ࡱ> ܥhc eG|CDXXXXX x4XMRRRR>Z9XF*RRRRR@]XXMean Streets and Mean Villains Contents  TOC \t "Heading 2,1,Heading 3,2,Heading 4,3" Introduction  GOTOBUTTON _Toc368633090  PAGEREF _Toc368633090 1 Creating a Character  GOTOBUTTON _Toc368633091  PAGEREF _Toc368633091 2 Attributes  GOTOBUTTON _Toc368633092  PAGEREF _Toc368633092 2 Toughness  GOTOBUTTON _Toc368633093  PAGEREF _Toc368633093 2 Resourcefulness  GOTOBUTTON _Toc368633094  PAGEREF _Toc368633094 3 Dress Sense  GOTOBUTTON _Toc368633095  PAGEREF _Toc368633095 3 Cool  GOTOBUTTON _Toc368633096  PAGEREF _Toc368633096 4 Advantages  GOTOBUTTON _Toc368633097  PAGEREF _Toc368633097 4 Disadvantages  GOTOBUTTON _Toc368633098  PAGEREF _Toc368633098 6 Skills  GOTOBUTTON _Toc368633099  PAGEREF _Toc368633099 6 Mannerisms  GOTOBUTTON _Toc368633100  PAGEREF _Toc368633100 7 Sample Characters  GOTOBUTTON _Toc368633101  PAGEREF _Toc368633101 8 Contests of Skills  GOTOBUTTON _Toc368633102  PAGEREF _Toc368633102 12 Combining Skills  GOTOBUTTON _Toc368633103  PAGEREF _Toc368633103 13 Quantitative Successes  GOTOBUTTON _Toc368633104  PAGEREF _Toc368633104 13 Reversed Rolls  GOTOBUTTON _Toc368633105  PAGEREF _Toc368633105 13 Skill Substitution  GOTOBUTTON _Toc368633106  PAGEREF _Toc368633106 14 Combat  GOTOBUTTON _Toc368633107  PAGEREF _Toc368633107 16 Shootouts  GOTOBUTTON _Toc368633108  PAGEREF _Toc368633108 16 Hand to Hand Fighting  GOTOBUTTON _Toc368633109  PAGEREF _Toc368633109 17 Chases  GOTOBUTTON _Toc368633110  PAGEREF _Toc368633110 19 Chases on Foot  GOTOBUTTON _Toc368633111  PAGEREF _Toc368633111 19 Vehicle Chases  GOTOBUTTON _Toc368633112  PAGEREF _Toc368633112 20 Interrogating Suspects  GOTOBUTTON _Toc368633113  PAGEREF _Toc368633113 21 Investigation  GOTOBUTTON _Toc368633114  PAGEREF _Toc368633114 22 Disguises and False Identities  GOTOBUTTON _Toc368633115  PAGEREF _Toc368633115 23 Surveillance and StakeOuts  GOTOBUTTON _Toc368633116  PAGEREF _Toc368633116 24 The Scales of Justice  GOTOBUTTON _Toc368633117  PAGEREF _Toc368633117 25 Guidelines for GameMasters  GOTOBUTTON _Toc368633118  PAGEREF _Toc368633118 26 Settings  GOTOBUTTON _Toc368633119  PAGEREF _Toc368633119 26 Props  GOTOBUTTON _Toc368633120  PAGEREF _Toc368633120 27 Sample Scenarios  GOTOBUTTON _Toc368633121  PAGEREF _Toc368633121 27 Advice for Players  GOTOBUTTON _Toc368633122  PAGEREF _Toc368633122 28 Character Sheet  GOTOBUTTON _Toc368633123  PAGEREF _Toc368633123 29  Introduction Mean Streets and Mean Villains is inspired by the glamorous police and detective series of the 70s and 80s such as Starsky and Hutch, Miami Vice, Police Woman, Kojak, Hawaii 5-0, Cannon, The Rockford Files, Hunter, The Avengers and New Avengers, and The Professionals; or films like Dragnet, Beverley Hills Cop and the Dirty Harry series. The list is endless, there are many more than Ive listed here; and Im sure you could add a lot that I havent even heard of. More recent television shows, such as Sledgehammer and Funky Squad, capture the themes of the game perfectly, because it is intended as a gentle parody. Mean Streets and Mean Villains is designed to allow you to run games in a similar vein: not large campaigns, but small, one-off games as a way of injecting a little light humour between your normal gaming sessions, or when half your players dont turn up. Adventures (or Episodes as they are called in this game) are targeted at one, two or (very occasionally) three or more players. The emphasis in every episode should be on fast-paced action, with chases and fights as the main events or Scenes. Everything about the game should be dramatic, cinematic and visually extravagant. Plotlines are best kept simple (unless you really want to run a complicated Columbo-style investigation). They dont even need to hang together coherently; and the players should be driven along by the flow of the plot. It is intended to be run as a storytelling game, with the players being led from one action scene to another. In-between scenes should provide plenty of opportunities for roleplay as the players try to extract clues and potential leads from the colourful and flamboyant lowlives that inhabit the dives and backstreets of your city setting. An episode should rarely last more than two hours. Its not a game that requires a lot of preparation or planning in advance. All you need to play is paper and a pen, a watch, a few six-sided dice (d6), creativity and imagination, and a feel for the genre. As a player in Mean Streets and Mean Villains, you take on the role of a Police Officer, Private Investigator, or an agent for a more covert (but flashy) government organisation fighting crime. Style is everything: you dont have the gimmicks and high-tech toys of James Bond, but you do have a hot set of wheels, a big gun and a badge. As a GameMaster, or GM, you create a city populated by two-bit hoods, pimps and whores, informers, drug pushers and gun-toting thugs; and the forces of law and order who, by their eternal vigilance and diligence, try to persuade all the villains to move on to another city. The Mean Streets need not even be set in a real city; but it is often easier to use locations you are familiar with either from everyday life or from television. There is no need to map out every tiny detail of your setting: geography can (and should) be distorted to keep the game flowing at a fast pace..... after all, how often do the television series worry about such details? The setting for a game wants to be teeming with life, colour and vibrancy. This isnt Cyberpunk. Good, bad and purely business are clear cut divisions. The streets are filled with sleazy hookers and small time criminals pursuing their respective trades. Stolen goods are fenced almost openly in the shops and bars... but your players are interested in the big criminals rather than the petty thieves. These are guys to be leaned on for information rather than locked away. Alternatively, you might set an episode against a more upmarket backdrop. The successful businessman who murders his secretary because she uncovered evidence of his fraud, but who keeps his cool because hes sure no-one will ever find proof that it was him. Or perhaps the neglected wife that hires a PI to find out who her husband is seeing when hes not with her, and then tries to frame the mistress for her husbands murder using the unwitting PI as a pawn or alibi. Note - Throughout this rule system, Ive used the generic pronoun - he. This doesnt mean that you cant use female characters or that its only a game for men to play. There are plenty of female role models from film and television: Pepper Anderson from Policewoman, DeeDee McCall in Hunter, Purdey from the New Avengers (or Emma Peel from the original), Cagney and Lacey, Charleys Angels, CATS Eyes, V.I. Warshawski, etc, every bit as tough and cool as their male counterparts. Playing a female role is neither an Advantage nor a Disadvantage. Creating a Character Mean Streets and Mean Villains is a points-based system where you are given a fixed number of points to spend building your character. Attributes, Skills and Advantages all have a cost, while you can buy Disadvantages and Mannerisms to increase your spending power on other traits. Id recommend that characters should be built on 20-35 points for street cops and police detectives, and 30-45 for Private Eyes; with no more than 3 points in Disadvantages (or two Disadvantages), and no more than two additional points from Mannerisms; but that is largely up to the discretion of individual GMs. This should give a reasonably cinematic, action game. As youll see from the sample characters later they can cover a much wider range and can all still be effective for certain styles of play. Attributes There are only four attributes used to define your character: Toughness is a scale of their physical abilities; Resourcefulness, a measure of their intellectual limitations; Dress Sense is pretty important when it comes to impressing contacts and dealing with other people; and Cool, which covers the ability to pull themselves from muddy rivers without a hair out of place, and to remain calm even as bullets are splattering on the ground about them. Attributes are measured on a scale of 1-6, which is quite convenient when you are playing with six-sided dice. They are bought at a cost of one point per level, and players must buy at least one level in every Attribute. The average is level 3. Contests of Skill are rolled against the most appropriate Attribute or Skill, with a success being a roll at or below the character's level. For this reason, a Player Character should never be permitted any Attribute at a level of 6 (except under the most extreme circumstances with a lot of justification, grovelling and bribing of the GM) so that there is always some chance for failure. Note - If you really want to create random characters, use 1d4+1 rather than a d6 to generate Attributes. Toughness Toughness is a measure of physical strength and health. It is used mainly for hand-to-hand combat; but can also be used as a measure for how well the character weathers any strenuous activity, such as swimming a river, or running into a brick wall. 1Puny.A gust of wind would blow this character over. It probably isnt a good idea to have any character with a Toughness of 1.2Frail.Ill health or age can give a Frail character, but that doesnt necessarily mean ineffective (although it isnt specially appropriate for the genre). Mrs Marple would be a character with Toughness this low.3Healthy.Generally the minimum recommendation for a PI, and a mandatory minimum for any character in a police or agency role unless they are working in a purely administrative function (which this game is not designed to reflect).4Rugged.The type of guy that can more than hold his own in a fight, and probably attends martial arts classes when he isnt working.5Athletic.This is the officer that runs rather than drives to the station each morning, and plays football for the police team. His idea of a relaxing evening is teaching karate to the local kids. Spenser would be an Athletic Private Eye.6Herculean.The only television character I can recall that really fits this level of Toughness is BA from The A-Team.Resourcefulness This Attribute is a measure covering the whole range of mental activity: the ability to perform mathematical calculations quickly; whether a PI character will have a small hand press to print his own business cards; how believable an excuse for an unfinished report is; if they doubt a suspect's alibi, etc. Resourcefulness is all about being able to think quickly, rather than a true measure of intelligence, so it cant be used searching for clues at the scene of a crime: leave that to forensics, or people with an Eye for Detail. 1Brain Dead.A Character with a score this low drinks their beers warm because they just dont have enough sense to realise that theyd be cool if they were kept in the fridge.2Unimaginative.Can manage the simple things in life, like knowing how to change a light bulb, or turn on the television. Knows where the book is so that they can play by it.3Mundane.Knows how to fix the coffee machine to dispense a free coffee; can argue Fantasy Football teams with anyone, and is normally capable of thinking up some excuse for why they dont have last weeks arrest reports typed up yet.4Cunning.This character has enough intelligence to be able to lay traps for criminals without risking allegations of enticement; or (if a crook) to con people into buying part shares in the Brooklyn Bridge.5Ingenious.An Ingenious character is one who can come up with unusual approaches to a situation, a lateral-thinker. He probably has a car boot full of useful tools (almost anything that the players can create a valid excuse for) like Jim Rockford.6Gerry-Rigger.Has the ability to make the most incredible mechanisms from the most mundane of items (such as nuclear reactors from egg cartons and sticky-back plastic). Examples of characters with this high attribute might be McGuyver and The A-Team.Dress Sense Dress Sense is used to impress people, and determines how they will react to you. It is the Attribute that will be used whenever characters are dealing with other people. The more respectably dressed you are, the more likely Non-player characters are to believe what you say without asking for credentials or proof of identity, or to offer useful leads when questioning witnesses. 1Scruffy.Smartest dress is a dirty raincoat. With a dress sense of Scruffy, a character doesnt even know what a dry cleaners is.2Bland.Nondescript, utilitarian clothing, e.g. Track suit. Useful for blending in with the crowd, but youd have trouble persuading people you really were a police officer if it werent for the badge.3Uniform.Covers a multitude of sins from the uniformed beat cop, to the person who wears a simple suit as standard, through to hookers and streetwalkers who always seem to wear the same types of clothes, and streetgang leathers.4Smart.The character makes an effort with their clothing, be it a Marks & Spencers shirt and tie, or a Debenhams tank top.5Trendy.This character always wears the latest styles or most expensive tailored clothes, designer labels, fashion accessories, etc.6Outrageous.Jason King would have Dress Sense-6, or drug dealers plastered with gold and jewellery, etc. Characters with Trendy just follow the latest fashions, Outrageous means that you set fashions.Cool Cool is most important as your ability to keep your head when in a dangerous situation (such as being shot at). 1Paranoid.Twitches and flinches even at whispers. Spends most of his time looking nervously over his shoulder just in case hes about to be mugged, and calls for the paramedics if he breaks a fingernail. Lonely, from the Callan books and film, is Paranoid.2Easily Excited.Needs to escape from the autopsy room at the first incision. Jumps when he hears a car backfire, and crosses himself whenever he sees a black cat.3Staid.Practical and down to Earth. Outwardly the Staid person takes most things in his stride without showing any concern. Inwardly though hes affected and perhaps tries to act more macho than he really is to cover that.4Unruffled.The Unruffled character really is tough inside as well as out.5Imperturbable.Wears shades, even at night. He might raise an eyebrow if aliens were to land on his front lawn, but you wouldnt see it behind his sunglasses.6Totally Hoopy.Hosts parties that an alien might travel to Earth just to attend. Fonzie slaps a juke box to make it play his record; this guy just looks at the juke box and it plays.Advantages Advantages are bought at a cost of one point per level. Advantages can actually be rolled against in the same way as Skills or Attributes, but most commonly they will be used to modify Skill or Attribute dice rolls. In the lists of Advantages and Disadvantages below, those that can be bought at levels greater than 1 are indicated with a *. Some Advantages can be added to attributes (or skills) to improve the chances of success with any roll. Whether a GM permits this is entirely his decision, and depends on how well a player can justify it. This is not intended as a definitive guide to all possible Advantages: you may be able to think of additional ones to add to the list while you are creating characters. In that instance, the GM is the final arbiter on whether any new Advantage is acceptable or not. Blond Hair Natty dreads Car * Beat up wreck. Average street car. Fast, sports car. Top of the range model. Other vehicles can be supplemented instead of cars: if you were creating characters from the series CHIPS, youd use Bike instead. Characters with access to more than one vehicle need to buy each as a separate advantage: e.g. Sonny Crockett from Miami Vice has both Car-4 and Boat-4 at a total cost of eight points. Contacts * Contacts are split up into different types: Police, Street and Other. Each must be bought separately, and each is useful for different types of information. Most characters would be advised to buy both Street and Police contacts. Villains and street NPCs will only have access to Street sources under normal circumstances. Contacts - Police * Useful for snippets of information only. Access to criminal records, license plates, etc. Full access to crime labs, forensic reports, etc. A character playing a police officer will automatically have the Police contacts Advantage at level-3 at no cost. The exception is if they are playing a role as an undercover cop, in which case they can only have a maximum of level-2 due to the risks involved in contacting the police for the information they might need). Contacts - Street * Useful for snippets of information only. Will get some very general answers if they ask questions down even the toughest streets. Has an informer, not too useful as a source on crimes yet to be committed, but they can find out about events that have already taken place. Access to an undercover guy or someone that actually knows about crimes that are being planned. A Non-Player Character (NPC) street contact also has his own contacts on the street. (See the sample character sheet for Huggy Bear below.) NPC Street contacts for PIs, and police informers should be fleshed out in the same way as characters, and their level of street contacts is their value as a street contact for a PC (i.e. Starsky and Hutch have Huggy Bear as an informer at level-2). Two players who elect to play the game as partners can split the cost of Street Contacts between them, so Starsky and Hutch can both buy Huggy Bear at a cost of only one point (totalling his value of two). To do this though, they must each buy the Partner Advantage. (It costs the same, I know... You really dont expect to get anything for free do you?) Contacts - Other * (must be specified) Other Contacts will be rare, though not impossible. Even though only a PI, Magnum can occasionally call upon sources at Naval Intelligence; while characters working for a Government Agency such as the FBI would have those resources available to them under this advantage. Most Other Contacts would be scaled similarly to Police Contacts. Distinctive Appearance and Reputation Depending on the nature of the game, a Distinctive Appearance and Reputation may be an Advantage or a Disadvantage. This is for the GM to Adjudicate. Eye for Detail * Recognises that a mug of hot coffee at the scene of a crime might indicate that the perpetrator is still somewhere close by. Notices the make of cigarette butts left in the ashtray. Spots obscure details such as the date on a parking ticket. Partner You must pay one point for each partner that you have. In a normal Police game, you would probably only have one partner, but if part of a special or elite squad you might have two or more (such as Steed in the New Avengers with Purdey and Gambit). Partners, whether played by yourself as a second character, by another player, or as NPCs under the control of the GM, should be fully fleshed out with a range of Attributes, Skills, Advantages and Disadvantages. They too must pay for the Partner advantage. The benefit of having a Partner is that between you it is possible to buy a wider range of skills at high levels. If your partner is being run as an NPC by the GM, it should still be you, the player, that determines their Skills, Attributes, etc. to complement your own. Rank * Veteran Beat Cop Inspector Other senior ranks Undercover Identity Examples Inspector Morse is checking the scene of a crime. The GM requires a roll against his Eye for Detail-2 to determine if he notices that a rug has been pulled over the blood stains on the carpet. This roll should be made in secret by the GM, and the player only informed if it is a success. Rolling a 5, he fails. The blood stains will be found by the forensic team in due course, but it will be some while before Morse learns about this piece of evidence. Hutch is questioning the prostitutes on a street corner about whether any of them noticed two hit men that aced a witness being kept at a nearby motel. He has Dress Sense-5, so hell impress them on any roll other than a 6, but decides to improve his chances of success with the fact that he has the Blond hair Advantage. This gives him a +1 to his dice roll, automatic success except on a 6 which is always a fail. He wants the bonus to improve his chances in case the GM makes some adverse modifiers. This roll would be made by the player, who rolls a successful 2. Of course, getting the witness to talk is one thing, hearing something useful from them is another matter entirely. In this case, Hutch is lucky. One of the hookers remembers that two men in dark suits and shades drove up in a black transit van just minutes before the shots were fired. Just for luck, she also gives him her home address and invites him to drop round any time. Disadvantages Disadvantages are bought at a cost of -1 point per level. As with Advantages, Disadvantages can also be used as qualifiers to a dice roll, or rolled against in the same way as Skills and Attributes. It is up to the GM to set limits on the number of points that a character can gain through taking Disadvantages, but I would recommend no more than two Disadvantages or three points. Listed below are some Disadvantages that characters might take, but you may think of others. The GM should be the final arbiter for deciding whether anything not listed is really a Disadvantage or just a Mannerism. As a general rule, Mannerisms should not affect the general run of play, while any Disadvantage should actually be disadvantageous when you are playing the character, and it is the GMs responsibility to ensure that this is the case. Some of these Disadvantages are really more appropriate for NPCs, but a GM should be amenable enough to allowing them for player characters as well. Like Advantages, Disadvantages may also be used as modifiers to attribute or skill rolls, but this is a GMs decision. Absent Minded Bald-headed Coward Has a Dependent Distinctive Appearance and Reputation A Cop with a Distinctive Appearance and Reputation may have problems working in an undercover role (Sam McLeod as the well-known cowboy officer in the NYPD as an example). Otherwise, it should be treated as an Advantage. Handicapped * Mild disability (such as Harry Os lameness). Severe disability (example, the one-armed man in The Fugitive). Crippled (like Ironsides). This advantage isnt option to Police Officer Characters except with the express permission of the GM. Even then, it should be limited to a level of 1. Overweight Severe Phobia The phobia must be specified, such as claustrophobia; and it must be something that is likely to have an affect on gameplay for it to be considered a Disadvantage. Short-sighted Rookie Example Kojak finds himself in the same situation as Hutch in the Advantages example above. He has Dress Sense-3, and the GM rules that a -1 from the Bald Disadvantage means he requires a roll of 2 or less to impress the hookers enough to impart any information they might have. He rolls a 3... tough, they dont know anything. Skills Mean Streets and Mean Villains uses a very simple skill-based system to resolve most actions. Skills are acquired at a level of 1-6. As with the Attributes, it is recommended that GMs dont permit any skill at a level of 6 unless the player can really justify it. The default value for any Skill is 1, and additional levels are bought at a cost of one point/level. This means that taking the Driving Skill at level 4 would cost 3 points. There are only eight basic Skills in Mean Streets and Mean Villains, which should cover almost any eventuality. When a situation requires a Skill Roll, it is for the GM to determine which skill is most appropriate under the circumstances, although the player may try to justify differently to take advantage of a better Skill or even an Attribute. If the player can set out an adequate case, then the GM should accept it. A roll of 6 against a Skill is always a failure, but having a Skill at level six may offset any negative modifiers that a GM imposes. (Disguise.This is the characters ability to appear as something that they are not. It is most appropriate for characters trying to impersonate someone else, such as a telephone repair man. Note that an undercover cop doesnt need a high disguise skill, he simply wears street clothes rather than a uniform.(Driving.Driving is a single, comprehensive Skill that covers the characters ability to drive any type of vehicle from a pushbike to a jet aircraft.(Fast Talking.The ability to think up feasible excuses on the spot. This can be used when discovered somewhere you shouldnt be, when trying to bluff your way into guarded premises (often used with disguise), or just thinking up a reason to explain why you still havent finished last months arrest reports. It is probably the most important skill for undercover cops. Fast Talk should always be roleplayed, with the Skill roll used to determine how believable the characters story is.(Fighting.Be it training in martial arts, or just the ability to wrestle with an overweight thug, this Skill covers the characters prowess when in a hand-to-hand struggle, or when armed with hand-held weapons such as knives or baseball bats.(Interrogation.The Interrogation Skill reflects the characters ability to extract information from an unwilling suspect, or just to recognise the right leads when questioning a witness. Interrogations should be roleplayed, with the Skill roll being used to determine whether the answers are useful.(Running.Reflecting both speed and stamina, this Skill determines how effective the character is at chasing an escaping suspect on foot; or perhaps just running to the scene of a crime in order to prevent it happening or get there before a beat cop. It can even be used for the characters ability to get away successfully if he is found somewhere he shouldnt be. The Running Skill would also be used for swimming, climbing cliffs, etc.(Shooting.This is pretty much self-explanatory. It doesnt matter what type of weapon is being used, from a handgun to a LAWS rocket; the Shooting Skill determines the characters ability to fire it with any accuracy.(Stakeout.Stakeout is a wide ranging skill, which covers setting wire taps and planting bugs, breaking into apartments and picking the locks on filing cabinets as well as just watching suspects without being noticed.Mannerisms Mannerisms have little significance in actual gameplay for the good guys (i.e. the player characters). They are merely hooks to help develop the personality of your character. In the case of criminals and other non-player characters, a particular Mannerism might actually be helpful for tracking them down (such as frequents a particular bar). Mannerisms can be bought at -1 point each, up to a total of two. (You can have more Mannerisms, but you cant get more than two points to spend elsewhere from them.) Typical mannerisms might include: (Smokes cheap cigars(Reads poetry when not working.(Waves hands about while talking.(Likes to watch football.(Drinks Pernod.(Does Crossword puzzles(Listens to classical music.(Collects guns.(Eats chilli dogs with raw onion for breakfast.(Uses a catchphrase. e.g. Who loves ya baby. Book him Danno. Sample Characters Name :Jim RockfordOccupation :Private EyePoints Cost :35 ToughnessHealthy (3)ResourcefulnessIngenious (5)Dress SenseBland (2)CoolEasily Excited (2) AdvantagesDisadvantagesCar-2Dependent (Rocky)Contacts Street-2 (Angel)Contacts Police-1 SkillsDisguise4Driving4Fast Talking5Fighting3Interrogation3Running3Shooting3Stakeout4 MannerismsEnjoys FishingIs never home when the phone rings Name :Inspector MorseOccupation :Homicide DetectivePoints Cost :25 ToughnessHealthy (3)ResourcefulnessCunning (4)Dress SenseUniform (3)CoolStaid (3) AdvantagesDisadvantagesCar-3Contacts Police-3Eye for Detail-3Partner - DS LewisRank (Detective Inspector) SkillsDisguise1Driving2Fast Talking2Fighting1Interrogation4Running1Shooting1Stakeout2 MannerismsEnjoys classical musicSolves crosswordsLikes Real Ale Name :Thomas MagnumOccupation :Private EyePoints Cost :46 ToughnessAthletic (5)ResourcefulnessMundane (3)Dress SenseTrendy (5)CoolUnruffled (4) AdvantagesDisadvantagesCar-3Contacts Street-2 (Rick, and hence Icepick)Contacts Police-1Contacts Other-2 (Naval Intelligence) SkillsDisguise2Driving5Fast Talking4Fighting5Interrogation3Running4Shooting4Stakeout4 MannerismsWorries about damage to Robin Masters carConvinced that Higgins is really Robin Masters Name :ColumboOccupation :Homicide DetectivePoints Cost :20 ToughnessHealthy (3)ResourcefulnessCunning (4)Dress SenseScruffy (1)CoolStaid (3) AdvantagesDisadvantagesCar-1Absent MindedContacts Police-3Dependent (Lethargic Dog)Eye for Detail-3Rank - Lieutenant SkillsDisguise1Driving1Fast Talking4Fighting1Interrogation4Running1Shooting1Stakeout3 MannerismsSmokes cheap cigarsWaves hands about while talking Name :John SteedOccupation :Government AgentPoints Cost :43 ToughnessRugged (4)ResourcefulnessCunning (4)Dress SenseTrendy (5)CoolImperturbable (5) AdvantagesDisadvantagesCar -3Must always act as a gentlemanContacts Other-3 (Government)Partner -1 (Emma Peel)Rank (?) SkillsDisguise1Driving5Fast Talking5Fighting4Interrogation2Running2Shooting6Stakeout3 MannerismsAlways wears a bowler hat and carries an umbrellaNever carries a gun (even though hes a crack shot) Name :Sonny CrockettOccupation :Undercover Vice CopPoints Cost :51 ToughnessRugged (4)ResourcefulnessUnimaginative (2)Dress SenseTrendy (5)CoolUnruffled (4) AdvantagesDisadvantagesBlondCar-4Boat-4Contacts Street-3Contacts Police-2Partner (Ricardo Tubbs)Undercover Identity SkillsDisguise3Driving4Fast Talking5Fighting4Interrogation2Running4Shooting5Stakeout4 MannerismsLives on a boat with a pet alligator Name :Huggy BearOccupation :NPC Street ContactPoints Cost :27 ToughnessHealthy (3)ResourcefulnessCunning (4)Dress SenseTrendy (5)CoolUnruffled (4) AdvantagesDisadvantagesContacts Street-2Coward SkillsDisguise1Driving3Fast Talking5Fighting2Interrogation2Running2Shooting1Stakeout2 MannerismsLikes playing pool These sample characters are here to show how the character definition process works. This is not intended as the definitive guide to game statistics for TV detectives. Im sure many of you reading this will disagree with the details, or perhaps feel that I havent done justice to their favourite Tec. I make no apologies for that. If you want to rewrite these examples, then feel free. Contests of Skills The success of failure of most activities in an episode is determined by rolling the dice and throwing a score below or equal to the level of a particular Attribute or Skill. With the specific exceptions listed below, the GM should decide which Attribute or Skill roll is most applicable to the set of circumstances, although players may try to justify differently. Modifiers from Advantages (and Disadvantages) may be added to improve (or reduce) the chances of success for any particular roll of the dice. If players want to use their advantages, they must justify their case to the GM before the roll is made. They may even attempt to combine Attributes, Skills and Advantages; and in some cases, two or more skills can be used alongside each other (Disguise and Fast Talking work very well together). No doubt as play progresses, the players will learn to combine more and more different Skills, Attributes and Advantages in order to improve their chances of success in any roll. This is perfectly acceptable, Ive even detailed ways of doing this in another section below. The players do need to justify any such combinations to the GM, and he alone has the final say in whether or not combinations are valid under the circumstances of his game. No matter how many skills and advantages you combine, a roll of 6 is always a failure. A roll of 1 is always a success. Only very rarely should the GM allow an (almost) automatic success for any roll: even if your players can always come up with viable excuses for their combinations. The episode would become just too easy then.... use qualifiers against dice rolls to ensure that there is some chance of failure. GMs should remember that the player characters have Disadvantages which might offset their chances of success; and that the NPCs they are dealing with should also have Attributes, Skills and Advantages which might give further modifiers. Dont tell the players exactly what modifiers you are imposing, be subtle and use your descriptions of the setting or NPCs to suggest that the result isnt going to be quite as easy as they expect. In some cases, such as inspecting the scene of a crime without explicitly searching for a particular item, the GM should roll secretly for the players to decide if they have noticed any clues; though if the players are actively looking for something they should make their own rolls. At other times, for example when a character is trying to pick a lock or tap a phone, they should always make their own rolls. These are examples of uncontested skill rolls. Whenever you or your players make an uncontested roll, only one attempt is permitted for each player. Still other times, characters will be contesting their skills with NPCs or even possibly with other characters. In these cases, it is possible for both to succeed. What this means in game terms is up to the GM to decide. There isnt any basis in this game for one party succeeding better than another: either they both succeed, or one wins and the other loses. Example If your PI player is trying to pick the lock on the managers office door at MegaSecurity Corp, and has Stakeout-6, this would ordinarily be an automatic success (unless the player rolls a 6); but surely a company such as MegaSecurity would have the best locks available for their own premises, so using a qualifier (perhaps as much as -4) here would be sensible. Give the players some hint before they make their roll: point out to them that the lock is a 5-lever Mortice, so they have some forewarning that access to the office wont be quite as simple as they might like. The player rolls a 3, which is a fail with the heavy -4 modifier. Dont let the players roll and fail, then try again adding new advantages just to improve their odds. This isnt a lottery where you can go and buy an extra ticket. If theyve failed, then theyll have to try some entirely different approach to the problem. Example Having failed to pick the lock at MegaSecurity Corp, the PI decides to use his Resourcefulness to look around and see if there are any other ways in. He combines that with his Eye for Detail advantage, and makes a successful roll. Again, the player would make this roll himself. Its at this point that the GM needs to be creative. Perhaps the Secretary has a key hidden in her desk. Or does that sound too easy an answer, letting the players effectively ask the GM to supply them with a solution when their own ideas run out? If you dont want to make things that easy for your players, then perhaps they see a memo that the secretary has left half finished on her typewriter, to the senior security officer at a local airforce base about checking up on MegaSecurity Corp. to see whether they would be an appropriate supplier for security cameras at the base. Then its up to the players to figure out that they can perhaps disguise themselves, and appear in the office the following morning when it is open, to discuss security cameras with the manager himself, letting him think that they are airforce security men. The GM should always remember Disadvantages too, and invoke those where applicable. As GM, and hence the final arbiter of any decision, you neednt tell your players that you were invoking a Disadvantage modifier until after theyve rolled the dice though, and hint at what might have affected their roll rather than tell them outright. (I aint tellin you nothin Mr PI Fatso Cannon!) Combining Skills There will be situations where it is possible to combine certain Skills and/or Attributes to improve your chances of success. This is perfectly acceptable in Mean Streets and Mean Villains if you can persuade the GM that it is justified. Example DI Reagan is interrogating Sammy the Fence about a jewel blag in Londons West End. He has Interrogation-4, but decides that he will try and confuse Sammy into revealing what he knows. He combines his Interrogation with his Fast Talk-2 (this should be roleplayed) to give him what he hopes will be an automatic success. His threats about being able to send Sammy away for a long stretch succeed, and the cowardly Fence (Note, the GM could also have allowed Sammys Coward Disadvantage to be added as another bonus to Reagans roll) coughs up the beans on who passed the diamond necklace on to him. Quantitative Successes In certain cases with contested Skill rolls, it is important to note how much the character makes a successful roll by. The value may serve as a modifier for a contested skill roll. This is best described by an example. Example Felix Cortez is trying to enter the country under a false passport. To do so, he makes a Disguise Roll. With Disguise-3, he rolls a 1, meaning that he successfully made his roll by two. The false passport is a good forgery. An FBI agent, Dan Murray, knows that Cortez is arriving at Dulles International Airport, and is trying to find him. He doesnt know what Cortez looks like, but he knows that he should recognise a forged passport, so he is checking everyones papers as they come through immigration. Normally he would be required to make a Stakeout roll with his Skill of 3, adding his Eye for Detail-3 Advantage to the roll, to give him an almost automatic chance of success. This, however, is a contested roll where Quantitative Success becomes important. Because Cortez made his Disguise Roll for the passport by two, the GM imposes a -2 modifier to Murrays roll. His chance of success is no longer automatic (though a roll of six would have failed anyway): now he needs to roll four or less to recognise the passport as a forgery. Reversed Rolls In some circumstances, you might wish to reverse a Skill or Attribute roll. When a player chooses to do this, the roll is made against that trait requiring a throw greater than (not greater or equal to) the trait being rolled against. Example Ned the dope dealer is being chased by Officer Jane Castle. His Running skill is low compared with hers, and she is catching up rapidly. Knocking down a trashcan in her path, he takes advantage of the momentary respite and emerges into busy Main Street. At this point, he tries to blend in with the crowds of people on the street, reverse rolling against his Dress Sense attribute. Ned is Bland (2) and rolls a 3, greater than the value of the attribute, so he successfully blends in and is lost in a sea of faces. If he had rolled a 2, then he would have failed. When Officer Castle emerges, she decides to use her Eye for Detail-2 Advantage to try and spot Ned in the crowd. The GM rules that Ned made his throw by 1 point, so Officer Castles roll is at -1. She rolls a 2, which would normally be successful, but at a -1 disadvantage she cannot see Ned who makes a clean getaway, albeit somewhat short of breath. Skill Substitution There are times when a player (or NPC) might decide to change what they are currently doing, and substitute a different Skill or Advantage to achieve the same goal. Under normal circumstances, this isnt a substitution, and should merely be considered a new action. However, a character may wish to make a retrospective change to their actions, something they hadnt informed the GM about before. In other circumstances, they may want to try a new approach to a problem while giving the appearance of continuing their original attempt. Or they may be performing an ongoing action that would ordinarily require concentration and a Skill Roll, but wish to try a new approach to the problem while still continuing that original action. All these situations require Skill Substitution. Any such activity is rolled with a -1 qualifier to the throw. The examples below go some way to clarifying this explanation, and the circumstances in which Skill Substitution is applied. Examples DEA Agent Foster is staking out the dockside where drug dealer Cortez is taking delivery of a boatload of cocaine. Foster fails his Stakeout-3 roll, Cortez has seen him, so Foster decides instead to substitute his Disguise Skill-4 instead. The player convinces the GM that Foster was staking out the pier disguised as a dock worker (retrospective decisions like this are perfectly acceptable in Mean Streets and Mean Villains). Such a substitution is at -1; but Fosters player makes a roll of 3, which is successful. Cortez knows that someone is on the dock, but doesnt know that he is being watched by a DEA man. Detective Sergeant Carter has been interrogating Diamond Lil, a hooker whose pimp is suspected of having murdered a client, for some time without any success. He decides to rough her over a bit (bad boy), and so substitutes his Toughness for his Interrogation skill. There is a rookie constable in the cell with the Carter and Lil, and the Sergeant wants this to seem like a normal part of Interrogation procedure to him, so it is a valid case of Substitution. Carter is Rugged (Toughness-4) so he now rolls at -1 (for the substitution). He needs a 3 to be successful, but rolls a 4. His slapping Lil around still doesnt get the answer that he wants, and now hes likely to get in trouble with his Inspector when someone sees the bruises on Lils face. Carter has problems. Its just as well he has Fast Talk-2, he might be able to persuade the constable to tell everyone that she fell over and hurt herself. Dirty Harry is in a high speed chase along the streets of San Francisco with a thug who has just taken a pot shot at him, and then fled in his car. Harry isnt doing to well in the chase, not catching up at all, so he decides to substitute his Resourcefulness for Driving, and try to find a shortcut that will get him ahead of the would-be cop killer. His Resourcefulness isnt high, only 3, so he combines it with his Eye for Detail-1, the GM deducts one for the substitution, giving him a 3. He rolls, scores a 3, and swerves down a side street crashing through a wire fence and someones laundry, to emerge back in the main street screeching to a halt just in front of the car he was pursuing. The thug gets a driving roll to avoid hitting Harrys car, and fails, swerving into a fire hydrant instead. Now he needs to make a Toughness roll to see how well he survived the crash, and again he fails. He recovers groggily to find himself staring down the wrong end of a .44 Magnum barrel. Combat Combat is really very dependent on the setting for the game: it would not be appropriate for some detectives (when was the last time Columbo ever drew a gun or threw a punch), while games set on the rough streets of Harlem would certainly involve running gun battles. While small-time crooks wouldnt walk about with a Saturday Night Special hidden in their pocket, at least in Britain, even they are likely to carry knives. The real bad guys will invariably have firearms, and be ready to use them. Drug dealers and organised crime types may well carry automatic weapons themselves, and will certainly have armed bodyguards. The basic rule of all combat, especially when weapons are involved, is that no Player Character ever gets killed. Even villains should rarely be hurt (depending on the setting of the game), preferring to surrender when they lose a fight. Of course for the darker scenarios, such as Miami Vice drug busts, lesser villains and back-up police officers may get hurt or even killed, but the game should always end with arrests rather than death. Most actual combats will take one of two forms: either a shootout with guns, or hand to hand. A round of combat consists of two attacks, one by each fighter, with the other protagonist have a chance to defend himself against any attack. Unless the situation warrants, Villains will always have the first attack in a round of combat. Shootouts Shootouts are a contest between the Cool Attribute and the Shooting skills of the characters fighting. The attacking character rolls against his Shooting skill, with a success indicating that the bullet has come close to the target (remember the not killing anyone rule). The result of a failure is up to the discretion of the GameMaster: a jammed weapon; the bullet hits a different target; a bystander spots the gun and shouts out a warning just before the shot is fired. If an attack has failed, the target gets as many actions as they have points of Cool. Whatever the reason for a failed attack, the target now knows that he is being shot at, and is free to take any responsive actions he wants without the need for a defensive Cool roll. These actions can not, however, include retaliation or shooting back at the attacker - that only comes when the roles are reversed during the targets own attack. After a successful Shooting Skill throw, the shot comes too close for the targets comfort. The character being shot at must then roll against their Cool to determine how they are able to respond. A failed defensive Cool roll has the effect of dropping their Cool (for the duration of this combat only) by one point as they duck hurriedly for cover. They still get to decide on their reaction (making a strategic withdrawal, drawing a weapon, radioing for backup), but it cannot be a Cool action (taking off their shades, brushing back their hair, or similar), and they get one action only after finding cover which would probably be to draw their own weapon. A success will allow them to choose how they react to being fired upon (drawing their own weapon, taking off their shades and looking to see where the shot came from, etc.). They will always have the opportunity to find cover (if they want) and to draw their own weapon. They may take as many further actions as mandated by their successful roll. If they made the roll by two, then they may perform two different actions in addition to drawing a weapon and finding cover. If they dont chose to find shelter or pull out their gun, then they can take a bonus action for each. Once the initial attack has been played out, the defender now has an opportunity to make an attack of their own (always assuming they have a drawn weapon) reversing the attacker/defender roles. It doesnt matter what type of projectile weapon is being used, the chances for success and failure are the same; as are the results. A casually thrown hand grenade is as likely to explode near the target as a bullet from a snipers rifle is to be accurate. A successful attack roll only indicates that the bullet/projectile/explosive has been close and obvious enough to worry the target. The damage effects on a character from a .44 hollowpoint magnum round or fully automatic weapons are no different to those of a .22 air pistol (although they will have significantly different effects on the scene of the attack as trash cans explode all around or bystanders scurry for cover amid a hail of bullets). Nor do protective body armour or defensive cover affect the attackers chances of shooting accurately. They merely provide additional ways for the GM to describe the effects of an accurate shot without physically harming the characters. However, a character that remains in the centre of an empty street, without trying to find some form of defensive cover, may find that the attacker is given bonuses to his shooting skill; although this should only be applied after two or three shots have been exchanged. Example Mad Carew takes a shot (Shooting skill 3) at Magnum while he is driving by and makes a successful roll. The bullet scratches the paintwork of Robin Masters car. An unsuccessful roll might have churned up the tarmac of the road instead; but it would still have been noticed, perhaps by the sound of the shot. Magnum has Cool of 4 (Unruffled) and rolls a 3. Thus, he gets two actions. He gets out of the car (technically two actions if you include stopping the car, but the player is trying to get away with as much as he can, and the GM permits it as one action) cursing at the prospect of a large repair bill. For his second action, he takes off his shades and tucks them in his shirt pocket. Finally, he draws his own weapon and ducks down behind the open door of the car. Now he is in a position to shoot back for his own attack. Note - In the above example, the GM might have demanded a Driving Skill throw, had Magnum failed his Cool roll, in order to prevent the fast-moving Ferrari crashing into a telegraph pole. Once both parties have had their attacks, the combat round is over, and both protagonists have a choice on what to do next. This might include withdrawing from the scene (possibly leading to a chase), continuing the fight, surrendering, etc. Combat ends when one or the other party decides to withdraw completely, or when the Cool of one of the protagonists is reduced to zero. At this point, they have lost. Note - characters with the Coward disadvantage will always try to escape from a shootout rather than start firing back; but a cowardly character that makes a successful defensive Cool roll will walk away from a gunfight rather than run, or find safe cover and call for backup. Recovering Lost Cool Cool is recovered at a rate of one point per minute of playing time (not game time). Once fully recovered the character must perform some action or say something to show how hip it really is to hide in garbage cans (or whatever), or they will permanently lose one full point of Cool. If running a game with more than one player, judgement on how cool that action is might be decided by a vote of the other players rather than the GM.... just as a suggestion. Note - Because Mean Streets and Mean Villains is designed for one-off games, permanent is just that; but if you are running a series of episodes using the same characters, then the loss of Cool only applies till the end of the current episode. Hand to Hand Fighting Hand to hand combat is a contest between the Fighting skill and Toughness attribute of the two fighters. The structure (in gaming terms) is very similar to weapon combat, with a round consisting of each party having an attack, and making a defence roll (using their Toughness attribute rather than Cool) against any successful attack. In the event of a successful attack and a failed defensive Toughness roll, the character loses one point of Toughness. Recovering Lost Toughness. Toughness is recovered at a rate of one point every two minutes (of playing time), or completely in the event of a change of scene such as a drive to the station. Modifiers in Hand to Hand Combat. Weapons such as coshes and knives give an automatic bonus of 1 to any attack roll in hand to hand combat. Additionally, a successful attack with a weapon reduces the victims Toughness by two points. The first successful attack against an armed opponent serves to disarm them, but does no actual damage (there is no loss of toughness). A surprise attack from behind gains a plus one bonus to any attacking roll, and there is no defence permitted. Examples Jim Rockford has run a suspect called Frank Barnes to ground in a dead-end alley. Barnes (as always, the villain gets first attack) swings a knife at him rolling a 4 on his Fighting-3 Skill. Its a hit with the +1 bonus for using a weapon. Rockford rolls 1 for his defence, and with Toughness-3 thats a success. The GM rules that the knife grazed him, but there wasnt enough force in the blow to do any damage. Rockford decides to grab Barnes by the jacket and swing him round against the fence. He rolls a 3, a hit with his own Fighting-3 Skill, and the GM rolls a 4 for Barnes. The Villain only has Toughness-2, so Rockfords move worked and Barnes drops the knife as he hits the fence, but loses none of his Toughness. Rockfords next fight occurs when he is sneaking into the office of Intercorp Trading, a rather shady company that is dealing in arms trafficking. He doesnt realise that there is a guard, and as he kneels down to pick the lock the guard hits him on the back of the head with a gun butt. This is an attack from behind and with a weapon, giving a +2 bonus to the guard. He rolls a 2, success, reducing Rockfords toughness by two points. Hes still awake and decides to turn round and kick at the guards legs hoping to trip him. He rolls 5, a miss; and the GM decides that the guard saw the attack coming, because Rockford is still slow and groggy from the first blow, and stepped back quickly. Now both Rockford and the guard have a choice (as after any full round of combat) and the player decides that Rockford will surrender. The GM might decide that the guard hits Rockford again to knock him unconscious, or perhaps just takes him to the boss of Intercorp. Two (or more) against One. Not fair odds in a fight, but fights are rarely fair. If two villains gang up against one hero, then the hero can still only attack one (though he does get a choice of which villain he attacks each round of combat). Both villains can still attack him each round (its up the GMs discretion how many can gang up like this at the same time), but he does get a defensive Toughness roll against every successful attack. Chases Chases will take place either on foot or by vehicle; though vehicle chases are the more cinematic and arent just restricted to cars. Chases on Foot Compare the respective Running Skills of the characters in the chase. It might seem a bit complicated (given the overall simplicity of this rule system) but it isnt too hard to work out. Subtract the Running Skill of the character being chased from that of the Chaser. Then subtract the result from 6. That tells you, as GM, how many rounds before the pursuer catches up with their victim (unless either party does something to change the odds). Note - If the two characters both have the same running skill, or the crook being chased has a higher running skill than the cop chasing him, then the pursuer will still catch up (albeit in six or more rounds). This might seem unfair on the poor guy being chased, but a lot can happen in that time and the poor guy has the initiative. He can topple trash cans behind him, climb over fences, or jump across rooftops if its a rooftop chase. Chases shouldnt be just a case of pounding along the streets slowly catching up: the GM should use his imagination to make them action-packed and exciting (and the good guys shouldnt always win either). Example Jake the Snake Lightfinger, bag snatcher and all round two-bit crook, has Running Skill-1 and PC Ben Swifty Johnson has Running Skill-5. Swifty is in hot pursuit of Jake, and will have caught the Snake in 2 rounds [6 - (5 - 1)]. Jake had better do something sneaky to avoid a fast trip down to the cells. Jake starts by scattering trash cans behind him as he runs, so Swifty must make a Running Skill throw to avoid being delayed by them. He rolls a 6, great moan from the player, and tumbles among the cans. This failure not only negates the round so that it doesnt count in the catch-up time, but actually slows Swifty by a full round. Jake has gained another round in the chase. It will now take three rounds to catch him up (i.e. he has three actions that he can use to make his escape before being taken into custody). Next, Jake finds his way blocked by a fence. This can be as much trouble for him as it is for PC Johnson, he needs to make his own Running Skill throw to get over successfully. He rolls and fails, the fence is too high for him to get over, and he doesnt have time to try again (remember that a character only gets one attempt at an uncontested skill roll). Swifty is only two rounds behind again. He decided to roll against his Resourcefulness-4, adding in his Eye for Detail-1 Advantage for good measure, and makes the throw. The GM decides that hes noticed a fire escape leading up onto the rooftops. He starts to climb leaving Swifty to find an empty dead end alleyway: Jake hasnt gained another round this time, but at least the chase hasnt ended prematurely. Scurrying across the rooftops, he reaches the end, plucks up his courage and takes a running jump from one block to the next (Running Skill roll to succeed). This time, he makes it, just as PC Johnson clambers over the top of the fire escape onto the rooftop. (Had Jake failed, the GM might have ruled that he lost his nerve on the brink, and lost a round allowing no time for anything else before Ben caught up). Our speedy cop meanwhile hardly bats an eyelid as he rolls against his Running Skill for the jump, making it easily, and lands nimbly across the other side. Jake is glancing back nervously now as the cop closes in on him. In desperation he pulls at the rooftop door (substitution Toughness roll) which falls open, and he staggers down the stairwell inside.... right into the arms of Swiftys partner Carl Lewis who, rather than taking up the chase, made a roll against his own Resourcefulness and took a shortcut to get ahead of the sneaky Snake. Vehicle Chases Vehicle chases, be it by car, boat, motorcycle, helicopter or tank, are a staple of action series and films; and no episode of Mean Streets and Mean Villains would be complete without a high speed chase. Vehicle chases are structured in the same way as Chases on Foot; but they take into account not only the Driving Skill of the pursuers and the pursued, but also the Level of the vehicle. Columbo has Driving-1 and a Car-1, giving him a total chase speed of 2.... not very likely to catch up with anyone. As a more realistic example, Sonny Crockett has Driving-4 and a Boat-4 for a high speed chase around the Marinas of Miami. This gives him a rather more useful speed of 8.(Note that the Driving Skill is used no matter what type of vehicle the chase is taking place in.) The suspect he is pursuing, Felix Cortez, has Driving-3 and a Boat-4 giving him a speed of 7. As with a Chase on Foot, we calculate the difference, in this case 1, and subtract that from 6. Sonny will catch up with Cortez in 5 rounds [6 - (8 - 7)]. It is likely to be a long, drawn-out race. Note - This may in some circumstances give results where the chase lasts for less than 1 round, an automatic catch-up. As a creative GM, youll have to come up with some justification for this chase that fizzles out before its even started. Examples might be forgetting to untie the boat from its mooring; no keys in the car, or its out of gas; or hitting another car while pulling out into the street. What sort of incidents can be used to make a Vehicle Chase exciting? You just have to watch a few films or television shows to get a wealth of ideas, but heres a few anyway. Running a red light at a busy junction, sending cars skidding all around; driving along the sidewalk; overturning a fruit cart (with apologies to a particular movie critic who shall remain nameless) or other market stall; raising the bridge; 180 degree handbrake turns; driving through a busy shopping mall, or plate glass windows. Describe the events from different perspectives: imagine youre directing a movie chase and think in terms of camera angles. From a road mounted camera looking upwards and towards the chase where the cars black out the picture for a moment as they race over it; from a low mounted roadside shot on a bend where gravel is splattered over the lens as the cars pass; from overhead, as though being overlooked by a helicopter. All good chases should end in a crash, but remember the maxim of avoiding killing even villains unless you need it for your plot. No matter that Wheels Malone just ran into a solid stone wall at 120mph, give him a Toughness roll to see if he escapes without bruises. If he makes it, he scrambles unhurt from the wreckage and perhaps tries to make a fight of it, or to get away on foot. If he fails, hell still be groggy in the car (perhaps hurt enough for a hospital bedroom scene with police guarding the doors) but still alive when the good guys run to pull him out. Remember, this isnt intended to be realistic.... think cinematic. Interrogating Suspects The interrogation of suspects and reluctant witnesses is a standard part of police procedure, and for the purposes of this game is treated as a form of verbal combat. Its a contest between the Interrogation Skill of the police officer and either the Toughness or the Cool of the suspect (whichever is the higher). After a successful Interrogation roll, the suspect must make a defensive roll against their Cool or Toughness. A failed defence indicates a loss of one point of that attribute; but a successful defence roll means that the interrogator loses one point of their Interrogation skill. (Such intense questioning wears down both sides). If the suspects Toughness or Cool is reduced to 1, then they will try to cut a deal. If it is reduced to zero, they will tell everything that they know (which may be very little). If the questioners Interrogation Skill is reduced to zero, then they cannot continue. Nor should they be permitted to try again later with the same subject once they have recovered their levels. Recovering Lost Interrogation Skill Levels. Interrogation Skill Levels are recovered at a rate of one point every ten minutes of playing time; so if the player then decides to continue the interrogation, the suspect will also have recovered his resolve in that time (unless partners are working him over in shifts). Of course, if the players try this too much, forget the rule about keeping the action flowing. If they want to get bogged down in interrogations rather than getting involved in gun battles and car chases let them, but fudge the dice rolls for the suspect so they never get worn down. This should be the only time you ever fudge a roll. Your players should figure out soon enough that theyre getting nowhere, and go do something more exciting. Investigation There should always be clues of one sort or another at the scene of a crime, enough to at least give the players some idea where to start looking for their suspects. Conversely, they shouldnt spend too much time there when they should be on the streets. The same applies to reading case files and looking at mugshots. Your players are street cops.... give them a short opportunity to learn anything useful (making rolls against their Eye for Detail in secret to determine if theyve spotted anything in a casual search), then get them back on the streets. At any crime scene, forensics teams will be brought in to manage the real search for clues; and thats the cue for the players to move on. You can reveal the leads they missed later, either being reported to them by the police despatcher, or through whatever Police Contacts they might have, whenever you feel theyre getting lost or the game is slowing down. Disguises and False Identities Disguises can be used to pass a character off as something they are not, which might entail dressing to suit their assumed role, but may not. A PI wishing to take a look inside a guarded, dockside warehouse could pretend to be a health and safety inspector in order to get access. Such a pretence doesnt necessarily involve physically dressing up for the role, but he would need to produce false credentials, such as a faked business or identity card, to convince the guards that he was what he claimed. A Disguise Roll would be used to produce the papers to prove his false identity. The GM may also require a Resourcefulness Roll to determine if he could produce false papers as well. Although anyone can get fake business cards printed, it is not as easy to produce false identity cards, driving licences, etc. If a character does need to change his appearance for his assumed role (such as wearing a telecom engineers overalls, or looking like a tramp), then a Disguise role is used to determine how realistic his physical change really is. This will possibly also affect his Dress Sense Attribute. Any character can lower their Dress Sense; so it would be perfectly acceptable for John Steed to disguise himself as a Scruffy tramp. However, for every point that a character drops their Dress Sense, they also lose one point of Cool for the duration of the disguise. It is also possible for a character to increase their Dress Sense for the duration of the disguise; so Jim Rockford could appear as a Trendy drugs dealer. This is dependent on making a Quantitative Disguise Roll. Rockford normally has Dress Sense-2 (Bland), and a skill of Disguise-4. If he throws a 4 for his Disguise roll, then he cannot improve his dress sense; if he rolls a 3, then he can increase his Dress Sense by one; and so on. Once someone has seen through a disguise after a failed Disguise Roll, then both Dress Sense and Cool revert to their normal values, even though the character may not yet have had time to shed their disguise. Note - Although lowering a characters Dress Sense also lowers their Cool, an increase in Dress Sense does not give a corresponding increase to their Cool. A Disguise roll needs to be made whenever the character tries to bluff anyone with their false identity. Disguise rolls can be made in advance if the character prepares for their deception. If a character has successfully produced false papers or changed their appearance, then they gain a bonus modifier of one for any bluffing Disguise Roll that they subsequently need to make. Combining false papers with a physical disguise (each must be rolled for when the character first dons the disguise, and this must be done in advance) allows a character to gain a bonus modifier of three for any subsequent bluffing Disguise rolls they may need to make. Surveillance and StakeOuts Surveillance can be pretty boring. Most films and television series get round this boredom by just cutting to the interesting parts and the action scenes again.... and thats what Id recommend any GM doing if his players decide to keep watch anywhere. An episode of Mean Streets and Mean Villains isnt meant to be realistic, it should be filled with action and dramatic events from start to finish. If your players decide to tap the phone of a suspect, dont have them holding on for ages wondering when something is going to happen, or listening to his chatting with his girlfriend for hours. Cut directly to the scene where the gang boss calls him and tells him to pick up the shipment at Pier 17 (or whatever your scenario calls for). If theyve picked the wrong suspect, wing it, change your plot. Of course no reputable, law-abiding officers or PIs would tap a phone or bug a room without a warrant, but that isnt going to stop your players doing so. In this game, they have the knowledge (and the tools) to do so as a matter of course. Whether they succeed or not depends on their Stakeout roll. A failed roll when theyre trying to bug a room might have them scurrying to hide in the closet as the suspect comes home unexpectedly, or tapping the wrong phone line. Dont leave them in suspense though. Theres a time for suspense, and this isnt it. They know theyve failed their roll as well as you do; so let them know what has happened, and then move the story along. Bugging a room or apartment might require several Stakeout rolls for different purposes. The players need to get access to the room in the first place. If the occupant is home, they might try to bluff their way in using a mix of Disguise and Fast Talk; but if its empty they will need to break into the premises. This involves a Stakeout roll just to get access. A second roll might be required to place the bug where it wouldnt be found; a third to hide all traces of their presence in the apartment. Note - Remember, each player only gets one attempt at any particular action. They cant keep trying to tap the phone again and again if their first try has failed. The Scales of Justice Or rather, just one Scale. This Scale of Justice (I couldnt think of a better name to call it) is a sliding scale ranging form Does everything by the Book to Rogue Cop. Rather than name each discrete element though, Ive merely numbered them 1 through 16 with 1 at the By the Book end, 15 being Maverick, and 16 being Rogue Cop. This is a record for the GM to keep against each player character in an episode, preferably where the players cant see it. The function of the scale is simple: every character starts the episode at level 8 on the scale, just below the mid-point. Every action that the GM feels is outside of legally acceptable police procedure adds a level on the scale for that character. This includes roughing up suspects, illicit wiretaps, etc. Every action that the GM decides is doing things fully in accordance with procedures lowers the character on the scale. Of course, all good cops and PIs in the films and on television gather their evidence by illicit means; and every so often they will be suspended or lose their licence. Thats exactly the purpose of this scale. if the character reaches level 15, then thats what happens: they lose their licence; theyre suspended; the powers that be close the case even though it hasnt been solved; whatever excuse seems most appropriate in the context of the episode. In game terms, theyre left without the police resources. No more access to forensic labs, or even to case files, word soon spreads that a PI has lost his licence, and hell start finding doors shutting in his face. They no longer have a badge that they can flash at people. That shouldnt stop players continuing with the investigation of course, it just makes it rather harder for them to do so; and they can no longer work their way back down the scale to get back on the case. Theyre at level 15 for good..... unless they manage to reach the dreaded level 16. Level 16 is Rogue Cop, and the players need to do something really drastic to reach this stage (although if your players are the kind that insist on killing rather than arresting, or beating information out of everyone they meet then you might jump them up the scale more quickly to this point). Any continued illicit activities after they have been suspended that would become known to the police, such as a shootout in a public place, or crashing their car through a shop window, will put the players at level 16, Rogue Cop. If they havent brought the villain in at this point, then the orders go out for them to be arrested themselves, and every cop in the city is going to be on the lookout for them. The only escape they have is to bring the Mr Big to justice, alive and with all the evidence to get a court conviction. Guidelines for GameMasters Never kill your players, and dont let your main villains die either (unless the genre permits). For most settings, the end of a game should be an arrest, with sufficient evidence to mount a successful prosecution, preferably after shootouts, stakeouts, punch-ups, running down alleys, and fast car chases. Even Dirty Harry leaves most of his killings till the end of the film. If your setting is Miami Vice, then terminal bloodshed is acceptable, but keep it until the final reel. Remember that innocent bystanders are no more than walk-on roles. They provide nothing beyond a crowd getting in the way of events. The real non-player characters should be found in the various dens of vice and iniquity where good people fear to tread. Make all your NPCs vibrant and colourful. Improvise personalities, steal from any source that lends style and life to your villains, hoods and whores. Give your petty lowlives rough accents and outrageous mannerisms. Mediocrity is for the masses...... every character in your episode should be larger than life. Remember that your players shouldnt meet the big bad guys until the last reel. These master criminals should be devilishly sadistic and evil, worthy adversaries for the dedicated heroes of the game. That doesnt mean that you cant throw in hoodlums earlier on in the episode, paid by Mr Big to distract the good guys, or persuade them to turn back from their goal of seeing justice done. These thugs will invariably bungle their mission, providing additional leads to Mr Big himself. If you want to run games of Mean Streets and Mean Villains on a regular basis, create a series of generic street characters and two-bit hoods that can be used in any and every game. You can change their names and hang-outs easily enough to cover a range of different settings. The occasional red herring is acceptable, but most clues that a character finds should lead towards their goal of catching Mr Big. If players miss leads that youve planted, you should still let these be known, but in due course. Use these to force the pace if the episode seems to be slowing down. Lead your players from event to event. When they cant think of any more to do, give them a call from the despatcher, or a tip-off from an informant, and pass those missed clues on then. Dont let the players try the same thing more than once. If theyve failed a roll then theyve failed; and theyll have to try some new tactic to achieve their goal. Force them to think up new and creative solutions to the problems you pose. If they come up with an idea you hadnt considered, provide the elements they need to run with it, and see how it works out. Wing it. This isnt a game to be mapped out in advance, where every street and alley is drawn out and every encounter planned. Its about making up the details as you go along with little regard for accuracy of any kind. Its about giving your players an exciting time while forcing them to be creative as well. Ive tried to give you a flavour of how to describe events in many of these examples: build on those, and add your own ideas as you play. Settings Choose a well-known setting for your game, somewhere that you and all your players have seen (even if only on the television or in the cinema). If your Episode is going to be played out entirely in the backstreets and ghettos, this is less important; but incidents at famous landmarks are a staple of cinematic-type action. Remember how many times youve seen car chases down the hilly thoroughfares of San Francisco, or ending with a jump across a raised bridge like Londons Tower Bridge, or in front of the town hall steps. Another staple element of movies is a fight at some well-known tourist attraction such as the large hilltop letters of Hollywood, or the Eiffel Tower. Use such backdrops for your own scenes. City settings work best. This allows scope for innocent bystanders getting in the way during chases and fights, while there are still plenty of empty streets if you want quieter scenes. If you do decide to use a countryside backdrop, use a place like the bayous and swamps of the everglades (great for powerboat chases), or the edges of the Grand Canyon where there is a risk of falling. Pick somewhere that is fresh and exciting for your players. Coastal cities like Miami, LA or San Francisco are always good. There you will find busy docks and expensive marinas. A City with a wide river and plenty of bridges such as New York can also be a fun setting for your players, with scenes on the bridges themselves or boat chases along the rivers. Props There isnt much need for props when playing Mean Streets and Mean Villains. If youre playing the game without much preparation because half your players didnt turn up for the evenings planned session of Call of Cthulhu, then the absence of props wont really be noticed. Because combat is so simple, figurines add nothing; and detailed maps only serve to slow down the flow of the game. A small city map (A4 or Legal size), perhaps the type used by tourists showing the main streets, landmarks and public buildings, can be useful if youre using a setting that you and your players know from films or television rather than personal experience. Put it in the centre of the table for everyone to see. Vehicle chases in particular can often move rapidly from one famous building to another, with an event at each; but ignoring the streets and time in between. You may find props most useful for clues: the badly typed suicide note that conceals a murder; photographs from a motel bedroom; business cards or match books dropped by a fleeing villain after a fight. Make your props visually easy to recognise; and use them to lead the players quickly from one scene to the next. Dont produce anything too cryptic, or allow your players to get too side-tracked by any prop. They should be used only to provide a bit of additional atmosphere; not as a distraction from the main events of the story. The coded messages left by the alphabet crooks in Beverley Hills Cop II wouldnt work in a game. Cassette tapes or computer discs arent a good idea either: your players will spend too long listening to the tape or playing with your computer; and youll lose the flow of the story. The same applies to long letters or transcripts from wire taps. Sample Scenarios Why do I need to give you sample scenarios to be used as game plots? You could watch half a dozen of these cop or detective shows any night on the television to get ideas for running a game using Mean Streets and Mean Villains. Draw inspiration from those old television series, but keep in mind the characters that your players are running: if theyre roleplaying Crockett and Tubbs, then a Columbo-style story wouldnt be appropriate. If youre really stuck for ideas, then steal plotlines from one series but set them against the backdrop of another. If your players are all fans of Dempsey and Makepeace, then take your plot from MacMillan and Wife but set it in London. This is easier if you dont mix police stories with detective games, or vice versa. Typical episodes will invariably have the Scene of the Crime as their starting point; and should include at least one chase on foot, punch-up, vehicle chase, and gunfight. In between these events, there should be plenty of pounding the shady bars and pool halls interviewing lowlives for information on the bad guys. Advice for Players Roleplay your characters with a sense of humour. If an adventure seems as unbelievably crazy as an episode of Funky Squad, then it should. Its intended to be light-hearted and a parody (though Id call it paying homage to the genre), not gritty and realistic. Be cool, be trendy. This game is a fashion statement of a bygone age when sideburns were stylish and flared pants were de rigeur, and when stories didnt end in bloodshed and violent explosions. The GM is (probably) not Quentin Tarrantino. Suspend belief for the duration of the episode. Mean Streets and Mean Villains is not meant to give a realistic picture of police procedures. Time and space will be distorted by the GM to keep the action flowing: theres nothing that says you cant try and distort time and space as well. Youre not going to get yourself killed if you take on Machine-gun Charlie alone (publicly embarrassed perhaps, but not killed). Dont call in the SWAT team when you know hes holed up in a sleazy motel down on West 33rd - the back-up never arrives until the actions over anyway - go after him yourself. Prove to the world that you and your partner are New Yorks finest and coolest police officers by bringing him in on your own. Most of the characters you will meet whilst pounding the bars and pool halls looking for information are obviously crooks, but these guys arent your real goal. Threaten them, browbeat them, or deal politely with them, even rough them up if necessary, but dont waste time actually dragging them down to the station. The desk sergeant wont take kindly to your filling his cells with petty thieves. The purpose of these minor characters is to liven up the scene, and sometimes to provide useful clues that will lead you to Mr Big; not as cannon fodder in a glorified hack and slash game. Be inventive. If your first possible solution to a problem doesnt work, then try an entirely different approach. Dont rely on just one set of skills, or minor variations on the same tactics to get you through an episode. If your character isnt resourceful that doesnt mean that you cant be thinking up novel approaches to the problem. Be creative with the GameMaster. Bullshit for everything you can. Think up new and inventive ways of combining Attributes, Skills and Advantages. Remember that it is possible to make some changes retrospectively, although there are penalties for doing so. Be outrageous. Make the GM earn the beers that you take round when you play at his home. Above all, enjoy it. Character Sheet Name :Occupation :Points Cost : MaximumCurrentToughness1-Puny, 2-Frail, 3-Healthy, 4-Rugged, 5-Athletic, 6-HerculeanResourcefulness1-Brain Dead, 2-Unimaginative, 3-Mundane, 4-Cunning, 5-Ingenious, 6-Gerry-RiggerDress Sense1-Scruffy, 2-Bland, 3-Uniform, 4-Smart, 5-Trendy, 6-OutrageousCool1-Paranoid, 2-Easily Excited, 3-Staid, 4-Unruffled, 5-Imperturbable, 6-Totally Hoopy AdvantagesDisadvantages SkillsDisguiseDrivingFast TalkingFightingInterrogationRunningShootingStakeout Mannerisms (  AUTHOR \* FirstCap \* MERGEFORMAT Mark Baker -  CREATEDATE \@ "MMMM, yyyy" \* MERGEFORMAT September, 1996  TITLE \* MERGEFORMAT Mean Streets and Mean Villains PAGE i PAGE 28  TITLE \* Caps \* MERGEFORMAT Mean Streets And Mean Villains (  AUTHOR \* FirstCap \* MERGEFORMAT Mark Baker -  CREATEDATE \@ "MMMM, yyyy" \* MERGEFORMAT September, 1996 t#S .A $ S.A "S.A # nJ .Af   )*XYfg,-.0;<WXopqs#$;<=?KLgh uDaZa uDZa[a uD[aauDU^c$^V 23JKLNab}~,-/1IJef}~ !<=TUWYde  ) * , . > ? 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