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Message: <blockquote data-quote="clearstream" data-source="post: 8330112" data-attributes="member: 71699">Thank you! My own recollections are incomplete. I do recall a session where we had (in rl) sake and were challenged to compose haiku.What followed for us was risk of loss of face, chance to gain status (might have been temporary) and narrative opportunities (assassinations at the tea party and such like).It was slow. Slightly mitigating is that the bonus felt very meaningful as it gave you a small buffer (allowed you to go to negative HP) and applied to all abilities attached to your class. It's funny how that presaged 5th, given the +1 to +6 scale that Bushido used. Our focus was often more on gaining special moves - okuden, right? - for our fighting styles. Seeking out teachers drove pleasant narratives (and again, social skills came in strongly there.) I liked the lethality: it never felt like a fault to me.Good pun, highly forgiveable. On point, one might say.For me also the game was evocative. Possibly it only works when your GM has really gotten into the time and culture. Maybe now one would also need to consider cultural appropriation (or at least reflect on if Bushido is an honest representation that Japanese people would feel a positive use of their history.)Chances are, yes. FGU games were like that. Very detailed. Felt true to material. Mechanically baroque and we have better methods available to us today. Bushido itself had some elegant mechanics, e.g. if roll showed a 5 or 0, crit. (IIRC?) Reading it now, do you feel the concepts of play of Bushido could be retrieved and reformed?</blockquote>

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