Rolemaster Outlaw, Podreczniki RPG, Rolemaster

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ROLl! I'LAYING IN TllE OLD WEST
I
TM
CREDITS
Author. Matt Forbeck
Editor. Kevin "It was either this or Bladestorm Bestiary"
Barrett
Cover Art: Frederic Rem ington
COYer Design: Terry Amthor
Project Specific Contributions:
Pagemaking:
Sharon Souto n;
Rolemaster System Editor:
Monte "Outtaw? Va, I guess I
better look at it" Cook;
Editorial Contributions:
Kevin "Let's
use the Guns li nge r cove r art" Ba rrett, Coleman "Keepe r of
the woma n" Char lton;
Environmental Layou ts:
Jonathan
"Th e
ICE MANAGEMENT
-Art Director/Production Manager:
Terry K. Amthor;
Sales Manager:
Deane Begiebing;
Editing
&
Development Manager:
Coleman Charlton;
Presiden t:
Peter Fenlon;
CEO:
Bruce Neidli nger;
Controller:
Kurt Rasmussen.
ICE STAFF -
Marketing Consultant:
John Morgan;
Editing
&
Development Staff:
Kevi n Ba rrett, Monte Cook,
Pete Fen lon, Jess ica Ney, Te rry Amthor;
Graphics
&
Production Staff:
Edward Di nwiddie,
Bill Covert, Sharon Bouton, B.T. Thompso n;
Sales
&
Customer Service Staff:
John Brunkha rt, Heike
Kubasch;
Finance
&
Administration Staff:
Chad McCully;
Shipping Staff:
Joh n Breckenr idge, David Me rcier.
Graphic
Contributions:
St range r"
Eddy;
John "JS " Bru nkhart
Author' s Dedication: To Mary
&
Charlie Atchison
Copyright 199 1© by Iron Crown Enterp ri ses Inc.... All rights reserved .... No reproduction wi thout author's pe rmission.
Produced and di stributed by IRON CROWN ENTERPRI SES, Inc., P.O. Box 1605, Charlottesv ille, VA 22902.
Stock
#
1302
ISBN 1-55806- 147-9
2
OUTLAW
TABLE OF CONTENTS
- ;-
--
---
Introduction ................................................................. 4
- -
-
,"--,=--"",$f::....;-
.~
10.0 Western Campaigns.................... .... .............. 52
10.1 Defining Your Setting ......................... ........... .52
10.2 Player Input ...................................................... 52
10.3 Campaign Tone ............................. .. .................. 54
10.4 The Physica l Setting ............................. ............ 56
O UTLAW CAMPAIGN BOOK
1.0 Character Creation .............................................. 8
1.1 Professions .......................................................... ..8
1.2 Sk ill s.................................................................... 12
2.0
Role Playing ................................................. ........
15
2. 1 Spending Development Points ..... .. ...... ............ .. 15
2.2 Ten Tips fo r Cood Play ....................................... 16
3.0 Discrimination ..... ......................... ... ...... ...... ..... 17
4.0
Combat. .................................................................
18
4.1 Th e Batt le Round Sequence ............................... 19
4.2 Exceptions to the Battle Round Sequence ......... 19
4.3 Reloading Firearms ....................... .. ..... .. ...... .. .... 19
4.4
Shotguns and Scatterguns ................................. 19
4.5
Firing Bursts ... .... .... .. ... ..... .... .. .... ..... ... ... .... .. .... ... 20
4.6 Cannon Cannister Roun ds .. ... .... ... ..... ..... .... ... .... 20
4.7 Us ing Two Weapons at Once .............................. 20
4.8 Off- Hand Weapon Use ..... .................................... 20
4.9 Other Firing Methods ......................................... 20
4. 10 Overwhel ming Advantage ..... .. .... .. ..... ... .... ... .... .21
4. 11 Armor ............................................................... .21
5.0 Weapons............ ........................................... .. .... ... 22
5.1 Firearms .... ... ... ........................................ ... ......... 23
5.2 Other Weapons .... .. ............ ..................... ....... ... .. 27
5.3 Firearm Malfun ctions ......................................... 30
6.0 Optional Combat Rules .......... ..... ... .......... ... .... 31
6.1 Initiative Modifi ers .............................................. 32
6.2 Additional Ca pabilities fo r Gunslinge rs ...... ...... .34
7.0 Combat Situations .... ... ....... ... .................. .. ..... .. 35
7. 1 Explosives ............................................................ 35
7.2 Vehicles ................................. .. .... ............. ... .... .. .. 37
8.0 Gamemastering Outlaw.................................. 40
8. 1 Getting Sta rted ................................................... 41
8.2 Basi c Gamemastering ......................................... 41
8.3 Extras .... .. ...... .... ........... ... ...... .. .... .. ............. ......... 43
8.4 Creating Scena rios ........................... ... ............... 44
8.5 Running the Scenario ..................... .. ................. 45
8.6 Campa ign Conside rations ..... .. ... ..... .. ..... .. .... .. .... 46
9.0 The Western Genre ........... .... ... .... .... ........... .... .47
9.1 Subgenres .... .............. ..... .. ... .... ..... .... .................. 47
9.2 Twists ............................................................ ...... 50
9.3 Western Bits ........................................................ 50
OUTLAW SOURCE B OOK
THE PLAYER 'S SECTION
11.0 History................................................................
60
11.1 History and the Game ................... .... ................ 61
11 .2 The Time Line ............................... .... ... .... .... ..... 61
12.0
lIIoney .................................................................. 65
12.1 Incomes ........................................... .. ... ............. 65
12.2 Expenses ..... .. ............ .. ....................................... 67
13.0 Characters............................................. ... ..... .....72
13.1 Typical Westerners .................................... .. ...... 73
13.2 Western Personal ities ................ ... .... .... .. ..... ..... 75
13.3 Gangs ................................................................ 93
13.4 The Law ...................................... ... .................. 103
THE GM'S SECTION
14.0
Campaign Setting: Deadwood .... .... .... ...... 106
14.1 Deadwood and Your Campaign ....... .... ... ...... .. 106
14.2 Deadwood, 1876 .............................................. 108
14.3 Th e Town ........................................................ 109
15.0
Mini~Scenarios
............................................... 128
15. 1 Mixed-up Mabel .. .... ... ...................................... 128
15.2 Kid Without a Cause ....................................... 128
15.3 Presenting "Wild Man" Yanez ..... .. ...... .. ......... 129
15.4 Or. Ebenezer Haze l's Potent Pa nacea ............ 129
15.5 Thar's Cold in Them Thar Hi ll s! ............ .. ...... 130
15.6 The Slick-up ................................................... 131
16.0 Introductory Scenario: Someone's Robbing
the Bank!. ....................................................... ..... 132
16.1 The Brawl ................................................... ..... 133
16.2 The Robbery .................................................... 133
16.3 The Chase ........................................................ 133
16.4 Th e Ambush .................................................... 134
16.5 Th e Trip Back .. ................................................ 134
16.6 Followin g Bart and Nick ........ ,........................ 134
16.7 Resolution ................................ ....... .. ....... ....... 134
3
ROLE PLAYING IN THE OLD WEST
17.0 The Great Claim Jump................................ 135
17. 1 Background ..................................................... 135
17.2 The Great Train Robbery .... .. ... ..... .................. 135
17.3 On Fritz's Trail ........... ......... .......... .................. 141
17.4 Custer .......................................................... .. .. 145
17.5 On the Road Again ...................................... .. .. 147
17.6 Deadwood at High Noon .............................. .. . 147
17.7 The Outlaws ................................. .............. ... .. 148
18.0 Shoot Out at the O.K. Corral. .................. 151
19.0 Scenario Ideas................................................ 152
19.1 Range War ......... .. ..... .... ..... ..... .... .. .. ..... .. .... ...... ]52
19.2 The Hidd en Treas ure .. .. .... .... .. ... .. .... ... ............ 152
19.3 The Ra il road's Coming to Town ..... ... .. ........... 153
19.4 It 's an Election Yea r .... ... .. .............................. 153
19.5 Bounty Huntin g .............................................. 153
19.6 Rogue Indi an War Bands ............. ......... .. ... ... ..
154
19. 7 Travellin g and Delivery ...................................
154
19.8 Catt le Drive ..................................................... 154
19.9 Rustlers ........................................................... 155
19. 10 Daring Re scues ............................................. 155
About the Type
Outlaw
is set in three type fa mili es: IT C Clearface. Pon-
derosa and Mesquite.
ITC Clear/ace
is a licensed variati on on a typeface orig i-
nally des ign ed by Morr is Full er Benton for American Type
Founders in 1907.
Ponderosa
and
Mesquite
are modern reviva ls of 19th
ce ntury display typefaces, which we re fashi oned ou t of
wood with a power router and pan to graph.
As
of 1840,
several firms specia li zed in the man ufact ure of wood type
and
it
became th e dominan t for m of type used in broad-
sides and posters. The typeface names are derived from
trees co mmon to the frontier.
About the lIIustrations
In the19th ce ntu ry, illu strati ons in books and newspapers
were printed by applying ink to an engrav ing. Fronti er
artists made sketches in th e fie ld of the subj ec ts they
wished to illustrate before ret urning to a stud io to tool the
wood or metal bl ock. In some cases, a pub li sher would
enlist an engrave r to etch the artist's illustration.
In Outlaw we use engraviJlgs made by several Weste rn
arti sts. These include Fr ederic Remington, who illustrated
Th eodore Roosevelt's book, Ranch Life and th e Hunting
Trail; Thomas Moran, A.C. Warren, W. Snyder,
F. Sc hell , H.W. Troy and A. Wi ll (whose works were
produced by th e engraving firm of Meeder
&
Chubb); and
numerous anonymous arti sts not identified in the books in
which their works appeared.
APPENDIX
20.0 Miniatures........................................................
157
20 .1 Materials .......................................................... 157
20 .2 Playing With Min iatures ................................. 157
21.0 System Conversions.................................... 159
21.1 Conve rtin g Boot Hill ® .. ......... ... .. ..... ............ .. 160
21.2 Conve rting Hero Syste m"fM .... ........ .. ......... .. ... 160
22.0 Filmography and Bibliography................ 161
22. 1 Films ......................................... ...... ... ............ . 161
22.2 Televisions Shows ........................................... 163
22.3 Games ....................................................... ....... 163
22 .4 Com ic Books ................................................ ... 163
22.5 Books ............................................................... 163
23.0 Assorted Maps . ............................................... 164
24.0 Combat Tables ........... .. .................................. 169
24.1 Gun Attack Tabl e .. .. .. ...... .. ........ .. .................... 169
24.2 Shotgun Attack Table .......... ......... .. .. ... .. ......... 170
24.3 Explosion Attack Table ........... .. ... .. ... ...... ........ 171
25.0 Critical Strike Tables................................... 172
25.1 Impact Criti ca l Stri ke Table ........................... 172
25.2 Shrapn el Critical St rike Table ..... .... ............... 173
26.0 Fireano Fumble Table ................................ 174
OllTLAl'
E
--~-
'-.
'-
---.--
. Clint
spott~d
the gunman on the balcony and smil ed
Inwardly. UndIsturbed, he poured himse lf a shot of whiskey
and then fi ll ed the oth er two glasses.
. The grey-haired man on the balcony was strong and wil')',
hiS long years on the range showing plainly on hi s weather-
beaten fa ce. He waved hi s shot gu n meaningfull y at Logan.
"What in tarn atio n's all the ruckus out here for ?" he said
in a low voice, through cl enched teeth. No one breathed a
word. He nodded at the kid , still kneeling on the floor .
"Johnny," he said, "what's this all about?"
"Well , sheri ff, these two - ." He stopped to swallow and
catch hi s breath, pointing at the Walkers. "Urn, we ll -
The barroom fel l silent as Clint and Logan Wa lker wa lked
out of the chilly Arizona night and into the brightly
lit
saloon. Barely hesitating at th e threshold , the two cowboys
ignored the starin g patrons andstroll edon in. Clint sat down
at a nearby tab le. his back to the wall. Meanwhile, Logan
sauntered over the bar.
The yo unger Wa lker gave the pale-faced barman a hard
look and, slapping some sil ver on the co unter, ordered a
bottle of cheapwhiskey and three glasses. The weasel served
it
to him with shakin g hands.
As
Logan strod e over to the tabl e. a grizzled cowpoke still
covered in dust fr om the road thrust a leg out into hi s path .
"Where d'ya think yer go in ', boy?" sai d the cowboy hi s
voice harsh from ciga rettes and liqu or. Logan met the
~an's
eyes with his own and th en slowly looked over at hi s brother.
Th en he carefu lly tossed the bottle and glasses one at a time
to Clint, who caught them nea tl y.
"You deaf?" rasped the man. "I said, where d'ya think yer
go ing?"
Suddenly, Logan 's foot lashed out and kicked the man 's
cha ir from underneath him. The cowpoke landed flat on hi s
butt. The man scrambled to his fee t, but before he could
draw, he was starin g down the barrel of Logan 's Colt .45.
Logan motioned (or the man to stand up, which he did.
But hi s right hand sti ll rested on hi s pistol's grip. Logan
thumb-cocked hi s revolver as a dl')' smile slowly sp read
across his fa ce.
.C lint cleared hi s throat. "Wou ldn 't tl')' that if I we re you,
mister." he warned. "01' Logan there, well, hi s temper's
quicker'n hi s draw even."
The cowpoke snarl ed at Cli nt from beneath hi s matted
bangs and then turned and spat at Logan's hand.
"Wrong thin g to do ." Clint muttered. Then Logan's pi stol
smashed into the man's jaw, knocking him side long across
a nearby table wh ich co llapsed under his weight.
Almost immediately, a young, freckle-faced, red -headed
man in a rawhide jacke t stood up from where the tab le had
been and took a swing at the younger Walker. Logan dodged
beneath the blow and then drove his elbow in to the boy's gut.
The kid went down hard, coughing and gasping for air.
Sudden ly, a shotgun blast sha ttered the air. Startled,
Logan looked around. He was surrounded by angl')' men, all
of their guns levelled at him . But none of their guns were
smo ki ng. Th e shot had come from above.
don't
you know who they are?"
The sheri ff squinted in Logan 's direction, then Clint 's.
Then he scrutin ized them both aga in. as if expecting their
features to change.
Sudden ly, Clint spoke.
.
~Sheriff ~Iack,
I don 't believe we've ever been properly
Introdu ced. He stopped and smi led at the co rrupt lawman 's
vexed look. "My name 's Cl int -
Clint Wal ker. And that
there's my brother Logan. "
Clint paused aga in ,weigh ing his words. His demeanor was
sober now. "We're Alexander Walker's sons."
Surpri se and possibly fear crossed Black's face. Then he
noticed hi s men watchin g him, and the queasiness in hi s
stomach turn ed to anger.
"Yo u two com in ' here," he grow led. "was a bad idea. You
give me one good reason -
just one -
why I shou ldn 't pul
you six feet und er."
Logan glanced over at Cl int , who was beckoning him over
to the tabl e. Logan looked up at the shotgun and then wa lked
over and sat down next to his brothe r, ste pping over the
unconsc ious cowpoke on hi s way. Clint cracked a grin .
~Mr.
Black,
~
he began, raising his glass, "Ibelieve Ican give
you seve ral such reasons . Now why don't you just put down
that shotgun and come on over and join us for a drink so we
can talk this out like civilized people?"
The lawman wave red (or a moment. What in blazes we re
these
two
trying to pull ?
"La
CuidaddeOro
mean anythi ng to you?" Clint asked as
if he were
w~ving
a raw steak in front of a starving dog.
J
Black hesitated for another second and then lowered his
gun and set it down behind him. "Al right ," he sai d, the hatred
and fru stration unmistakable in his voice, "let's talk."
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Rolemaster Outlaw, Podreczniki RPG, Rolemaster

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