Street Fighter TSG 20th Anniversary

7/26/2019 Street Fighter TSG 20th Anniversary

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The Storytelling Game20TH ANNIVERSARY


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Credits

Street Fighter: The Storytelling Game20 th Anniversary Edition

Compiled by: Rodger Gionelli Transcription Assistance: B. Honda Editing: Rodger Gionelli, B. Honda, Matt Meade Cover Concept: Rodger Gionelli Layout: Rodger Gionelli

nterior !iagrams: Matt Meade ( http://sfrpg.com )

Special Thanks to e er!one "ho made the original Street#ighter: The Stor!telling Game possi$le%

Street Fighter: The Storytelling Game "ritten by: Bill Bridges, &hil Br'cato, Brian amp$ell,Sean ang, Mike Tinne!, and Stephan *ieck !evelopment: Mike Tinne! and Stephan *ieck, "ith

+ndre" R'dolf the Red- Green$erg and Bill Blanka-Bridges Editing: Ro$ert Hatch

Art !irection: Richard Thomas Cover Art: e in M'rph! Layout and !esign: Michelle &rahler Cover !esign: hris Mc ono'gh, arr! Schnelli #aps: hris Mc ono'gh Art: 0ohn Bridges, arr!l 1lliott, Ton! Harris, 0effRe$ner, 0osh'a Ga$riel Tim$rook, 0ennifer 2'h Colorist: arr! SchnelliSpecial thanks to a id 3 Martha4s class: +ndrea,

+nthon!, Bill!, Brendan, aroline, arr!, a e, a id, &,1lena, 1li5a$eth, Genni, Harding, atie, ell! G., ell! M.,

!le, a'ra, indsa! H., indsa! 6., Michael, Mike, Moll!e,

7ick, 8li ia, &at, Rachel, Rae, Richie, Ro$, and Sean fortheir help in pla!testing this game.

Secrets o$ Shadoloo "ritten by: Bill Bridges, &hil Br'cato, Brian amp$ell,Sean ang, Mike Tinne! and Stephan *ieck !evelopment: Mike Tinne!, Stephan *ieck Editing: Brian amp$ell Art !irection: Richard Thomas Cover Art: Ton! Harris Cover !esign: a"rence Snell! Layout: +ileen 1. Miles Art: 0ohn Bridges, Ton! Harris, 0eff Re$ner, 0osh'aGa$riel Tim$rook, 0ennifer 2'h Colorist: +ileen R. Miles, a"rence Snell!Thanks to 0osh'a 9Mookie9 Tim$rook, &hil 9 r. Holoca'st9Br'cato, Mike 9Sergeant +le Stone9 Tinne!, Brian9Mind;'ake9 amp$ell, Ste e 9Ma'rice 0ackson9 *ieck,and Bill 9Blanka9 Bridges for pla!testing 9To'rist Trap9

Shades o$ Gray "ritten by: Mike Tinne! !eveloped by: Mike Tinne! !esign Contributions: en liffe, Stephan *ieck,&hil Br'cato, Bill Bridges and Brian amp$ell

Editing: 8h Soon Shropshire and !nthia S'mmers Art !irection: Richard Thomas Layout: Ro$ert i on %laytesting: Bill Bridges, 0osh Tim$rook, 0imTo"nsend, Richard Haight, +ileen Miles and Brian

amp$ell

Street Fighter %layer&s Guide "ritten by: +ndre" 0. 'cas %relude "ritten by: 7igel #indle! !eveloped by: Mike Tinne! Edited by: Ro$ert Hatch and !nthia S'mmers Art !irection: Richard Thomas Cover Art: Matt Hale! Cover !esign: arr! Snell! Layout: +ileen 1. Miles nterior Art: 0ohn Bridges, 0ohn Hart"ell, RonSpencer, 0osh'a Ga$riel Tim$rook, Gar! T. *ashington Colorists: +ileen 1. Miles, arr! Snell!

The %er$ect "arrior "ritten by: 0ohn 9The Gneech9 Ro$e! !eveloped by: 0ames 1stes Editing: 0ennifer larke *ilkes Art !irection: Richard Thomas Cover Art: Ron Spencer Cover !esign: a"rence Snell! Layout: +ileen 1. Miles nterior Art: 0ohn Bridges, 0im al! 3 Hank arlson,0ohn Hart"ell, a e 0ohnson, 0osh'a Ga$riel Tim$rook Colorist: +ileen 1. Miles, 0ohn &ark, a"rence Snell! #aps: Shagg! i on, 0ohn &ark

Contenders "ritten by: &hil Br'cato, Mike hane!, +lessandra

la!ton, 0ames 1stes, +ndre" Green$erg, Ro$ Hatch,Harr! Heckel, Ross 6saacs, 0ohn &ark, 1rin ell!, +ndre"

'cas, 0ohn 9The Gneech9 Ro$e! !eveloped by: 0ames 1stes Editing: a id Rem! Art !irection: Richard Thomas Cover Art: 0eff Re$ner and Ro$ert Ro Cover !esign: arr! Snell!

Layout: 0ohn 1. &ark nterior Art: 0ohn Heart"ell Colorists: arr! Snell!, 0ohn 1. &arkThanks to Thai 6ced Tea.

Special Thanks to


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T ABLE OFCONTENTS

CHAPTER ONE: INTRODUCTION 6-18

CHAPTER TWO: PLAYING STREET FIGHTER 19-24

CHAPTER THREE: CHARACTER CREATION 25- 5

CHAPTER FOUR: CHARACTER TRAITS 6-6

CHAPTER FIVE: THE E!PENDABLES 64-"0

CHAPTER SI!: STYLES OF THE STREET FIGHTERS "1-99

CHAPTER SEVEN: CO#BAT $ SUPPLE#ENTAL RULES 100-11

CHAPTER EIGHT: SPECIAL #ANEUVERS 114-159

CHAPTER NINE: STORYTELLING 160-168

CONCLUSION 169-1"


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If you're an average warrior, I be the master. I couldteach you how to fight and move faster. One false movekid, that'd be disaster. I'll beat you endless and continuethe day after!

- Infinite

Welcome, Street Fighters! It's been a long time. Justover 20 years ago Street Fighter II was still the hottestthing in the fight game, we were ust learning about "uma#$ou"i% for the first time, Jean &lau e (an )amme wasabout to star in a beautiful isaster, an White Wolf ha

release their very best *+$. he year was - /, an thegame was Street Fighter: The Storytelling Game .White Wolf were at their ea", churning out the originalan 2 n e itions of their World of Darkness games, themost famous of which being Vampire: TheMasquerade . With a soli trac" recor for ro ucinggrim, serious horror games, no one coul have re ictethat their best game was to ta"e the form that it i . Street Fighter: The Storytelling Game , a gamebase on the famous vi eo game series, heral e thebeginning of a role laying tren that woul fin e1 ressionin later games such as Exalted , Feng Shui , Weapon

of the Gods , in an later in ie *+$s such asThrash , Fight! , Super Ga"hapon Fighter anWushu . colorful worl of over the to action, crammewith every insane ul tro e imaginable, Street Fighter'saesthetic can also be seen mirrore in games li"e WhiteWolf's #d$enture an many games an settings thatwoul be release for the Fate or Sa$age Worlds rulesets. It was a refreshing change of tone com are to someof the ar"er material at the time, or some of the heavy3realism simulator3 style games of the era. s brilliant as Street Fighter: The StorytellingGame was, the ro uct line was aban one an fell out

of rint by - 4. White Wolf seeme to act as if the gameha never e1iste , with no sign of it to be foun on theirweb site for years. Was it a mis lace shame, or sim lylicensing issues that were to blame5 World ofDarkness: %om&at , release in - 6, was a clearattem t to bring the rules of Street Fighter into WhiteWolf's other ro uct lines. 7ater, uring the *evise*uleset era, both #d$enture an Exalted #an erha sa bit of #&errant % containe elements that seem to havetheir see s in Street Fighter . In any event, White Wolfcontinue on, with Street Fighter being an almost forgotteno ity from their ast. In 200/ they woul relaunch their

horror titles with the 'e( World of Darkness , but 2

short years later they woul be ac8uire by &&+,evelo ers of the Sci Fi 99: E$e )nline . +ublication of

new material en e shortly after. For fans of White Wolf, the mi 2000s were a grim time,but fortunately :ny1 +ath +ublishing #create by formerWhite Wolf;&&+ ersonnel% was foun e an license olWhite Wolf ro erties from &&+ to re ublish ol materialan begin wor" again on new materials for nearly every

ro uct line White Wolf ever ro uce . :ne tren theybecame "nown for was ro ucing lavish 20 th nniversarye itions of the original Worl of )ar"ness games utili


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x Street Fighter: The Storytelling Game ,%ore- . he one that starte it all! he 20 th nniversary e ition

raws heavily from this boo". he only material from thisboo" not use in the ro ect woul be the intro uctoryfiction, the characters, an the a venture @Aigh Sta"esB.

x Se"rets of Shadoloo ,SoS- . )etailing the stylesan characters of Sha oloo, this boo" was a usefula ition! lso, lans an escri tions for the mysteriouslan of 9rigan"a, along with an a venture were rovi e .

he styles an maneuvers were the "ey arts ulle intothe 20 th nniversary e ition, along with some minor rulesscattere throughout the boo". #Science!, Clin !, Scuba!%

x Street Fighter Storyteller/s S"reen0Shadesof Gray ,SoG- . While largely a summari


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his cha ter etails the Street Fighter worl . It alsointro uces the Worl Warriors> who they are an why theyfight. 7ast, but by no means least, this cha ter offers aglim se at Sha oloo, the evil em ire in the worl ofStreet Fighter .

STREET FIGHTERS

Who are the heroes of this worl , a worl wrac"e byun erworl crime an owerful tyrants5 hey are theStreet Fighters, the tough as nails combatants foun allover the globe in the most unli"ely laces, continuallyforging themselves anew in the crucible of battle. hatbac" alley thug coul be a Street Fighter, as coul that

retty girl who soa"s u rays on the beach in the morningbut unches a heavy bag all afternoon. Street Fightershave many faces an hail from many countries. SomeStreet Fighters aren't even fully human, such as themutants who come from the farthest reaches of theune1 lore worl . Street Fighters aren't always heroes. 9any, in fact, arevillains H thugs an assassins in the em loy of un erworlcrime. hese few bring shame to the honorable fighting

arts, but nonetheless control many of the most famousfighting tournaments H in this worl , ower e8ualsinfluence. Influence, however, isn't everythingD self

erfection is a higher goal, an the ultimate "ey to victory,as *yu, $ran 9aster of the Street Fighters, has rove . 9any Street Fighters are unli"ely heroes whose goals

ust ha en to coinci e with the ath of honor. (engeanceis a common Street Fighter goal. his vengeance is oftenfuele by 9. Cison, evil tyrant an crimelor . Cison has alist of eo le waiting to ta"e him own. his is easier saithan one, for Cison is one of the most formi able fightersof all. ntil some brave young fighter rises u an efeatsCison, the em ire of Sha oloo will continue to inflict ain

an misery the worl over.

THE WORLD WARRIORS

&ertain Street Fighters are e1ce tional even among theother members of their rofession. hose who e1cel abovethe rest have become legen s among their eers an thefans. hese are the - Worl Warriors, the Street Fighter&ham ions. ll of them have fought har to achieve theirstatus. 7esser Street Fighters ream of in uction into theran"s of the Worl Warriors. With conviction, courage ana little bit of luc", they one ay might.

CHA"PIONSHIP ROLL CALL

2alrog: :nce a o ular heavyweight bo1er, Calrog losta fight in a controversial "noc"out. o restore his name, heentere Street Fighter com etitions, 8uic"ly battling hisway to the to ran"s. Calrog wants fame an wealth morethan anythingD he grew u oor an has sworn toovercome this by becoming the e itome of the merican)ream> a rags to riches hero. Calrog has hire himself outas muscle for 9. Cison an will to o anything to regain hisfame H no matter how wrong it is. 2lanka: From the steamy ungles of the ma


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with =en, a stu ent of $ou"en, who taught *yu an =enthe ea ly )ragon +unch. *yu has e icate his life toone thing only> the erfection of his martial art. Ae beatSagat in the $ran 9aster tournament an has sinceretreate to solitary stu y of his art. Sagat: :nce the $ran 9aster of Street Fighters,Sagat lost his title to *yu an has burne with the nee for revenge ever since. Ae wants his title bac", an to this enhe has allie with 9. Cison, ho ing the ictator can lure*yu bac" into the tournaments. Ae has been im roving his9uay hai "ic"bo1ing an has invente the ea ly iger

ercut in res onse to *yu's )ragon +unch. T5 6a(k: most intimi ating warrior, . Aaw" stan sover seven feet tall. Ae is an e1 ert in Eative mericanwrestling techni8uesD his style is sai to have been taughtto him by a great haw" s irit. Ais tribal lan s were ta"enaway through the machinations of Sha oloo. . Aaw" hasentere the cham ionshi for one reason> to ta"e ownCison. Vega: he savate fighter an nin a master gaine his

eculiar style by fighting bulls in the astures of hisS anish homelan . Ae combine what he learne with hissly nin a training to create a while new style of S anishEin itsu. Cesi es his lea ing an "ic"ing, (ega stri"es witha ra


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a ma , festive ance with many lea s an s ins. 4eet 7une Do: +ioneere by the late Cruce 7ee, Jeet=une )o is a fast, efficient, an owerful fighting style. hestyle ta"es what is best from many arts, focusing on nononsense maneuvers that eschew the niceties of formaltra itional martial arts training. 4iu 4itsu: :riginally evelo e in Ja an in the -4 th -6 th centuries, Jiu Jitsu is a @softB martial art, relying u onusing an o onent's own weight an momentum againstthem. he style laces an em hasis on oint loc"s an avariety of grabs inten e to control an ultimately isableany o onent. 7a&addi . oga ,Dhalsim-: n art involving hysicalmani ulation of the bo y, =aba i relies on mysticism ane1tension of one's "ic"ing an unching ranges. It is asli ery artD its ractitioners nimbly avoi blows. singlestri"e may lac" ower, but a =aba i barrage can wear

own even the toughest o onent. 7ung Fu ,Fei 3ong-: here are many styles of =ungFu, from mon"ey to tiger to raying mantis to eagle.)evelo e by Shaolin mon"s in a seclu e monastery, thisfighting form borrows much from the wis om of animalsan human sages. =ung Fu raws hiloso hies an stylesfrom the vast anorama of &hinese history an myth. 3er Drit ,M5 2ison-: 7ittle is "nown about thismysterious form evelo e by 9. Cison. &ombine withCison's ar" sychic owers, this is a evastating art. 3ua: 7ua is a brutal martial art that originates in theAawaiian islan s. combination of gra ling an stri"ingthat relies u on the ractitioner's "nowle ge of humananatomy, articularly musculature an the nervous system. Ma;esti" %ro( 7ung Fu: relatively un"nownvariant of =ung Fu, 9a estic &row is an e1ternal style Hi.e., it relies more u on muscle ower an hysical

rowess than on internal sychology an s iritualevelo ment.

Muay Thai . Thai 7i"k&oxing ,Sagat-: he ower of this art is in the legs, an "ic"bo1ers evelo owerfullegs in ee . While this style is not very mobile, it hasblin ingly fast combinations. 'ati$e #meri"an Wrestling ,T5 6a(k-: his artwas evelo e as a wrestling game among Eative

merican tribes, but . Aaw" has shown that it can be aangerous art also, es ecially when wiel e by one of his

si bo1ing, iu

itsu, "arate, etc. It involves many sur rise blows. Sumo ,E5 6onda-: Sumo is mainly thought of as a

s ectator ring s ort in Ja an, but ?. Aon a has rovethat it can be evastating in the Street Fighter arena.Sumo relies on strength an sheer mass, an involvesgra ling an sla ing. Tai %hi %huan: aoist form of =ung Fu esigne tocultivate inner harmony an the ractitionerNs &hi, ai &hi&huan is sometimes calle @me itation in motionB. While

ractice by many as a mil form of calisthenics, in theright han s it can function erfectly well as a form of self

efense. Western 7i"k&oxing ,Dee 4ay-: While thisresembles 9uay hai, it oes have its ifferences, such asmore s inning "ic"s an allowances for unches.

Wrestling: catch all term referring to the multitu e offighting arts aroun the worl that focus on gra les, hol san throws.

Wu Shu ,%hun 3i-: wil , acrobatic an showy artevelo e in &hina. here are many substyles of Wu Shu,

an many ractitioners enter the &hinese :lym ics tocom ete. hose who see" the toughest challenges,however, fight in the Street Fighter com etitions.

CHI

&hi is the internal ower or energy inherent in everyone.

It enters with the breath an flows li"e water through thebo y, yet it roots the bo y to the earth, ma"ing one stable,an its energy is li"e fire. &hi is all elements harmoni


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of fire to electrical ischarges. hese s ecial owers arewhat istinguishes a Street Fighter's in ivi ual style fromothers> everyone "nows Clan"a for his electricity, $uile forhis sonic boom, an )halsim for his Goga Fire. Cut there is a ar" si e to &hi, an evil ath to mastery ofinternal energy. his ath is best e1em lifie by 9. Cison.Eo one "nows how Cison gaine his rea sychic

owers, but many are sure his abilities are lin"e to a ar"si e of &hi energy. Cy unloc"ing the ee est an most evil

arts of his inner min , 9. Cison has been able to unleashsome truly ama


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smiled evilly at /es ucci. Then /es ucci heard a familiar voice in the crowd,calling his name. )olina2 $ere2 $e turned and saw her%she was standing between two evil-looking men, obviously lackeys of "ison. he looked scared and they sneered at/es ucci, the threat a arent in their gestures. If he wonthe fight, they would hurt )olina. /es ucci felt faint 4 whathad he gotten into2 5hy had he trusted "ison2 /es ucci's heart sank as the bell rang. $e looked at)olina, and then at "ison. $e was tra ed. "isonlaunched himself at /es ucci, twirling and crackling with

his 6sycho )rusher energy. /es ucci was knocked back%he felt his skin burning all over, singeing at the touch of the sychic energy. Though woo1y, he tried to get u , to landa blow on his foe. "ut "ison came at him 7uicker than heimagined ossible. + fist, crackling with dark ower, landed in his stomach. /es ucci doubled over, the air knockedfrom his lungs. $e abbed as he fell, striking "ison's chest."ut it was a feeble blow, and "ison only smiled as his legsna ed u wards catching /es ucci's falling chin, sending him reeling u wards. /es ucci landed a few feet away and got to his feet, butthe world was s inning. $e could only stumble about. Thelast thing he remembered seeing was a corona of blue,scintillating light surrounding a fist, growing larger andlarger in his vision until there was a shar smacking sound and all was dark his is why 9. Cison must be sto e . Is any fighter uto the challenge5 9a"e no mista"e, thoughD 9. Cison oesnot nee such tactics to trash a foe. Ais s"ills areconsi erable enough without istraction.

GLORY

Aonor is not the only mar" of esteem among StreetFighters. here is also $lory, the mar" of a fighter's astvictories. he more bouts a fighter has won, the more$lory he has accumulate in the eyes of the fightingcommunity. $lory is very im ortant to Street Fighters, an carries aco e of its own. Street Fighter gains little $lory forbesting those beneath him in renown, but can gain muchby beating his eers H or even his betters. Aowever,certain fighters of high $lory will only fight others whomatch or at least a roach them in s"ill. *yu will not stooto fight a young hotshot with only a little $lory H he'cream him in secon s H but he woul acce t a fight fromhis eers, the -4 other Worl Warriors. $lory is gaine through courageous an s"ille fighting,an is the stan ar by which a fighter's s"ill is u ge .

TEA"S

he most e1em lary fighters, the Worl Warriorsthemselves, often act alone. 9any u an coming StreetFighters, however, refer to wor" in teams, coo erativegrou s of warriors. eams are assets in many ways> in thecase of multi le roun fights, team members cansubstitute for other members of their team who are too hurtto continue into other roun sD in multi le combatant fights,teams are necessary to ensure that one fighter is notgange u on by othersD an finally, a team rovi es a

fighter with allies who will hel him achieve her own goals

outsi e the ring. Crea"ing into a ruglor 's hacienda toeliver ustice can be lethal when attem te alone.

grou of Street Fighter characters is calle a team,while a grou of layers is calle a trou e. eams, li"e

layer grou s, range in si


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a ainful yell, colla sing onto the hard- acked dirt floor. tarke s un around to face )hang, who was nowadvancing on him. )hang sto ed, staring into tarke'sangry eyes. +t tarke's side, 9risty was ositioningherself. )hang gritted his teeth. $e knew he was in troublenow

"ANAGERS

eams are usually organi


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secret. 5ell, thanks to him, it wasn't a secret any longer. )ammy heard a sound behind her and felt something

oke into her back. he gul ed and turned around. +guard stood there, his submachinegun barrel aimed rightat her. 5hat are you doing here, raulein2* the guard said. 3r... I'm ust looking for the, er the lounge! 5hat kindof resort is this anyway, with no lounge2* )ammy re lied. The guard looked confused. :esort2 +h, you are one of the ma or's 'guests', yes2* he said as he lowered his gun. ;eah, tosser!* )ammy yelled as her leg drove into his

stomach, bowling him over with a grunt. $e colla sed intothe floor, unconscious. )ammy looked around. the continentsan cities are all in the same laces, an national

boun aries are similar. Aowever, there are some verytelling ifferences. hese are etaile below.

ARENAS

ournaments ta"e lace in arenas across the worl .?1 erience Street Fighters will become seasone worltravelers, learning more an more about the customs anways of eo le all over the globe as they ourney to anfrom tournaments. renas are ty ically foun in e1otic an foreign locales.

hey can sometimes be unsettling for a warrior not use to

leaving home $ard 3dge hated the stench of the lace( fish, fish andmore fish. $e wondered if the odor would ever clear. $ehad always hated seafood and its smell, being a die-hardmeat 'n' otatoes man. $e looked around as he waited forhis o onent to arrive for the tournament. The ramshackle village showed obvious signs of overty,but held a certain charm nonetheless. The eo le seemed content, and they were all smiling. 3&cited at the comingfight, $ard 3dge thought. ome of them were still dockingtheir small fishing boats, tying u and rushing to the wood-slat walkway without even unloading their catch. ightswere o ular here. $ard 3dge leaned u against a tree and almostimmediately um ed back as he felt something slick andscaly move behind his neck. + boa constrictor! 5ra edaround the tree as if it were some kind of et! 5hat kind of beast would kee a wild boa as a et2 $ard 3dge shookhis head and walked over to his end of the arena tostretch. The local sho s were selling bottles left and right as

eo le gathered in antici ation. 5here the hell was hiso onent, anyway2 $e wasn't late, yet, but it was odd that he wasn't here warming u . $ard 3dge heard the sna of cameras and turned to seesome eo le already taking ictures. $e naturally, almostunconsciously, began to ose. This would look good for

ublicity after the fight. It wasn't every day that you got to

fight a )ham ion, and $ard 3dge meant to get all the ublicity he could out of his victory. $e was sure he couldbeat this thing they called a 5orld 5arrior. $ard 3dgewas an +merican, not something raised in the ungle likeTar1an. uddenly, a crashing sound came from the ungle. Thecrowd's babbling 7uieted instantly. $ard 3dge turned to

eer into the foliage, looking for the source of the noise. Itgrew louder and louder, accom anied by the sound oftrees s lintering. $ard 3dge could see something therenow, beyond the green, moving toward him.

Then, a huge tree rocketed from the ungle and landedwith a crash at $ard 3dge's feet. This was immediatelyfollowed by a roar that sent chills u and down $ard3dge's s ine. The roar of a beast. "lanka lea t from the forest and uttered another roar,head reared back and arms raised. $is thick mane stoodon end as electricity suddenly coursed through his body,crackling the o1one all the way over to where $ard 3dgestood. The crowd cheered and cameras clicked madly. +nd $ard 3dge knew he had made a bad mistake incoming here he arenas of the Worl Warriors are liste with eachregional escri tion below.

NORTH A"ERICA

Street Fighting is o ular throughout the .S. an&ana a, with tournaments ta"ing lace all over bothcountries. In fact, many managers are trying to ma"eStreet Fighting a recogni =en's fights. =en'sol merchant marine bu ies gather aroun to witness thefights, often selling tic"ets to fans an hol ing arties as

they watch =en fight.


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Clan"a, the Worl Warrior. Cra Sha oloo must besto e . England ,%ammy/s "astle- . his ancient castlehas long stoo near the Scottish highlan s, in sight of thebeautiful aurora borealis. 8uaint village graces the valleybelow. While the castle seems ol an cree y, with itsancient statuary an cawing roo"s, it is 8uite co


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the *ussian eo le are still one, regar less of minorcultural ifferences. In the mi st of economic ifficulty ansocial u heaval, Street Fighting has become a o ularrelease of aggression for both fighter an s ectator.Langief is a hero, a role mo el who has survive the

ownfall of his favore government. Sha oloo is not blameless for the region's confusion anstrife. In ee , for mysterious reasons, Cison wants 9other*ussia brought to her "nees an is oing everything hecan to im e e her recovery. Some s eculate that hewor"e for Soviet intelligence uring his tenure as a hai

ictator, an was betraye by his su eriors when he wase ose by a eo le's revolt. Eow, these s eculatorsbelieve, Cison see"s revenge. 8ussia ,9angief/s fa"tory- . his mo el of *ussianefficiency never sto s wor"ing, but long brea"s are allowewhen Langief fights. Wor"ers line u nearby to cheer theircham ion an boo the challenger. Aowever, they will try totra e goo s with challengers an visitors ali"e, beinges ecially intereste in blue eans an roc" an roll music.

AFRICA

While a Worl Warrior has not yet emerge from frica,many s eculate that it will not be long until one oes.Street Fighting has become o ular in some areas, anhar y warriors are creating interesting new styles fromancient fighting forms. frica is a lace to watch for uan coming fighters. 9any strange creatures are rumore to inhabit the&ongo, the ee est an most une1 lore ortion of thecontinent. Some eo le whis er about mutants, erha ssimilar to Clan"aD others say an intelligent a e lives there,although none believe he is a Street Fighter. frica also has its troubles, from the racial strife in thesouth to the famines an warlor s of the north an east.

s usual, Sha oloo has a han in irty o erations, fromillegal ivory smuggling to wea ons sales. nyoneattem ting to hel may suffer the scorn of ancient clanhatre s an rivalries.

"IDDLE EAST

he 9i le ?ast is a lan torn by religious an oliticalconflict. )es ite this, Street Fighting is barely "nown here,though rumors aboun of a team of fighters evelo ing a

ea ly style base on the ance of the whirling ervishes.he members of this team allege ly ossess the s"ills of

an ancient or er of assassins su ose ly ating bac" tothe Aoly &rusa es.

INDIA

?ven in this ancient an holy lan of ascetic riests anenlightene mon"s, Street Fighting has gaine a following,than"s to )halsim. he ol fighting arts of In ia aree1 eriencing a renaissance. Goung villagers floc" to thevery few masters, es erate to learn the ath of erfectionthrough combat. In ia an the surroun ing lan s harbor many remote anstrange sites, such as the mountains of Ee al, the ungles

of Cengal, an mystic ibet high in the Aimalayas. 9any

locals believe that owerful mutants live in the highestmountains, isolate from the outsi e worl . &rime is on the rise in In ia, than"s to Sha oloo. Cisonsee"s to corru t the country an rain its mysticalstrength. Ae hears that here, with ancient tem les an themin s of ol riests, lie occult secrets which may enableothers to efeat his sychic ower's wea"nesses. ?ndia ,Dhalsim/s indoor temple- . ?le hants linethe walls of this tem le, rea y to trum et for the winner ofa fight, whether it be )halsim or otherwise. cobra alsoresi es here, in a large gol en urn. he sna"e is un er)halsim's com lete control, so challengers nee not worry.&hallengers must travel far to reach the tem le, for it isseclu e in a hi en valley. 7ocal villagers will not onlyhel challengers fin the tem le, but will offer hos italityan even a vice ertaining to matters of enlightenment.

SOUTHEAST ASIA

sia has given birth to the most owerful an legen aryfighters, for many of the martial arts evelo e here angrew to become not ust fighting arts, but s iritual artsbesi es.

In Southeast sia, however, a great evil has arisen>Sha oloo. small, little "nown country rests ee in theSouth &hina Sea> 9rigan"a, 9. Cison's own "ing om,which he rules with an iron fist. Cison foun e 9rigan"a with the ai of his sychic

owers. sing information obtaine by rea ing the min sof certain eo le in ower, Cison blac"maile his countryinto e1istence. he worl courts an .E. were force torecogni


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Thailand ,Sagat/s retreat- . large statue of theCu ha serenely overloo"s Sagat's arena. In the istance,ancient tem les can be seen. he silence is ee , bro"enonly occasionally by the soun s of combat as Sagat trainsto regain his title. he nearest village is a long wal" away,an hos itality is not chea . he villagers are all oor,surly, an fearful of Sagat an 9. Cison.

CHINA

&hina is home to one of the ol est civili organi


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to ta"e over worl governments, eventually achieving hisgoal as gran ictator of the worl . Eo one "nows much about 9. Cison. When he wasfinally riven out of hailan , he esca e ustice an

isa eare . Gears later, he a eare again, this timehea ing a criminal organi


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Fool! I but clench my hand and the world trembles! Myagents are everywhere, longing to do my bidding, fightingeach other for the right to serve me. You think you canstand before my Shadoloo army? Fah! nd even if yousomehow defeat my servants, you will still have to faceme. o one has ever defeated me " and no one shall.

# M. $ison, %ord of Shadoloo &ords cannot 'rotect you against the inevitable hand of

(ustice! Fight whom you will, corru't whom you may) youwill not stand before me when I 'ut an end to your tyranny.

# *yu, +rand Master Street Fighter

From the forests of Sri Lanka to the windswept crags ofScotland, from the back alleys of Las Vegas to the junglesof Brazil, Street Fighters gather to prove their fightingprowess !riven by revenge, glory, honor or desperation,these men and women pit their combat skills against thebest the world has to offer Beneath the pall cast by theworldwide crime cartel Shadoloo, these blacktop Samuraistrive to return honor and respect to a world of corruptionand senseless brutality "elcome to the world of the StreetFighter, where danger and adventure, glory ande#citement, are yours for the taking $he Street Fighter storytelling game e#pands on thevideo game of the same name %t allows players to

e#perience the triumphs and defeats of these modern&daygladiators "ith this game, you can do battle in a darkworld where personal honor and skill are all that standbetween hope and despair

WHAT IS A STORYTELLING GAME? Storytelling games are like imaginary movies that youcreate with your friends $hese games allow you and yourfriends to become larger&than&life heroes and to haveadventures impossible in the real world 'ames likeStreet Fighter are shared stories( each player createspart of a single, ongoing tale

)ne Street Fighter player assumes the role of theStoryteller, the director and stage manger of your privatemovie $he player acting as Storyteller has the mostchallenging job, for she must bring the Street Fighter world to life $he Storyteller crafts the tale, details theperils that the characters face and describes the rewardsthat are theirs to win $he other players become actors of asort, playing the Street Fighters $he roles of the playersand Storyteller are e#plored in greater detail below Storytelling games are creative outlets, and fun ones atthat $he interaction and cooperation found in storytellinggames are hard to find anywhere else Storytelling brings awhole new dimension to the classic Street Fighter characters "hat are Blanka and *en like when they aren+t

fighting !oes -yu have a girlfriend !oes .hun Li have aboyfriend "ould would an honorable Street Fighter do ifhe saw a crime in progress "hat if someone important tohim were captured by Shadoloo $hese /uestions andmore are yours to answer 0or are players limited to the roles of the "orld "arriors1layers may also create their own Street Fightercharacters "hile these beginning characters will not havethe awesome skill and power of seasoned warriors like'uile or -yu 2at least not initially3, they may attain fameand renown of their own $hese new characters are yours

to create 4 their motivation, style, personality and goalsare yours to define "hether you play the famous "orld "arriors or createnew Street Fighters of your own, you+ll participate inadventures that move beyond the combat arena5 foraysinto mysterious ruins, perilous clifftop chases, madescapes through urban battlefields and daring rescuesfrom hidden fortresses "ith Street Fighter , you cantake your characters through any adventure you and yourfriends can conceive 6our greatest tool is yourimagination, and your only limits are the boundaries youset for yourself 7lthough the Storyteller creates challenges and foes for

the other players, the Storyteller and players are notantagonists, but collaborators $he challenge comes frominventing /uests and battles to rival the big&budget actionmovies, not from beating each other

REMEMBER WHEN? 7 storytelling game is like an adult version of the gameswe played as kids "hen we ran around our yards andplaygrounds pretending to be cops and robbers, orsuperheroes, or cowboys, or astronauts, we wereessentially actors performing a type of impromptu theater"e made up our lines, and the plot, as we went along$hese stories were usually pretty simple, but the make&believe made it fun 1laying a storytelling game such as Street Fighter isn+t much different 7s a player of the game, you+ll create acharacter whom you will act out during play $he characterwill probably be a marital arts hero, possessing fantasticalphysical abilities and capable of wielding potent mysticalpowers 2such as -yu+s Fireball or !halsim+s 6oga$eleport3 "hile you+re playing the game, you+ll decidewhat your character is going to do ne#t 6ou+ll speak foryour character and describe what he does 7nd, when thegoing gets tough, you+ll decide how your character willfight 8nlike playground games, storytelling games don+tinvolve running around or physical activity 'ames are


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played indoors at a kitchen table or on your bedroom floor6ou don+t need a lot of props or e/uipment to play( all youneed are pencils, paper, and some 9:&sided dice 2thesespecial dice can be found in most hobby stores or orderedonline3 6ou+ll need enough space to set up a map, so youcan use cutout figures or miniatures to show the action asit happens in the game %t takes at least two people to play a storytelling game,although groups of three to five people are best 7storytelling game group is called a troupe 2like the bandsof actors and actresses who traveled from town to town in

;urope during the


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Storyteller thinks there is a chance your character mightfail, you will have to roll dice $his gives your character anopportunity to let weaknesses and strengths e#hibitthemselves, thereby revealing something of the character+strue nature to both you and the other players

RATINGS 7 character is described by her $raits > the innate andlearned abilities and aptitudes she possesses $raits aredefined by numbers( each $rait has a rating from 9 to ?,

which describes the character+s ability in that particular$rait )ne is lousy( ? is superb $his scale of 9 to ?resembles the @star@ rating system made famous by movieand restaurant critics 6ou should consider the normal human range to be from9 to A, with being average =owever, e#ceptional peoplecan have $raits of C 2e#ceptional3 or ? 2superb3, or evenhave a zero in a $rait 2which is e#tremely rare but notunheard of3 For e#ample a character with a Strength

7ttribute rating of would be as strong as an averagehuman being, while someone with a Strength of C wouldbe e#ceptionally strong

# 7bysmal * 1oor ** 7verage *** 'ood **** ;#ceptional ***** )utstanding

;ach dot your character has in a particular $rait allowsyou to roll one die in situations relevant to that $rait $hus,if your character had four dots in Strength, you would getto roll four dice %f she had one dot in 1erception, youwould only get to roll one die =owever, you almost neversimply roll the number of dice your character has in an

7ttribute, which defines her intrinsic capabilities 8suallyyou get to add an 7ttribute to an appropriate 7bility

7bilities are another kind of $rait( they describe things thata character knows and has learned So if the Storyteller wants the players to roll to see if theynotice the Shadoloo agent tailing their characters, hewould have them roll 1erception D 7lertness > an 7ttributeD an 7bility $hey would take as many dice as they haddots in 1erception and put them in their hands $hen theywould take as many dice as they had dots in 7lertness andput those in their hands also $hese dice are collectively called the !ice 1ool $he!ice 1ool is the total number of dice a player may roll in asingle turn > usually for a single action, though a player

can divide her !ice 1ool in order to allow her character toperform more than one action in this case, Strength Finally, some $raits like "illpower and .hi have both apermanent rating 2shown with circles on the charactersheet3 and a current score 2shown with s/uares3"henever a character needs to perform a "illpower test,the permanent rating is almost always used "henever acharacter has to spend a point of "illpower 2for e#ample

to e#ecute a Special


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succeed without wasting time on a roll !ifficulty 9: is sodifficult that there is an e/ual chance to botch 2describedbelow3 as there is to succeed, no matter how many dicethe player rolls 7n action with a difficulty of 9: is virtuallyimpossible )n the rare occasions when you do announcea difficulty of 9:, be sure you realize how impossible youare making the chance of success Some tasks are impossible from the onset $hese are leftto the discretion of the Storyteller %f the Storyteller decidesthat a task is impossible, it simply cannot be done Bear inmind that an impossible task should be one which is

obviously so Breaking a pencil in half should never be animpossible task =owever, if .hun Li wanted to pick up atank and throw it at < Bison, that task would clearly beimpossible

THE RULE OF ONE $he last thing you need to know about rolling dice is the@rule of one @ "henever you roll a @9,@ it cancels asuccess %t completely takes it away 6ou remove both the@success@ die and the @9@ die and pay them no more heed For e#ample, Goe is playing his own Street Fighternamed $sunami $sunami is trying to sneak past a guarddog into a Shadoloo warehouse Goe rolls $sunami+s!e#terity 7ttribute 2 3 plus his Stealth 7bility 2 3 as he triesto navigate /uietly over a patch of broken glass 2difficultyE3 =e rolls four dice and scores 9, A, ?, and H 0ormally,$sunami would have one success 2the 3, but he alsorolled a 9, which cancels out the success $sunami fails theroll, and the dogs start barking at the sound of hisfootsteps %f you roll more @9+s@ than you do successes, a disasteroccurs( something called a @botch@ takes place !on+tcount the @9+s@ that canceled out successes, but if even asingle @9@ is left after all the successes have beencanceled, a botch occurs 'etting a single @9@ or five @9+s@has about the same result in most cases( thecircumstances surrounding the botch determine if it iscatastrophic or a minor mishap %f there aren+t any @9+s@ orsuccesses left, you+ve simply failed For e#ample, if $sunami had rolled a 9, 9, C, and , hewould have botched $he first 9 cancels out the , andthere is still a 9 left over, so it+s a botch 0ot only do thedogs hear $sunami, he also steps on the broken glass andcuts his foot

AUTOMATIC SUCCESSES 6ou don+t want to be rolling dice all the time( it can get inthe way of roleplaying Street Fighter employs a very

simple system for automatic successes, thus freeingplayers from having to make rolls for actions theircharacters could perform in their sleep %t works like this5 if the number of dice you have in your!ice 1ool to perform a feat e/uals or e#ceeds the difficultyof the feat, your character succeeds automatically Such asuccess is considered marginal 2the e/uivalent of gettingonly one success3, so sometimes a player will want to rollanyway in an attempt to gain even more successes Butfor very simple and often&repeated actions, automaticsuccesses can eliminate a lot of wasted time For e#ample, let+s say Goe wants to see if his StreetFighter, $sunami, is able to find the Shadoloo file that+s

hidden somewhere within the corrupt police chief+s office

$he Storyteller informs Goe that he must roll $sunami+s1erception 7ttribute of A and an %nvestigation 7bility of C >seven dots total $he Storyteller allows Goe to use theautomatic success system Goe has seven dots and hisdifficulty is E, so $sunami successfully finds the Shadoloofile 7nother way a character can score an automaticsuccess is by spending a "illpower point $his methoddiffers from the prior one, in that in addition to theautomatic success granted by the "illpower, you also getto roll your regular die pool "illpower granted successes

cannot be canceled 6ou won+t want to do this often, but itcan be very advantageous to do so when seeking toaccomplish certain difficult, heroic feats )f course, the"illpower e#penditure only counts for one success ifmultiple successes are re/uired 7lso, even " illpowerwon+t allow a character to succeed at a feat the Storytellerhas ruled to be impossible "hen we play, we usually use a combination of dicerolling and automatic successes !uring most scenes >especially when we+re deeply involved in the story > wedon+t even roll dice, preferring to roleplay withoutinterruption through scenes =owever, when we get in themood for 'laying#a#game , rather than telling#a#story , wemake lots of dice rolls and add many complications to therules

COMPLICATIONS 6ou may have already realized that it is /uite easy toscore a single success, even when you roll only one or twodice 6ou have about a I?J chance for a marginalsuccess when you roll only two dice and the difficulty is aE "hile that may sound too easy, there are various waysto complicate matters, some of which are discussed belowFor troupes heavily into roleplaying, simple rolls andautomatic successes are enough 'enerally, complicationsare used if the players or you want a break from theroleplaying, if you want a realistic result, or if you want tomake a game out of the current story scene.omplications add drama to the story and create a depthof passion and focus

EXTENDED ACTIONS %n order to succeed fully, you will sometimes need morethan one success > you will need to accumulate three, orseven, or even : successes 2on rare occasions3 7naction that re/uires more than one success is called ane#tended action ;#tended actions are not uncommon, butsimple actions are the ones most fre/uently made

7n e#tended action allows you to roll over and over onsubse/uent turns in an attempt to collect enoughsuccesses to succeed For instance, your character isclimbing a tree, and the Storyteller announces that a totalof seven successes is re/uired for your character to reachthe top She+ll get there eventually, but of course the moretimes you roll, the more chances your character has tobotch and injure herself %f she is attempting to climb downthe tree because it is on fire, the amount of time it takesbecomes e#ceedingly important !uring an e#tended action, you can keep trying to obtainsuccesses for as long as you want, or at least until you failto score even one success %f you botch, your charactermay have to start over from scratch, with no accumulatedsuccesses 7fter a botch, the Storyteller may decide not to


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let the character try again at all$his type of action is more complicated than a simple

action and should not often be employed in the middle ofintense roleplaying $he Storyteller should decide whattype of action is called for

RESISTED ACTIONS Sometimes you will act in opposition to anothercharacter Both of you will make rolls, usually at difficulty E$he person who scores the most successes succeeds =owever, you are considered to score only as manysuccesses as the amount by which you e#ceed your opponent+s successes $he opponent+s successeseliminate your own, just as @9+s@ do $herefore, it is verydifficult and rare to achieve an outstanding success on aresisted action ;ven if your opponent cannot beat you,she can diminish the effect of your efforts Some actions are both e#tended and resisted, re/uiringone of the opponents to collect a certain number of successes in order to succeed completely ;ach successabove the opponent+s total number of successes in asingle turn is added to a success total $he first opponentto collect the designated number of successes wins thecontest For e#ample, *en and -yu decide to play tug&of&war$he Storyteller sets the difficulty at E and declares thatfive total successes must be scored in order to win *enand -yu both roll a number of dice e/ual to their respective Strength scores *en scores four successes(-yu gets three $he Storyteller subtracts -yu+s successesfrom *en+s, leaving *en with one of his five neededsuccesses $he characters will continue rolling each turnuntil one of them accumulates five total successes

TEAMWORK Sometimes characters can work together to collect

successes, most often during an e#tended action 7t thediscretion of the Storyteller, two or more characters canmake rolls separately and combine their successes $heymay never combine their separate $raits for one roll,though $eamwork is effective in some circumstances,such as in combat, shadowing enemies, collectinginformation, and repairing devices !uring others, it canactually be a hindrance, such as in many social actions2where it can confuse the subject3

TRYING IT AGAIN %t can often be frustrating to fail %f you are having troublewith your computer and can+t figure out the source of thesystem error, you+ll likely become rather annoyed $hisfrustration is reflected in Street Fighter by increasingthe difficulty of any action if it is tried again after it+s alreadybeen failed "henever a character attempts an action she previouslyfailed, the Storyteller has the option of increasing thedifficulty of the action by one .onsider a character whotries to intimidate someone %f the first attempt failed, it+sgoing to be harder the second time around, so the difficultyis one higher %f tried a third time, the difficulty is twohigher %n cases like this, though, the Storyteller mightsimply rule that the character cannot even make anothertry > how do you intimidate someone who has alreadycalled your bluff

)ther e#amples of when to use the rule are5 picking alock 2Streetwise3, scaling a wall 27thletics3, and/uestioning an agent of Shadoloo 2%nterrogation3 Sometimes the Storyteller shouldn+t invoke this rule 7notable e#ample is during a car chase Failing one drivingtest doesn+t necessarily mean that the driver is frustratedand has a better chance of failing future driving tests Butafter the driver has failed a couple of times, she may losesight of the car she+s chasing )ther e#amples of when not to use the rule are5 seeingsomething out of the corner of the eye 27lertness3, and

fighting in the dark 2Blind Fighting3

THE GOLDEN RULE -emember that in the end there is only one real rule in

Street Fighter 5 there are no rules 6ou should fashionthis game into whatever you need it to be > if the rules getin your way, then ignore or change them %n the end, thetrue comple#ity and e#citement of the Street Fighter world cannot be captured by rules( storytelling andimagination are needed to do that %ndeed, these rules arenot so much rules as they are guidelines, and you are freeto use, abuse, ignore, and change them as you wish

TRY IT OUT "ell, that+s it $hese are the rules $his system for dice isall you really need to know in order to play this game 7llthe other rules are just clarifications and e#ceptions 7s

"ction Exam le Descri tion

Sim le Firearms, $ask is completed with 7lertness one roll $he Storyteller

announces the difficultyand the players roll their dice 7utomatic success ispossible

Extended -unning, $ask is completed when-esearch a given number of

successes are obtained,which may re/uire morethan one roll 2thusproviding more chances tobotch 3

Resisted Shadowing 7 contest of skill betweentwo individuals $heycompare their number of successes and the onewith the highest number succeeds

Extended 7rm $wo individuals compete # Resisted "restling as in the resisted action,

but before one can claimsuccess he mustaccumulate a certainnumber of successes


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long as you understand what+s been discussed here, youwon+t have any difficulty understanding anything else %fyou don+t think you+ve caught everything, just read thischapter again( you+ll find it makes more sense the secondtime around

EXAMPLES OF ROLLS Following are some e#amples of rolls, to provide youwith some ideas on how to incorporate these rules intoyour roleplaying 1lease note that each 7ttribute can work

with each 7bility, so there are over 9?: potential types ofsimple rolls that can be made

* 6ou threaten the young man by trying to lift him up byhis collar -oll Strength D %ntimidation 2difficulty E3 * 6ou want to break down the metal door that was justslammed in your face 6ou need to roll Strength 2difficultyE3 6ou must accumulate si# successes in order to break itopen enough to slip through * 6ou want to ascertain the style of your ne#t opponent-oll %ntelligence D Style Lore 2difficulty ?3 to figure out whatstyle he+s practicing * 6ou want to get an edge on your opponent bydetermining his strengths and weaknesses -oll1erception D %nsight 2difficulty E3 to view some of his.ombat .ards * 7fter being /uestioned for hours, roll Stamina DSubterfuge to see if you can successfully maintain yourstory 2difficulty H3 Five successes completely convinceyour interrogators * $he people before you are hostile, but also friendlessand in trouble -oll .harisma D Leadership 2difficulty H3 tosee if you can find a way to lead them from peril 6ou needto collect at least five successes before they+ll truly trustyou * =ow long can you remain motionless in the bushes asthe two guards chat for hours on end -oll Stamina DStealth 2difficulty I3 * 6ou try to analyze what+s wrong with the car engine bylistening to the strange sounds it is making -oll1erception D !rive 2difficulty E3 * Suddenly, a man pushes a crate out of the van youhave been chasing > roll "its D !rive to see if you canavoid hitting it 2difficulty E3 * 6our plane is fired upon with rocket launchers the s/uares, not the circles -ating5 7 number describing the permanent value of a$rait( most often a number from 9 to ?, though sometimesa number from 9 to 9: -esisted 7ction5 7n action that two difference characterstake against each other Both compare their number ofsuccesses( the character with the most wins Scene5 7 single episode of the story( a time when andplace where actions and events take place moment bymoment 7 scene is often a dramatic high point of thestory Simple 7ction5 7n action that re/uires the player to scoreonly one success to succeed, though more successesindicate a better job or result Storyteller5 $he person who creates and guides the storyby assuming the roles of all characters not run by theplayers and determining all events beyond the control ofthe players Special


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Before you can begin to play Street Fighter , you mustcreate a character. You may, if you wish and the Storyteller permits, run one of the established World Warriors. It isoften more satisfying, however, to custom-build your veryown Street Fighter. reating a character from scratch ishalf the fun of the game. Building a compelling yet honestcharacter is a creative struggle for even the moste!perienced among us. "his chapter describes how to create a uni#ue character,

beginning with a general concept and translating thisconcept into numbers usable in the game. "his process isvery simple$ players can easily figure it out for themselves.%owever, the Storyteller should have a good grasp of theprocess in order to answer the players& #uestions #uic'lyand accurately. "he numbers on the character sheet may not seemparticularly evocative. It is hard to imagine a novelistdescribing a character by saying, (She has a harisma of).( %owever, these ratings ma'e it simple to describe thestrengths and wea'nesses of a character. *oreimportantly, these numbers allow the random factorcreated by dice to be employed in relation to the

character&s "raits. + strong character has a better chanceto brea' down a door than a wea' character does. haracter creation usually follows a pattern from thegeneral to the specific. First, you develop a generalconcept of who and what your character is is she moresocially or mentally developed and then get specific byselecting the ratings of your "raits how effective areyour harisma, *anipulation, and +ppearance o notuse this process to create the (best( possible character$that defeats the whole purpose of ma'ing up a reallyinteresting individual. "hese numbers are intended toenhance roleplaying, not open an avenue to somemythical character %all of Fame. haracter creation is a lot li'e coo'ing/ you&ve got togather the ingredients, stir and whip them together, andthen let the mi!ture ba'e for a few hours. You start bydeciding what 'ind of character you want. +re you going tobe a street-hardened pun' or a rich and somewhat spoileddebutante id you complete your training in an e!pensivedo0o or in a cave somewhere in the +ppalachian*ountains "he bac'ground and personality of yourcharacter are the essential ingredients of his persona.From your basic concepts, you can then start to wor' outthe details, such as +ttributes and +dvantages.

GETTING STARTED

You need to be aware of five concepts before you beginto create your character/ x You can create a character of nearly any age from anyculture or nation$ however, you begin the game as anine!perienced and un'nown Street Fighter who has onlyrecently graduated from his school or Sensei. Youcharacter probably 'nows relatively little about StreetFighter society unless she was instructed by a *anager or

Sensei. x "his character creation process was designed to helpyou develop an e!citing character and provide you with ameans to interact with the rules. "he process of creating acharacter is meant to help you focus the concept of yourcharacter. 1emember that a character is not 0ust a bunchof numbers, but part of a story. x "his character creation system is a purchase systemwith absolutely no dice rolling involved. By choosing "raitsfrom a variety of lists, you decide your character&scapabilities. You will receive e!tra points called (freebies(at the end of the process, which you can then use to adddots to any "rait, so do not agoni2e over all your choices.3onetheless, even with freebie points, you probablycannot buy everything you want. x + "rait of 4 is poor and a "rait of 5 is superb, so if youhave only one dot in a "rait, you are either not very goodor only a beginner. "raits are based on an average humanrange. Street Fighters differ from (normal( humansbecause of the e!tra abilities and powers they possess. x It is your responsibility to create a character who fitsinto the group. If you fail to cooperate with the others anddisrupt the story because of it, you will have to create anew character. 6ife as a Street Fighter is far too difficult forhatred and anger to e!ist within a team$ sometimessurvival itself depends on team members& ability to wor'together.


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CHARACTER CREATION SUMMARY

CHARACTER CREATION PROCESS

x Step One: Character Concept Choose a concept and style for your Street Fighter. Ifyour concept involves the +nimal %ybrid or ybernetics7ni#ue Bac'grounds 8which re#uire Storyteller approval9,see hapter ) for notes on how this alters character

creation. If you are creating a *anager, see later in thischapter for notes on how this alters character creation.x Step Two: Select Attributes Prioritize the three categories/ :hysical, Social, *ental8;


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TECHNIQUES

See detailed description of "echni#ues in hapter ).

istribute eight dots among the techni#ues/x #unchx "ic$x &loc$x 1rab

x Athleticsx Focus

Weapon Techniques include:x Axesx &lunt %eaponsx &owsx Chains2%hipsx Firear-sx Flailsx .eav0 %eaponsx

"nivesx Spearsx Stavesx Swordsx Thrown %eapons

SPECIAL MANEUVERS

See also hapter @/ Special *aneuvers. :urchase Special *aneuvers with your seven points,using the lists given in hapter Si! 8Styles9 and ight8which describes all Special *aneuvers9. 1emember, eachstyle has discount :owers listed under each style in

hapter Si!.

RENOWN

istribute three dots between %onor and Alory. See alsothe 1enown section of hapter Five. "emporary pointsmay be bought with freebieC points.

CHI

See Style, above, for starting hi. See also Chi , inhapter Five.

WILLPOWER

See Style, above, for starting Willpower. See alsoWillpower , in hapter Five.

HEALTH

+ll characters begin with 4E %ealth dots. *ore may bepurchased with freebieC points.

COMBAT CARDS

You must now fill in your ombat ards. ach card isfilled in by calculating the values using the *aneuver*odifiers, your +ttributes and "echni#ues. See hapterSeven for more details.

FREEBIE POINTS

Trait Cost +ttributes 5 per dot +bilities G per dotBac'grounds 4 per dot"echni#ues 5 per dot:owers ) per point"emporary 1enown 4 per point

hi 4 per dotWillpower 4 per dot%ealth = per dot

EXPERIENCE POINTS

Trait Cost +ttributes current rating !) +ttributes above 5 current rating !3ew +bility =

+bilities current rating !G +bilities above 5 current rating !)3ew Bac'grounds GBac'grounds current rating !43ew "echni#ues ="echni#ues current rating !="echni#ues above 5 current rating !53ew :owers :ower :oint cost !)

hi current ratingWillpower current rating%ealth ) per point


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ROLE OF THE STORYTELLER

+s the Storyteller, you must guide the players throughthe character generation process. +fter your players arrivefor the first game session, you need to introduce them tothe basic premise of the game and describe the rulessystem. Your main goal should be to ma'e things easy forthe players. If they are beginners, 'eep things as simple asyou can$ let them discover the intricacies of the system on

their own. Start by passing out the character sheets, and give theplayers a minute to e!amine them and as' #uestionsabout them. "hen go through the character creationprocess step by step, filling in all the details of thecharacters& "raits. It is usually advisable to spend an entire game sessioncreating characters. "his ensures that players don&t feelrushed and that they ta'e the time to ma'e complete,flesh-and-blood characters, not paper-thin stooges. Jnceyou have finished the practical details of charactercreation, you can spend the rest of the game sessionconducting a prelude for each character. + prelude is aform of abbreviated storytelling in which you tell the storyof a character&s life up to the present. :reludes will be theplayers& introductions to the chronicle and their characters,so ma'e preludes memorable. :reludes are described atthe end of this chapter.

STEP ONE: CHARACTER CONCEPT

Before you write down a single thing, you need todevelop a concept for your character. "his concept needonly be a general idea of what your character is li'e,something uni#ue and interesting that will be en0oyable toplay over the long term. uring the character creationprocess, you may change and ad0ust this concept, but atleast it gives you a starting point. For e!ample, yourconcept could be, (I&m a down-and-out e!-mercenary witha grudge against *. Bison. I&m not going to stop trainingand fighting until I get that guy.( "his concept needs to beuni#ue and complete, and should be approved by theStoryteller. "he first thing you should do when determining theoverall concept is as' who your character was before hebecame a Street Fighter. ven if your character alwayswanted to be a Street Fighter, he wasn&t born a blac' belt."he haracter reation hart lists some typical careersand lifestyles people usually had before they became

Street Fighters. You may, of course, develop a character from a conceptnot on the chart. You may also combine concepts. Forinstance, you may decide your character was a debutantewho felt stifled by life in her Bel +ir estate. She wanted toe!perience the e!citement that could only be found in theunderworld arenas. She searched the world trying to findthe training she needed to stay alive in these arenas. eepamid the "ibetan %imalayas, she finally found the'nowledge needed. "he ne!t step, and arguably the most important elementof character creation, is to choose your character&s type ofmartial arts. "he styles described in hapter Si! represent

the ma0ority of fighting arts available to Street Fighters.

STEP TWO: CHOOSING ATTRIBU

3ow you start assigning numbers. "he first step in thisprocess is to determine your character&s basic +ttributes."he +ttributes are everything a character naturally,intrinsically is. %ow strong is she %ow #uic' are herrefle!es %ow persuasive can she be Kuestions such asthese are answered by the character&s +ttributes. First, you must prioriti2e the three different categories of

your character&s +ttributes :hysical, *ental, and Social.You must decide in which category your character is best8primary9, in which he is average 8secondary9, and inwhich he is poor 8tertiary9. Is your character morephysically than socially oriented is he stronger than heis handsome x :hysical +ttributes embody everything that hasanything to do with physical effort. "hey describe howstrong, agile, and hardy your character is, and are theprimary +ttributes of an action-oriented character the:hysical +ttributes concern only the strengths andwea'nesses of the body. Is your character brawny, nimble,or sturdy x Social +ttributes describe your character&s ability torelate to 8and sometimes use9 other. Social +ttributes arevital in determining first impressions, the character&s abilityto inspire and motivate people, and the nature of herinteractions with others. Is your character charming, well-spo'en, or good-loo'ing x *ental +ttributes represent your character&s mentalcapacity, including such things as memory, perception, andthe ability to learn and thin'. Is your character insightful,astute, or clever Your character&s concept may suggest to you what yourpriorities should be, but feel free to pic' any scheme youplease. For now, your concept should be very general itis necessary to paint a broad, sweeping outline beforefilling in the details. +ll characters start with one (dot( in each +ttribute. Yourpriority selection determines how many dots you get tospend in each category. You may divide seven dots amongyour character&s primary +ttributes, five dots among hersecondary +ttributes, and three among her tertiary

+ttributes. "hus, you may choose to add seven dots toyour character&s :hysical +ttributes, five to her *ental

+ttributes, and only three dots to her Social +ttributes. "hedots may be divided among the +ttributes of a category asyou see fit you could assign all three of your Social

+ttribute dots to harisma, one dot to each of the threeSocial +ttributes, or two dots to one and one dot to

another. 6ater in the character creation process it is possible toincrease these ratings, so don&t worry too much. 6et yourintuition guide you. Beginning characters may not have an +ttribute higherthan 5. :layers may, however, through their character&shard wor', spend e!perience to buy more than five dotslater in their character&s careers. *any of the WorldWarriors have more than five dots in some +ttributes. SeeExperience in hapter Five.


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STEP THREE: CHOOSING ABILITIES

+bilities delineate what your character 'nows rather thanwhat he is$ they describe the things he has learned ratherthan the things he can naturally do. +ll "alents, S'ills, and>nowledges are +bilities. ach +bility your character possesses is assigned arating representing the character&s aptitude in thatparticular area. "his number is used to determine howmany dice you roll when your character attempts to use an

+bility. "his section of the rules guides you in determiningwhat +bilities to choose and how high or low to rate each +bility. +bilities are divided into three different categories/"alents, S'ills, and >nowledges. ach type of +bility hasdifferent characteristics. x "alents describe all the intuitive +bilities. "alents do notneed to be practiced per se and cannot be studied orlearned from a boo'$ they are most often gained throughdirect e!perience. oes your character possess a lot ofcommon sense x S'ills are +bilities learned through rigorous training."his category includes any +bility that must be learnedstep by step through actual practice, but that can be taughtand studied 8unli'e most "alents9. Is your character goodat learning things through practice x >nowledges include all the +bilities re#uiring therigorous application of the mind. "hese +bilities aregenerally learned through school, classes, boo's, andteachers, but can be ac#uired through e!perience. Is yourcharacter educated$ does he have a good memory You must prioriti2e these +bilities in the same way youprioriti2ed the +ttributes. You must decide in what order toran' your "alents, S'ills, and >nowledges, choosing inwhich category your character will be above average8primary9, in which she will be average 8secondary9, and inwhich she will be below average 8tertiary9. You get nine dots to spend on your character&s primarycategory, seven for the secondary category, and only fourdots for the tertiary category.

"here is one additional restriction/ you cannot give yourcharacter more than three dots in any one +bility 8later,however, you can use your (freebie( points to gain four oreven five dots in a single +bility9.

STEP FOUR: ADVANTAGES

You do not prioriti2e or ran' the different categories of

+dvantages. You instead have a designated number ofdots to assign within each one. "hough this number isfi!ed, you can purchase additional dots later with (freebie(points.

BACKGROUNDS

You get five points to divide among the 4E Bac'ground"raits. You have only five points to allot, and someStorytellers may restrict access to certain Bac'grounds.Your Bac'ground "raits should fit into the general schemeof the concept originally chosen.

TECHNIQUES

You start with eight points to divide among the differentmartial arts "echni#ues. "hese "echni#ues are similar tothe different maneuvers common in the Street Fighter coin-op. You cannot begin with more than three dots in anyone "echni#ue. %owever, you can supersede three dots byspending (freebie( points.

SPECIAL MANEUVERS

ach character starts with seven :ower :oints to spendon Special *aneuvers. ach style charges lower costs forSpecial *aneuvers commonly used by that style 8see

hapter Si!9. Special *aneuvers begin wea' at lowerlevels, but become much more potent at higher levels.

STEP FIVE: FINISHING TOUCHE

Jften the most important stage of character creation isapplying the last touches the little details and flourishesthat complete the character. In this step you gain your 45

(freebie( points, enabling you to add more dots to any ofthe "raits on the character sheet. Before you spend thesepoints, however, you must record the base scores for yourcharacter&s 1enown 8Alory and %onor9, hi, Willpower,and %ealth.

RENOWN

1enown comes in two different forms/ %onor, a StreetFighter&s personal code$ and Alory, how revered the StreetFighter is by other Street Fighters. %onor and Alory eachhave a permanent rating 8the dots on the character sheet9and temporary points 8the s#uares9.

1enown is awarded for roleplaying a character&s actions.Whenever a Street Fighter does something honorable,such as 'eeping his word even though it endangers him,he gains temporary %onor points. %owever, if he commitsa dishonorable act, he may lose some points. 6i'ewise forAlory/ besting an opponent causes the winner to gaintemporary Alory points, while losing a fight may cause thefighter to lose Alory points. "o gain a permanent dot in a 1enown rating 8whether%onor or Alory9, a character needs to collect 4E temporarypoints during the course of the chronicle. Jnce 4E pointshave been gained 8and certain other re#uirementsfulfilled9, the character can fill in another dot$ he then

erases all his temporary points and starts over again. Beginning Street Fighter characters have three dotsto distribute between permanent %onor and Alory in anyway the player sees fit. Jne character might give twopoints to %onor and one to Alory, while another might givethree to Alory and none to %onor. It&s the player&s choice."emporary points may also be bought during charactercreation using (freebie( points, giving the character aheadstart on getting that ne!t dot. Jnce roleplaying begins, the character gains 1enownonly through his actions$ he may not purchase it withe!perience points. For more details on the process ofgaining and losing 1enown, see hapter Five.


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CHI

hi is the inner energy that martial artists use to fueltheir special powers, such as >en&s hi Blast or halsim&sYoga Fire. Your character&s style determines his base hi.Your character&s hi will increase and decrease during thecourse of a story as she spends it to activate Special*aneuvers.

WILLPOWER

"he Willpower "rait rates how much self-control a StreetFighter has. If she can control herself, then she can e!erther will upon the world around her to ma'e things occur. +character&s beginning Willpower is determined by style.

HEALTH

%ealth determines how wounded or in0ured a characteris. +s she ta'es damage, her %ealth drops lower andlower. When a character is at 2ero %ealth, she isunconscious. +ll characters begin with 4E %ealth 6evelsand can buy more with (freebie( points.

FREEBIE POINTS

You now get 45 freebie points, which you may spend onany "rait you wish. %owever, this e!penditure is not sostraightforward as it might seem. ach dot added to an

+ttribute costs five freebie points, while a Bac'ground dotcosts only one point. osts are listed in the haracter

reation hart.

FILL OUT THE COMBAT CARDS

"he last step in the character creation process is to fillout the ombat ards. "hese cards are designed to#uic'en combat and enhance the en0oyment of the game."he base dots for each *aneuver are already listed oneach card$ you merely add your appropriate +ttribute and"echni#ue scores to the card. +n e!ample of this processis described later in the boo'.

SPARK OF LIFE

Jther aspects of a character can be detailed in additionto the above. You do not necessarily need to record thesethings, but you should certainly thin' about them notonly now but throughout your character&s career.

APPEARANCE

Your character&s appearance ma'es her "raits visible toother characters. You should turn the concept and relevant"raits of your character into aspects of her appearance.%igh Intelligence can become a clear, piercing ga2e. +ne!plorer concept could mean the character wears 'ha'iclothes and has a rugged appearance. It is much moreevocative to say, (*y eyes are always unfocused, so Ialways seem to be staring into space,( than to say, (I loo'

absent-minded.(

EQUIPMENT

If there are any possessions or pieces of e#uipment youwant your character to have, you should wor' out thedetails now. Jtherwise, you will have to ac#uire thee#uipment during the game. "his can ta'e time and is notautomatically successful. +lmost any piece of mundanee#uipment that fits your concept can be obtained, providedyour character has sufficient dots in the 1esourcesBac'ground.

QUIRKS

By giving your character #uir's 8interesting personaldetails and anecdotes9, you can add a great deal of depthand interest to him. Write a few sentences on the bac' ofyour character sheet describing the strange and possiblyinteresting things that define your character. + #uir' couldbe a twisted sense of humor, a gentleness toward animals,or a habit of grunting when answering yes to a #uestion.

MOTIVATIONS

*any Street Fighters are primarily motivated by fameand money, but even these Street Fighters have othermotivating factors. You should decided what motivatesyour character to get into the arena and ris' in0ury toamuse the screaming hordes. "he more evocative themotivation, the more it will help define your character.

NORMAL IDENTITY

+ final important thing you should consider about yourcharacter is her identity in normal society, if any. You can&tfight seven days a wee', so what do you do betweenfights o you wor' as a bouncer at a bar, or ta'e classesat a local college %ow do you manage to maintain yourdouble life

SIGNATURE

What sets you apart in the ring What ma'es peopleremember you Lictory is certainly a big part, but how youhandle victory is also remembered. o you raise yourhands and cheer or do you #uietly turn your bac' on youropponent o you roar a victory cry or give yourunconscious opponent a big smooch

EXAMPLE OF CHARACTER CREA

+ndrew decides to ma'e his first Street Fighter character. With a copy of the character creation outline infront of him, he sets to wor'.

STEP ONE: CONCEPT

+ndrew must first develop a concept for his character.%e decides he wants to play a former street tough, onewho has wor'ed hard to get off the mean streets. +ndrewdecides that his character too' up >ic'bo!ing to foster


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discipline and toughen himself for anything. +ndrewdecides to call him "yrus Dac'son. 8"yrus is the brother of*aurice, the character from the introductory story. Bothcharacters were used in playtest stories.9

STEP TWO: ATTRIBUTES

"he ne!t step is to prioriti2e "yrus&s +ttributes. +ndrewma'es the usual choice for Street Fighter, selecting:hysical as the primary +ttribute category. %e decides that

"yrus&s life on the streets has made him a fairly sharp guy,so +ndrew selects *ental as the secondary +ttributecategory. Social, then, is tertiary. +ndrew first divides the seven primary dots among"yrus&s :hysical +ttributes. Because "yrus spends a lot oftime in the gym, practicing his moves, e!terity is the bestchoice for many of the points. In fact, +ndrew opts to putthree points in e!terity, giving "yrus a score of )8remember the one free starting dot in every +ttribute"rait9. "yrus also lifts weights, so +ndrew puts two dots inStrength, giving him a score of =. +ndrew thus places theremaining two :hysical points in Stamina, ma'ing "yrus afairly sturdy guy 8score of =9. "he secondary +ttribute category is tac'led ne!t. "yrushas learned to thin' and act fast, so +ndrew turns first toWits. %ere he places three points, ma'ing "yrus a veryaware guy 8Wits of )9. Jne point goes into :erception, toreflect that "yrus has learned to watch out for trouble, andthe last point goes into Intelligence. "he tertiary +ttribute category of Social is easy to settle.Besides, with only three points to spend, +ndrew can&t domuch. +ndrew places two points in *anipulation, to reflect"yrus&s ability to ma'e someone listen when he tal's, andthe last point in +ppearance. +ndrew reasons that a ratingof 4 in harisma is o'ay$ "yrus doesn&t care if anyone li'eshim.

STEP THREE: ABILITIES

+ndrew must now prioriti2e "yrus&s +bilities. Instead ofdoing this right away, +ndrew scans the character sheetand starts chec'ing off +bilities he thin's "yrus shouldhave 8he does not have a free starting dot in every +bility"rait as he does with +ttribute "raits9. It soon becomesclear that most of the points are going to be spent in"alents, so +ndrew chooses it as :rimary. "yrus has nine points to spend. You&ve got to be alert onthe streets, so +ndrew puts two points into "yrus&s

+lertness. %e puts another two points into Intimidation,

because "yrus has had to loo' tough often enough 0ust tosave his s'in. %e puts two points in Streetwise$ "yrus 'nowthe streets well, even if he doesn&t li'e them. "yrus is alsogood at guessing fighting styles, so +ndrew puts one pointinto Insight. %e puts the last two points into Subterfuge,because "yrus has had to fast-tal' his way out of somesituations. +ndrew chooses S'ills as his secondary +bility category$he has seven points to spend. %e puts two points intoBlind Fighting, because he&s had e!perience fighting indar' alleys. +nother point goes into Security$ "yrus hassometimes had to brea' into buildings 0ust to find a placeto sleep. %e puts one into rive 8for obvious reasons9, and

two into Stealth, because "yrus has had to move #uietly a

lot of times to avoid trouble. "he last point goes intoSurvival. +ndrew has only four points to spend in >nowledges,$ hedecided to ma'e this tertiary since "yrus didn&t have a lotof schooling. %e puts one point into Investigation, figuring"yrus has watched a lot of "L cop shows. %e pouts oneinto *edicine, because "yrus has had to patch himself upa number of times after some heavy fights. "he last twopoints go into Style 6ore$ "yrus has studied a number ofdifferent martial arts styles.

STEP FOUR: ADVANTAGES 3e!t comes the category that defines what "yrus canactually do as a Street Fighter. First, he has five points tospend on Bac'grounds. +ndrew ma'es sure "yrus has theBac'grounds that most obviously define the character. "wopoints go into +llies, because "yrus has met many friendsat the gym and on the streets. Jne point is spent on

ontacts a newspaper reporter "yrus has befriended. +ndrew puts another point into *anager, to represent thatsomeone has ta'en an interest in "yrus&s fighting. "he finalpoint goes into 1esources$ "yrus has won a little money inhis fights. +ndrew then moves on to "echni#ues. %e places threepoints in :unch, three in >ic', one in Arab, and one in

+thletics. "yrus is not well rounded, but he&s very good atpunching and 'ic'ing. 3e!t +ndrew chooses Special *aneuvers for "yrus. %ehas seven points to spend. "he most ine!pensive optionfor him is to buy the moves in which his style speciali2es.Because he is a Western >ic'bo!er, he turns to hapterSi! to find the >ic'bo!ing :owers. %e decides to start offwith a Slide >ic' 8G points9. %e then buys a Spinning Bac'Fist 84 point9 and a Spinning >nuc'le 8= points9. With hisremaining point he buys a ombo *aneuver, lin'ing hisDab with his Slide >ic' 8he figures to move in #uic'ly with alight punch and follow that up with a 'ic' to 'noc' down hisopponent$ the Slide >ic' has a Speed advantage of MGwhen it follows his Dab9.

STEP FIVE: FINISHING TOUCHE

"he ne!t step is to assign beginning 1enown. "yrus ismore concerned with his reputation among other StreetFighters than he is about his own conduct. Still, personaldiscipline is important to him$ without it, he&d never get offthe streets. So, "yrus puts two points into Alory and onepoint into %onor.

+ndrew records his initial hi of G and his initialWillpower of 5 8because "yrus&s style is is Western>ic'bo!ing9. 3ow +ndrew gets to spend "yrus&s 45 (freebie( points.%e decides to buy a Dump maneuver for four points 8Dumpcosts one :ower :oint$ four freebie points buys one :ower :oint9. %e also uses another four points to turn his ombo*aneuver into a i22y ombo *aneuver. +ndrew wants"yrus to dish out some heavy damage with his blows, sohe spends five points to add a dot to his Strength 8he nowhas a rating of )9. %e puts "yrus&s last two points intoWillpower 8giving him a Willpower of ;9. "yrus is ready foractionN


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LOOKING AHEAD

In the process of creating a character, you havehopefully become ready to roleplay that character. +nimportant part of the character creation process is theattachment that develops between you and your character,enabling you to play the role creatively and with purpose.3urture your empathy for your character if she is at alldifferent from you, it might not come naturally. "he process of character creation does not end with the

beginning of the first story, for a character never stopsgrowing, changing, developing, and maturing. +s thechronicle progresses, create new personality traits andhistorical details. 7se your e!perience wisely to developyour "raits. See' to build your character&s Willpower andincrease her hi, and always, always add more and moreflesh to the bare bones listed on the character sheet. "hetrue essence of the character can only be captured in yourroleplaying$ it can never be listed upon the charactersheet. *ost importantly, you should thin' of ways in which thepersonality of your character might change because of theevents that occur in her life, and then guide heraccordingly. 6et her determine her own fate. 3ever forceher to conform to your earlier conceptions of who and whatshe should be. If your character ever bores you, it&s probably becauseyou have not developed and changed her enough overtime. Ideally, the character simply grows more real as youplay in the chronicle, developing as a character and as aperson. "he way a character changes reveals as muchabout that character as the way she is described. +character in a short story is rarely as real and complete asthe way she is described. + character in a short story israrely as real and complete as one in a novel theresimply is not enough time for proper development. *a'eyour characters as complete, vital, and interesting as youpossibly can throughout the course of the chronicle. 3ovelists often spea' of characters in their boo'scoming to life, refusing to be manipulated or directed bythe writer. "his type of character stands out from the pageand says, (6eave me alone, I&m real.( %e then does as hewill, regardless of the author&s original intent. We can learnmuch from this e!perience it is the epitome of whatma'es a great character. 1emember, though, that this is a game. While it is fun toplay a Bruce 6ee type of character, you should 'eep inmind that this is a game. By no means is it real.

THE PRELUDE Jur past defines us most clearly, for it best indicateswhat we might become. "he purpose of a prelude is togive each character a past, thus allowing the future to betold. + prelude is, in fact, a form of one-on-one storytellingin which the story of a character&s life is told. "he prelude is a way to create character biographiesbefore the chronicle actually begins. It is #uite similar tonormal play, e!cept that many years are compressed intoa series of rapid-fire decisions. "he personal biography aplayer creates in the prelude will be relevant throughoutthe chronicle, and you may well refer to it fre#uently.

THE RIGHT TECHNIQUE

ach player undergoes the prelude alone. It is one-on-one unless two or more characters were friends or spent alot of time together before they became Street Fighters.While you, as the Storyteller, spend time with each playerseparately, the rest of the troupe can sociali2e and start toget e!cited about what lies ahead. +nticipation can ma'e astory blossom. uring the prelude you need to direct the player much

more than usual. Aive him lots of decisions to ma'e, butrush everything and don&t give him much time to thin'. Youneed to play through things #uic'ly, unless you are willingand able to spend more time 8which can enable thecreation of very detailed characters9. When 8or if9characters engage in combat during the prelude, simplydescribe the results of any fights$ don&t slow down theaction by ma'ing dice rolls. "he prelude is meant to be fastand loose. 1ules are for later, more detailed sessions. uring the time you set aside for the prelude, give theplayer a chance to interact with both the setting and therules. If the player wants to change a few "raits during theprelude, you should let him, so long as it is done for arational reason and not as an attempt to create a super-character. "here are many ways to progress through a character&slife$ any way that helps mold a complete character is fine.

uring the course of the prelude, you should e!plain thefull bac'ground of the character, including the identity ofher *anager and the location of her +rena 8both areBac'grounds discussed in hapter Four9. "he playershould thoroughly understand the details of herBac'ground "raits. You should play through one or more typical scenes fromthe character&s life to give the player a sense of how thecharacter lived. You can get the player into her life as aStreet Fighter by showing her the bland tedium of thecharacter&s prior e!istence. 1emember, it is the mundanethat gives scope to the magnificent. + prelude can proceed something li'e this/ (You finallyfinish a grueling, 4E-hour wor'day and want nothing morethan to go home and sleep. +fter spending an hour intraffic, you finally climb up the five floors to your apartment.You try your 'ey in the loc', but it won&t wor'. "hen, youhear a noise in the room beyond someone&s in yourapartment. What do you do ( +s you describe things, let the player interrupt with herown ideas and details. You are telling a story together, sotreat the player more li'e a partner. You can also includedetails that provo'e the player into feeling the emotions of

her character (Your father is in a coma in the hospital.(Jnce the character 0oins a team to become a StreetFighter, she can&t freely visit the hospital anymore. %erfather may want to spea' to her, but the character may bein another country fighting. "he player needs to feel aprofound and overwhelming sense of the sacrifice anddedication necessary to wal' the path of the Street Fighter.

QUESTIONS AND ANSWERS

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Street Fighter TSG 20th Anniversary

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