The Plasticine system is based on OpenD6. On top of OpenD6, it provides several things:
Breaking with OpenD6 tradition, and going to mainstream TTRPG tradition, dice will be denoted with nd6+m notation. For example, 3d6+2 means rolling three dice, and then adding 2. Note that despite using the notation nd6, only standard 6-sided dice are used in Plasticine.
For example, both a lightning bolt and an arrow cause damage as a distance. Both will use a power of "reduce Body, ranged advantage". The special effect is used for role-playing and, in specific cases, might have an in-game effect. A character who bought "resistance to Body reduction, only against electricity" as a special effect of being made of electricity might suffer no damage from the lightning bolt, but will still suffer damage from the arrow.
Plasticine is presented in three parts:
In general, players will play one player character (PC) each. The GM might have to create any amount of non-player characters (NPCs) to serve as antagonists or allies for the player characters.
The GM should give the players clear guidance on how to build their characters. See more details in the "Campaign world" section. This includes what kind of backgrounds would be appropriate, as well as any suggested, disallowed, or required choices to make when creating the character's concept using game mechanics.
In Plasticine, creating a character does not involve any random elements. This allows creating a character "offline" without the need to verify rolls.
The sections are ordered in a way that is often useful to define a character:
Character points (CP) are used to buy anything that helps a character. Characters use CP to buy:
Characters get CP from:
On the character sheet, denote "Total CP" and "Unspent CP" separately.
Everything is bought in Dice and Pips. The price will usually be given per pip. Three pips make to a die, so pips are between 0 and 2.
For example, if something costs 1 pip/1 CP, this means that
The character's background is important and should be decided first. The character's background does not need to be paid for in points. Characters can be rich, poor, have a license to drive a tow-truck, or anything else that the player wants.
Note that some of these things, if they have in-game effects, will cost points.
Examples:
The background should be compatible with the campaign. It should inform the rest of the decision, although it does not dictate them. Two characters who are martial artists might end up buying different powers as their martial arts.
Characters can have problems. In any given campaign, the GM will have guideline for how many problems characters should have. This might be a specific number or a range. Problems are measured in character points. Problems give characters extra character points.
Problems give a character more CP. Problems are worth a base of 5 points.
By default, Problems are expected to cause a complication for a character every 3rd session. If a problem complicates a character's life every other session or more often, it is common and is worth 5 more CP.
By default, problems are mild. When they apply, they are relatively easy to deal with. Problems can be severe, which means that when they apply, the effect is significant. In those cases, the problem is worth 5 more CP.
Internal problems are things the characters can't, or won't, do. Physical disabilities as well as Psychological issues are two examples of internal problems.
Social problems are the way the character relates to society. This can be someone who depends on the character, someone who is after the character, or something that causes people to discriminate against the character.
Mechanics problems affect a character's statistics or combat effectiveness. For example, taking damage from water exposure or getting a minus to all rolls during twilight.
The problem should count as severe if it would take more than 20 CP in an attack power to cause a similar effect.
Attributes cost 1 pip/CP.
The following attributes exist:
It is recommended to buy each to at least 3d6 (9 CP).
Action effects how often a character acts. In most rounds, a character can only act if they win a ACT roll.
Accuracy and Defense are resolved as skill vs. skill. The higher a character's accuracy is, the higher the chances that it can hit whatever it is aiming at. The higher a character's defense is, the lower the chances that it will get hit.
Perception is the character's ability to notice things. The higher it is, the harder it is to hide things, or people, from the character.
Skills are also bought with CP. The kind of skill determines the cost. Background skills are 1D/1 CP. Other skills cost 1pip/1 CP.
All skills can be more or less specific. For example, someone can take "Background: Science: Physics" or "Background: Science: Quantum physics" or even "Background: Science: Quantum electro-dynamics". When trying to solve a problem, compatible specifity levels help, and incompatible levels hurt. This balances specific and generic skills.
Background skills are those that pertain to a job or a hobby. For example, "Profession: Lawyer" or "Knowlege: Medieval history". Background skills will often be related to a job, a discipline, or a science.
Background skills, in general, should not have direct effects on game mechanics. If they do, they might need to be bought as a different skill or even a power.
These skills help characters accomplish tasks that are not opposed by anyone.
Using a system is done through this skill.
For example, if a character knows how to use "modern windows computers" and encounters a modern windows computer, the modifier is 0. If they encounter a modern linux computer, the modifier is -2 (linux/windows incompatible specifity). If the skill would have been "modern computers", the modifier would have been -1 in both.
Note that this applies to systems "found in the field". Any system that is in regular use should be bought as a helper.
This skill applies to language, oratory, persuasion, and the like. Specificity includes both the task to accomplish and the method of communication. The base difficulty might change based on the communication method and other constraints (for example, noise or needing to be quiet).
Note that communicating in a common language with someone else who knows the language under ideal conditions (no noise, normal distance) is "very easy". In other words, purchasing a language is 1 CP.
Some skills inherently involve a competition. A security device is only worth as much as it makes it hard for someone else to accomplish their goal. Evading someone is only as useful as it makes it harder to track you.
Opposed skills always come in pairs.
Build and defeat security systems. This can be as specific or as generic as characters want. One specifity level that characters can, but do not have to, take is offensive/defensive. Defensive skills suffer the "incompatible specifity" for using them ot defeat security, offensive skills suffer the "incompatible specifity" for using them to build a security mechanism.
For example, if the character making a lock has "medieval locks" and the character defeating it has "general", then these are two levels of specificity. If the character had "modern locks", this would still be two levels: one up to "locks", one down to "medieval".
Every step of "rushing it" (compared to how long it should ordinarily take to do it) is a +1 to defeat it. Every two steps of "taking extra time" is a -1 to defeat it. Relevant materials and tools can also result in bonuses or penalties.
Seeking is the ability to figure out how to get to where you are going. It includes tracking, navigation, and more. When tracking a character, this is a role against their evasion skill.
Powers are the main way characters accomplish in-game effect on mechanics. They can be used to represent technology, experience, superpowers, or magic. Equipment used day-to-day should be bought as powers.
As far as powers are concerned, Body costs 1 pt/1 CP. This means that it is drained, improved, or resisted at though it cost 1 pt/1 CP.
The list of powers is:
Buy powers with the relevant advantages, systems, downsides, and, last but not least, special effects to fit the character and the campaign. The cost of a power, before adjusting for limitations, is its "raw strength".
Though it says "attribute", this can be bought not only for attributes, but for powers, skills, and Body. The usual way to cause damage is to buy "Reduce: Body".
The adjustment heals at 1 pip/hour. In most cases, this does not need to be tracked: characters will get to the "next session" in prime condition, but (unless one session represent more than an hour of game time) will not have to consider any healing done during the session.
Modifiers:
This power can be bought "in parts": for example, Reduce Per 1 pip + Reduce Body 1 will cost 10 CP (not including modifiers or limitations).
Illusions and other attacks against senses are bought at reduction of PER, potentially with relevant limitations.
This is bought per attribute, power, skill, or Body separately. Note that as a power, resistance itself can be targetted, and resistance for resistance can be bought. Except for rare cases, this is usually not a good idea.
Modifiers:
Note that movement will almost always be taken with limitations. For example, most characters will take the limitation "only on flat ground or inclines up to 75 degrees" to simulate walking/running.
Move something 1m.
Modifier:
Weight class 1 is the weight of an average human. It increases by 1 for each doubling. The name is "push", but it is also used for carrying.
All powers can be bought with the following "system" advantages:
They can be combined, so that the advantage is flexible but the limitations can be changed between a few options.
This means that for the active powers (move and non-constant adjust) there is no reason to buy more than one: buy the most expensive one, and the rest as variants.
Limitations most often apply to powers. They can also be used to apply to attributes or skills.
Cost is divided by 1+total value of disadvantages.
Limitations can include:
A helper can be an NPC, a vehicle, or a base. Calculate their cost as though they were a character, and divide by 5 (rounding down, minimum 1). You can double the amounts of helpers by paying the cost again: two identical NPCs would doule the cost, but eight identifcal NPCs would only quadruple the cost. A helper cannot cost more than the character.
Because this way of building game effects is abstract, it can be non-trivial to understand how to use it to build powers. In general, Plasticine's goal for balance is that powers with similar effect on action sequence mechanics will have similar costs.
This is important to remember: it is not how complicated it would be to achieve the special effect in real life, it is how beneficial the effect is in action sequences. For example, although most well-trained hand-to-hand combatants will know how to block a punch while unaided human flight is still a technological dream, blocking is more expensive than flight.
This is a standard power in literature, from Greek invisibility cloaks to the Invisible woman. In game terms, it is designed to make it harder to perceive the character. Perceiving someone in front of you is normally a Very Easy task, so PER needs to be reduced to 0.
Most characters bought 9 CP worth of PER (for 3d6). A 3d6 reduction of PER is usually enough for that.
A maneuver designed to get inside the attacker's range by blocking a strike, so it is possible to counter-attack. This is simulated by buying 2d6 of Defense, and having an increased ACT if the attack misses.
It ends up being somewhat expensive, but useful maneuver. It could be made less expensive by requiring a skill roll, or reducing the amount of ACT increase. Note that a different character, who interprets the desired mechanic of block differently, might buy a different power power with the same special effect.
From Icarus to Superman, flight is a common power in literature. The "move" power is already 3-dimensional by default. In order to simulate the inertia from flight, some limitations are appropriate. A single unit of turning on a hex grid is 60 degrees. It is 45 degrees on a square grid.
The character has trained in a martial art. It might be Kung Fu, Karate, or Tai Kwan Do: those are the special effects.
The character can use the martial art to strike someone with punches, kicks, elbows, or any other way that makes sense thematically. It can use the accuract, defense, or act bonuses up to a maximum of 4d6, apportioning them as they want. A defensive strike might be 4d6 Defense, with no bonus to accuracy. A "fast punch" might be 2d6 Act, 2d6 Accuracy.
It might be useful, but not required, for the players to think of "interesting combinations" and name them, together with a special effect. This can help make combat play faster.
If a character wants to simulate "holds", these will be "Reduce Move" attacks.
A character that cannot breath underwater will suffer Body damage and eventually pass out. This means that to breath underwater is to resist that damage.
Since this power does not have an in-game mechanic effect, it is free. This is another example of how powers cost commensurate to the effect they have on game mechanics, not on how desirable they would be to a character.
Plasticine is a generic system. Each usage might be different. When planning the campaign world, most work should go to the color: who lives there? What are their relationships?
This can be our world, an alternate universe, or a completely different world. It is important to have a clear idea of where characters will adventure.
As a generic system, you should be able to adapt source books from other games to Plasticine.
The last thing to do is to give the players clear guidance on what characters they should build. This might constrain the background ("all characters must be adult humans living in a specific city"). It will almost always constrain the character creation mechanics:
Rough guidance:
A good rule of thumb is to let 20% to 30% of the points to come from problems. For example, in a superhero campaign, require characters to have 25 CP of problems.
For most campaigns, the GM will want to design a "package" of problems, attributes, skills, and powers that characters get without using or expending character points.
In general, base packages should be around 30 CP - 50 CP. This means that for a "normal human", most of their effectiveness comes from the base package! This is as it should be: this is what makes people normal, after all.
For example, the following might be an appropriate base package for every day humans:
Attributes:
Powers:
Skills:
It is a good idea for the GM to write example character sheets as part of campaign planning. These can serve as inspiration to existing characters. They can also serve as off-the-rack characters for players who are new to the game or prefer to use a pre-approved character.
In general, in most role-playing, game mechanics will barely come into effect. Other than the odd communications roll, characters will interact with each other and NPCs without reference to skills, powers, or attributes.
The Plasticine system usually comes into effect during "action sequences". This includes combat, as well as other things. For example, running in a collapsing maze also follows combat rules.
In general, game play might require to know where each character is. In that case, use either a Hexagonal Grid or a Square one. It is assumed characters can reach, without needing any range, any character in an adjacent.
Each square or hexagon is one meter. For example, a character who can move 1m can move to an adjacent square.
Body is 30. (This is inspired by the base body with the addition of the average endurance role. That it comes out to an even 30 is a happy accident.) It cannot be bought higher, but for the sake of adjustment powers, it is considered 1 Body/1 CP.
On Body 0, characters lose consciousness. Death is story-driven, not rule-driven: important characters won't die, less important characters might or might not die based on setting and story.
When rolling dice, say 3d6+2, the characters will roll however many dice it says (in this case, three), and add the pips (in this case, two). For example, if the dice come up 2, 5, and 1, the result is 2+5+1+2=10. Situational bonuses or penalties might apply, as well as specificity bonuses or penalties. Those are added to the result.
In the case of unopposed tasks, the chart in OpenD6 for target number still applies:
The GM should determine the level that needs to be reached to be successful based on the task.
In the case of opposed rolls, each character rolls separately. Whoever gets the most wins. Situational or specifity bonuses and penalties are applied before comparing the results.
There are two optional variants described in OpenD6 for rolling dice. GMs can choose to use neither, both, or either.
One fate point allows doubling the dice for a single action. Characters get Fate points from adventuring. Fate points, once expended, are expended forever.
One of the dies is pre-designated as a wild die. As long as the wild die comes up six, it is rerolled. The total sum is added. If it comes up 1, the next roll is subtracted from the total and the 1 is discarded. If the next roll comes up 1, the entire roll is a "0".
A "round" is 1 second. Characters can only act in a round if they succeed in rolling ACT vs. Moderate (13). A character can "hold" an action in a round for a future round. Each time the character's roll fails, it gains a +1 bonus to the next roll. This means that even a 2d6 ACT character will eventually act, although often not before being sidelined for a few seconds.
A character can either move or use an adjustment power in a round. For inertia-based movement, "moving" is changing the speed or direction. Often, we refer to adjusting as "attacking". This is the most common use of the power, and is shorter. However, the game mechanics applying to all adjustment powers are identical.
When attacking, characters roll Accuracy vs. Defense. Characters can buy extra defense with "only when doing nothing else" to actively dodge. A character that cannot perceive another gets -6 to their role. Characters can choose to not avoid attacks. In those cases, the Defense is 0.
The rule for using a skill on something is based on specifity levels. It applies to all kinds of skills.
For each specificity level that applies, you gain +1, for each specificity level that does not apply, you lose -2 (one on the way up, one on the way down).
For example, if someone has a skill "Background: Science: Quantum electro-dynamics". and they need to answer a question about Quantum chromodynamics, the modifier is:
For a total of 0.
If more than one skill applies, the character gets to apply all, or any subset, with the relevant modifiers, and sum them.
If the skills are used in opposition, both characters roll dice. Whoever gets more on their roll wins. Note that in some cases, the rolls won't be simultaneous. The roll of the first character be recorded as the "effective difficulty level".
For example, a character is using "Security: Cryptography" to encrypt a text. They have 3d6 in the skill. They get lucky, and roll a 13! Now the character that tries to break the encryption will have to get more than 13 to be successful.
Expanding on the core power system, Plasticine adds two complementary powers that fill an important gap in character capabilities: perception beyond normal human senses and non-harmful communication.
Detect allows a character to sense things beyond normal human perception or to enhance existing senses. Each level represents either range, detail level, or sensitivity of detection.
Modifiers:
Limitations can be applied as with other powers (concentration required, limited uses, etc.)
Signal creates sensory output that can be detected by appropriate senses. Unlike Adjust PER powers, Signal powers cannot be used as attacks and do not reduce a target's PER attribute. They represent consensual communication or non-harmful sensory projection.
Modifiers:
Limitations can be applied as with other powers (concentration required, limited uses, etc.)
Detect powers typically provide information to the character, which can then influence decision-making or provide bonuses to other actions when appropriate. For example:
Signal powers enable communication but generally don't provide direct mechanical advantages in combat or action sequences. They primarily serve narrative purposes or enable coordination between characters.
When used with the Variant system advantage, characters can build flexible sensing/signaling packages that work across multiple sensory channels for only marginally higher cost.
This section provides adaptations of the Plasticine system for fantasy campaigns. It includes combat abilities, spellcasting, and species considerations to help GMs and players create fantasy characters and adventures.
This represents someone who knows how to use a sword effectively enough to cause damage with it, but doesn't have any special techniques or advantages.
This represents a character who has extensively trained with swords and has developed special techniques that give them an edge in combat.
Magic in fantasy Plasticine uses the core power system with specific limitations to capture the feel of traditional fantasy spellcasting. The "Cool Down" limitation is particularly important for balancing magical abilities:
Using the Variant system advantage, a mage could purchase additional related spells at reduced cost:
When using this skill, the character rolls against the difficulty set by the lock creator's skill roll. Specificity rules apply:
Fantasy species in Plasticine are primarily represented through the Problems mechanic, focusing on social aspects rather than inherent bonuses:
Species-specific abilities can be represented through themed limitations on powers:
When creating a fantasy campaign using Plasticine, consider the following:
Consider providing a standard base package for all characters that includes:
By adapting these elements to your specific campaign world, you can create a fantasy experience that captures the essence of the genre while maintaining the flexible and mechanics-focused approach of the Plasticine system.
A tabletop role-playing game (TTRPG) is a collaborative storytelling experience where players create and control characters in an imaginary world. Unlike board games or video games, TTRPGs have no winners or losers—the goal is to create an engaging story together.
The basic components of a TTRPG include:
The typical flow of play is:
What makes TTRPGs unique is their unlimited flexibility. Unlike video games where options are programmed, or board games with fixed rules, TTRPGs allow players to attempt anything they can imagine. The world exists in the shared imagination of everyone at the table.
People play TTRPGs for many reasons: to experience stories they help create, to solve problems creatively, to temporarily become someone else, and to share memorable moments with friends.
Before starting a campaign, run a "Session Zero". This foundational meeting establishes:
A proper Session Zero prevents misaligned expectations and helps build a cohesive group. Think of it as architectural planning before construction begins—skipping this step often leads to structural problems later.
When a player attempts something creative that isn't explicitly covered by the rules, consider allowing it if:
The rules exist to facilitate fun, not restrict it.
When players suggest ideas, try to build on them rather than immediately blocking them. "Yes, and..." keeps narrative momentum while still maintaining your control over the game world.
For example:
Player: "Is there a chandelier I could swing from?"
GM: "Yes, and it looks rather unstable—might collapse when you're halfway across."
Failed dice rolls shouldn't stop the game's momentum. Instead, they should create interesting complications.
Good pacing is essential to enjoyable sessions. Think of it like a heart's rhythm—periods of intensity followed by recovery, never staying too long in either state.
Many GMs over-prepare and then feel frustrated when players ignore their content. The solution isn't more preparation, but better preparation.
Remember: no preparation survives contact with the players.
Rules discussions can disrupt game flow. Use this guideline:
When modifying rules:
When in doubt about a ruling, ask yourself: "Which choice would make a better game experience?"
This doesn't always mean ruling in the players' favor—challenges create meaningful stories. It means choosing the option that creates the most interesting and enjoyable ongoing narrative.
Each player should have opportunities to shine. Some players naturally command attention, while others need encouragement.
Your character is more than a collection of statistics. Consider:
Characters with motivations and flaws create more interesting stories than those optimized purely for mechanical effectiveness.
Create characters that have reasons to work with the group. The lone wolf who distrusts everyone might seem interesting in concept, but often creates frustration in practice.
Ask yourself:
Active players create better games:
When your character enters a new location, how do they engage with it? What draws their attention? How do they move through the space?
Your character doesn't know everything you know. Sometimes the most interesting choice is not the optimal one, but the one your character would make based on their understanding and values.
Be aware of other players at the table:
When the GM or another player is speaking:
No game will perfectly match your ideal vision. The GM has prepared a world, but it may not contain everything you imagined. Adapt, compromise, and find joy in the unexpected.
If something isn't working for you:
Saying "I'm not enjoying the puzzle-heavy sessions" is more helpful than "These puzzles are boring."
Role-playing games are fundamentally social experiences. The unwritten contract between everyone at the table includes:
Every table should have mechanisms for addressing uncomfortable content. These might include:
These aren't signs of weakness but of maturity and consideration. They enable more creative exploration by establishing clear boundaries.
Disagreements will arise. The healthiest groups:
Never let in-game conflicts create out-of-game tensions. Characters may fight; players should not.
The term "railroading"—forcing players along a predetermined story path—is universally condemned. Yet structured narratives can create memorable experiences as long as players have agency within those structures.
Consider:
The key is transparency. If players know they're on a defined path for a specific story purpose, many will happily ride those rails to an exciting destination.
Game designers strive for perfect balance, but perfect balance can be perfectly boring. Some of the most memorable game moments come from imbalance:
Balance matters for long-term play, but don't sacrifice memorable moments on the altar of perfect equilibrium.
Rules provide necessary structure, but sometimes the most interesting choice is to break them deliberately.
As a GM, consider occasionally:
As a player, ask:
The goal isn't anarchy, but thoughtful consideration of when the spirit of the game might override its letter.
Remember that tabletop RPGs are collaborative storytelling. Neither the GM nor any player has absolute authority over the narrative. The best games emerge from mutual creation and shared responsibility for everyone's enjoyment.
When in doubt, discuss issues openly, make decisions together, and always prioritize the human connections at your table above any game system or rule.