thinking they are nearly invulnerable
  – until they meet a rival crew with experimental sonic weapons
  that ignore force screens altogether.
  A few traits can increase the effectiveness of weapons. The
  Weapon Bond perk improves skill (see. p. 54); weapon quality
  can boost damage or affect Acc/Malf. (see p. 56); and the
  Signature Gear advantage makes it much harder to lose
  weapons or gear while adventuring (p. B85).
  Outnumbering the Party
  Another common way to challenge the party is to simply
  outnumber them. A larger group of enemies can take advan-
  tage of numerical superiority in many ways.
  CREATING THE ADVENTURE
  28
  Here are a couple of broad examples from Kromm of
  enemies that might be thrown at a party in a low-tech
  game. Even as the PCs grow in power, these enemies can
  remain challenging simply by using more of them.
  Generic Enemy
  50 points
  ST 11 [10]; DX 11 [20]; IQ 10 [0]; HT 11 [10].
  Damage 1d-1/1d+1; BL 24 lbs.; HP 11 [0]; Will 10 [0]; Per
  10 [0]; FP 11 [0].
  Basic Speed 5.50 [0]; Basic Move 5 [0]; Dodge 8; Parry 10;
  Block 10.
  Disadvantages: Some antisocial traits, like Bad Temper or
  Bloodlust, just to make it fun [-10]; Duty (Whoever sent
  him after the PCs; 12 or less) [-10].
  Skills: Brawling-12 [2]; Primary DX/A Weapon Skill-14
  [12]; Secondary DX/A Weapon Skill-12 [4]; Shield-14
  [8]; Wrestling-12 [4].
  Elite Enemy
  100 points
  ST 12 [20]; DX 12 [40]; IQ 10 [0]; HT 12 [20].
  Damage 1d-1/1d+2; BL 29 lbs.; HP 12 [0]; Will 10 [0]; Per
  10 [0]; FP 12 [0].
  Basic Speed 6.00 [0]; Basic Move 6 [0]; Dodge 10*; Parry
  12*; Block 12*.
  Advantages: Combat Reflexes [15].
  Disadvantages: Antisocial traits, like Bad Temper or
  Bloodlust [-10]; Duty (Whoever sent him after the PCs;
  12 or less) [-10]; Fanaticism (Some foul cause, unpleas-
  ant villain, etc.) [-15].
  Skills: Brawling-12 [1]; Fast-Draw (Primary Weapon)-13*
  [1]; Leadership-10 [2]; Primary DX/A Weapon Skill-16
  [16]; Secondary DX/A Weapon Skill-12 [2]; Shield-16
  [12]; Tactics-10 [4]; Wrestling-12 [2].
  * Includes +1 from Combat Reflexes.
  Sample Low-Tech Guards/Thugs/Soldiers
  
  If you’re specifically angling for tactics for NPCs to use vs.
  highly skilled PCs, and the NPCs are Nameless and Expend-
  able, several things work:
  • Armies of fanatical, mindless, or berserk goons. Some
  will inevitably get to the sides (-2 to defenses) or behind (no
  active defense!). And if you’re rolling to hit dozens of times,
  you’re likely to get a lucky critical hit or two. Not to mention
  that enough slams or grapples will eventually work and
  immobilize the high-skill target . . . after he hacks apart the
  first 10 idiots who try.
  • Goons that ambush with ranged weapons. If the goons get
  a few shots each before the skilled foes can retaliate effectively,
  they’re likely to get one or two lucky hits – especially if there
  are many goons shooting at once!
  • Goons that cheat. If the goons are hiding behind a door, or
  invisible, or on the far side of a hidden pit, skill becomes unim-
  portant. Hidden goons get a free shot with no defense possible,
  while goons with traps can just let the traps do their job and then
  poke the trapped victims from afar using long spears.
  • Monster goons. Monsters with 50, 60 – heck, 100 – HP get
  to roll to hit so often before going down that they might get
  lucky. Those that are surrounded in flame, emit rings of frost,
  ooze poison, etc. can hurt their foes just by standing around.
  Of course, those that drip acid blood or explode on dying turn
  the skilled killers’ skill against them!
  • Screening goons. A big army of goons that do nothing
  but All-Out Defend and occupy all the space between their
  skilled foes and some Really Bad Wizard, Super, or Psi can do
  loads of harm by being living armor for their boss. While the
  heroes cut their way through the goons, Mr. Nasty can blast
  them with impunity.
  Combine as needed. If the PCs walk into a room and are
  simultaneously showered with arrows and dropped upon from
  above, then have to fend off three human-wave attacks, and
  then have to chop up Mr. Nasty’s bodyguards, all the while
  being pecked by swarms of ravens and blasted by Nasty’s Cere-
  bral Doom Blasts, they probably won’t even notice that the
  goons are all skill-10 losers.
  Enemies who, individually, would be no threat at all quickly
  become dangerous in large numbers.
  Turning the Options Dials
  Another way to adjust combat lethality is to allow and dis-
  allow particular combat options for different types of enemy.
  Take a roving gang of six thugs as an example. It’s made up of
  four rank-and-file members, one slightly older and tougher
  thug, and one streetwise, experienced leader. The GM decides
  that the four average members will all choose to All-Out Attack
  most turns, and if their HP ever reach 0, they are automatically
  out of the fight (no HT rolls to stay conscious). The tougher
  thug won’t All-Out Attack, but instead likes to aim for the face
  and try for a knockout; he makes HT rolls as normal below 0
  HP. As for the leader, the GM treats him like a PC – he can use
  Deceptive Attacks, Feints, extra effort, anything a PC could use,
  and will be the hardest to take down.
  NPCs Fear Death, Too
  In the game world, NPCs are people, too. They aren’t just
  roaming collections of numbers, waiting to be racked up as
  victories by the first PC they come across. They have things
  like homes, motivations, people they love, etc.
  With this in mind, combat shouldn’t always be a kill-or-
  be-killed bloodbath. The NPCs should consider retreating or
  surrendering if it becomes clear they are outmatched. Com-
  batants willing to die for their cause should be reserved for
  things like crazed cultists, kamikaze-style warriors, and alien
  drones of a hive-mind.
  CREATING THE ADVENTURE
  29
  One of the most wonderful things about RPGs is that the
  action can take place, literally, anywhere. There are no budgets
  for sets, no logistical costs for “shooting on location.” Through
  their characters and imaginations, the players can explore
  ancient ruins on Mars, the gladiatorial arenas of Imperial
  Rome, forgotten worlds in the center of the Earth, fantastic
  cities beneath the ocean, and anything else they can dream up
  – in some campaigns, maybe all in the same game! Be creative
  when deciding where the action takes place.
  COMBAT ENVIRONMENT
  The physical environment of the game world provides
  numerous opportunities to challenge the players and their
  adventurers, especially during combat. Many more tips for
  increasing the threat of NPC enemies are given in pp. 43-61.
  For designing the basics of combat encounters, keep the fol-
  lowing in mind, as well as other information in Special Combat
  Situations (pp. B393-417).
  Room to Move: Tight quarters, such as aboard a submarine
  or inside an elevator, necessitate close combat, and have a big
  impact on actions. Retreating is more difficult, or even impos-
  sible, and a shield inflicts a penalty equal to its Defense Bonus
  (p. B392). Melee weapons with a Reach greater than “C” either
  can’t be used (pp. B391-392), or suffer -4 for every yard of
  Reach (Martial Arts, p. 117). Ranged weapons can be used,
  but at a penalty equal to their Bulk.
  Range and Speed: As explained on p. B550, the faster a
  target is moving, and/or the farther away it is, the more dif-
  ficult it is to hit. For a quicker, streamlined way to figure
  range, see Simplified Range on p. 7 of Gun Fu or p. 36 of
  Action 2: Exploits.
  Visibility: Encounters at night, in fog or smoke, or against
  invisible foes use the rules for visibility found on p. B394,
  penalizing both attack and defense rolls.
  Noise: Rackety environments will, naturally, make it harder
  to hear things – exact penalties are up to the GM. As an
  optional rule, each “step” of the Hearing Distance Table
  (p. B358) can count as -1. For example, hearing normal conver-
  sation is at -1 in light traffic, but at -4 in normal traffic; hear-
  ing loud conversation is at -1 in a noisy office, and at -6 at a
  very loud rock band’s concert; etc.
  SETTINGS: PLACES TO SEE
  
  Now, it’s time to commit some ideas to paper (or hard drive,
  memory, or whatever you use). How much to write down is
  very subjective. Some GMs write nothing down and improvise
  from a few ideas they thought up in the shower. Others craft
  meticulous notes and charts, preferring to err on the side of too
  much preparation over not enough.
  Most people are somewhere in the middle, writing down
  what they consider important and leaving the rest to be filled
  in as the game marches along. Whatever suits your individual
  style is the best way to go! Below are some guidelines for
  preparing at least a basic structure. Again, this is in no way
  “the official GURPS way to do things.” It is only one example
  of a simple method for organizing your notes.
  I must admit that I don’t craft individual adventures. I have
  all kinds of plot threads going on at once, connected in nonlin-
  ear ways, and there’s never any real “resolution,” although
  some become less important, merge with other threads, etc. I
  think you’ll find that the more you develop a campaign, the
  fewer discrete adventures you’ll have. This is especially true if
  your game simulates a world as opposed to focusing on a few
  dramatic occurrences surrounding the PCs.
  If you run a game like this, the players will always have the
  choice of ignoring a particular thread, jumping between
  threads, exploring lots of threads at once, forcing two threads
  to merge, etc. Even if each thread is fairly linear, and borders
  on railroading the PCs, the existence of the options above
  gives the players a lot of control over where any given session
  is going.
  Players often take unexpected turns and make surprising
  choices, which is why it’s sometimes said “no plan survives con-
  tact with the PCs.” Still, having some underlying structure to
  depart from if needed is often easier than ad libbing everything.
  THE PLOT
  Start with a brief overview of what is expected to happen
  during the adventure. For example: “The party will accept a job
  to break into Tyler Labs and retrieve a weapon prototype,” or
  “Once done recuperating from last week’s attack by the Baron’s
  men, the party will continue to track him into the swamp.”
  It’s always possible the party will choose to do something
  completely unrelated to this plot, so brainstorm options ahead
  of time. These alternate plot paths don’t need to be fleshed out
  in detail; they are just available so something exists to use as a
  starting point if needed. Some example alternates paths based
  on the main premises given above: “If the party refuses the job,
  they may either notice they are being followed by government
  agent types, or Shamus may come looking for them to collect
  on their debt,” or “If the party gives up the chase of the Baron,
  they may either encounter a hostile tribe of swamp-dwelling
  fairies on their way out, or their guide will contract malaria,
  making it much more difficult to find their way back to town.”
  CREATING THE ADVENTURE
  30
  PUTTING IT ON PAPER
  Cover: Simply placing an enemy behind full or partial cover
  makes him much more of a challenge – the PCs will have to
  either aim for specific or random hit locations, or try to shoot
  through the cover (pp. B407-408).
  Footing: Don’t assume all combats take place on level fields
  devoid of debris. Bad footing penalizes both attack rolls and
  active defenses (pp. B547-549). Movement through such areas
  is also much slower (see Bad Footing, p. B387).
  Weapon Reach and Range: Enemies armed with weapons
  that allow them to stay out of the party’s range are dangerous
  – they can attack without being attacked in return, at least
  not without considerable effort. Common examples include
  distant snipers (especially against those lacking long-range
  weapons), and fighters with melee weapons of Reach 2 or 3
  who retreat after each attack (p. B388). For even more
  detailed rules on using Reach in combat, see Dealing with
  Charging Foes (Martial Arts, p. 106), and A Matter of Inches
  (Martial Arts, p. 110).
  Attacks From Above or Below: Attacks from above are sur-
  prising, and can result in a penalty to active defense, no active
  defense at all, or even temporarily losing turns to inaction
  (p. B402). Just fighting at different levels can impose combat
  penalties (pp. B402-403, B407).
  Attacks From Behind or Side: Most fighters attacked from
  behind or from a side hex suffer penalties to their active
  defense (side hex), or get no defense at all (behind). They also
  suffer restrictions on which defenses they can use they can use,
  making attacking from off-front hexes a great tactic for ene-
  mies. See Defending in Tactical Combat (pp. B390-391).
  Unusual Environments: Sometimes, the scene takes place
  under novel circumstances. See Settings Variety (below) for
  some ideas.
  SETTING VARIETY
  The mantra of the GM applies here – variety is the spice of
  life. An unending stream of sword-and-shield flurries, firearms
  vs. body armor, or energy weapons against force screens all
  eventually grow stale. GURPS provides rules for all kinds of
  bizarre settings and obstacles for heroes to experience.
  For uncommon environments, see the rules for atmosphere,
  pressure, and vacuum (pp. B429-430, B435, B437); using an
  environment suit (p. B192); extreme cold, extreme heat, and fire
  (pp. B430, B433-434); gravity, acceleration, and motion sickness
  (pp. B434, B436); radiation (pp. B435-436); relying on senses
  under unusual conditions (p. B358); and the effects of terrain on
  using Survival (pp. B223-224) and Tracking (p. B226) skills.
  For unusual threats, challenge the PCs with things like acid
  (p. B428), which can damage armor that otherwise protects
  the wearer; collisions and falls (pp. B430-432), which inflict
  blunt trauma (p. B379) through all types of armor (not just
  flexible); disease and infection (pp. B442-444); drugs and poi-
  sons (pp. B437-441); and even electricity (pp. B432-433).
  To keep obstacles fresh, think of threats that most normal
  armor and defenses are powerless against. Magic, psionics,
  nanites, shrink rays, ghosts and similar situations all offer
  ways to enliven encounters by presenting threats outside the
  norm, and challenging players to respond in new ways.
  
  THE NPCS
  Next, start to list some key NPCs the party is likely to
  encounter, including where they might be found. Although this
  list will grow as specific scenes are created later, having a spot
  to keep all the NPCs together makes it easier to find informa-
  tion about them when needed.
  Each NPC could get his relevant details and stats on an NPC
  Record Card (p. B569), with a master list in the adventure’s
  notes; otherwise, create a special section with the relevant infor-
  mation. Some NPCs (minor background, easy-to-defeat ene-
  mies) only need a line or two of description. Some (recurring
  NPCs, slightly tougher opponents) require at least basic combat
  and trait info. Still others (major bosses, Dependents, Allies, etc.)
  may deserve nearly the equivalent of a full character sheet.
  ENCOUNTERS AND SCENES
  Once the NPC list is started, describe all of the major
  scenes, in the order they are most likely to be encountered.
  Some GMs prefer bullet lists for ease of reading, but use what-
  ever is clear and easy for you.
  The Challenges
  Detail each encounter, including any information you
  might need to run the PCs through it:
  • NPCs the party might meet.
  • How each NPC is likely to react at that time.
  • Tactics each NPC might use if combat erupts.
  • What the area looks like, including any environmental
  penalties (vision, bad footing, etc.) and notable features 
  or objects.
  • What the party is expected to do during the encounter.
  • What results from success or failure at this encounter
  (the results could be the same in either case, or success and
  failure could each lead to their own new scene).
  • Any other important notes.
  Here’s an example:
  Shamus’ Warehouse: If the party needs to replenish their sup-
  plies and ammunition from Shamus before hitting the Tyler
  Labs compound, they can find him at his usual warehouse hang-
  out. They arrive just in time to see two men who look like gov-
  ernment agents leaving in a black SUV – successful Per-2 rolls
  reveal both men are armed with SMGs beneath their jackets.
  While purchasing their supplies from Shamus, he doesn’t
  mention the two men. If asked about them, he will be vague
  and uncooperative. If the party successfully intimidates him or
  otherwise gets him to talk, he reveals that the men were look-
  ing for the party, and gave him a phone number to call if he
  saw them (though Shamus swears he wouldn’t have called).
  From here, the PCs can either continue on to the job at
  Tyler Labs or investigate the phone number. If their contacts
  and hacking skills are up to it, the number leads back to a
  cheap prepaid phone, not to a government office.
  After creating this encounter, you would go back and list
  Shamus and the two agents in the NPC section. Shamus proba-
  bly only needs quick personality notes, as his main function is to
  sell equipment and weapons to the PCs. The agents could use a
  short breakdown of attributes, relevant skills, and weapons, as
  it’s possible they’ll get into a firefight with the party.
  Maps
  Some encounters run more smoothly if there is a map of the
  area. If you think the party might get into a fight there, having a
  map can reduce confusion and aid visualization. In the above
  example, if the warehouse is never more than a big abandoned
  building where Shamus conducts business, no map is necessary.
  A game map can be as simple as a quick sketch on the back of
  a character sheet, or a full-color drawing created on a computer.
  Most GMs use both, and more, with quick outlines for back-
  ground locales, and highly detailed maps for prominent areas.
  POSSIBLE OUTCOMES
  When all encounters have been listed, note some possible
  outcomes for the finished adventure, along with associated
  rewards. (These outcomes are in addition to those specified for
  each encounter.) Describe at least one for success, one for fail-
  ure, and one or two for “other.”
  Success
  A successful completion naturally depends on what the goal
  of the initial plot was. Usually, it’ll be something like “rescued
  the princess,” “found the missing painting,” “prevented the
  assassination,” etc. Give the best rewards for success.
  Failure
  Failure to complete an adventure also depends on the initial
  goal. Common failures are along the lines of “didn’t prevent the
  bomb from exploding,” “couldn’t find the enemy stronghold,”
  “didn’t break the code in time,” etc. Rewards for failure are the
  lowest of all – if there even are any.
  Other
  Most plots allow for outcomes that aren’t full failures or
  successes – “the ambassador wasn’t killed, but was severely
  injured,” “the escaped convict is still on the loose, and he’s
  somewhere in Las Vegas,” “we found the missing laptop, but it
  was destroyed in the process,” etc. The rewards for these mid-
  dle-ground outcomes are better than those for failure, but not
  as good as those for success.
  Rewards
  The rewards for adventure completion break down into two
  types: in-game rewards (for the adventurer) and bonus character
  points (for the player). Ideally, success should give a little of both.
  In-game rewards are things the character can use, like
  money, gold, jewels, and equipment upgrades. Don’t forget
  less-tangible rewards, such as a new Contact or Patron, or an
  increase in Reputation.
  Character points are a “meta” reward. They do not exist to
  the PC, in the game world, but only as tools for the player to use
  for character improvement by increasing attributes or skill lev-
  els. The GM may even let players use unspent points to affect
  rolls (p. B347) or reduce damage taken (p. B417), increasing
  their versatility; see also Power-Ups 5: Impulse Buys.
  Once the GM is happy with the adventure he’s created, he
  feels it’ll be as much fun for the players to experience as for
  him to run it, it’s time to get together for the first actual play
  session. Tips for handling this are covered in Chapter 5.
  For an example of creating a group’s first adventure, see
  Chapter 4.
  CREATING THE ADVENTURE
  31
  
  EXAMPLE OF ADVENTURE CREATION
  32
  The agreed-upon campaign premise is that all three of the
  PCs (Jax, Rory, and Beldin, played by Josh, Peter, and Anne)
  grew up together in the town of Kharston. They are a bit older
  now, and want to leave the town to see the world. See Chapter
  2 for more background details on the heroes.
  In terms of structure, the GM (Marcus) goes with a “set
  piece” format (as described in Robin’s Laws of Good
  Gamemastering, p. 19). Thus, he plans a few defining scenes to
  be encountered sequentially, with perhaps more than one way
  to arrive at each.
  THE PLOT: EXAMPLE
  Looking at the PCs (pp. 19-21), their roles, and their individ-
  ual traits, Marcus notes a few things:
  • Jax is an archer, who will want opportunities to use
  ranged weapon fire. He is also shy, has no sense of humor, and
  is struggling financially. In most social situations, he will likely
  stay in the background.
  • Rory is a charismatic people person, with merchant
  skills, who will be looking for a lot of social interaction. He is
  also uncomfortable when not around other people, gluttonous
  around food, and gets drunk quickly.
  • Beldin is a hardy warrior, who will want chances to
  engage enemies in melee combat. He is also honest, a light
  sleeper, and has a bad temper.
  During character creation, the players decided that Peter’s
  character, Rory, is the one who most wants to leave Kharston.
  Josh’s character, Jax, is going to be with his friend, and Anne’s
  character, Beldin, is going in order to try and keep them both
  safe. With the PCs in mind, Marcus thinks of a good way to get
  them out of town: Rory, with his merchant connections, might
  be able to find them all work as caravan hands or scouts.
  Since this is the group’s first GURPS game together, Marcus
  keeps things basic for the first adventure or two. He writes down
  his plot overview: “A merchant named Tignis requires caravan
  scouts, and as a favor to Rory’s father (Willem), she agrees to
  interview the PCs for the job. Tignis has heard rumors that the
  nearby village of Mossenway recently discovered a large silver
  vein, and she wants the party to find a safe way from Kharston
  to Mossenway so she can establish a trade route. If they choose
  to not accept Tignis’ job, or blow the interview, they may instead
  hire on as guards for a caravan heading in the opposite direc-
  tion, along the established route to Bluebay; or simply pick a
  direction and go.”
  THE NPCS: EXAMPLE
  Marcus lists all the major NPCs, along with as much detail
  as they are likely to need. The completed list is presented here,
  though in reality, it would grow as Marcus creates encounters
  in the next step.
  Willem
  Rory’s father, a well-respected merchant in Kharston who
  specializes in spices and imported foods. Willem is a large
  man, loud and jovial, with long gray hair tightly wound in
  braids. He is worried about Rory and his friends leaving town,
  but agrees to help them find work so his son can become his
  own man.
  Merchant Tignis
  Another merchant in Kharston, specializing in precious
  metals and jewelry. She is a tall, thin woman in her 40s, and
  very shrewd in her dealings (IQ 12, Merchant-14). Recently,
  Tignis received word of a silver mine being established in the
  backwater town of Mossenway, about a week’s journey to the
  north. As a favor to Willem, she agrees to interview Rory and
  the other PCs for the job of finding safe passage there.
  CREATING THE ADVENTURE
  CHAPTER FOUR
  EXAMPLE OF
  ADVENTURE
  CREATION
  
  Bandit Thugs
  These thugs work for Fiselli. Though he commands a few
  dozen in total, they generally appear in smaller groups of two
  or three. They have various physical descriptions, typically
  disheveled and unkempt. At 0 HP, they are automatically out
  of any fight. They mostly use All-Out Attack.
  ST 11; DX 11; IQ 10; HT 11.
  Damage 1d-1/1d+1; BL 24 lbs.; HP 11; Will 10; Per 10; FP 11.
  Basic Speed 5.50; Basic Move 5; Dodge 8; Parry 9.
  Disadvantages: Duty (Fiselli’s bandit group).
  Skills: Brawling-12; Knife-12; Shortsword-12.
  Equipment: Shortsword (1d-1 imp/1d+1 cut); cloth armor
  (torso, arms; DR 1, flexible); boots (feet; DR 2, flexible).
  Bandit Lieutenant Kalee
  Fiselli’s lieutenant. She has short-cropped black hair,
  tanned skin, and lots of scars. Kalee will generally not back
  down from a fight unless directly ordered to by Fiselli, or she
  has no chance of winning. As an experienced fighter, she will
  use any combat option a PC can except for extra effort.
  ST 13; DX 11; IQ 10; HT 12.
  Damage 1d/2d-1; BL 34 lbs.; HP 13; Will 10; Per 10; FP 12.
  Basic Speed 5.75; Basic Move 5; Dodge 9*; Parry 11*.
  Advantages: Combat Reflexes; High Pain Threshold; Luck.
  Disadvantages: Duty (Fiselli’s bandit group); Sense of Duty
  (Fiselli).
  Skills: Brawling-14; Broadsword-15; Knife-14.
  Equipment: Thrusting broadsword (1d+2 imp/2d cut); leather
  armor (torso, groin; DR 2); heavy leather sleeves (arms; DR
  2); pot-helm (skull; DR 4); boots (feet; DR 2, flexible).
  * Includes +1 from Combat Reflexes.
  Bandit Leader Fiselli
  Leader of the woodlands bandits. Has tanned
  skin and shoulder-length black hair. Likes to put
  on airs of civility, but is actually quite base and
  cutthroat (though clever). Can use any combat
  option a PC can except for extra effort, but fre-
  quently targets the arm (at the usual -2 to hit).
  ST 12; DX 12; IQ 13; HT 12.
  Damage 1d-1/1d+2; BL 29 lbs.; HP 12; Will 10; Per
  10; FP 12.
  Basic Speed 6.00; Basic Move 6; Dodge 9; Parry 10.
  Disadvantages: Greed.
  Skills: Broadsword-14; Karate-14; Knife-12; Leadership-12.
  Equipment: Thrusting broadsword (1d+1 imp/1d+3 cut);
  leather armor (torso, groin; DR 2); heavy leather sleeves
  (arms; DR 2); boots (feet; DR 2, flexible).
  Bryce
  Bryce is the farmer in Mossenway who originally discov-
  ered the large silver vein there, in a deep crevasse on his
  farmland. He is a simple man, with a generous heart, but not
  foolish. Bryce plans to use the silver-mine profits to improve
  Mossenway for everyone. He is tall and thin, with a very plain
  face and an unusually engaging smile.
  COMBAT BALANCE
  For combat balance, Marcus looks at the PCs’ sheets to esti-
  mate the challenges they should face. He knows the bandits
  will attack at night, so he uses Jax’s melee weapon for refer-
  ence instead of his bow, as he may be unable to fire on the ene-
  mies before they’re in sword range.
  Assuming each die rolled for damage averages 3.5, and
  using each PC’s most likely attack, Marcus gets the following
  numbers for the party’s average damage:
  Beldin: Broadsword = 2d+1 cut = 8 points of cutting damage.
  Jax: Shortsword = 1d+2 cut = 5.5 points of cutting damage.
  Rory: Shortsword = 1d+1 cut = 4.5 points of cutting damage.
  Party Average: (8 + 5.5 + 4.5)/3 = 6 points of cutting damage.
  The bandits only have a DR of 1, and Kalee and Fiselli have
  a DR of 2; the party’s average when they hit is 6 points of cut-
  ting damage, so the party has an excellent chance of inflicting
  injury. The bandit averages are:
  Thugs: Shortsword = 1d+1 cut = 4.5 points of cutting dam-
  age per thug.
  Kalee: Thrusting broadsword = 2d cut = 7 points of cutting
  damage.
  Fiselli: Thrusting broadsword = 1d+3 cut = 6.5 points of cut-
  ting damage.
  The thugs do less average damage than the party’s aver-
  age, but both Kalee and Fiselli do a bit more. Against the
  party’s DR of 2 (Beldin, Rory) and 1 (Jax), that could mean
  some serious wounds. The fact that the thugs automatically
  drop out of the fight at 0 HP, and do All-Out Attacks (allow-
  ing them no defense), should mean they’ll be out of action
  quickly though. Marcus is satisfied these enemies will be
  challenging, especially Kalee, but not impossible (even more
  so because once the thugs start dropping, Fiselli and the oth-
  ers may just decide to break off and run away).
  ENCOUNTERS
  AND SCENES: EXAMPLE
  Marcus envisions how the flow of events might unfold, and
  from there establishes five or six scenes to guide them through.
  Naturally, the PCs need to begin somewhere, and Marcus decides
  the job interview with Tignis works for that. From there, they’ll
  set out for Mossenway, about a week’s travel to the north, so
  there will be time for some general survival and wilderness chal-
  lenges. A few days before reaching Mossenway, the party will
  encounter a small group of bandit “toll collectors.” They may be
  able to avoid a fight there, but the bandits will follow them and
  attack the following night. Soon after, they’ll reach Mossenway.
  EXAMPLE OF ADVENTURE CREATION
  33
  Fun Trumps Everything
  The most important rule of creating encounters – and really of
  RPGs in general – is that fun trumps everything. Fun is the whole
  point, the reason we play! Planning encounters doesn’t need to be
  about much more than finding out what the players like, and giving
  it to them in new and varied ways.
  
  EXAMPLE OF ADVENTURE CREATION
  34
  Applying for a Job
  The first scene takes place in the back room of Tignis’ shop
  in Kharston, where the PCs have agreed to meet for a job inter-
  view. Tignis is neutral to the idea of hiring them – she doesn’t
  really care who goes, as long as they can find a safe route to
  Mossenway and return. Barring catastrophic social errors,
  they should get the job. (During the interview, remember
  Beldin’s Honesty and Bad Temper, and Jax’s Shyness and No
  Sense of Humor.)
  Tignis offers to pay them each $250 upon their return, pro-
  viding they can recount their trip clearly enough for her cara-
  van master to follow their directions. This is a lowball offer for
  two weeks’ work (see p. B517 for typical monthly pay), and a
  little haggling might get her up to a fairer $350 per scout. If
  they also return with a decent map, she’ll add a bonus of $50
  each. (Note: Cartography skill defaults to IQ-5.)
  If they do not get the job, Willem asks Tignis to reconsider,
  as a favor to him. Tignis will hesitantly hire them at that point,
  but at an absolute cap of $200 each (though the map bonus
  remains intact).
  She expects them to leave at sunrise the following morning,
  and provides four riding horses, minimal camping gear, trail
  rations, and water for a week’s travel. She also gives Rory a small
  pouch containing $50 in coins, to be spent in Mossenway for
  food and water for the return trip.
  Across the Wilderness
  Mossenway is a small farming village about seven days’ ride
  from Kharston, and there is no beaten path to follow through
  the lightly wooded wilderness. The first four days of the trip are
  largely uneventful, and the players can take their time exploring
  and roleplaying their heroes. Jax may come across a hare or
  game bird within bow range, if he wants to try supplementing
  the trail rations with fresh meat.
  Some of the things they might see are a herd of deer, a gray
  she-wolf and her pup, a lake covered by bright green fronds, a
  lone farmer riding a small mule-driven cart of grain back toward
  Kharston, rain showers, and an enormous tree alone in a clear-
  ing that vaguely seems to have a human face on its trunk (there’s
  nothing magical about it; it just happens to look like a face).
  At the end of each day, Peter rolls against Rory’s Survival
  (Woodlands) skill of 12, as described on p. B223, to avoid
  having the party take 2d-4 points of injury from the day’s
  travel. If attempting to make a map as they ride, that Cartog-
  raphy roll should be made at this time, too.
  Bandit Toll Road
  Just after noon on the fifth day of travel, the party comes
  upon a faint trail cleared through a particularly dense area of
  woods – it leads east (two days’ travel to the small village of
  Hemmel) and north (toward Mossenway). Following the trail
  allows them to move much faster. If they do so, after a few
  hours, they will see a group of two men and a woman on the
  trail ahead, sitting on the ground around a small keg (and if
  they don’t take the trail, they may still encounter them – see
  The Illusion of Freedom, p. 26). Two horses graze near them. All
  are visibly armed with swords, and the woman wears leather
  armor (torso, arms), and a metal pot-helm (this is Kalee, the
  lieutenant). The other two wear cloth armor on their torsos
  and arms (bandit thugs).
  These three are local bandits who have set up on this trail
  recently, extorting a “toll” of $10 from each person who wishes
  to pass. Their victims have so far been only local farmers and
  unescorted merchants, all of whom have reluctantly paid. It’s
  likely the party can talk their way through without payment or
  confrontation, especially as they are armed and armored. If
  pushed too far, though, the bandits will attack – the two thugs
  will attempt to flee if the fight isn’t going their way, but Kalee
  will go down swinging.
  If there is no combat, Kalee takes one horse to inform the
  bandit leader, Fiselli, about the party as a possible target for
  robbing. She orders the other two bandits to follow the party
  on the second horse, and to report with the location of where
  they camp for the night. With neither Stealth nor Tracking, the
  bandit thugs will be forced to use defaults – when following
  from afar, their default Tracking (Per-5) vs. the PCs’ default
  Tracking (if the PCs are even attempting to cover their tracks);
  when closer, their default Stealth (DX-5) vs. the PCs’ Per. This
  makes it likely they will be seen, illustrating why it can be
  important to give NPCs a few noncombat skills (which Marcus
  can do at any time, if he wants them to have a better chance of
  staying undiscovered).
  Camp and Bandit Attack
  Should the party make camp that night without posting a
  watch, Marcus will roll against Rory’s IQ, due to his Common
  Sense advantage (p. B43). He makes the roll instead of Peter so
  that, in the case of failure, the players won’t wonder what the
  roll was for. On a success, he suggests to Peter that posting a
  watch might be a good idea in an area where they know ban-
  dits are active.
  If the party defeated the bandits at the toll road earlier in
  the day, then Fiselli and three thugs, searching for those
  responsible, will discover their camp. In case the party didn’t
  fight at the toll road, but were later followed, then Fiselli,
  Kalee, and the two thugs who followed them are the attackers.
  Whichever the case, just after midnight, four bandits attack
  the PCs as they sleep. Someone on watch has a chance to make
  a Quick Contest of his Per vs. the bandits’ default Stealth (DX-5).
  
  EXAMPLE OF ADVENTURE CREATION
  35
  If the watcher succeeds, he sees or hears the bandits just before
  they attack, and he can yell a warning. Otherwise, the party
  suffers total surprise, as explained on p. B393 (except for
  Beldin, who only suffers partial surprise because of his Com-
  bat Reflexes advantage).
  With some decent light from the moon, the darkness
  penalty in the camp is -4. A campfire left burning could reduce
  this value to -2 or even 0 (depending on how big the fire is).
  If the party loses the fight, the bandits will take everything
  of value they own, including the horses, leaving them to walk
  the rest of the way to Mossenway with no food or water (it
  takes two or three days to get there). Rory’s nightly Survival
  (Woodlands) skill roll will be at -5 due to having no equipment
  (see Equipment Modifiers, p. B345).
  Should the party win the fight, they need to decide what to
  do with the surviving bandits: Take them to Mossenway as
  prisoners, let them go, murder them, etc. Only Kalee will fight
  to the death – the others flee or surrender if the tide of the fight
  turns against them.
  Trapped Wolf
  Depending on how things go with the bandits, the party
  may be up for another encounter before reaching Mossenway.
  As they travel on the morning of the sixth day, they hear a wolf
  howling in distress from somewhere off the trail. If they inves-
  tigate, they find a gray she-wolf struggling to free herself from
  a thick rope trap ensnaring her front leg. Some distance away,
  a pup looks on skittishly.
  If they free the wolf, which snaps at them even as they try
  to do so, the injured wolf and her pup run away. On their jour-
  ney back to Kharston, they may catch glimpses of the wolf and
  pup following them. (Marcus has no concrete plans for this
  leading anywhere, but it’s possible it could become a minor
  story hook if the PCs are interested in it – maybe the wolves
  can be tamed, maybe they are shapeshifters, etc.)
  Reaching Mossenway
  Barring any long delays, Rory, Jax, and Beldin should
  arrive in Mossenway sometime late on the seventh day or
  early on the eighth day (depending on whether the bandits
  stole their horses). It’s a small village, with just about 100 res-
  idents, but evidence of their newly discovered silver mine is
  apparent – new wooden huts being constructed, wagons full
  of tools and tackle, the smith and his apprentices working
  feverishly to make tools, etc.
  The townspeople are a bit wary of strangers, but if the PCs
  reveal they are from Kharston and seeking to establish a trade
  route, suspicion turns to interest. The owner and discoverer of
  the new mine is a local named Bryce, a farmer who stumbled
  upon the silver vein by accident. He is sharing the profits from
  the mine with the whole town, who in turn are all pitching in
  to help get things established and running smoothly.
  The townsfolk offer the PCs a small hut in which to spend
  the night, and supply them with food, water, and gear (if nec-
  essary) for the journey home. It’s difficult to carry that many
  supplies if walking, but if they stick to the essentials, they can
  make it.
  The Trip Home
  Unless the players seem eager for their heroes to have
  more adventures before returning to Kharston for their
  rewards, the trip back is largely uneventful. As long as the
  party has survival gear, there are no more penalties to the
  daily Survival skill roll. Some of the possible encounters on
  the way home are the gray wolf and her pup, more bandits, a
  wandering minstrel walking to Mossenway from Hemmel,
  the remains of a deer ripped to pieces by something, and a
  night with dangerously cold temperatures.
  Maps
  The only map Marcus prepares beforehand is a simple
  sketch of the area where the party camps on the night of the
  bandit attack, for when the combat occurs. Other possible
  maps are the villages of Kharston and Mossenway, and the
  overland route required to travel between them. In the future,
  Marcus may create these maps, but for the first adventure, he
  doesn’t think they’ll be needed.
  POSSIBLE
  OUTCOMES: EXAMPLE
  Marcus prepares notes for the most likely outcomes to
  occur once the heroes complete the adventure.
  Party Finds a New Trade Route
  If the PCs make it all the way to Mossenway, then all the
  way back to Kharston, Tignis pays them the agreed-upon
  amount. The saddle horses she loaned to them are worth
  $1,200 each, so if the bandits stole them she will be upset –
  upset enough to arrange for the local militia to go and 
  seek out these bandits, and to offer the PCs $300 each to
  lead the hunt.
  Depending on how well they succeeded, the PCs may 
  also earn Reputation +1 (Reliable; Kharston merchants) [1],
  for being dependable. This could lead to more jobs (and
  more adventures).
  In addition to individual character points awarded for role-
  playing, one point each is awarded for successfully blazing a
  new trade route.
  Party Doesn’t Find a New Trade Route
  If the PCs do not make it to Mossenway (because they
  somehow got lost, or turned back after the bandits attacked,
  etc.), Tignis pays them nothing. If they created at least a par-
  tial map of how far they traveled, she may let them keep the
  $50 in the pouch – otherwise, she demands that back as well.
  Beyond not making any money, the party earns Reputa-
  tion -1 (Unreliable; Kharston merchants) [-1], for being unreli-
  able. This makes it harder to find future work in Kharston.
  No bonus points are awarded if the PCs fail to reach
  Mossenway, though the usual points for good roleplaying are
  still given.
  Party Refuses the Job
  If the PCs refuse the job entirely, the sequence of encoun-
  ters in this first adventure won’t occur as written. There are
  other jobs in Kharston they may choose instead, including one
  as guards for a caravan to Bluebay. That caravan will also
  encounter trouble with bandits (whose stats are already pres-
  ent in the NPC roster).
  
  RUNNING THE ADVENTURE
  36
  The scope and feel of the game have been established. The
  characters have been created and reviewed. The initial adven-
  ture has been designed. After all of the preparation, game day
  is finally here. It’s show time!
  For an example of the tips presented in this chapter, see
  Chapter 7.
  Many of the same resources already mentioned continue to
  have excellent advice when it comes time to run the game.
  THE BASIC SET
  Read over pp. B490-499 (Starting a Game Session, Running
  the Game, and Ending a Play Session) a few times. Lots of
  extremely useful information about conducting adventures is
  packed into those pages!
  OTHER BOOKS
  These two books continue to provide excellent GM guid-
  ance for running the game.
  GURPS for Dummies: Advice on acting as the GM during
  the actual adventure is in Playing the GM (pp. 209-232).
  Robin’s Laws of Good Gamemastering: The sections on
  pp. 22-33 end the book with sound advice for any GM, espe-
  cially for keeping players interested and engaged as the adven-
  ture unfolds.
  OTHER RESOURCES
  A few other resources are incredibly useful during play,
  making the GM’s job much easier.
  GM Control Sheet: This form (p. B568) provides an organ-
  ized place to record the relevant information about all of the
  PCs. It lets you have all the party attributes, reaction modifiers,
  skills, armor, weapons, and whatever else you need, all on a
  single sheet. List the PCs in order of the turn sequence
  (p. B363) to streamline further (and if the players don’t mind
  sitting in that order around the table, even better).
  GURPS GM’s Screen: It’s difficult to overstate just how use-
  ful the GURPS GM’s Screen is. Its six panels contain all the
  most important charts and tables likely to come up during
  game play: critical hits and misses, Fright Checks, skill modi-
  fiers, combat modifiers, hit locations, size and speed/range
  modifiers, maneuvers, effects of HP and FP loss, etc. As if that
  wasn’t enough, it’s also bundled with variant character sheets,
  copies of the NPC Record Cards, GM Control Sheet, Campaign
  Planning Form, and more. A truly great tool.
  GURPS Combat Cards: These cards list information and
  stats for each of the Basic Set maneuvers (but not the optional
  maneuvers from Martial Arts) on its own separate card. This
  allows players to simply choose their maneuver from the deck
  each turn without looking up anything in the rulebook.
  Available for free from warehouse23.com.
  IMPORTANT RESOURCES FOR
  RUNNING THE ADVENTURE
  CHAPTER FIVE
  RUNNING THE
  ADVENTURE
  If your group is having a good
  time, you have no problems in need 
  of fixing. Whatever you do, don’t
  disrupt your game by trying to
  shoehorn in techniques or concepts,
  from this book or anywhere else, in
  order to GM “properly” or “correctly.”
  – Robin D. Laws, 
  Robin’s Laws of 
  Good Gamemastering
  
  For someone new to acting as the GM, it can seem a daunt-
  ing task. Certainly, more work is involved than simply playing,
  but the rewards are great: The excitement of players enjoying
  an encounter you’ve created. Tales told for months, even years,
  after the game, as folks reminisce about their favorite
  moments. The simple pleasure of knowing you’ve created
  something special and fun for a few hours.
  GURPS is designed around there being a GM in the loop,
  exercising judgment. It isn’t a set of PvP or computer-game
  rules. It’s a tool kit for GMs. We design assuming that there will
  be a GM, the GM will fudge, and the players will live with it.
  BEFORE THE SESSION
  You’ve arrived at the gaming area, or are already there as
  the players begin to arrive, and there’s still some time before
  the get-together begins.
  Be Prepared: Unpack everything, and double-check to be
  sure it’s all there: your adventure and notes, copies of the char-
  acter sheets, books, maps, dice, paper, pencils, snacks, drinks
  – everything. The fewer times you need to get up or rummage
  around for something, the smoother the game will flow. If you
  haven’t already, fill in a GM Control Sheet.
  Socialize: This might seem obvious, but people sometimes get
  so focused on the adventure itself they forget they’re there to
  have fun! Once everything is set and ready to go, take some time
  to just chat and socialize. This could even help everyone stay
  focused once the session starts (and many groups enjoy frequent
  out-of-character jokes and banter as part of the game).
  Recap: If this isn’t the group’s first adventure, give a quick
  recap of what occurred in previous sessions. A lot of time can
  pass between opportunities to game. Without occasional recaps
  of prior adventures, important clues and events get forgotten.
  Answer Questions: Ask if there are any last minute ques-
  tions – about the characters, awarded points, rules, previous
  events, or whatever.
  Relax and Have Fun: Most importantly – take a deep breath
  and relax. You’ve spent a lot of time and energy to get to this
  point, so enjoy it!
  DURING THE SESSION
  At its simplest, the GM gets the ball rolling with a descrip-
  tion of what’s happening in the game world. The players then
  reply with how their PCs are reacting, which prompts another
  GM reply, and some time later, after this pattern resolves itself
  an untold number of times, the adventure draws to a close
  until next time. The trick is to make all of those little interac-
  tions add up to a unique, exciting, entertaining whole.
  Start With Some Action
  Exactly how this part of the adventure begins depends on
  how the last part ended. If it’s the commencement of a new
  campaign, the GM can start with whatever he likes. Often it’s a
  good idea to thrust the adventurers right in the thick of things:
  a car chase, running across a swaying rope bridge, being
  caught in a burning building, etc. Engage the players right
  away, and draw them into a hair-raising situation that gets
  their pulses going. There’s still plenty of time for character con-
  versation once everyone is safe.
  Pay Attention to the Players
  It’s crucial that you give players your undivided attention.
  For starters, it’s simply polite to focus on someone when they
  have the floor. If you respect the players while they are speak-
  ing, they’ll hopefully do the same for you.
  More importantly, player conversation is a gold mine of
  ideas for you to plunder and use, as mentioned in Following the
  Players’ Lead (p. 25). Many times, the players will come up with
  NPC motivations, story ideas, and plot twists that are even bet-
  ter than those you planned. Using those ideas improves the
  game for everyone, and the players are free to assume that they
  simply deduced what was coming next.
  Let the Players Have Fun
  Occasionally, in the GM’s zeal to get the story rolling, he
  doesn’t allow the players to take actions that don’t directly or
  immediately advance the plot. However, players sometimes
  enjoy just spending time interacting as their adventurers with
  other party members or NPCs. This isn’t a red flag signaling
  that the game is boring! On the contrary, it means the game
  world and its people are immersive enough to savor as ends
  themselves, and not just as a means to the plot.
  In the example adventure from the previous chapter, a few
  times occur where the heroes aren’t doing much more than
  traveling. If the players want to roleplay some of those
  stretches, having conversations around the campfire or dis-
  cussing their plans as they ride along the trail, the GM should
  not feel compelled to hurry them along.
  Despite running high-powered games where the players need
  report folders to hold their character sheets, I enjoy sessions
  where those character sheets sit to one side, the dice stay
  bagged, and the entire night consists of the players acting out
  their PCs’ lives as they see fit while I play the NPCs’ parts. Events
  are settled by the group agreeing to a dramatic consensus with-
  out any need to formalize or explicitly discuss it, because we’re
  a group of friends cooperating to tell a cool story. We still need
  rules, of course, because we also enjoy high-action sessions
  where we roll lots of dice. “Rules-light, acting-heavy for social;
  save crunch for action” has shaken out as the ideal situation for
  every gaming group I’ve had since the 1970s.
  Always Have an Encounter Ready
  Try to always have at least one encounter to bring out at any
  time. There’s a difference between the players taking time to
  enjoy themselves as their adventurers and the players flounder-
  ing around, looking for something to do. Any time the pace of
  the game seems like it’s flagging, and the players are losing inter-
  est, quickly have something happen to engage the protagonists.
  RUNNING THE ADVENTURE
  37
  THE ROLE OF THE GM
  
  This doesn’t have to be combat, or even action – just some-
  thing that occurs that they can explore or interact with. In the
  adventure outlined in Chapter 4, the “Trapped Wolf” encounter
  is an example of this. The PCs could plausibly come across that
  wolf at any point along their journey, either on the way to
  Mossenway or on the way back home, and it gives them some-
  thing to do before getting back to the main plot.
  Include Everyone
  One of the GM’s many challenges is to make sure every
  player’s character has an equal chance for time in the spotlight.
  Although it’s awkward to actually take turns, rotating from
  Player A, to B, to C, then back to A, try to provide plenty of
  opportunities and adventure hooks for all the participants, and
  to be aware of any imbalances.
  Tailor to the Adventurers
  Everything the GM needs to run exciting adventures that
  the players will love is already on their character sheets.
  Simply put, players spend points on things that they like.
  Someone who buys his PC a ST of 16 and a Broadsword skill
  of 18 probably wants to cleave his way through hordes of face-
  less enemies – let him! A player who creates a mage wants to
  cast spells. A player who designs a superhero who can fly
  wants to fly. Sometimes, it really is as simple as just giving the
  players a chance to do what they want to do.
  Fluidity is the key to success in unpredictable situations –
  and any situation where more than two free-willed people are
  using their imaginations and letting random-number genera-
  tors play a role is very unpredictable. I don’t think that any
  group should be shackled by the rules.
  I have two modes myself. One mode is very fast-moving,
  used whenever I feel that details would get in the way of story.
  When GMing in this mode, I’m likely to say things like,
  “Gimme a Per-based Soldier roll. Made it by four? Cool, good
  enough!,” even if the “official” solution would be IQ-based Tac-
  tics at -2. I go by feel: skill suits task, attribute fits situation, roll
  is made by enough to account for reasonable difficulty. Some-
  times I even say things like, “You have all the right skills at
  good levels, so sure, it works,” or, “Hey, you have a perk specif-
  ically for this – go right ahead!” Specific modifiers and often
  die rolls get sidelined. Mostly, I’m just looking to match the
  heroes’ abilities to events in a plausible way.
  The other mode is high-detail. I look up modifiers, consult
  tables, and make sure that every roll gets made. For instance,
  when somebody tosses a grenade, I apply all the modifiers for
  All-Out Attack (Determined), range, visibility, attacking an
  area, etc.; I determine exactly where it scatters to; I calculate
  concussion for each victim based on distance; I have the
  grenade-tosser roll for fragmentation on each victim, and for
  random hit location and damage for each fragment hit; and
  then I determine death, unconsciousness, knockdown, etc. by
  the books. This is still in the service of the story. In this case,
  my goal is to show how important technical precision is to
  the events at hand, how big a deal some otherwise quick
  action really is, or – in cases like that grenade example – how
  tense and/or deadly things are.
  I don’t use one or the other mode exclusively in a given cam-
  paign, though. I switch freely as the situation dictates. My goal
  is to use whichever mode does the story more justice at that
  moment in time.
  Try New Things
  There are as many ways to be a GM as there are GMs, so
  don’t be shy about trying new things. Play background music
  for atmosphere, make handouts for the players, use accents
  and different voices for NPCs, describe “segue scenes” to the
  players of things going on in the world that their adventurers
  don’t know, use props (such as costume jewelry), play by can-
  dlelight, prepare food for the group similar to what the protag-
  onists are eating. Whatever seems like it could be fun, try it!
  End With a Cliffhanger
  No advice can be universal for a game that supports so
  many different play styles, but with most groups, for most
  games, ending with a cliffhanger is a good idea. It ends things
  on a high note, with everyone interested in what’s happening,
  and builds anticipation for the next game. The PCs don’t need
  to actually be in danger, though that certainly works too; they
  just need to be on the brink of resolving something that will be
  eagerly awaited when left hanging. Opening a door to discover
  a mob of enemies on the other side, pushing the button on the
  giant machine to see what will happen, waking up handcuffed
  in a room with no memory of what led there – these kinds of
  things keep players looking forward to the next game.
  If the session is one in which the PCs completed an adven-
  ture, and are going to have some “downtime” before the next,
  ending with a cliffhanger is not recommended. The PCs need a
  little time to recuperate and possibly gain the benefits of a
  Time Use Sheet (p. B569).
  AFTER THE SESSION
  After the final scene, a few additional activities can wrap up
  the session.
  Give Out Rewards
  This is the time to dish out the rewards, based on the adven-
  turers’ actions and how successfully they advanced the story. If
  a PC helped an important NPC, he might gain a new Contact
  advantage, or even an Ally, or be given a higher Status or Rep-
  utation. More material rewards – money, gold, gems, new
  equipment, titles, land, vehicles, etc. – are always welcome.
  Whatever good things could plausibly arise from someone’s
  actions in the context of the story, award them here.
  This is also the time for bonus character points. Two or
  three points per session are average, based on each player’s
  ability to roleplay his adventurer well and advance the story.
  Even more can be awarded if this session was the culmination
  of a long or important arc.
  Ask for Feedback and Suggestions
  The best way to make a good game better is to listen 
  to what your players have to say after each game. Ask what
  they liked and didn’t like, what could have been better, what
  they want to see more of, what were their most favorite 
  and least favorite parts . . . anything you can think of.
  RUNNING THE ADVENTURE
  38
  
  Whether this feedback is quantified (“How would you rate
  tonight’s session on a scale of 1-10?”), or arrived at through
  conversation (“Has it been too long since the group had any
  combat?”), listen to it all honestly and with an open mind.
  Incorporate anything that might improve the campaign.
  Time Use Sheet
  The optional Time Use Sheet (p. B569) is explained fully on
  p. B499. If the next game session is going to pick up right where
  the current one ended, or within just a few hours or days, a Time
  Use Sheet won’t apply. However, if the time passing for the PCs
  is going to be measured in weeks or longer, filling out a Time Use
  Sheet can help them earn points toward a Language, Cultural
  Familiarity, job-related skills, or any skill they choose to study.
  Try to Improve
  This is related to asking for feedback. Being a GM is like any
  other creative endeavor – with practice, with experience,
  comes improvement. Don’t rest on the laurels of past games, or
  fall into a predictable rut. Always try to make the next session
  just a little better.
  Record the Game Events
  Keeping a current record of the campaign can help every-
  one remember NPC names, important events, plot develop-
  ments, etc. Try to update these notes soon after the game,
  while memories are still fresh. Many GMs share these sum-
  maries with the players via email, wiki, etc.
  RUNNING THE ADVENTURE
  39
  As related encounters make an adventure, so do related
  adventures make a campaign. A campaign can last for months,
  even years, of real time, and cover even more time in the game
  world. Much of the advice already given for adventures applies
  to campaigns as well, just on a larger scale.
  Think Big
  Take advantage of the broader scope of a campaign by
  dreaming up truly epic challenges for your players. “Earn
  enough credits to travel to the next starport” is a goal for a few
  adventures. Earning enough to buy a planet-hopping starship
  is probably grand enough for a campaign goal – and earning
  enough for a fleet of interstellar traders definitely is!
  The example adventure from Chapter 4 could be the first
  step on a long road for the PCs. Maybe the bandits they
  encounter are just the tiniest part of a vast network, run by a
  powerful count who becomes the PCs’ enemy over the course
  of dozens of adventures. Perhaps they’ll find themselves in the
  middle of an Infinity Patrol mission, and end up traveling to
  other worlds! There are no limits.
  Follow the Flow
  The adventures that make up a campaign should flow nat-
  urally into one another, as the encounters in an adventure do.
  When creating the next adventure, use loose ends from the
  previous one as the seeds. If the PCs foil a bank robbery, any
  robbers not captured might want revenge. If they find a new
  trade route, others may want to hire them as scouts. If they
  slay a dragon and rescue a princess, they may be rewarded
  with titles and land. Whenever an adventure ends, brain-
  storm various ways the story could continue from there, and
  pick the one that sounds the most fun. Thwarted plans,
  defeated villains, and discovered schemes all provide hooks
  for further developing the larger story.
  Occasionally Ignore the Flow
  The game world will seem much more vibrant and alive if
  the players don’t always feel like the universe revolves around
  their group. Other important people in the setting should have
  their own agendas, and pursue them whether it involves the
  PCs or not. Not every adventure needs to revolve around the
  campaign goals.
  Expect Changes
  No matter what ideas you start with, be prepared to modify
  them as the campaign unfolds. You may envision a series of
  adventures that have the protagonists exploring long-lost cities;
  rescuing ancient artifacts from obscurity, ruin, and profiteers;
  and eventually leading them to the mythical city of Atlantis. The
  players, however, may enjoy being black-market artifact poach-
  ers, trying to stay one step ahead of the authorities and selling
  the items they find. The campaign can still culminate with the
  discovery of Atlantis, but it will be as “the final great score”
  instead of “the greatest archaeological find of the century.”
  As always, discussing expectations and what everyone
  wants out of the campaign before starting goes a long way
  toward reducing miscommunication and disappointment.
  Vary the Downtime
  The in-game time between encounters in an adventure is
  usually measured in hours or days. The time between adven-
  tures can be measured in weeks, months, even years or longer!
  A campaign’s scope can be truly epic. Maybe you want to fol-
  low a group of heros from their humble beginnings, through
  the height of their careers, and well into their golden years for
  one last adventure. The campaign could begin with the PCs as
  young amateurs for a few adventures, then skip ahead by 10
  years, with them receiving points to improve their characters.
  After a number of adventures as seasoned veterans, another 10
  or 20 years pass by, followed by more point spending, and even
  more adventures.
  Supernatural and superhuman protagonists can extend a
  campaign’s scope even more. A clan of PC vampires who
  awaken and feed, then return to extended “hibernation,” could
  cover centuries of in-game time in just a few adventures. The
  adventurers can change as well, but share similar circum-
  stances across the years, such as adventures following a group
  of detectives at an agency’s founding in the Old West, then a
  different group working for the same agency in the modern
  day, and finally a third group in the future, spearheading the
  agency’s first lunar contract.
  RUNNING THE CAMPAIGN
  
  Combat is a fundamental part of most RPGs, challenging and
  thrilling players with the threat of PC injury or even death. 
  The GURPS combat rules are flexible, consistent, and extremely
  customizable! Being well-versed in them keeps things humming
  along once trouble erupts.
  Combat rules receive a lot of attention because,
  in most games, they come up much more frequently
  than all other rules, and because the effects of com-
  bat are both immediate and possibly fatal, for PCs.
  Rare is the failed Accounting skill roll that costs
  someone his life; not so for a failed Dodge or HT roll.
  Although most of this advice is useful for players
  seeking to expand their grasp of martial tactics, its
  main target remains the GM: to help him choose
  options that match the combat system to his group’s
  style of play, to take a detailed look at the many ways
  NPC fighters can be a challenge to the PC party, and
  to give him tools for adjusting enemy effectiveness,
  both up and down, as battles play out.
  COMBAT
  40
  The GURPS combat rules can be tweaked in a myriad of
  ways, from extremely rules-light all the way up to options for the
  tiniest details. The system uses a modular design, though, so you
  can easily add options you want while ignoring those you don’t.
  LETHALITY
  The most basic question is, “How deadly should combat
  be?” Not using certain options makes it much easier for PCs to
  survive; using others makes combat more lethal.
  Accumulated Wounds and Last Wounds (p. B420): These
  options adjust the rules for crippling limbs and extremities.
  Accumulated wounds make it easier to cripple these locations
  by tracking the total damage done (instead of only damage
  done in a single blow). Last wounds let someone wounded
  below 1/3 HP effectively ignore all further hits to the limbs or
  extremities, unless they are especially telling.
  Bleeding (p. B420): Increases lethality by allowing wounds
  to continue bleeding and causing injury (straight HP loss, with
  no damage type), even after a fight is over (unless the bleeder
  is successfully treated with First Aid). This isn’t very cinematic,
  but it makes the effects of violence even more dangerous for
  realistic games. It’s also good justification for those weak NPCs
  who collapse to the ground at 0 HP and die after the battle. See
  Severe Bleeding (Martial Arts, p. 138) for even more pro-
  nounced effects.
  I do tend to assume, when writing GURPS rules, that most
  deaths from sharp and pointy things are either of the “5 HP
  injury, or enough to get -1 to the HT roll for bleeding, followed
  by bleeding to death” variety or the “10 HP injury, or enough
  to pass out and get -2 to the HT roll for bleeding, followed by
  bleeding to death quickly” type. I regard random street and
  prison stabbings that take the victim from full HP to -HP in
  one shot as ultra-cinematic. Most stabbing deaths = bleeding to
  death, possibly from internal bleeding, possibly hours after the
  injury occurred.
  Dying Actions (p. B423): If an important character dies, the
  GM can allow him one final action before he collapses. Often,
  this is to make one last attack on his killer!
  Mortal Wounds (p. B423): If someone makes a HT roll to
  avoid death and misses by 1 or 2, he suffers a mortal wound
  instead of dying outright. Though incapacitated and still in
  danger of dying, there’s at least a chance he’ll live. This situa-
  tion gives you an opportunity to save an important villain left
  for dead, or a PC who needs a break.
  Death from real-life combat injuries is generally a conse-
  quence of blood loss minutes to hours after injury, organ fail-
  ure hours to days after injury, or infection days to weeks after
  injury. The rules for this are Bleeding, Mortal Wounds, and
  Infection, respectively. Remember that GURPS combat is sec-
  ond-by-second, not minute-by-minute, and that the effects
  considered are only those that matter now – not the ones that
  might happen afterward. A mortal blow can still leave the
  fighter able to fight; he just dies later.
  CUSTOMIZING COMBAT
  CHAPTER SIX
  COMBAT
  One of Many Tools
  It shouldn’t be assumed that combat is anything more than just
  one of many equal tools because it gets its own chapter, or that all
  GURPS games focus on violence and fighting! It’s absolutely possible
  to use GURPS for entire campaigns that never have a single fight, rely-
  ing only on the rules for activities like skill application and social inter-
  action. That would be an unusual campaign for the hobby as a whole,
  regardless of rules system, but if it describes your campaign, you can
  skip this chapter. You should also check out Social Engineering!
  
  Permanence of Death: An important factor in the discussion
  of combat lethality is how permanent death is in the setting.
  For magical realms where heroes can be easily resurrected, or
  futuristic settings where incredible technology can return the
  dead to life, the threat of dying in battle loses some of its sting.
  However, when death means creating a new adventurer, the
  stakes are higher.
  Unconsciousness (p. B423): There are many ways to be ren-
  dered unconscious, things like failing the immediate HT roll
  for going below 0 HP, some critical hits, failing a knock-
  down roll by 5 or more, being at or below -1¥FP, etc. Uncon-
  sciousness is a valuable tool for capturing the party alive, or
  defeating them without killing them.
  SELECTING OPTIONS
  With such a variety of options to choose from, new GMs
  often ask which they should use. Below are some very con-
  crete groupings, from few to many. Nonetheless, just
  because every option can be used doesn’t necessarily mean
  it should be.
  I put all of those rules in there so that 1,000 different
  gaming groups could run 1,000 different, custom-fitted
  rules-light versions of GURPS. I didn’t really imagine that
  there would be people who would want to turn on all of the
  switches. I saw my work as setting out a really complete
  buffet. But I guess some people just have to have some of
  everything, even if 90% of it doesn’t taste good together
  and they only need 10% of the calories.
  Speed of Play vs. Realism
  The spectrum along which the combat options run has
  “fewest options, fastest play, least detail” on one end, and
  “most options, slowest play, greatest detail” on the other. The
  fewer options used, the quicker resolution will be – but as more
  are added, scenes become filled with more detail.
  Deciding how to categorize these rules is very subjective.
  Still, the lists can guide the new GM toward full rules familiar-
  ity; they offer a starting point for customization at “Fewest
  Options . . .” and provide a path to follow. (Each list expands
  the suggested rules of the previous one.)
  Once you find a category that fits your group, and the play-
  ers are happy with the way combat works, there’s no reason to
  continue adding options. These categories certainly aren’t “all
  or nothing” either; even after finding the point where your
  group is most comfortable, you could pick one or two interest-
  ing rules from the next category up and give them a try.
  Fewest Options, Fastest Play, Least Detail
  This is the minimum needed to run any kind of combat.
  There’s not a lot of detail, but turns go extremely quickly,
  and you can embellish combat descriptions with whatever
  fits the scene.
  Maneuvers (pp. B363-366) – all but Change Posture, Evalu-
  ate, and Feint.
  Movement (pp. B367-368) is abstract, with no movement
  points.
  Hit Location (p. B369) defaults to torso.
  Attacking (p. B369) follows the usual “attack, defense, dam-
  age” series of rolls.
  Unarmed Combat (p. B370) – striking and grabbing only.
  Dodging, Blocking, and Parrying (pp. B374-377) – only one
  parry and one block per turn.
  Damage and Injury (pp. B377-381), excluding wounding
  modifiers, shock, major wounds, and stunning.
  Critical Hits and Misses (pp. B381-382).
  Dying Actions (p. B423).
  Light and Quick
  Although previously sacrificed for speed (particularly
  wounding modifiers), including these basic options can main-
  tain a quick pace while increasing combat possibilities.
  Maneuvers (pp. B363-366), including Change Posture, Eval-
  uate, and Feint.
  Unarmed Combat (p. B370-372), including grappling, slam,
  and shove.
  Rapid Fire (pp. B373-374).
  Wounding Modifiers and Injury (p. B379).
  Shock (p. B419).
  Size and Speed/Range Table (p. B550) for ranged attacks.
  Balanced
  These options bring the game to a good balance between
  detail and speed. Many of these rules cover special cases not
  likely to come up frequently. Options included from Martial
  Arts are generally those not requiring additional die rolls.
  Extra Effort in Combat (p. B357) – Flurry of Blows, Feverish
  Defense, and Mighty Blows.
  Deceptive Attack (pp. B369-370).
  Rapid Strike (p. B370).
  Acrobatic Dodge and Sacrificial Dodge (p. B375).
  Parrying Heavy Weapons (p. B376).
  Retreat, Dodge and Drop, Sacrificial Dodge and Drop, and
  Diving for Cover (p. B377).
  Flexible Armor and Blunt Trauma (p. B379).
  Knockback (p. B378).
  Hurting Yourself (p. B379) when attacking unarmed.
  Hexes (pp. B384-385) instead of abstract movement.
  COMBAT
  41
  GURPS Martial Arts
  A lot of combat rules in the Basic Set were deliberately
  left vague on the grounds of “it works well enough for those
  who don’t want nit-picking detail in their games.” We
  assumed that readers who cared about fine details would
  get Martial Arts when it came out.
  All the expanded and new rules in Martial Arts easily
  double the size of the core combat system! If you’re new
  enough to the game to still be feeling around the Basic Set,
  the extras found in Martial Arts will likely be a bit over-
  whelming. Let the group get a solid grasp of how combat
  plays out with the core rules before incorporating new
  options from Martial Arts.
  
  Wild Swings (pp. B388-389).
  Reach of a Weapon (p. B388).
  Close Combat (pp. B391-392).
  Surprise Attacks and Initiative (p. B393).
  Visibility (p. B394).
  Hit Location (pp. B398-400).
  Striking at Weapons (pp. B400-401).
  Special Melee Weapon Rules (pp. B404-406) – cloaks, flails,
  stuck picks, shield bash, shield rush, etc.
  Shotguns and Multiple Projectiles (p. B409).
  Special Ranged Weapons (pp. B410-411) – bolas, flaming
  arrows, hand grenades, etc.
  Dual-Weapon Attacks (p. B417).
  Major Wounds (p. B420).
  Knockdown and Stunning (p. B420).
  Crippling Injury (pp. B420-423).
  Postures (p. B551), along with attack and defense modifiers.
  From Martial Arts:
  All-Out Attack (Long) (pp. 97-98).
  Change Posture (p. 98) – diving forward, falling backward,
  and acrobatic stand.
  Committed Attack and Defensive Attack (pp. 99-100).
  Feint (p. 100) – specifically, resisting feints with the best
  Melee Weapon or unarmed combat skill.
  Who Draws First? (p. 103).
  Acrobatic Movement (pp. 105-107).
  Pummeling (p. 111).
  Telegraphic Attack (p. 113).
  Sprawling (p. 119).
  Tricky Shooting (p. 121) – prediction shots and ranged feints.
  Cross Parry and Supported Parry (p. 121).
  Limiting Multiple Dodges and Multiple Blocks (p. 123).
  Parrying with Two-Handed Weapons (p. 123).
  Multiple Attacks (pp. 126-128).
  Extra Effort in Combat (p. 131) – Giant Step, Great Lunge,
  Heroic Charge, and Rapid Recovery.
  New Hit Locations (p. 137) – ear, jaw, joints, nose, spine,
  and veins and arteries.
  Improvised Weapons (p. 224).
  Most Options, Slowest Play, Greatest Detail
  These further options are for “full bells and whistles,” and
  result in the most detail and complexity at the cost of some
  speed. This is definitely not to say that using some or all of
  these slows combat to a crawl. Experienced GMs and players,
  who spend time to learn and use these rules as they do any oth-
  ers, will find they become second nature.
  Familiarity (p. B169).
  Combat techniques (pp. B230-232).
  Facing (p. B385).
  Movement and Facing (pp. B386-387).
  Shooting Blind (p. B389).
  Hitting the Wrong Target (pp. B389-390).
  Overshooting and Stray Shots (p. B390).
  Opportunity Fire (p. B390).
  Pop-Up Attacks (p. B390).
  Defending in Tactical Combat (pp. B390-391) against attacks
  from the side, the rear, and “runaround” attacks.
  Changing Posture in Armor (p. B395).
  Attack from Above, Combat at Different Levels (pp. B402-403).
  Firing Upward and Downward (p. B407).
  Malfunctions (p. B407).
  Cover (pp. B407-408).
  Overpenetration (p. B408).
  Special Rules for Rapid Fire (pp. B408-410) – spraying fire,
  suppression fire, etc.
  Optional Rules for Injury (p. B420) – bleeding, accumulated
  wounds, and last wounds.
  From Martial Arts:
  Realistic Techniques and Cinematic Techniques (pp. 65-89).
  Targeted Attacks (p. 68).
  Using Your Legs (p. 79) for grappling.
  Combinations (pp. 80 and 109).
  Postures, Hit Locations, and Techniques (pp. 98-99).
  Evaluate (p. 100).
  Beats, Ruses, and Defensive Feints (pp. 100-101).
  Quick-Readying Nearby Weapons (p. 104).
  Move and Attack (p. 107).
  Stop Hits (p. 108).
  Defensive Grip and Reversed Grip (pp. 109-112).
  A Matter of Inches (p. 110) for further granularity of weapon
  Reaches.
  Shin Kicks, Shoves with Weapons, Slams with Long
  Weapons, Striking at Shields, and Tip Slash (pp. 112-113).
  Close-Combat Options (pp. 114-119).
  Quick-Shooting Bows and Rapid Strike with Thrown
  Weapons (pp. 119-121).
  Multiple Parries (p. 122) against attacks from the side.
  Restricted Dodge Against Firearms (p. 123).
  Parries with Legs or Feet (p. 123).
  Retreat Options (pp. 123-124) – dive, sideslip, and slip.
  Harsh Realism for Unarmed Fighters (p. 124).
  Riposte and Unbalanced Parries (pp. 124-125).
  Partial Injuries and Extreme Dismemberment (p. 136).
  Severe Bleeding and Lasting and Permanent Injuries
  (pp. 138-139).
  Weapons of Quality (p. 216).
  Speaking as a guy who has spent 25 years playing GURPS,
  16 years working on it, and two years revising the GURPS
  Basic Set, I’d say that if you rate each of “fast-moving” and
  “realistic” from 1-10, we shot for and attained something like
  6.5+6.5. I don’t believe that 10+10 is possible; most games
  would probably have an aggregate score of 11, or dead-aver-
  age, and typically break 9+2 if they favor ease of play, 5.5+5.5
  if they shoot for balance, or 2+9 if they try to be reality simu-
  lators. I’m saying that GURPS shot for balance and beat the
  average by at least a point in each category. People make a big
  deal out of its realism because most games opt for that 9+2,
  and a 6.5 in realism is many orders more realistic than a 2.
  My point is that the game can balance speed and realism as
  SJ claims, and be more realistic than most games as its fans
  often claim, without being as realistic as possible. There will as
  a result be many places where it tosses realism because it
  would be too expensive in its impact on playability.
  COMBAT
  42
  Options adjust speed of play and realism.
  
  SPEEDING UP COMBAT
  Even using many options, combat can still run smoothly
  and efficiently as long as you prepare beforehand, outside of
  combat, and players try to plan what they will do once their
  turn comes around.
  For more on speeding up the action, see Faster
  Combat on p. 126 of Martial Arts for general advice, and
  Shooting Made Easy on p. 36 of Action 2: Exploits for
  advice specific to firefights.
  Practice and Arena Matches
  The single most important factor in helping fight scenes
  move along quicker is simply to practice using the combat sys-
  tem. This doesn’t have to be confined to the usual game time.
  The GM and players can get together at any time just to play
  some “arena matches.”
  An arena match is a game with no pretense of roleplay
  attached to it – simple warriors with nothing but combat
  skills and advantages are built on similar point totals, outfit-
  ted with armor and weapons, and turned loose in an arena of
  the GM’s making. If you want a refresher on firearms rules,
  are thinking about incorporating ripostes into your game, or
  want to see how effective magic can be in various combat sit-
  uations, then those are the kinds of characters that battle it
  out. Whatever area of the rules you want to explore and prac-
  tice, those are the rules the arena fighters use.
  HEX MAPS AND COUNTERS
  Using a hex map and counters (or cardboard or metal fig-
  ures) can add a lot to the game, and things like facing and
  movement points assume them. Although the action of an RPG
  takes place in the imagination, having a physical map of the
  scene – along with visible representation of where everyone is
  positioned and how they are facing – gives the whole group a
  common overview of what’s happening.
  Theoretically, sure . . . avoiding a map streamlines certain
  things: You can fudge or simply ignore all the rules that
  invoke distance, facing, footing, etc., and of course you get to
  avoid the physical complexity of maps, counters, smudgy
  markers, and the cat stepping on Og the Ogre’s head. How-
  ever, all of this amounts to “simplifying the game,” which isn’t
  at all the same as making combat sharper and deadlier.
  Having a map actually addresses that problem. No longer
  are such things as how far Mr. Defense can retreat before he
  must stand his ground, flanking, ganging up, and whether
  somebody was taken out by an obstacle or a stray shot debat-
  able or subjective. Players and GM alike can work toward these
  goals in a direct, fair way. Experience tells me that when the
  players can see which ninja is Ninja #5, and gang up on him,
  circle him, push him toward the wall, and shove him down a
  flaming pit of spikes . . . well, Ninja #5 goes down faster. In
  essence, a map serves as both a visualization aid that helps
  many players make decisions and as a tool that makes it easier
  to use advanced options that increase the odds of a telling hit.
  I realize that this seems counterintuitive to some gamers.
  There’s a strong meme in gamer culture that “tactical” systems
  with maps and minis are fussy, and string out combat for
  longer than necessary. This is true when those options reduce
  the odds of telling hits by making it easier to retreat, run away,
  take cover, etc., or in games where the maneuvering is just
  extra steps so that you can get next to some guy, roll vs. Kill
  Enemy, and win. But in general, GURPS combat gets deadlier
  on a map, because a map sets harder limits on defensive
  options (you can’t just assume a good facing or enough dis-
  tance to retreat), and is necessary to take full advantage of
  many offensive options. Of course, the GM can just hand-wave
  things like “Okay, he’s retreated as far as he can” or “Right, you
  flank him,” but players are less likely to pursue those tactics if
  they can’t visualize the field of battle.
  Hex maps can be photocopied or printed from a computer,
  with multiple pages taped together for larger areas, but many
  gamers use vinyl maps with pre-printed hexes and erasable
  markers. Features of the battlefield can be drawn in quickly
  and later erased, leaving the hex map clean and ready for the
  next battle.
  If you want to print your own maps and counters, check out
  Floor Plan 2: The Great Salt Flats (a set of blank hex map
  sheets from Steve Jackson Games) and the Cardboard Heroes
  line (also from Steve Jackson Games). Both of these are avail-
  able at warehouse23.com.
  COMBAT
  43
  There are many ways to boost or lower someone’s combat
  effectiveness. Attributes, skills, and advantages play an impor-
  tant part, but even a weak or average combatant can tip the
  odds with the right maneuvers and tactics.
  People who fight together are also much more effective. For
  examples, see the Teamwork perk (Martial Arts, p. 52), Never Go
  Alone (Gun-Fu, p. 12), Spotters and Observers (Tactical Shooting,
  p. 27), and even Coordinated Attacks (Powers, pp. 165-166).
  The descriptions here are only a brief overview! Individual
  entries in the Basic Set and Martial Arts have full details, spe-
  cial cases, and exceptions.
  USEFUL COMBAT ATTRIBUTES
  The two most important combat attributes are ST and DX.
  INFLUENCING COMBAT
  Practice as a Backup Plan
  These pure combat games are also good for when a
  player is running late or absent. Instead of postponing or
  playing something else, the group can practice using com-
  bat options and trying out things they’d like to see in the
  game without any lasting harm to their PCs.
  
  ST and not DX is the God Score for warriors in GURPS. It
  determines what weapons (of any TL) you can manage without
  massive penalties, how deadly your low-tech weapons will be,
  how much armor you can wear and still move, how many hits
  you can take (HP = ST for most people), and when the fight
  finally moves to grappling, as most fights do, whether you’ll be
  able to break free or simply be pinned and have horrible things
  done to you.
  In my experience, most players buy up ST because they know
  that encumbrance will whack them otherwise. Only getting to
  use 80% or 60% of your Basic Move, taking -1 or -2 to Dodge, and
  having -1 or -2 on a bunch of adventuring skills like Climbing and
  Stealth generally doesn’t appeal to gamers. If combat figures in
  the campaign, they also know that inadequate damage – whether
  due to being too weak to hit hard or being too weak to carry a big
  gun – is frustrating, and that precision can’t always compensate.
  Most of the more rules-aware players I know like ST 13.
  You get the full 1d of thrust. You’re rolling 2d for swing. You
  have enough BL to carry light armor, shield, and weapon (at
  low TL), or vest, sidearm, long arm, and reloads (at high TL),
  and still have no encumbrance. In my last high-tech campaign,
  even the desk-jockey raised his ST to this level.
  Moreover, survival relies a fair bit on ST. A ST 10, HT 8
  character can wear 56% more armor than a ST 8, HT 10 char-
  acter, which at modest Wealth translates into about DR 3-4 vs.
  DR 2 at low TLs. The stronger character also has +2 HP. Faced
  with other ST 8-10 fighters doing around 1d damage, the
  stronger one won’t even need to roll HT most of the time. At
  higher TLs, most weapons kill in one shot if they pierce your
  armor, almost regardless of HT, so the ST to move whilst lug-
  ging trauma plates becomes vital.
  Thus, while it makes little sense for a warrior to have less-
  than-average DX or HT, it makes almost no sense for him to
  have below-average ST. There are plenty of paths to “effective
  warrior,” but few of them lead through the land of reduced
  ST. Which is as it should be . . . I can’t think of a type of seri-
  ous, career warrior that wasn’t consistently chosen for physi-
  cal power.
  If an attack comes in unexpectedly and you’re really agile,
  you’re going to be able to react regardless of why you didn’t
  anticipate the attack. After ST, DX owns combat; all the other
  stuff just helps low-DX people compete with high-DX people.
  While ST has the primary role in determining a fighter’s
  overall combat effectiveness, DX allows for higher skill levels
  and improved dodges. Depending on which attributes are
  emphasized, different warrior types are possible. For exam-
  ple, with the same 90 points you could buy ST 15, DX 12 for
  lots of Hit Points, ability to wear heavy armor, and high dam-
  age with low-tech weapons; ST 11, DX 14 for higher skill lev-
  els, increased chances to target specific hit locations, and
  ability to rely on maneuvers such as Deceptive Attack; or ST
  13, DX 13 for a good balance of both.
  For “monster” type opponents (dragons, rocs, etc.), DX and
  HT should remain around average human levels, to avoid crea-
  tures that are virtually unkillable (unless, of course, they are
  supposed to be virtually unkillable). For humanoid opponents,
  attributes can just roughly mirror those of the PCs they’re
  meant to oppose.
  Big toughies can have almost any ST and HP you like, but DX
  is 9-11; HT is 12-13; Dodge is at most 9; and DR is 2-4 naked, per-
  haps going to 6 in armor. Every point you go above these aver-
  ages pushes the monster further into “intentional PC-killer”
  territory – especially if those improvements are in multiple areas
  and/or come with more ST and HP. ST and HP by themselves
  are relatively safe, believe it or not. ST only matters if it hits
  (GURPS makes it pretty easy for PCs to avoid that), and HP sim-
  ply soak damage; they don’t prevent it from happening.
  USEFUL COMBAT SKILLS
  To be a challenging opponent, able to defend himself and
  successfully overcome enemies, an individual needs at least
  some combat skills. A variety will be more effective in more sit-
  uations, but even one or two skills is better than none at all.
  Unarmed
  Fighters completely untrained in any unarmed skill roll
  against DX to hit with a punch, or against DX-2 to hit with a kick
  (and must roll vs. DX to avoid falling if the kick misses, per
  p. B274). Six unarmed skills improve a combatant’s chances
  of winning in a conflict. Each one has different specific
  effects; they increase damage inflicted, allow for improved
  attacks and defenses, or both. Additionally, there is no “off-
  hand” in unarmed combat. For extra-realistic options for
  unarmed fighters, see Harsh Realism for Unarmed Fighters
  (Martial Arts, p. 124).
  Boxing (p. B182): Improves punching damage, but not
  kicking. Allows unarmed parrying of two different attacks
  per turn, one with each hand, and gives an improved
  retreating bonus when parrying. Boxing skill is not
  affected by encumbrance.
  Brawling (p. B182): Replaces DX for attacks with “nat-
  ural weapons” such as teeth, claws, horns, etc., as well as a
  sap or blackjack. Enhances damage for all Brawling
  attacks, and allows unarmed parrying of two different
  attacks per turn, one with each hand. Though spending only 1
  point in Brawling (to reach DX level) neither enhances damage
  nor aids parrying, it does permit use of techniques that have no
  DX default, such as Elbow Strike (p. B230) and Knee Strike
  (p. B232). Brawling does not aid skill with any kind of grappling!
  This is the most common unarmed skill for “fodder” NPCs.
  COMBAT
  44
  Scaling for High-Powered Games
  The attribute score suggestions assumes a game mostly
  rooted in “reality,” around the 150- to 200-point level, with
  characters similar to real-world humans (even if fighting drag-
  ons or wielding psionic abilities). The guidelines need to be
  scaled up for higher point totals. A ST of 14 is good for 200-
  point fantasy, but awful for supers where the villains routinely
  have ST 40 or more. A shambling zombie with DX 9-11 and DR
  6 is a challenge for mundane 150-point investigators, but won’t
  even slow down a group of 1,000-point heroes. See the appro-
  priate genre book for suggestions on attribute levels.
  
  Judo (p. B203): Used to throw opponents, improve grap-
  pling options, and reduce the chance of injury when parrying
  unarmed against an armed foe. Allows unarmed parrying of
  two different attacks per turn, one with each hand, and gives
  an improved retreating bonus when parrying. Suffers a penalty
  equal to the person’s current encumbrance level. A Judo throw
  cannot be used on an opponent with more than twice the
  attacker’s ST.
  Karate (p. B203): Increases attacking options, and reduces
  the chance of injury when parrying unarmed against an armed
  foe. Allows unarmed parrying of two different attacks per turn,
  one with each hand, and gives an improved retreating bonus
  when parrying. Suffers a penalty equal to the person’s current
  encumbrance level.
  In very basic game terms, ignoring a few small details, Brawl-
  ing is “fighting with all body parts and a small damage bonus”
  while Karate is “fighting with all body parts and a large damage
  bonus.” The damage bonus is what bumps Karate up two diffi-
  culty steps. If you take out “all body parts” but keep the damage
  bonus, you get Boxing; in essence, Boxing is defined as “fighting
  with just the hands and a large damage bonus.”
  Sumo Wrestling (p. B223): Increases the chance to break
  free from a grapple, and improves your odds with a grapple,
  slam, shove, or takedown. Unarmed parries require both
  hands, at a penalty against kicks and weapons.
  Wrestling (p. B228): Increases the chance to break free from
  a grapple, and improves your odds with a grapple, takedown,
  choke, neck snap, or pin. Unarmed parries require both hands,
  at a penalty against weapons. Unlike Sumo Wrestling, kicks
  can be parried without penalty.
  As Unarmed Combat (p. B370) says, you can use your best
  grappling skill – any of Judo, Sumo Wrestling, or Wrestling –
  for a grab, grapple, or takedown. Judo has no effect on ST.
  Slams are the specific territory of Brawling and Sumo
  Wrestling, and only Sumo Wrestling helps with a shove.
  This is an effort to diversify skills: Judo lets you parry well,
  make throws, and grab people, and has favorable defaults to
  locks and holds. Wrestling lets you grab people and take them
  down, gives a ST bonus for pins, and gives defaults to several
  locks and holds as well. Sumo Wrestling lets you grab people,
  slam into them, shove them, and knock them around, and gives
  a ST bonus, but doesn’t teach locks or holds. Pick the one you
  plan to use the most; they’re different styles of close combat.
  Weapons
  Many weapon skills default from other skills, but it’s best to
  put points directly into the weapon skill likely to be used. This
  increases both the chance to hit and the chance to parry (for
  melee weapons). A useful list of all weapon skills appears on
  p. 55 of Martial Arts. See also Martial Arts, Low-Tech, High-
  Tech, and Ultra-Tech for many more weapons beyond those in
  the Basic Set (though the supplements introduce no additional
  skills to use them).
  Shields and Cloaks
  With the Shield (p. B220) or Cloak (p. B184) skill, a carried
  shield or a handheld cloak can be used for both melee attacks
  and blocking as an active defense.
  A cloak is used like a shield – as implied by both the Cloak
  skill write-up and the cloak’s listing under Shields (p. B287). It
  gives DB only when partly wrapped around one arm or held in
  one hand, and then used to brush incoming weapons aside
  (either on its own or by padding the hand enough to allow it to
  assist) and to partly obscure the body from frontal attackers.
  Worn on the back, it doesn’t do much at all. Well, a heavy
  cloak might add +1 to DR from the rear, but there’s no DB.
  In any event, you can only benefit from one source of hand-
  held DB, whether it comes from a shield per se, a buckler, or a
  cloak. These things never “stack.” Magical DB does, but that’s
  not handheld.
  Other Skills
  These skills support and enhance combat effectiveness. Many
  are cinematic or supernatural, and may not be available to PCs
  (GM’s option), but tougher NPCs might have one or two.
  COMBAT
  45
  Comparison of Unarmed Combat Skills
  Effect
  Boxing
  Brawling
  Judo
  Karate
  Sumo Wrestling
  Wrestling
  Improves punch damage
  Yes
  Yes
  No
  Yes
  No
  No
  Improves kick damage
  No
  Yes
  No
  Yes
  No
  No
  Improves grappling*
  No
  No
  Yes
  No
  Yes
  Yes
  Different attacks parried
  2
  2
  2
  2
  1
  1
  Parry vs. kicks
  -2
  0
  0
  0
  -2
  0
  Parry vs. non-thrusting weapons
  -3
  -3
  0
  0
  -3
  -3
  Retreating bonus
  +3
  +1
  +3
  +3
  +1
  +1
  Affected by encumbrance
  No
  No
  Yes
  Yes
  No
  No
  * How grappling improves depends on the skill: Judo skill can be used in place of DX for any close combat DX roll
  except drawing a weapon or dropping a shield, and allows throwing an opponent; Sumo Wrestling benefits grapples, slams,
  shoves, and takedowns; and Wrestling benefits grapples, takedowns, chokes, neck snaps, and pins.
  
  Acrobatics (p. B174): Rolled against when attempting an
  Acrobatic Dodge (p. B375) and many combat maneuvers from
  Martial Arts (Acrobatic Attack, Acrobatic Movement, cham-
  bara fighting, and others). Also used by beings with four or
  more legs to pounce (see Pounce, p. B372).
  Blind Fighting (p. B180): Negates or lowers penalties for
  darkness, blindness, or fighting an invisible foe. Enemies
  skilled at Blind Fighting, when PCs are not, will have a huge
  advantage if attacking in darkness.
  Breaking Blow (p. B182): Grants an armor divisor to cer-
  tain unarmed attacks, after spending 1 FP and many seconds
  of concentration.
  Fast-Draw (pp. B194-195; Martial Arts, pp. 103-104): Per-
  mits readying weapons without a Ready maneuver, or speeds
  up reload times for ranged weapons. Particularly useful for
  increasing the speed at which NPC ranged fighters can fire
  muscle-powered weapons at the party, or for reloading
  firearms to continue shooting. See also Who Draws First?, Fast-
  Draw from Odd Positions, and Quick-Readying Nearby Weapons
  on pp. 103-104 of Martial Arts.
  Fast-Draw means getting a weapon out in so little time that
  you can do the same attacking, defending, and movement that
  you could do had you had it in your hand the whole time.
  That’s borderline-cinematic, and given no default for the same
  reason that Parry Missile Weapons has no default.
  Flying Leap (p. B196): By spending 1 FP, you can triple
  jumping distance (see Jumping, p. B352). Improves damage
  and knockback when jumping into an opponent.
  Immovable Stance (p. B201): Heightens defense against
  knockback, knockdown, and Judo attacks.
  Innate Attack (p. B201): Increases the chance to hit with
  inherent ranged attacks, such as those from Affliction,
  Binding, Innate Attack, magic, etc. Nearly any caster with a
  Missile spell benefits from this skill.
  Kiai (p. B203): A shout that, by spending 1 FP, can mentally
  stun an opponent.
  Leadership (p. B204): Grants possible morale and self-con-
  trol bonuses to friendly combatants if the leader gives orders
  and encouragement in place of actively fighting.
  Mental Strength (p. B209): Replaces Will when resisting
  magic, psionics, Kiai, and similar attacks.
  Parry Missile Weapons (p. B212): Allows a chance to parry
  thrown or missile weapons with a melee weapon, or even
  hands. If combined with Enhanced Time Sense, the combatant
  can try to parry bullets!
  Power Blow (p. B215): Double (or even triple) ST for the
  purpose of figuring combat damage by spending 1 FP. An
  enemy with this skill is capable of some devastating attacks.
  Pressure Points (p. B215): Ability to disable opponents
  merely by touching them with an unarmed attack or blunt
  (crushing damage) weapon.
  Pressure Secrets (p. B215): Makes unarmed attacks do
  impaling damage, which doubles or even triples the injury
  from damage that penetrates DR.
  Push (p. B216): A barehanded attack that inflicts extra
  knockback.
  Tactics (p. B224): Useful for actions such as gaining an
  advantageous position in combat, noticing danger, and outma-
  neuvering enemies.
  Zen Archery (p. B228): A difficult skill to use during com-
  bat, as it takes a very long time (32 seconds!) to reach full
  effectiveness. At that point, though, all size and speed/range
  penalties are divided by 3.
  Skill Sets
  Warriors need more than just a few core skills! Those
  expecting combat should have at least the following.
  Low-Tech Example
  • Unarmed Striking (one of Boxing, Brawling, or Karate)
  • Unarmed Grappling (one of Judo, Sumo Wrestling, or
  Wrestling)
  • Primary Armed (e.g., Broadsword)
  • Secondary Armed (e.g., Knife)
  • Ranged (e.g., Bow, Crossbow, Thrown Weapon)
  • Fast-Draw Skills (e.g., Arrow, Knife, Sword)
  High-Tech Example
  • Unarmed Striking (one of Boxing, Brawling, or Karate)
  • Unarmed Grappling (one of Judo, Sumo Wrestling, or
  Wrestling)
  • Primary Firearm (e.g., Guns (Rifle))
  • Secondary Firearm (e.g., Guns (Pistol))
  • Melee (Knife for combat knife, Spear for bayonet, etc.)
  • Fast-Draw Skills (e.g., Ammo, Pistol, Long Arm)
  Other skills will of course be useful, such as Shield for those
  who own one, Throwing for grenades, or First Aid for attend-
  ing to wounds, but these examples are an excellent start.
  The Four Main Styles
  Almost all melee fighters fall into one of these four styles,
  each with its own strengths and weaknesses.
  • Single one-handed weapon. Good when expecting to face
  a single foe at very close quarters (or when a free hand is
  important). This is descriptive of knife fights and close action
  aboard ship. This style somewhat suits rogues, sailors, and
  others who don’t usually fight but who might have to do so 
  at times.
  • Two weapons. Good when expecting to face multiple,
  low-threat foes in high-mobility battle. This is descriptive of
  nothing much in real life, but isn’t unlike the classic “kobold
  horde” of fantasy. This style might suit swashbuckling rogues
  and other light fighters.
  • Weapon and shield. Good when expecting to face multi-
  ple, high-threat foes in low-mobility battle. This is descriptive
  of a crowded battlefield. This style is probably best for most
  dedicated low-tech warriors.
  • Two-handed weapon. Good when expecting to face a sin-
  gle, high-threat foe in high-mobility battle. This is descriptive
  of a duel or the classic fantasy face-off against a “boss monster”
  (as long as it doesn’t breathe fire . . .). This style is good for
  sword-saints and hulking barbarian thugs alike.
  Example configurations for a ST 12, DX 12, IQ 10, HT 12
  guy at typical fantasy TL3 with BL 29, Damage 1d-1/1d+2,
  Basic Speed 6.00, and Average wealth ($1,000) might be:
  COMBAT
  46
  
  • Thrusting broadsword. Cost $600. Weight 3 lbs. Has $400
  left for armor, and buys light scale armor (DR 3), studded
  leather skirt (DR 3/2), and heavy leather sleeves, helm, gloves,
  and boots (DR 2), for $390, 24.5 lbs. Total weight is 27.5 lbs.,
  or No Encumbrance. Assuming 100 points for attributes and
  combat skills, invests 20 points in combat skills: Broadword-16
  [16], Wrestling-13 [4]. Movement: Move 6. Defense: Dodge 9,
  Parry 11 (¥1). Offense: 1d+3 cut/1d+1 imp at 16 (¥1), Reach 1.
  Pros: Highest torso DR, best grappler in close combat.
  Cons: Fewest defenses (tied).
  • Thrusting broadsword and hatchet. Cost $640. Weight 5
  lbs. Has $360 left for armor, and buys heavy leather armor, leg-
  gings, sleeves, helm, gloves, and boots (DR 2), for $340, 19.5
  lbs. Total weight is 24.5 lbs., or No Encumbrance. Assuming
  100 points for attributes and combat skills, invests 20 points in
  combat skills: Broadsword-14 [8], Axe/Mace-13 [4],
  Dual-Weapon Attack* (Broad sword)-12 [3], Dual-
  Weapon Attack* (Axe/Mace)-12 [4], Off-Hand
  Weapon Training (Axe/Mace) [1] [a perk in Martial
  Arts, p. 50]. Movement: Move 6. Defense: Dodge 9,
  Parry 10 (¥1) and 9 (¥1). Offense: 1d+3 cut/1d+1
  imp at 12 (¥1) and 1d+2 cut at 12 (¥1), Reach 1.
  Pros: Most attacks, most parries.
  Cons: Lowest effective skill, lowest effective
  defenses.
  [* A technique; see below.]
  • Thrusting broadsword and medium shield (DB
  2). Cost $660. Weight 18 lbs. Has $340 left for armor,
  and buys heavy leather armor, leggings, sleeves,
  helm, gloves, and boots (DR 2), for $340, 19.5 lbs.
  Total weight is 37.5 lbs., or Light Encumbrance.
  Assuming 100 points for attributes and combat
  skills, invests 20 points in combat skills: Broadword-
  16 [16], Shield-14 [4]. Movement: Move 4. Defense: Dodge 8,
  Parry 11 (¥1), Block 10 (¥1), all defenses +2 for shield DB.
  Offense: 1d+3 cut/1d+1 imp at 16 (¥1), Reach 1.
  Pros: Highest effective defenses, has a block vs. missiles.
  Cons: Lowest Move and Dodge, penalized in close combat.
  • Two-handed sword. Cost $900. Weight 7 lbs. Has $100 left
  for armor, and buys cloth armor, cloth cap, cloth gloves, and
  shoes (DR 1), for $90, 8 lbs. Total weight is 15 lbs., or No
  Encumbrance. Assuming 100 points for attributes and combat
  skills, invests 20 points in combat skills: Two-Handed Sword-
  17 [20]. Movement: Move 6. Defense: Dodge 9, Parry 11 (¥1).
  Offense: 1d+5 cut/1d+2 imp at 17 (¥1), Reach 2.
  Pros: Highest effective skill, highest damage, best Reach,
  least-breakable weapon.
  Cons: Worst overall DR, fewest defenses (tied).
  Note that these examples only show combat abilities specific
  to the weapons purchased. Actual adventurers would have many
  more, including additional combat skills (see Skill Sets, p. 46, for
  some ideas), noncombat skills, advantages, and disadvantages.
  Techniques
  Techniques are an optional system for improving specific
  applications of a skill, instead of raising the overall skill level,
  as explained on pp. B229-230. For example, with a Karate skill
  of 15, you would roll against 11 to do a Jump Kick, which is
  Karate-4 to hit. However, if you raise your Jump Kick tech-
  nique to “Default+2,” you’d instead roll against a 13.
  Enemies who know even one or two techniques at higher lev-
  els pose a much greater threat, as they are able to use difficult-
  but-effective moves with greater-than-expected odds of success.
  USEFUL COMBAT
  ADVANTAGES
  There are a huge number of advantages beneficial to combat-
  oriented characters. The GM should use these suggestions to
  customize opponents the PCs face. Note that several of these are
  exotic or supernatural traits, however, and are thus unsuited for
  mundane human foes; always consult the description in the
  Basic Set for details.
  Attack and Damage
  These increase the number of attacks, allow special attacks,
  or increase damage.
  Affliction (pp. B35-36; Powers, p. 9): This represents having
  a special, nondamaging attack – putting the target to sleep,
  making him nauseous, etc. Expanded greatly in Powers. Note
  that targets always have a chance to resist, even if enhance-
  ments like Cosmic, Irresistible attack (p. B103) are added.
  Ambidexterity (p. B39): Eliminates the usual -4 for tasks with
  the “off” hand – and that is all. While it can be useful in combat
  to use both hands equally well, Ambidexterity by itself does not
  allow multiple attacks per turn.
  Arm ST (p. B40): Increases ST for attacks made when using
  the arm that has Arm ST.
  Binding (p. B40; Powers, p. 9): A special attack that grapples
  and roots a target in place, whether by webs, ice, hands from the
  ground, etc. Expanded greatly in Powers. If hit, target is at -4 to
  DX, can’t change facing, and can’t use the Move or Change
  Posture maneuvers until he breaks free, regardless of relative ST
  scores – meaning even a Binding attack with ST 1 will stop a ST
  20 target until the target wins a Quick Contest to break free.
  Claws (pp. B42-43): Hands and feet have claws, hooves,
  talons, etc. Increases unarmed melee damage, and in some
  cases, changes the damage type from crushing to cutting 
  or impaling.
  Constriction Attack (p. B43): The ability to crush opponents
  for increased damage once they are grappled.
  COMBAT
  47
  
  Extra Arms (p. B53): Extra arms don’t automatically give
  multiple attacks (see Extra Attack for that), but they do give
  bonuses in close combat.
  Extra Attack (pp. B53-54; Martial Arts, p. 44): Gives one
  extra attack per level, every turn, using a different attack each
  time. More than one level is outside the human norm, but even
  “just” one extra attack is a huge advantage! Martial Arts adds
  an important new enhancement, Multi-Strike, which allows
  using the same attack more than once.
  Innate Attack (pp. B61-62; Powers, pp. 9-10): Represents an
  innate damaging attack, such as eyes that shoot lasers, a robot’s
  built-in flamethrower, etc. This is greatly expanded using the
  optional Powers rules, and is the standard “direct damage” abil-
  ity. Without the Melee Attack limitation (p. B112), Innate
  Attacks are considered “missile weapons,” and as such cannot
  usually be blocked or parried (though see the Blockable limita-
  tion, Powers, p. 110).
  Lifting ST (pp. B65-66): Adds to ST when choking, grap-
  pling, or otherwise applying slow, steady pressure. Rare for
  NPCs without point totals, since its biggest advantage is being
  cheaper than simply raising ST.
  Striker (p. B88): Represents a body part capable of hitting in
  combat (but that can’t be used to pick things up, open doors,
  etc.), such as horns or a tail that isn’t prehensile.
  Striking ST (pp. B88-89): Adds to ST when determining
  thrust and swing damage. Like Lifting ST, it is uncommon
  for NPCs.
  Super Jump (p. B89): Doubles the height and distance you
  can jump. When used to slam an opponent, damage is deter-
  mined using maximum jumping Move.
  Teeth (p. B91): A sharp beak, sharp teeth, or fangs that
  inflict more damage than normal blunt teeth.
  Vampiric Bite (p. B96; Powers, pp. 96-97): The ability to
  drain HP from a foe that is grappled or unable/unwilling to
  fight back (stunned, unconscious, etc.). HP drained this way
  heals the biter.
  Defense, Recovery, and Resistance
  These advantages make someone harder to kill by making
  him harder to hit, making him harder to damage, or enhanc-
  ing his ability to recover from wounds.
  Combat Reflexes (p. B43): Extremely common for warriors,
  with numerous benefits: bonuses to active defense rolls, Fast-
  Draw skills, Fright Checks, IQ rolls for recovering from surprise
  and mental stun, and initiative rolls against surprise attacks.
  Damage Resistance (p. B46-47): Provides a natural, innate
  DR that stacks with the DR from armor or other external
  sources, further reducing damage and injury from attacks.
  Enhanced Defenses (p. B51): Allows the direct improvement
  of Dodge, Block, or Parry.
  Extra Life (p. B55): The ability to return from the dead once
  for each time this is purchased. Definitely not for ordinary foes!
  Fearlessness (p. B55): Increases resistance to Fright Checks
  and Intimidation rolls.
  Fit and Very Fit (p. B55): Give bonuses to all HT rolls,
  improving chances to avoid unconsciousness, death, poison
  damage, etc. Also improves the rates at which FP are normally
  lost and gained, but specifically does not help recovery for
  fatigue spent to power magic or psionics, or lost to things like
  drugs, stunners, etc.
  Flexibility (p. B56): In close combat, gives a bonus to
  attempts to break free.
  Hard to Kill (pp. B58-59): Grants bonuses to HT rolls for
  avoiding death.
  Hard to Subdue (p. B59): Grants bonuses to HT rolls for
  avoiding unconsciousness.
  High Pain Threshold (p. B59): The ability to completely
  ignore the usual shock penalty for being wounded. Also gives a
  bonus to all HT rolls to avoid knockdown and stunning.
  Injury Tolerance (pp. B60-61; Powers, pp. 52-53): Encom-
  passes a variety of ways that bodily composition can reduce or
  negate the effects of ordinary damage, such as being made of
  particles, lacking vital organs or musculature, etc. Powers
  adds a new form, Damage Reduction.
  Rapid Healing and Very Rapid Healing (p. B79): Improve the
  speed of HP recovery, and increase the odds of overcoming
  crippling wounds. Not often useful for NPCs, as its effects
  occur outside of combat.
  Recovery (p. B80): Greatly increases how quickly the person
  recovers from unconsciousness. This could allow an NPC a
  chance to escape, or even to launch a surprise attack when
  least expected.
  Regeneration (p. B80): Increases the speed of HP recovery
  even more than Rapid Healing (which it includes), though does
  nothing for missing limbs (that’s Regrowth).
  Regrowth (p. B80): Allows the regrowth of missing
  organs, limbs, and extremities. The times required to
  do this usually make it less useful for NPCs.
  Resistant (pp. B80-81): Provides increased resist-
  ance to a particular class of substances or objects.
  Also grants a bonus to HT rolls to resist their damage.
  Slippery (p. B85): Being slippery, for whatever rea-
  son, provides a bonus to all ST, DX, and Escape skill
  rolls for getting out of handcuffs or other restraints, or
  to break free in close combat.
  Spines (p. B88): Short or long defensive spines on
  your body are useful for damaging in close combat,
  or when attempting to grapple or slam.
  Supernatural Durability (p. B89): Includes High Pain Thresh-
  old, and gives complete immunity to shock, knockout, and phys-
  ical stun. Also ignores crippling injuries and Move reduction
  based on low HP, as long as the person with this isn’t below 0
  HP. Even below 0 HP, he can only be truly killed by one specific
  item (specified when the advantage is purchased). This powerful
  advantage is best reserved for extremely challenging foes.
  Unfazeable (p. B95): The main combat effect of this is to
  ignore Fright Checks and Intimidation.
  Unkillable (p. B95): Another powerful advantage best suited
  for very potent enemies – gives immunity to HT rolls to avoid
  death, and allows fighting right up to the point of -10 ¥ HP.
  Higher levels even let foes return from being killed, like unlim-
  ited Extra Lives (see above)!
  COMBAT
  48
  In order to keep the action fresh
  and exciting, I strive to stage fights 
  in all kinds of settings. 
  – Kromm
  
  Senses and Situational Awareness
  Enemies with superior senses, that can perceive and react
  to things the PCs cannot, are difficult to fight. Many of these
  traits allow perceiving the world in ways most humans can’t.
  360° Vision (p. B34): This form of enhanced sight enables
  the person to defend normally against attacks from the sides
  and rear, and make attacks to those same hexes at -2 to hit
  instead of making a Wild Swing.
  Acute Senses (p. B35): Increases Hearing, Taste and Smell,
  Touch, or Vision.
  Altered Time Rate (pp. B38-39): Gives one extra maneuver,
  every combat turn, for each level purchased! The combat appli-
  cations of this are considerable, letting the person move and
  attack much faster than normal (except for the Feint maneu-
  ver, which remains limited to a single use per turn).
  A character with Altered Time Rate 1 gets two back-to-back
  turns whenever his number comes up in the combat sequence.
  He can therefore run half his Move while attacking twice with
  All-Out Attack (Double) – the attacks coming anywhere along
  his path – on his first turn, and then run half his Move again
  while getting all his normal defenses and +2 to Dodge by tak-
  ing All-Out Defense (Increased Dodge) on his second turn. To
  external observers, this guy runs his full Move, attacks twice
  without sacrificing skill or defenses, and dodges at +2 when
  everybody else can only take a step, attack once, and dodge
  normally. That’s how to game out the defensive effects of ATR.
  “One extra maneuver per turn” is what’s worth 100 points, not
  all the other things that might go along with it. To round it out,
  buy the game-mechanical benefits you want: Basic Move,
  Basic Speed, Enhanced Defenses, Enhanced Time Sense, etc.
  Danger Sense (p. B47): Represents a “gut feeling” of
  impending danger from a successful Perception roll (made by
  the GM). Handy for advance warnings of impending ambushes
  and such.
  Dark Vision
  (p. B47),
  Hyperspectral Vision
  (p. B60),
  Infravision (p. B60), Night Vision (p. B71), and Ultravision
  (p. B94): Each of these advantages represents the ability to
  ignore some or all darkness penalties, giving a huge edge to ene-
  mies at night, in caves, etc. if the PCs don’t have similar vision.
  Enhanced Time Sense (p. B52): Boosts mental speed and
  reactions. All those with Enhanced Time Sense act before all
  those without.
  Enhanced Tracking (p. B53): Allows for tracking more than
  one target at a time.
  Perfect Balance (p. B74): Gives bonuses to Acrobatics and
  any DX or DX-based skill rolls to avoid falling down.
  Peripheral Vision (pp. B74-75): This form of enhanced sight
  helps the person to defend normally against attacks from side
  hexes, and against attacks from the rear at -2. Also permits
  melee attacks into side hexes as well as the front.
  See Invisible (p. B83): Fighting an invisible foe is extremely
  difficult without this. If any or all PCs can become invisible,
  enemies without this won’t be much of a challenge.
  Vibration Sense (p. B96): Allows a Sense roll to locate peo-
  ple and things by vibration instead of sight. Attack rolls suffer
  penalties for the target’s size, speed, and range, but it’s still use-
  ful for locating targets in low visibility situations.
  Movement, Size, and Form
  Advantages that give enemies an unusual body type or means
  of locomotion can make them more dangerous. For a discussion
  of Size Modifiers, see Big and Small Fighters (p. 50).
  Duplication (pp. B50-51): The creation of exact duplicates
  allows a single enemy to fight as two, three, or even more.
  Enhanced Move (p. B52): The increased movement this
  gives does not affect Dodge, but it does affect ranged attacks,
  which use the target’s speed to determine speed/range modi-
  fiers (p. B550).
  Flight (p. B56): A fighter who can fly has quite an advantage
  over one who can’t! See Flying Combat on p. B398 for details.
  Growth (p. B58) and Shrinking (p. B85): These allow the
  user to dramatically change his physical size.
  Insubstantiality (pp. B62-63): An insubstantial enemy is
  completely unharmed by physical or energy attacks – only
  psionic or (nonmaterial) magic attacks can harm them. Any-
  one without those attacks is helpless.
  Invisibility (p. B63): Invisible foes are very difficult to attack
  or defend against without superhuman senses.
  Permeation (p. B75): Similar to Insubstantiality, except
  the user can only pass through a specific type of material,
  and he remains vulnerable to attacks that can reach him
  while so traveling.
  Shadow Form (p. B83): The person in shadow form can’t
  attack with physical attacks, but can use psionics, magic, etc.
  He takes only half damage from physical attacks, but receives
  50% extra damage from light-based energy attacks. Other types
  of energy attack, psionics, and magic affect him normally.
  Shapeshifting (pp. B83-85): A foe that can shift into a differ-
  ent form, especially one that is more combat-effective, is a
  great way to surprise players.
  Walk on Air and Walk on Liquid (p. B97): Walking on air or
  liquid as if on solid ground could lead to a tactical advantage.
  Warp (pp. B97-99): This advantage’s main combat applica-
  tion is the ability, once per turn, to dodge by instantly teleport-
  ing to any visible hex within 10 yards. The IQ roll for this defense
  is at -10, but can be modified with the Reliable enhancement.
  Luck, Magic, and Psionics
  Certain advantages give a combatant a supernatural edge – or
  at least uncanny good fortune, which often seems supernatural!
  Daredevil (p. B47): A kind of focused Luck, this gives a bonus
  to all skills, and the option to reroll critical failures, but only
  while taking unnecessary risks (as determined by the GM).
  Energy Reserve (Powers, p. 119; Thaumatology, p. 50): 
  A pool of dedicated FP that triggers none of the penalties for
  suffering actual fatigue is extremely useful for those with spe-
  cial abilities fueled by FP.
  Luck (p. B66) and Super Luck (p. B89): Despite some restric-
  tions, these two advantages are powerful ways to influence the
  game. Some level of Luck can be useful to all PCs, as an “insur-
  ance policy” against catastrophic results.
  Recommending to players that they buy their PCs Luck can’t
  be emphasized enough; I’d call it one of the most important
  pieces of advice to any GURPS GM. I think Luck is the only
  “gimme” in an action campaign. Everything else is negotiable.
  COMBAT
  49
  
  Magery (pp. B66-67): In worlds where magic exists, Magery is
  vital for making spellcasters powerful and threatening. It adds to
  IQ for purposes of learning spells, reduces the time needed to
  learn new spells, and in many cases, increases damage. Specific
  levels of Magery are required before some potent spells can even
  be learned, and high levels can push certain spells beyond their
  usual effects (see Magery and Effect, p. B237).
  Magic Resistance (p. B67): Conversely, if one or more PCs
  are spellcasters, occasional levels of Magic Resistance can help
  enemies defend against them. The target’s level of Magic
  Resistance is applied as a penalty to any skill roll for spells
  being cast, and as a bonus to rolls allowed for resisting.
  Mana Damper and Mana Enhancer (pp. B67-68): These
  adjust the effective mana level nearby. See Mana (p. B235) for
  descriptions and effects of various mana levels. Enemy spell-
  casters with Mana Enhancer are much more potent, as they
  are effectively operating in a higher mana zone than everyone
  around them.
  Mind Control (pp. B68-69): A foe with this ability is very
  dangerous, as he can attempt to literally take over a PC and
  force him to do things against his will.
  Telekinesis (p. B92): The ability to affect distant objects,
  attempt to grab weapons, strike or choke other people, throw
  objects, and more, all from up to 10 yards away (or even far-
  ther, with the Increased Range enhancement, p. B106). The
  target defends as though being attacked by an invisible foe
  (p. B394). This is a great way for enemies to strike at the party
  without having to close to melee range.
  COMBAT
  50
  Battling enemies that are much larger or smaller
  impacts combat in many ways. The most immediate is that
  a target’s Size Modifier (SM) is applied as a modifier to any
  roll to hit, whether in melee or ranged combat.
  Note that p. B19 doesn’t say “in ranged combat” or
  “only in ranged combat.” The fact that SM doesn’t appear
  in Melee Attack Modifiers (p. B547) is an oversight, I sup-
  pose . . . but not really. It was omitted for the same reason
  why speed isn’t added to range in combat between fighters
  on foot (p. B550): as a simplification.
  Thus, a larger target, with a positive SM, is always eas-
  ier to hit, while a smaller target, with a negative SM, is
  always harder to hit. A popular  optional rule from the
  online FAQ – for melee attacks only – is to take the differ-
  ence in size between combatants, and apply that as a
  bonus to the smaller fighter (to a maximum of +4) and as
  a penalty to the larger one (no maximum). This adds a bit
  more complexity, but avoids situations where two tiny
  pixies have difficulty ever hitting one another, while two
  huge giants never miss each other.
  Size Modifiers can affect melee combat in other ways:
  • When attempting a grapple, the larger fighter gets
  +1 for every level of SM he has exceeding the smaller
  (p. B402).
  • When attempting a pin, the larger combatant gets +3
  for every level of SM he has exceeding the smaller (p. B370).
  • If the attacker’s SM is two or more smaller than the
  target’s, he can grapple without having to match posture
  (p. B370).
  • An attacker with a SM larger than his target’s can
  grapple and squeeze the target’s torso instead of the neck
  (p. B371).
  • If the SM of two fighters differs by more than 1, they
  use the modifiers given under Combat at Different Levels
  (pp. B402-403) for melee attacks.
  • A large SM increases the Reach of melee attacks
  (p. B402).
  • An attacker whose SM exceeds his target’s by two (or
  one, if the target is prone and the attacker isn’t) can
  attempt to trample. If the attacker’s SM exceeds the target’s
  by three or more, this is a large-area injury (p. B404).
  • An attacker whose SM exceeds his target’s by seven or
  more inflicts large-area injury with melee attacks (p. B400).
  • The energy cost to cast Regular spells on targets
  with a SM of +1 or more is multiplied by (1 + SM)
  (p. B239).
  • An attacker can’t use a Constriction Attack on a tar-
  get whose SM exceeds his own (p. B43).
  • Very small fighters have a number of optional rules
  on p. 76 of Powers, including Vision rolls for their target to
  see their attacks coming, if they are SM -10 or smaller;
  reduced penalties for targeting chinks in armor; crawling
  inside of unsealed armor, or even the target’s body, to
  bypass DR if they are SM -13 or smaller; and more.
  Weapons and Equipment
  Clothing, armor, and similar personal gear are assumed
  to be fitted for SM 0 characters. To adjust the cost, weight,
  and power requirements of gear designed for those of
  larger or smaller SM, see the table Adjusting for SM (Low-
  Tech, p. 8; High-Tech, p. 10; Ultra-Tech, p. 16). Even more
  detailed scaling options appear in Low-Tech Companion
  2: Weapons and Warriors (pp. 20-21).
  The Dungeon Fantasy series provides some addi-
  tional, unrealistic size-related options. In Dungeon
  Fantasy 3: The Next Level (p. 8), armor for small adven-
  turers has its weight reduced, and the armor’s SM is
  applied as a penalty to its DR; weapons have their Reach,
  weight, and required ST similarly reduced, with the
  weapon’s SM applied as a penalty to damage. In Dungeon
  Fantasy 1: Adventurers (p. 27), large fighters of SM +1
  can use oversized weapons, multiplying the cost, weight,
  required ST, and damage bonus by 1.5 (rounding down
  for damage, but always at least +1). For those who want
  to get adventuring more quickly, Dungeon Fantasy 13:
  Loadouts offers predesigned kits based on profession,
  including costs and weights for alternate SMs.
  Big and Small Fighters
  
  Terror (p. B93): The user can cause anyone able to see or
  hear him (choose when taking it) to roll a Fright Check. Fits
  well with enemies who are overwhelmingly hideous or beauti-
  ful, have a supernatural howl, etc. See Powers (pp. 84-85) for
  the Awe and Confusion rules and table (similar to a Fright
  Check, but for those who provoke reactions of awe or confu-
  sion instead of fear).
  Weapons and Training
  A few advantages represent unusually high degrees of
  weapon training, or natural aptitude with weapons. These are
  well-suited for foes with above-average weapon skills, such as
  ninjas or Special Forces soldiers.
  Gunslinger (p. B58; High-Tech, p. 249; Action 1: Heroes,
  p. 18; Gun Fu, pp. 15-16): The basic version of this advan-
  tage in the Basic Set is a bit tame, but for those using the
  expanded rules from supplements focused on firearms and
  gun battles (High-Tech, Action, Gun Fu), it quickly shines as
  the advantage for cinematic gun fighters. (Heroic Archer –
  from Martial Arts, p. 45 – is the equivalent of this advantage
  for bows.)
  Merging the Basic Set mechanics with those in High-Tech
  and Action (Action pretty much cribs High-Tech, but it
  removes concepts regarded as too fussy for an action-movie
  game and adds one unique aspect):
  • Always add Acc when firing single shots with a one-
  handed firearm (any Beam Weapons, Gunner, Guns, or Liquid
  Projector weapon) during an Attack or All-Out Attack maneuver.
  • Always add half Acc when firing single shots with a two-
  handed firearm or laying down automatic fire with any firearm
  during an Attack or All-Out Attack maneuver.
  • Ignore firearms Bulk during a Move and Attack maneuver.
  • Ignore firearms Bulk in close combat.
  • Ignore all penalties to firearms attacks for jumping or
  acrobatic movement on foot.
  • Ignore the -2 for pop-up attacks (p. B390), as per the Cool
  Under Fire perk from Gun Fu, p. 18.
  • Halve default penalties for the Fanning, Fast-Firing,
  Quick-Shot, Thumbing, and Two-Handed Thumbing firearms
  techniques.
  • Halve all penalties to Fast-Draw (Ammo).
  • May choose any cinematic perk, skill, or technique that
  could logically work with a firearm.
  • Attack with a firearm during any chase maneuver but
  Hide (only found in Action, with the rules for chases).
  So if you use High-Tech, Action, and/or Gun Fu, this is a
  “must-have” advantage, simply because there are perks and
  techniques you can’t get without it, because it enables gunfire
  during crazy chase maneuvers, and because the sum-total
  penalties halved or eliminated can be extremely large (espe-
  cially when engaging in acrobatics).
  Trained by a Master (p. B93; Martial Arts, p. 48): A cine-
  matic advantage with a variety of combat-related benefits.
  The trained person can halve the usual penalty for multiple
  parries in a turn, and for making a Rapid Strike 
  when using an unarmed or Melee Weapon skill. He can also
  learn exotic abilities such as Flying Leap and Power Blow.
  COMBAT
  51
  Keep the following points in mind when using Telekine-
  sis (TK) in combat.
  • Telekinesis simply gives control of two invisible
  hands, usable in any hex the user can see up to 10 yards
  away – and that’s it. They can only do things that normal
  hands can do; additional abilities still require appropriate
  advantages (Affliction, Binding, etc.).
  Telekinesis works just like two bare hands, which
  means that any blows or grapples are thrown at DX, strikes
  do punching damage (thrust-1), and parries are at
  (DX/2)+3. If you happen to know an unarmed skill and/or
  techniques that go with it, then you can use your training
  in these situations just as you could with your bare hands.
  TK on its own can do anything that an invisible man of
  the same ST, standing in close combat, could do with just
  his hands. It can punch, grab items, grapple, and execute fol-
  lowups to grapples, like takedowns and throws. All of this
  interacts with DR normally. If you punch, it’s always outside
  the DR, even if the DR is transparent, and the DR always
  applies. If you squeeze or pull, it’s no different from a close-
  combat choke or Neck Snap or Wrench Limb attempt at the
  same ST, and if the DR is rigid, it applies . . . again, even if
  you can see beyond it. TK effects cannot manifest internally.
  To get that, either open up the target (remove a panel, use
  Surgery to cut him open, etc.) so you could reach in if you
  were standing there in close combat in person, or use your
  TK as an excuse to buy an alternative attack.
  • Telekinesis requires sufficient strength to perform a
  task. Telekinesis with a ST of 1 is much less useful than
  with a ST of 4.
  Everything TK does is ST-limited. The tasks to which it
  gives bonuses are no exception. Basic Lift is a measure of
  what can be manipulated by one hand, so ST 1 lets you
  handle 0.2 lb. For a typical lock, you’ll need at least ST 2.
  For a high-security lock, at least ST 3. For surgery involv-
  ing, say, a liver or a brain, or wielding a straight razor
  (Martial Arts, p. 228), ST 4.
  • Telekinesis with the Area Effect modifier (see
  Powers, p. 82) becomes even more powerful, in effect
  allowing “infinite hands” within the area of effect, though
  using more than two of those hands to do anything
  focused (such as attacking) still requires the usual other
  traits (like Extra Attack).
  Telekinesis in Combat
  
  If using the rules from Martial Arts, this also makes him eligi-
  ble for superhuman options such as Altered Time Rate, cham-
  bara fighting (Martial Arts, pp. 128-130), Bullet Time (Martial
  Arts, p. 133), and more.
  Weapon Master (p. B99; Martial Arts, p. 48): Similar to
  Trained by a Master, but relevant only to muscle-powered
  weapon abilities. In addition to the benefits of Trained by a
  Master, increases basic damage.
  COMBAT DISADVANTAGES
  These disadvantages have a negative impact on combat
  effectiveness. Most enemies, especially those meant to be a
  serious challenge, will not have any of these, but PCs might.
  The GM may also give one of these disadvantages to truly epic
  villains, to provide them with a weakness that can be exploited.
  Remember to enforce the effects of these disadvantages on PCs
  who take them.
  Crippled or Missing Body Parts
  These physical handicaps vary in their impact on the ability
  to fight, but they are all limiting in some way.
  Lame (pp. B141-142): This covers a range of possible leg
  handicaps, all of which reduce Basic Move, and have specific
  penalties to skills requiring legs (such as attacking with
  unarmed or Melee Weapon skills).
  Missing Digit (p. B144): Gives a penalty to DX for all actions
  with the affected hand.
  No Legs (p. B145): This is not the disadvantage for a normal
  human missing both legs (see Lame for that); this is the disad-
  vantage for races that are naturally legless and unable to kick
  in combat.
  One Arm (p. B147): A missing arm prevents someone from
  wielding two weapons at once, a weapon and a shield, or two-
  handed weapons (though with a ST of 1.5 or 2 times greater
  than that needed, the person can wield a two-handed weapon
  in one hand, using a different skill; see One-Handed Two-
  Handers on p. 220 of Martial Arts). Performing activities that
  normally require two arms, but are possible with just one, are
  at a penalty.
  One Eye (p. B147): In combat, the impaired fighter has a
  penalty to both DX and to ranged attacks if he did not choose
  to Aim.
  One Hand (p. B147): Similar to One Arm, except the com-
  batant can still make unarmed parries. Some prosthetic
  replacements, like a claw or hook, can be used in combat like
  a large knife.
  Quadriplegic (p. B150): The subject is either missing all
  arms and legs, or still has them but they are paralyzed. It’s
  nearly impossible to engage in any sort of combat besides
  psionics, magic, mentally controlling a robot, etc.
  Chronic Conditions
  These physical conditions also hinder the ability to fight
  well, but may not be immediately visible to others.
  Bad Back (p. B123): Forces a HT roll to avoid “throwing
  your back out” whenever making any kind of “athletic” skill
  roll, ST roll, or a 17 or 18 in melee combat. Depending on the
  severity, a failed HT roll means various DX and IQ penalties,
  and possibly even injury.
  Bad Grip (p. B123): Gives a penalty to all tasks requiring a
  strong grip, including using melee weapons.
  Chronic Pain (p. B126): An episode of Chronic Pain inflicts
  penalties to both DX and IQ.
  Epilepsy (p. B136): Exposure to the object of a Phobia or a
  stressful situation (like combat) requires a HT roll to avoid a
  seizure, which prevents all actions for 1d minutes and causes
  FP loss.
  Low Pain Threshold (p. B142): Doubles normal shock penal-
  ties, increasing the usual maximum of -4 to -8. The person also
  gets a penalty to avoid stunning or knockdown, and must make
  a Will roll to not make noise when suffering more than 1 HP of
  injury. A very bad disadvantage!
  Unfit and Very Unfit (p. B160): Give penalties to all HT rolls,
  and decrease the chances to avoid unconsciousness, death,
  poison damage, etc. Also hasten the rate at which fatigue is
  lost, and worsen the rate at which it’s regained.
  Weak Bite (p. B161): Lowers biting damage.
  Wounded (p. B162): A wound that never heals requires daily
  bandaging to avoid a penalty to HT rolls for avoiding infection.
  Those aware of the wound may attack it (-7 to hit) for
  increased damage.
  Senses
  As above-average senses are a great benefit in combat, poor
  senses are a liability.
  Bad Sight (p. B123): Gives penalties to Vision rolls and cer-
  tain combat rolls.
  Blindness (pp. B124-125): Blind characters have a huge
  penalty to all combat skills. Attacks can’t use hit locations, and
  ranged attacks can only target random hexes, or enemies close
  enough to be heard. A blind enemy, with no other heightened
  sense to rely on, is of little threat.
  Deafness (p. B129): Being unable to hear anything may not
  affect combat directly (though Hearing rolls to target invisible
  foes, or foes in a dark room, are impossible), but it does make
  it impossible to hear orders shouted in the midst of battle, ene-
  mies sneaking up from behind, etc.
  Decreased Time Rate (p. B129): Time is perceived so slowly
  that, in combat, the person can only act every other turn – that
  is, choosing a maneuver every two seconds instead of every
  one. For most PCs, this would be a crippling disadvantage.
  Hard of Hearing (p. B138): Penalizes all Hearing rolls 
  and all skill rolls for tasks reliant on understanding spoken
  communication.
  Night Blindness (p. B144): Increases vision penalties due to
  darkness.
  No Depth Perception (p. B145): Combat effects are identical
  to One Eye (p. B147).
  Restricted Vision (p. B151): A field of vision narrower than
  average puts restrictions on both attack and defense (see the
  disadvantage description for a diagram).
  Mental
  Many mental disadvantages come into play during combat.
  Berserk (p. B124; Martial Arts, p. 179): This can actually
  make an enemy more dangerous! A berserk combatant must
  attack someone every turn, friend or foe. He is also likely to
  continue fighting despite normally incapacitating injuries
  (though even a berserker will still pass out at -FP).
  COMBAT
  52
  
  Code of Honor (p. B127): The many possible Codes of Honor
  all entail limiting choices. For hostile NPCs, these codes can
  ensure they won’t, for example, slit the throat of any PC
  knocked unconscious, or use poison on their blades.
  Combat Paralysis (p. B127): The suffer has -2 on all Fright
  Checks. In the face of immediate danger, the person must roll
  vs. HT and is likely to freeze up completely. Regardless of HT,
  a roll of 14+ fails, leading to mental stun. Make a new HT roll
  every turn to snap out of stun, at a cumulative +1 per turn (and
  an extra +1 if someone else is shaking the victim, slapping him,
  etc.) Very rarely a good trait for a PC, but handy for clearly
  labeling NPCs as noncombatants.
  Cowardice (p. B129): Gives a penalty to Fright Checks. Also
  requires a self-control roll to engage in any physically danger-
  ous activity.
  Flashbacks (p. B136): Experiencing flashbacks when under
  stress either penalizes all skill use or makes skill use impossible.
  On the Edge (pp. B146-147): The main combat effect is to
  require a self-control roll at the beginning of every combat turn
  – failure forces the person to perform an All-Out Attack, or
  something else equally dangerous and likely to result in injury.
  Fighters with this disadvantage may not live long!
  Pacifism (p. B148): There are many forms, but all put lim-
  its on combat choices. One type, Reluctant Killer, actually
  gives a penalty to attack rolls. Appropriate (and realistic) for
  most noncombatants.
  Phobias (pp. B148-150): Fights can easily occur in an area
  that triggers the phobias of one or more PCs; on a beach, for
  those afraid of water, or in a cave, for those afraid of the dark.
  A failed self-control roll in such a situation calls for a roll on
  the Fright Check Table (pp. B360-361), adding the margin of
  failure to the result. Even a success results in penalties to DX,
  IQ, and all skill rolls for as long as the situation persists.
  Post-Combat Shakes (p. B150): This doesn’t have an effect
  until combat is over, when a self-control roll must be made. On
  a failure, roll on the Fright Check Table (pp. B360-361), adding
  the margin of failure to the result.
  Recovery and Damage
  These disadvantages cover those who are easier to wound
  or kill, or who have unusual vulnerabilities that most humans
  do not.
  Easy to Kill (p. B134): Gives a penalty to HT rolls made to
  avoid instant death, or to survive at -HP or below. Great for
  fodder NPCs.
  Fragile (pp. B136-137): Suffering enough damage causes
  additional effects to occur that wouldn’t for normal humans.
  The person may be prone to catching fire, exploding, losing
  body parts, etc. Many monsters, constructs, and supernatural
  enemies have this disadvantage.
  Hemophilia (p. B138): Only possible with HT 10 or less, this
  is for those who bleed excessively or with little cause. All
  wounds continue to bleed until treated by First Aid, causing
  their original damage once every minute. Impaling wounds to
  the torso are even worse, requiring the Surgery skill to stop
  internal bleeding from inflicting further damage every day.
  Slow Healing (p. B155): Doesn’t affect HP loss during combat,
  but dramatically slows HP recovery. Useless for most NPCs.
  Susceptible (p. B158): An unusual sensitivity to the effects of
  certain substances or items forces a HT penalty when trying to
  resist their effects.
  Unhealing (p. B160): With this disadvantage, lost HP cannot
  be recovered normally or without specialized assistance.
  Usually for automatons, machines, minions, etc.
  Vulnerability (p. B161): Applies a special wounding modifier
  to damage from specific kinds of attacks, which kicks in before
  the usual wounding modifier for attack type. Useful for enemy
  monsters and the like that can only be defeated by knowing
  their Vulnerability, like a dragon that takes extra damage from
  cold-iron weapons.
  Weakness (p. B161): Simply being exposed to the substance
  or circumstance of the Weakness for the specified interval (or
  fraction thereof!) causes damage that bypasses DR entirely
  (such as a vampire’s Weakness to sunlight).
  Luck, Magic, and Psionics
  Naturally, not all supernatural traits are helpful. Some are
  merely inconvenient, but others can really turn a hero’s life
  into a train wreck. Be sure players know what they’re in for if
  they choose these disadvantages. 
  Cursed (p. B129): This can be a truly debilitating disadvan-
  tage, and make life excruciating for the sufferer. For example,
  a Cursed person can be kept awake at night by construction
  right outside his window; have his refrigerated food spoiled
  and alarm clock not go off because the power fails during the
  night; be unable to shower because there is a “clerical error”
  with his water bill; find hungry moths have infested his
  clothes closet; and then, when he finally makes it out of the
  house, find his car has a flat tire. All that just trying to get to
  work! This disadvantage is not for the faint of heart, as it
  gives the GM free rein to mess with the victim at any time, in
  any way, for any reason.
  Magic Susceptibility (p. B143): The Magic Susceptibility
  level is applied as a bonus to any skill roll for a spell cast on the
  person, and as a penalty to any roll allowed for resistance. This
  is dangerous to have in worlds where magic and spellcasters
  are common!
  Supersensitive (p. B158): A psychic “buzzing” that inflicts a
  DX and IQ penalty based on how many other sentient beings
  are within 20 yards. If surrounded by enough beings (once the
  penalty lowers DX or IQ to below half), the person is com-
  pletely unable to act at all.
  Unluckiness (p. B160): One time during every game session,
  the GM simply makes something go wrong for the person. This
  unluckiness often strikes during combat.
  Weirdness Magnet (p. B161): Like a weaker version of
  Cursed, above, with effects more strange than anything. In
  combat, the afflicted’s weapon may develop sentience and
  refuse to fight, a healing spell cast on him may also cause his
  hair to grow fast enough to get in his eyes, or a swarm of local
  insects may surround him “protectively” (which actually
  hampers his actions).
  MAGIC AND PSIONICS
  Supernatural, superhuman abilities like magic and psion-
  ics have nearly unlimited combat uses. Whether low-pow-
  ered conveniences like lighting flaming arrows without a
  torch, or epic effects like massive exploding fireballs that
  destroy castle walls, these abilities strongly influence the tide
  of battle.
  COMBAT
  53
  
  A villain with sorcerous or mental abilities is a tough
  challenge for heroes with no defenses against them. A series
  of adventures could be run as the heroes’ search to acquire
  these types of abilities themselves in preparation for a final
  confrontation.
  Both magic and psionics are covered extensively in their
  own books. While the Basic Set rules suffice for basic use, if
  you’re running campaigns that feature one or both promi-
  nently you’d be well advised to explore them.
  Magic
  In addition to the Magic chapter (pp. B234-253), the rules
  for magic are greatly expanded in Magic and Thaumatology.
  In combat, the most obvious use of magic is to cast purely
  destructive spells, like Lightning or Explosive Fireball. That’s
  only a part of its utility. Other spells can be used to obscure
  the battlefield (e.g., Darkness and Fog), heal the wounded
  (e.g., Major Healing and Great Healing), make it harder for
  enemies to fight (e.g., Spasm and Rooted Feet), remove ene-
  mies from combat without injuring them (e.g., Mass Daze
  and Mass Sleep), protect friendly combatants (e.g., Shield
  and Armor), and even more.
  Warriors in GURPS are actually more fiddly than wizards.
  You have to know what each hit location does when you hit it,
  which weapon works best vs. which hit location, when to pre-
  fer a thrust to a swing, when to go for chinks in the armor,
  when to feint, when to use a Deceptive Attack, when to use a
  Rapid Strike, and how to combine all of this stuff. Not to men-
  tion how to parcel out one block, one retreat, that first and best
  parry, and later, penalized parries. And how to use ancillary
  skills, such as Acrobatics for a Dodge bonus, Wrestling in close
  combat, etc. A mage just has to stand there and say, “I cast
  Dehydrate on Orc #4.”
  Psionics
  Beyond the Psionics chap-
  ter (pp. B254-257), psionics
  are covered in much more
  detail in Psionic Campaigns,
  Psionic Powers, Psis, and
  Dungeon Fantasy 14: Psi. As
  with magic, psionic abilities
  allow for more than just
  straightforward combat uses
  like throwing things at ene-
  mies with Telekinesis. They
  can also enhance a fighter’s
  senses (e.g., Danger Sense and See Invisible), heal the
  wounded (e.g., Healing and Regeneration), take control of ene-
  mies (e.g., Mind Control and Possession), and more.
  IMPROVING ATTACKS
  There are multiple ways to improve an NPC’s attacks, usu-
  ally to make an encounter more challenging, or just to keep the
  party from steamrolling over a foe that was supposed to put up
  a fight. Simply by changing tactics, an enemy that posed no
  danger can suddenly become a very real threat.
  Increased Chance to Hit
  An enemy can’t injure anyone if he can’t even hit! Luckily,
  there are ways to enhance this.
  Aim (p. B364): Spend a turn aiming a particular ranged
  weapon at a specific target. On the following turn, that
  weapon’s Accuracy is added to the attack roll against the tar-
  get. Further bonuses are possible by aiming for more than
  one second, bracing, using a weapon scope, etc. For even
  more accurate shots, see Precision Aiming (High-Tech, p. 84;
  Tactical Shooting, pp. 26-27).
  All-Out Attack (Determined) (p. B365): Make a single attack
  with a bonus to hit, but lose all active defenses for that turn.
  Because of this, it’s mostly reserved for those with nothing to
  lose, the crazy, or the woefully untrained.
  Committed Attack (Determined) (Martial Arts, pp. 99-100):
  Allows a single melee attack at +2 to hit, but defenses are some-
  what compromised.
  Good fighters don’t throw away their defenses when ene-
  mies can hit them. With the debut of Martial Arts and Tele-
  graphic Attack, good fighters should use Committed Attack
  where they might once have used All-Out Attack.
  Evaluate (pp. B364-365): Similar to aiming, but for melee
  weapons. Adds +1 to hit with a melee attack on the turn follow-
  ing an Evaluate maneuver, to a maximum of +3 (after assess-
  ing the situation for three seconds).
  Evaluate mostly sees use immediately before a sudden attack
  that initiates combat. It isn’t as generally useful as Attack or
  Move – but then, all maneuvers aren’t of equal value. Look at Do
  Nothing! We put Evaluate into Fourth Edition specifically to dif-
  ferentiate aggressors (who start combat after three Evaluates,
  for +3) from their victims (who enter combat after a series of Do
  Nothings). We didn’t seriously think that fighters
  would often select it (or Do Nothing!) in a raging fight.
  Telegraphic Attack (Martial Arts, p. 113): This
  melee combat option gives +4 to hit, but also gives
  the target +2 to defend. It can’t be combined with, or
  used alongside, a Deceptive Attack, Riposte, Feint, or
  Evaluate. The temporary bonus to skill is not consid-
  ered when determining critical hits.
  Real life says that’s exactly how you use a Tele-
  graphic Attack: wait until your foe is unable to defend,
  then put in a finishing move that he would normally
  just swat aside. The classic use of Telegraphic Attack is to land a
  big haymaker to the face at -1 instead of -5 after your foe has
  foolishly opened up his guard with an All-Out Attack.
  Weapon Bond (High-Tech, p. 250; Martial Arts, p. 53; Power-
  Ups 2: Perks, p. 9): Possibly the most popular perk in GURPS,
  Weapon Bond gives +1 to effective skill when using one specific
  weapon. The weapon itself can be of any quality. Note that the
  Equipment Bond perk grants the same bonus for non-weapons
  (see High-Tech, p. 7; Power-Ups 2, p. 9).
  COMBAT
  54
  I prefer to ad
  lib and have my
  campaign evolve
  constantly. 
  – Kromm 
  
  Multiple Attacks
  Attacking several times per turn slightly increases your
  chance of landing a telling blow, though often at the cost of
  some defense. Even more detailed options for multiple attacks
  can be found in Martial Arts (pp. 126-128).
  All-Out Attack (Double) (p. B365): Make two melee attacks
  against the same target, either with a single weapon that doesn’t
  require readying after use, or with two ready weapons or
  empty hands (remember the usual -4 for weapon attacks with
  the “off” hand). This forfeits all active defenses for the turn.
  Combinations (Martial Arts, p. 80): Optional rule that
  allows the Rapid Strike penalties for Targeted Attacks that are
  always executed together to be bought off.
  Dual-Weapon Attacks (p. B417): This optional combat rule
  permits one attack with each hand (which could be empty,
  holding a one-handed melee weapon, or using a pistol). Each
  attack is -4 to hit, with a further -4 for weapon attacks with the
  “off” hand (though Ambidexterity can mitigate this). Each
  hand’s attack is resolved separately – melee targets must be
  next to one another if two foes are being targeted. If both
  attacks are at a single target, his active defense is at -1. Some-
  one who already has multiple attacks can replace one of them
  with a Dual-Weapon Attack.
  Flurry of Blows (p. B357): By spending 1 FP per attack, the
  normal Rapid Strike penalty is reduced by half (so the usual -6
  would be -3).
  Rapid Strike (p. B370): This melee option is used with an
  Attack or All-Out Attack to make one extra attack with a ready
  weapon or empty hand. Both attacks are -6 to hit. Someone
  who already has multiple attacks can replace one of them with
  a Rapid Strike.
  COMBAT
  55
  While hacking with two weapons is a staple of fiction and
  “looks cool,” it’s often not the most effective way to fight.
  I run a high-powered campaign and nobody – but
  nobody – is willing to give up the +2 to all defenses from a
  DB 2 medium shield merely so that they can strike with a
  weapon in either hand, the second strike coming from a
  crappy weapon that’s not nearly as damaging or effective
  as their one, really nice weapon (especially a weapon with
  which they have a Weapon Bond).
  And of course, there’s the matter of two-handed weapons.
  Some people are quite willing to accept -6 when they need
  to strike twice if it means they can use a big-damage
  weapon with Reach 2 or 3, heavy enough to smash their
  enemies’ weapons into splinters.
  Paired weapons are mostly flash unless you’re fortunate
  enough to have two really nice light weapons, no need for
  a shield (say, to stop arrows and 14-lb. sledges that would
  mash your one-handed weapon), and a GM who never
  deprives you of the specialty weapon you’ve raised Dual-
  Weapon Attack for. I’m not saying that they’re useless, just
  that their utility isn’t nearly as “obvious” as all that.
  Most fighters are better off improving their main-hand
  weapon, and their skill with it, than dividing their attention
  and points. Having said that, for those who do want to fight
  with two weapons in GURPS, there are a number of com-
  mon misconceptions.
  • Wielding two weapons at once does not grant any
  kind of extra attacks by itself! Regardless of how many
  weapons you are using, the ability to attack more than
  once in a turn requires an All-Out Attack (Double) maneu-
  ver (p. B365), Rapid Strike (p. B370), Dual-Weapon Attack
  (p. B417), or either of the advantages Extra Attack (p. B53)
  or Altered Time Rate (pp. B38-39).
  • Weapon attacks with a warrior’s “off” hand are at -4
  (this does not apply to unarmed attacks). The Ambidexterity
  (p. B39) advantage removes this penalty for all skills; the
  Off-Hand Weapon Training perk (Martial Arts, p. 50;
  Power-Ups 2: Perks, pp. 16-17) removes this penalty for
  one, specific skill.
  • The -4 for using the “off” hand is not the same as
  the -4 to both hands when making a Dual-Weapon Attack.
  If using a weapon, a fighter without Ambidexterity making
  a Dual-Weapon Attack is at -4/-8 to his attacks; a fighter
  with Ambidexterity is at -4/-4. The Dual-Weapon Attack
  technique (p. B230; Martial Arts, p. 83) allows you to buy
  down those penalties.
  • The Dual-Weapon Attack technique is learned per
  skill. Therefore, a warrior attacking with two shortswords
  could make two DWA (Shortsword) rolls; but a warrior
  attacking with a shortsword and a knife would need a DWA
  (Shortsword) roll and a DWA (Knife) roll.
  • Dual-Weapon Attack and Rapid Strike are entirely
  separate options, and cannot in any way be combined 
  or “stacked.”
  As for “Why ever do Rapid Strike if you can do Dual-
  Weapon Attack and buy off the penalties with Ambidexter-
  ity and the DWA technique?,” well, there are lots of
  reasons. RS is possible even in a realistic campaign; DWA,
  much less buying off the penalty, often isn’t. Even if it’s
  possible, DWA is a different technique for every single
  weapon skill, while RS works for anything you care to
  wield. And in a cinematic campaign where you can raise
  DWA, Weapon Master and Trained By A Master halve RS
  penalties, making them -3/-3 for everything and better than
  the -4/-4 for DWA for weapons you haven’t studied. But
  most importantly, RS lets you use a single, really good
  weapon twice – DWA isn’t much use if you can only find or
  afford one Sword o’ Power or light saber or weapon with
  Weapon Bond – and lets you use a shield while you whack
  somebody twice with a weapon.
  Fighting With Two Weapons
  
  Number of Attacks = 1 + Extra Attack Level + 1 if All-Out
  Attack (Double)
  Example 1: A human with no Extra Attack has 1 + 0 + 0 = 1
  attack normally, or 1 + 0 + 1 = 2 attacks with All-Out Attack
  (Double).
  Example 2: A dragon with Extra Attack 3 has 1 + 3 + 0 = 4
  attacks normally, or 1 + 3 + 1 = 5 attacks with All-Out Attack
  (Double).
  In addition to the above, one can swap one and only one of
  those attacks for either a Rapid Strike that gives two attacks at -6
  (-3 for those with Trained By A Master or Weapon Master) or a
  Dual-Weapon Attack that gives two attacks at -4 (plus a further -4
  for the “off” hand with a weapon, unless one has Ambidexterity).
  There are plenty of special-case exceptions – improving the
  Dual-Weapon Attack technique and buying Off-Hand Weapon
  Training, using Flurry of Blows to trade FP for half the usual
  Rapid Strike penalty, etc. – but the above is all one needs to get
  the gist of what’s going on.
  Altered Time Rate gives you an actual extra maneuver. You
  could, for instance, take All-Out Attack (Double) followed by All-
  Out Defense . . . or Concentrate followed by Attack . . . or Attack
  and Attack again . . . or whatever. The above guidelines on num-
  ber of attacks apply separately to each of your maneuvers.
  Extra Attack merely gives you one additional small-a attack
  or small-f feint if you choose a maneuver that lets you attack or
  feint in the first place (All-Out Attack, Attack, Feint, Move and
  Attack, or a triggered Wait). It does not in any way give you an
  extra maneuver. The “attack” it adds is a strike or grapple, not
  an Attack maneuver.
  Extra Damage
  Sometimes for an opponent to become a threat, he doesn’t
  need to boost his chance to hit, but rather has to boost his
  damage when he does hit.
  All-Out Attack (Strong) (p. B365): Gives a damage bonus to
  a successful attack with a muscle-powered melee weapon.
  Forfeits all active defenses for the turn.
  Committed Attack (Strong) (Martial Arts, pp. 99-100): Gives
  a small damage bonus to a successful muscle-powered melee
  attack, but lowers the ability to defend.
  Mighty Blows (p. B357): Spend 1 FP per attack to get the dam-
  age bonus of an All-Out Attack (Strong) with a regular Attack
  maneuver, and without forfeiting active defenses for the turn.
  Mount or Vehicle (pp. B397 and B469-470): Using a melee
  weapon from a mount or vehicle with a velocity of 7 or more
  relative to the target increases damage. Also gives a penalty to
  hit, using the lower of Melee Weapon or Riding skill.
  Reversed Grip (Martial Arts, p. 111): Best suited for knives
  and other thrusting melee weapons, this grip increases thrust
  damage while lowering swing damage. It also affects the
  weapon’s Reach, restricts which hexes can be attacked nor-
  mally, and slightly improves the effects of a successful Decep-
  tive Attack or Feint.
  Techniques (pp. B229-232; Martial Arts, pp. 63-95): A vari-
  ety of techniques can raise damage, including Axe Kick, Exotic
  Hand Strike, and Jump Kick.
  Weapon Quality (pp. B274, 277): Some weapons can get a
  damage bonus from being of fine or very fine quality. Martial
  Arts expands these rules (Weapons of Quality, Martial Arts,
  p. 216), and Ultra-Tech adds even more exotic materials (Ultra-
  Tech, pp. 163-164). Note that firearms get a bonus to their base
  Acc or Malf. instead – see Firearm Quality, High-Tech, p. 79.
  Weapon Master (p. B99): This advantage gives a damage
  bonus to basic swing and thrust damage for muscle-powered
  melee weapons.
  Special Damage
  An enemy who knows how to best take advantage of chang-
  ing circumstances, and uses the most damaging attacks for
  each situation, is extremely dangerous.
  Area and Spreading Attacks (pp. B413-414): These
  kinds of attacks (gas grenades, Area spells, etc.) inflict
  damage on multiple targets at once, usually without the
  lessening of damage that occurs with explosions for tar-
  gets further from the point of impact. Diving for cover or
  retreating out of the area of effect are the only defenses.
  Explosions (pp. B414-415): Explosions have the
  potential to injure multiple targets at once. In addition to
  damage to the target actually struck, an explosion pro-
  duces collateral, and sometimes fragmentation, damage.
  Diving for cover is the only effective active defense. Truly
  challenging foes can attack from afar, lobbing explosives
  into the party.
  Follow-Up Damage and Linked Effects (p. B381):
  Some attacks inflict additional injury that occur simul-
  taneously with the primary damage (linked effects), or
  immediately following (follow-up damage). Some of
  these attacks can even bypass DR altogether. Note that a
  secondary damage effect is a completely separate roll
  from the primary damage. It is rolled, and applied, inde-
  pendent of the primary attack’s damage.
  Hit Locations (pp. B398-400; Martial Arts, p. 137): If using
  the optional hit location rules, attacking specific body parts is
  a very effective tactic. Injury to the arm has a very different
  effect from damage done to the vitals, or the skull. You should
  be well aware of these effects, and allow experienced NPC
  fighters to attack noticeable PC weak spots and go for shots to
  areas where they do the most harm. Martial Arts expands the
  list presented in the Basic Set. The supplement also introduces
  the Targeted Attacks optional rule (Martial Arts, p. 68), allow-
  ing fighters to buy down the usual penalties.
  COMBAT
  56
  Warriors in GURPS are actually more fiddly
  than wizards. You have to know what each hit
  location does when you hit it, which weapon
  works best vs. which hit location, when to prefer
  a thrust to a swing, when to go for chinks in 
  the armor, when to feint, when to use a Deceptive
  Attack, when to use a Rapid Strike, and how to
  combine all of this stuff.
  – Kromm
  
  Wounding Modifiers (p. B379): The type of damage inflicted
  plays an important part in increasing overall harm. Impaling
  and huge piercing attacks multiply their penetrating damage by
  ¥2; cutting and large piercing attacks, by ¥1.5; and small pierc-
  ing, by ¥0.5. All other damage types have no modifier.
  OVERCOMING ATTACKS
  The following tools can help the GM limit the effects of
  someone’s high skill. Though it’s often more effective to deal
  with opponents of higher skill by improving defenses against
  them, maneuvering the fight to interfere with their ability to
  attack works as well.
  The Enemy’s Skill: Attacks
  Many circumstances temporarily lower a combatant’s
  skill level.
  Close Combat (p. B391; Martial Arts, pp. 114-119): Using a
  ranged weapon in close combat changes the attack from
  ranged to melee, allowing it to be parried (p. B376) and impos-
  ing a skill penalty equal to the weapon’s Bulk (instead of the
  usual range penalties). If Martial Arts is being used, weapons
  longer than Reach “C” can be used in close combat, but at sig-
  nificant penalties to both attacks and parries (see Long
  Weapons in Close Combat, Martial Arts, p. 117).
  Defensive Feint (Martial Arts, p. 101): This is determined
  like any other feint, but instead of applying a penalty to the tar-
  get’s defense roll, it applies the penalty to the target’s next
  attack roll against the one doing the feint.
  Grappling (pp. B370-371): If grappled, the target has -4 to
  DX (and all DX-based skills) until he breaks free. If only a
  specific body part is grappled, then only actions with that
  body part are affected. For much more detail, get Martial
  Arts: Technical Grappling.
  Posture (p. B551): Those in any posture other than stand-
  ing are at a penalty to any melee attack, as summarized in the
  Posture Table on p. B551. Note it’s possible to be knocked
  prone by a shove (p. B372), knockback (p. B378), takedown
  (p. B370), or Judo throw (p. B203).
  Shock (p. B419): When someone is injured, DX and IQ (and
  all skills based on them) are immediately reduced until the end
  of his next turn, to a maximum of -4 (or -8, with Low Pain
  Threshold). While this is only temporary, it may allow experi-
  enced enemies to attempt riskier maneuvers such as All-Out
  Attack or Telegraphic Attack, since the chance of a retaliatory
  strike is reduced.
  The Enemy’s Weapon: Attacks
  If an opponent’s weapon is made unusable, his skill with it
  is irrelevant.
  Breaking (p. B401): Unlike disarming, breaking can be done
  with any weapon, even a ranged one – the to-hit procedure is
  the same, but instead of a Quick Contest on a successful hit,
  simply roll damage against the weapon (damage to inanimate
  objects is explained on pp. B483-484). Spells such as Shatter
  (Magic, pp. 116-117), Explode (Magic, p. 118), and Disinte-
  grate (Magic, p. 120) accomplish similar results.
  Disarming (pp. B400-401): Any weapon that can parry
  (including an unarmed attack) can be used to knock an
  enemy’s weapon out of his hand, as detailed on pp. B400-401.
  The Disarming technique (p. B230) can improve the chance of
  successfully getting rid of the weapon, while the Retain Weapon
  technique (p. B232) can help the target keep a grip on it.
  Ensnaring Weapons (pp. B410-411): Certain ensnaring
  weapons can disarm opponents (e.g., bolas), or entangle and
  immobilize them (e.g., lariats and nets).
  Grabbing (p. B370): By rolling against DX or a grappling skill,
  at the usual penalty for attacking the hand hit location, someone
  can attempt to seize an enemy’s weapon. On following turns, a
  Regular Contest of ST determines if the weapon is taken away
  (the attacker wins), or the hold is lost entirely (the target wins).
  Using Telekinesis (p. B92) to snatch a weapon works, too!
  IMPROVING DEFENSES
  One of the best ways to increase combat effectiveness is to
  simply not get hit – dodge out of the path of attacks, parry them,
  or block them with a shield. When it isn’t possible to avoid being
  hit, the next best thing is to lessen the damage received.
  Bonuses to Defense
  These actions apply bonuses directly to active defenses.
  Acrobatic Dodge (p. B375): With at least one point in Acro-
  batics skill, someone can, once per turn, make an Acrobatics
  roll before his Dodge roll. Success gives a bonus to that dodge;
  failure gives a penalty.
  All-Out Defense (Increased Defense) (p. B366): Improves
  any one active defense (Dodge, Parry, or Block) until the fol-
  lowing turn.
  Cross Parry (Martial Arts, p. 121): Allows two individual
  weapons to parry together, like a two-handed weapon, using
  the better of the two parries. This gives a bonus to the
  attempt, but neither hand can be used to parry again for the
  rest of the turn.
  Defensive Attack (Martial Arts, p. 100): Improved defenses
  at the cost of inflicting less damage with a successful attack.
  Defensive Grip (Martial Arts, pp. 109-111): Gives a melee
  weapon a bonus to parry attacks from the front hex, but a
  penalty against attacks from the side hexes. See the description
  for details on other effects.
  Dodge and Drop (p. B377): Similar to a retreat, this option
  provides a bonus to Dodge against ranged attacks by dropping
  to the ground while dodging. The downside is that it leaves the
  dodger prone. See also the variations Sacrificial Dodge and
  Drop and Diving for Cover, both on p. B377.
  Feverish Defense (p. B357): With this optional rule, a fighter
  can spend 1 FP to get a bonus to a single active defense roll.
  Retreating (pp. B377, B391): Though there are significant
  restrictions on retreating (see p. 60), it remains one of the best
  ways to improve defense against a melee attack once per turn.
  Taking a step backward while using an active defense gives +3
  to Dodge or +1 to Block or Parry (or +3 to Parry if using Box-
  ing, Judo, Karate, or any fencing skill) against a single oppo-
  nent at the moment he attacks. For example, coupling a
  Retreat (+3) with an All-Out Defense (Increased Defense) (+2)
  gives a total of +5 to Dodge against a single attack!
  Shields (p. B374): In addition to providing a Block score,
  having a ready shield adds its Defense Bonus to any Dodge,
  Parry, or Block roll against attacks from the front or shield-side
  hexes. Equipping enemies with a shield may be the easiest way
  to improve their defenses.
  COMBAT
  57
  
  Lowering Damage
  Even the best fighters get hit occasionally. There are a few
  ways to lower the damage taken that everyone can use (as
  opposed to those granted by advantages such as Damage
  Resistance and Injury Tolerance). Formidable enemies should
  have armor strong enough to withstand the PCs’ average
  blows, but not so strong they have no chance of being injured.
  Armor (pp. B282, B378): Wearing armor is the most com-
  mon way to prevent personal harm. The Damage Resistance
  (DR) of a piece of armor subtracts directly from the damage of
  a successful attack, so the more DR the better. The biggest
  drawback to just piling on the armor is weight – high levels of
  encumbrance lower a fighter’s Dodge (as well as Parry and
  attacks, if using fencing weapons, Judo, or Karate). Also, flexi-
  ble armor can allow certain types of damage to inflict “blunt
  trauma,” even without penetrating DR (see Flexible Armor and
  Blunt Trauma, p. B379).
  The DR of all armor is its cover DR. This is more-or-less the
  sum of the material’s DR and HP, and reflects the de facto DR
  experienced by those behind the cover. This is greater than the
  DR the armor itself enjoys, for the same reason that a man
  behind another man in body armor enjoys more DR than the
  sap in the armor. Armor DR thus reflects a nonunique combi-
  nation of the DR of the armor’s material and the HP attendant
  to the armor’s weight. Thus:
  • Your hard, easily shattered armor gets its DR from high
  material DR, low HP.
  • Your soft, weapon-snagging armor gets its DR from low
  material DR, high HP.
  Since most gamers detest the idea of tracking armor dam-
  age, we didn’t go into the breakdown in the Basic Set . . . espe-
  cially since we’d have to have rules for hole size (overcoming
  material DR just makes a hole, most of the time).
  Cover (pp. B407-408): Taking cover behind objects and ter-
  rain with high DR values lowers damage taken, since a success-
  ful attack has to first overpenetrate the cover (p. B408). For
  details on which hit locations are usually exposed, penalties to
  hit them, etc., see Cover (p. B407).
  OVERCOMING DEFENSES
  Facing an opponent with very strong defenses can be diffi-
  cult. Below are options for mitigating or even completely neu-
  tralizing an enemy’s active defenses, most of which are
  cumulative. Experienced fighters will use as many of these as
  they can to get an edge over their opponents.
  Nearly all defense penalties are stackable:
  • Feint.
  • Deceptive Attack (not cumulative with Riposte).
  • Counterattack, Riposte, or Stop Hit [from Martial Arts].
  • Hitting your enemy with both parts of a Dual-Weapon
  Attack (-1).
  • Any technique that penalizes specific defenses (e.g.,
  Jump Kick vs. parry).
  • Attacking your enemy from the side (-2) or higher ground
  (-1 to -3).
  • Attacking your enemy while he’s lying on the ground (-3),
  kneeling (-2), or sitting (-2).
  • Attacking your enemy while he’s stunned (-4).
  For example, a high-skill, high-Move fighter could feint and
  win by, say, 4 (-4) on his turn; then parry an enemy blow, set-
  ting up a Counterattack; and then on his next turn run around
  his enemy to the side (-2) and make his Counterattack (-2) as a
  Deceptive Attack at -6 to hit (-3). This would give his enemy -11
  to defend!
  The Enemy’s Skill: Defenses
  The most straightforward way to lower an enemy’s defenses
  is to apply penalties directly to his active defenses, or to the
  underlying traits they are based on.
  All-Out Attack (Feint) and Feint (p. B365; Martial Arts,
  pp. 100-101): Feints allow a fighter to apply his margin of suc-
  cess in a Quick Contest of skills as a direct penalty to his tar-
  get’s active defense. Note that if a Feint is followed on the next
  turn by an All-Out Attack (Double), Rapid Strike, etc., the Feint
  penalty applies to both attacks! A shield can also be used to
  Feint (rolling against Shield skill) after it has been used to
  attack the target at least once. See Ranged Feints in Martial
  Arts (p. 121) for feints with ranged weapons.
  In particular, Feint (p. B365) and Deceptive Attack
  (p. B369) exist explicitly to enable high-skill heroes to win
  fights against mookish foes with ease and to land blows on
  tough-but-clumsy boss monsters with regularity. Indeed, these
  rules are the primary reasons why it’s worthwhile to keep
  investing in combat skill.
  Attacking From the Sides, Behind, and Above (pp. B390-
  391, B402): Not attacking from in front of the target is a useful
  way to impose defense penalties (see p. B385 for a diagram of
  which hexes are considered front, side, and back). Attacks
  from the sides give -2 to defense – and if the attack from
  behind is one the target is unaware of, there’s no active
  defense at all! Fast-moving fighters may start in front of a foe
  and run around to his side or back hexes (see Runaround
  Attacks, p. B391). Attacks from above may also prevent any
  active defense roll, or at least impose a penalty (see Attack
  From Above, p. B402).
  Beats (Martial Arts, pp. 100-101): A beat requires a Feint
  maneuver, but targets only one specific active defense instead
  of all, and relies on ST instead of DX – see the description for
  details. If a beat is successful, the margin of victory is applied
  as a penalty to the targeted defense.
  Combat at Different Levels (pp. B402-403): For melee,
  attacking from higher ground gives the target a defense penalty
  based on the relative heights involved.
  Counterattack (Martial Arts, p. 70): This melee technique
  allows a roll against the Counterattack level on the turn imme-
  diately following a successful active defense against the target.
  If it succeeds, the target suffers a penalty to active defenses and
  to any roll to resist a grappling Quick Contest.
  COMBAT
  58
  
  Deceptive Attack (p. B369): When the final effective melee
  skill is 16 or more, employing a Deceptive Attack is rarely a bad
  idea, since any roll of 17 or 18 is going to fail anyway. Apply -1
  to the foe’s active defense for every -2 taken this way. See
  Prediction Shots in Martial Arts (p. 121) for Deceptive Attacks
  with ranged weapons.
  Were I rewriting the Basic Set, I’d probably state that if
  your effective combat skill is above 16 after all modifiers, you
  should reduce it to 16 and apply half the reduction to the
  enemy’s defense. It’s that important.
  Dual-Weapon Attack (p. B417): If both
  attacks from a Dual-Weapon Attack are directed
  at a single target, he defends at -1.
  Encumbrance (p. B17): The weight of
  weapons, armor, and other gear a fighter carries
  relative to his ST can lower his Dodge. It also
  interferes with such unarmed combat skills as
  Judo and Karate.
  Flails (p. B405): Flails are difficult to defend
  against, and fencing weapons can’t parry them at
  all unless held in a Defensive Grip (due to their
  light blades).
  Grappling (pp. B370-371; Martial Arts,
  pp. 117-119): Successfully grappling an enemy
  causes him to suffer -4 to DX, which in turn
  gives -2 to Block and Parry and -1 to Dodge (see
  Defense While Grappling on p. 121 of Martial
  Arts). He’s unable to step or change posture,
  meaning he can’t retreat or use Acrobatic Dodge.
  If the grapple is to a limb, that limb can’t block or
  parry. Martial Arts and its Technical Grappling
  supplement add numerous additional grappling
  options. GURPS newcomers often overlook grap-
  pling, but it can be devastating when understood
  and used correctly. A foe that is pinned (p. B370)
  cannot even use active defenses until he breaks
  free! All but the weakest of enemies should have
  at least some grappling skills for resisting the PCs.
  Taking combat to the clinch or to the ground is meant to be
  a high risk/high reward option in GURPS.
  The risk is that your enemy can preempt your sweep, shoot,
  etc. using an armed parry or the Aggressive Parry technique.
  This will hurt you, as there’s no defense against the damage.
  Even if you grab your opponent, he might beat you in the ensu-
  ing takedown and send you down, or sprawl and end up on top
  of you. The full details are in Martial Arts, but let’s just say that
  getting position isn’t easy.
  The reward is that once you do get position, shaking you off
  is tough. Just about the only way for your foe to do that reli-
  ably is to have considerably more ST and grappling skill than
  you. If you outweigh your rival (more ST) or have better train-
  ing (more skill, improved techniques, and/or certain special
  perks), then he has a problem. If you have both edges, then he’s
  going to end up choked, mangled, or pinned. Again, Martial
  Arts is the go-to book for details.
  All of the above is by design. To avoid horrible fates in 
  close, don’t create a sloppy, overspecialized warrior. You’ll want
  the following.
  • Good unarmed grappling skills: Judo, Sumo Wrestling,
  or Wrestling. If you can afford two, buy ’em!
  • Decent ST and/or enough Sumo Wrestling or Wrestling
  to merit a ST bonus.
  • If you are strong, the Power Grappling perk.
  • A weapon, along with sufficient skill to use it well even
  at -4 to DX – possibly with the Armed Grapple and Close Com-
  bat techniques.
  • Unarmed striking skills, preferably with a few of
  Aggressive Parry, Elbow Strike, Head Butt, and Knee Strike
  above default.
  You cannot expect to
  make a low-ST, pure-striking
  character and have him sur-
  vive. In mixed combat – and
  all combat in a generic game
  tends to be mixed – you need
  some ST and grappling ability
  or you’re going to run into
  problems the first time you
  battle a more balanced foe.
  Also note that, in GURPS,
  each fighter is responsible for
  his own grapple. Grapples are
  not egalitarian or reflexive.
  While the real-world situation
  is overwhelmingly that as
  soon as A grapples B, B grap-
  ples A right back, GURPS
  doesn’t force you to do this.
  For all intents and purposes,
  if A grapples B and B doesn’t
  grapple back, A has position,
  is in control, and is assumed
  to have any of several holds
  that, while not fight-ending
  submissions, are definitely
  advantageous.
  Thus, until B grapples
  back, A has every advantage
  over B. In particular, A has no
  penalties, and can in fact use Knee Strike more effectively and
  escalate his grapple into an attempt at a takedown, pin, lock,
  etc.; his sole difficulty is that he must relinquish his grapple to
  use his hands or to retreat. Whereas B is at -4 to DX; at -2 to
  Block or Parry, and at -1 to Dodge; can’t attack or defend with a
  grappled limb; can’t retreat or use Acrobatic Dodge; and gets no
  special treatment when throwing a Knee Strike or trying a grap-
  pling move.
  Once B grapples back, A and B both can use Knee Strike
  more effectively; try to initiate a takedown, pin, lock, etc.;
  have -4 to DX; and suffer -2 to Block or Parry, and -1 to Dodge.
  Neither can attack or defend with a grappled limb, or retreat
  or use Acrobatic Dodge.
  Consequently, it’s to your advantage to be the one who
  grapples first. By initiating, you create a situation where your
  foe is at a penalty to return the favor. If he isn’t very skilled, you
  can gain control early and dominate the fight. If he’s skilled
  enough to absorb a -4, though, or just willing to make an All-
  Out Attack, then this advantage is only momentary. If he
  insists on not grappling back – well, that’s his problem.
  COMBAT
  59
  
  Knockback and Shove (pp. B372, B378): Yet another tactic
  against a foe with high defenses is to use a shove or other
  attack that inflicts knockback. Someone suffering knockback
  may fall prone, and will then experience the usual penalty to all
  active defenses.
  Posture (p. B551): Defending from a posture other than
  standing or crouching imposes penalties. Remember that it’s
  possible to be knocked prone by a shove (p. B372), knockback
  (p. B378), takedown (p. B370), or Judo throw (p. B203).
  Retreating (p. B377): Retreating is great when defending,
  allowing backward movement of one step and giving a bonus
  to active defense. However, it does have numerous restrictions
  that the GM should be aware of to curtail overuse: a fighter can
  only retreat once per turn; must have an “open” hex behind
  him to move into; and can’t retreat if kneeling, sitting, grap-
  pling (or being grappled), or stunned, or after sprinting the
  previous turn. Also, remember that most combats do not take
  place on an infinite smooth plain – there are usually all man-
  ner of terrain and obstacles on the battlefield (hydrants, curbs,
  debris, telephone poles, buildings, cars, other fighters, etc.)
  that restrict the ability to retreat turn after turn. (Using a hex
  map makes it easier to keep track of exactly where these sorts
  of things are in relation to the fighters.)
  You can certainly make people more circumspect about over-
  using retreats by placing some “surprises” on the field that only
  appear on the GM’s map, because there’s no way to detect them
  unless you drop out of combat time and start poking around
  carefully. Examples of surprises include covered pits, land
  mines, and invisible spell effects. Numbered hexes are good for
  keeping track of this stuff. The second or third time a PC retreats
  and goes down a hole (“You dodge the 1d impaling sword thrust
  easily. However, you take 1d impaling from the spiked pit, and
  now everybody can take easy shots at your head.”), people will
  start valuing the terra firma they know a lot more.
  Another one I often use in my campaign is the “defensive
  position”: The PCs have a doorway, narrow gap between
  trucks, small platform, etc. that funnels a superior number of
  foes into a manageable front and/or gives the PCs a height
  advantage. They’re welcome to retreat. If they do, though, the
  enemies who haven’t yet acted are free to boil in and negate,
  even take over the position. Now the PCs are flanked and in
  trouble. The second or third time I did that, the players decided
  that a wounded point man was better than having him take +3
  to Dodge and not be wounded.
  And yet another one is the “known boundary”: The PCs are
  at a cliff edge, on a pier jutting over water (or a dead drop, for
  an airship!), backed up against a lava pit, or whatever. All the
  PCs and players know that the boundary is there. Retreating
  means dire injury, even death.
  The latter two are completely open and honest – no secret
  maps, no accusations of the GM moving hidden obstacles
  around – and work well even for the most adversarial gaming
  groups. All three options are entirely fitting for heroic combat
  scenarios. Indeed, all three are realistic. Real-world defenses
  are normally static unless you control the ground behind you
  and can safely defend in depth.
  Riposte (Martial Arts, pp. 124-125): A Riposte is similar to
  a Deceptive Attack, except it reduces Parry, not the attacking
  melee skill. On the turn following a successful parry, apply the
  amount by which the Parry was reduced as a penalty to one of
  the target’s active defenses.
  Ruses (Martial Arts, p. 101): A ruse requires a Feint maneu-
  ver, and permits the use of IQ in the resulting Quick Contest. The
  target can use his normal DX-based skill roll, a Per-based skill
  roll, or his Tactics skill. If the ruse is successful, the margin of
  victory is applied as a penalty to the target’s active defense.
  The entire goal of Beats and Ruses is not to rob your tar-
  get of the benefit of his DX. In fact, his scores and choice of
  scores are totally irrelevant to the question. The entire goal of
  Beats and Ruses is to let you compensate for your low DX. If
  your foe is resisting with DX-based Broadsword-15, and
  you’re a big ogre with ST 20, DX 11, and Broadsword-12, or
  a wizard with IQ 16, DX 8, and Broadsword-10, then you’re
  clearly better off trying a Beat at 21 vs. 15 or a Ruse at 18 vs.
  15, respectively, than a Feint at 12 vs. 15 or 10 vs. 15. That’s
  what these rules are for. They address cases where the fighter
  doing the tricky move has scores better than DX, and look
  only at those scores relative to his DX. The other fighter’s
  scores aren’t even important.
  Put another way, these are options for “big” fighters or
  “smart” fighters, to keep them competitive despite low DX.
  They serve that purpose. These options don’t exist to blind-
  side DX-based opponents of such fighters, who have paid
  points for their DX and who can rightfully expect it to mat-
  ter. If anything, these options are unusually generous to those
  who opted not to buy the score that the rules say you need to
  be a good fighter. They aren’t unusually restrictive at all.
  Stop Hits (Martial Arts, p. 108): A Stop Hit is a special case
  of the Wait maneuver, “to attack my enemy as he attacks.” It
  may give an active defense penalty to both, one, or none of the
  fighters – see the description for details.
  Stun (p. B420): Someone suffering stun is -4 to all active
  defenses and can’t retreat. Common ways to inflict stun are
  critical hits and anything requiring a roll to avoid knockdown
  and stunning (such as major wounds, crippling injury, and
  attacks to the head or vitals inflicting enough injury to cause a
  shock penalty). A fighter trapped in a state of perpetual stun is
  in trouble!
  COMBAT
  60
  Were I rewriting the Basic Set, I’d probably state that if your effective combat skill is above
  16 after all modifiers, you should reduce it to 16 and apply half the reduction to the enemy’s
  defense. It’s that important.
  – Kromm
  
  Wounding (p. B419): Once a combatant is at less than 1/3
  HP, his Dodge is halved (round up).
  The Enemy’s Weapon: Defenses
  If the opponent’s defense is a very high Parry with a light
  weapon, an attacker with a weapon that is at least three times
  heavier may break his weapon (see Parrying Heavy Weapons,
  p. B376). Furthermore, the suggestions under The Enemy’s
  Weapon: Attacks (p. 57) can just as easily be used to rid a foe
  of his weapon’s defenses as his weapon’s attacks.
  Defenses and Multiple Attackers
  Even high-skill warriors have problems defending against
  more than one attacker at a time. Switching combat from one
  vs. one to one vs. two, or even one vs. three, makes a big differ-
  ence. Fighting more than three opponents at once requires leg-
  endary fighting skills!
  As noted under Attacking From the Sides, Behind, and Above
  (p. 58), attacks from the sides and rear give penalties to active
  defenses, and multiple attackers will find it easier to launch
  attacks from those hexes. The biggest challenge of fighting
  more than one enemy is keeping up with the number of attacks
  – each active defense can only be used so many times per turn
  before incurring penalties. If actually surrounded, the results
  are even worse.
  The effects of being surrounded are built into the combat
  system. They don’t so often take the form of actual bonuses for
  the attacker as of penalties and/or limited options for the
  defender. Specifically:
  • You’ll quickly run out of active defenses, because you can
  only block once (p. B375) and are at a penalty if you parry
  more than once (p. B376).
  • At least one of your foes will be in your back hex, and you’ll
  have no active defense at all against his attacks. See p. B391.
  • At least two of your foes will be in your side hexes.
  You’ll defend against their attacks at -2, and you’ll be unable
  to block/parry with your left (right) hand against the foe 
  on your right (left) side. See p. B390. Furthermore, your
  shield’s DB will only help against the attacker on your shield
  side (p. B287).
  • Your remaining three foes will be in your front hexes. You
  can defend against them normally, but you cannot retreat,
  because there are people occupying all the hexes into which you
  could retreat. See p. B391.
  • If your opponents decide to dogpile on you in close com-
  bat, they’ll get bonuses to DX and ST. See p. B392.
  All-Out Defense (Double Defense) (p. B366):
  This lets the combatant choose a second, differ-
  ent active defense against an attack if the first
  active defense fails. Note that if parrying with
  one hand, a parry with the other hand is a differ-
  ent defense (allowing for two parry attempts
  against the same attack, one with each hand).
  Double Defense doesn’t change how many
  defenses you can attempt in total – it increases the
  number of defenses you can attempt against each
  attack. It makes the most sense to lead with a
  dodge, because that’s “free” and if it works, you get
  to save your precious block and parries (and if it
  doesn’t work, you can fall back on one of these).
  Probably, we could have called it “All-Out Defense
  (Dodge First!)” and mostly been correct, but there
  will be fighters for whom block-then-parry, parry-
  then-block, parry left-then-parry right, parry-then-
  Blink spell, etc. will be preferable.
  Blocks per Turn (p. B375; Martial Arts, p. 123): Blocks are
  usually restricted to one attempt per turn (though see the
  optional Multiple Blocks on p. 123 of Martial Arts).
  Dodges per Turn (pp. B374-375; Martial Arts, p. 123): Dodge
  is the only active defense to allow a roll against every attack
  you’re aware of without penalty (or at a cumulative -1 per
  dodge beyond the first, if using the optional rule Limiting
  Multiple Dodges on p. 123 of Martial Arts). See also Restricted
  Dodge Against Firearms in Martial Arts (p. 123).
  Fencing Weapons (pp. B208, B376): Using a fencing weapon
  with an appropriate skill (Main-Gauche, Rapier, Saber,
  Smallsword) reduces the penalty for multiple parries in a sin-
  gle turn (even further with the advantages Trained by a Master
  or Weapon Master). Penalties only apply if the same hand par-
  ries more than once in a turn; the first parry for each hand has
  no modifiers (unless it is the “off” hand, in which case it par-
  ries at the usual -2).
  Parries per Turn (p. B376): Using the same (ready) weapon
  or hand to parry multiple attacks in a turn is at a cumulative -4
  per attempt (or -2 with a fencing weapon, or with Trained by a
  Master or Weapon Master; or -1 with both). There is a -2
  penalty for weapon or unskilled, unarmed parries using the
  “off” hand (without the Ambidexterity advantage).
  Two-Handed Weapons (Martial Arts, p. 123): For a ready
  weapon wielded with two hands (using Polearm, Spear, Staff,
  or Two-Handed Sword skill), and at least two yards long, the
  penalty for multiple parries in a turn may be reduced by half.
  Such weapons may also defend against a Dual-Weapon Attack
  with a single parry, at -1.
  COMBAT
  61
  
  The GM (Marcus) has structured his campaign and the game
  world to be something fun for himself and all the players. He
  helped the players create PCs well-equipped for exploring this
  world and surviving its challenges (see Chapter 2). He designed
  a basic adventure to introduce them all to the campaign world
  (see Chapter 4). Now, it’s time to actually run the adventure!
  It would take a separate book to transcribe the entirety of
  an RPG group’s actual play session. This chapter instead
  focuses on just a few key encounters.
  The adventurers are detailed on pp. 19-21. Anne is Beldin, a
  town guard; Josh is Jax, an archer; and Peter is Rory, a charis-
  matic “people person.”
  EXAMPLE OF RUNNING THE ADVENTURE
  62
  Marcus has read all of the important resources listed in
  Chapter 5 – many of them more than once. He also down-
  loaded and printed out three copies of the GURPS Combat
  Cards for his players, filled in a GM Control Sheet with all the
  relevant information, and has a GURPS GM’s Screen on hand
  with the most common tables and rules.
  BEFORE THE
  SESSION: EXAMPLE
  Be Prepared: The game session is at Marcus’ house, so
  before the players start arriving, he makes sure the room where
  they’re playing is well-lit and prepared. At his seat are the
  GURPS books he owns, the GURPS GM’s Screen, copies of the
  adventure and the three characters, a completed Campaign
  Planning Form and GM Control Sheet, three decks of GURPS
  Combat Cards, pencils, paper, and a bunch of dice.
  Socialize: Josh arrives first, and he and Marcus chat about
  the latest computer game they’re both playing. Anne and Peter
  arrive later, and everyone spends some time catching up on the
  week, work, the latest movies, etc. before they dive in.
  Recap: This is the first session, so there’s nothing to recap.
  Answer Questions: Marcus asks if there are any questions.
  There are a couple of minor ones, but nothing too involved.
  Josh: Just to clarify – do I have to roll under my effective
  skill to succeed at something, or on or under?
  Marcus: If your effective skill at something is, say, 14, you
  need to roll a 14 or less.
  Anne: I can’t remember if my character Beldin is still in the
  Kharston town guard, now, or if he used to be a town guard.
  Marcus: [Checks his notes.] You decided Beldin was in the
  town guard until about a week ago, when he took a leave of
  absence in preparation for leaving town with his friends.
  Relax and Have Fun: Marcus takes a mental pause, relaxes,
  and – they’re off!
  DURING THE
  SESSION: EXAMPLE
  Marcus glances once more at his notes as he decides how he
  wants to open the adventure.
  Start With Some Action
  The first encounter is for the party to be interviewed by
  a merchant named Tignis for a possible job. Marcus sud-
  denly realizes he’d rather start things off with a bit more
  urgency, to grab the group’s attention and pull them imme-
  diately into the game. His choices are limited by the fact
  that the game is starting in a small town, with inexperienced
  PCs, but he wants to throw some kind of initial conflict in
  the party’s way.
  So, as they walk through the cluster of storehouses to get to
  Tignis’, a group of four young ruffians begins harassing
  them. Marcus decides they are from a merchant house at
  odds with Rory’s father, and recognize Rory as his son.
  BEING THE GM: EXAMPLE
  CHAPTER SEVEN
  EXAMPLE OF
  RUNNING THE
  ADVENTURE
  
  Taunts and verbal jeers escalate (despite Rory’s attempts at
  Diplomacy and Fast-Talk), and one of the ruffians throws a
  handful of mud at Rory, who fails his Dodge roll. The thrown
  wet mud soaks his white shirt, and a brawl ensues.
  Marcus just assumes the ruffians all have attributes of 10,
  with a Brawling skill of 11, wear normal clothing with no
  appreciable DR, favor All-Out Attacks, and get taken out of the
  fight as soon as their HP reaches 0 (though they’ll likely flee
  long before that). The party handily wins this fight in just a few
  seconds, sending their attackers scurrying, but now they are all
  covered in mud and not presentable for a job meeting.
  Rory’s home is closest, so the PCs race there, quickly change
  clothes, and run back to see Tignis. Marcus explains that
  Beldin and Jax both have a Basic Move higher than Rory’s, so
  they’ll need to slow and run at his speed to all arrive together.
  He describes the mad dash through town, with a few easy DX
  rolls thrown in for avoiding obstacles. The party arrives at
  Tignis’ warehouse 20 minutes late.
  Marcus (as Tignis): Well, well, look who has finally dark-
  ened my door. Perhaps I’ll not only hire ye, but throw in a
  bonus for such punctuality? Be gone. I’ve no use for guards
  who can’t tell where the sun lies in the sky!
  Peter would rather not admit to Tignis what really hap-
  pened, as it doesn’t show the party in the most professional
  light, so he decides to spin a more favorable tale.
  Peter (as Rory): Madame Tignis, our deepest regrets for
  keeping you waiting. No doubt your time is most valuable.
  But we were tasked this morning with keeping watch over
  one of my father’s recent imports of Ladavian sweet-fruits,
  and discovered that rats had begun to feast on them. As much
  as we wanted to be prompt for our meeting with you, we
  could not in good conscience leave my father’s goods to be
  ruined by vermin. [Out of character, Peter states what wants
  he to do.] Marcus, I’d like to try an Influence roll on Tignis,
  using my Diplomacy skill.
  Influence rolls are made against (Influence skill + reaction
  modifier). Rory’s normal reaction modifier is +5 (+1 for
  Attractive, +2 for Charisma, and +2 for Voice), but Voice is
  already factored into his Diplomacy skill of 14, so he just uses
  the +3 from his Appearance and Charisma. His effective skill is
  17, in a Quick Contest against Tignis’ Will of 12.
  Peter rolls 11 on 3d, for a margin of success of 6 (skill of
  17 - roll of 11). Marcus rolls 9 on 3d, for a margin of success of
  3 (skill of 12 - roll of 9). Rory wins the Quick Contest by 3 (the
  difference between the two margins of success).
  Marcus: Tignis definitely seems annoyed that you were late
  for your appointment, but she’s also pleased by your loyalty
  while guarding the fruit. After pondering a moment, she invites
  you all into the back room of the warehouse.
  Pay Attention to the Players
  The game progresses well from that first encounter. Tignis
  offers the job of finding a safe route to Mossenway to the PCs,
  who unanimously accept. Rory successfully talks her up to the
  fair wage of $350 per scout, and they plan to leave the follow-
  ing morning.
  While walking back to their homes, they spend some time
  chatting. One of the things they discuss is why Tignis agreed to
  interview them in the first place. Rory maintains it was simply
  a favor to his father, but Beldin believes it something more
  sinister – he thinks Willem “must have some dirt” on Tignis,
  and used that as leverage. Marcus had originally written the
  interview as just a pleasantry between colleagues, but decides
  it might be more interesting if Tignis really does have a few
  secrets to hide, secrets that Rory’s father Willem knows about.
  He marks this in his notes for later.
  Let the Players Have Fun
  The PCs pick up their supplies from Tignis in the morning
  and set out for Mossenway. As they travel, the players role-
  play out some of their character conversations, so Marcus
  just lets them enjoy themselves. Many of these conversations
  flesh out their histories and personalities, and Marcus takes
  more notes.
  Always Have an Encounter Ready
  All the while as they travel, Marcus keeps in mind the
  “Trapped Wolf” encounter, in case things start to drag. The
  pace seems good for everyone, though, and they continue to
  make their way toward Mossenway. Over the course of a few
  in-game days, the party experiences a brief rain shower, a large
  tree with a trunk that looks like a face, and a large, frond-cov-
  ered lake (which they camp next to one night).
  Include Everyone
  Marcus notices that Peter’s adventurer, Rory, has been the
  focus of more situations than the others in the group. It was
  Rory who talked Tignis into giving them a job interview after
  they were late; he is also the one making the nightly Survival
  rolls, and the one trying to map as they go (since he has the
  highest IQ, and the highest Cartography default). Marcus
  makes a conscious effort to give Beldin and Jax more to do.
  Tailor to the Adventurers
  As the next day of travel begins, Marcus mentions to Jax
  that the area they are riding through is home to many quail.
  Jax begins to ride with his bow strung, and eventually bags a
  nice fat quail with an impressive bow shot from almost 50
  yards away. That night, the party thoroughly enjoys their break
  from bland trail rations.
  Marcus decides to change the wolf in the “Trapped Wolf”
  encounter from being sympathetic and in need of rescue to
  being hostile and threatening. As they break camp in the
  morning, Beldin notices a wolf just a few yards away, intently
  staring at him. It is gaunt, haggard, half-crazed with hunger,
  possibly even diseased – Beldin has just enough time to shout
  a warning to the others and Fast-Draw his sword before it’s
  upon him.
  The battle is vicious but over in just a few seconds. The
  wolf lies bleeding out on the ground, and Beldin has suffered
  2 HP of injury from a deep bite to his calf. While Rory grabs
  the equivalent of a first aid kit from their gear, Beldin tries to
  stop his own bleeding with a torn strip of his shirt. (Marcus
  quickly reviews the rules for First Aid on p. B424.) This takes
  one minute. Beldin’s First Aid skill is 10, at -2 for improvised
  equipment (p. B345), giving him an effective skill of 8. Anne
  rolls a 13, failing by 5, and is unable to stop the bleeding.
  Marcus explains this as the awkwardness of Beldin trying to
  work on his own wound.
  EXAMPLE OF RUNNING THE ADVENTURE
  63
  
  Rory arrives with clean bandages and a plant poultice com-
  mon to the local area. His First Aid skill is 14, with no penalties
  (he is using basic equipment). Peter first rolls to stop the bleed-
  ing, and succeeds by 3 with a roll of 11 – Beldin’s wound stops
  bleeding, and he receives 1 HP back (so he is now only down by
  1). This also takes one minute. Rory then dresses the wound
  and tends to Beldin for 30 minutes more, after which he makes
  another First Aid roll. Peter succeeds again, with a roll of 9,
  allowing him to restore 1d-3 HP to Beldin. Peter rolls a 5 on 1d,
  restoring a total of 2 HP. This includes the 1 HP already recov-
  ered, so Beldin only receives another 1 HP, but that’s enough
  to bring him back to full health.
  Marcus isn’t sure whether to pursue possible disease or
  infection from this wound, for later story hooks. He has Anne
  make a roll against Beldin’s HT of 13, just in case – she rolls an
  8 on 3d, succeeding by 5. Marcus figures Beldin will be fine.
  Encounter: Bandit Toll Road
  On the fifth day, the party stops to eat a quick lunch as
  usual, then continues traveling on foot to give the horses a rest.
  They follow a bend in the trail and see three unsavory figures
  and two horses just ahead (Kalee and two bandit thugs,
  detailed in the NPCs section of the adventure; see pp. 32-33).
  Though originally standing in the road, the three step a few
  feet to the side as the party approaches. Unsure of who they
  are, and not wanting to appear hostile by mounting, the PCs
  continue walking slowly toward the figures. Beldin quietly
  slips his shield off of his horse and readies it as they approach.
  Rory and Kalee trade a curt “good day” as the two groups
  come abreast. All three of the bandits appear wary, and have
  their hands resting near their sword hilts, but it looks as
  though they plan to let the PCs pass. In this tense situation,
  Marcus asks Anne for a roll against Beldin’s Bad Temper self-
  control of 12. She rolls 3d and fails with a 14. Beldin is com-
  pelled to lash out.
  Anne (as Beldin): This is not your road, you foul-smelling
  dung heaps!
  The bandits respond immediately and move to engage –
  combat begins! First, Marcus notes the turn sequence
  (p. B363) on his GM Control Sheet, based on the Basic Speed
  of all participants. Rory and the bandit thugs are tied for both
  Basic Speed and DX, so Marcus rolls 1d to determine who goes
  first, odd numbers for the bandits, even numbers for Rory. He
  rolls 4, so Rory goes before the thugs. The turn sequence is: Jax
  (Basic Speed 6.25, DX 14), Beldin (Basic Speed 6.25, DX 12),
  Kalee (Basic Speed 5.75), Rory (Basic Speed 5.50, DX 11), and
  Bandit Thugs (Basic Speed 5.50, DX 11).
  The two groups begin combat at only four yards apart. Jax
  goes first and chooses a Ready maneuver to draw his shortsword
  from its sheath. Beldin acts next and tries to Fast-Draw his
  broadsword – his Fast-Draw (Sword) skill is 12, and Anne rolls a
  10 on 3d, so the sword is now in his hand. He chooses a Move
  and Attack maneuver, and attempts a shield rush (p. B372)
  against Kalee, the enemy wearing the best armor.
  Below is a detailed, turn-by-turn example of the
  fight between Beldin and Kalee. Note that while
  their fight is taking place, similar fights between Jax
  and a bandit thug, and Rory and a bandit thug, are
  also occurring, with each player declaring and
  resolving their own character’s maneuvers as their
  turn in the sequence comes up.
  The character stats for both fighters are found
  earlier in this supplement (Beldin is on pp. 19-20;
  Kalee is on p. 33).
  Beldin, Turn 1: Beldin chooses the Move and
  Attack maneuver, and attempts a shield rush
  (p. B372) against Kalee. He runs four yards, and
  Anne rolls 3d against his Shield skill of 14, suc-
  ceeding with an 8. Marcus chooses to have Kalee
  parry, and rolls 3d against her Parry of 11, failing
  with a 13.
  The formula for slam damage is (HP ¥ velocity)
  / 100. For Beldin, this equates to (14 ¥ 4) / 100 =
  0.56. According to p. B371, fractions above 0.50 are
  treated as 1d-1 damage; Anne rolls 1d-1 and gets a
  total of 3 (the die roll is 4). Because this is a shield
  rush, Beldin adds the DB of his medium shield,
  which is 2, to the roll, for a final damage result of 5.
  Kalee’s slam damage to Beldin equates to (13 ¥ 4) / 100 =
  0.52, which is also 1d-1 damage. Marcus rolls 1d-1 and gets a
  total of 3 (this die roll is also 4).
  Applying Beldin’s damage of 5 to Kalee’s torso, minus her
  DR of 2, means Kalee takes 3 points of crushing damage.
  Marcus reduces her HP from 13 to 10. Applying Kalee’s dam-
  age of 3 to Beldin’s shield, minus its DR of 7, means Beldin’s
  shield takes no damage (see the Shield Table, p. B287).
  Because Beldin’s damage roll was more than Kalee’s, Kalee
  must roll against her DX to remain standing. Marcus rolls 3d
  against her DX of 11, succeeding with a 9.
  Marcus: Beldin charges at the female warrior, shield raised,
  and slams into her with a loud thwack of wood on leather. She
  resolutely holds her ground, and doesn’t fall, but does seem
  wounded. She grits her teeth and raises her sword to attack.
  Kalee, Turn 1: Kalee has been wounded for 3 points of dam-
  age, but because she has the High Pain Threshold advantage,
  she does not suffer the -3 from shock. She chooses the Attack
  maneuver, and attempts a cutting attack with her broadsword to
  Beldin’s neck (base Broadsword skill of 15, -5 to hit the neck).
  EXAMPLE OF RUNNING THE ADVENTURE
  64
  
  Marcus rolls 3d against her effective skill of 10, and succeeds
  with a 10. Anne then rolls 3d against Beldin’s Block of 13 (3 +
  half Shield skill of 14 = 10, +1 for Combat Reflexes, +2 for
  shield’s DB of 2, total of 10 + 1 + 2 = 13), and succeeds with a 7.
  Marcus: The ruffian swings smoothly for Beldin’s throat,
  but he manages to get his shield up just in time to intercept
  the blade.
  Rory then takes his first turn, followed by each of the ban-
  dit thugs. By that point, all combatants have completed their
  first turn. Jax then takes his second, followed by Beldin.
  Beldin, Turn 2: Beldin chooses the Attack maneuver, and
  attempts a cutting attack with his broadsword to Kalee’s
  weapon arm (-2 to hit). Anne rolls against Beldin’s effective
  skill of 12 (base Broadsword skill of 14, -2 for targeting
  the arm), and succeeds with an 11. Marcus rolls
  against Kalee’s Parry of 11 and succeeds with a 10.
  Marcus: Beldin slashes at his foe’s leading arm, but
  she deftly knocks his blade aside with her own.
  Kalee, Turn 2: Kalee chooses the Feint maneuver,
  and makes a Quick Contest between her Broadsword
  skill of 15 and Beldin’s best melee weapon or unarmed
  skill, which is a Broadsword skill of 14. Marcus rolls
  for Kalee, and succeeds by 4 with a roll of 11. Anne
  rolls for Beldin, and succeeds by 2 with a roll of 12. Kalee wins
  the Quick Contest by a margin of 2 (her margin of success of
  4, minus Beldin’s margin of success of 2), and will apply -2 to
  Beldin’s defense next turn.
  Marcus: The bandit waves her sword erratically, trying to
  open a hole in Beldin’s defense.
  Many GMs don’t tell their players when an enemy is feint-
  ing, but Marcus feels the whole group is still learning the sys-
  tem and can benefit from following along.
  Rory takes his second turn, followed by each of the bandit
  thugs, then Jax takes his third turn.
  Beldin, Turn 3: Beldin again chooses the Attack maneuver,
  this time spending 2 FP on a Flurry of Blows (p. B357) to use
  Rapid Strike (p. B370) for two attacks, each at -3 to hit instead
  of the usual -6. Anne lowers his FP from 13 to 11, then rolls twice
  against his effective skill of 11 (base skill of 14, with -3 for Rapid
  Strike); she succeeds once with an 8, and fails once with a 12.
  Marcus rolls against Kalee’s Parry of 11, and succeeds with a 9.
  Marcus: Beldin launches two lightning-fast strikes with his
  sword. The first blow misses. The second almost hits its mark,
  but is again parried by the bandit’s experienced blade.
  Kalee, Turn 3: Kalee chooses the Attack maneuver, and
  attempts a thrusting attack to Beldin’s vitals hit location (-3 to
  hit, from her base Broadsword skill of 15). Marcus rolls 3d
  against her effective skill of 12, and succeeds with a 9. Anne
  has Beldin retreat, adding a +1 to his defense, and spends 1 FP
  for an additional +2 from Feverish Defense (p. B357), giving
  Beldin an effective Block of 14 (base Block of 13, +1 for retreat,
  +2 for Feverish Defense, -2 for Kalee’s successful Feint last
  turn). She rolls and fails, with a 15!
  Marcus rolls Kalee’s broadsword damage of 1d+2, and gets
  a total of 4 (the die roll is 2). Applying Kalee’s damage of 4 to
  Beldin’s torso, minus his DR of 2, means 2 points of impaling
  damage penetrate Beldin’s armor. Because of the vitals hit
  location, impaling damage is multiplied by ¥3, doing a total of
  6 points of damage to Beldin. Anne reduces Beldin’s HP from
  14 to 8 (and his FP from 11 to 10, for the Feverish Defense).
  Because this is injury to the vitals, she also makes a roll against
  his effective HT of 16 (HT 13, +3 from High Pain Threshold),
  to avoid knockdown and stunning (p. B420). She succeeds with
  an 11.
  Marcus: The bandit lunges wickedly at Beldin, trying to
  skewer him right through the chest. Her blade penetrates his
  armor and plunges deeply into his body. Beldin is seriously
  wounded. The only reason he’s still alive is because he leapt
  backward as the bandit attacked!
  Rory then takes his third turn, as do each of the bandit
  thugs, and Jax takes his fourth.
  Beldin, Turn 4: That last wound was severe and could have
  been much worse if Marcus hadn’t rolled so low for damage.
  Beldin also has the High Pain Threshold advantage, so he does
  not suffer the maximum shock penalty of -4 from the 6-point
  wound he received. Anne decides to take a big risk, and
  chooses the All-Out Attack (Determined) maneuver (+4 to hit),
  attempting a cutting attack with Beldin’s broadsword to
  Kalee’s neck (-5 to hit). Anne rolls against Beldin’s effective
  skill of 13 (base Broadsword skill of 14, +4 for All-Out Attack
  (Determined), -5 for neck hit location), and succeeds with a 10.
  Marcus rolls against Kalee’s Parry of 11, and fails with a 12.
  At this point, Marcus considers using Kalee’s Luck to roll
  two more Parry attempts and take the best one. She’s already
  come close to killing Beldin, though, and Marcus is concerned
  he may have made Kalee just a bit too tough for new adventur-
  ers. He chooses to ignore her Luck.
  Anne rolls Beldin’s broadsword damage of 2d+1 and gets a
  total of 9 points of cutting damage applied to Kalee’s neck.
  Because of the neck hit location, cutting damage is multiplied
  by ¥2, doing a total of 18 points of damage to Kalee. Marcus
  reduces Kalee’s HP from 10 to -8. Normally, Kalee would need
  to make an immediate HT roll to remain conscious (as she is
  below 0 HP), then another against knockdown and stunning
  from such a major wound (p. B420). Marcus feels it’s more
  dramatically appropriate to just have her surrender, and then
  fall unconscious from her injuries.
  Marcus: Beldin slashes desperately at the female warrior,
  and his sword rips a jagged gash across her throat. Blood flows
  freely down the front of her armor – she drops her sword and
  collapses to her knees. One hand clutches her wound, the other
  stretches forward, as if in surrender, before she falls uncon-
  scious. Upon seeing this, the other two bandits drop their
  swords and begin to flee.
  The party decides to let the two bandits run away, and
  Rory spends time bandaging Kalee’s wounds. Rory also tends
  to Beldin – Rory and Jax received only minor injuries. 
  EXAMPLE OF RUNNING THE ADVENTURE
  65
  Sometimes, it really is as simple
  as just giving the players a chance
  to do what they want to do.
  
  After some discussion, the party decides to leave Kalee where
  she is, with one of the horses, assuming that if she regains
  consciousness she will be able to ride somewhere for further
  assistance. They load the other horse with the swords the ban-
  dits left behind and Kalee’s few possessions, and take it with
  them as they continue.
  Try New Things
  Later that day, long after the battle against the bandits, the
  party encounters a lone farmer driving a small cart in the
  opposite direction. Marcus feels like all of his NPCs have kind
  of the exact same voice and accent, so he really hams it up with
  this one, giving him a very deep, slow voice. The farmer says he
  is heading toward Hemmel, and seems a friendly sort. Jax asks
  him if he knows how to get to Mossenway, and the farmer hap-
  pily gives some vague directions about “that way” (though he’s
  at least pointing in the direction the PCs are heading). The
  adventurers converse a bit with the farmer before continuing
  on their way.
  End With a Cliffhanger
  With just a short time left to continue playing, the party
  makes camp that night as they always have. After some late
  supper, they start laying down their bed rolls. Marcus makes a
  Common Sense roll against Rory’s IQ of 13 and succeeds with
  an 11. He suggests to Peter that, given the events of the day,
  and the fact that they know bandits are active in the
  area, they may want to post a watch.
  The group decides that Rory will stay up late, Jax
  will get up early, and Beldin will take the middle
  watch. An hour or so before dawn, while Jax is on
  guard, Marcus asks Josh for a roll against Jax’s Per-
  ception of 10. He succeeds with a 10.
  Marcus: Jax, as you’re sitting by the low fire, you
  notice what you think is a human-sized shadow
  moving around in the trees just outside of the fire-
  light. What do you do?
  Josh (as Jax): I strung my bow when I started
  the watch, right?
  Marcus: Sure did, I remember you saying that.
  Josh (as Jax): I ready my bow and shout, “Wake
  up! Wake up!” as loud as I can.
  Marcus: Just as you do that, men begin charging
  toward the camp. First, you see only a couple, then
  three, then maybe even more. One of them is bolting
  right for you, a broadsword poised over his head. He’s scream-
  ing, “Get them!” . . . and that’s where we’ll pick up next time.
  AFTER THE SESSION:
  EXAMPLE
  Once the adventure has come to a good stopping point,
  post-session activities can happen.
  Give Out Rewards
  The PCs are making good progress, but they haven’t quite
  reached Mossenway, so there isn’t much in the way of material
  rewards just yet. They do have the possessions they took from
  Kalee, and the bandit’s horse. For character points, Marcus
  awards each player three – they all played true to character,
  made a solid effort toward finding a route to Mossenway, and
  seemed to have a great time.
  Time Use Sheet
  The next game session will be picking up right where this
  one left off, so there’s no need for a Time Use Sheet.
  Ask for Feedback and Suggestions
  While folks are packing up their gaming stuff, Marcus asks
  everyone how they thought the game went. Josh says he really
  enjoyed his first game and is looking forward to the next, but felt
  a little lost about some of the rules, especially during combat.
  Marcus tells him not to worry, that he’ll get more experienced
  every time they play, and that he can always ask questions about
  anything he doesn’t understand.
  Peter also enjoyed himself, especially at the beginning when
  Rory was instrumental in getting the party the job from Tignis,
  both at making sure they got the interview and during the
  interview itself. 
  Anne says she really likes these characters and thinks they
  work well together. The adventure was a little “basic” for her
  taste, but she’s confident the adventures the PCs find them-
  selves on will expand and grow in complexity as they continue.
  Her only suggestion is to try some soft background music as
  they play.
  Try to Improve
  Marcus makes a note to remember background music for
  the next game. He also writes down Anne’s remark about the
  simplicity of the adventure, and starts thinking of ways to add
  more adventure hooks in Mossenway, and on the road back to
  Kharston, to give the players more choices.
  Record the Game Events
  The morning after the session, Marcus writes up a quick
  summary of everything that happened and emails it to the
  players.
  Overall, Marcus is pleased that everyone had such a good
  time, himself included. This new GURPS group is off to a solid
  start, and he’s looking forward to running many, many more
  games in the months and years to come.
  EXAMPLE OF RUNNING THE ADVENTURE
  66
  
  EXPANDED CAMPAIGN PLANNING FORM
  67
  GURPS Campaign Prospectus
  Campaign Name: _______________________________ GM:_____________________________ Creation Date: ___________________
  Genre: _____________________ Tech Level (TL):___________ TL Exceptions: _____________________________________________
  Power Level: _____________________________________ Realism Level: Grittily Realistic / Realistic / Cinematic / Over-the-Top
  Campaign Synopsis and Recent Events: _____________________________________________________________________________
  __________________________________________________________________________________________________________________
  Timeline of Significant Historical Events:____________________________________________________________________________
  __________________________________________________________________________________________________________________
  Currency/$ Value: _____________________ Currency/$ Value: ____________________ Currency/$ Value:_____________________
  • Precious Metals? Yes / No
  • Paper Money? Yes / No
  • E-Money? Yes / No
  • Is Slavery Legal? Yes / No
  Major Nations (see also City Stats)
  Name: _______________________________ Capital: ______________________________ Ruler:________________________________
  Population: __________________________ Search bonus: _________ Terrain: _____________________________________________
  Appearance: _________________________ Hygiene: ______________ Mana: _______________ Enchantment: _________________
  Cultural Familiarity: ________________________ Language(s): __________________________________________________________
  Literacy: _______________________ TL: _____________ Wealth: __________________________ Status (range):_________________
  Society/Government:____________________________________ Control Rating (CR): _________ Corruption modifier: _________
  Military Resources: _____________ Defense Bonus: __________ Notes: __________________________________________________
  Name: _______________________________ Capital: ______________________________ Ruler:________________________________
  Population: __________________________ Search bonus: _________ Terrain: _____________________________________________
  Appearance: _________________________ Hygiene: ______________ Mana: _______________ Enchantment: _________________
  Cultural Familiarity: ________________________ Language(s): __________________________________________________________
  Literacy: _______________________ TL: _____________ Wealth: __________________________ Status (range):_________________
  Society/Government:____________________________________ Control Rating (CR): _________ Corruption modifier: _________
  Military Resources: _____________ Defense Bonus: __________ Notes: __________________________________________________
  Other Major Planes of Existence
  Name: _________________________ Type: _______________________ Description:__________________________________________
  Name: _________________________ Type: _______________________ Description:__________________________________________
  Rules
  GURPS Books Used
  Title:____________________________________________ Notes: ___________________________________________________________
  Title:____________________________________________ Notes: ___________________________________________________________
  Title:____________________________________________ Notes: ___________________________________________________________
  Optional Rules
  Rule: ____________________________________________________ Book:_____________________________________ Page: ________
  Rule: ____________________________________________________ Book:_____________________________________ Page: ________
  Rule: ____________________________________________________ Book:_____________________________________ Page: ________
  House Rules: _____________________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  EXPANDED CAMPAIGN PLANNING FORM
  
  GURPS Character Creation Guide, Part 1
  Starting Points: ________________________________________ Disadvantage Limit:________________________________________
  Suggested Character Concepts: _____________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Character/Racial Templates (Point Total):____________________________________________________________________________
  __________________________________________________________________________________________________________________
  Attributes
  Secondary Characteristics
  Relative to base
  Min. Max. House Rules
  Min.
  Max.
  House Rules
  ST: ____ ____
  _______________________________________
  HP: _____
  ____
  ____________________________________
  DX: ____ ____
  _______________________________________
  Will: _____
  ____
  ____________________________________
  IQ:
  ____ ____
  _______________________________________
  Per: _____
  ____
  ____________________________________
  HT: ____ ____
  _______________________________________
  FP:
  _____
  ____
  ____________________________________
  Basic Speed: _____
  ____
  ____________________________________
  Basic Move: _____
  ____
  ____________________________________
  Social Traits
  Low TL: __________________ High TL:____________________ Status Levels (Min./Max.):__________________________________
  PC Starting Wealth:______________________________ Wealth Levels (Min./Max.):________________________________________
  Cultures (for Cultural Familiarity): __________________________________________________________________________________
  Languages:________________________________________________________________________________________________________
  Social Stigma: ____________________ Social Regard:_____________________ Other: ______________________________________
  Rank (Type):______________________ Number of Levels: ________ Notes: _______________________________________________
  Rank (Type):______________________ Number of Levels: ________ Notes: _______________________________________________
  Advantages
  Required Advantages: ______________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Allowed Special Advantages:________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Prohibited Mundane Advantages: ___________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Disadvantages
  Required Disadvantages: ___________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Allowed Special Disadvantages: _____________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Prohibited Mundane Disadvantages:_________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Appropriate Contacts
  Name
  Type
  Skill
  Effective Level
  Reliability
  Base Point Cost
  __________________________________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  EXPANDED CAMPAIGN PLANNING FORM
  68
  
  GURPS Character Creation Guide, Part 2
  Appropriate Contact Groups
  Name
  Category of Skills
  Effective Level
  Reliability
  Base Point Cost
  __________________________________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Appropriate Patrons
  Name
  Power
  Modifiers
  Base Point Cost
  __________________________________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Appropriate Enemies
  Name
  Power
  Intent
  Modifiers
  Base Point Cost
  __________________________________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Special Skills
  Skill: __________________________ Available Specialties: ______________________________________________________________
  Skill: __________________________ Available Specialties: ______________________________________________________________
  Skill: __________________________ Advantage Required: ______________________________________________________________
  Skill: __________________________ Advantage Required: ______________________________________________________________
  Available Cinematic Skills: _________________________________________________________________________________________
  Available Wildcard Skills: __________________________________________________________________________________________
  Prohibited Mundane Skills: ________________________________________________________________________________________
  Magic (see also Magic)
  Average Mana Level:____________ PC Mages Allowed? Y / N
  Unusual Background Cost:_______ Max. Magery Level: _____
  Are Magic Items for Sale? Y / N
  $ Cost per Energy Point: ___________ Notes:__________________________________________
  Custom Spells: ____________________________________________________________________________________________________
  Prohibited Spells: _________________________________________________________________________________________________
  Psionics (see also Psionic Powers)
  PC Psis Allowed? Y / N
  Unusual Background Cost: ________ Notes: __________________________________________________
  Power
  Max. Talent Level
  Allowed Abilities
  Prohibited Abilities
  __________________________________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Jobs
  Name
  Description
  Prerequisites
  Job Roll
  Monthly Pay
  Wealth Level
  __________________________________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  Common Equipment (Weapons, Armor, Vehicles, etc.)
  __________________________________________________________________________________________________________________
  __________________________________________________________________________________________________________________
  EXPANDED CAMPAIGN PLANNING FORM
  69
  
  INDEX
  70
  For specific attributes, skills, advan-
  tages, and disadvantages, see the
  Character Trait Index (p. 72).
  Acrobatic Dodge defense option, 57.
  Advantages, attack, 47-48; choosing, 12;
  cinematic, 10; damage, 47-48; defense,
  48; luck, 49-51; magic, 49-51;
  movement, 49; physical form, 49;
  psionics, 49-51; recovery, 48; resistance,
  48; senses, 49; situational awareness,
  49; size, 49; social, 13-14; Status, 13;
  training, 51-52; useful combat, 47-52;
  Wealth, 13; weapon, 51-52.
  Adventures, after the session, 38; before the
  session, 37; cliffhangers, 38; creation
  example, 32-35; during the session, 37;
  environments, 29-30; example choices,
  17-18; fun and, 9, 33; linear plots, 25;
  maps, 31; outlining, 30-31; player
  freedom, 25-26; player input, 25, 37-39;
  plot example, 32; plots, 30; possible
  outcomes, 31, 35; practice matches, 41-
  43; preparation example, 17-22;
  published, 7; recording session events,
  39; resources for creating, 23; resources
  for preparing, 5-8, 17; resources for
  running, 36; reward examples, 66;
  rewards, 31, 38; role of GM, 37-39;
  roleplaying, 37; sandbox gaming, 25;
  session examples, 62-66; settings, 29-30;
  social encounters, 37; spotlighting
  individuals, 25, 38; starting, 37; trying
  new things, 38; see also Campaigns,
  Combat, Encounters, Nonplayer
  Characters.
  Aim maneuver, 54.
  All-Out Attack maneuvers, 54-56, 58.
  All-Out Defense maneuvers, 57, 61.
  Archer template, 20.
  Arena matches, 43.
  Armor, 14, 58; catalogs, 7; damaging, 30;
  encumbrance, 59; example characters,
  22; size and, 50; ST and, 44; suggested,
  47.
  Attacks, advantages, 47-48; area and
  spreading, 56; at different levels, 58;
  improving, 54-57; maneuvers, 54-59;
  multiple, 55-56; nonfrontal, 58;
  overcoming, 57; see also Combat,
  Defenses.
  Attributes, levels, 12; NPC, 28; useful
  combat, 43-44.
  Bandits, example encounters, 34-35; leader,
  33; lieutenant, 33; thugs, 33.
  Beats, 58.
  Beldin, 19-20.
  Blocking, 61.
  Bryce, 33.
  Campaign Planning Form, example use,
  18; expanded, 67-69; using, 15.
  Campaign Prospectus, 67.
  Campaigns, adventure advice and, 23;
  choosing a genre, 9-10; choosing a
  power level, 11; choosing a style,
  10-11; choosing character traits, 12-14;
  communication with players, 8-9;
  declining suggestions, 9; discussing
  assumptions, 8-9; house rules, 11;
  nonhuman races in, 14; player input,
  8-9; realistic or cinematic, 10-11; rules-
  light or rules-heavy, 11; running, 39;
  selection examples, 18; see also
  Adventures.
  Cardboard Heroes, 43.
  Catalogs, 6, 7.
  Character creation, collaborative, 16;
  decisions, 15-16; example, 18-22; GM
  input, 15, 16; narrative, 16; resources
  for, 5; review example, 21-22; reviewing,
  16; templates, 16; vetted, 16; see also
  Advantages, Attributes, Characters,
  Disadvantages.
  Character Creation Guide, 68-69.
  Character points, as rewards, 14, 38, 66;
  earned, 14; limiting spending, 11-12;
  spending, 14; see also Character
  Creation.
  Characters, as team, 16; choosing traits,
  12-14; concept examples, 18-21;
  concepts, 15-16; death, 11, 40-41;
  example, 19-21; Fright Checks, 15;
  Influence rolls, 15; power level, 11-12;
  reaction rolls, 15; social traits, 13-14;
  traits and game mechanics, 24-25;
  warrior, 54; see also Advantages,
  Attributes, Character Creation,
  Disadvantages, Nonplayer Characters.
  Combat, attributes, 43-44; basic styles,
  46-47, 55; customizing, 40-43;
  disadvantages, 52-53; environment, 24,
  29-30; equipment and, 14; example
  encounter, 64-65; increased chance to
  hit, 54; lethality, 40; Martial Arts and,
  41; NPC balance, 26-29, 33; realism
  levels, 41-42; recommended skills, 24,
  46, 47; resources for, 5; scaling for high-
  powered games, 44; selecting options,
  41-42; Size Modifiers, 50; skills, 24, 
  44-47; special situations, 24; speed of
  play levels, 41-42; speeding up, 43;
  techniques, 47; ways to influence, 43-
  61; weapons and, 14, 28, 46-47, 59, 51;
  with two weapons, 46-47, 55, 61; see
  also Attacks, Damage, Defenses.
  Combination techniques, 55.
  Committed Attack maneuver, 56.
  Counterattack technique, 58.
  Counters, for visualizing combat, 43.
  Cross Parry defense option, 57.
  Cross-genre, 10.
  Damage, advantages, 48; disadvantages,
  52, 53; extra, 56; lowering, 58; shock
  effects, 57; special, 56-57; stun effects,
  60; wounding effects, 61; see also
  Attacks, Combat, Defenses.
  Death, NPC, 29; PC, 40.
  Deceptive Attack combat option, 58, 59.
  Defense Resistance (DR), 58; armor, 58;
  balancing characters, 28.
  Defenses, advantages, 48; encumbrance
  and, 59; flails and, 59; grappling and,
  59; improving, 57-58; multiple attackers
  and, 61; options, 57, 61; overcoming,
  58; stacking penalties, 58; weapons and,
  61; see also Attacks, Combat.
  Defensive Attack maneuver, 57.
  Defensive Feint combat option, 57.
  Defensive Grip combat option, 57.
  Die rolls, see System Mechanics.
  Disadvantages, body part, 52; choosing, 12;
  chronic conditions, 52; combat,
  52-53; competing, 12; damage, 53; luck,
  53; magic, 53; mental, 52-53; recovery,
  53; self-control rolls, 12; senses, 52;
  social, 13-14.
  Dodge and Drop defense option, 57.
  Dodging, 57, 61; encumbrance and, 44, 58,
  59.
  Dual-Weapon Attack combat option, 55,
  56, 59.
  Encounters, 23-26, 31, 37-38; character
  traits and, 24-25; examples, 33-35; fun
  and, 33; player freedom, 25-26; variety
  in, 24-25; see also Adventures, Combat,
  Nonplayer Characters.
  Equipment, catalogs, 7; encumbrance, 59;
  NPC, 28; PC, 14; size and, 50; see also
  Armor, Weapons.
  Evaluate maneuver, 54.
  Explosions, 56.
  Fantasy genre, 9; in example adventure,
  18.
  Feint maneuvers, 57, 58, 60.
  Feverish Defense extra-effort option, 57.
  Fiselli, 33.
  Floor Plan 2: The Great Salt Flats, 43.
  Flurry of Blows extra-effort option, 55, 56.
  Gadgeteering, in campaigns, 14.
  Game Masters (GM), respecting, 9; role,
  37-39; see also Adventures, Campaigns.
  Gear, see Armor, Equipment, Weapons.
  Genre books, 6.
  Genres, 9-10.
  GM Control Sheet, 36.
  Grabbing, 57.
  Grappling, 57, 59.
  INDEX
  
  INDEX
  71
  Guards, sample, 28; template, 19.
  GURPS, 4-19, 21, 23-28, 30, 37, 40-44, 49,
  53-56, 59, 62; Action, 6, 9, 10, 51;
  Action 1: Heroes, 51; Action 2:
  Exploits, 25, 29, 43; Banestorm, 6, 7,
  9; Basic Set, 4-12, 16-18, 23, 36, 
  41-43, 45, 51, 54, 56, 58, 59, 60; Big
  Lizzie, 7, 10; Bio-Tech, 7, 10; Caravan
  to Ein Arris, 7; Character Assistant,
  8; City Stats, 7; Combat Cards, 36, 62;
  Creatures of the Night, 7, 9, 10;
  Crusades, 7; Dungeon Fantasy, 6, 9,
  50; Dungeon Fantasy 1: Adventurers,
  50; Dungeon Fantasy 3: The Next
  Level, 50; Dungeon Fantasy 13:
  Loadouts, 50; Dungeon Fantasy 14:
  Psi, 54; Dungeon Fantasy Adventure
  1: Mirror of the Fire Demon, 7;
  Dungeon Fantasy Monsters, 7, 9, 10;
  Fantasy, 6, 9, 18; Fantasy-Tech 1: The
  Edge of Reality, 7, 9; GM’s Screen, 36,
  62; Gun Fu, 7, 10, 29, 43, 51; High-
  Tech, 6, 7, 9, 10, 45, 50, 51, 54, 56;
  Horror, 6, 10; Horror: The Madness
  Dossier, 7, 10; Hot Spots, 7, 9; Infinite
  Worlds, 5-7, 10; Lair of the Fat Man,
  7; Loadouts, 7; Loadouts: Monster
  Hunters, 10; Locations, 7, 9;
  Locations: Tower of Octavius, 9;
  Low-Tech, 7, 9, 10, 18, 45, 50; Low-
  Tech Companion 2: Weapons and
  Warriors, 50; Magic, 7, 9, 10, 12, 18,
  54, 57; Martial Arts, 4-7, 9, 10, 11, 18,
  29, 30, 36, 40-46, 48, 51, 52, 54-61;
  Martial Arts: Gladiators, 7; Martial
  Arts: Technical Grappling, 57, 59;
  Mass Combat, 7, 10; Monster
  Hunters, 6, 10; Monster Hunters 3:
  The Enemy, 10; Mysteries, 6, 9, 10;
  Power-Ups, 7; Power-Ups 2: Perks,
  54, 55; Power-Ups 5: Impulse Buys,
  10, 14, 31; Powers, 6, 7, 9, 10, 12, 14,
  28, 43, 47-51; Powers: Divine Favor,
  7, 9; Psionic Campaigns, 6, 10, 54;
  Psionic Powers, 7, 10, 54; Psi-Tech, 7;
  Psis, 7, 10, 54; Reign of Steel, 7; Reign
  of Steel: Will to Live, 7; Social
  Engineering, 7, 25, 40; Space, 6, 10;
  Spaceships, 7, 10; Supers, 6, 10, 12;
  Tactical Shooting, 7, 10, 13, 43, 54;
  Template Toolkit 1: Characters, 7, 16,
  24; Thaumatology, 7, 9, 10, 12, 18, 49,
  54; Thaumatology: Age of Gold, 7, 10;
  Transhuman Space, 7, 10; Traveller:
  Interstellar Wars, 7, 10; Ultra-Tech, 6,
  7, 9, 10, 45, 50, 56; Zombies, 10; 
  see also Cardboard Heroes, Floor
  Plan 2: The Great Salt Flats,
  Pyramid Magazine.
  GURPS for Dummies, 8, 23, 36.
  GURPS system mechanics, see System
  Mechanics.
  Hit locations, 11, 56; cover and, 58.
  Horror genre, 10.
  Injury, see Damage, Death.
  Jax, 20-21.
  Kalee, 33.
  Knockback, 60.
  Kromm, 4.
  Magic, advantages, 49-51; combat and,
  53-54; disadvantages, 53; in campaigns,
  14.
  Maneuvers, see Attacks, Combat, Defenses.
  Maps, hex, 43.
  Mighty Blow extra-effort option, 56.
  Military genre, 10.
  Modern-action genre, 10.
  Online resources, 8.
  Nonplayer characters (NPCs), combat
  balance, 26-29, 33; death, 29; designing,
  26-29; examples, 28, 32-33; listing, 31;
  see also Characters.
  Parrying, 61.
  Player characters (PCs), see Characters.
  Posture, in combat, 57, 60.
  Power levels, choosing, 11-12.
  Powers, in campaigns, 14.
  Practice matches, 43.
  Prediction shots, 59.
  Psionics, advantages, 49; combat and,
  53-54; disadvantages, 53.
  Punch, Sean, 4.
  Pyramid magazine, 7, 8.
  Rapid Strike combat option, 55, 56.
  Resources for GURPS, 5-8.
  Retreat defense option, 29, 57, 60.
  Reversed Grip combat option, 56.
  Riposte combat option, 60.
  Robin’s Laws of Good Gamemastering,
  8, 23, 36.
  Rory, 21.
  Rulebooks, 6, 7.
  Ruses, 60.
  Scenes, see Encounters.
  Science-fiction genre, 10.
  Self-control rolls, competing, 12.
  Shields, 57; combat style, 46-47; skill,
  45.
  Shock, 57; see also Damage.
  Shoves, 60.
  Size Modifier (SM), combat and, 50;
  equipment and, 50.
  Skills, choosing, 12-13, 21-22, 24;
  cinematic, 10; combat, 44-47; combat
  sets, 46, 47; comparison of unarmed
  combat, 45; encounters and, 24-25;
  generic combat styles, 46-47; gun, 13;
  Influence, 15; information gathering,
  25; levels, 12, 13; NPC, 28; other useful,
  45-46; recommended, 21-22, 24, 46, 47;
  room searches and, 24; routine use, 13;
  unarmed combat, 44-45; useful combat,
  44-47; weapon, 45.
  Soldiers, sample, 28.
  Spells, in combat, 54; see also Magic.
  Stop Hit combat option, 60.
  Superhero genre, 10.
  System mechanics, as optional, 4; as tool
  kit, 4; cinematic, 10; combat options,
  29, 41-42; encounters and, 23-25; fun
  and, 33; house rules, 10; resources for,
  5-8; role of, 10, 18; task resolution, 4, 11.
  Tables, unarmed combat skills, 45.
  Techniques, 47, 56; cinematic, 10; see also
  Combat.
  Telegraphic Attack combat option, 54.
  Templates, using, 16, 18; see also
  Character Creation, Characters.
  Thugs, sample, 28, 33.
  Tignis, Merchant, 32.
  Time Use Sheet, 39.
  Time-travel genre, 10.
  Traveller, 7, 10.
  Weapons, basic loadouts, 46-47; basic
  styles, 46-47; breaking, 57, 61; catalogs,
  7; combat and, 14, 59; disarming, 57;
  encumbrance, 59; ensnaring, 57;
  fencing, 59, 61; fighting with two,
  46-47, 55; grabbing, 57; gun skills, 13;
  NPC, 28; parrying, 61; quality of, 56;
  ranged in close combat, 57; size and, 50;
  two-handed, 46-47, 55, 61.
  Western genre, 10.
  Willem, 32.
  Worldbooks, 6, 7.
  Questioner: How do you deal with players
  who try to break the game?
  Gabe: Lie to them. Rob them. Drive them
  mad. Concoct impossible scenarios whose
  only outcome is their death. And then, when
  their eyes glisten with shame and rage, drink
  their tears.
  – Penny Arcade, “DM 101”
  
  360° Vision advantage, 49.
  Acrobatics skill, 46.
  Acute Senses advantage, 49.
  Affliction advantage, 47.
  Altered Time Rate advantage, 49.
  Ambidexterity advantage, 47.
  Arm ST advantage, 47.
  Bad Back disadvantage, 52.
  Bad Grip disadvantage, 52.
  Bad Sight disadvantage, 52.
  Berserk disadvantage, 52.
  Binding advantage, 47.
  Blind Fighting skill, 46.
  Blindness disadvantage, 52.
  Boxing skill, 44, 45.
  Brawling skill, 44, 45.
  Breaking Blow skill, 46.
  Chronic Pain disadvantage, 52.
  Claws advantage, 47.
  Cloak skill, 45.
  Code of Honor disadvantage, 53.
  Combat Paralysis disadvantage, 53.
  Combat Reflexes advantage, 48.
  Constriction Attack advantage, 47.
  Cowardice disadvantage, 53.
  Cursed disadvantage, 53.
  Damage Resistance (DR) advantage, 48.
  Danger Sense advantage, 49.
  Daredevil advantage, 49.
  Dark Vision advantage, 49.
  Deafness disadvantage, 52.
  Decreased Time Rate disadvantage, 52.
  Dexterity (DX) attribute, 44, 60; shock
  and, 57.
  Dodge characteristic, see Dodging in main
  index.
  Duplication advantage, 49.
  Easy to Kill disadvantage, 53.
  Energy Reserve advantage, 49.
  Enhanced Defenses advantage, 48.
  Enhanced Move advantage, 49.
  Enhanced Time Sense advantage, 49.
  Enhanced Tracking advantage, 49.
  Epilepsy disadvantage, 52.
  Extra Arms advantage, 48.
  Extra Attack advantage, 48, 56.
  Extra Life advantage, 48.
  Fast-Draw skill, 46.
  Fearlessness advantage, 48.
  Fit advantage, 48.
  Flashbacks disadvantage, 53.
  Flexibility advantage, 48.
  Flight advantage, 49.
  Flying Leap skill, 46.
  Fragile disadvantage, 53.
  Growth advantage, 49.
  Gunslinger advantage, 51.
  Hard of Hearing disadvantage, 52.
  Hard to Kill advantage, 48.
  Hard to Subdue advantage, 48.
  Hemophilia disadvantage, 53.
  High Pain Threshold advantage, 48.
  Hyperspectral Vision advantage, 49.
  Immovable Stance skill, 46.
  Influence skills, 15.
  Infravision advantage, 49.
  Injury Tolerance advantage, 48.
  Innate Attack, advantage, 48; skill, 46.
  Insubstantiality advantage, 49.
  Judo skill, 45.
  Karate skill, 45.
  Kiai skill, 46.
  Lame disadvantage, 52.
  Leadership skill, 46.
  Lifting ST advantage, 48.
  Low Pain Threshold disadvantage, 52.
  Luck advantage, 49.
  Magery advantage, 50.
  Magic Resistance advantage, 50.
  Magic Susceptibility disadvantage, 53.
  Mana Damper advantage, 50.
  Mana Enhancer advantage, 50.
  Mental Strength skill, 46.
  Mind Control advantage, 50.
  Missing Digit disadvantage, 52.
  Night Blindness disadvantage, 52.
  Night Vision advantage, 49.
  No Depth Perception disadvantage, 52.
  No Legs disadvantage, 52.
  On the Edge disadvantage, 53.
  One Arm disadvantage, 52.
  One Eye disadvantage, 52.
  One Hand disadvantage, 52.
  Pacifism disadvantage, 53.
  Parry Missile Weapons skill, 46.
  Perfect Balance advantage, 49.
  Peripheral Vision advantage, 49.
  Permeation advantage, 49.
  Phobias disadvantage, 53.
  Post-Combat Shakes disadvantage, 53.
  Power Blow skill, 46.
  Pressure Points skill, 46.
  Pressure Secrets skill, 46.
  Push skill, 46.
  Quadriplegic disadvantage, 52.
  Rapid Healing advantage, 48.
  Recovery advantage, 48.
  Regeneration advantage, 48.
  Regrowth advantage, 48.
  Resistant advantage, 48.
  Restricted Vision disadvantage, 52.
  See Invisible advantage, 49.
  Shadow Form advantage, 49.
  Shapeshifting advantage, 49.
  Shield skill, 45; see also Shields in main
  index.
  Slippery advantage, 48.
  Slow Healing disadvantage, 53.
  Spines advantage, 48.
  ST (Strength) attribute, 44.
  Status trait, 13.
  Striker advantage, 48.
  Striking ST advantage, 48.
  Sumo Wrestling skill, 45.
  Super Jump advantage, 48.
  Super Luck advantage, 49.
  Supernatural Durability advantage, 48.
  Supersensitive disadvantage, 53.
  Susceptible disadvantage, 53.
  Tactics skill, 46.
  Teeth advantage, 48.
  Telekinesis advantage, 50, 57; in combat,
  51.
  Terror advantage, 51.
  Trained by a Master advantage, 51-52.
  Ultravision advantage, 49.
  Unfazeable advantage, 48.
  Unfit disadvantage, 52.
  Unhealing disadvantage, 53.
  Unkillable advantage, 48.
  Unluckiness disadvantage, 53.
  Vampiric Bite advantage, 48.
  Very Fit advantage, 48.
  Very Rapid Healing advantage, 48.
  Very Unfit disadvantage, 52.
  Vibration Sense advantage, 49.
  Vulnerability disadvantage, 53.
  Walk on Air advantage, 49.
  Walk on Liquid advantage, 49.
  Warp advantage, 49.
  Weak Bite disadvantage, 52.
  Weakness disadvantage, 53.
  Wealth trait, 13.
  Weapon Bond perk, 54.
  Weapon Master advantage, 52, 56.
  Wounded disadvantage, 52.
  Wrestling skill, 45.
  Zen Archery skill, 46.
  INDEX
  72
  CHARACTER TRAIT INDEX
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SOURCE: textdata/thevault/GURPS [multi]/GURPS - How To Be A GURPS GM.pdf