Action points is how I see the game playing out.
Each type of character (On average, obviously traits would change these but this is the stereotypical set-up) would have so many action points and each point allows them to commit something. If that action is of a certain difficulty the GM makes you spend an appropriate amount of action points to make it succeed.

Humans would have the most actions points
Hyper-Realistic toons following shortly after
Most others would be somewhere in the middle
Loony Toons, Super-Heroes, and Super Anime Heroes would be at the very bottom with very few actions.

The high number of actions for humans shows their purpose and drive to do what they know needs to be done/ their ingenuity/ they aren't crazy to waste time cracking jokes in a battle.

The low action points represent the toon is making an ass of himself/doing counter-productive things/etc.

This way if someone wants bugs bunny to flank you then he has to spend all of his precious few action points just to get in a position to do it, why? Because Bugs Bunny shouldn't be trying to flank you (In the human conventional sense not Rabbit Hole sense) he should be trying to hit you with a mallet (You get my point.)

Not everyone wants to roleplaye their toon being retarded bu tthe optinon is still their for those who do and for those who don't the GM just says ("Insert Toon" is doing this which is why he only accomplished this much actual stuff)

I would rather put more work into a homebrew (even if it stole some elements from other games) than just make a mod for a different rpg.

Saying that though, just because I have an asss-ton of free time doesn't mean I want to devote all my time to making a homebrew, and I don't think most TGers would want to either. If we go full homebrew than it's gonna require some serious dedication from a few people and some decent dedication from the rest.

I would prefer something closer to option A, but I get why people might not like it.

Also, can we link to previous threads, including the RPGnet thread that started everything? I'd do it, but I'm on a mobile.

Also, if it went full homebrew, I'd love to dedicate to it, but I know nothing of game mechanics or game theory or all the technical stuff.

First thread:
http://suptg.thisisnotatrueending.com/archive/12083010

Second thread:
http://suptg.thisisnotatrueending.com/archive/12083010

>>12126135
>>12126003

Homebrew is likely the way to go, as I don't think there's any one game out there that fits our needs.

I think the consensus is to create rules that err on the side of simplicity and speed rather than strategy.

>>12126178

Some strategy would still be nice if we're going with a "Shadowrun and Cyberpunk 2020 meets Roger Rabbit" sort of feel.

Frantic battles and simple mechanics are still our priority, though.

Are Franco-Belgian cartoons in the game?

I haven't read Unknown Armies properly, so I could be entirely wrong here, but I reckon it could have some elements we could borrow, in the shape of the Adept's charge-gathering mechanism.

Toons get "charges" by acting in the way they should, getting hurt in hilarious ways, for example, and they can then spend those charges on bringing the pain to other people.

>>12126229

All cartoons are in the game.

The world is pretty much controlled by MegaCorps (or MegaStudios, if we want), with Walt Disney Animation Studios and Toei Douga being the two biggest in the world and in constant rivalry.

Around the world are smaller MegaStudios that control their respective parts of the world and would love nothing more than to take Disney and Toei down and take their place.

Some Non-Japanese and Non-Anerican major animation studios would be nice for the setting.

>>12126229
I'm not familiar with them. Are unusual enough to warrant a category of their own?

>>12126229

Holy shit, a media house run by Spirou and Tintin would be the awesomest corp ever.

>>12126321

A Toon run Corp? A place where the inmates run the Asylum?

Can it be done? We know that Mickey Mouse was President just before the "assassination" by a group of Toon Extremists from Japan in "revenge for Vietnam" (whether or not that's what happened is the question) with the MegaCorps taking over soon after, but was he effective as a leader?

>>12126574
>Japan
>Killing over Vietnam
What is this I don't even

Are there any cases of a homebrew system being built on /tg/ that passed the ideas-stage and actually got finished? I mean, a unique system for ToonPunk sounds great and all, but is it realistic? Sure, designing a brand new system sounds nice now, but what about in three weeks?
Wouldn't it be more constructive to use what fired-up imagination and creative impulses we have now by adapting an existing setting in the following days instead of betting it all on weeks and possibly months of discussion, arguing and playtesting on /tg/?

>>12126596
it's one of the things about the setting you don't question. it doesnt make much sense and probably is complete lies.

>>12126651

I suggest that what we do is try to go homebrew if possible, bit keep the setting open enough for people to plug into a system they want.

For example: Traveler and GURPS Traveller.

As for Japan getting revenge for Vietnam, it's probably a big lie, but no one bothers with it because it provides a good excuse for MegaStudios to rise to political power, and the truth might be worse than anything we could imagine.

I think I might use aspects of this system for a campaign I'm working on that involves fictional characters (Toon and Literary). It's been hard trying to figure out how to exactly balance each group's powers and not make it just seem like palette swaps.

>>12126651
I think Joints and Jivers, and ArtifICE got finished. Could be wrong though.

Also, with character creation, have we thought about limiting powers some toons can use to just working on other toons? So a character like Popeye can't smash some human into another object or something?

>>12126574

Try Hiroshima and Nagasaki instead.

>>12126717

I figure things sort of balance out.

You've got crazy toon powers on one side, but the humans have regular ammo for the realistic Toons and Dip for the more cartoony ones.

>>12126743
Hey, they did put Mickey Mouse on a bunch of planes and stuff when they went to firebomb Tokyo.
Maybe they remember him as a symbol of destruction and...
...Yeah, ok, so it was Warner Brothers, but we can't just accuse Bugs of offing the Mouse, it'd be political suicide and we've got dick for evidence.

>>12126743

I like to think Toonpunk WWII ended much, much differently.

Possibly with a giant battle with Mickey and his friends and Momotaro's Divine Sea Warriors or something.

We still won, and Japan is still devastated, and it causes that huge surge in animation in the 60s. It would also give them a better reason for a Mickey assassination.

>>12126815
does no one remember disney wasnt affected by mickey's death like a key should be

>>12126815

On the other hand, maybe it was really an American MegaStudio that did it.

I think Mickey's assassination and whether or not he's still alive should be left up to the GM, but with some options provided as a springboard.

>>12126833
It's pretty obvious Dr. Seuss and Superman helped SLAP A JAP and ended the war in the Pacific while Donald HEILED RIGHT IN THE FUHRER'S FACE in the Atlantic theater.

>>12126856
Someone mentioned Oswald coming back in the earlier threads. Maybe there's a rumor he's trying to rewrite toondom to get back at Mickey? Or he's trying to claw his way back into the spotlight (which could be possible, given this setting).

WHAT ABOUT VIDEO GAME CHARACTERS

WHAT ABOUT COMIC BOOK CHARACTERS

Idea: toons only die (of natural causes) when people stop finding them funny/entertaining/relevant.

>>12126651
I swear as a hobby-shop co-owner that I will work my hardest to finish the homebrew mechanics even if I have to do it by myself, why? Because I love this setting too much (Also I have lots of free time and test subjects.)

Besides DR.MR.STARKS' homebrew is going strong and that started out as just a bunch of ideas.

>>12126997
I can see comic book characters fitting in well enough, as they're created the same way. Video Game\CG characters may be a bit too complicated(at least at the moment) due to the process needed to create them.

Also, Captcha. Upside down text. The fuck.

>>12126997
This has been discussed already. If the character was drwan (so yes this includes video game characters.) and was ignited by the spark of a key than the character comes to life.

>>12127006
Interesting s a sort-of that's what some scientists think in the setting, but as a matter of fact? Too many toons would die off and the world would ONLY have the toons that were big names already.

>>12126984

Oswald is probably one of the first Toons ever, and was overshadowed by Mickey, no doubt.

He's had a long time to let that fester--or heal.

Oswald taking back the spotlight is neat, but what if it's something different?

Could it be possible that Oswald saved Mickey or caused the assassination himself?

If he saved him, why are they still hiding? Could they be planning something against the would be assassins?

If he killed him, what would be the point in taking back the spotlight in such a way? Disney would know or suspect something.

>>12127018

I'll help if I can, whether it be homebrew or ported to an already existing system or both.

>>12127076
I like the saving angle. Maybe they're trying to liberate themselves from their Megacorp oppressors? Because despite whatever benefits (if any) they get from working for them, they're probably still treated pretty poorly.

Some questions/ideas:

Romantic relationships between toons and anime, toons and humans, anime and humans, etc. Possible? Looked down on?

Toon prostitution? Any kind of drugs they could get hooked on, maybe like ink toner or something?

>>12127134
In the earlier threads, we discussed those types of relationships being frowned upon, and what toons are composed up can be an addictive drug, warping a human into a toon'd up version of themselves. And there are toon prostitutes offering themselves (either for their ink, or just sexual pleasure). Never thought about drugs toons could be hooked on.

But, since this is a general setting idea, work it to how you wish, of course.

In case you awesome Anons need inspiration and haven't noticed yet, someone uploaded Who Framed Roger Rabbit? on youtube: http://www.youtube.com/watch?v=mN6coIJ202g
Enjoy.

>>12127172

I was thinking the Ink Toner (or whatever drug) could make their outlines a little thicker, their shading a little deeper. It would be like some drugs for us, things get a bit more REAL for a while.

>>12127134

Relationships happen. Toons don't think in logic, though, they think in plot. A relationship can end very poorly.

I mentioned it in the last thread, but if you want an idea of what a human/toon relationship would be like, watch The Purple Rose of Cairo.

Also, Toons can't reproduce, and no natural Toon/Human or Toon/Key hybrids exist.

>>12127200

In Roger Rabbit, our drugs are like Speed for them, or at least our alcohol.

I know one post in an earlier thread mentioned that some Toons take a milder Dip, or plan to brew some to see if it can be a drug.

>>12127219

I get the no Key/toon hybrid rule due to reasons of prohibiting gamebreaking powergaming, but why no regular human/toon hybrids? Just out of a matter of taste or because of some other reason? True, there might not seem to be a scientific explanation of how this should work, but seeing how you already have toons acting in the "real" world and affecting real stuff already, why shouldn't there be one more interaction between toons and humans procreating?
This would go for CGI and anime hybrids as well, since the same power that allows toons to interact with the real world would allow them to also have procreative interactions.

>>12127306

The obvious answer is that our biology only seems to work one way: Toon to Human. Implanting anything into a Toon that isn't Toon Tech leads to nothing.

There's nothing but Ink to a Toon, no matter how solid they feel.

The second reason leads back into why Toons can't reproduce. They have no real creative spark of their own. There is no Sperm or Egg in a Toon. If you want a child and are a Toon couple or a Toon/Human couple, you go to a Key to do it.

The third reason is that Toons are powerful enough as is. Humans in game are supposed to have more freewill and improvisation abilities. Putting this in a Toon defeats the roleplaying opportunities of being a Toon, and could cause another broken character type.

>>12127306
Most likely because toons have no discernable anatomy like ours to work with. Or if they do, the keys (unless they were really, really in love with their creations) probably didn't care too much about them being able to procreate. They're toons. Why would they need kids?

>>12127306
It isn't hybrids that are the problem, it's pure toons that are the problem. If toons could procreate (Which is needed if hybrids could happen) then the world would be overrun by super-toons who no longer think in plot but in reality just like us. It would be a cool BBEG who tries to achieve this, but as a natural occurence the entire setting would go to shit.

>>12127219
>Also, Toons can't reproduce, and no natural Toon/Human
Well there goes 3/4's of the people following these threads.

>>12127373

To expand, that leaves the question as to why Toon implants work.

This is because of a Human's natural ability to create and use imagination.

You don't have to be a Key to be creative.

>>12127404
Reproduce=/=have oodles of sweaty inky sex with
>judiciously ankermen

>>12126231

I like it, and that would seem like it would tie back into Possible Game Mechanic A, which I personally like.

I wonder if we can get a happy medium between A and B, though. It sounds that aside from classes, they almost function the same.

>>12127373
>>12127378
>>12127379

Good points. I find myself convinced.

Has anyone given some thought as to what led to toons entering the real world? In the original rpg.net thread, someone came up with the idea that the nuclear bomb tests during WWII led to a tear in the fabric of reality, allowing creatures of the human imagination to gain entry into our world.
I found this to be quite an interesting take. I myself was thinking that, due to the multiple worlds theory in quantum physics, there are an infinite number of worlds, some of which happen to consist entirely of toons. Maybe humanity's creative sparks, burning most brightly in Keys, reverberate with a certain meta-frequency that allows those beings from toon-verses to come through the nuclear rift into our own world.
If a Key comes up with something new, the creative spark gives this idea such energy that the coupled "creato-vibrations" echo through the multiverse and attract exactly that being that already existed in exactly that form in one of the many universes.

>>12127583

I say we don't answer that question.

Despite Toons, Toonware, and Toontech, and various Cyberpunk tropes, we seem to have a semi-realistic setting. Going into more technobabble than necessary would probably drag things down.

The why doesn't really matter all that much, and can be left to the GM. All we know for sure is that Toons appeared from major Animation productions in the early 20th century, about 1920 or so, depending.

>>12127649

Also, I like the idea of Ink being creativity manifest.

Alternate Universes kind of kills that, and adds an element that might clash with the Cyberpunky setting we've already got.

>>12127649
>>12127681

They've always had the ability, but we had to progress to actual animation to do it from our end, clearly.

>>12127649

I agree, for different reasons. Sure, the existance of toons will have compelled scientists to seek an explanation for the phenomenon, and maybe toonpunk Earth is a little more scientifically advanced or open to new ideas as a result.

But theories should remain theories, otherwise we'll have to address incorporating dimension-hopping or reality-manipulation or some other themes into the game, which toonpunk isn't about.

Your stated theory would probably be one of many, with scientific camps butting heads with religious types, like the followers of the Hindu deities' newest Technicolor avatars.

Oh crap.

Gods in toon form. or worse...

Is religion vs government a good fit for toonpunk?

>>12126651
>>12126651
Here's an incomplete and poorly maintained list. This isn't all of them.
http://1d4chan.org/wiki//tg/_gets_shit_done

>>12127774

We HAVE mentioned that some Toons in the Toei Douga and related areas worship Tezuka as a god, but we haven't gotten into religion.

I would assume that religion has probably changed somewhat. It is possible that some Toons or Keys are worshiped as gods. And there's always Mark Merlino's Church of Toonology.

>>12127774
Or it may not have changed things much at all. There may still be fundie converts seeking to convert toons to their side, or whatever.

>>12125714
I personally like B alot more, in the previous thread the one who came up with it mentioned that A could lead to 2 different characters having the same classification.
His example was gundam pilots vs trunks, both are angsty moralistic teens so what takes precedent powerwise? I agree though that A does have some potential.

>>12125724
I LOVE this idea for combat. Combats need to be fluid and involve as little dice rolling as possible while still keeping each toons/humans abilities in check.

>>12128148

I agree with the combat. I think the ultimate problem with B is that we need to agree on types. If we can just boil cartoons down to classes that are different yet broad, we'd be gravy. We know that there's at least Slapstick.

>>12128148

Hgih Concept and the other Aspects would provide a framework for the character, his personality traits and whatever other quirks he might have and so the whole Aspects thing could be added to pretty much any other game system. Only mechanic besides fleshing out the character and providing plot hooks for both GM and player is that via the Fate point system you could earn Fate points and spend these by activating appropriate Aspects to gain a dice roll bonus.

I'm still planning to use M&M for ToonPunk, with the Aspect system as a cherry on top. Thereby you have both the crunch (combat stats, skills, powers) and the fluff (character concept, personality traits, quirks) that allow for an assload of customization. Even if you have the "angsty teenager with a strong sense of morality" High Concept, that would be only one of maybe seven or so other Aspects as well as any other game stats.

I don't know about you guys, but a map would be cool. Seeing where the MegaCorps are in control all over the world.

Like Disney is in Burbank, Warner Brothers is in Hollywood, Toei is wherever it is, and any other major International studios that we feel would be major players in this setting.

You know Dingo Pictures would be a great BBEG. A small criminal MegaCorp in Germany, known for Copyright Infringement.

Bump

I'm currently writing up a huge list of traits that are meant to be used alongside the action point system and for now the option B system. I will try to make it so that each trait could be easily carried over to anyother system that the GM wants.

Note: These aren't, and aren't meant to be, definitive nor are they meant to stifle roleplaying but I'm of the opinion that it's easy to take a crunchy system and roleplay it while it is very difficult to take a soft roleplaying system and make it appeal to the gamers.

Anyways hold tight, I'm not the fastest of writers so it should take about an hour to three.

Also BUMP

>>12129200
Awaiting with great anticipation.

I wish I could do more for the design, but my knowledge of various roleplaying game systems is pretty limited.

>bleorg It

bump

>>12129200

That's just freaking fantastic.

You are a gentlemen and a scholar.

I just came back from running a Primetime Adventures game, and I was hoping this thread was still around. I've been following and contributing in these threads since its birth, and this is exactly what I want to hear.

You need someone to run a playtest, though, you've got one (schedule permitting). Don't know if you'll need one, though.

Plot Reliant: The toon was designed around a single key plot point, loses 2 action points. Gains 4 action points when following the Plot
Plot Dependant: The toon was completely designed around a single key plot point, loses 4 action points. Gains 8 action points when following the Plot
Mary Sue: All actions takes one less action point than expected, to a minimum of 1. The character is capable of performing Impossible Actions. The character is hated by all other characters and is excluded from any other characters Plot that would allow aid or rescue.
Free Will: The Character is dropped to 1 action point forever, and may never gain action points as the result of any instance or ability, including the use of Fate points. The character ha Free Will just like a human.
Deviously-Clever Engineer: The character is capable of building complex machines and traps. The more complex the plan the more action points needed, and the more likely an enemies counter actions will foil it.
Physics-Defying: This character is capable of defying the physics of the world around him so long as the opposing enemy fails a Trope check. This character is incapable of understanding hard science physics.
Dramatic Flare (Yes it is meant to be spelled like that): The character is capable of making inciting speeches, dramatic challenges, and any other word play that is both over the top and dramatic. The character may impart action points on other characters, convince an enemy to surrender, confuse the hell out of an enemy, or convince an enemy to face him in a one on one challenge. All of the previous said actions only occur if the receiver fails a Trope check (Yes that's right, the buff doesn't go through if they pass their trope check.)

Flashy: The character has the ability to perform a single impossible feat so long as he spends all his action points on it. The character MUST attempt one flashy feat per combat, if said combat is over before the character can act then he must perform some kind of flashy victory celebration.
Stupendously-Stupid: The character is INCREDIBLY stupid and may only perform simple actions. The character may ignore (insert a number that seems balanced) of actions that cause damage to them.
Deathly-Lucky: The character takes double damage from every single action that causes damage to them. The character may come back to life (insert balanced number) times over the course of its existence.
Iron Will: The character is incredibly courageous and immune to all forms/ sources of fear. The character is incapable of running away from a combat of its own free will (Tactical Retreats count as running away)
Master of _______: The character is a master of something; when performing an action that includes said something they spend one less action point than required to a minimum of one. The character may not use the "opposite" of his something.

Cartoon Schedule: The character may finish a task in an incredibly unreasonable time-frame (Build a base in days instead of weeks, build a rocket in minutes instead of weeks, etc.). The task consumes the character and they may perform NOTHING else during that time. (If they are attacked while building a base they continue to work until the base is completely or they die.)
Bomb-Eater: The character is capable of ingesting explosives without suffering any harm. The character must fail a Trope check or must attempt to ingest bombs as a method of disarming them.
Squish-able: The character is capable of being crushed by an infinite amount of weight without suffering any damage, though they are flattened/accordioned/ etc. for a number of rounds based on how heavy the source was.
Speedy-Feet: The character is capable of running incredibly fast, so long as it is in a straight line and they spend a turn running quickly in place (usually in the air).
Scene Change: The character may instantly appear somewhere else in the world so long as they fail a Trope check. Others in the vicinity may also be brought along if they fail a Trope check. The character spends (insert balanced number) turns transitioning from one scene to the other.

Insane Presence: The character (Through one means or another) has an insanely powerful presence about them (Bleach/DBZ high spirit levels dropping low power people to their knees.) and any enemies who are caught in their presence must pass a Trope check or be stunned for a round, note that the character may spend all his action points each successive round to continue the effect (He's doing the evil walk towards everybody.) Note: The character may not perform any other actions while extending his aura.
Mook-Posse: The character is surrounded by a number of genre appropriate sub-characters who are killed by almost any attack or action that is directed towards them. All the mooks together may do half the damage of the original character, consider each mook an equal fraction for every other mook in the group.
Peppery Blast: The character sneezes back any gas/pepper/dust/ etc. in a hurricane of said material. The character spends all his action points doing it,
God-like Commentary: The character walks off the screen (In this case reality) and makes visual commentary of the event unfolding. The character becomes aware of any hidden enemies or traps, and may edit his reaction to an enemy attack or ability. The character may not step off screen more than once a Scene.
Benny Hill: The character is capable of getting enemies to pursue him through an impossible series of doors or exits so long as they fail their Trope check. Note: so long as a single enemy continue to follow them they will continue the chase unless they lead the enemy into a trap or if they find an Impossible Hiding Place. Other enemies react normally to them.

Impossible Hiding Place: The character is capable of hiding in a space drastically incapable of actually hiding them, enemies must pass a Trope check to notice them unless they also have Impossible Hiding Place.
Costume-Skin: The character is capable of literally taking off their skins and making themselves look like someone else. The character is also capable of changing costume instantly so long as no one can see them do it. The difference may be spotted if the enemy witnessed them go off and hide/ take off their skin if they also pass a Trope check.
Real-Looker: The character is a real looker. Other characters must pass a trope check or be entranced by the character. The character must spend all action points to continue the allure.
Bullet Time: The character is capable of slowing the entire scene down to a crawl. The character moves at half speed while everyone else who fails their Trope check move at a quarter speed (I.e. Everyone else's actions take 4 times as much action points while the character only takes 2 times as much.

STOP!!!!: The character is capable of stopping time altogether, except for himself of course; all enemies who fail their Trope check are incapable for acting for as long as the character continues the STOP!!!!. Note: The character may not harm anyone during the STOP!!!! but may position himself so that when the STOP!!!! is ended harm does occur. Characters who perform a STOP!!!! must use it as their reaction to an enemy attack destined to harm them if the STOP!!!! fails to stop whatever it was that was going to harm them.
Super-Robo: The character possesses a Super-Robo.
Real-Robo: The character possesses a Real-Robo
Samurai Slash: The character is capable of doing a quick blur like attack that leads to him facing the other way, away from his intended target. The target will take double damage from the attack. The attack requires all the characters action points and is completely ineffective if the enemy passes their trope check. After the slash has occurred the enemy may attempt to pass another Trope check and if so they only take half (so normal) damage due to them realizing that there was nothing special about the attack.
Doppelganger Spin: The character may grab hold of another character who bears some resemblance to the character and quickly spin them on the spot. Afterwards the other character is somewhat disguised as the original. Enemies must pass a trope check to discern the difference between the two.

Obviously they are all a little rough and they assumed a few mechanical things (I.e. Trope checks.) Obviously the final game would have way more, but I wished to post what I had to see if they were workable.

So how would these guys be statted. They're both toons and very VERY grimdark/cyberpunk related.

>>12131535
A) First off let me say that that movie fucking rocks.

B) Those toons would most likely come off as hyper-realistic toons and so would have stats almost exactly in line with a humans. The only difference between the two is that people can tell they're animated and they can't be toon augmented like humans can.

Note: Not all traits would be accessible by all Toon Types.

>>12131491

I think you've made a fantastic start. I like the idea of a Trope check, and I hope we can figure that out.

This was well worth the wait. Well done!

I hope we can get some comments going with this, because I am going to bed. I expect awesome things in the morning!

bump

>>12126574
>>12126596
Yeah, it is pretty stupid. You can roll with it and postulate elaborate alt-history Vietnamese animation studios and an alliance with Japanese terrorists, ignore it and create a more plausible explanation or go Kennedy Conspiracy.

President Mouse was killed over Vietnam? That is complete fucking bullshit and I don't care what the Dinkley Commission says. It doesn't make any sense! Somebody killed Bugs, then they killed Mickey! Who is next? Me? You?

>>12131474
>>12131466
>>12131460
>>12131454
>>12131447
>>12131437

Very nice! Eager to read more.

Shadowrun had an Esssence system for cyberware where, when your Essence reached 0, you turned into some sort of psychopathic monster. o you see the same happening to humans who invest too heavily into Toonware?

The only other drawback a low Essence had (as far as I remember) was that healing spells were harder to work on you. What drawbacks do you see for an increasing Toonware level? Does the person get more toon-like characteristics, like plot-susceptibility, failing logic faculties etc.?

Character Traits:
Brawn (Physical strength, fortitude, etc. because this setting is fairly realistic damage wise this is more to do with abilities than actual health since health is most likely pointless in a setting where MANY people can be one-shotted.)
Courage (Seeing a human being crushed into pancake goo isn't exactly easy to handle, I imagine checks are going to need to be made by humans to avoid negative penalties)
Trope Knowledge (Needs a better name) (Self-Explanatory)
Speed (Some people are strong, others are fast, and in a world where mallets are viable and deadly weapons I would say dodging has become a very prominent practice.)
Intelligence (Not sure on this one)
These 4 cover the most important areas, at least that's how I see it, for a human player. Intelligence might not be necessary as Trait Choices for Humans would probably cover what people would normally be knowledgeable about.
Toon Character Traits:
Ink Density (How is the Ink of the toon holding up? Is he a new toon, or an old toon? Has he been redrawn or has he been left to rot? All of these decide not only how powerful the toons antics are but also how much they can use their overtly toon abilities before needing to rest or before they put it to far and "Blank" themselves.)
Plot Diversity (The more plot diversity a toon has the more human-like they are. Plot diversity should be used as a way to keep the more zany toons in check. This is their out of combat interaction stat though it could also apply to certain role-play situations in combat.
Trope Knowledge (Same as the above, obviously the more toon you are the less Trope knowledge you have so the more likely you are to fail. I see these as something akin to the Knowledge/Intelligence/Charisma/Multi-Purpose ability checks that affect numerous toon powers and how they interact with humans.

>>12131615
Sorry I haven't posted more than >>12134173>>12131437
and all of those, I've been busy with other shit.

Anyways I'm just gathering my thoughts and should have a few more posts on the table within the hour before I hit the sack.

>>12134000
That all sounds perfectly reasonable actually. The more Toonware a human intakes the more he becomes like a toon.

In fact I would say that a human who has any Toonware gains a new stat from the Toon side: Plot, It starts out relatively high but the more toonware he intakes the lower it goes and soon he's failing checks only a loony-toon would fail.

Character Traits:
Brawn (Physical strength, fortitude, etc. because this setting is fairly realistic damage wise this is more to do with abilities than actual health since health is most likely pointless in a setting where MANY people can be one-shotted.)
Courage (Seeing a human being crushed into pancake goo isn't exactly easy to handle, I imagine checks are going to need to be made by humans to avoid negative penalties)
Trope Knowledge (Needs a better name) (Self-Explanatory)
Speed (Some people are strong, others are fast, and in a world where mallets are viable and deadly weapons I would say dodging has become a very prominent practice.)
Intelligence (Not sure on this one)
These 4 cover the most important areas, at least that's how I see it, for a human player. Intelligence might not be necessary as Trait Choices for Humans would probably cover what people would normally be knowledgeable about.
Toon Character Traits:
Ink Density (How is the Ink of the toon holding up? Is he a new toon, or an old toon? Has he been redrawn or has he been left to rot? All of these decide not only how powerful the toons antics are but also how much they can use their overtly toon abilities before needing to rest or before they put it to far and "Blank" themselves.)
Plot Diversity (The more plot diversity a toon has the more human-like they are. Plot diversity should be used as a way to keep the more zany toons in check. This is their out of combat interaction stat though it could also apply to certain role-play situations in combat.
Trope Knowledge (Same as the above, obviously the more toon you are the less Trope knowledge you have so the more likely you are to fail. I see these as something akin to the Knowledge/Intelligence/Charisma/Multi-Purpose ability checks that affect numerous toon powers and how they interact with humans.

Toon-Type in descending order of Toonyness and Action Points
Hyper-Realistic 10 Ap
Basic Anime 9 Ap
Western Action Cartoons/ Real-Robo 7 Ap
Toddler's Cartoons/ HanaBarberian Cartoons 5 Ap
Superheroes/ Super-Robo 4 Ap
Looney, Anime Superheroes 2 Ap

>>12134363
I almost lol'd at your "anime is realism!"

>>12134406
Comparatively speaking the stereotypical anime character from most comedys/hentai/ instert countless other genres/ is actually very human like and sucseptible to most forms of destruction that humans are. The only real difference is the Big Head syndrome and other such commone anime practices.

I do admit though that that one is difficult to place because it's the only one I see that doesn't have the same powerlevel as it does toonyness.
Based on toonyness alone I would say they drop down one and action cartoons and real-robo characters go up one as they are the ones who tend to be a little more like humans (If not a little over the top.)

Power level wise tho most anime characters would die in droves because not only are they killable by human means but they also aren't used to the concept of "main" characters getting killed so easily.

Anyways it's just tentative and I'm really tired so I'll be back tomorrow.

Anyways hope some others make some progress on it.

Request: I'd love to see some more of that lovely writefaggotry that we had in the the first thread. Some of that was freaking awesome.

Bumping with the remark that we could get a lot of inspiration from the Toon RPG by Steve Jackson games.

http://www.sjgames.com/toon/

I love you, /tg/.

>>12134173
Trope Knowledge = Genre Savvy. Since we've divided toons into the various genres they exist in, particular tropes will exist in some, but not in others. Failing the check results in them either still going along with the trope, or choosing the wrong trope for the situation.

i.e. A Looney Tunes-style toon thinks that puffing himself up to loom over a super-powered anime character will cause him to shrink away in fear because he failed his check. This of course, turns out to be wrong, and he gets pounded accordingly.

Here's a few more traits:
Ad'awwable: You are considered cute and cuddly. Why would anyone want to hurt a sweetie-poo like you? All toons and other humans within a 30 foot radius have to make a savviness/trope check or be unable to do anything but comment or gush over the you for x amount of time. (Not sure whether to say enemies can't attack you or not. Might be reserved for particular tropes, at the cost that they can't attack either)
Deadpan Snarker: You've seen it all. Or so you think. You get a bonus to Genre Savviness rolls, and can point out up to 3 of tropes per scene. (Not sure what happens when a trope is pointed out. Bonus to defend against it? Canceling it?)

bump

>>12136117
Parody/Homage Toon: You're a toon that exists to emulate another genre. You get bonuses to checks involving using tropes of the genre you're parodying/homaging, but you also are subject to weaknesses of both genres.
Off in Their Own World (Toon Wannabe?): As a human, you're somewhat...detatched from reality. You tend to think in more toonlike terms, understanding how they work. You get a bonus to using toon-tech and interacting with toons, but recieve a penalty when dealing with your own kind.

>>12134000

I wonder if ink-related disorders should relate directly to the sort of things you have implanted/use, and not just subtract from 'essence.'

Get gorilla arms, get a short temper, that sort of thing.

Also, what about toon 'sanity?' I watched WFRR again a few days ago and remember Maroon saying 'you break their heart, they fall apart like you or me' or something like that.

Where would the works of A. Wyatt Mann fit into this?

>>12136970
If they aren't animated, they aren't alive. So we don't have to worry about that.

Also, I love the "tropes as feats" idea. Keep going /tg/!

>>12137459
Idea: comics or drawings would be toons posing then some one taking a picture

>>12126297
Along this line of reasoning, what if the major cities were Hollywood, Tokyo, and Zagreb?

http://en.wikipedia.org/wiki/Zagreb_school_of_animated_films

>>12137551
Old, old, old idea. "Who Censored Roger Rabbit?" did this. A major plot point in the book was the fact that cartoon characters spoke in speech balloons. That provided the main clue in tracking down Roger Rabbit's murderers.

The anime characters are clearly the party tanks, because they love yelling about protecting people. The Tex Avery/Chuck Jones sort of toons are the utility spellcasters who can produce any prop or costume out of nowhere as long as it's funny. Disney characters would be the healers and wilderness experts (they can attract friendly critters with musical numbers.) Humans and very humanoid toons (King of the Hill, some anime, maybe the Simpsons and DCAU people) would be the diplomats and party organizers due to their relatively high attention spans.

>>12137650
Also, more adult-oriented toons (Aeon Flux, South Park, ATHF) would belike high-risk, high-reward spellcasters. They can achieve superhuman feats more reliably than the Tex Avery types, because they aren't limited by conventional joke structure, but they're much less durable because they can feel pain and be killed much more easily than any other toon (When they die, you have to wait until the next episode when everything resets.)

>>12137594

I could see Zagreb being a very large Eastern European MegaCorp, maybe even taking up the entire former Yugoslavia area and then some. Possibly the entire Eastern Europe region sans Russia or something.

Also, there's be smaller MegaCorps, of course. Cartoon Network Studios (the new official name of the Turner company) has carved out a large territory in the American Southeast, centering in Atlanta.

>>12134363

We might want to rename these to be something more general if possible.

I'd suggest going from Hyper Realistic to Hyper Unrealistic with suggestions and ideas on what goes where, but rating Toons on a scale of realism (something even photo-realistically drawn Toons can't quite achieve) would be rather silly.

So, I guess we're back to the original list. Oh well.

>>12138149
What if we have a scale from Hyper-Realistic to Hyper-Unrealistic and place the AP standard to that level. I.E. Hyper Realistic would still be 10 and Hyper-Unrealistic would still be 2.

After that the nature of the toon isn't decide by his genre type but through the choosing of the previously posted Traits. So

Example: Someone wants Bugs Bunny so they choose Hype-Unrealistic as their "Race/Class" and then choose traits that fit in with it.

Likewise we could put restrictions on the various traits stipulating that some may only be chosen by certain levels of realism.

Speaking of the Traits, why don't we create a genre classification for all of them? Just like DnD has conjuration, evocation, etc. Each one could have a modifier like Comedy, Action, or something else, and characters would have different levels in different Trope Knowledge.

>>12139458

So, there'd be a core type of toon, and the kind of way you express that core type, which determines what kind of art style you are?

That could work.

Also, thinking of writing a story about Ub Iwerks and Walt Disney set during the early days of Toons. Doing some research (and by that I mean Wikipedia reading, which I guess isn't much). I'll post it if I get a good idea of what I want out of it.

Lemme try writing some traits. Likely we'll need to do a lot of balance checking before the end.

Pipsqueak: You're tiny. Really, really tiny. You get a +(1/2 the value of an average ability score) bonus Speed, but a a -(1/2 the value of an average ability score) penalty to Brawn. In addition, you can move through enemy spaces.

Tap-Tap: You tap an unsuspecting enemy by the shoulder so he turns around, just as you smack him in the face. While next to an enemy who is unaware of your prescense, you can make a melée attack at twice the action point cost that does double damage. You automatically reveal yourself after the attack.

Sign Language: You cannot speak any language. Instead, you communicate through pantomime or by writing your messages on large signposts. During an encounter, writing a sign costs 2 action points (or no action points if the message is simply a comedic observation, such as "uh-oh" right before falling off a cliff).

I can see the four abilities (Brawn, Brains/intelligence/cunning, Speed, and Courage) being used both for checks and for defenses a la DnD 4e. Toon-specific ability scores can be tacked onto that if needed.

>aluazes Grimstone
I didn't know Captcha played Drakan.

>>12141899
Sounds good, for toons why don't we just add Plot and Ink Diversity?

I'm liking some of the traits people are coming up with, it's things like these that'll be needed to bring the game to fruition.

bump

>>12142511

What exactly would we mean by Ink Diversity?

>>12145095
First off whoops I meant to write Ink Density... Diversity was meant for plot.

I figured ID could be a sort of "Health/Powerlevel/Ability Gauge" for a toon. Like when a toon is first created everything they do is at 100% because their ink is still dense and new but as the toon ages or is forced to use more taxing Special Effects their density fades and their abilities are no longer at 100% anymore, unless of course they are redrawn.
It could provide another cost alongside the AP system to prevent toons from using STOP!!!! and other such abilities all willy nilly because the cost to their ink was so much.

>>12145257
So, to draw another 4e parallel, Ink Density would act like a way of regulating power use, so some can only be used once before recharging?

Sounds good, but I wonder if there's a better name for it/ way to explain it fluff-wise.
Perhaps it's dramatic pacing, where a Toon wouldn't use three Hyper Beams in a row because it would become repetitive. Or give it a utilitarian term like Energy or Power points.

Ink Density to me sounds like the Toon is about to unravel/becomes weak once they use up their abilities, which I don't think is the intention.

>>12145713
Actually I was thinking Dramatic Pacing (A good name for the effect actually) and Ink Density loss would both be in effect at the same time. Ink Density could be their "age" in a way except this age can be permanently extended with redrawings and slowly reduced due to overuse of high special effects. I don't know maybe that could just be a fluff thing instead of an ingame effect.

I do like Dramatic Pacing though and hope that once the balance stage is reached some of the abilities do receive something like it.

>>12146948
I like Ink Density as a fluff. It doesn't sound like a resource the player would need to manage in-game, but it could be something that goes on in the background, like am annual check-up.

Also cmon, guys. I know the writefags from the last threads are out there.

Sorry, busy studying for an exam, but once I got the time I'll post my adaptation for M&M/Dresden Files Aspect system here, if only as a way to reciprocate for the awesome ideas you other awesome Anons provided. I'll also make heavy use of SJ games' Toon as an inspiration and post the Toon characteristics as adapted to M&M as well.
Just rewatched Who Framed Roger Rabbit after 20 years, too, so the inspiration is strong in me.

>>12148363

Homework is a bitch.

Also researching the history of animation, to see if there's some delicious Alternate History potential.

I'll try to at least get something out by the end of the day.

So much about the image enrages me as I hate America and Disney. The only think Destiny ever did right was musical numbers and teir new movies don't even always have those.

bump

>>12150335

ah crap. bumped too soon. Sorry, Europeanfag here.
Anyways, do you see toons à la Bugs Bunny and Micky Mouse having any other weaknesses besides Dip and a certain toon-trope susceptibility?

>>12150349

Not really.

A Toon like that is made to take shotgun blasts to the face and high velocity falls and keep on coming.

More realistic Toons can be killed by more conventional methods, though.

Also, incoming writefaggotry. Going to copy and paste what I wrote on my iPod (some was written before the freeze, and you will know what), and when I catch up, I'll use the desktop.

"You stay here, Roy. I'm going to go talk to Ub. If anything happens while I'm up there, you go to the police, understand?"

Roy nodded, as Walt entered the apartment building. The landlord told Walt that yes, Ub was in, though he hadn't seen him leave in a day. Walt told him that he was probably drawing, which led the landlord to make a joke about starving artists. Walt laughed and went up the stairs.

He won't be laughing for long, Walt thought to himself. Things were going to be different around here, he could feel it. Nobody was going to call Walter Elias Disney a starving artist any more, nosiree!

But there was more important business to attend to. Ub was in trouble, or so the panicked message he got seemed to say. Walt feared for the worst. Ub was his best friend, the man he had worked with for many years now, ever since they were just making art for ads. If Ub were to be lost, all of Walt's plans would come to naught!

Walt knocked on Ub's door.

"Ub? It's me, Walt. Can I come in?"

The door opened slightly, showing only the tiniest sliver of Ub's eyes.

"Walt? Thank god! I've got something to show you."

Walt smiled. "With all this excitement, it had better blow me away, Ub."

Walt's smile faded as he saw the doorknob tremble against the force Ub was holding it slightly shut.

"I don't know how you're going to feel. All I ask is that for right now, you don't tell anyone."

Walt put his hand on the doorknob.

"Ub, please don't tell me that you killed someone."

Ub humorlessly chuckled.

"I didn't. I brought something to life."

Walt's face took on a grim look.

"Ub, you're scaring me here. You sound like you've become Dr. Frankenstein or some--"

Ub swung open the door, pulling Walt inside. Ub locked the door as much as he could, and backed against the door. Walt saw a fear in his eyes that he had never seen before.

"Ub?"

Ub took a few deep breaths, and ignoring Walt, began reciting something that sounded like it had been practiced for a while.

"I was drawing, Walt, doing the redesigns for the Oswald character. It was pretty late, but sometime during the day I just felt this rush of inspiration! So, I was sitting down and drawing, when I made this one picture. You should have seen it, Walt, it was perfect! I felt so happy, so relieved, and then there was this ringing noise in my head, I can't really describe it, it sounded like--"

"Like a beautiful bell chiming, right? Just this wonderfully pleasant sound?" Walt interrupted.

Ub stopped his speech and fumbled with his words a bit.

"Y...y...yes! But how did you KNOW that?"

Walt dug into his pocket and pulled out an apple.

"Because of this, Ub. Here, take it."

Walt tossed an apple over to Ub. Ub caught it, but couldn't understand why it was so important.

"It's just an apple, Walt."

Walt grinned. "Look closer."

Ub examined the apple, and realized how incredibly red it was. It was smooth, it was vibrant, it had the perfect stem remnant, with a little deep green leaf. It looked so juicy, it--

Ub then realized why the apple mattered. It wasn't a real apple, in any sense of the word. This a drawing given life, a third dimension.

>>12150349
Yeah, as I see it, exaggerated toons have physical freedom but strong behavioural restrictions, but realistic toons have behavioural freedom but strong physical restrictions.

"I was sketching the other day", Walt began, using Ub's speechless shock as a springboard for his own tale.

"I was sketching, and I made a little animation of an apple rolling. I focused as hard as I could into it, and I heard the same thing you did, or something like it."

Ub kept staring at the apple.

"Lilian was there when the apple fell out of the paper. I've gotta say, Ub, she took it a lot better than you did!"

Walt laughed, hoping it would get Ub smiling. It didn't.

"Anyway, I got to work on making more stuff. I kept it small, only making apples. It was hard at first, but it got easier and easier. Lilian said she might as well make a pie with them, and then this happened."

Walt took out a penknife from his pocket and quickly stabbed the apple in Ub's hands. The perfect apple burst into thick, black ink.

"Walt!" Ub yelped as his hands became full of ink. Walt burst into laughter.

"This isn't funny, Walt!" Ub yelled as he frantically wiped off the ink.

"Sorry, Ub", Walt said in between laughs, "but the look on your face was worth it!"

Ub sat back down, glaring at Walt.

"I said I was sorry, Ub. The point was that the things I made weren't the real thing. They were just made out of ink. Hugh and Rudolf's creations were the same thing."

Ub stopped wiping his hands and said, "Hugh Harman and Rudolf Isling? Them too?"

"They told me earlier this week", Walt said, offering a hankerchief to help Ub clean, "Hugh says everything goes silent when it happens. Rudolf says everything turns black and white for him. Rudolf went as far as making a piano!"

Ub nervously chuckled.

"Come on, Ub, tell me. What'd you 'bring to life'? An ear? A hand?"

Ub didn't answer. Instead, he got up and unblocked his bathroom door. Walt hadn't noticed that he did that.

The door opened, and a long eared black and white bunny rushed out.

All Ub said was, "I made Oswald."

Man, I just did some Walt Disney writefaggotry, and now I've got to wait until this guy's done.

Not that I mind. Loving it so far.

Walt seemed to choke on air upon first seeing Oswald, walking into the room in his cartoony way, examining the area around him with a friendly smile.

Ub took the moment to snatch the penknife away from Walt, and dashed up to Oswald, ready to stab. Walt, however, wasn't too deep in shock to stand still, and grabbed Ub's hands, and held him down.

"Ub! Ub! What the hell do you think you're doing?" Walt cried, using all his strength to prevent Ub from cutting Oswald to ribbons.

"This isn't right, Walt! We can't just go around doing this kind of stuff! What if someone gets hurt?"

Walt, still holding Ub down, responded, "Ub, it's Oswald, not a monster. I'm going to prove it to you. Just give me the penknife, and you'll see."

Ub struggled a little less, but said, "I don't want to see you getting killed, Walt."

Walt smiled. "Just trust me. You've been able to trust me before, why not now?"

That was all it took for Ub to stop fighting and give Walt the knife.

Walt let Ub go, and slowly walked up to Oswald, and bent down on one knee.

"Hey there, fella. You must be Oswald, right?"

Oswald blinked for a moment, then nodded his head.

"I'm pleased to meet you, Oswald! My name's Walter, but you can call me Walt! I'm a friend of your father."

Ub wanted to scold Walt for talking down to him, but fear kept his voice silent.

"Sorry that your father didn't treat you very nice", Walt said, extending his hand, "He was just a little scared. I guess we all are. But can we be friends? Just a handshake will do."

Oswald looked to Walt, then to Ub. He smiled, and firmly grasped Walt's hand and shook it up and down.

Walt looked back to Ub with a proud gleam in his eye.

"What did I tell you, Ub? He wouldn't hurt a fly!"

Ub crept up to Oswald, and slowly held out his hand, only for Oswald's arm to stretch far beyond what his arm should be able to reach. Oswald grabbed Ub's hand, and shook it vigorously.

Ub gasped.

"Calm down, Ub", Walt said, "It's a gag. We drew him to do that."

Ub looked at Walt, still in a state of disbelief. "All right, Walt. Nice to meet you, Oswald!"

Ub put on as genuine of a smile as he could as the two continued to shake hands. He saw the look on Oswald's face, this sheer amount of joy that could easily be seen, and he wanted to cry. He drew that. He really did.

Walt nodded his head as they shook hands. "You know, I think this is the start of a beautiful friendship."

The moment was cut short by a pounding on the door.

"What's going on in there?"

Ub recognized that voice. It was the landlord. He must have heard the scuffle, and expected the worst.

"Walt? Walt, we heard some fighting! The whole floor wants to know!"

Ub knew that was Roy. Somehow, he knew Walt wouldn't have come alone like he had asked him to. Still, things seemed to have turned out all right.

"Come on, Ub", Walt said as he walked to the door, "Let's show them."

"What?" Ub yelled, "You can't just show them this! They won't understand!"

Walt responded, "I think Universal will understand when they realize the big bucks they'll get! A real live cartoon, Ub!"

Ub stepped in front of Oswald.

"You want to use him? Put him on film?"

Walt grabbed Ub by the shoulders.

"Ub, Ub, Ub. This is it", Walt whispered, "This is our golden opportunity. You, me, Hugh and Rudolf? We have this ability now. We should USE it."

Ub began to protest when Walt continued, "You think we're the only ones who can do this? How much do you want to bet that it's not even just here? What about, what about, in China or England, or Russia? We've got to strike while the iron is hot, Ub!"

Ub looked at Walt right in the eyes and said, "We're not gods, Walt."

Walt smiled. "I know we're not, I don't even know why you said that. All I'm saying is that if we have a gift, we should use it. We show your floor Oswald, we drive out of here, and tomorrow, we go to Universal. We'll take it one day at a time from there."

Walt looked over to Oswald.

"Besides, I think he wants to go, too. Don't you?"

Oswald nodded.

Walt turned back to Ub.

"All I need is your support. Just trust me one more time."

Ub sighed.

"Let's go, Walt. But I want you to think about this. We open that door, and we may change things forever. Are you prepared for the future we might bring?"

Walt let go of Ub's shoulders and took Oswald's hand.

"I'm absolutely sure. We can do this."

Ub took a look at the two holding hands. There was a moment of silence. Then, he reached for Oswald's other hand.

"Open the door, Walt."

Walt nodded, and the crowd saw.

Despite what the MegaCorps may tell you, a Runner, Toon or otherwise, never forgets that it all started with a Rabbit.

>>12151648

Bravo, good sir.

>>12151706

Thank you. I had been frantically F5ing 4chan to get this story out. I'm just glad the thread didn't die.

Also, I was going to do a story about Gertie the Dinosaur and the absolute hell Windsor McCay went through being the (possibly) first Key, but I always liked Ub Iwerks, so I wrote about him and Walt.

Besides, if anyone started the MegaCorp idea in ToonPunk, it's pretty much Walt Disney. If anything the other Corps probably got that way to save themselves from him and his ruthless corporate policies.

A trait I came up with, ignore if it's a copy:

Spanner In The Works: This character tries but fails to be a serious threat;instead, he simply stumbles through his life while accidentally completely derailing the BBEG's plans along the way. If ever an enemy loses a Trope check to a character with this trait, he and every enemy within X feet are immediately slain as the character stumbles through their carefully laid defenses, killing the enemies with their own traps, and the like.

bamp for more toonpunk.

Never thought ED would ever provide anything useful aside from information about drama.

Also, excuse my weak writefaggotry. It's been a good long while since I've written anything story-like, and it's late (Crits would be nice, though).

Toons. They say that when they fall in love, they fall in love /hard/. Now, normally, I don't care about them, but...I started to when my friend Alex started to obsess over one. A miss Mallory Mouse.

I'd come by and see pictures plastered over his bedroom walls of her. Mostly commissioned by shady artists willing to do so for high prices. He even talked about trying to meet Mallory in person...I told her that was a terrible idea, and he'd probably get thrown in jail for being a borderline stalker. Or getting beaten down for even wanting to associate with a toon like that.

That's when he had an idea...he'd go find a key to draw a copy of Mallory for him. So he did. Paid ten grand for a key to draw her for him. Had to be done in Alex's house, of course - 'spare' Keys can't be caught dead tooning out in the open.

I stood behind them, watching. Waiting for her to spring out of the page. Alex grinned with glee and anticipation for his new girlfriend to spring out and hug him. Me...I was sweating, and ready to bolt out the door if shit went wrong. But it didn't. Mallory pulled herself out of the page that was put on the floor when the key was finished. Alex held her close, and she smiled. It was actually touching. I smiled, and left when I felt that things weren't going to go south.

It didn't for a while, but then...things started to change for the worse.

>>12152191
It had been three months since he and 'her' got together. Alex had become more distant to me, and everyone else human in his life, only spending time with her doing God knows what.

Mindy was everything to him...he practically bent over backwards for her, just so he could live out his dream of being with her. I told him that he was a fool for doing this, that a human and a toon would never work out...but he wouldn't listen. Whatever she did for him...she had him hooked.

Now, I'm an artist. I can't animate worth a damn; but I know when colors run. How ink dries, how much graphite or ink to apply to get the type of image I want.

She started to drip as time went on. Blotchy, black marks on the ground as she moved. Her colors started to smudge, almost as though she were starting to melt. He eventually had Mindy just stay in the house, thinking that it was just the sun doing it. Not that he had any business being out with her in the first place.

I could feel the stares from the people around me when I was with the two of them. Sent shivers down my spine like you wouldn't believe.

Alex started to change too. His skin started to brighten, looking like an animation cel. His human ears disappeared, replaced with ears that looked like whatever species she was...eventually he...just wasn't human anymore...in personality, looks...anything.

He was some human-toon....thing!

>>12152223
Eventually, they just stayed at home. Alex had already been cut off from his family when they found out in the first place that he was with a toon. I'd still try to check up on him, though...especially now that HE was starting to run, and fade, just like Mindy was...and even more quickly.

Until today...when I saw the door open to his apartment. I dreaded to see what was going on.

I slowly opened the door, sweating and tense. "Maybe he just forgot to close it fully," I thought. "After all...he had been acting more like a toon these past few weeks, with making stupid mistakes, and not following human logic."

They were kissing each other...and melting into the carpet. I probably screamed loud enough the whole city could hear me. My mind raced, trying to process what was going on.

"ALEX! ALEX! DAMN IT ALEX, SAY SOMETHING!" I tried to call to him, but he didn't respond. Neither of them did as they fell apart, into an amorphous blob of ink on the carpet.

I fell to my knees as they slowly became a puddle, placing my hands on my face, starting to cry.

I could hear police sirens a while later as I stood near the inky puddle. I had heard of cheap toons never lasting that long...but, someone who was a human...doing that too?

...the scene still gives me nightmares.

>>12152223
Ink Poisoning is a hell of a way to die.

I just realized something. With toons like Marvin the Martian walking around, space travel is going to be a lot easier. Not entirely sure if this is the direction we want to go with this, but space stations and moon bases could become very popular.

Walt's death shocked the world. In the blink of an eye, the American icon of imagination and entertainment, and saint among Toons, was taken away. Some say they expected a crazed gunman or enraged Toon would be the end of him. No one expected something as innocuous as lung cancer to kill this king among men. 

Roy Disney assumed ownership of the corporation and continued work on the theme parks. A national holiday was created in his honor. Life went on.

But when legends die, myth bubbles up to fill the vacuum. Numerous theorists connected Micky's assassination years later with Walt's sudden disappearance. A sect of fanatics believes that Disney was the second coming of Jesus Christ, and Judgement Day's signs can be seen in the increasing chaos of the world following the arrival of the Toons. And a growing band of UFO believers think he was abducted and dissected by a species of Toon-like aliens, trying to harness the Key's power for themselves

But the largest theory by far, and the most common among the Toon population, is that Walter Disney is not dead or gone, but merely sleeps. The King in the Mountain. Hidden away from the world, until his country, or his people, truly needs him the most.

>>12152476

I think we've sort of come to the conclusion that ToonPunk in the modern day is more futuristic than now. It's just that the future tech would be more cartoony. That's not to say you can't have something that looks like it came out of Shadowrun (or even our own future), but I'm sure most of the future tech is ToonTech.

>>12152727
Considering the setting though, I'd think future tech is mostly human tech, as most humans use it, and often, Toon tech would be near impossible for a human to fix, and would be often unreliable due to plot/when it's funny restrictions, etc.

Speaking of that, here's another trait:
When it's Funny: Sure, you can get out of those handcuffs right now, but would it be funny to the audience if you did? Toons have to take a penalty to complete a particular action if they fail a trope check (or at DM's discretion).

>>12152806

Good point.

Would we assume that human future tech carries on as normal, with an emphasis on wireless and faster Internet? And future weapons, just with Dip?

>>12152806
Instead of being a trait, that could be the function of a toons Plot stat. Like if the toon attempts to do something that the DM sees as being way un-toon like than he could make them take a Plot check to see if they can do it or not.

>>12152867
I was under the assumption that the setting was set in the 2000-2010 range. Though if tech did advance it would advance the same logical way except with a few technologies invented around defeating toons.

>>12152898
Now I'm imagining a guy in a flameproof suit going around torching insane toons with a flamethrower (as what makes dip is flammable)

>>12152898

The thing about ToonPunk is that you can set it in almost any time after 1914.

But yeah, for now, let's just say the default time setting is 2000-2010, which would be a mix of the afterglow of the 90s followed by a harsh reality check as all the MegaCorps end up in serious trouble.

>>12152980
Sounds good.
Can we assume a Toon has set foot on the moon by this time?

>>12153375
We can assume that countless BBEG toons have set up on the moon, seeing as it's their "secret base". I would go so far as to say that the moon has properly seen 3-4 different wars where the various BBEG facions have blasted each other to smithereens in an effort to keep their base a secret.

>>12153671

Or more likely, the moon has became a popular tourist destination.

You know you want to go to Experimental Community of Tomorrow: Sea of Tranquility.

Or Universal Studios South Pole–Aitken Basin.

bump

>>12155229
So, we're of the mind at this point that anything and everything is a tourist attraction in this setting? The only way to hide the true nature of the world is by distraction?

I like it.

>>12157366

Bread and circuses, man. These are Entertainment MegaCorps, after all.

bump