Jon fletcher actor kids on bikes

For Example: Elena and Jordan get into a physical fight over the car keys, since Elena thinks that they need to drive away and Jordan thinks that they need to stay and wait for their friends to get back. Jordan rolls their Fight d12 and gets a 7. In response, Elena rolls her Brawn d8 to see how bad the damage is to her. She rolls a 6, a difference of 1.

Elena will be injured, but not badly. Since the fighting is mutual, Elena rolls her Fight d10 and gets a 3. At this point, they narrate what happens. Jordan describes that they try to sucker-punch Elena, but Elena says that she notices at the last second and moves her head to avoid taking too much of a hit. While Elena is stunned, Jordan takes the key and puts it in their pocket.

PAGE 37 Spending Money Since your game is likely going to take place in a town with a functioning monetary economy, you might, at some points, want to buy something to help you in your efforts. It should be assumed that you have access to money. However, the degree of access you have depends on your age and in-game socio-economic status. Children cannot have jobs and thus have almost no access to money beyond what is given to them.

If they need to buy something, they almost certainly need to find someone to get it for them. Under rare circumstances, they might have saved enough to buy a small item. It also is likely to depend on the age of the child. Teens have limited access to money, but they can afford necessities for a few days, depending on their socio-economic status.

They might, though, be able to convince their parents to give them some money. Adults have much more access to money than teens and can, within reason, buy what they want to buy. If they needed to buy a car in a pinch, they most likely could — though that might represent a significant sacrifice for them. In terms of money for adults, their group will have the most variance, which will be based on their job.

But remember, in order to be wealthy, even an adult with a traditionally high-paying job must take the Wealthy strength. Playing Multiple Sessions While Kids on Bikes can be played as a single-session game, you and the other players might decide that you want to keep playing. If you do, the GM will have more time to plan the story and can throw some more orchestrated surprises your way.

In classical music, a coda is the final portion of the work, one that brings the work to a close. What changes for you? Are you suddenly more confident and willing to walk back into middle school with your head held high? Does a rift between you and the other characters PAGE 38 manifest in the form of you sitting by your locker to eat lunch instead of with them?

Are your children happier to have dinner all together now? Do you finally have the courage to leave him and not come back? After developing your story, if you are planning to play multiple sessions, you and the GM should agree upon changes to the character as a result of the session or sessions. Think carefully about what changes about you as a result of the session, as it relates to the mechanics of the game.

Or did something almost kill you that will now be a fear in the future? Does it make sense to keep the strengths that you had at the start, or did you learn a new trick? And, of course, if you sustained any serious injuries, how will those affect you going forward? So, be sure to keep your strengths, flaws, and fears in the right range — which will be different for each player and each game.

But, early in the first session, the GM will introduce a powered character that will then be co-controlled by all of the players. These traits, called aspects, should be written on separate notecards. These aspects will provide information that helps players play the powered character, such as their personality traits, patterns in their behaviors, and, of course, their powers.

We recommend two per player to start, but the GM can adapt that as they see fit. We suggest starting with 7. In any other situations, players will share control of that character. As with the rest of the game, players share control of the narrative. If the GM gives you an aspect that you think you would have a difficult time incorporating, you can ask the GM to give that aspect to another player.

When an aspect becomes relevant, turn the card featuring that aspect sideways. This action helps to focus the table on who will be controlling the powered character. Any player may activate any aspect at the table, even one in front of another player, but the player with that aspect in front of them should be in charge of the narration related to that aspect.

For Example: Sofia thinks that it would be a particularly good time for the powered character to use his telekinesis, but Gyasi controls that aspect. Sofia reaches over and turns the notecard indicating that power sideways, thus indicating that Gyasi has narrative control of the powered character and making a suggestion of what to do with that control.

Ultimately, it is up to the player controlling each aspect to determine how and when it is used. You may, of course, create your own as you see fit — and the GM should remember that the initial narrative path of the story should guide what powered character the players meet! When the players do meet them, the GM should also establish d4 and d20 stats for the powered character.

The other four stats will be filled in by players as they discover who the powered character is and what they can do. PAGE 41 Characters may flesh out the powered character as they see fit, adding desires, fears, and motivations as they go. Once a player introduces a new aspect to the powered character, players should go along with it unless there are issues with established behaviors or cards that players have.

It also might be a good idea to create a notecard for that aspect, especially if you are planning to play multiple sessions. Remember, though: the only way new psychic powers can be added is through intervention of the GM. Players cannot, under any circumstances, give the powered character new powers. For Example: The GM narrates a young boy, covered in blood, walking into a police station where the characters are.

The GM then hands two cards to each player. Jon, Jamie, Doug, and Andrea will now narrate what the powered character does throughout the game in accord with what is on the cards they know about — and with correction from other players and the GM whenever necessary. When playing the powered character, there should ideally be roughly equal input from each player and the GM.

As a player, you should have enough information to make decisions about what the powered character does. As a GM, your control over the powered character should be used to drive the narrative toward exciting encounters and stressful situations. If players are unsure what to do or seem stuck, the GM could certainly have the powered character figure something out.

If the characters need to be pushed toward the revelation of a secret that only the GM knows, the powered character could be very useful in this respect, too. For example, the young boy covered in blood walks into the police station. While the characters are getting to know the powered character, they might not have access to the aspects dealing with his psychic powers.

When the need to use them arises, though, the GM could hand out the notecards. The GM should also feel free to give out additional aspects as the game goes on. But this could also be to get a player more involved with the control of the character. Changes on the fly are a big part of what this game is all about, so as a player, expect to have those thrown at you!

When using powers, the GM will establish a numerical difficulty for the action being attempted. This number should take into account how practiced the powered character is with using their psychic powers in this way and how significant an expenditure of psychic energy it would represent. Then, if the player choosing to take that action with the powered character wishes to still take that action, the powered character immediately spends one psychic energy represented and tracked by PE Tokens and the player rolls 2d4.

Subtract the roll on the dice from the GM-established difficulty value. If the result is zero or negative, the powered character suffers a very minor physical result e. As soon as the roll plus the PE Tokens spend is equal to the difficulty value, the result becomes a success. The GM tells Jamie that the precision required for this task sets the difficulty at 5.

She then has to decide whether the attempt fails in which case the GM narrates the failure or whether she wants to spend an additional PE Token in which case she narrates the success. Whatever their standard physical reaction to using powers is will be far worse e. The exact effects are up to the GM. Replenishing Mental Energy In order to replenish their mental energy, the powered character needs to rest, eat, or take other appropriate action.

Do they have a particular sweet tooth? Do foods that are high in iron help them more than other foods? In all situations, the powered character should be subtly drawn to these things to give players clues — but the GM should feel free to throw in some red herrings. Powered Character Checkpoints Just as your personal character develops, your powered character should develop in some way, too.

In terms of the natural changes to the character over the course of the story, a character the powered character fears standing up for them is likely to change how they feel about him. One of the characters betraying the powered character to save herself is likely to make the powered character mistrust the traitor. Character Checkpoints should be elements that are both narratively and mechanically significant, places where something triggers a meaningful change in the character.

When determining these Checkpoints, think about how the causal event would influence the character. For Example: If the powered character was given their powers in a lab, returning to that lab might be a Character Checkpoint. It could be that the character discovers a way to augment their powers — either gaining a new power or increasing the number of dice they roll in checks.

Perhaps they discover an important object or undergo a process similar to what they underwent to gain their powers. It could also be that, if the powered character had false memories, seeing the lab might reveal the old, actual ones to the character — which could trigger new powers or give the powered character a clearer understanding of what the next step in their journey is.

Perhaps they meet a key villain who is now aware of them, too. Perhaps the powered character becomes less stable — maybe rolling a d10 instead of 2d4 when making checks. Thank you for facilitating their experience with the game! Player Safety A key part of any role-playing experience is pulling players out of their comfort zones and, often, forcing them to make difficult decisions for their character.

For example, some conflict between characters will help to drive the story and create tension. Also, give some thought to the safety methods your group is using. This is best used with players who are comfortable enough with each other and with role-playing to pause the game and address issues as they arise. We encourage you to use whatever techniques work best for you — and adapt them as necessary.

PAGE 48 Starting to Craft the Story In Kids on Bikes, the setup at the start of the game, where players create the town and establish the connections between each character, is vital to helping them craft a good story later. Is there something sinister about one of these organizations — or is one of them holding back a great evil? Or how is the evil entity the characters will face trying to use this landmark for their own nefarious ends?

Which rumor is completely false? Which rumor is only part of a much more complex story? Probably most importantly, which rumor gets all of the players excited? For the things that multiple members of the group will be good at, those are a good way for the group to form at the start of the game, giving them all something that they can be successful at together.

For Example: Think back to the sample responses to questions given on pages What caused the mining accident? Will it happen again? Will the characters need to explore that collapsed mine for some reason? When they found the bodies, were there really bite marks? Did one of the men really do that to the others? Where are the other two bodies?

Are they afraid of something? What keeps some of the men out of the Elks? Is it really a front? What time of year are we going to be playing in? Does that have anything to do with the mining accident? In thinking over his notes, Gautier thinks that making the rumor about only finding ten of the twelve miners the central part of the first story could be really cool.

If so, that might be something to lean into. Other than that, he sees the relationship between the two principals as something that might be worth pursuing — but he decides that taking it in a very different direction than the players might be expecting could be cool. He only has a rough idea: there are students in the schools who need to be kept under surveillance, which could be an interesting twist.

That, he thinks, might be enough to interest them in sneaking in to find out more. As you look for ways to draw ideas out of the character creation, think back to the relationships established between Oswald, Isabella, and Yoon from pages Although you want to withdraw your hand, you cannot. Something is holding you there, something that feels like a strong, skeletal hand.

But for the incidentals, leave those up to the players. Heck, even for the big stuff, sometimes, players should get to decide what happens. Another way in Kids on Bikes that narrative control is removed from the GM and players is through the dice rolls. When a character fails a stat check, both you and your players are bound in your decisions by an unalterable truth: that character failed the stat check.

Go with it. Take the story in unexpected directions when the most intimidating character at the table brandishes a gun at a small child and the child laughs at them. Think about why that is — and ask the player to explain. Maybe they decide that they try to smoothly pull the gun from its holster menacingly but it gets stuck. Players will surprise you with their creativity within these bounds.

All of this is especially true when it comes to the powered character. To boil this section down to two main, simplified ideas: roll with the punches, and, as the GM, let your players throw some of those punches, too. That said, some players really prefer a game where they only control their own character. There are two key elements that can be particularly difficult: tone and pace.

With respect to tone, players will discuss at the beginning of the game whether they want a serious game, a silly one, or something in the middle. However, especially in campaign-style games, having only serious, morose characters glumly struggling against the forces of evil can get old. So too can a cartoonish hodge-podge of characters absurdly gallivanting through unrealistic scenario after unrealistic scenario.

Figuring out what the right balance is part of the art of GMing. The same is true of the pace of the game. Spending twenty hours establishing characters and their relationships before they get even a hint as to any central conflict, too, will get boring. Again, variety is vital. As a result, GMing often relies heavily on your ability to read the group and adjust the tone of the game.

If the characters are going their separate ways, you can have them give quick snapshots of what they did during that time. If the group is getting bored with the way the current game is going, work to give them more of what they want. For example, if Riku is really enjoying the slower-paced role-playing but Yasmin wants some action, discuss this.

Is there a way for both of them to get what they want — or can one of them agree to hold off on what they want in exchange for more of that later on? Not only does this give the audience a break from frenetic action, but it also gives them time to process what the loss means going forward. Especially in a game where you want your players to take PAGE 53 ownership of the direction of the story, you need to give them time to think about what big events will mean going forward.

Again, a big part of GMing is reading the room. When in doubt, just ask the other players if they are enjoying themselves as much as you are. It is also a chance for the story to take an unexpected twist. For Example: If Ida and Lucas are trying to break a coded message that they found in a secret government lab and fail their Brains rolls to solve it, what else could they do?

As a result, the strange young girl might reveal that she can create and control fire sooner than you had been expecting her to. Is that okay? And if you do change something and a clever player figures out an unexpected exploit, feel free either to tell them not to do that or to change the rule back or tweak it again. What do you admire about this character — but would never tell them?

What trait about this character that they despise do you genuinely appreciate? Why do you care about this character more than they care about you? What role did this character play in the best day of your life? What plan do you and this character have that most excites you? What is your private nickname for this character and why?

What is the kindest thing this character has ever done for you? What is this character sacrificing to protect you? What lengths would you go to in order to defend this character? Why do you have a bond with this character that can never be broken? What about this character always makes you happy? What do you and this character have a mutual, weird love of?

What would losing this character mean to you? When did you first realize that you loved this character — either platonically or romantically? What item did this character give you that you treasure? What did this character do in the past that you still resent them for? What secret are you keeping from this character that you would be devastated if they found out?

What could make you betray this character? What are you sure this character is hiding from you? What does this character have that you want to take from them? What is this character doing, either knowingly or unknowingly, that hurts you? What do you need to take from this character for their own good? What role did this character play in the worst day of your life?

What does this character do that makes you immediately lose your temper? How far would you go to avoid being alone with this character? What would this character have to do to get you to forgive them? What insanity has this character shown warning signs of? How far would you go to make this character suffer? Why do you dislike this character when all the other characters seem to love them?

You hurt this character years ago. What do you do to intentionally annoy this character? How did this character betray you the last time you confided in them? Why do some members of the town seek out this character? What wonderful thing did this character do that the whole town was talking about? What charming habit is this character known for throughout the town?

What strange record does this character hold in the town? Why was your only brief interaction with this character so positive? Based on what you know, how is this character different from the rest of their family? What volunteer work have you heard that this character does? How far would you go to get to know this character and why? What do you hope to gain by humiliating this relative stranger?

What bad reputation does this character have around the town? Who does this character have a very public feud with? Why are so many townspeople afraid of this character? What terrible loss did this character suffer? What do you hope to learn about this character to manipulate them? What scandal in the town was this character involved with?

In discussion with the GM, you may instead choose from the list below. Remember, you start the game with two strengths. Easygoing Gain 2 Adversity Tokens when you fail, instead of 1. Gross You have some kind of gross bodily trick loud, quiet, smelly The GM must answer honestly. Lucky May spend 2 Adversity Tokens to reroll a stat check. You are assumed to succeed when making even moderately difficult checks 9 or less involving this skill.

You still lose the roll no matter what, but could reduce your loss to Treasure Hunter May spend 1 Adversity Token to find a useful item in your surroundings. Wealthy May spend money as though you were in a higher age bracket. For example, a wealthy child is considered to have the disposable income of a typical teen, and a wealthy teen is considered to have the disposable income of a typical adult.

A wealthy adult is considered to not have to worry too much about money — they would certainly be able to buy anything they need, and likely able to spend their way out of a lot of situations. Remember, you start the game with two flaws. As the GM, you should feel free to add any options that make sense for your game. Question 2 What would it mean for you if you lost your job?

Question 2 How does your social isolation manifest itself? Question 2 What does your involvement with sports keep you from doing that you wish you could do? Instead of using this chart, you can also download the PDF Playbook from huntersbooks. How do you feel when you hurt others? Question 2 What are you willing to go the extra mile for?

What do you sacrifice to remain beautiful? Question 2 How do you treat the unpopular kids? What do you miss about being out in the world? What do you have to give up to spend as much time in nature as you do? Question 2 What would you rather be doing? Question 2 What have you had to give up for your family? Some early testers, though, thought the experience could benefit from a few places for newer players to start — or for experienced players to have a more GM-driven experience.

The result of that feedback is these modules: 22 settings created by some of the most creative people we know. The things people have done within the system are weird, chilling, and just plain fun. Talk to your GM before reading. The surprises in some modules might be spoiled if you read them first! If you want to change a detail about something in the module, change it!

The decisions you and the other players make with the narrative should still drive the story more than these suggestions, which are just meant to help get you started. The answers are public knowledge. However, if a player thinks it should be shared, they can feel free to! With that, enjoy the modules — we know we did! Get comfortable in your new five-bedroom, three-bathroom house, because every one of the 10 houses in this idyllic community is a five-bedroom, three-bathroom house.

Looking for a night out on the town? Or say hi to the Mayor of Coffee Cat and grab a frappuccino! Sign In. Contact info Agent info Resume. Add to list. View contact info at IMDbPro. Photos Known for. Marcel Grossmann. The Rook. Alex Gestalt Teddy Gestalt. The Messengers. Joshua Silburn, Jr. Oliver Hill. Credits Edit. Instagram Star.

Basketball Player. Pop Singer. Jon Fletcher is a member of Actor. Does Jon Fletcher Dead or Alive? Some Jon Fletcher images. Kelly Donovan Actor. Joel Ortez Actor. Mykhailo Khoma Actor. Or, if the characters need to be pushed toward the revelation of a secret that only the GM knows, the powered character could be very useful in this respect.

When using powers, the GM will establish a numerical difficulty for the action being attempted. This number should take into account how practiced the powered character is with using PAGE PAGE Flavio Brasso Order their mental powers in this way and how significant an expenditure of mental energy it would represent. Then, if the player choosing to take that action with the powered character wishes to still take that action, the powered character immediately expends one psychic energy represented and tracked by tokens and the player rolls 2d4.

Subtract the roll on the dice from the GM-established difficulty value. If the result is zero or negative, the powered character suffers a very minor physical result e. As soon as the roll plus the mental energy tokens spend is equal to the difficulty value, the result becomes a success. The GM tells Jamie that the precision required for this task sets the difficulty at 5.

She then has to decide whether the attempt fails and narrate the failure or if she wants to expend an additional psychic energy token and narrate the success. Whatever their standard physical reaction to using powers is will be far worse e. The exact effects are up to the GM. Replenishing Mental Energy In order to replenish their mental energy, the character needs to rest, eat, or take another appropriate action.

Do they have a sweet tooth? Do foods that are high in iron help them more than other foods? In all situations, the powered character should be subtly drawn to these things to give players clues - but the GM should feel free to throw in some red herrings. Here are some possible elements to include in the story - or to adapt to make them best suit your specific game!

It also has more than a few off-the-path areas that can be dangerous. In addition to having league nights on Thursday, the bowling alley is secretly built from materials scavenged from a downed spacecraft. The out-of-this-world materials make the lanes glow with an alluring grey shine, and the ions given off by the metal make everyone in the alley happy.

Plus, it looks like a giant robot! And why are there always spots that look like digging has been done when they leave? If Side Pockets is open, Jess is working the bar. No cursing, no fighting, and no tabs open for more than 24 hours. Winkles: the owner of the Flying Robot Arcade. Wow, what a nice guy! The kids say he reminds them of character from some mystery solving cartoon, so he dressed up like it once, putting on a ghost costume that he keeps in the corner.

He lets his favorite kids know the secret way to get more quarters from the change machine. Great guy! While digging up the foundation after leveling a good portion of woods, he exposed the glowing stone that provided the Bigfoots livable atmosphere and tried to hide it in the mine. Unbeknownst to him, some of his workers took pieces of it.

He cannot get over the idea that the mine in town was started for gold, and he aims to find it. He controls the freaks with his hypnotist, Madame Ravelle. Mutations to the freaks from the newly exposed stone and these nosy kids are really putting a damper to his plans this year! Your characters see one breaking into the mall office trying to steal a glowing stone paperweight.

As he does an electrical charge runs through him and strange robotic parasites start to follow him assimilating people and animals in order to apprehend him. As you approach it runs and ducks under a tent, yipping what sounds like a warning as it does. Winkles exposes his plot to take over the world using his giant robot the arcade really is.

Though she only has rudimentary language, exposure to the shards the Bigfoots are collecting has made her incredibly strong and incredibly fast. He is a robot built by Mr. Winkles that escaped during a lightning storm. They can travel up to 15 minutes back in time with whoever they touch. What do you admire about this character — but would never tell them?

What trait about this character that they despise do you genuinely appreciate? Why do you care about this character more than they care about you? What role did this character play in the best day of your life? What plan do you and this character have that most excites you? What is your private nickname for this character and why? What is the kindest thing this character has ever done for you?

What is this character sacrificing to protect you? What lengths would you go to in order to defend this character? Why do you have a bond with this character that can never be broken? What about this character always makes you happy? What do you and this character have a mutual, weird love of? What would losing this character mean to you?

Jon fletcher actor kids on bikes

When did you first realize that you loved this character — either platonically or romantically? What item did this character give you that you treasure? What did this character do in the past that you still resent them for? What secret are you keeping from this character that you would be devastated if they found out? What could make you betray this character?

What are you sure this character is hiding from you? What does this character have that you want to take from them? What is this character doing, either knowingly or unknowingly, that hurts you? What do you need to take from this character for their own good? What role did this character play in the worst day of your life? What does this character do that makes you immediately lose your temper?

How far would you go to avoid being alone with this character? What would this character have to do to get you to forgive them? What insanity has this character shown warning signs of?