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Page 1

1

Fu!
Free, Universal Roleplaying Game

By Nathan Russell

$0.
00

Page 2

2

Introduction 3
Using this book 3

The Basics 4
What you need 4
What you do 4
How you do it 4
Before play 4

Talk before play! 4

The Insta-Genre-Generator 4

Characters 5
Concept 5
Descriptors 5
Example Descriptors 5

Clichés are your friend! 6

Choosing Descriptors 6

Descriptors are clear 6

Descriptors are innate 6

Descriptors are finite 6

What type of

Descriptor is this? 6

What makes a good

Edge & Flaw? 6

Should I specialise? 6

Alternative Descriptors 6

Gear 7
Example Gear 7

Choosing Gear 7

Gear is equipment 7

Describing Gear 7

One adjective only 7

Specific nouns 7

Talk about your Gear 7

Good Gear / Bad Gear 7

Stuff that isn’t Gear 7

Description 8
Drives 8

Relationships 8
It’s all about roleplaying now 8

Long or short term goals? 8

How many Relationships? 8

Don’t be antagonistic 8

Character
Creation Summary 9

Action 10
Scenes & Turns 10

Who “sets” the scene? 10

How do you “set a scene”? 10

What is an objective? 10

Do scenes have to be in order? 10

Do I have to use turns? 10

Beating the Odds 11
Closed Questions 11

Alternative Questions 11

Alternative Dice Rolls 11

Success & Failure 12
Modifiers 13

Example of Modifiers 13

Other types of rolls? 13

How do “opposed”

actions work? 13

Dialing in on Your action 13

Option: Matching Dice 13

FU Points 14
Starting FU Points? 14

Can I give / share FU Points? 14

Do Narrators get FU points? 14

Other ways to earn FU 14

Other ways to use FU 14

FU as Health 14

Re-Roll Everything 14

Flip a Pip 14

Use a Prop 14

Stunts and Powers 14

Taking a Hit 14

Action Summary 15

Narrator 16
Talking is good 16
Listening is good 16
When playing 16

3 Questions to

frame your game 16

What will characters do? 16

How do players want to feel? 16

What is the Narrator’s role? 16

Recovery 17
Rewards 17
Characters & Obstacles 17

The Bowl 17

Advancement 17

Tracking obstacles 17

What do I share with players? 17

RACe to the
Temple of ToT 18
Before you begin 18
Scenes 18
Challenges 18
Characters 19

Appendix:
Descriptors 21
Body Descriptors 21
Mind Descriptors 21
Edge Descriptors 22
Flaw Descriptors 22

Character Sheet 23

coNteNts

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Beating the odds
When a character attempts an action where the

outcome is not immediately and/or completely obvi-
ous, you make a beat the odds roll.

To resolve an action roll a d6. Your objective is to
‘beat the odds’ by rolling an even number. The higher
the even number, the better the result. If you roll an
odd number, the action either failed, or wasn’t quite as
good as needed or expected. The lower the odd num-
ber, the worse the result. There is a handy chart below
that helps illustrate this idea.

The beat the odds roll is the heart of FU. While most
of the time even numbers are good and odd numbers
are bad, the precise situation will dictate the actual re-
sults. It may be that the roll of a 1 does not indicate an
outrageous failure, so much as a success in the most
minimal or fragile of ways.

We are going to follow the trials and tribula-
tions of two characters from two different settings
in this chapter;

Sir Camden is riding after the evil Lord Kane.
He sees Lord Kane leap a tall hedgerow, disappear-
ing into the forest beyond. Sir Camden now tries
to leap the hedge, so you roll a d6, scoring 2. Sir
Camden’s horse clears the hedge, but Sir Camden
is jostled about in the saddle and is momentarily
confused.

Captain Vance ducks as another hail of bullets
peppers the wall he is hiding behind. Grabbing a
damaged radio, he flicks some switches and tries
to call HQ for back-up. You roll a d6 and score a 1.
Vance fails to find the right frequency and a stray
bullet hits the radio, destroying it.

Roll Do you get what you want?
6 Yes, and... You get what you want, and something else.
4 Yes... You get what you want.
2 Yes, but... You get what you want, but at a cost.
5 No, but... You don’t get what you want, but it’s not a total loss.
3 No... You don’t get what you were after.
1 No, and... You don’t get what you want, and things get worse.

Closed Questions
FU uses a closed question format to

help resolve actions. A closed question
can only be answered with a “yes” or
“no” statement. When you reach a situ-
ation that needs to be resolved by dice,
propose a closed question; “Do I leap
the chasm?”; “Do I punch that jerk in
the nose?”; “Does the tavern wench fall
for my easy charm and winning smile?”.
The roll of the die will answer the ques-
tion and guide your response.

A lot of the time you won’t need to
ask the question explicitly - it will be ob-
vious from the action you attempt; “you
take a run up and leap from the edge of
the chasm. Roll.”

Alternative Questions
You can pose different questions

if you want, though you will have to
change the result chart. An obvious
question is “How well do I succeed?”
This might garner the following results;

Roll How well do you succeed?
6 legendary success
4 Complete success
2 only just succeed
5 Fail by the smallest margin
3 Complete failure
1 epic failure, and then some

Feel free to come up with your own
questions and answers, as suits the
needs of your group, game and story.

Alternative Dice Rolls
Some players are not fans of the

even/odd results. Many prefer a 1-3
Bad, 4-6 Good result. In that case the
result chart would look like this;

Roll Do you get what you want?
6 Yes, and...
5 Yes...
4 Yes, but...
3 No, but...
2 No...
1 No, and...

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Success & Failure
When you make a beat the odds roll your character

will either succeed at what they were attempting, or
they wont. This is usually enough to push your story
further along, but other things can happen too.

When you attempt an action, you are asking “Does
my character get what they want?” There are six pos-
sible answers to this question;

Yes, and...

Yes...

Yes, but...

No, but...

No...

No, and...

Yes and No are pretty straight forward - they tell you
whether the action succeeded or not. The and and but
are qualifiers that modify how good the success or how
bad the failure was. When you get a qualifier you make
an extra statement about how the action succeeded or
failed. This extra statement can add a Condition to a
character or a Detail to a scene.

Conditions: These are physical, mental or social
effects that impact on the way a character behaves or
attempts actions. Conditions include things like an-
gry, confused, tired and unconscious. There are several
listed on the FU character sheet, and there is space for
you to write your own.

Details: These are features of an environment or
scene that might change as a result of an action. Details
might include curtains catching fire, windows break-
ing, animals running off, or machinery stalling. De-
tails are always closely tied to the scene and the action.

Examples of Success & Failure
Going back to an earlier example,

let’s see what might have happened
when we apply each possible answer to
the question

“Does Sir Camden leap the hedge?”

Yes, and he catches up with Lord
Kane. This is a Detail that changes the
scene.

Yes, he leaps the hedge. There is no
and/but qualifier so no Condition or
Detail is added.

Yes, but Sir Camden is disoriented
and momentarily confused. This is a
Condition applied to the character.

No, but he spots a gap in the hedge
further along. This Detail gives the char-
acter another way to continue the chase.

No, the horse shies away from the
jump. There is no and/but qualifier so
no Condition or Detail is added.

No, and his horse rears up, throwing
him to the ground, causing an injury.
This is a Condition.

Who chooses Conditions &
Details?

Anyone can suggest a Condition or
Detail that they feel is appropriate to
the action taken and result achieved.
Usually the player that rolled the dice
and the Narrator will work together to
come up with a suitably dramatic effect.
But really, anyone at the table should
throw in whatever cool idea they have.

The Narrator always has final say
over what Condition or Detail is ap-
plied to a result.

When should I use Conditions?
Like all qualifiers, it depends on

situation. In the examples above Con-
ditions are applied to the acting player
when things don’t quite go right for
them (Yes, but / No, and). The Condi-
tions make life a bit more difficult for
the character because of the minimal
success or outright failure.

You can also apply Conditions to
the target of an action, when things are
going right for your character. If you
are debating with a bureaucrat and get
a Yes, and result you might apply the
confused Condition to the target. If you
attempt to outrun an enemy and get the
No, but result they might catch up with

you, but have the tired Condition. Ap-
plying Conditions in this way will likely
give player characters an advantage
later in the scene.

When should I use Details?
Apply Details when the action is like-

ly to change the scene or environment in
some way. This might be a change in the
power dynamic of the scene (“Yes, he
leaps the hedge and he catches up with
Lord Kane.”); or a change in the physical
environment (“No, but he spots a gap in
the hedge.”).

Details are often applied when the
acting character gains some advantage
(Yes, and / No, but). They can be used
to great effect, however, to make situa-
tions more entertaining and / or dan-
gerous;

“Do you swing across the room on
the chandelier? Yes, but candles fall
loose and set fire to the tavern.”

Details can provide instant or on-
going effects, depending on the circum-
stances. A gap in the hedge can be used
immediately to continue the chase; a
burning tavern will continue to be a
hazard until someone puts the fire out!

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edge Descriptors
Acrobatics: great for joining the circus, leaping

through narrow gaps, and doing impressive flips.
Arcane Knowledge: good for identifying mys-

tic artefacts, recognizing the presence of evil magic,
and reading ancient scrolls.

Courage: handy when seeing something scary,
telling your wife you forgot your anniversary, and at-
tempting other dangerous acts.

Driving: great for car racing, car chases, and pass-
ing your driving exam.

Fencing: good for sword fighting and other civi-
lized forms of melee.

Good Memory: handy for remembering names
and faces, vital clues, and mathematical formulas.

Hunting: good when tracking and stalking, look-
ing good in camouflage, and knowing what an angry
rhinoceros sounds like.

Keen Sight: great for seeing a long way or even
doing stuff by moonlight.

Linguistics: good for speaking one (or more)
foreign languages and generally communicating with
others.

Magic: great for knowing the mystic arts, casting
spells, or acting like a stage magician.

Medicine: good for performing operations, diag-
nosing illness, and administering first aid.

Nasty Bite: great for really hurting someone in
combat, chewing your own arm off, or winning a pie
eating contest.

Rich: handy for buying luxury sports cars, getting
invited to exclusive parties, and bribing city officials.

Wrestling: good for fighting unarmed combat,
and pinning opponents to the ground.

Flaw Descriptors
Blind: a pain when doing anything that requires

sight, such as shooting, navigating an unfamiliar space,
or painting.

Brave: good for charging into mortal danger, act-
ing foolhardy, and getting into deep trouble.

Clumsy: a problem when carrying a valuable vase,
visiting an antique store, or trying to cross a booby-
trapped room.

Greedy: a pain when resisting the urge to steal, lie,
or in some other way keep or obtain wealth.

in-Human Appearance: a hindrance when try-
ing not to get noticed, avoiding attention, or finding a
pair of pants that fit just right.

Missing Leg: a problem when running, climbing,
or performing any other activity that involves move-
ment, without prosthetics or a wheel chair.

Old: a pain when trying to look cool, climb stairs,
use a computer, or be positive about your health.

Poor: a hindrance when wanting to buy food or
clothes, or trying to get into an exclusive party.

Poor Sight: a pain when trying to recognize
someone or thing, driving at night, or noticing visual
clues.

Primitive: a problem when using mobile phones,
cars, and door bells, as well as interacting at more civi-
lized social occasions.

Smelly: a hindrance when trying to impress peo-
ple, or hiding from wild animals or trackers.

Wanted: a pain when trying to keep out of trou-
ble, or needing something from your apartment.

Young: a problem when trying to get into clubs, be
taken seriously by adults, avoid school, or see over the
dash in a car.

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Name coNcept

Body
miNd
edGe
Flaw

descRiptioN

ROLL RESULT
6 Yes, and...
4 Yes...
2 Yes, but...
5 No, but...
3 No...
1 No, and...

Angry Trapped Dazed
Scared Blinded Injured
Tired Hungry Dying

dRives
what do yoU waNt?

what is stoppiNG yoU?

what will yoU do?

RelatioNships

c
oN

di
ti

oN
s


FU

p
oi

Nt
s


t

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dd
s

Notes




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FU

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