3Estory engine editionThese third edition game rules are part of the Story Engine Roleplaying System.

Precis Intermedia Presents

©2008 Precis Intermedia. All rights reserved. genreDiversion. Unbidden & Forsaken, Iron Gauntlets, Atomik Add-Ons, Atomik Magick, Atomik Grimoire, Active Exploits Diceless and Story Engine are trademarks of Precis Intermedia.

Disposable Heroes is a registered trademark of Precis Intermedia.

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table of Contents

Written and Designed byBrett M. Bernstein

Contributions byChristian Aldridge

Jerry Linscott Greg Porter Mark Bruno

Special Thanks toGreg Porter, Phil McGregor, Chris Nason, Jerry Linscott,

Doc Halloween, Garry Froehlich, Clash Bowley, B. Charles Reynolds

Unbidden & Forsaken Created byMark Bruno

Brett M. Bernstein

Cover Art byScott Harshbarger

Interior Art byScott Harshbarger, Chris Martinez, Paulo Italo, Rudolf Montemayor,

Butch Mapa, Jason Walton, Tony Perna, Rick Hershey

Introduction � � � � � � � � � � � � � � � � � � 4 1 Characters � � � � � � � � � � � � � � � � � � � 7 Building Characters � � � � � � � � � � � � � � � �9 List of Pursuits � � � � � � � � � � � � � � � � � � �14 List of Gimmicks � � � � � � � � � � � � � � � � � 17 Optional: List of Drives � � � � � � � � � � � �22 2 Scenes and Tasks � � � � � � � � � � � � � 25 What is a Difficulty? � � � � � � � � � � � � � �27 Active and Passive Tasks � � � � � � � � � � �28 Optional: Using Experience � � � � � � � � �29 Damage and Abatement � � � � � � � � � � �30 Armor and Padding � � � � � � � � � � � � � � �31 Common Sources of Damage � � � � � � �32 Optional: Exploits � � � � � � � � � � � � � � � �32 Task and Damage Reference � � � � � � � �34 3 Physical Conflict � � � � � � � � � � � � � � 35 Movement � � � � � � � � � � � � � � � � � � � � � �36 Terrain � � � � � � � � � � � � � � � � � � � � � � � � �37 Ranged Combat � � � � � � � � � � � � � � � � � �38 Close Combat � � � � � � � � � � � � � � � � � � �39 Other Actions � � � � � � � � � � � � � � � � � � �41 Random Combat Calamities � � � � � � � � �41 Impacting Combat Tasks � � � � � � � � � � �41 Optional: Weapon Gimmicks � � � � � � � �42 Optional: Combat Exploits � � � � � � � � � �43 Weapons Reference � � � � � � � � � � � � � � �45 Movement and Combat Reference � � � �46 4 Directing the Stories � � � � � � � � � � � 47 Common Difficulty Values � � � � � � � � � �48 Character Development � � � � � � � � � � � �52 Health and Meters � � � � � � � � � � � � � � � �53 Scaling Elements of the Game � � � � � � �55 Advanced Hit Locations � � � � � � � � � � � �57 Extras � � � � � � � � � � � � � � � � � � � � � � � � �57 Gimmicks � � � � � � � � � � � � � � � � � � � � � �58 Scaling Reference� � � � � � � � � � � � � � � � �60

5 The Art of Magick � � � � � � � � � � � � � 61 Etherial Energy and Umbra � � � � � � � � �62

The Schools of Magick � � � � � � � � � � � � �62

Magick Calamities � � � � � � � � � � � � � � � �66

The Methods of Magick � � � � � � � � � � � �66

Magick Tasks � � � � � � � � � � � � � � � � � � � �68

Optional: Magick Gimmicks � � � � � � � � �68

Expanding Magick � � � � � � � � � � � � � � � �69

Optional: Magick Exploits � � � � � � � � � �70

Magick Reference � � � � � � � � � � � � � � � �70

6 Vehicles � � � � � � � � � � � � � � � � � � � � 71 Vehicle Essentials � � � � � � � � � � � � � � � � �72

Vehicle Weapons � � � � � � � � � � � � � � � � �73

Common Sources of Vehicle Damage �76

Vehicle Tasks � � � � � � � � � � � � � � � � � � � �77

Vehicle Conflict � � � � � � � � � � � � � � � � � �77

Random Vehicle Calamities � � � � � � � � �79

Optional: Vehicle Weapon Gimmicks �80

Optional: Vehicle Exploits � � � � � � � � � �81

Vehicle Weapon Reference � � � � � � � � �81

Vehicle Reference � � � � � � � � � � � � � � � �82

7 Bestiary � � � � � � � � � � � � � � � � � � � � 83 Monster Essentials � � � � � � � � � � � � � � � �84

List of Monster Gimmicks � � � � � � � � � �85

Monsters, Animals, and Threats � � � � � �87

Completing Monsters � � � � � � � � � � � � � �87

8 Conversions � � � � � � � � � � � � � � � � � 91 genreDiversion i � � � � � � � � � � � � � � � � � �92

Iron Gauntlets � � � � � � � � � � � � � � � � � � �92

Story Engine Classic � � � � � � � � � � � � � � �93

Going Diceless with Active Exploits � � �94

9 Unbidden & Forsaken � � � � � � � � � � 95 Blank Sheets � � � � � � � � � � � � � � � � 124

Introduction3

GENRE diversion

preface

Stop with all the new game mechanics already� We’ve got enough systems� That’s what most readers are thinking right now� Game design is an evolving process, however� The original genreDiversion rules were a melding of our Xd6 and Active Exploits Diceless mechanics� They were simple and quick-playing, but pretty much stood alone with little compatibility for other game rules� The next incarnation, genreDiversion i, not only added compatibility with Active Exploits Diceless and Iron Gauntlets, but was a lot more flexible, customizable, and modular� genreDiversion i served its purpose well, but gamers requested that the next generation of rules added scalability, tougher characters, and even more flexibility. Thus, genreDiversion 3E is born. This new system shares the basic foundation of the GDi version, only with more focus on character ability over skill and the direct augmentation of tasks with experience� Combat is even faster since it drops one mathematical step, yet can be expanded with options that add new dimensions to play, such as weapon gimmicks and task exploits� The biggest difference, however, is probably that rolling higher is now better; in fact, difficulty values are ten greater than their GDi counterparts� This universal handbook is also much larger than its predecessor� I would have preferred to have kept it just as short, but I feel that the new features and advice are necessary to get the most out of the mechanics� Ultimately, this set of rules is the most versatile yet, and I have faith that it will provide the experience that both existing players and newcomers crave�

Introduction 4

3EIntroduction

Storytelling is one of the oldest living traditions, continuing today in the form of theatre, literature, television, and film. Roleplaying games evolved as a distinct form of storytelling by piecing together tales decided on the outcome of dice rolls and choices made by players. This book approaches the multi-authored game format in its own unique way.

These rules are designed to be universal, which means that they can be incorporated into just about any setting or era in which a story takes place. From sword and sorcery to modern mysteries to science-fiction adventure, the various elements are intended to be modular and flexible, so that they can be molded to a desired state. Veteran gamers will find a mix of both familiar elements and new techniques that combine, allowing custom settings and options. Those new to the hobby are presented with a set of rules that are easy to learn, while providing the flexibility that allows the game to expand as their experience with it grows.

Getting StartedThe mechanics of this game were built for ease of

understanding and optimized to run quickly. The following elements are basic to any game.

DiceTwo six-sided dice are used to resolve most actions in

this game. No other type of die is required, although having more than two dice is convenient.

MathA minimum of mathematical calculations are used to

resolve some situations, typically confined to addition and subtraction. When a fractional value results from a division, it should be rounded down unless otherwise noted. If a value is rounded to zero, consider it a one instead.

MiniaturesMetal, plastic, or paper miniatures can be optionally

used to represent the placement of characters, objects, and monsters involved in the game. Miniatures should be designed for the 25mm or 28mm scale, although 30mm is also compatible.

SettingThese rules are designed to be universal, which means

that they can be incorporated into just about any setting or era. A sample setting is provided with this book to illustrate how to customize the rules. The easiest form of play is basing a story in modern day, since players would be most familiar with their environment rather than an unusual fantasy world. Easy does not necessarily equal most enjoyable, however, so a custom science-fiction or medieval story could be built by using one’s imagination or borrowing from existing novels, films, or other games.

Getting TogetherThis game requires two or more participants, although

three to five are recommended. While all participants work to unravel the continuing story, one is directly responsible for the content presented. The following elements define the roles of the participants and the nature of the game itself.

The DirectorOne player assumes the role of director, sometimes

called the gamemaster, referee, or judge in other games. This player has the responsibility to advance the plot, project the proper atmosphere, and assume the role of extras, monsters, and villains. The director essentially sets the stage for the players, just as his theatrical counterpart does for a play or movie. Being a good director is just one key to an exciting game.

Introduction5

GENRE diversion

The CharactersThose not taking on the mantle of director portray

the primary characters in the game, typically the protagonists. A player draws on his character’s abilities, training, personality, and background to bring the role to life. This is no different from performing in theater, except that each player picks his own lines in an improvised manner. A little creativity goes a long way and the more experience one gains in roleplaying, the easier it gets. The characters are yet another important element required for play and can develop through the course of the game, becoming even more personalized and interesting.

StoriesA roleplaying story is just like a novel. It encompasses

an entire series of events, starting with an introduction that prepares the characters (and the players) for what is yet to come. The story then presents a crisis or motivational element for the characters, building tension and summoning them to action. A series of minor crises typically occurs at this point, finally building to the height of tension and dilemma. Finally, the denouement is reached, quickly diminishing the tension and resolving all the loose ends.

Each time players meet to immerse themselves in the game, they are either participating in a single episode (chapter of the story) or a complete story. The difference is whether or not the players intend to continue the same story at another time. A series of episodes combine to form a story; this is often referred to as a campaign or saga. If the players intend to participate only once, the story can be completed in a single episode; this is typically referred to as a one-shot game.

During play, scenes are further compartmentalized sections of the story. Scenes can represent both abstract passages of time and structured sequences involving measured turns. Scenes and turns are further covered in Chapter Two.

Getting Things DonePlayers can normally do whatever it is they desire in

a game by way of their characters. Not every action is guaranteed, however. It would be quite unusual for a character to turn on a light by throwing a rock at the switch, for example. In order to adjudicate special actions such as this, characters consist of certain elements that define their capabilities. This measure of a character makes it possible to quantify his chances of

What is the Story Engine?

Story Engine™ originated as a set of revolutionary roleplaying rules for a game called Maelstrom Storytelling™ back in 1996� The mechanics focused on adjectives to describe characters and the resolution of whole scenes rather than individual turns� A second edition of the mechanics in the form of a universal rules manual, took the moniker of Story Engine for the very first time. This second edition of the Story Engine rules refined the mechanics and was critically-acclaimed for its narrative, cinematic, and story-building nature�

That was the classic edition of Story Engine� Now, we look to the future with an all new edition on the horizon (it may even already be available if you are reading this book after its release)� The third edition of Story Engine is much more than its predecessor� It is no longer just a scene and adjective-based set of mechanics� It is now used as a foundation of game mechanics that can be molded for different uses, of which genreDiversion™ Third Edition is one such application�

genreDiversion is designed to be inexpensive, very easy to learn, and quick-playing for a conventional roleplaying experience, so this application of Story Engine focuses on those qualities. The game is compartmentalized in a series of scenes� Some, as with classic Story Engine, can be narrated by the players, while more focused scenes require detail on a turn-by-turn basis� genreDiversion does not wholly utilize adjectives to describe characters, but the mechanical aspect of Story Engine’s adjectives are represented numerically and other components are greatly simplified.

This new edition of the genreDiversion mechanics is also built to accommodate the use of miniatures during play, something that the classic edition of Story Engine is incapable of doing� Add metal or plastic miniatures, or even our low-cost Disposable Heroes™ paper miniatures, to track the placement of characters in a melee or fire-fight.

For those already accustomed with classic Story Engine, some elements of this game may seem familiar:

• Abilities are similar to aspects; while their names are different, their function is the same�

• Gimmicks are essentially gift affinities, while pursuits are almost identical to trait affinities.

• Health has a greater scope, but functions in a similar manner�

• Experience takes over the role of story points.

• Difficulty ratings and values determine the odds for dice rolls just like the hard rate and target numbers�

• New gimmicks can be created and applied to characters, vehicles, and objects as if they were descriptors (although they cannot be burned)�

Introduction 6

success when attempting to do things outside of normal activity or when pitted against another character in a direct contest.

AbilityAbilities are used as a base for determining how well a

character can typically perform in a given situation.

PursuitsPursuits complement abilities, as they encompass

specialized training and knowledge.

TasksWhenever a character attempts to do something in

which success is not guaranteed, such as firing a gun at someone over distance, a roll of the dice can be made to determine the outcome. This roll, or task, is added to the numerical rating of the character’s most-appropriate ability and the bonus from a relevant pursuit (if available). When this total value is equal to or greater than an assigned difficulty rating, the task succeeds.

ExploitsAs an option, particularly successful tasks can be

exploited. That is, a character can perform special stunts or maneuvers to take advantage of his success, often gaining the advantage over opponents or additional insight into situations.

Appropriate ElementsBecause a wide array of game terms are utilized,

they are organized into several classifications to make them more manageable. Many are key to specific genres, and may be completely inappropriate to others. It is the director’s job to filter what can and cannot be used for the story that he wishes to tell. A series of genre icons are provided to assist the director in making his selection. There are four, each representing a different period in civilized development. A fifth is also provided to represent universal compatibility. When a game element is marked with one of these icons, it is especially useful for the designated era, and less likely to be possible in other eras, though not impossible.F Fantasy era; sixteenth century or older

Medieval, Biblical, and Roman settingsA Antique era; seventeenth to early twentieth

centuries Victorian, World War I, Wild West, and Pirate settings

M Modern era; twenty to early twenty-first centuries World War II, Cold War, Espionage, and Cyber settings

X Future era; beyond the twenty-first century Science-Fiction settings

f Universal; common to any era

CompatibilityThose familiar with older versions of this system

probably know that a certain level of compatibility has always been maintained with related games and mechanics. This tradition continues with guidelines for working with the following product lines.

Changes from genreDiversioniCompatibility has been maintained between this

and the previous incarnation of the genreDiversion mechanics. While a slight conversion of numbers is required, it is nothing complicated or cumbersome.

Active Exploits DicelessThis system can be made completely diceless by adding

on the Active Exploits Diceless rules. Some on-the-fly modification is required when performing tasks, but the provided tables make it quick and painless.

Iron GauntletsIron Gauntlets can be played using these rules with

only a minimum of adjustments that can be made on the fly. Some elements described here, like exploits and health thresholds can also be adapted for use with Iron Gauntlets’ mechanics.

Other SystemsFor compatibility with other systems, such as the

upcoming Story Engine Third Edition rules, consult their own guidelines for integration with genreDiversion 3. Some notes are provided for working with Story Engine Classic, however.

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answers to your questions. Simply contact us via email for a quick reply. You can also post on our message boards to share your thoughts with others.

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Characters7

GENRE diversion

Characters

Chapter One

Characters 8

Characters are the central focus of the game. The whole story revolves around them. These rules use numbers and descriptive terms to define a character, similarly to how an author would utilize adjectives and adverbs when writing a novel.

AbilitiesAbilities describe the areas in which a character

has talent or lack thereof. When a character attempts to do something outside of normal activity, such as maneuvering across a rickety bridge, a single ability becomes the focus of determining the outcome. Abilities are the primary means of determining the chances of completing complicated tasks.

PursuitsPursuits describe a character’s specialized training

and fields of study. Each pursuit is associated with one ability for its most common uses, but other abilities can also be the focus of use, depending on the situation. While pursuits rely mostly on training, some also consist of large bodies of knowledge that can take years to comprehend. These more-involved pursuits are classified as academic ones. This distinction means that characters cannot perform tasks that rely on one or more academic pursuits without proper training. For instance, brain surgery can only be attempted by those with medical training.

GimmicksGimmicks are special properties that can be used

to better define a character’s background, physical oddities, personality, or other aspects not covered by abilities and pursuits.

healthHealth is utilized to track a character’s current

physical condition as either fatigue or injury. When either of these elements worsen, a character suffers difficulty in performing certain actions, until he is finally unconscious or completely incapacitated.

Other ElementsDepending on the setting, characters may also possess

other descriptive elements, such as belonging to a certain species, vocation, or social order.

Optional: DrivesRegardless of the setting, every character can have

an optional drive that colors his personality and actions. Drives help players understand their characters’ motivations, defining their basic demeanors and desires.

Unlike the goals a character may share with others within a story, his drive is unchanging and can be either very obvious or completely buried, manifesting only when no one is looking.

Optional: ExperienceExperience is a measure of a character’s past adventures,

and can be used to augment one’s abilities and pursuits with practical, real-world acumen. Experience can also make characters more adaptable, better resisting physical abuse.

ExampleTalmon Draigh is a bounty hunter from the forty-first century� Fitness Awareness Creativity Reasoning Influence 4 3 4 2 3Pursuits: Driving (-1), Athletics (+1), Brawling (+2), Melee (+3),

Intimidation (+1), Astropiloting (+2), Composure (+2)Gimmicks: Quick (1), Poor Smell (2), Harmonically-Hampered (1),

Leader (1)Gear: Plasma Screen, Fluxian WarhammerFatigue InjuryPadding: 1 Armor: 5

Dazed Bruised Stressed Sprained Strained Wounded Exhausted Maimed Unconscious Incapacitated

Characters9

GENRE diversion

A number of steps are involved in the process of creating characters for play. These are described below.

Determine AbilitiesThere are five abilities, each rated on a scale from

zero to five. While zero reflects a disability, it is not recommended. Additionally, abilities can technically go above five, but only for creatures and characters that are beyond the normal, human potential.

Ability Ratings0 Disability

1 Poor Ability

2 to 3 Average Ability

4 to 5 Gifted Ability

6 or more Unimaginable Ability

FitnessThe fitness ability represents a character’s physical

strength, prowess, and resistance.

AwarenessThe awareness ability represents a character’s power

of observation and intuition.

CreativityThe creativity ability represents a character’s affinity

with the spiritual and artistic aspects of life.

reasoningThe reasoning ability represents a character’s mental

prowess, recall, and resistance.

InfluenceThe influence ability represents a character’s social

appeal, standing, and presence.

Building AbilitiesThere are three methods for determining a character’s

ability ratings:•Random: roll one die for each ability to determine

its rating; if a six is rolled, count it as a five, but add one to any ability rating that is less than five. An optional supplemental method is to choose one random ability gimmick for each ability (see the Random Ability Gimmick tables on page 18).For ExampleJohn rolls the dice, resulting in the following numbers: 4, 6, 4, 1, and 3. Because one of the dice resulted in a 6, it is

considered a 5, and John increases the result of the 1 to a 2. Therefore, John’s character has the following ratings:

FItness 4, AwAReness 5, CReAtIvIty 4, ReAsonInG 2, InFluenCe 3

•Linear: allocate ratings of 1, 2, 3, 4, and 5 to the desired abilities. For ExampleKaty decides that her character will be socially inept, but absolutely brilliant, and allocates values as follows:

FItness 2, AwAReness 3, CReAtIvIty 4, ReAsonInG 5, InFluenCe 1

•Allocated: allocate twelve points among abilities; no ability can have a rating less than one or greater than five (unless playing a really heroic game). The director can choose to increase or decrease the number of points available if desired, depending on the setting and mood of the game.For ExampleAllen wants to play a barbarian—mean and tough, but not too bright. He allocates 12 points as follows:

FItness 4, AwAReness 3, CReAtIvIty 2, ReAsonInG 1, InFluenCe 2

Determine PursuitsCharacters are considered to have a basic knowledge

of all pursuits, except academic ones. A basic knowledge means that they can attempt to perform tasks involving non-academic pursuits without penalty.

Characters can possess training beyond basic knowledge in the form of proficiencies, specialties, and masteries. This scale of competence determines not only how well a character’s ability is augmented when making tasks related to a pursuit, but also how effectively exploits can be performed once the task is an overpowering success.

It is also possible for characters to be incompetent in one or more pursuits, representing a severe awkwardness and inflicting a penalty when attempted.

Pursuit Competencies rating effect

-1 Incompetency Penalty of -1 to Task

0 Basic Knowledge No Effect

+1 Proficiency Bonus of +1 to Task

+2 Specialty Bonus of +2 to Task

+3 Mastery Bonus of +3 to Task

Building Characters

Characters 10

Building PursuitsWhile players must generally choose the appropriate

pursuits for their characters, the ratings can be determined in one of three ways. Pursuits should be noted with their bonus/penalty, such as firearms +2.

•Linear: choose one incompetency, two proficiencies, three specialties, and one mastery.For ExampleJohn chooses the following pursuits and competencies for his character:

ComPuteRs -1, InvestIGAtIon +1, dRIvInG +1,

FIReARms +2, ComPosuRe +2, steAlth +2, BRAwlInG +3

•Allocated: allocate ten points among pursuits; a new proficiency costs one point, a new specialty costs two, a new mastery costs three, and a new incompetency increases’s the total points allocated by one.

Pursuit CostsIncompetency -1 (gain an extra point)

Basic Knowledge 0

Proficiency 1

Specialty 2

Mastery 3

A character can also be given up to two incompetencies. Each one increases another pursuit’s rating/bonus by one. The director should judge whether the choice of incompetency is appropriate to the setting; it should have the potential to arise during play.

Determine GimmicksGimmicks are special properties that can be used

to better define a character’s background, traits, or personality. A list of gimmicks can be found later in this chapter.

Defined GimmicksSome gimmicks are noted along with a value in

parentheses. This designation is called a defined value and is specific for the gimmick to which it is attached. Depending on the gimmick, a defined value can be a number, location, character, object, time, or anything specific in nature.

For ExampleThe Oversized gimmick must be defined by a positive number, such as Oversized (2)� The Enemies gimmick must be described by a person or group, like Enemies (Adams Street Gang)�

Heroes, Villains, and ExtrasHeroes are what the players portray, whether they do so

as good or bad characters� These are the stars of the game, receiving most of the attention� Villains, on the other hand, are the characters that oppose the heroes and ultimately face them in the climax of a story� Both types of characters are handled the same, except with two differences:

• Heroes are portrayed by the players, while villains are portrayed by the director�

• Heroes optionally gain experience through their drives, but villains do not possess drives, having an optional amount of experience determined by the director (five to ten is a good number)�

Extras are very different from heroes and villains, as they possess only a bare minimum of specifics. These characters are incidental, adding individual personalties that are more important than strict game mechanics� More information regarding extras can be found in Chapter Four�

Pursuits and Pursuit Bonuses/PenaltiesPursuit competencies can be noted either by a descriptive

or numerical rating� It does not matter which, since each rating has a correlating bonus/penalty� Descriptive ratings consist of the following:

• Incompetency (this is the same as writing -1)• Proficiency (this is the same as writing +1)• Specialty (this is the same as writing +2)• Mastery (this is the same as writing +3)

Numerical ratings consist of the following:

• -1 (this is the same as writing Incompetency)• +1 (this is the same as writing Proficiency)• +2 (this is the same as writing Specialty)• +3 (this is the same as writing Mastery)

Note that there is no need to refer to a basic knowledge or zero bonus, since it is the default rating for all characters.

Why only one Physical Ability?Some people cannot seem to wrap their heads around

having only one physical ability (fitness). Roleplaying is an offshoot of wargaming, often requiring a lot of physical statistics� Hence, many of these games rely on two or more physical abilities for play� This is a deeply-entrenched remnant of wargaming that is not always necessary� For one, ability gimmicks can be used to reproduce multiple physical abilities for those who want to use them� Secondly, other abilities can be used for what are normally thought of as physical abilities—awareness can be used to fire a gun as an instinctive action (firing from the hip) or reasoning can be used to time an effective punch (catch someone off-guard)� Please consider this sort of improvisational and out-of-the-box thinking; it can be a liberating experience�

Characters11

GENRE diversion

Ability GimmicksAbilities can be more narrowly-defined with these

gimmicks. Ability gimmicks greatly enhance play for those interested in more focused and unique characters. An ability gimmick can, for instance, designate a character as being extremely agile, but not terribly strong; while both properties are representative of the fitness ability, they also measure different aspects of that ability. The sum of a gimmick’s bonus/defined value and ability’s rating cannot be greater than five unless permitted by the director. Likewise, the difference between a gimmick’s penalty/defined value and ability’s rating cannot be less than zero unless permitted by the director.

For ExampleIf a character possesses the Weak (2) gimmick, his fitness rating is reduced by 2 for all tasks involving strength and muscle� If this were to reduce the character’s fitness rating to less than zero (such as when having a fitness rating of 1), the result is considered zero.

Detrimental GimmicksSome gimmicks are noted as being detrimental. This

means that they provide more drawbacks than bonuses. While detrimental gimmicks can be bad, they can also enhance the atmosphere of the game, allowing players to better visualize their characters and the world around them.

Building GimmicksThe director can assign gimmicks to characters in

order to fit the setting (see Other Elements: Character Species and Other Elements: Character Vocations, below). Each character should possess one gimmick if none are already assigned. This can either be done randomly or as a choice by players. Each iteration of a defined gimmick is for a single defined number or name; additional selections of the same gimmick are considered separate when creating characters, even though their defined values may simply be increased.

Any number of non-detrimental gimmicks can also be added to a character at this stage by doing one of the following for each gimmick:

•Decreaseanabilityratingbyone(butnotlessthanzero).

•Decreaseapursuitratingbyone(butnotlessthanincompetency).

•Addanewincompetency.•Addadetrimentalgimmick.

Detrimental gimmicks can be assigned to a character, with each providing one of the following bonuses:

•Increase an ability rating by one (but not abovefive).

•Increase a pursuit rating by one (but not abovemastery).

•Addanewproficiency.•Addanon-detrimentalgimmick.

Determine HealthThere are two basic forms of health, fatigue and

injury. Fatigue represents excessive effort that wears down a character, causing him to tire. Fatigue can also result from blunt trauma and physical strain. Injury represents lacerations, breaks, internal damage, and burns. Fatigue is represented by the abbreviation fat, while injury is represented by the abbreviation inj.

Characters also possess a threshold value for each type of health. Fatigue and injury thresholds are both equal to the character’s fitness rating, but can be modified by certain gimmicks. Each threshold defines how much punishment a character can take before his fatigue or injury noticeably worsens.

Health is measured by marks, lines, and grades of damage. One mark is the equivalent of marking one checkbox of damage. Every character can take a maximum number of checkboxes worth of damage for each type of health equal to five times the relevant threshold rating. Whenever a number precedes fat or inj, it indicates the number of marks of that particular type of damage.

For ExampleIf a character has a threshold value of 3 for a particular form of health, he would be able to sustain a maximum of 15 marks before succumbing to its effects completely�

While one mark is always constant, a line of damage can vary depending on the character. Each line for a given character represents a number of marks equal to his threshold rating of the relevant type of health.

For ExampleThat same threshold value of 3 means that one line of health for the character is equal to 3 marks.

One grade represents a full line of damage, ranging from one to five. Each full line of damage that a character sustains causes him to bear the effects of that grade (see the next chapter). In other words, if the character has

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received one line of damage, he also suffers from one grade of damage. Lines are different from grades in that lines represent additional damage, but grades measure the character’s current level of severity and the effects that accompany it.

For ExampleThe sample health meter below illustrates how marks and lines are checked, and that one grade of the specific type of health has been sustained�1 CCC This indicates 1 full grade of health.2 CCE This only indicates 2 additional marks (not a full grade).3 EEE These empty checkboxes mean that the character has4 EEE only sustained a total of 5 marks and that the effects5 EEE of only one grade are applied (if applicable).

If a character gains an additional line of damage (or 3 marks since his threshold value is 3), he now suffers from 2 grades of health, and his health meter looks like this:1 CCC This indicates 1 full grade of health.2 CCC This indicates 1 full grade of health, for a total of 2 grades.3 CCE This only indicates 2 additional marks (not a full grade).4 EEE 5 EEE

Health Grades fatigue injury

1 Dazed Bruised

2 Stressed Sprained

3 Strained Wounded

4 Exhausted Maimed

5 Unconscious Incapacitated

When a character has sustained five grades of fatigue, he falls unconscious. If he receives additional levels of fatigue, it is applied as injury. Fatigue automatically decreases by a number of lines equal to the character’s fitness rating per day, provided he gets normal rest.

When a character has sustained five grades of injury, he falls unconscious and is totally incapacitated. If the character receives additional levels of injury, he dies. Injury automatically decreases by a number of lines equal to the character’s fitness rating per week, provided he receives proper medical attention.

Building healthA character always begins a new story without fatigue

or injury, but the threshold must be computed, taking into account any gimmicks that may modify it.

Other ElementsOther elements can also be added to better suit the

setting in which the characters are used. For instance, a fantasy or science-fiction setting may require aliens

Sample Character Species

ElvesKnown as the People of the Forest, Elves are tall, thin

humanoids with pale-bluish skin and pointed ears� They live in tribal villages, often built atop trees� Elves abhor technology, preferring the gifts of nature�

Limitations: none

Inherent Gimmicks: Weak (1), Agile (1), Alluring (1), Natural Compass, Technological Ignorance

DwarvesShort and stocky, Dwarves generally live deep beneath the

earth in small communities� They have a love for building, especially tools and mechanical devices, as well as telling stories in which they exaggerate past adventures�

Limitations: Awareness 4

Inherent Gimmicks: Musclebound (1), Constitution (1), Boisterous (1), Ugly (1), Night Vision*

SatyrsHaving the hips and legs of a goat and upper body of

a human, Satyrs tend to look wild and dangerous� They are actually very warm and friendly, however� Satyrs revel in music, poetry, fine crafts, and other things considered beautiful, including women and wine�

Limitations: Reasoning 4

Inherent Gimmicks: Natural Weapon (Hooves: +1inj)*, Acute Heating (1), Harmonically-Gifted (1)

TrollsTrolls are beastly-looking brutes with large fangs and

curved horns� They delight in smashing things of beauty and enforcing their will� Beyond this barbaric behavior, however, Trolls possess a sense of right and wrong, allowing them to blend into normal humanoid society when necessary�

Limitations: Influence 4

Inherent Gimmicks: Musclebound (1), Maladroit (1), Fortitude (1), Ugly (2), Fearsome (2), Oversized (1), Natural Weapon (Claws: +1inj)*

DrakosThe Drakos of the planet Celos III are a species of

hairless, serpent-like humanoids� Their bodies are like those of lizards, only standing upright and with smooth skin reminiscent of dolphins� Drakos are territorial by nature, ready to defend their property against interlopers, while also remaining extremely loyal to their allies�

Limitations: none

Inherent Gimmicks: Agile (1), Flexible (1), Quick (1), Weak (1), Natural Weapon (Tail: +1fat)*

*See Chapter Seven for information regarding these gimmicks.

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GENRE diversion

and alternate species, while a modern-era setting may require characters to have made specific career choices. In aid of these special needs, other elements can be utilized to better define characters.

Character SpeciesWhether referred to as a species, race, or genus, this

element not only describes a character’s ancestry, but can also impose limitations and impart specific gimmicks (called inherent gimmicks, because they are assigned automatically without the need to follow normal rules for creating characters). Human beings are defined as the norm—other species often have limitations and gimmicks that set them apart from humans.

Limitations define the species’ maximum rating for a specific ability. One or more abilities can be limited, or none at all. Ability gimmicks are most commonly used to adjust various aspects of abilities (and a character’s potential). Gimmicks can also be used to represent cultural advantages/disadvantages and special powers. A few sample species are provided, but the director is encouraged to create his own.

Character Vocations and rolesVocations describe a character’s education and career

path. Each vocation provides a list of pursuits (rated as proficiencies) granted to a character automatically. These pursuits represent training that would have been necessary in order to nurture the vocation. Raising these proficiences to specialties costs one point, while raising them to masteries costs two when creating characters. A further list of recommended pursuits may also be included as a guide for related training that the character can be assigned when being built.

Roles are different from vocations in that they represent not what a character has been necessarily trained to do, but the responsibilities he has either chosen for himself or have been thrust upon him. For this reason, roles do not provide automatic pursuits, but require that a character possess certain pursuits. If a character is not trained in these required pursuits (a proficiency or greater), the role may not be chosen. Roles typically also include a list of recommended pursuits and can provide other benefits in terms of story rather than just game mechanics.

Both vocations and roles may also consist of inherent gimmicks that are automatically assigned to a character. These are often related to cultural or social areas. While a few sample vocations and roles are provided, the director is encouraged to create his own.

Sample Character Vocations and Roles

So when you do use Vocations and when do you use Roles? Vocations are best suited when you want to represent classes of characters—that is, occupations that they have been guided towards accomplishing their whole lives� Roles are just jobs that a character happens upon, so they work best when a job vacancy must be filled or a character is suddenly thrust into an alien environment where he can gain certain benefits by doing his duty.

Soldier Vocation F

Soldiers are trained to fight battles too large for noble warriors� They are considered cannon-fodder at low ranks and the elite at high ranks, regardless of their origins�

Pursuits: Athletics, Brawling, Firearms, Melee, Composure, and either Demolitions or Gunnery

Inherent Gimmicks: none

Detective Vocation M

Detectives are trained to analyze crimes and arrest those responsible� Some are assigned to task forces that investigate major crimes and track gang movements, while others go undercover, infiltrating organized crime operations.

Pursuits: Brawling, Firearms, Interrogation, Investigation, Composure

Inherent Gimmicks: Authority (local law enforcement), Contacts (police), Contacts (street informants)

Buccaneer Role A

Buccaneers are pirates who roam the Caribbean seas� Sometimes reckless and other times meticulous, these men come from a variety of backgrounds, using skills learned in previous times to aid them in plundering and intimidation�

Required Pursuits: Intimidation, Sailing, Navigation

Recommended Pursuits: Athletics, Commodities, Composure, Dueling, Gunnery

Mechatronic Tech Role X

These technicians are the unlicensed fosters of robotic personalities and cybernetic implants� Mechatronic techs often supplement starship crews when sanctioned medicians are not available� They are viewed as mad scientists by government officials and clinical agencies, but they accept this role, believing it to be important to the mission, despite views of the contrary�

Required Pursuits: Computers, Mechatronics, Technical Sciences

Recommended Pursuits: Behavioral Sciences, Biological Sciences, Medicine

Inherent Gimmicks: Fugitive

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Optional: Choose a DriveEvery character is driven by an inherent force, whether

a personality disorder, genetic predisposition, or primal appetite. A character’s drive fuels his need to act a certain way. This leads to a better understanding of not only himself, but also to his environment and others around him. When a character embraces his nature and its benefits, he learns something about himself and the experience necessary to apply it to his future actions.

Each character is assigned one drive before play begins (these are found later in this chapter). This can either be chosen by the player or determined randomly. Whenever the requirements of the drive are met, the character gains experience that can provide a bonus towards tasks. Conversely, a character must sacrifice one point of experience to act against a drive—that is, the director should penalize a player for not acting “in character” by deducting one point of experience from the character.

Completing the DetailsOther, non-rule-related elements should be added

to a character. A brief description of his background, family, friends, education, and personality can be the final touches that bring him to life. A well-developed character not only helps a player envision and portray him better, but it also gives the director necessary insight for better integrating him into the story and evolving in a direction that is best-suited.

List of PursuitsThe following pursuits are those most commonly

found in fantasy, modern, and science-fiction eras. This list is by no means all-inclusive, so the director is free to add his own. The ability to which the pursuit is most often linked is provided in parenthesis with each pursuit. Academic pursuits are noted with the ; symbol.

Advanced Sciences ;X (reasoning)This general pursuit of sciences from the future

covers, but is not limited to the study and application of nanotechnology (mechanical components on a microscopic scale), super-luminal physics (faster-than-light matter and energies), and photonics (light-based circuities).

Advanced Engineering ;X (reasoning)This pursuit involves the design, construction, and

repair of high-technology power reactors and systems, drive systems, and starship superstructures.

Aerospace Piloting MX (reasoning)Aerospace piloting covers the operation and basic

repair of aerial fighter-craft, space shuttles, and space stations.

Alchemy ;F (reasoning)Linked to the use of magick, this pursuit is required

for brewing potions.

Archery f (Fitness)This combat pursuit focuses on the construction and

use of bows and arrows.

Artillery F (reasoning)This combat pursuit consists of the construction,

aiming, and operation of siege weapons, such as the ballista, trebuchet, and catapult.

Astropiloting ;X (Fitness)Astropiloting covers the operation and basic repair of

sub-luminal spacecraft, including tugs, interplanetary liners, and starfighers.

Athletics f (Fitness)Covering a wide range of physical activities, including

climbing, swimming, throwing, tumbling, and balance, the athletics pursuit is important to physical characters.

Animal handling FAM (reasoning)This pursuit involves the breeding, training, and

herding of animals, mostly livestock.

Behavioral Sciences ;MX (reasoning)This study of the human psyche is focused on

psychology and mental illness. Mood-altering pharmaceuticals are also incorporated into this pursuit when the character is also trained in medicine.

Biological Sciences ;MX (reasoning)This study of living organisms comprises knowledge

of human and animal anatomy and pathology, as well as that of plants and basic, microscopic forms of life.

Brawling f (Fitness)Physical and often brutal, this combat pursuit includes

the best ways of inflicting harm using fists, legs, and the body itself, as well as grappling and parrying.

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GENRE diversion

Bureaucracy AMX (reasoning)This pursuit is the application of clerical and other

administrative procedures necessary for organized management. It also includes knowledge of business and political practices, and overcoming their excesses.

Carpentry AM (reasoning)This covers the skills needed to build things out of

wood, reflecting aspects of measuring, cutting, shaping, joining, and finishing.

Celestial-navigation FA (reasoning)This maritime pursuit is the analysis of the stars and

use of special equipment, such as the astrolabe and sextant, to navigate the seas and sometimes the land.

Commodities f (reasoning)This pursuit is often put to use in the mercantile

trade in the capacity of appraising goods, particularly valuable ones like jewels and antiques.

Composure f

Unlike all other pursuits, composure has no primary ability. It is most commonly used to resist panic, pain, and temptation.

Computers MX (reasoning)The design, use, repair, and hacking of computers is a

valuable pursuit, particularly in the modern age.

Crafts FAM (Creativity)This pursuit covers the shaping, firing, and finishing

of pottery, as well as the weaving of wicker and similar hand-made objects.

Cultural Sciences ;MX (reasoning)This study of civilization focuses on beliefs, customs,

practices, and origins of ancient peoples. It combines archaeology, anthropology, and sociology.

Demolitions AMX (Fitness)The fusing, shaping, placement, identification, and

defusing of explosives and explosive devices is the focus of this pursuit.

Design f (Creativity)Comprised of painting, drawing, sculpting, and even

graphic design, this pursuit is important to artistic characters.

Disguise f (Creativity)This pursuit consists of the use and application of

cosmetics, wigs, clothing, and other adornments in order to hide one’s true identity.

Driving MX (Fitness)Driving covers the operation and basic repair of

ground-based vehicles appropriate to the character’s time period.

Dueling FAM (Fitness)This combat pursuit includes methodology for fighting

with bladed weapons like swords, knives, and axes.

Electrics MX (reasoning)This technical pursuit covers the design and repair of

electrical components, such as telephones and lamps.

Electronics MX (reasoning)This technical pursuit covers the design and repair

of components utilizing electronic circuity, most commonly found in computer-based systems.

Finances ;f (reasoning)The handling of money, as well as managing ledgers

and taxes is the basis of this pursuit.

Firearms AMX (Fitness)This pursuit focuses on the use and repair of pistols,

rifles, and other high-powered projectile weapons.

Gunnery AMX (Fitness)This combat pursuit focuses on the use and repair of

vehicle-mounted projectile weapons.

herbalism FA (reasoning)A healing pursuit, herbalism is used to heal with

various types of plants, whether by direct application or the extraction or brewing of certain constituents.

hyper-navigation ;X (reasoning)Important in space travel, the pursuit is used to

plot, coordinate, and analyze flight plans through hyperspace, thereby allowing super-luminal travel.

Interrogation f (Awareness)This pursuit is used to acquire information from

people through subterfuge.

Intimidation f (Influence)This pursuit is used to coerce people to do things

with the use of physical and/or psychological threats.

Investigation f (Awareness)The acquisition of data is performed with this pursuit

through examination, observation, and research.

Legerdemain f (Fitness)This pursuit consists of slight-of-hand tricks and

pilfering.

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Literacy f (Creativity)This pursuit involves the study of writing and a

character’s native language, including poetry and older forms of vocabulary, grammar, and spelling.

Lore f (reasoning)This is a catchall pursuit to reflect both general

knowledge or specific information. When referred to simply as lore, it represents general or trivial knowledge, but when written with a description (like lore: farm almanac), it covers only the designated knowledge.

Masonry FAM (reasoning)While carpentry involves wood, masonry is the art of

building with stone and concrete. It covers the design of such structures, and can be combined with carpentry for reinforcing.

Mechanics f (reasoning)This technical pursuit covers the design and repair of

mechanical components utilizing pulleys and gears, but may also require knowledge of other pursuits, such as electrics, depending on the device.

Mechatronics ;X (reasoning)This technical pursuit covers the design and repair

of robotic components, but also requires knowledge of biological sciences and/or medicine for integrating these components as cybernetic devices.

Medicine MX (reasoning)This pursuit covers general medicine, human anatomy,

and basic techniques of surgery.

Melee f (Fitness)This combat pursuit includes methodology for fighting

with non-bladed weapons like staves, maces, clubs, and pikes.

Metalworking FAM (reasoning)An art in its own right, this pursuit consists of

forging weapons, armor, ornaments, and other small objects from metals.

Metasciences ;MX (reasoning)This pursuit covers the study of esoteric sciences

beyond the scope of normal human achievement, such as psychic powers, magic, and alien faculties.

Music f (Creativity)This pursuit covers the fundamentals of musical

composition, including the recognition and design of scores.

navigation FAM (reasoning)This pursuit allows one to find his geographical

position in a variety of ways, including the use of landmarks, maps, and compass direction.

negotiation f (Influence)The art of bartering and persuading people to one’s

way of thinking is an important pursuit in everyday life.

Oratory f (Influence)Public-speaking, and projecting one’s voice and

sentiments is the focus of this pursuit.

Paranormal Sciences ;M (reasoning)The study of the occult, including black magic and

apparitions, whether true or theoretical, is the focus of this pursuit.

Performance f (Influence)This pursuit relies on fictional and/or exaggerated

behaviors, as well as the projection of one’s expressive ability, as is common in acting, singing, and dancing.

Physical Sciences ;MX (reasoning)This pursuit covers the advanced sciences of physics,

higher mathematics, and chemistry.

Piloting MX (Fitness)Piloting covers the operation and basic repair of

propeller and/or jet-powered aircraft, as appropriate to the character’s time period.

Prose f (Creativity)The art of writing both grammatically-correct and

expressively is the focus of this pursuit.

riding FAM (Fitness)Also known as the equestrian arts, this pursuit

focuses on the riding and control of horses and other mounts.

Sailing FAM (reasoning)The steering and control of boats that rely on wind

power is the focus of this pursuit.

Seduction f (Influence)This pursuit relies on sexual attraction and tension to

tempt others.

Starship Control ;X (reasoning)Starship control covers the operation of super-luminal

starships. Unlike its more primitive counterparts, most of the process is automated, relying more on computer-based functions rather than physical prowess.

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GENRE diversion

Stealth f (Fitness)Avoiding detection while moving, including being

quiet, maintaining a small profile, and blending in to the environment, is the focus of this pursuit.

Stellar-navigation X (reasoning)This interplanetary pursuit is the analysis of the stars

and use of special computer systems to navigate them.

Street-Talk f (Influence)This pursuit consists of using contacts to procure

information, goods, and recognition.

Streetwise f (reasoning)This collection of skills includes lock-picking,

racketeering, deceiving, and locating cheap goods.

Structural Sciences ;MX (reasoning)This pursuit covers the knowledge of civil and

architectural engineering, the design and development of modern buildings, bridges, and other structures.

Survival f (reasoning)This pursuit covers the knowledge of finding shelter,

food, and water in the wilderness.

Technical Sciences ;MX (reasoning)This pursuit covers the design and repair of advanced

modern computer systems and electronic devices.

Theology f (reasoning)The study of various forms of religion is the focus of

this pursuit.

Tracking FAM (Awareness)This pursuit covers the tracking of people and animals

in the wilderness and other environments, using a variety of signs, including footprints, disturbances, animal activity, and background information.

Zero-G Operations X (Fitness)This pursuit replaces the athletics pursuit in zero-

gravity environments.

List of GimmicksThe gimmicks listed here are intended to cover a wide

array of settings and genres. The director should decide which are available to players for a specified story. If an ability is specifically modified by a gimmick, it is displayed in parenthesis. Detrimental gimmicks are noted with the ? symbol. Unless an icon for a specific era is displayed, the gimmick is universal. Defined gimmicks are noted with one of the following representations in parenthesis:

•x: a numerical value•±x: a positive or negative numerical modifier •v: a name or description

Musclebound (x) (Fitness)The character is stronger than his fitness rating

indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s fitness rating for all tasks and calculations involving physical strength (including the determination for close combat damage).

weak (x) ? (Fitness)The character is weaker than his fitness rating

indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s fitness rating for all tasks and calculations involving physical strength (including the determination for close combat damage).

Quick (x) (Fitness)The character is faster than his fitness rating indicates.

The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s fitness rating for all tasks and calculations involving movement.

Slow (x) ? (Fitness)The character is slower than his fitness rating indicates.

The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s fitness rating for all tasks and calculations involving movement.

Agile (x) (Fitness)The character is more nimble than his fitness rating

indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s fitness rating for all tasks and calculations involving athletics and balance.

Clumsy (x) ? (Fitness)The character is less nimble than his fitness rating

indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s fitness rating for all tasks and calculations involving athletics and balance.

Characters 18

Dextrous (x) (Fitness)The character is more adroit with his hands than

his fitness rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s fitness rating for all tasks and calculations involving manual dexterity and hand-eye coordination.

Maladroit (x) ? (Fitness)The character is less capable with his hands than

his fitness rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s fitness rating for all tasks and calculations involving manual dexterity and hand-eye coordination.

Flexible (x) (Fitness)The character’s body is more supple than his fitness

rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s fitness rating for all tasks and calculations involving the contortion of his body, and escaping from bonds and grapples.

Fortitude (x) (Fitness)The character is more resistant to injury than his

fitness rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s fitness rating when determining his injury threshold and armor value.

Frail (x) ? (Fitness)The character is less resistant to injury than his fitness

rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s fitness rating when determining his injury threshold and armor value.

Endurance (x) (Fitness)The character can endure more fatigue than his

fitness rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s fitness rating when determining his fatigue threshold and padding value.

Short-winded (x) ? (Fitness)The character endures less fatigue than his fitness

rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick.

Random Ability Gimmicks

These tables can be utilized when creating characters to choose a random gimmick for each ability (excluding reasoning)� Each one requires two dice to be rolled� One determines the row to be referenced (1 to 6), while the other indicates whether the even or odd column is used� To determine a defined value for a gimmick, simply roll one die—an even result is a 1 and an odd result is a 2.

Fitness roll even result odd result 1 Musclebound Weak 2 Quick Slow 3 Agile Clumsy 4 Dextrous Maladroit 5 Fortitude Frail 6 Endurance Short-Winded

Awareness roll even result odd result 1 to 2 Acute Hearing Poor Hearing 3 to 4 Acute Smell Poor Smell 5 to 6 Acute Vision Poor Vision

Creativity roll even result odd result 1 to 2 Symbolically-Gifted Symbolically-Hampered 3 to 4 Harmonically-Gifted Harmonically-Hampered 5 to 6 Literary-Gifted Literary-Hampered

Influence roll even result odd result 1 Leader Follower 2 to 3 Alluring Ugly 4 Eloquent Stammer 5 Boisterous Stodgy 6 Fearsome Meek

Miscellaneous roll even result odd result 1 Wealthy Poor 2 Jack of All Trades Weak-Willed 3 Tolerant Intolerant 4 Intuitive Hesitant 5 Iron Jaw Glass Jaw 6 Constitution Sickly

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GENRE diversion

The defined value is subtracted from the character’s fitness rating when determining his fatigue threshold and padding value.

Constitution (x) (Fitness)The character’s immune system is stronger than his

fitness rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s fitness rating when determining his immunity value.

Sickly (x) ? (Fitness)The character’s immune system is weaker than his

fitness rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s fitness rating when determining his immunity value.

Acute hearing (x) (Awareness)The character’s hearing is better than his awareness

rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s awareness rating for all tasks and calculations involving hearing.

Poor hearing (x) ? (Awareness)The character’s sense of hearing is worse than his

awareness rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s awareness rating for all tasks and calculations involving hearing.

Acute Smell (x) (Awareness)The character’s sense of smell is better than his

awareness rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s awareness rating for all tasks and calculations involving smell.

Poor Smell (x) ? (Awareness)The character’s sense of smell is worse than his

awareness rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s awareness rating for all tasks and calculations involving smell.

Acute Vision (x) (Awareness)The character’s eyesight is better than his awareness

rating indicates. The defined value is equal to one, and

increased by one for each iteration of this gimmick. The defined value is added to the character’s awareness rating for all tasks and calculations involving vision.

Poor Vision (x) ? (Awareness)The character’s eyesight is worse than his awareness

rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted form the character’s awareness rating for all tasks and calculations involving vision.

Symbolically-Gifted (x) (Creativity)The character is more artistic with visual media, such

as illustration and graphic design, than his creativity rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s creativity rating for all tasks involving the design and analysis of drawings, paintings, maps, and other forms of symbolic art.

Symbolically-hampered (x) ? (Creativity)The character is less artistic with visual media, such

as illustration and graphic design, than his creativity rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s creativity rating for all tasks involving the design and analysis of drawings, paintings, maps, and other forms of symbolic art.

harmonically-Gifted (x) (Creativity)The character is more attuned with auditory media,

such as music and song, than his creativity rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s creativity rating for all tasks involving the design, analysis, and application of rhythms, songs, instrumentals, and other forms of melodic art.

harmonically-hampered (x) ? (Creativity)The character is less attuned with auditory media, such

as music and song, than his creativity rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s creativity rating for all tasks involving the design, analysis, and application of rhythms, songs, instrumentals, and other forms of melodic art.

Characters 20

Literary-Gifted (x) (Creativity)The character is more adept with the written word

as found in prose and verse than his creativity rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s creativity rating for all tasks involving the creation, analysis, and comprehension of literary works.

Literary-hampered (x) ? (Creativity)The character is less adept with the written word

as found in prose and verse than his creativity rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s creativity rating for all tasks involving the creation, analysis, and comprehension of literary works.

Leader (Influence)The character has a natural talent for commanding

and inspiring people. He receives a bonus of -2diff on all influence-based tasks involving subordinates and the issuing of orders.

Follower ? (Influence)The character is susceptible to being swayed and

pressured by the orders and rallying speeches of leaders. He receives a penalty of +2diff on all influence-based contested tasks involving people of authority.

Alluring (x) (Influence)The character is more attractive than his influence

rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s influence rating for all tasks and calculations involving his appearance.

Ugly (x) ? (Influence)The character is less attractive than his influence

rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s influence rating for all tasks and calculations involving his appearance.

Eloquent (x) (Influence)The character’s way with words is more elegant than

his influence rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s influence rating for all tasks and calculations involving public speaking and general conversation.

Stammer (x) ? (Influence)The character’s way with words is less elegant than

his influence rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s influence rating for all tasks and calculations involving public speaking and general conversation.

Boisterous (x) (Influence)The character speaks cheerfully and with passion,

more so than his influence rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s influence rating for all tasks and calculations when conveying information privately or in a public forum.

Stodgy (x) ? (Influence)The character speaks in a dull and passionless tone,

more so than his influence rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s influence rating for all tasks and calculations when conveying information privately or in a public forum.

Fearsome (x) (Influence)The character’s appearance and speech patterns are

more intimidating than his influence rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s influence rating for all tasks and calculations involving intimidation, but subtracted from his influence rating for all tasks and calculations made to seduce or gain the trust of someone.

Meek (x) ? (Influence)The character’s appearance and speech patterns are

less intimidating than his influence rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s influence rating for all tasks and calculations involving intimidation, but added to his influence rating for all tasks and calculations made to seduce or gain the trust of someone.

Contacts (v) The character has strong ties with a group of

individuals (the defined value) upon which he can call for both moral and logistics support. For instance, having a corporation as the defined value means that the character can gain information regarding business

Characters21

GENRE diversion

practices and possibly borrow the services of a corporate attorney for a short time. Military contacts are likely to provide small supplies of arms and tactical intelligence.

Military rank (x) The character is an officer in his native military force

and in command over his subordinates. The defined value is equal to one, and increased by one for each iteration of this gimmick up to a maximum of five. The rank is determined by the defined value.

Rankdefined value army rank navy rank fantasy guard rank

1 Lieutenant Ensign Garde

2 Captain Lieutenant Overgarde

3 Major Commander Commander

4 Colonel Captain Overcommander

5 General Rear Admiral Leader

noble Title (x) The character is a member of the noble class, either

through inheritance or grant, and may have entitlement to land and/or serfs. The defined value is equal to one, and increased by one for each iteration of this gimmick up to a maximum of five. The title is determined by the defined value.

Titledefined value english title french title fantasy title

1 Baron Baron Knight Squire

2 Viscount Vicomte Knight Bachelor

3 Earl Comte Knight Granted

4 Marquess Marquis Knight Lord

5 Duke Duc Knight Commander

Prestige The character is a well-known personality as a result

of a reputation in his circles (a vocation, role, or social status). As a result, he receives a bonus of -2diff on all influence-based tasks that can utilize this prestige—seducing a woman who is familiar with the character’s work, for instance. As an option, half the roll of a single die can be made to randomly determine the number of people in the current scene (when in public places) who recognize the character.

Authority (v) The character is a member of a special body (the

defined value) that has rights above normal citizens. This could be a government agency or local police force. This authority entitles the character to gain special access to sensitive information, conduct official

investigations, acquire subpoenas and warrants, and make arrests without serious legal consequences.

Multilingual (v) The character is fluent in a language (the defined

value) other than his native tongue.

wealthy The character can not only afford pretty much

anything he desires, but is also very influential in some local neighborhoods and political circles. Because of this, it is more likely for certain transgressions to be ignored or for people to fill his requests without question. As an option, a roll of two dice can be made to randomly determine the number of lackeys present in an area within his control.

Poor ?

The character has barely enough money to cover his monthly bills. Most of his possessions are old and worn, and it is highly unlikely for him to be able to scrape together enough cash for any major purchases. Temporary windfalls always seem to go towards repaying debts or purchasing necessities, leaving very little in the end.

City Compass The character has a natural talent for determining his

location in an urban environment. He can recognize landmarks and streets to find his way to a destination.

natural Compass The character has a natural talent for finding his way

in rural and wild environments, including forests and deserts. He can recognize foliage and trails to find his way to a destination every time.

Galactic Compass X

The character can miraculously plot courses between star systems without the aid of a computer. He can determine an optimum course through hyperspace just by looking at the current alignment of stars.

Internal Clock The character has a knack for always knowing the

correct time of day. He can even wake at a specified time without outside assistance.

Jack of All Trades The character is a jack of all trades, but master of

none. He can attempt any academic pursuits even without training (treat all unknown academic pursuits as basic knowledge). As a result of this talent, the

Characters 22

character never concentrates on a single pursuit, preventing him from ever gaining a mastery in one. When building the character, reduce all masteries to specialties; each reduction adds a new proficiency or increases a proficiency to a specialty.

Tolerant The character is forgiving and easy-going, helping

him to ignore most insults and slights. As a result, he receives a bonus of -2diff on all composure tasks made to resist the urge to take revenge, strike back, or otherwise turn impulsive due to mere words cast in his direction. The character is also immune to the effects of the taunt combat exploit.

Intolerant ?

The character is spiteful and highly-strung, preventing him from ignoring most insults and slights. As a result, he receives a penalty of +2diff on all composure tasks made to resist the urge to take revenge, strike back, or otherwise turn impulsive due to mere words cast in his direction.

Enemies (v) ?

A nemesis of the character is out to get him. The defined value could be an organization or a powerful non-player character who is either duty-bound or simply enjoys thwarting his efforts. This enemy may even go so far as to actively hunt the character or put a price on his head. Regardless of the methods and reasons, the enemy is encountered at least once per story.

weak-willed ?

The character lacks willpower and courage. He receives a penalty of +2diff on all composure tasks.

Fugitive ?

The character is on the run from the law, either fleeing conviction or escaping from prison. He cannot afford to be captured by law enforcement, lest he be further confined, extradited, and/or persecuted.

Stunted Ability (v) ?

The character has hit a roadblock involving a single ability (the defined value), preventing him from developing it further. The director cannot reward the character with new pursuits or increased ratings for pursuits in which the ability is listed as being a primary.

Intuitive The character is always quick to act. Because of this,

he receives a bonus of -2diff on all reaction tasks.

hesitant ?

The character has slow reflexes. As a result, he receives a penalty of +2diff on all reaction tasks.

Iron Jaw The character can never fall unconscious as a result

to being punched in the jaw. If his severity of fatigue is increased above four grades due to a punch to the jaw, it is ignored, preventing it from going beyond four grades.

Glass Jaw ?

It only takes one punch to the character’s jaw for him to fall unconscious (even without sustaining five grades of fatigue). He awakens in a number of minutes equal to the roll of one die.

Oversized (x) The character is larger and/or taller than the typical

human. The defined value is equal to one, and increased by one for each iteration of this gimmick. All attempts to strike or target the character receive a decrease in difficulty equal to the defined value.

Undersized (x) The character is smaller and/or shorter than the

typical human. The defined value is equal to one, and increased by one for each iteration of this gimmick. All attempts to strike or target the character receive an increase in difficulty equal to the defined value.

Technological Ignorance AMX

The character has a mental block when it comes to using technological items, including electrical devices and especially computers. Because of this, he receives a penalty of +3diff on all tasks involving these items.

Optional: List of DrivesProceed to the next chapter if you are not going to use Drives.

The following is just a sampling of the drives available to characters. The director is free to create new ones, particularly if the other players wish to use drives not covered here.

PlanningThe character is enthusiastic about creating new

projects from scratch, whether it is organizing the construction of a house, sketches for a painting, or mission statement of an organization. The character gains one point of experience upon leading one or more non-player characters to complete the initial stages of a project.

Characters23

GENRE diversion

InnovationThe character loves to create new machines, travel

routes, stories, computer programs, and other inventions. He appreciates the nuances of the creation process, taking even the most subtle observations into account. The character gains one point of experience when one of his innovations is admired or utilized by a non-player character.

StyleThe character loves to think of himself as being cool.

He tries to wear the most fashionable outfits and carry himself with grace. The character gains one point of experience whenever he seduces, impresses, or grabs the sole attention of a non-player character.

ExcitementThe character is restless, and seeks action and

adventure when not at rest. He gains one point of experience upon a non-player character hiring or asking the character to perform an exciting job.

ChallengeThe character is compelled to conquer the impossible,

no matter the consequences. He gains one point of experience whenever he performs a task, successfully or not, that is requested of him by a non-player character that is of challenging difficulty or greater. The task must be witnessed by the person making the request.

DependencyThe character is wary of acting alone, preferring to

defer important jobs to others. He gains one point of experience whenever he convinces or tricks a better-trained non-player character to attempt an important task on his behalf.

humorThe character loves to tell jokes and banter. He gains

one point of experience whenever the controlling player makes two or more other players (rather than the characters) laugh through the character’s actions.

CompetitionThe character loves to compete with his friends. He

gains one point of experience whenever beating an ally at a contested task pivotal to the story or the character’s well-being.

SubterfugeThe character is devious and manipulative, preferring

to mislead people into doing his bidding rather than being truthful. He gains one point of experience whenever another player character or villain successfully performs a task of complex difficulty or greater as a result of the character’s erroneous instructions or secretive actions.

ContradictionThe character loves to be contrary in the hope of

disproving other people’s ideas and beliefs. He gains one point of experience whenever he argues against a common belief and manages to turn a group of non-player characters to his side of the argument.

AnarchyThe character refuses to recognize all forms of

authority. He gains one point of experience whenever going against a legitimate authoritative body or individual, such as law enforcement, and suffers the consequences (such as being wanted or fined).

Characters 24

Completing the character sheet

GENREdiversion

Fitness

Awareness

Creativity

Reasoning

Influence

Abilities

Name Vocation/Role

Drive Nationality/Species

Gimmicks Pursuits −1 +1 +2 +3

Fatigue Injury

Dazed Bruised

Stressed +1diff Sprained

Strained +2diff Wounded

Exhausted +3diff Maimed

Unconscious — Incapacitated

Health

Threshold Padding Immunity Armor Threshold

GearNotes

©2009 Precis Intermedia. genreDiversion is a trademark of Precis Intermedia. Permission granted to duplicate this page for personal use only.

Talmon Draigh

Quick (1)Poor Smell (2)Harmonically-Hampered (1)Leader (1)

Plasma Screen, Fluxian Warhammer

DrivingAthleticsBrawlingMeleeIntimidationAstropilotingComposure

Bounty Hunter

Ecrusione

••• ••••

• ××× •• •• •• •• •

4

3

4 1 4 5 4

4

2

3List pursuits and check off their ratings (as bonuses or penalties).

• Incompetencies are -1• Proficiencies are +1• Specialties are +2• Masteries are +3

Gimmicks their defined values (if applicable) go here.

Miscellaneous content and background information can be written here.

Ability ratings are noted here; ability gimmicks are written in the Gimmicks section.

The top portion is for the character’s name and optional information like vocation or species.

List weapons, armor, vehicles, and other possessions in this area.

Fill in the values relevant to the character’s health here. Notice that he has sustained three marks of injury.

Scenes & Tasks25

GENRE diversion

Scenes & Tasks

Chapter two

Scenes & Tasks 26

Just as in film and literature, the game is comprised of individual scenes that further the story. It is important for the director to establish coherent scenes that are framed around the actions of the characters and the events in which they are involved. Every scene involving the players’ characters must be defined by location, objective, and connection to the story. When a location changes, so too does the scene in most cases.

Scenes that do not require extreme detail or order are considered open. This means that characters can perform tasks and interact with their environment in such a way that exacting detail is not necessary. In most cases, the actions of characters are simply narrated by the players who control them. The director need only interject to remind players of what is not possible, portray non-player characters, and describe events beyond the players’ control.

Scenes that require all players to be focused and the action tracked with more detail are considered to be sequential. These scenes occur on a turn-by-turn basis, permitting characters to act in a specified order and requiring task rolls. Tasks represent actions taken by characters using an ability and often pursuits. Several factors go into resolving a task, including ability, pursuit, and difficulty.

Only one ability is typically used for a particular situation. The primary ability with which any given pursuit is connected is representative of its most common uses, but the director is free to assign a different ability if it better fits the character’s actions.

For ExampleFiring a gun is a fitness-based task, but repairing the weapon is a reasoning-based one�

Determining the Ability ratingThe director must determine which ability is best

suited for the task.For ExampleSwinging a sword or punching someone in the face would be a fitness-based task, forging a document would be a creativity-based task, and bribing a guard may require an influence-based task�

Determining the Pursuit Bonus or PenaltyA pursuit must also be deemed appropriate for the

task. The appropriate pursuit is sometimes obvious, but other times may seem like more than one is relevant. The director needs to use his best judgment in determining the proper pursuit in these cases.

Some tasks actually require training in two or more pursuits, such as when striking an opponent with a sword from atop a horse (a melee and riding task). The pursuit relevant to the task for this situation does not matter, but the rating is always the lowest of the required pursuits. So if a character possesses a mastery in melee and a proficiency in riding, the effective pursuit rating for the task would be a proficiency.

When there is no clear choice for an appropriate pursuit, either use the closest match or do not assign one, leaving the character to rely only on his ability. If the task requires an academic pursuit, the character must possess at least a proficiency in the pursuit even to attempt it.

For ExampleAllen’s character attempts to break down a door� The director determines that this task requires the fitness ability and athletics pursuit, hence it is referred to as a fitness-based athletics task� Katy’s character has a better idea� She wishes to pick the lock and simply open the door rather than resorting to brute force� The director decides that her method is a reasoning-based streetwise task�

Determining the DifficultyDifficulty ratings are applied to tasks as a way of

measuring how hard they are to accomplish. Lesser difficulties can be assigned to easier tasks, while greater difficulties can be assigned to harder ones. Tasks without assigned difficulty ratings are considered to be routine by default. The various difficulty ratings are explained in the What is a Difficulty sidebar. Difficulties can be designated by description or numerical value, which in some cases are equal—a routine difficulty has a numerical difficulty of 10, for instance. Numerical difficulties are always followed by “diff” (such as 10diff).

Impacting the TaskWhile difficulties set the stage for the chance of success,

impacts represent other environmental and situational factors that further affect difficulty. These factors alter the numerical values of difficulties in the form of positive or negative modifiers. Positive modifiers, such as +2diff, directly increase the difficulty’s numerical value, making a task harder. Negative modifiers, like -1diff, decrease a difficulty value.

For ExampleThe director impacts a task with a difficulty of 14diff by applying a modifier of +2diff� This results in the task’s final

Scenes & Tasks27

GENRE diversion

difficulty being 16diff� Conversely, applying a modifier of -3diff would alter the final difficulty to 11diff�

Making the rollAbility Rating + Pursuit Bonus/Penalty + Dice Roll

In order to determine if a task succeeds, roll two six-sided dice, calculate their sum, and add the character’s ability to the total. If the character possesses a pursuit that is relevant to the task, its bonus or penalty is also added to the total. This final value is called the dice total. If the dice total is equal to or greater than the assigned difficulty value, the task is a success. If double sixes are rolled, the task is a success regardless of the dice total. If double ones are rolled, the task is a potential calamity (see Potential Calamities below).

OverkillWhen a character succeeds at a task, the difference

between the dice total and difficulty value is called overkill. This can represent how well a character succeeds, particularly when compared to another in a contest. Simply subtract the difficulty value from the dice total to compute this number. While overkill is not needed for most tasks, it is required for contested tasks and when using exploits (optional). Negative overkill is what results when the character’s dice total is less than the difficulty value, since the difference of the two creates a number less than zero. Negative overkill is normally not important, but some tasks may take it into account when determining the outcome.

For ExampleA dice total of 14 is rolled and compared to the assigned difficulty of complex, or 12. The difference between these two values is 2 (dice total - difficulty). Therefore, the task results in 2 overkill. This is normally ignored, but if the overkill were 5 or more and a pursuit bonus was applied, an optional exploit could be used�

Potential CalamitiesIf a die roll for a task results in double ones, it may

become a calamity, a catastrophic outcome. For tasks less than challenging difficulty, a normal failure occurs if no pursuit bonus was used. If a pursuit bonus was applied, the task is handled normally—it results in a success or failure, depending on the actual dice total.

For tasks of challenging or greater difficulty, an additional task is required—a challenging reaction task (see below). If the reaction task is successful, the original task is a normal failure. Otherwise, a calamity occurs. The manifestation of the calamity is

What is a Difficulty?

The terminology used in this game to describe the degree of difficulty, such as trivial or challenging, makes it easier to assign a descriptive term to a task rather than an arbitrary number� For example, doing something possible but unlikely is improbable and something as simple as coloring within the lines is trivial� While it is perfectly acceptable to assign the numerical values of 16 or 8 respectively, this approach requires much more thought. The primary difficulty names and corresponding values are as follows:

• Trivial (8diff) tasks are mundane labors that usually require little or no training, although they can also be deceptively easy at times. The average proficient character can succeed at this type of task approximately 80% of the time, while a more capable and better trained character always succeeds�

• Routine (10diff) tasks are innocuous actions that must rely on training. If no difficulty is listed for a task, it is considered to be routine. The average proficient character can succeed at this type of task approximately 65% of the time, while a more capable and better trained character has about an 80% chance of success� The pinnacle of human achievement always succeeds at this type of task�

• Complex (12diff) tasks are slightly more difficult than routine ones, and represent actions requiring some degree of precision or accuracy. The average proficient character can succeed at this type of task approximately 45% of the time, while a more capable and better trained character has about a 65% chance of success�

• Challenging (14diff) tasks require more than basic training, and typically represent actions unfamiliar to a character� Challenging tasks can also be fairly dangerous, thereby allowing calamities to occur� The average proficient character can succeed at this type of task almost 30% of the time, while a more capable and better trained character has about a 45% chance of success�

• Improbable (16diff) tasks consist of dangerous situations or those unlikely to be successful� The average proficient character can succeed at this type of task approximately 10% of the time, while a more capable and better trained character has almost a 30% chance of success�

• Impossible (18diff) tasks consist of wholly-dangerous or wildly untenable situations. The average proficient character cannot succeed at this type of task without aid, while a more capable and better-trained character has about a 10% chance of success� The pinnacle of human achievement succeeds at this type of task almost 30% of the time.

Scenes & Tasks 28

up to the director. It could mean falling from a ladder, tripping along a road, running into a person, revealing confidential information, or even shooting oneself in the foot, depending on the nature of the original task.

Double Ones Are RolledDifficulty is Less than Challenging; no Pursuit Bonus Failure

Difficulty is Less than Challenging; Pursuit Bonus as per Dice Total

Difficulty is Challenging or Greater Challenging Reaction Task Success Results in Failure Failure Results in Calamity

Active TasksActive tasks are those attempted consciously by a

character. They are considered concentrated actions when occurring during a sequential scene, meaning that they comprise most of the character’s energy during the turn and may or may not be combined with other active tasks.

A character can choose to over-exert himself in order to reduce the difficulty of any active fitness-based task by two (-2diff). In exchange for this bonus, the character receives one line of absolute fatigue.

Automatic TasksMost actions are considered to be automatic tasks.

These require no die roll. Determining success is a simple process of analyzing the situation. If a character’s ability rating and competence of pursuit indicate that he is more likely to succeed than not, the character succeeds. More difficult tasks and contests between characters should be handled with die rolls.

Contested TasksWhen two or more characters are at odds with each

other in a struggle or contest, all those involved make task rolls. The character with the greatest overkill wins the struggle (unless otherwise specified, the difficulty of the task is routine). If all involved parties fail their tasks or their overkill is the same (a tie), everyone fails. However, if one character has a greater pursuit than another in a tie, he wins the contest.

For ExampleKim, Arnold, and Andre are debating one another as part of a school competition� The subject of the debate is religion� Each character must make an influence-based theology task (the director could have also chosen the reasoning ability as the focus of the task, but since this is a public debate, influence is being used)� The character who achieves the greatest overkill wins the debate (and the prize). Alternatively, the debate could have been split

into rounds, with one character having to win each round separately� A different subject could also have been chosen for each round�

Difficulty = 8 + Ability + Pursuit Bonus/Penalty

When attempts are made to undo previously-successful tasks performed by other characters (such as spotting forged documents), the difficulty is equal to eight (8) plus the original character’s ability rating and relevant pursuit bonus.

For ExampleKarl must undo the damage caused by hackers to his computer� This requires a reasoning-based computer task� The hacker’s reasoning rating is 4 and computers bonus is +3. This means that the difficulty of the task is 15 (8 + 4 + 3).

Passive TasksPassive tasks are activities related to subconscious,

reflexive, and sensory actions. Unlike active tasks, they are not concentrated actions and can be performed any number of times during a turn. These tasks are mostly utilized by the director as tools to determine a character’s current state of mind, alertness, and potential.

Ability ChecksDifficulty = 6 + (2 × Ability)

Ability checks are used when a character does not actively pursue the completion of a task, but the level of his ability can determine the outcome. Checks are not tasks in the strictest of definitions, since no die roll is made. They also cannot be used to decide a direct contest between two or more characters—that is a contested task. If six (6) plus double the character’s relevant ability rating (no pursuit bonus is added) is equal to or greater than the assigned difficulty value, the check is successful.

For ExampleA deadly spider crawls on Raymond’s back� He must make an awareness check to notice it� His awareness rating is three and the difficulty is routine, so Raymond succeeds—his total of 12 (6 + 3 + 3) beats the difficulty of 10.

Composure TasksAbility Rating + Composure Bonus/Penalty + Dice Roll

Composure tasks are made when a character experiences a moment of internal conflict, such as a need to restrain his desires or habits, resist the urge to respond to external stimuli, or reconcile events that

Scenes & Tasks29

GENRE diversion

contradict his beliefs. This type of task relies on the composure pursuit and an ability based on the situation, as described below.

•Fitness-based composure tasks are made when resisting the urge to respond to physical stimuli. Examples include screaming or flinching from pain, swatting an annoying insect, and scratching an itch. The base difficulty is routine, but can vary depending on the degree of contact; +1diff per grade of injury or fatigue sustained.

•Awareness-based composure tasks are made when recognizing and preventing subconscious behavior. Examples include nervous tics, stuttering, and impulsive acts. Most of these tasks are of challenging difficulty.

•Creativity-based composure tasks are made when confronted with unnatural and conflicting events and information, especially those that dispute the character’s own sense of reality and self. Examples include witnessing the supernatural, finding evidence that disproves one’s faith, betrayals, and psychological abuse. The difficulty of these tasks can vary between complex (psychological abuse) and impossible (mythological creatures come to life).

•Reasoning-based composure tasks are made when abstaining from compulsive behaviors and immoral acts, and experiencing horrific events. Examples include addictions, primal urges, and witnessing bloody killings. The difficulty of these tasks can vary between routine (nightmares) and challenging (dismembered corpses).

•Influence-based composure tasks are made when facing social pressures and verbal abuse. Examples include mudslinging, peer pressure, and taunts. Most of these tasks are of routine or complex difficulty; they can also be performed to contest another character’s influence-based task (such as for intimidation).

Failure of a composure task is often obvious, taking the form of giving in to desires and reflexes, but can also result in panic. Whenever a character is faced with fearsome and world-shattering situations and fails his composure task, roll a die and consult the table below to determine his reactions.

Optional: Using Experience

Experience is a measure of a character’s past adventures� Unlike abilities, experience can increase or decrease quickly during play� Bonus dice can be rolled or the character can escape danger through his practical knowledge and worldliness� Experience is expended when using it to augment tasks or reduce damage, and increased when acting on drives and accomplishing missions� A character can begin play with an amount of experience equal to the roll of one die. If the character has been hospitalized or imprisoned for an extended period of time, halve this amount�

Augmenting TasksA character can expend experience to roll one additional

die (a total of three dice) when attempting an active task (but not passive tasks)� The amount of experience required depends on the character’s relevant ability� No more than one bonus die can be rolled per task�

Bonus Die Costability rating required experience

0 4

1 3

2 to 3 2

4 or more 1

Breaking TiesA character who ties another in a contested task can expend

one experience to break the tie� The other character(s) can also expend experience to try to do the same� This turns into a bidding war of sorts, with the character expending the most experience finally breaking the tie.

Increasing ResistanceA character can also expend experience to increase

a protective value against a single source of damage for one scene (for open scenes) or one turn (for sequential scenes)� Each point of experience expended increases the protective value by one, up to a maximum determined by the character’s composure competency�

Maximum Protective Increasecomposure competency maximum increase

Incompetency 0

Basic Knowledge 1

Proficiency 2

Specialty 3

Mastery 4

Gaining ExperienceIn addition to gaining experience by following one’s

drives, it can also be used to reward a character’s actions between episodes� For more information, see Chapter Four�

Scenes & Tasks 30

Panicroll effect

1 Cowardly: Stays in Fetal Position

2 Cowardly: Hides from Everyone

3 Cowardly: Runs Away from those Involved

4 Denial: Events Never Occurred

5 Aggressive: Screams and Mutters

6 Aggressive: Attacks anyone not Recognized

reaction TasksAwareness Rating + Dice Roll or

Creativity Rating + Composure Bonus/Penalty + Dice Roll

An awareness task is made whenever the director needs to determine if a character reacts in a timely fashion to a threat or other challenge to his reflexes. This is not a task that the character actively pursues, and is used only as a mechanism for success. The character is permitted to attempt an additional task within the same turn if successful—this is called a follow-up task. The difficulty of a reaction task is determined by the amount of time in which the character has to react. The director determines the available reaction time using his best judgment.

Reaction DifficultiesReact within One Second or Less Improbable

React within Two or Three Seconds Challenging

React within Four or Five Seconds Routine

While a reaction task is typically passive in nature, a player can elect to make it into an active one by performing a creativity-based composure task instead. This has the potential of increasing the odds, but a character cannot apply a pursuit bonus to the follow-up task when this is done (a pursuit penalty is still applied). The task is based on the creativity ability, since the task becomes one of improvisation rather than instinct.

Damage and AbatementThere are three protective elements for the two base

types of health—padding protects against fatigue, armor protects against injury, and immunity protects against either of these when caused by illness or toxins. Whenever the character receives some form of damage, a generic source that affects health, and also has an appropriate protective rating greater than zero, an abatement roll is made. Armor and padding components can increase certain protective ratings, but they can never be raised above five.

Abatement rolls are handled differently from task rolls, as their purpose is to determine not what a character can do, but how well he can resist a threat to his health. A number of dice equal to the damage value (number of marks) is rolled to determine the degree of abatement. Each die that is greater than the protective value is considered to have penetrated the character’s source of protection, increasing the appropriate type of health by one mark.

Protective values block damage from various sources. Default protective values are typically determined by the character’s fitness rating. Protective values can range from zero to five, and cannot be raised above five.

•Padding protects against fatigue-inflicting damage. A character’s default padding value is determined by his fitness rating (see table below).

•Armor protects against injury-inflicting damage. A character’s default armor value is determined by his fitness rating (see table below).

•Immunity protects against damage caused by disease, exposure, and toxins. A character’s default immunity value is equal to his fitness rating.

Base Protection by Fitness Ratingfitness rating armor and padding values

0 to 3 0

4 to 7 1

8 to 11 2

12 to 15 3

16 to 19 4

20 or more 5

Damage can be applied in a variety of ways, as previously described—as marks, lines, or grades. Damage is typically applied as a general affliction; the location of the damage on the body, such as for injury, is not usually important for play, but can be specified by the director to add extra atmosphere. Damage that penetrates the character’s relevant protection is applied directly to one or more types of health. 1 Mark = 1 Damage Checkbox

1 Line = 1 Mark × Threshold Rating

1 Grade = 1 Full Line of Damage

For ExampleJason receives 5fat, or five marks of fatigue� An abatement roll is made, using his padding value of 3 for protection. The dice roll is 3, 1, 3, 4, and 5. Two dice are greater than Jason’s padding, so they are applied to his health—two fatigue boxes are checked: CC

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GENRE diversion

If Jason was inflicted with 1 line of injury and his injury threshold were 4, it would equate to 4inj, or four marks of injury� So his abatement roll would consist of 4 dice, using his armor value for protection�

Absolute DamageWhen damage is noted as being absolute, it is applied

directly to a character’s health with no abatement roll.For ExampleA magical attack inflicts Jason with 2 marks of absolute fatigue� No abatement roll is made and two fatigue boxes are checked�

Overwhelming DamageWhenever a character receives an amount of damage

greater than his appropriate threshold rating, he becomes overwhelmed. This can represent different things depending on the situation. Being overwhelmed by fatigue or injury as a result of a strike from an opponent means being knocked down to the ground, while overwhelming damage from a toxin could cause vomiting or high fevers. These effects generally only occur for one turn.

The Effects of DamageA penalty is applied to all tasks as characters become

fatigued. The same happens with injury, but only for fitness and awareness-based tasks. The degree of penalty, or increase in difficulty, is determined by the number of grades sustained (see the table below). Sequential scenes, such as those used for physical conflict, augment or replace these penalties with their own.

Health Penaltiesgrade fatigue injury penalty

1 Dazed Bruised None

2 Stressed Sprained +1diff

3 Strained Wounded +2diff

4 Exhausted Maimed +3diff

5 Unconscious Incapacitated Cannot Act

Base DamageA character’s base damage is the amount he can

inflict when punching or kicking an opponent. Consult the table below, referencing the character’s fitness rating (modified by certain gimmicks) to determine how many marks of fatigue a character inflicts in close combat.

Armor and Padding

The area that an armor or padding component protects is an important factor that determines when the character’s protective rating is modified. There are five general types of protective coverage:

• Complete protection represents total coverage and is always applied with the following exceptions: a helmet must be worn to be applied when specifically targeting the head and gloves must be worn to be applied when specifically targeting the hands.

• General protection represents near-total coverage and is always applied, except when the extremities and head are specifically targeted.

• Upper protection represents coverage of the back, chest, and stomach� It is applied only when the torso is targeted, such as for punches�

• Lower protection represents coverage of the hips and legs, and is applied only when these areas are targeted, such as for kicks to the lower body�

• Defense protection represents the use of a shield or similar item� It is applied only when the character is wielding the component and is often combined with other areas of protection�

Armor and Padding Effectivenessarmor component padding armor area of protection

Heavy, Outdoor Clothing +1 0 General

Leathers +1 0 General

Chain Cuirass 0 +3* Upper

Chain Hauberk 0 +3* General

Chain Mail 0 +3* Complete

Scale Cuirass +2 +2* Upper

Scale Hauberk +2 +2* General

Scale Mail +2 +2* Complete

Plate Cuirass +2 +4* Upper

Plate Mail +2 +4* Complete

Bullet-Proof Vest +2 +2 Upper

Kevlar Vest +3 +3 Upper

Battle Armor +3 +4 Complete

Flight Suit +3 0 Complete

Armored Flight Suit +4 +4 Complete

Powered Armor Suit +4 +5 Complete

Plasma Screen 0 +5 Complete

Buckler (Shield) +2 +2 Defense: Upper

Heater (Shield) +3 +2 Defense: General

Kite (Shield) +4 +3 Defense: Lower

Battlement Shield +4 +4 Defense: Complete

* This component does not protect against firearms.

Scenes & Tasks 32

Base Damage by Fitness Rating0 to 3 1

4 to 7 2

8 to 11 3

12 to 15 4

16 to 19 5

20 or more +1 for every 4 above 19

Common Sources of DamageThe most common sources of damage outside of

physical conflict are described below.

Asphyxiation and DrowningHolding one’s breath is limited to a few minutes, but if

a character is suddenly thrust into a situation requiring him to do so, a reaction task must first be made. If successful, the character can function normally for two minutes before requiring oxygen; he then begins to suffer from the affects of asphyxiation. A failed task means that asphyxiation begins immediately. The character receives a number of marks of absolute fatigue equal to the roll of one die after a specific interval, which is a number of minutes equal to double the character’s fitness rating (or twenty-four turns times his fitness rating). This damage is applied each time the interval is repeated or until the character is either no longer being asphyxiated or dies. If the character falls unconscious, injury is applied instead of fatigue.

DraggingBeing dragged along the ground by a vehicle or animal

inflicts a number of marks of damage equal to half the roll of one die per turn (or a full die per open scene). The type is damage can vary by environment—fatigue for muddy or sandy regions and injury for concrete and other rough terrain.

FallingFalling at least six inches can be potentially harmful.

For every six feet in the fall, the character receives a number of marks of damage equal to the roll of one die. Injury is inflicted in most cases, but the director can substitute fatigue for padded surfaces. Since this is not absolute damage, an abatement roll is made.

Fire and SmokeWhen a character comes into contact with fire, one or

more dice are rolled to determine the number of injury marks sustained. Since fire can vary greatly in size, the number of dice can range from one for multiple small flames to five for serious, expansive fires.

Smoke inhalation is a possibility when characters are trapped in enclosed areas or dense patches. One or two dice are rolled, depending on how much smoke is present. The sum determines the number of fatigue marks inflicted by the smoke.

PoisonDamage from poison is handled in intervals. A

specified amount is inflicted at each interval, which can be in turns, minutes, hours, or days. A 1inj/2 turns poison inflicts one mark of injury every two turns, for instance. An abatement roll is also made, using the character’s immunity value.

Optional: ExploitsProceed to the next chapter if you are not going to use Exploits.

If a task results in five or more overkill, the character can exploit his success, increasing its effects. Only one exploit can be chosen by a player for a single task, but the effects are enhanced by the bonus of the pursuit used. General exploits are described below and exploits specific to combat are described in the next chapter. The director is free to create his own.

ForceThe outcome of the character’s active task is well-

beyond that which is needed to succeed. Fitness-based tasks result in increased strength and vigor (often meaning that the character does not know his own strength), creativity-based tasks manifest as works of art, reasoning-based tasks become irrefutable and valid, and influence-based tasks yield coercive and authoritative consequences.

SpeedThe character accomplishes the active task quicker

than thought possible, not only amazing those around him, but also breaking any ties. Because this a scene-based exploit, the exact timing involved is up to the director to decide, but the rating of the associated pursuit is factored into the reduction.

Pursuit CompetenciesIncompetency One Less Minute or Second

Basic Knowledge Three-Quarters the Normal Time

Proficiency One-Half the Normal Time

Specialty One-Quarter the Normal Time

Mastery One-Eighth the Normal Time or Immediate

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GENRE diversion

ProwessThe character scrutinizes his awareness or influence-

based task to the point of identifying hidden elements. This can include recognizing muffled sounds, cloud-covered sights, exotic flavors, noxious smells, the ever-so-slight tingling of insects crawling on skin, and people’s true motives (influence-based). The degree of identification is determined by the rating of the associated pursuit.

Pursuit CompetenciesIncompetency Vague Hint

Basic Knowledge Knowing it is somewhere, but not what it is

Proficiency Knowing the exact source, but not what it is

Specialty Knowing the exact source and what it is

Mastery Knowing the exact source, and what and how much it is

EmotionThe character’s creativity or influence-based task

involving artistic creation or performance emotionally charges his audience. All those present get swept up in the emotion and either cry or become totally enthralled in the work. A reasoning-based composure task is required by individuals to resist this emotional torrent, with the difficulty determined by the pursuit bonus used for the task.

Pursuit CompetenciesIncompetency Trivial

Basic Knowledge Routine

Proficiency Complex

Specialty Challenging

Mastery Improbable

BreakthroughThe character’s active task is so successful, that it

unlocks clues to solving similar tasks. The character gains a bonus on other non-contested tasks made with the same pursuit until failing a task or the end of the scene.

Pursuit CompetenciesIncompetency -1diff on First Task within Scene only

Basic Knowledge -1diff

Proficiency -2diff

Specialty -3diff

Mastery -4diff

RallyThe character’s influence-based task made to rally

a group inspires one or more of them. The maximum number affected is determined by rolling one or more dice (see table below) and computing the sum. The affected people gain confidence and a sense of purpose, receiving a bonus on all tasks until failing a task or the end of the scene.

Pursuit Competenciesrelevant competency bonus dice rolled

Incompetency -1diff on First Task within Scene only 0 (1 person)

Basic Knowledge -1diff 1 (halve value)

Proficiency -2diff 1

Specialty -3diff 2

Mastery -4diff 3

TrustThe character’s actions promote trust in one or more

witnesses, provided the two run parallel (the act must coincide with the witness’s beliefs and goals). Those who were previously unsure about the character’s skill or intentions are reassured. The maximum number affected from a single action is determined by rolling one or more dice (see table below) and computing the sum.

Pursuit CompetenciesIncompetency 1 person (No Dice)

Basic Knowledge 1 Die, but halve value

Proficiency 1 Die

Specialty 2 Dice

Mastery 3 Dice

Scenes & Tasks 34

Damage Reference

Mark Line = 1 Damage checkbox = 1 Mark × Threshold Rating

Abatement RollDice = 1 × Marks of Damage

Penetration = Dice that are Greater than Protective Value

Base Damage/Protection by Fitness Ratingfitness rating damage armor/padding values

0 to 3 1 0

4 to 7 2 1

8 to 11 3 2

12 to 15 4 3

16 to 19 5 4

20 or more +1 for every 4 above 19 5

Health Penaltiesgrade fatigue injury penalty

1 Dazed Bruised None

2 Stressed Sprained +1diff

3 Strained Wounded +2diff

4 Exhausted Maimed +3diff

5 Unconscious Incapacitated Cannot Act

Armor and Padding Effectivenessarmor component padding armor area of protection

Heavy, Outdoor Clothing +1 0 General

Leathers +1 0 General

Chain Cuirass 0 +3* Upper

Chain Hauberk 0 +3* General

Chain Mail 0 +3* Complete

Scale Cuirass +2 +2* Upper

Scale Hauberk +2 +2* General

Scale Mail +2 +2* Complete

Plate Cuirass +2 +4* Upper

Plate Mail +2 +4* Complete

Bullet-Proof Vest +2 +2 Upper

Kevlar Vest +3 +3 Upper

Battle Armor +3 +4 Complete

Flight Suit +3 0 Complete

Armored Flight Suit +4 +4 Complete

Powered Armor Suit +4 +5 Complete

Plasma Screen 0 +5 Complete

Buckler (Shield) +2 +2 Defense: Upper

Heater (Shield) +3 +2 Defense: General

Kite (Shield) +4 +3 Defense: Lower

Battlement Shield +4 +4 Defense: Complete

Tasks: A Quick Reference

Basic TaskAbility Rating + Pursuit Bonus/Penalty + Dice Roll

Contested TaskGreatest Overkill

or Difficulty = 8 + Ability + Pursuit Bonus/Penalty

Ability CheckDifficulty = 6 + (2 × Ability)

Composure TaskAbility Rating + Composure Bonus/Penalty + Dice Roll

Reaction TaskAwareness Rating + Dice Roll

or Creativity Rating + Composure Bonus/Penalty + Dice Roll

DifficultiesTrivial 8diff

Routine 10diff

Complex 12diff

Challenging 14diff

Improbable 16diff

Impossible 18diff

Double Ones Are RolledDifficulty is Less than Challenging; no Pursuit Bonus Failure

Difficulty is Less than Challenging; Pursuit Bonus as per Dice Total

Difficulty is Challenging or Greater Challenging Reaction Task Success Results in Failure Failure Results in Calamity

Reaction DifficultiesReact within One Second or Less Improbable

React within Two or Three Seconds Challenging

React within Four or Five Seconds Routine

Panicroll effect

1 Cowardly: Stays in Fetal Position

2 Cowardly: Hides from Everyone

3 Cowardly: Runs Away from those Involved

4 Denial: Events Never Occurred

5 Aggressive: Screams and Mutters

6 Aggressive: Attacks anyone not Recognized

Physical Conflict35

GENRE diversion

Physical Conflict

Chapter three

Physical Conflict 36

Whenever characters are pitted against one or more opponents in a physical conflict, a sequential scene is initiated. All action occurs on a turn-by-turn basis. At the start of every turn, all characters make routine contested reaction tasks. They then act in the order of greatest overkill to lowest, although they may also defer actions in order to wait and see what an opponent does, so that they can respond accordingly. Unless otherwise stated, a character can perform movement and one other action in a given turn.

A character’s actions can occur only when it is his chance to perform them. If a character defers his action, however, he can choose to initiate it at any time during the turn (after he would normally act), but it cannot interrupt another character’s action. As with any other reaction task, a character cannot apply a pursuit bonus if the composure bonus was applied. A character’s reaction task may be modified, depending on the circumstances. The most common situations are described below.

EncumbranceA character carrying bulky items or an excessive

number of items receives a penalty of +2diff to +4diff on the reaction task. The director can choose based on the degree of encumbrance.

InjuryCharacters who are injured (but not fatigued) receive

the normal injury penalty on the reaction task.

OverwhelmedIf a character was overwhelmed on the previous turn,

his reaction task for the current turn receives a penalty of +2diff.

SurprisedCharacters who are taken by surprise (jumped from

behind, shot at by opportunity fire, or surprised via exploit) on the previous turn receive a penalty of +4diff on the reaction task.

For ExampleKim and Drew enter into a melee against each other� Kim is slightly injured (sprained or 2 grades), so her task’s difficulty is increased by 1 to 11� Drew is not at any disadvantage, so must beat the default difficulty of routine. Kim achieves 2 overkill on her task, while Drew unluckily achieves none, but still succeeds� Kim gets to act first, followed by Drew�

MovementAll distances are measured in spaces. This not only

bridges the gap between Imperial and Metric systems, but also simplifies the use of miniatures with the game. One space is equal to six feet, which is the same as two yards and roughly the same as two meters. When using miniatures, one space equals one inch. The following movement rules are used when the director wishes to add more detail to the action, but the specific numbers can be easily ignored for more abstract games. Movement can be performed with or without an accompanying attack, but must come first.

walking Spaces = 1 + Fitness Rating

A character can walk up to a number of spaces each turn equal to one plus his fitness rating.

For ExampleKilrath the Destroyer’s fitness rating is 4, so he can walk 5 spaces per turn, which is the same as 30 feet, 10 meters/yards, and 5 inches (for miniatures)�

runningSpaces = 1 + Fitness Rating + 1 Die Roll

In lieu of walking, a character can run up to a number of spaces equal to his walking rate plus the roll of one die. A penalty of +2diff is applied to all of a character’s tasks during a turn in which he runs. Actively blocking attacks is also not possible during a turn in which a character runs.

For ExampleKilrath chooses to run to the nearest exit in order to escape a horde of goblins� He rolls a 6 on one die, adding it to 1 and his fitness rating of 4 for a total of 11� This means that he can run up to a total of 11 spaces this turn� As a result of his speed, however, any task that he attempts is penalized by +2diff this turn�

A character can also run to avoid being hit by a ranged attack. This is called evasion, and is handled just like running, except that he cannot perform any other actions during the same turn. A penalty of +4diff is applied to all tasks made to hit him when evading.

For ExampleInstead of simply running to the exit, Kilrath evades the goblins’ crossbow fire� He still moves up to 11 spaces towards the exit, but cannot perform any other actions until next turn� The goblins receives a penalty of +4diff to hit him with their crossbows�

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GENRE diversion

Going ProneSpaces = Half of 1 + Fitness Rating

Sometimes it is just best for characters to hit the dirt. Going prone or returning to one’s feet does not count as movement, but only one or the other can be performed each turn. A character who is prone or knocked down can either return to his feet or crawl on the ground. The maximum number of spaces that a character can traverse while crawling is equal to one-half his normal walking rate.

ClimbingSpaces = Fitness Rating

A character can climb a wall or sheer surface at a rate up to his fitness rating per turn. No other actions are possible during a turn in which a character climbs.

For ExampleKilrath climbs a ladder to get a better shot at his target� The ladder is 18 feet high (3 spaces) and Kilrath can climb 4 spaces per turn, but he only wants to climb 2 spaces. He is now 2 spaces off the ground, with a better angle for his crossbow attack on the following turn�

JumpingSpaces = Half of Fitness Rating

A character can make a single horizontal jump of one space over a small obstacle while walking or running, but it replaces two spaces of normal movement. If the character wishes to jump farther, he can do so, but it requires all of his available movement and means that he cannot perform another action during the same turn. The maximum number of spaces that a character can jump is equal to half of his fitness rating.

For ExampleKilrath can walk up to 5 spaces per turn� He proceeds to walk 2 spaces, jumps over a puddle of 1 space (counts as two spaces), and can still walk up to 1 more space this turn�

SwimmingSpaces = 1 + Fitness Rating (halved for incompetency)

A character can typically swim as quickly as he can walk, but the athletics pursuit is required to do so. If the character’s athletics pursuit is an incompetency, the number of spaces is halved and an athletics task is required to maintain his calm and prevent drowning (see Common Sources of Damage: Asphyxiation and Drowning in the previous chapter).

The Effects of Injury on MovementWhen a character is injured, his movement becomes

restricted. The limitations vary, depending on how hurt he is. As an option, the director can apply the same restrictions for when a character is fatigued.

•When a character suffers from two grades ofinjury, all of his maximum movement distances are reduced by one space.

•When a character has sustained three grades ofinjury, all of his maximum movement distances are reduced by two. If this reduces a rate to zero or less, it takes two turns to move one space.

•When a character is afflicted with four gradesof injury, he can no longer run, climb, or jump. Additionally, going prone or standing requires two turns.

•Whenacharacterhassustainedfivegradesofinjury,he is out of action and cannot move or act.

For ExampleKilrath is wounded (3 grades of injury), so his walking rate is now 3, running is 3 plus the die roll, etc.

The Effects of Encumbrance on MovementA character carrying bulky items or an excessive

number of items is considered to have a fitness rating of one less for the purposes of movement.

random DirectionsWhenever a direction is required to be chosen

randomly, roll two dice and compute their sum. Use this value as the position of a clock hand, where twelve o’clock is straight ahead and six-o’clock is backward.

For Example¿ 9 o’clock; ¸ 2 o’clock; 6 o’clock; 12 o’clock

TerrainWhile open ground is easy to traverse, some forms of

terrain can hinder movement. Terrain and obstacles are broken down into four categories.

Open TerrainOpen terrain includes solid ground that is flat or only

slightly-inclined, sparse foliage, and short obstacles. Open terrain does not affect a character’s movement capability.

rough TerrainRough terrain consists of steeply-inclined solid ground,

flat or slightly-inclined loose ground, moderately-dense

Physical Conflict 38

foliage, and slow-moving water (choppy water when swimming). One space through rough terrain counts as two spaces of movement.

For ExampleMoving through rough terrain, Kilrath’s walking rate of 5 is considered 2—each space counts as two, so moving 2 spaces is like walking 4 spaces in open terrain� Even though he can still move one more space, this is only possible in open terrain, since rough terrain requires 2.

hazardous TerrainHazardous terrain consists of steeply-inclined solid

ground, steeply-inclined loose ground, extremely-dense foliage, tall obstacles, fast-moving shallow water, and slow-moving deep water. One space through hazardous terrain counts as three spaces of movement, and an athletics task is required to maintain balance.

Impassable TerrainImpassable terrain includes sheer inclines, huge

obstacles, and fast-moving deep water. This type of terrain cannot be traversed; characters must find a way around it or travel in a different direction.

Ranged CombatBase Difficulty = Determined By Range

Ranged attacks, or those executed at a distance greater than one space, are typically resolved using the fitness ability and a pursuit such as firearms, archery, or athletics. The difficulty for these attacks is determined by the range and can be modified by other factors. Each of these weapons is given three range values. A distance of one or two spaces is always considered to be point-blank. Ranges greater than two spaces are either short, medium, or long, depending on the actual distances listed for each weapon.

Range DifficultiesPoint Blank (1 to 2 Spaces) Trivial

Short Range Routine

Medium Range Challenging

Long Range Improbable

Thrown attacks are handled in the same manner, except that a character’s fitness rating determines the ranged distances. Short range for a throwing attack falls between three and five spaces. Distances greater than five and less than or equal to five plus half the character’s fitness rating are medium range. Long range consists of all distances greater than five plus half the

character’s fitness rating and less than or equal to six plus the character’s fitness rating. These values assume that the character is throwing a small object. The director is free to decrease these values for larger and/or heavier objects.

Throwing Ranges1 to 2 Spaces Point Blank

3 to 5 Spaces Short Range

6 to (5 + Half Fitness) Medium Range

(6 + Half Fitness) to (6 + Fitness) Long Range

CoverObstacles, such as walls and debris, within a distance

of one space from a target can block some or all of a character’s line of sight. If the obstacle is large enough to completely conceal a character, it is not a viable target (total cover). If the target is not completely concealed, however, it can be attacked with an increase in difficulty. If at least one-third of the target is concealed by cover, the difficulty is increased by +2diff (partial cover). If more than two-thirds, but not all of the target, is obscured, the difficulty is increased by +4diff (heavy cover).

AimingA character can spend a full turn aiming his weapon

at a target. Up to three consecutive turns can be spent aiming. Each turn modifies the difficulty of the attack by -1diff. If the character’s aim is interrupted, such as by being struck, he loses the cumulative benefits of his aim and must begin from scratch. A character cannot attack or move during a turn in which he is aiming.

Indirect AttacksSome ranged attacks can be launched indirectly at a

target, such as in an arc, allowing the projectile to travel over obstacles. The target of such an attack must be in front of the character, but does not have to be visible.

When an indirect attack is made against a visible target, a normal ranged attack task is made, but cover and aiming are not taken into consideration. If successful, the target is hit; otherwise, the projectile strikes a number of spaces in a random direction equal to the roll of one die.

Indirect attacks made against hidden targets require the attacker to guess the distance in spaces beforehand. Again, cover and aiming are not factored into the task. If successful, the projectile strikes a point along a straight path to the target, but at a distance equal to

Physical Conflict39

GENRE diversion

the attacker’s guess. A failure indicates that it strikes a number of space from the guessed point in a random direction equal to the roll of one die.

hitting Specific Targets in a CrowdWhen performing a ranged attack on a specific target

in the midst of a crowd, the difficulty is modified by +1diff for each additional member of the crowd beyond the target. A failure indicates that a random member of the crowd is hit by the attack.

DamageTargets hit by a ranged attack sustain an amount of

damage equal to the weapon’s damage value, which specifies the number of marks of a certain type of damage (fatigue or injury, though more commonly the latter). If a weapon’s damage value is preceded by a plus sign (+), the attacker’s base damage is also added, but converted to whatever type of damage is inflicted by the weapon. If a successful attack results in no overkill, it is considered to have only grazed the target and the damage value is reduced by half. The application of damage is handled normally.

For ExampleKilrath is hit by a crossbow bolt for 3inj� Since the attack achieved no overkill, it is only a graze and the damage is reduced to 1inj� An abatement roll is made (1 die is rolled) versus Kilrath’s current armor rating�

Close CombatBase Difficulty = 8 + Target’s Fitness + Pursuit

Close combat consists of direct, physical conflict between two or more characters. This means that close combat occurs within a distance of one space. They are usually resolved using the fitness ability and the brawling, dueling, or melee pursuit. The difficulty of a close combat task is 8 plus the target’s fitness rating and relevant pursuit bonus/penalty. The difficulty is modified by -1diff for each close combat attack already made against the target during the same turn, whether successful or not. If a target is knocked down, the difficulty to hit him in close combat is 6. If he is prone, the difficulty is 8 plus his pursuit bonus/penalty.

For ExampleKilrath attempts to punch Gragith� Since Gragith’s fitness rating is 3 and brawling bonus is +1, the difficulty for the attack is 12 (8 + 3 + 1). Because Jone already hit Gragith this turn, the difficulty of Kilrath’s task is further modified by -1diff, for a final difficulty of 11�

Weapons Rangeranged weapons short medium long

Hunting Bow 3–8 9–20 21–50

Long Bow 3–10 11–25 26–60

Crossbow 3–8 9–20 21–50

Flintlock Pistol 3–5 6–8 9–11

Musket 3–10 11–20 24–40

Small Caliber Revolver 3–6 7–10 11–15

Large Caliber Revolver 3–10 11–18 19–38

Semi-Automatic Pistol 3–8 9–15 16–25

Submachine Gun 3–10 11–18 19–38

Shotgun 3–8 9–15 16–25

Hunting Rifle 3–12 13–35 36–100

Sniper Rifle 3–15 16–55 26–200

Assault Rifle 3–10 11–30 31–90

Machine Gun 3–20 21–60 61–200

Detonation Pistol 3–10 11–20 21–40

Detonation Carbine 3–12 13–30 31–75

Energy Pistol 3–12 13–25 26–50

Energy Rifle 3–12 13–35 36–100

Energy Repeater 3–12 13–35 36–100

Stun Pistol 3–6 7–12 13–25

Grenade Launcher 3–8 9–30 31–100

thrown weapons

Point Blank Range 1 to 2 Short Range 3 to 5 Medium Range 6 to (5 + Half of Fitness) Long Range (6 + Half of Fitness) to (6 + Fitness)

Range DifficultiesPoint Blank Trivial

Short Range Routine

Medium Range Challenging

Long Range Improbable

Weapon ErasA reminder of the various era symbols:

F Fantasy era; sixteenth century or older Medieval, Biblical, and Roman settings

A Antique era; seventeenth to early twentieth centuries Victorian, World War I, Wild West, and Pirate settings

M Modern era; twenty to early twenty-first centuries World War II, Cold War, Espionage, and Cyber settings

X Future era; beyond the twenty-first century Science-Fiction settings

f Universal; common to any era

Physical Conflict 40

Charged AttacksIf a character ran at least a distance of five spaces to

reach the target, the close combat attack is considered to be charged, meaning that it is powered by his momentum. The damage inflicted by a successful charged attack is doubled. A failure indicates that the character stumbles to the ground, as if he was overwhelmed.

Active BlockingCharacters can take an active blocking stance during

the entire turn, but cannot move or attack when doing so. All close combat attacks made against a blocking character have a difficulty of 8 plus the target’s fitness rating and double his brawling bonus. If a character makes a ranged attack against a blocking character within a distance of one space, the difficulty of the attack is the same as if it was a regular close combat task (8 plus the target’s fitness rating and brawling bonus/penalty) because of the proximity. A character can block all attacks directed at him within a single turn without restriction, provided he does not become overwhelmed and is not prone.

If a close combat task that is blocked in this manner results in a potential calamity, the defending character can immediately perform his own close combat task (in which he is trained) against the attacker, although he can no longer block or perform any other actions for the remainder of the turn.

For ExampleKilrath actively blocks during the turn in which Gragith swings at him using a sword� The difficulty of the attack is 16 (8 + 4 + 4) thanks to Kilrath’s fitness rating of 4 and brawling bonus of +2. Unfortunately for Gragith, this is just too difficult and his attack results in a calamity� Kilrath may now execute a counter-attack at the expense of ending his blocking�

SurpriseIf a target is taken by surprise and free to act (not

bound or restricted in some way), he must make an improbable reaction task. If the task is successful, the difficulty to hit him is 8 plus his brawling or athletics bonus. Otherwise, the difficulty is 8.

Quick witsIf the attacker achieved overkill of at least one on his

reaction task and his target’s reaction task resulted in negative overkill, the attacker’s close combat or ranged task receives a bonus of +2diff.

Weapons Damageranged weapons

Hunting Bow +0inj

Long Bow +1inj

Crossbow 3inj

Flintlock Pistol 1inj

Musket 2inj

Small Caliber Revolver 2inj

Large Caliber Revolver 3inj

Semi-Automatic Pistol 2inj

Submachine Gun 3inj

Shotgun 3inj

Hunting Rifle 4inj

Sniper Rifle 5inj

Assault Rifle 4inj

Machine Gun 6inj

Detonation Pistol 5inj

Detonation Carbine 6inj

Energy Pistol 3inj

Energy Rifle 4inj

Energy Repeater 4inj

Stun Pistol 5fat

thrown weapons

Sling +1fat

Spear +1inj

Knife +1inj

Throwing Axe +2inj

Explosives Grenade 5inj

Stun Grenade 5fat

Plasma Grenade 8inj

close-combat dueling weapons

Knife/Dagger +1inj

Short Sword +1inj

Typical Sword +2inj

Long Sword +2inj

Axe +1inj

Battle Axe +2inj

Vibro-Knife +2inj

Plasma Sword +3inj

close-combat melee weapons

Club/Baseball Bat +1fat

Lead Pipe/Crowbar +0inj

Mace +2inj

Warhammer +1inj

Pike +3inj

Staff +2fat

Trident/Fork +2inj

Garrotte +1fat

Stun Stick 4fat

Physical Conflict41

GENRE diversion

DamageIf a weapon is used and it has a damage value

preceded by a plus sign (+), it is added to the attacker’s base damage. If the weapon inflicts injury damage, the character’s base damage is converted to injury. If a weapon’s damage value does not include a plus sign, it completely replaces the character’s base damage for the attack. If a successful attack results in no overkill, it is considered to have only grazed the target and the damage value is reduced by half.

For ExampleKilrath strikes his opponent with an axe for +1inj� This means that he inflicts 2inj (base damage of 1fat + 1inj, converting fatigue to injury)�

Other ActionsJust about any task is possible during scenes of

physical conflict. Since turns are used to judge the action, only tasks that can be performed quickly or over consecutive turns are practical. A sampling of these tasks is described below.

Quick-DrawA character can ready a weapon for use during the

same turn with a successful challenging fitness-based reaction task.

reloadingA character can reload a weapon that uses some sort

of projectile or ammunition in lieu of other actions, except walking (this reduces his maximum distance for walking by half). Some weapons require more than one turn to be committed to this. If the reloading process is interrupted between turns, it must be performed from scratch, ignoring the efforts of previous turns.

As an option, characters can reload automatically when necessary. This does not count as an action. A character must only perform a reload as an action when he rolls a calamity for an attack.

Impacting Combat TasksThe following situations modify the difficulty of

certain attacks. The director is free to add his own impacts as needed by environmental, physical, or mental conditions.

EncumberedA character carrying bulky items or an excessive

number of items, or otherwise considered encumbered

Random Combat CalamitiesThe following random tables can be used to quickly

determine the effects of attack tasks that result in calamities� Roll a die and consult the appropriate table�Ranged Combat roll effect 1 The weapon is out of ammunition and must be reloaded. 2 The weapon jams, becoming useless until it can be corrected with a reasoning-based task on a subsequent turn, using a pursuit that corresponds to the weapon. 3 The weapon explodes (firearms) or violently shatters (bows),

inflicting the character with 1 mark of absolute injury. 4 The character accidentally shoots an extra or animal, killing or severely wounding him. 5 The character accidentally shoots an ally; damage is applied

normally. 6 The character accidentally shoots himself; damage is applied normally.

Close Combat (Dueling) roll effect 1 The character drops the weapon, requiring him to go prone to

recover it. 2 The weapon has become dulled from use; its damage value is permanently reduced by half. 3 The weapon shatters, rendering it useless. 4 The weapon breaks violently, rendering it useless and inflicting the character with 1 mark of absolute injury. 5 The character accidentally cuts an ally with the weapon;

damage is applied normally. 6 The character accidentally cuts himself with the weapon; damage is applied normally.

Close Combat (Melee) roll effect 1 The character drops the weapon, requiring him to go prone to

recover it. 2 The weapon becomes worn and rough from use, inflicting a penalty of +1diff to attack unless wearing thick gloves. 3 The character trips over the weapon, becoming overwhelmed

and falling to the ground. 4 The weapon breaks, rendering it useless. 5 The character accidentally hits an ally; damage is applied

normally. 6 The character accidentally hits himself; damage is applied normally.

Close Combat (Unarmed) roll effect 1 The character drops all items that he is carrying or loose-fitting

clothes (such as a hat). 2 The character gets dust or dirt in his eyes, preventing him from attacking next turn. 3 The character gets dazed, providing his opponents with a bonus

of -2diff on all attacks against him for the remainder of this and the following turn.

4 The character trips, becoming overwhelmed and falling to the ground. 5 The character damages his armor (if applicable), permanently

reducing its protective value by half.

6 The character accidentally hits a nearby ally (if applicable) or himself; damage is applied normally.

Physical Conflict 42

receives a modifier of +1diff to +2diff (director’s discretion) on all close combat and athletics-related tasks.

Poor LightingIf an attack is made in partial lighting conditions,

the difficulty is modified by +2diff. The director is free to increase this difficulty further for even darker situations. While total darkness makes ranged attacks completely unthinkable, a modifier of +5diff can be applied to close combat attacks in such conditions.

hitting Smaller or Larger TargetsExtremely small, short, or thin targets modify the

difficulty of a ranged attack by +4diff, since they are much harder to hit. Only slightly smaller than normal targets modify the difficulty by +2diff. Conversely, larger than normal targets modify the difficulty by -2diff and very large targets modify it by -4diff.

hitting Moving TargetsRanged attacks against targets that have moved more

than five spaces receive a penalty of +2diff.

InjuredCharacters who have suffered enough grades of injury

receive a penalty on all tasks. See The Effects of Damage in the previous chapter.

FatigueCharacters who have gained enough grades of fatigue

receive a penalty on all tasks only on the first turn of a sequential scene. After that, adrenaline counters this affliction.

Unstable AreaWhen characters perform actions while on unstable

ground or structures, the difficulty can be increased at the director’s discretion. Modifiers of +1diff to +3diff are most common.

OverwhelmedWhen a character is overwhelmed by an attack, he

cannot perform any actions during the current turn. A modifier of +2diff is applied to all tasks during the following turn.

Optional: Weapon GimmicksProceed to Optional: Combat Exploits if you are not going to use Weapon Gimmicks.

Some weapons, mostly ranged ones, possess gimmicks just like characters. The various gimmicks are described

below, but their effects can be easily ignored for more abstract and fast-paced games.

Accuracy (±x)The weapon modifies the difficulty of the attack

task by its defined value. For instance, a weapon with accuracy (+3) alters the difficulty by +3diff, while one with accuracy (-1) decreases the difficulty by one. The character’s competency in the relevant pursuit limits the reduction in difficulty, however (see table below).

Maximum Accuracy by Competencerelevant competency maximum reduction in difficulty

Incompetency 0

Basic Knowledge -1diff

Proficiency -1diff

Specialty -2diff

Mastery -3diff

Up to +1diff can be negated by bracing a ranged weapon. This includes resting it on a stable surface, using a mounting device, or steadying it against one’s shoulder. A character cannot move during a turn in which he is bracing a weapon.

Parry (±x)The weapon, when used by the target of a close

combat attack, modifies the difficulty of the attack by its defined value. The target’s competency in the relevant pursuit limits the increase in difficulty, however (see table below).

Maximum Accuracy by Competencerelevant competency maximum increase in difficulty

Incompetency 0

Basic Knowledge +1diff

Proficiency +1diff

Specialty +2diff

Mastery +3diff

rate (x)Most ranged weapons can only fire once per turn.

Those with the rate gimmick can be fired more than once during a turn. The weapon’s maximum number of shots per turn is equal to its defined value. For instance, a weapon with rate (3) can be fired up to three times per turn.

Each shot fired beyond the first imposes a penalty on the attack task. If the shot is fired at the same target as the previous shot, the penalty is +1diff; a different target inflicts a penalty of +2diff.

Physical Conflict43

GENRE diversion

BurstThe ranged weapon can be fired in a burst of three

rounds. The attack receives a penalty of +2diff, but if successful, a single die is rolled. Half of the result indicates the number of shots that hit the target, each inflicting normal damage for the weapon. More than one burst attack can be made in a turn, provided the weapon also possesses the rate gimmick (the maximum number of bursts is equal to the defined value of the rate gimmick).

StrafeThe ranged weapon can be fired, strafing an area over

the full course of the turn, during which no other actions are possible. The character can choose the radius of his attack, up to a maximum of ninety degrees. The radius modifies the difficulty of the attack (see table below). Regardless of success, a die is rolled to determine the number of non-player characters hit within the radius (if applicable). If successful, a second die is rolled—half of its result determines the number of player characters hit within the radius (if applicable). The actual victims should be decided randomly. Another die is rolled for each target that is struck, with half the result indicating the number of shots that hit, each inflicting normal damage for the weapon. Everyone within the radius must make a fitness-based composure task in which failure results in panic.

Strafing Radius (Against Player Characters)Less than 15° —

16° to 30° +2diff

31° to 60° +4diff

61° to 90° +6diff

SpreadThe ranged weapon's projectile is composed of smaller

fragments that fan out when fired, such as with shotgun shells. Rather than using the weapon's damage value, roll one die to determine the amount of injury inflicted.

AutoThe ranged weapon cannot fire single shots, requiring

it to be used in either burst or strafe mode.

radius (x)The weapon creates an effect that covers a radius

indicated by its defined value in spaces from where it strikes. All those within the specified radius of the attack receive full damage from the weapon, while

those within one space away from the perimeter of the radius must make a fitness-based composure task. If the task results in a failure, the victim is knocked to ground and is essentially overwhelmed.

ScopeWhen a character uses a weapon with this gimmick at

medium range or greater, and actually uses the attached scope, each turn spent aiming reduces the difficulty by an additional 1diff.

Infrared ScopeWhen a character uses a weapon with this gimmick

at less than long range, and actually uses the attached scope, no penalties due to poor lighting are applied to the attack.

Two-hands (x)The item requires the use of both hands. If a value is

defined, the weapon can be used with one hand only if the character possesses a fitness rating equal to or greater than the defined value.

Bulky (x)The item is heavy and/or bulky, inflicting an increase

in difficulty as indicated by its defined value on all close combat, reaction, and athletics-related tasks.

IndirectThe weapon is capable of indirect attacks.

recoil (x)The weapon produces considerable kinetic energy

when used that it recoils, causing a penalty on each subsequent use. The defined value indicates the increase in difficulty for each successive attack made with the weapon during the same turn after the first shot. This penalty is cumulative, increasing after each attack. The defined value also indicates the increase in difficulty applied to burst attacks (use of the burst gimmick).

Up to +1diff can be negated by bracing a weapon. This includes resting it on a stable surface, using a mounting device, or steadying it against one’s shoulder. A character cannot move during a turn in which he is bracing a weapon.

Optional: Combat ExploitsProceed to the next chapter if you are not going to use Exploits.

Exploits utilized during combat are very specialized, and can vary for ranged and close combat attacks. Only one exploit can be performed per attack.

Physical Conflict 44

Vital hitThe character strikes a weak part of the target with

his attack, inflicting an extra number of marks of damage equal to the relevant pursuit bonus.

Minimizing hitThe character strikes a reinforced part of the target

with his attack, inflicting a fewer number of marks equal to the relevant pursuit bonus.

weak hit (Close Combat only) The character’s attack inflicts no damage, but the

target is clearly rattled, receiving a penalty of +1diff on all tasks for the remainder of the turn.

Blinding Attack (Close Combat only) The character’s close combat attack results in dirt, or

other particles or fluids being cast into the target’s eyes, rendering him temporarily blind. The target suffers the same effects as being in total darkness for a number of turns equal to the roll of one die.

rampage (Close Combat only)The character’s close combat attack not only inflicts

damage on his target, but also one or more other targets. The number of extra targets is equal to the relevant pursuit bonus. The extra targets must be within one space of the original target, and they cannot be player characters or those essential to the story as defined by the director.

DisarmIf the relevant attack pursuit is a proficiency or

specialty, the character causes his close combat target to drop a weapon or shield. A mastery can, at the attacker’s option, destroy the target’s weapon or shield. A ranged weapon target drops a weapon only if the relevant pursuit is a mastery.

Find VulnerabilityThe character notices a weakness in either the target’s

padding or armor. The target’s padding or armor value (director’s choice) is reduced by half when making abatement rolls that result from an attack by the character. Alternatively, the character’s attack ignores the target’s scaling modifier (if applicable) ignoring the modification to damage due to scale (see Chapter Four).

GrappleThe character’s close combat attack results in either a

locking of the target’s joints, or a pinning of the target to the ground or against a wall. The target must make

an athletics or brawling task to escape the grapple, but this can only be attempted on subsequent turns. The difficulty of the task is equal to 8 plus the character’s fitness rating and double his brawling bonus. The target is considered pinned and cannot more or attack until the task is successful. The character can release the target any time he wishes, however.

readyThe character can immediately draw a weapon from

his person as a result of his attack. If the relevant pursuit is a specialty or mastery, he can conceal or secure one weapon on his person; otherwise, he can drop one weapon.

TauntThe character mocks and insults his target after he is

struck by the close combat or point-blank/short ranged attack. This incites the target, who cannot expend any experience for the duration of the current and following turn.

LootThe character can perform a quick search of his

brawling target’s body. The number of visible items that can be taken from the target is equal to the character’s pursuit bonus. Alternatively, the character can attempt a passive investigation task to locate one hidden item on the target.

Precision hitThe character strikes a specific area on the target,

such as the hand, shoulder, or head. The location has the potential to affect damage and pose other threats to the target. If damage is altered due to the location, it is done so after an abatement roll is made. The director is free to improvise, devising new effects for any location.

•Arm or Hand: The target drops whatever he is holding in the specified hand. Damage is reduced by half.

•Leg or Foot: The target must make a fitness task. The difficulty of the task is equal to 8 plus the amount of damage inflicted. Failure indicates that the target is overwhelmed and falls to the ground. Damage is reduced by half.

•Stomach: Damage is increased by half.•Head: Damage from ranged attacks is doubled.

Physical Conflict45

GENRE diversion

Weaponsranged weapons damage short range medium range long range traits era

Hunting Bow +0inj 3–8 9–20 21–50 Indirect FA

Long Bow +1inj 3–10 11–25 26–60 Indirect FA

Crossbow 3inj 3–8 9–20 21–50 FA

Flintlock Pistol 1inj 3–5 6–8 9–11 Accuracy (+2) A

Musket 2inj 3–10 11–20 24–40 Accuracy (+1), Two-Hands A

Small Caliber Revolver 2inj 3–6 7–10 11–15 AM

Large Caliber Revolver 3inj 3–10 11–18 19–38 AM

Semi-Automatic Pistol 2inj 3–8 9–15 16–25 Burst M

Submachine Gun 3inj 3–10 11–18 19–38 Burst, Strafe, Two-Hands (4) M

Shotgun 3inj 3–8 9–15 16–25 Two-Hands (4), Spread, Radius (½) AM

Hunting Rifle 4inj 3–12 13–35 36–100 Two-Hands M

Sniper Rifle 5inj 3–15 16–55 26–200 Accuracy (-1), Bulky (1), Scope, Two-Hands M

Assault Rifle 4inj 3–10 11–30 31–90 Burst, Strafe, Two-Hands (5), Recoil (1) M

Machine Gun 6inj 3–20 21–60 61–200 Bulky (2), Rate (3), Burst, Strafe, Auto, Two-Hands (6), Recoil (2) M

Detonation Pistol 5inj 3–10 11–20 21–40 Bulky (1), Rate (2), Radius (1), Recoil (1) X

Detonation Carbine 6inj 3–12 13–30 31–75 Bulky (2), Burst, Radius (1), Two-Hands (4), Recoil (1) X

Energy Pistol 3inj 3–12 13–25 26–50 Accuracy (-1), Rate (3) X

Energy Rifle 4inj 3–12 13–35 36–100 Accuracy (-1), Burst, Strafe, Two-Hands (5) X

Energy Repeater 4inj 3–12 13–35 36–100 Bulky (2), Accuracy (-1), Rate (3), Burst, Strafe, Auto, Two-Hands (6) X

Stun Pistol 5fat 3–6 7–12 13–25 Accuracy (-2) X

Grenade Launcher per grenade 3–8 9–30 31–100 Indirect, Two-Hands (3) MX

thrown weapons damage traits era

Sling +1fat F

Spear +1inj F

Knife +1inj f

Throwing Axe +2inj F

Explosives Grenade 5inj Indirect, Radius (2) M

Stun Grenade 5fat Indirect, Radius (2) X

Plasma Grenade 8inj Indirect, Radius (2) X

close-combat dueling weapons damage traits era

Knife/Dagger +1inj f

Short Sword +1inj Parry (+1) FA

Typical Sword +2inj Parry (+1), Two-Hands (3) FA

Long Sword +2inj Parry (+2), Two-Hands (4) FA

Axe +1inj Accuracy (+1), Two-Hands (2) F

Battle Axe +2inj Two-Hands (5) F

Vibro-Knife +2inj X

Plasma Sword +3inj Accuracy (+1), Parry (+1), Two-Hands (3) X

close-combat melee weapons damage traits era

Club/Baseball Bat +1fat Two-Hands (3) f

Lead Pipe/Crowbar +0inj Two-Hands (3) M

Mace +2inj Two-Hands (3) F

Warhammer +1inj Two-Hands (5) F

Pike +3inj Parry (+2), Two-Hands (4) F

Staff +2fat Parry (+2), Two-Hands (3) FA

Trident/Fork +2inj Accuracy (-1), Parry (+1), Two-Hands (4) F

Garrotte +1fat Two-Hands f

Stun Stick 4fat Accuracy (-1) X

Physical Conflict 46

Combat: A Quick Reference

Ranged CombatPoint Blank (1 to 2 Spaces) = Trivial

Short Range = Routine Medium Range = Challenging

Long Range = Improbable

Throwing1 to 2 Spaces = Point Blank 3 to 5 Spaces = Short Range

6 to (5+Half Fitness) = Medium Range (6+Half Fitness) to (6+Fitness) = Long Range

Cover Partial = +2diff Heavy = +3diff

Aiming-1diff per turn (up to 3 turns)

Picking Off Targets in Crowd+1diff per additional member beyond target

Close CombatDifficulty = 8 + Target’s Fitness + Target’s Pursuit

Prone Difficulty = 8+ Target’s Pursuit Down Difficulty = 6

Brawling vs. Active BlockingDifficulty = 8 + Target’s Fitness + Double Target’s Brawling

Target Already Attacked

-1diff per attack

Charged AttackRequires 5 Spaces of Movement

Sprained Wounded Maimed Stressed* Strained* Exhausted* +1diff +2diff +3diff

* First turn only�

Encumbered Poor Lighting Unstable Area +1diff to +2diff +2diff to +5diff +1diff to +3diff

Small Targets Large Targets Moving Targets +2diff to +4diff -2diff to -4diff +2diff

Overwhelmed (From Previous Turn)+2diff

Movement: A Quick Reference

1 Space ≈ 6 Feet ≈ 2 Yards ≈ 2 Meters ≈ 1 Inch

Walking= 1 + Fitness Rating

Running= 1 + Fitness Rating + 1 Die Roll

+2diff on all tasks; cannot actively block +4diff to hit character when evading; cannot perform any tasks

Crawling= Half of 1 + Fitness Rating

Climbing= Fitness Rating

Jumping (Partial)= 1 Space (counts as two spaces)

Can only be performed while walking or running

Jumping (Full)= Half of Fitness Rating

Cannot perform other tasks

Swimming= 1 + Fitness Rating

Halved when Athletics is an Incompetency

Sprained-1 Space

Wounded-2 Spaces

If reduced to 0 or less, 1 space requires two turns

MaimedCannot Run, climb, or jump

Going prone or standing requires two turns

Rough TerrainEach space counts as two spaces

Hazardous TerrainEach space counts as three spaces

An athletics task is required to maintain balance

Directing the Stories47

GENRE diversion

Directing the Stories

Chapter four

Directing the Stories 48

Stories told can be rich and wonderful adventures. With a little forethought and some good tools, a game can really bring stories to life and be fun for everyone involved. One of the most important concepts for players and directors to understand is that the game is a collaborative event. For the story to come alive, everyone has to be involved and contribute. The story is about the characters and their lives, and their actions determine the outcome of events. Players need to do more than just sit back and listen; a player’s job is to respond to the events in the story by making choices, taking action, and contributing flavor and ideas to the game. The director’s job is more than adjudicating rules—he needs to provide an engaging story-line and a cohesive game setting.

CollaborationThe single most important thing that players can

do is collaborate. The director should work with the players to tell the story of their characters. Just because the director is the one who throws obstacles at them, it does not mean that he is the adversary. While some roleplaying games foster an adversarial relationship between players and directors, this is not advised. Simple things make a difference, such as letting players describe how the outcome of events affects their consciences, being generous with their use of experience and special gimmick powers, and sharing in the pleasure of the group’s success. It is not a battle of wits to see who is more clever. It is, however, a healthy exercise of the imagination as everyone (players and directors alike) attempts to bring a fictional world and its inhabitants to life.

Arguing over how the rules work, why a character should have been hit, or any of a thousand other things is pointless and detracts from the collaboration. It is just a story—work out a solution and go from there. While some players can be selfish or even borderline cheaters, the director should do his best to give them the benefit of the doubt and err on the side of generosity. Do not get too attached to the world or non-player characters—it is fine if the players trash the tavern that the director so painstakingly designed. Players should appreciate the work that the director has done to make the game enjoyable, but they should also feel free to let their characters interact with the world in the way that feels appropriate to their personalities.

Common Difficulty Values

Since each named difficulty is two greater numerically than the previous one, both values can be averaged to determine the numerical difficulty for intermediate values. For instance, something not quite complex (12) but more than routine (10) can be averaged to a difficulty value of 11 (the average of 10 and 12).

Climbing (Fitness-Based Athletics Task)Rickety Ladder Trivial

Small Tree Routine

Tall Tree or Gradual Slope Complex

Steep Slope or Ice Dune Challenging

Sheer Cliff or Sand Dune Improbable

Sheer Ice Dune Impossible

Lifting (Fitness-Based Athletics Task)100lbs/45kg Trivial

125lbs/60kg Routine

175lbs/80kg Complex

250lbs/110kg Challenging

500lbs/225kg Improbable

700lbs/320kg Impossible

Stealth (Fitness-Based Task)Dark Covered Area Trivial

Dark City Street Routine

Busy City Street or Dark Room Complex

Empty City Street Challenging

Open Field or Lit Room Improbable

Open Patrolled Area or Checkpoint Impossible

Oratory (Influence-Based Task)Informing a Crowd Trivial

Convincing a Crowd Complex

Winning over or Rallying a Crowd Challenging

Manipulating a Crowd Improbable

Commanding a Crowd Impossible

Knowledge (Based on Specific Pursuits)Common Knowledge Trivial

Widely-Distributed Knowledge Routine

Obtainable Knowledge Complex

Unusual or Isolated Knowledge Challenging

Rare Knowledge Improbable

Concealed or Arcane Knowledge Impossible

Celestial-Navigation (Reasoning-Based Task)Determine Time of Day Trivial

Determine Time of Month Routine

Determine Time of Year Complex

Determine Location or Optimal Route Challenging

Directing the Stories49

GENRE diversion

ImmersionCharacters are the best part of the game. Their

personalities, decisions, and flaws are the parts we enjoy, laugh at, and remember. Many players, however, treat their characters as automatons rather than people, turning a story into a detailed analyses of rules and mechanics instead of a collaborative exercise of the imagination. These are the players who argue a lot and make their characters sleep in armor. For them, it is usually about winning. When playing with these kinds of people, the director should try to gain their trust as someone who is trying to help them tell their stories. Conveying the idea of obstacles to players rather than specifics (“a really tall wall” rather than “an eighteen-foot wall”) prevents some of the arguments, since the players are unaware of the actual difficulties associated with tasks, imagining a visual of the fence to their satisfaction. The player who claims to know all about climbing walls is more likely to be satisfied.

Players of all types are more able to trust in the story and events if the director is not hovering around them, waiting for a mistake. While settings can vary in their tone and intensity, the director should not excessively punish players for their mistakes, especially if a mistake was made by the character (“in-character”) rather than a player. Security is important to players, and letting their characters behave normally, from arguing with bartenders and drinking too much to taking badly-timed bathroom breaks while on guard duty, provides the freedom for players to explore the nuances of their characters.

Forget the numbersThe rules of the game foster a sense of structure,

randomness, and measurement. They do not command every aspect of the game. Players should not be slaves to the numbers associated with their characters’ abilities and pursuits. These measure what a character can do, but not who he is. A character’s actions should reflect his personality, upbringing, and the world around him. Players should forget the rules and portray their characters in a manner that best suits them. Of course, players should always remember what training the character possesses, since a character is likely to be more comfortable performing tasks in which he is skilled.

When a player declares an action for his character, the director then finds the most suitable ability and pursuit combination—roleplaying a character comes first and then the rules come into play. The opposite approach leads to stale games—simply rolling dice and using the

More Common Difficulty Values

Find Clues (Awareness-Based Investigation Task)Overt Clues Routine

Obscure Clues Complex

Hidden Clues Challenging

Cryptic Clues Improbable

Use Contacts (Influence-Based Street-Talk Task)Request Common Information Trivial

Request Hard to Find Information Complex

Request Guarded Information Challenging

Request Arcane Information Improbable

Obtaining Common Goods Routine

Obtaining Expensive Goods Complex

Obtaining Rare Goods Challenging

Obtaining Illegal or Guarded Goods Improbable

Animal Handling (Reasoning-Based Task)Gain Trust of Domesticated Animal Routine

Gain Trust of Wild Animal Challenging

Train Domesticated Animal for Labor Complex

Train Wild Animal for Labor Challenging

Train Domesticated Animal to Do Tricks Challenging

Train Wild Animal to Do Tricks Improbable

Breed Domesticated Animal Complex

Breed Wild Animal Challenging

Train Domesticated Animal for Battle Improbable

Train Wild Animal for Battle Impossible

Pick a Lock (Fitness or Reasoning-Based Task)Simple or Ancient Key-Based Routine

Intricate or Unusual Key-Based Complex

Simple or Ancient Combination Method Challenging

Intricate or Unusual Combination Method Improbable

Electronic Security Improbable

Futuristic or Alien Security System Impossible

Rusted Lock +2diff

Riding (Influence-Based Task)Calm an Agitated Mount Contested: Fitness (Athletics)

Intimidation (Influence-Based Task)Bully or Taunt Contested: Reasoning (Composure)

Interrogation (Influence-Based Task)Question or Interview Contested: Reasoning

(Composure or Interrogation)

Seduction (Influence-Based Task)Entice to Act Contested: Reasoning or Influence

(Composure or Seduction)

Directing the Stories 50

rules as if they were all that mattered is not a lot of fun. The excitement comes from the unfolding story, not the monotonous dice-rolling, during which characters merely attack and defend. The director may wish to keep the rules all to himself, refusing to allow players to read them, except when creating their characters. In this manner, the characters can simply be portrayed as their players envision them.

This same approach also goes for the director as he portrays non-player characters and monsters. Focus on how they behave and then the numbers involved.

StoriesA good plot can only go so far. The more familiar

the director is with the characters, the better he can prepare enjoyable scenes and anticipate the their actions. If having the characters travel to a certain city is important for the plot, the director should make sure that the characters have enough reason to do so. The goal has to be important enough for the characters to want to accomplish it or the director may find them doing other things. Even the best plans can go astray. The director should allow the players to do what they want within the framework of the story, setting, and their own personalities. The director can then adjust the story-line so that it eventually leads back to his original vision. In other words, tangents to the story are not necessarily deviations—they are merely adjustments. If the players enjoy what they are doing, the director should go along with it.

Credibility One of the most difficult jobs of the director is

to create a fictional world that is believable. When confronted by obstacles, antagonists, or even mundane events, the players have to feel confident that it all fits the setting and reality of the story. In film, the “reality” of the setting is called the diegesis. This reality can change from one setting to the next. In an epic setting, for instance, a villain or hero may be expected to survive a fall from a cliff, but in a dramatic one, falling from a cliff means certain doom.

All the different elements of a fictional world must work together and make sense. If the game includes a race of plague-spreading, flying monkeys, there must be a reason why the world is not dying from plague. When players bring mounds of treasure back from a fantasy quest, do they flood the market and cause inflation? If players keep finding magical relics, how common are they throughout the world? Just like everything

balances in our world’s ecology, the same principles apply to fictional worlds. In epic games, the details may be less important, but the overall believability is still an issue—if there is a dragon in a dungeon, there must be some sort of portal through which it can enter and exit. All of these events can happen, but without a good reason or explanation, the players may lose their willingness to suspend their disbelief.

Once the game begins, the director should establish a reality through his descriptions of the world. When the players interact with the story environment, it should respond in ways that are appropriate to the setting. The manner in which the mundane elements of the world are presented establishes how the overall world functions. The mundane elements of a fictional world are the backbone of the world itself, even if the focus of the story is on grander things.

ScopeThe director should always consider the story’s

scope. Is the story intended as a single evening’s play or a long saga? Does it cover a few hours in the lives of the characters or is it a major epic about multiple generations spanning a hundred years? A sense of completion usually makes the game better, so a story that can be resolved when the game is done is typically best. This can be achieved over time or all in one session, depending on the desires of all the players.

A good story-line keeps players coming back for more. A fun and interesting story is the base of most good games. A through-line for the whole story is important, or else the characters just wander, drifting from one adventure to another. Objectives may shift over time, but the overall goals should remain the same—they should be important life quests for the characters, driving them onward despite obstacles.

Plot A good story needs a good plot. In a game, the

players control many of the events and steer the story in a variety of unexpected directions, sometimes quite opposite to what the director intended. The plot guides the events of the story, and whatever the players do, the plot should be able to adjust.

A plot is a cohesive through-line that guides the story. Unlike novels and films, games are interactive and need to adjust to the new elements that the players bring to it. Plots are only frameworks, and need to be flexible enough to allow a lot of meandering or even a whole new story to evolve.

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When designing plots, the elements must engage all of the players, taking into account the personalities, strengths, and goals of their characters.

SubplotsSubplots are all the wonderful layers of story occurring

beneath the main plot-line. Love interests, revenge, family honor—all these things end up creating a variety of great side-stories that take place within the main story. These should be encouraged as much as possible, for not only do they add flavor to the game, but they also become as important to each player as the main story is to the group.

Pace Keeping a good pace can really improve a game. Skip

over boring open scenes, and utilize sequential scenes to capture only the best parts of the action. Pace is something that is built—it has highs and lows. As the climax of an episode draws near, the pace generally increases. Each episode should fit into the ongoing story, with scenes planned accordingly. Just as there are many scenes that can be unnecessary or dull, some scenes are also vital to the enjoyment of the game. One dull or overly slow scene can ruin the pace of an entire episode.

Informative scenes can provide flavor and mood, as well as expository material that the players may need to know. The pace for these can usually be slow, but they should also be fluid so that they drive events towards the next scene.

Sequential scenes require more dice-rolling, but they occur much faster (in game-time) than open scenes. To reflect the excitement of an sequential scene, build toward it with tightly-focused scenes and then begin using turns as required. Neither type of scene should drag.

Open scenes that immediately follow sequential ones are great moments to slow the pace and recover from the action. These scenes are for taking stock—the players assess the consequences of the action and determine what to do next.

DescriptionDescriptions are the most important part of any

scene. They need to be as elaborate or as concise as circumstances require. Descriptions convey the whole mood and feel of the scene, both in the set-up and in the resolution. A good description should convey the proper atmosphere and provide the factual information

necessary for the players. Too much can be boring and too little can leave the players feeling lost. They do not have to be eloquent or verbose, but they do need to be effective.

ForeshadowingForeshadowing can be used poetically, or it can add

to the suspense of the story. Foreshadowing is the art of hinting at what lies ahead. It may be simple, like describing the weather changing for the worse or obvious, like bumping into a funeral procession. The foreshadowing can be personal, such as a character seeing a knife and then, out of his fears, imagines it cutting into his chest. Dreams also can serve as devices for foreshadowing—a character may dream of horrible things, adding to the apprehension of what could be waiting for him.

Internal Conflict Internal conflict takes place within the mind of a

given character. It is not a tangible or visible opposition, but rather a clash with one’s own psyche. Exploring a character’s drives and personality aspects gained from certain gimmicks, for instance, creates a subplot and works to better define that which drives the character to do what he does. This exploration of a character can ultimately cause him to evolve into a living entity over time not only to his player, but also the other players experiencing the results of his conflicts.

rewardThe reward for overcoming obstacles should reflect the

effort and creativity that the players put into the story. Reward is part of the incentive and can come in many forms, from flavorful scenes in which the character is handed the “keys to the city” to the discovery of important clues. The priority is for the players to feel as if the effort is worth it. Likewise, the feeling of success is devalued if rewards are given out too easily.

IncentiveTo make a story progress, the characters need a reason

to attain their goals. The more important the reason, the more they are prepared to fight for it. Incentives can range from money and fame to personal salvation. Players do not necessarily follow the story-line just because it is there. If their characters have no reason to advance the plot, it can end abruptly.

Symbolism Symbolism is an abstract story element that can add

a level of detail that greatly enhances a story. Symbols

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are images that stand for something else. Recurring symbols can add a through-line of imagery that lends a creative hand to the story. Whether the group always seems to hear church bells before one of them dies (foreshadowing) or their benevolent benefactor always wears white, the symbols can be subtle, humorous, or broad. All of these things are a matter of style and taste, but a touch of symbolism is rarely wasted.

ImprovisationThere are times when a scene has an undesirable

result. Sometimes characters die when it does not seem to suit the story, such as at undramatic moments, or the players fail to defeat the beast in the big final scene. The important part of the game is the story, but the story has its base in the excitement and challenge of the events that shape it. While it may be tempting to ignore a bad roll or change some facts to have the players win, the outcome should still be accepted no matter how much they throw a wrench in the story. The credibility of the story falls apart if the outcome is pre-determined by what the director or players want, and the risk of failure has to be genuine in order to maintain the thrill of the game. In the long run, the reward for truly earning success is more enjoyable than cheating for it.

It is also important not to rob players of victory just because they had a great plan or rolled the dice really well. If the big obstacle in a climactic scene is easily overcome, then either the challenge was not hard enough or the players did better than expected through luck and/or good ideas.

If the players are having a horrible time getting out of a jam and it is because the idea was poorly designed, the director can find another salvation or adjust an element in the scene to correct the problem. Nothing should be changed just because the players are having a terrible time due to bad rolls or poor planning. The same goes for players who are killing all the bad guys. If they earned it, they should kill all they want, but there is always room for more and tougher villains to appear—simply adjust the game to balance the encounter.

Character DevelopmentAs a story unfolds and players immerse themselves

into the game, characters become living entities that evolve and become more real. Not only do their actions help create this illusion of reality, but also their constant development, consisting of experience and changes in terms of game mechanics.

Optional: Awarding Experience

The director awards characters with experience based on their players’ immersion in the story. This is done at waypoints in the story. A waypoint normally occurs at the conclusion of each episode. The director can also designate other parts of a story, such as a resting scene or interlude between important scenes, as waypoints. In this manner, characters can also be replenished (and health restored), ready for a new chapter in the story.

If a player stayed in character and truly acted out his character’s personality, responsibilities, and even detrimental gimmicks, then the character should receive an amount of experience equal to the roll of one die. If a player stayed true to his character most of the time, but did some things that seemed disparate, his character should only receive an amount of experience equal to half the roll of one die. Players who were disruptive or mostly antithetical with their characters’ actions receive no award of experience.

As characters progress through a story, they also learn things about themselves, gain insight into trivial matters, and evolve in one way or another. Experience is also awarded to simulate these developments. For each task not augmented by experience that resulted in overkill, the character should gain one point of experience. If brilliant tactics were used to defeat an opponent rather than brute force, those orchestrating the tactics each receive one point of experience. If a character accomplishes a goal important to the story or a sub-plot, he receives one point of experience.

When a character embraces his drive, he learns something about himself and the experience necessary to apply it to future actions. As the requirements of a character’s drive are met, he also gains experience that can provide a bonus towards tasks.

Other ways to gain experience are certainly possible. The director can always experiment with various methods for both rewarding experience and allowing players to spend it. Custom settings could require experience to be expended when trying to build new inventions, cast legendary magical spells, or just bribe officials. Experience can be utilized as a form of game currency, giving it additional value and purpose beyond those mentioned here.

While it is not advised that experience be spent to improve character abilities, pursuits, and other elements, it is certainly possible. For instance, twenty points could be required to add a new ability gimmick or ten points could raise a pursuit competency. It could even be converted to actual monetary funds in the game, allowing characters to funnel their experience into wealth and prestige. In the end, the director can do what he wants, but there should always be limits placed on what experience can bring.

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Character AdvancementIn order for characters to develop mechanically, players

must immerse them into the story. Characters must face their fears, pursue specific knowledges, practice techniques, and give serious thought and analysis to various situations into which they are thrust. Unlike most other systems, players do not choose how to develop their characters, short of the actions they undertake during play. It is the director’s job to record the characters’ actions. Once a story concludes, the director then looks over his notes for a specific character, determining what actions were most taken, whether it be fighting, computer hacking, researching specific topics, or flirting with the opposite sex. The director can then choose to develop the character in one of three ways, as described below. If desired, the director makes the decision based on the player’s preference.

AbilitiesWhile abilities cannot be changed once a character

has been created, they can be modified with new ability gimmicks. The value for a defined gimmick can only be increased by one in this manner, although it can raise an existing value above one.

For ExampleJola has spent a good portion of her time trying to eavesdrop on her enemies in the tavern� Because of this, the director awards Jola with the acute hearing (1) gimmick� This increases her existing acute hearing (2) gimmick to acute hearing (3)�

PursuitsA single pursuit’s rating can be increased by one

level. For instance, a basic knowledge can be raised to a proficiency. Incompetencies can also be raised to basic knowledge, but this requires considerable usage of the pursuit, likely resulting in failure, which is the point —learning from one’s mistakes.

For ExampleThe player controlling Jola has been very creative in the use of her of incompetency in riding� She has fallen off her horse many times, often at very convenient moments� As a result, the director chooses to increase Jola’s incompetency to a basic knowledge of riding�

GimmicksDetrimental gimmicks can be removed, but only

through the course of a game. For instance, a character with the enemies gimmick can only get rid of it by facing his enemies, and either vanquishing or gaining their allegiance; such a goal should be extremely

difficult and a major focus or subplot of a given story. Gimmicks like follower should be tackled in a similar manner, requiring the character to take a stand against those in leadership positions and thinking for himself; after time and likely much hardship, the character can overcome his subservient ways.

Health and MetersHealth can be adjusted in order to simulate more

dramatic play or more realistic outcomes.

removing Thresholds for More Dramatic PlayFor more dramatic or gritty games, thresholds can

be ignored (or more accurately, equal to one) to make fatigue and injury more realistic. Using this method, combat can be deadly in just a few short turns. Thresholds should be used when more cinematic action is preferred, but by allowing only five marks of damage, players must focus on making realistic choices, such as diving for cover rather than standing unafraid in front of a barrage of bullets.

In order for larger creatures or more powerful characters to maintain their toughness, thresholds can be reduced rather than eliminated completely. The table below indicates the threshold value that should be assigned for a given fitness/ability rating when only a reduction is preferred.

Thresholds by Fitness Ratingfitness rating threshold value

0 to 5 1

6 to 10 2

11 to 15 3

16 to 20 4

21 or more +1 for every 5 above 20

Long-Term Effects of InjuryFor ongoing stories in which characters suffer from

severe injury, their ordeals can develop into permanent problems. This is simulated by gaining a new gimmick. If the character already possesses the maximum defined value, another one should be chosen; otherwise, the new value is added to the existing one.

Roll two dice and consult their sum on the table below when a character ends a story with four or five grades of injury. If the gimmick is followed by an asterisk (*), roll another die, using half the result as the defined value.

Directing the Stories 54

Long Term Effects of Damage roll gimmick

2 Ugly*

3 Clumsy*

4 Weak*

5 Frail*

6 Short-Winded*

7 Sickly*

8 Stammer

9 Hesitant

10 Glass Jaw

11 Poor Vision*

12 Poor Hearing*

Optional Forms of healthFatigue and injury are important elements in the

game, but are not unique. Other types of health can also be added to simulate varying degrees of affliction or circumstance.

DementiaDementia can be added to measure the excessive

strain on a character’s psyche that results from fright or emotional trauma. Dementia is represented by the abbreviation dem, and the threshold for it is equal to a character’s reasoning rating. Protection against dementia is called ego. If a character’s creativity rating is 4 or greater, his default ego value is 1. Otherwise, it is 0. If the character has faced the situation that caused the dementia at least twice previously, his ego rating is increased by one only when facing it again. A penalty is applied to all awareness and reasoning-based tasks as characters become demented. The degree of penalty is determined by the number of grades sustained.

Dementia Gradesgrade dementia penalty

1 Sensitive None

2 Agitated +1diff

3 Distracted +2diff

4 Irrational +3diff

5 Delirious See Panic Table

When a character has sustained five grades of dementia, he becomes delirious and can no longer be controlled by the player; the only action he can perform until the dementia subsides by one grade is determined by rolling a die and consulting the Panic Table (see Composure Tasks in Chapter Two).

MetersThe mechanics used to track a character’s health can

also be customized for measuring various quantifiable aspects in the form of a meter. A few examples of what can be done with the mechanics behind the various forms of health are provided below—the director can easily design others for his needs.

For ExampleA signature meter measure’s an electronic device’s electromagnetic radiation� While the degree of this meter has no direct effect on the device, each successive grade can decrease the difficulty required for sensor systems to detect the device� The signature increases by one mark with each use of the device� The signature threshold varies by device� A small device is likely to have a high threshold (5 or more), while a large device would have a lower threshold (1 to 4)� This could be a signature meter for a plasma cannon:1 EEE Flick -1diff

2 EEE Flare -2diff

3 EEE Flash -3diff

4 EEE Gleam -4diff

5 EEE Radiant -5diff

A mana meter tracks a character’s magical energy� Spells could be cast only by expending different amounts of mana, draining a character’s power each time� A simple spell may cost one mark of mana, while a very complex one may cost one or more lines and mana� A character’s mana threshold would be equal to his creativity rating� This could be a mana meter for a character with a creativity rating of four:1 EEEE Tapped2 EEEE Diminished3 EEEE Weakened4 EEEE Drained5 EEEE Depleted

recovering health All forms of health can be restored given the

appropriate conditions and passage of time.

FatigueFatigue is automatically reduced after a character has

rested at least six hours. The number of lines removed upon waking is equal to the character’s fitness rating. A successful herbalism (or equivalent pursuit) task can reduce an additional line of fatigue per day; the difficulty for this task is determined by the patient’s current degree of fatigue (see table below).

InjuryInjury heals on a weekly basis. The number of lines

removed is equal to the character’s fitness rating. A

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successful medicine (or equivalent pursuit) task can reduce an additional line of injury per week; the difficulty for this task is determined by the patient’s current severity of injury (see table below).

DementiaDementia can lessen on a weekly basis, but requires

professional counseling for greater effect. The number of marks removed is equal to the character’s awareness rating. A successful behavioral sciences (or equivalent pursuit) task can reduce an additional line of dementia per week; the difficulty for this task is determined by the patient’s current level of dementia (see table below).

Assisted Recovery Difficulties grades of fatigue, injury, or dementia difficulty Less than 1 Trivial (8)

1 Routine (10)

2 Complex (12)

3 Challenging (14)

4 Improbable (16)

5 Impossible (18)

Scaling Elements of the GameThere are several possible avenues for changing the

scale of elements in the game, such as abilities, pursuits, and damage. For instance, characters can be made truly epic in scale or pitted against mega-weapons and enormous creatures. A scaling identifier can be applied to one or more abilities; damage sources; or the size of a character, vehicle, or monster. There are three scaling identifiers— extra, super, and epic. These are treated just like gimmicks.

Scaling AbilitiesAbilities can be scaled by assigning a scaling identifier

to one or more abilities or ability gimmicks. For games that consist of characters with varying degrees of scale, the identifier is attached to specific abilities. Universal scales can also be applied, so that all player characters in the game possess the same scale for all abilities.

Scaling identifiers increase the attached ability by either five, ten, or fifteen for all tasks. Character abilities can be elevated to the next tier on the scale by simply adding the appropriate bonus. This method maintains a consistent system for measuring the approximate potentials for other characters by their scaling identifiers for specific abilities.

Scaling Adjustmentscaling identifier ability bonus

None 0

Extra +5

Super +10

Epic +15

Because the existing levels of difficulty lose their value for characters with scaled abilities, they too can be scaled. By applying a scaling identifier to a task, the scaling bonus is added to the difficulty value. For instance, an epic routine task (one that is routine for epic characters) has a difficulty value of 25 (a base of 10 plus the scaling bonus of 15). This permits the director to assign standard difficulty terminology to tasks that are on the same scale as the characters, while maintaining the easier difficulty scales acceptable for mere mortals. It is up to the director to decide which tasks are normal and which are scaled.

Computed values like thresholds are also re-calculated using the adjusted ability rating. Protection values are only adjusted when being subjected to damage of a lesser scale. Subtract the attacker’s fitness scaling bonus from the defending character’s fitness scaling bonus. If this is a negative number or zero, no change is made to the protective value. If the result is a positive value, add it to the character’s base fitness rating (the value before a scaling bonus is added; also add appropriate ability gimmick(s), like fortitude or short-winded) and consult the table below to determine the protective value against this source of damage. Bear in mind that protective values cannot be raised above five, so even if armor is worn, it may have little additional effect. Additionally, immunity is not affected by scale. If another form of health is added to the game that relies on a character’s ability in the same manner as padding and armor, the same values can be used on the table below, substituting the appropriate ability in place of fitness.Protective Mod = Defender’s Scaling Bonus – Attackers Scaling Bonus No Adjustment if zero or less

Protective Valuebase fitness rating + protective mod padding / armor 0 to 3 0

4 to 7 1

8 to 11 2

12 to 15 3

16 to 19 4

20 or more 5

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A character’s damage in close combat is always modified by scale. Damage Mod = Attackers Scaling Bonus – Defender’s Scaling Bonus

Damage Valuebase fitness rating + damage mod close combat damage Up to 3 1

4 to 7 2

8 to 11 3

12 to 15 4

16 to 19 5

20 or more 6

For ExampleGoliath has a fitness rating of 4 Super� While this is effectively 14 (4 + 10), Super denotes that his fitness ability is on par with other elements of the Super scale, like vehicles or monsters� Goliath’s fatigue threshold is 14� His base padding value is 1 when attacked by others with Super or Epic fitness, 2 when attacked by those with Extra fitness, and 3 when attacked by opponents with normal fitness� Likewise, if Goliath punches a character with Epic fitness, his base damage is 1fat; punching a character with normal fitness makes his base damage 4fat�

Epic Skill Rather than scaling abilities, the director can also

make the game even easier for characters by doubling all pursuit bonuses. This can increase the odds of success greatly for most situations.

Scaling DamageJust as abilities can be scaled, so too can damage.

While character damage values are automatically scaled with abilities (see above), other sources of damage are scaled either by assigning a scaling modifier to it or if they are inflicted upon targets other than for what they were intended. Applying a scaling identifier to damage is the same as doing so for abilities. The identifier’s bonus directly modifies the damage value.

For the purposes of working with different tiers of damage, consult the table below to determine the scale of the damage involved for various sources.

Damage Scalingsource of damage scaling identifier and bonus

Mammoths and Saber-Toothed Cats Extra (+5)

Vehicle-Mounted Non-Explosive Weapons Extra (+5)

Dinosaurs and Dragons Super (+10)

Warheads Super (+10)

Starship-Sized Creatures Epic (+15)

Starship-Mounted Weapons and Warheads Epic (+15)

Subtract the scaling bonus of the target from the scaling bonus of the source of damage. A result of zero means that no adjustment is necessary and damage can be applied normally. Consult the table below to determine the adjustment that must be made to the final damage value (amount normally inflicted). If damage other than fatigue or injury is sustained by a character, it is considered injury. If fatigue damage is inflicted on something that does not track fatigue, it is ignored completely.Resulting Bonus = Source’s Scaling Bonus – Target’s Scaling Bonus

Damage Value resulting bonus damage adjustment -15 Reduce to 1 for every 8; zero if less than 8

-10 Reduce to 1 for every 4; zero if less than 4

-5 Reduce to 1 for every 2; zero if less than 2

0 No Change

+5 Increase to 2 for every 1 (×2)

+10 Increase to 4 for every 1 (×4)

+15 Increase to 8 for every 1 (×8)

For ExampleA starship fires on a land dragon below it� The epic damage of the starship is pitted against the super damage of the land dragon� The land dragon’s bonus of +10 is subtracted from the starship’s bonus of +15 for a result of +5 (15 – 10 = 5)� Referencing the table above for a result of +5, the starship’s damage is increased by 2 for every 1 mark. The starship’s laser cannon inflicts 3 marks of structural damage, which is converted to 6inj (3 × 2). An abatement roll is then made for the land dragon�

A super-sized hover tank fires at the epic-sized starship. The starship’s bonus of +15 is deducted from the tank’s bonus of +10 for a result of -5 (10 – 15 = -5)� This means that every 2 full marks of damage are reduced to 1 and anything left over is ignored� If the damage from the tank is 5str, it is reduced to 2str (5 ÷ 2 = 2.5; round down to 2).

Scaling SizeA scaling identifier can also be assigned as a general

indicator of size for a character, vehicle, or monster. The director can decide whether or not abilities are scaled the same as the size, although it is recommended in most case.

Size Scalingsize scaling identifier

Truck or Mammoth-Sized Extra

Submarine or Dinosaur-Sized Super

Aircraft Carrier or Starship-Sized Epic

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Trying to strike something with a different scaling identifier can alter the chances of success. This is handled similarly to damage scaling. Subtract the scaling bonus of the target from the scaling bonus of the attacker. A result of zero means that no adjustment is necessary to the task’s difficulty. Consult the table below to determine the adjustment to difficulty.Resulting Bonus = Attacker’s Scaling Bonus – Target’s Scaling Bonus

Difficulty Adjustment resulting bonus difficulty modifier -15 -16diff

-10 -8diff

-5 -4diff

0 0

+5 +4diff

+10 +8diff

+15 +16diff

For ExampleIn the example above of a starship firing on a land dragon, the epic size of the starship is pitted against the super size of the land dragon� Just like with damage, the land dragon’s bonus of +10 is subtracted from the starship’s bonus of +15 for a result of +5� Referencing the table above for a result of +5, the difficulty for the starship to hit the dinosaur is increased by +4diff�

Scaling ExperienceFor more heroic games, the limit of adding only one

extra die to a roll when spending experience can be increased to two or three, depending on the scale.

Scaling Adjustmentscaling identifier maximum bonus dice from experience

None 1

Extra 1

Super 2

Epic 3

Advanced Hit LocationsThe following table can be used to randomly determine

the part of the body struck by an attack. Each column is designed to be used for a particular set of situations—the generic column is best for ranged combat or when two parties are brawling on the ground, the upper body column is best for punches or when only the upper-body is exposed, and the lower body column is best for kicks or when only the lower-body is exposed. An asterisk (*) indicates that if a particular side of the body

is exposed, such as when only half of it is exposed from cover, it is hit. Otherwise roll another die—an even number indicates that the right side was hit, while an odd one indicates that it was the left.

Random Location roll generic location upper-body lower-body

2 Foot* Hand* Hand*

3 Hand* Arm* Foot*

4 Arm* Arm* Stomach

5 Arm* Shoulder Stomach

6 Leg* Stomach Stomach

7 Shoulder* Stomach Leg*

8 Stomach Head Leg*

9 Head Head Leg*

10 to 12 Chest Chest Thigh/Hip*

When the head is hit as the result of a close combat attack, two dice are rolled, and the table below is consulted. All difficulty modifiers remain in effect until the damage is healed.

Head Damage roll location effect

2 to 4 Face +2diff on Face-to-Face Influence-Based Tasks

5 to 6 Jaw +2diff on Verbal Influence-Based Tasks

7 to 8 Eye +2diff on Visual Awareness-Based Tasks

9 Ear +2diff on Aural Awareness-Based Tasks

10 Throat Increase Damage by Half; Cannot Speak until Healed

11 to 12 Skull No Additional Effect

ExtrasExtras can be important in a game. They are used as

henchmen, friends, obstacles, sources of information, and of course, cannon fodder. What sets extras apart from the antagonist/protagonist set of characters is that they require very little detail and can be created and dealt with more quickly than normal. Player characters always defeat extras in tasks unless the outcome is important to the progress of the story, in which case a normal, likely contested, task roll is made. Conversely, villains, or the primary antagonists of a game are created and used just like player characters, possessing pursuits and even experience.

Extras possess all abilities at a rating of two. More talented extras can possess one ability with a higher rating—this determines their primary function. The ability’s rating represents not only the extra’s potential, but also his training—assign a rating based on the

Directing the Stories 58

desired level of competence. For instance, an extremely athletic extra could possess a fitness rating of four or even five.

Types of ExtrasPhysical Extras Fitness

Observant Extras Awareness

Artistic Extras Creativity

Intelligent Extras Reasoning

Social Extras Influence

Pursuits can also be assigned as needed based on their function; a competent extra may possess one or more proficiencies based on his role, while a master craftsman could possess a number of specialties or masteries. Gimmicks may also be assigned at the director’s discretion.

The director is not required to track health for extras, except for henchmen (a catch-all term for a villain’s guards and lackeys), who possess threshold ratings of one (1). All successful attacks that inflict fatigue automatically cause non-henchmen extras to fall unconscious, and attacks that inflict injury cause non-henchmen extras to become incapacitated.

The director can also use the following random table to determine an extra’s attitude towards the player characters.

Random Disposition roll disposition

2 Friendly

3 Cooperative

4 Cowardly

5 Apathetic

6 Selfish

7 Seductive

8 Pompous

9 Manipulative

10 Treacherous

11 Uncooperative

12 Hostile

GimmicksWhile gimmicks mostly focus on mechanical

advantages and disadvantages, they can also augment the story as it unfolds. For instance, a character with the leader gimmick is likely to take center stage in a scene, with extras and villains calling on him to take action, either individually or through commanding

his subordinates. A character with the slow gimmick may become the target of an attack simply because he cannot run as fast as the other members of the group.

It should not be inferred from these examples that detrimental gimmicks encourage only negative effects on the story or vice versa. Indeed, a detrimental gimmick can also influence the story in a positive way. A character with the meek gimmick, for instance, is likely to be perceived as weak and ineffectual when he is really quite powerful. As a result, his captor relies on only a minimum of security, making it easier for the character to escape his dungeon. Likewise, a character with the acute smell gimmick may be more susceptible to a foul stench, causing him to be seriously distracted and impacting all tasks with a penalty until he gets far enough away from the smell.

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Because the game does not enforce this sort of activity through mechanical means, the sole burden is on the director to implement it. There are no set rules or requirements when working gimmicks into the story in this fashion other than upholding existing mechanical rules and not forcing a gimmick into the story—allow gimmicks to naturally supplement the story.

Creating new GimmicksThe director is encouraged to create his own, unique

gimmicks as necessary for the settings in which his stories are based. The following conditions can be applied to a gimmick as a framework for identifying how a new gimmick functions.

Constant: The gimmick is always active, and its effects can be applied whenever appropriate.

Invested: The effects of the gimmick can only be applied when the character voluntarily gains one or more marks of fatigue or injury (mechanical stress or structural damage for vehicles), or by gaining a penalty on certain tasks.

Tasked: The effects of the gimmick can only be applied when a specified task is performed successfully.

Limited: The effects of the gimmick can only be applied a fixed number of times per interval; this period can be measured in turns, hours, days, episodes, or scenes.

Conditional: The effects of the gimmick can only be applied when the character finds himself in the specified situation. This condition can be one of location, time, social accompaniment, or other circumstances.

Ability: The effects of the gimmick can only be applied to a task when the specified ability is used.

Pursuit: The effects of the gimmick can only be applied to a task when the specified pursuit (or group of pursuits) is used.

Vehicular: The gimmick can only be applied to a vehicle or a similar-sized creature.

Prop: The effects of the gimmick can only be applied for the character currently holding the specified item or having it in his possession.

Optional: Using Gimmicks as DescriptorsIn addition to the normal application of gimmicks,

they can also be assigned to characters, vehicles, and other objects in descriptive terms. This form of gimmick is known as a descriptor, and functions just like an ability gimmick, except that rather than being linked to a particular ability, it is linked to a specific condition or situation. In accordance with this function, a descriptor always provides either a fixed bonus (+1) or penalty (-1) to a task’s dice total for which it becomes relevant. A descriptor also possesses a defined value (±x), which represents the actual bonus or penalty.

This application of gimmicks allows the director to apply bonuses and penalties not covered by existing gimmicks and that result from magical powers, wounds, divine interference, or special insights. A descriptor should be an adjective or sentence that best describes one facet of an action or situation. It can be broad in scope, and therefore applicable for many situations.

Descriptors can only be applied or removed by the director, as a result of play. They are not intended for regular use, but as a way to officially enforce game mechanics and remember that they must be enforced when relevant. Descriptors also foster more compatibility between Story Engine and these rules.

For ExampleA cursed is placed on Freddie� It hampers his ability to play poker� He gains the cursed at poker (-3) descriptor� This means that whenever he plays poker, his dice total is reduced by 3 when performing related tasks.

Directing the Stories 60

Scaling: Adjustment Reference

Adjust Protection ValueMod = Defender’s Scaling Bonus - Attackers Scaling Bonus

No Adjustment if zero or less

Protective Valuebase fitness rating + mod padding / armor 0 to 3 0

4 to 7 1

8 to 11 2

12 to 15 3

16 to 19 4

20 or more 5

Adjust Base Damage ValueMod = Attackers Scaling Bonus - Defender’s Scaling Bonus

Damage Valuebase fitness rating + damage mod close combat damage Up to 3 1

4 to 7 2

8 to 11 3

12 to 15 4

16 to 19 5

20 or more 6

Adjust Damage ValueMod = Source’s Scaling Bonus - Target’s Scaling Bonus

Damage Value mod damage adjustment -15 Reduce to 1 for every 8; zero if less than 8

-10 Reduce to 1 for every 4; zero if less than 4

-5 Reduce to 1 for every 2; zero if less than 2

0 No Change

+5 Increase to 2 for every 1 (×2)

+10 Increase to 4 for every 1 (×4)

+15 Increase to 8 for every 1 (×8)

Adjust Attack Difficulty for SizeMod = Attacker’s Scaling Bonus - Target’s Scaling Bonus

Difficulty Adjustment mod difficulty modifier -15 -16diff

-10 -8diff

-5 -4diff

0 0

+5 +4diff

+10 +8diff

+15 +16diff

Scaling: A Quick Reference

Basic Scaling Adjustmentscaling identifier ability bonus

None 0

Extra +5

Super +10

Epic +15

Damage Scalingsource of damage scaling identifier and bonus

Mammoths and Saber-Toothed Cats Extra (+5)

Vehicle-Mounted Non-Explosive Weapons Extra (+5)

Dinosaurs and Dragons Super (+10)

Warheads Super (+10)

Starship-Sized Creatures Epic (+15)

Starship-Mounted Weapons and Warheads Epic (+15)

Size Scalingsize scaling identifier

Truck or Mammoth-Sized Extra

Submarine or Dinosaur-Sized Super

Aircraft Carrier or Starship-Sized Epic

Hit Locations

Random Location roll generic location upper-body lower-body

2 Foot* Hand* Hand*

3 Hand* Arm* Foot*

4 Arm* Arm* Stomach

5 Arm* Shoulder Stomach

6 Leg* Stomach Stomach

7 Shoulder* Stomach Leg*

8 Stomach Head Leg*

9 Head Head Leg*

10 to 12 Chest Chest Thigh/Hip*

Head Damage roll location effect

2 to 4 Face +2diff on Face-to-Face Influence-Based Tasks

5 to 6 Jaw +2diff on Verbal Influence-Based Tasks

7 to 8 Eye +2diff on Visual Awareness-Based Tasks

9 Ear +2diff on Aural Awareness-Based Tasks

10 Throat Increase Damage by Half; Cannot Speak until Healed

11 to 12 Skull No Additional Effect

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The Art of Magick

Chapter five

The Art of Magick 62

Magick, in all its myriad forms, is the exercise of will upon the natural forces to affect change. The Universe abounds with the living energies of Creation that some people call magick. The study of true magick has never been about blazing fireballs or teleporting across continents. It is a quest for understanding, and the art of controlling and harnessing the forces of nature. Magick is neither black nor white; neither good nor evil. Most importantly, it is not a thing. Magick is a process, philosophy, and way of perceiving and interacting with the world.

Characters who are capable of weaving magick must possess one or more specialized pursuits. While each magick pursuit is utilized to shape a specific effect, a method must also complement it in order to first channel the necessary energies. A number of schools exist, each teaching a distinct style of magick, giving the character access to certain pursuits. The methods, on the other hand, are prevalent in all schools, providing a common framework for gathering magick power.

Etherial Energy and UmbraEtherial energy is a source of magick power that

inflicts fatigue on a target. An abatement roll is made against etherial energy only when a target possesses a form of protection called umbra. Similar to padding and armor, umbra is a magick protective power effective only against etherial energy. A character’s umbra rating is zero by default. Some of the magick effects described in this chapter inflict etherial damage (which is essentially fatigue when applied to a target’s health), while others protect against it using umbra.

Optional: Etheria health MeterA new form of health called etheria can be added to

track magick power for magick-using characters (but not regular characters). As a character performs magick tasks, his etheria increases (one absolute mark for each task; one absolute line for calamities), representing its expenditure. When etheria reaches five grades, the character is incapable of attempting magick tasks. Etheria is reduced by a number of marks each hour equal to the character’s creativity rating. A character’s etheria threshold is equal to his creativity rating. Etheria penalties affect all magick tasks.

When using the etheria meter, etherial damage is applied directly to it rather than fatigue. By the same token, umbra still protects against ethereal damage. When a character sustains five grades of etheria (or a

non-magick character gains etheria), additional damage is then applied as fatigue.

Etheriad Penaltiesgrade etheria penalty

1 Pallid None

2 Enfeebled +1diff

3 Impaired +2diff

4 Muted +3diff

5 Consumed Cannot Perform Magick

For ExampleKomad the Wizard and Joen the Barbarian both receive 4 marks of etheria� Komad makes an abatement roll using his temporay umbra value of 2 (from a magick effect). His umbra is able to stop one mark, but the other mark is applied to Komad’s etheria� Joen, on the other hand, has an umbra value of 0 (the default), so the 2 marks are applied directly to his fatigue (Joen is not a magick-user, so does not track etheria directly)�

The Schools of MagickMagick has been harnessed differently by each culture,

exploring only a handful of applications and concepts. Often the culture’s religious practices and lifestyles color the study of magick. As a result, a variety of different schools, or bodies of knowledge, of magick are provided, each representing a unique approach.

Each school teaches four academic pursuits in order of complexity. A character is required to possess a proficiency in each preceding pursuit taught by the school before he can learn a more complex one.

The difficulties and durations of these pursuits vary, but these values are described if necessary. A standard set of difficulty tables for range, size, and time are provided later in this chapter.

The School of Aegis MagickThis school of magick focuses on the resistance to

magical forces. Those taught in the ways of this school are often called wizards.

wardingCharacters can use this pursuit to produce a field of

magick armor and padding around a target. A successful task means that the character’s armor and padding ratings are both increased by the roll of a single die (this rating cannot be raised above five). If five or more overkill is achieved, the character can choose a single material against which the protective ratings are

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GENRE diversion

automatically increased to 5, although the protection does not extend to other materials—this material can be ice, wood, metal, crystal, bone, or stone. The duration of this effect is a number of turns equal to the character’s creativity rating, while the difficulty is based on the size of the target.

Etherial warding This pursuit creates a field of umbra protection

around a target. The character’s umbra rating is equal to the roll of one die, but cannot be greater than five. The duration of this effect is a number of turns equal to the character’s creativity rating, while the difficulty is based on the size of the target.

MendingA character can work the magick of this pursuit to

repair an inanimate object. This can be the restoration of a wall, correction of a jammed firearm, or adjustment of a telescopic lens. The difficulty of this task is based on the size of the object.

CounteringThe paragon of skill in the School of Aegis is that

of negating other magick effects. This pursuit allows characters to do just that. A single opponent is chosen as the target of this effect. When successful, the opponent’s magick tasks are contested—the opponent’s overkill for each task must be greater than the overkill achieved on this countering task. The duration of this effect is a single scene.

The School of Battle MagickThis school of magick focuses on killing the enemy

and protecting allies on the battlefield. Those taught in the ways of this school are often called warmages.

BlastingA character can use this pursuit to project a mass of

plasma directly at a target. A successful strike inflicts a number of marks of injury equal to the roll of one die. If five or more overkill is achieved, the character can transform the plasma into a specific material—ice, wood, metal, crystal, bone, or stone. The nature of the material does not alter the outcome directly, but it can affect targets differently depending on what protection is used. The difficulty of this task is based on the range to the target.

Etherial BlastingThis pursuit is used to project a mass of etherial

energy at a target that can only be abated by umbra

protection. A successful strike inflicts a number of marks of fatigue (or etheria, if using that optional form of health) equal to the roll of one die. The difficulty of this task is based on the range to the target.

ShroudingThe shrouding pursuit can be used to hide someone

or something from the enemy. It effectively puts the target behind cover, preventing it from being a viable target in ranged combat. Any calamities achieved by the target while shrouded make it slightly exposed (two-thirds coverage). Additionally, the target receives a bonus towards his stealth tasks equal to the character’s shrouding bonus. The duration of this effect is a number of turns equal to double the character’s creativity rating, while the difficulty is based on the size of the target.

rallyingThis top tier of battle magick allows a character to

boost the morale of affected allies. A single target group consists of ten adjacent characters. Those affected receive a bonus of -2diff on all reaction and composure tasks. The duration of this effect is a number of turns equal to double the character’s influence rating, while the difficulty is based on the range to the target.

The School of Bestial MagickThis school of magick focuses on drawing on the

primal aspects of animal life. Those taught in the ways of this school are often called fleshmancers.

TrackingA character can determine a target’s current position

in the world using this pursuit. The character can sense a target’s single stationary location as if looking at a compass, but if the target moves, that movement is not known—a further task is required to detect the new position. While the character is not likely to know the best route to the destination, he can compute the distance to it. The difficulty of this task is based on the range to the target.

AdaptingThe character temporarily gains one of the effects

listed below for each successful task performed. The duration of each effect is a number of turns equal to double the character’s fitness rating. Some gimmicks presented here are described in Chapter Seven.

•Strength of the Lion: The character gains the musclebound (2) gimmick as his muscles double in size, bulging beneath the skin.

The Art of Magick 64

•GraceoftheCat: The character gains the agile (2) gimmick as he become more nimble on his feet.

•Ears of the Dog: The character gains the acute hearing (2) gimmick as his ears become more pointed and floppy.

•Scentof theBear: The character gains the acute smell (2) gimmick as his nose elongates.

•Vision of the Eagle: The character gains the acute vision (2) gimmick as his eyes turn black and reflective.

•FrilloftheCock: The character gains the alluring (2) gimmick as his hair and facial features turn smooth and pleasing.

•Snarl of the Wolf: The character gains the fearsome (2) gimmick as his facial expressions turn monstrous.

•Song of the Mockingbird: The character gains the boisterous (2) gimmick as his voice becomes melodic and predominant.

•Direction of the Bee: The character gains the natural compass gimmick as he can detect natural vibrations radiated by the world around him.

•Claws of the Badger: The character gains the natural weapon (claws: +2inj) and maladroit (2) gimmicks as his fingernails extend into long, powerful claws.

•JawsoftheTiger: The character gains the natural weapon (carnivorous teeth: +2inj) gimmick as his teeth enlarge and sharpen.

•Fangs of the Serpent: The character gains the natural weapon (fangs: +0inj) and venomous (roll of one die) gimmicks as his incisors grow and a poison gland forms in his mouth.

•HideoftheRhinoceros: The character gains the natural protection (hide) and clumsy (2) gimmicks as his skin turns tough and thick.

•Fur of the Fox: The character gains the natural protection (fur) gimmick as he grows long, thick fur all over his body.

•WingsoftheHawk: The character gains the flight gimmick as he grows wings, allowing him to fly.

•Gills of the Fish: The character gains the water-breathing gimmick as he grows a set of gills beside his lungs.

regeneratingThe character can restore a number of marks of injury

each turn equal to the roll of one die. The duration of this effect is a number of turns equal to double the character’s fitness rating.

TransformingThe character’s body completely transforms into that

of an animal when using this pursuit. While most of his ability and pursuit ratings remain the same, fitness and awareness take on the values for the specified animal (see Chapter Seven or the director can create his own vision of the animal, using the rules in Chapter Four as a guide). The difficulty of this task is based on the size of the animal (use the Alternate Size Difficulties table); if the animal is not indigenous to the character’s homeland or region in which he is presently, a modifier of +4diff is applied. The character can revert to his original form at will, but transforming back into animal form requires another task. The duration of this effect is a number of hours equal to the character’s creativity rating.

The School of Death MagickThis school of magick focuses on connecting its

practitioners to the nuances of life by focusing on the absence of it. Those taught in the ways of this school are often called necromancers.

FeelingThis pursuit allows a character to sense how many

life-forms are present within a number of spaces equal to five times his awareness rating. Once a task is made to detect the number of life-forms, a second task can be attempted to identify them—the difficulty of this task is modified by +1diff for every rat-sized animal, every five normal-sized characters (or animals), every ten extra-sized characters, every twenty super-sized characters, and every thirty epic-sized characters.

AnimatingThe character can raise the dead, animating their

bodies as zombies using this pursuit. Any dead creature can be animated, but each active one beyond the first increases the difficulty by +1diff. Only a single task is required to make each creature into a zombie. Doing so reduces the creature’s normal fitness rating by half and all other abilities to zero. Zombies possess no pursuits, using the necromancer’s pursuit bonuses/penalties instead. Zombies also gain the undead and tolerance to pain gimmicks (see Chapter Seven). The duration of this effect is a number of hours equal to the character’s fitness rating.

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GENRE diversion

DrainingUsing this pursuit, a character can drain a target’s

life energy, using it to either heal himself or increase his umbra rating. A successful task inflicts a number of marks of etherial damage equal to the roll of one die. Each mark of damage that the target sustains either reduces one mark of injury that the character has sustained or increases his umbra rating by one (to a maximum of five). If the optional etheria health meter is used, the character’s etheria damage, rather than injury, can be reduced. If no injury (or etheria) can be reduced or his umbra rating is already five, the character is not affected and no damage is dealt to the target. The difficulty of this task is based on the range to the target.

resurrectingA character can completely drain the life out of a

sacrificed character or animal with this pursuit, using it to breathe new life into a dead character or animal. Once a sacrifice has been made and this task is successful, the target character or animal, which must be placed beside the sacrifice, returns to life. If the task fails, it cannot be attempted again unless another character is sacrificed. The difficulty of this task is based on the amount of time that the target character has been dead.

The School of Divine MagickThis school of magick focuses on a connection to a

higher order, resulting in gifts of purity and insight. Those taught in the ways of this school are often called clerics.

ScryingThis pursuit allows a character to witness the events

at another location as if he were there, sensing the sights, sounds, and smells that are present. The duration of this effect is a number of turns equal to the character’s awareness rating, while the difficulty is based on the distance to the location.

CleansingCharacters knowledgeable in this pursuit can remove

all traces of toxins and poisons from foodstuffs, plants, and infected people. This does not heal any damage caused by such an infection, but targeted individuals’ immunity values are increased by the roll of one die (to a maximum of 5) for a number of turns equal to the character’s creativity rating.

Alternatively, the character can target an undead creature, turning it away as if frightened. This can be

contested with an influence-based composure task. If the character is successful, the target must run away from the character.

KnowingA character can use this pursuit to gain insight into

pursuits with which he is not familiar. When successful, the character can attempt a single non-fitness-based task, gaining a pursuit bonus equal to half the roll of one die.

healingThe character can heal others by touch using this

powerful pursuit. If successful, the target’s injury is decreased by a number of lines equal to half the roll of one die.

The School of Mind MagickThis school of magick focuses on the subtleties of the

mind. Those taught in the ways of this school are often called mindcrafters.

TiringA character uses this pursuit to convince a target’s

mind that it requires sleep. This can be contested with a fitness-based composure task. If the target fails the task, he immediately falls asleep for a number of minutes equal to ten times the character’s influence rating. The difficulty of this task is based on the range to the target.

readingThis pursuit allows a character to read the thoughts of

a target. The difficulty of this task is based on the range to the target, and modified by +3diff if trying to read buried or subconscious thoughts. The duration of this effect is a number of minutes equal to the character’s influence rating.

ExpressingA character can project his thoughts into the mind

of another using this pursuit, allowing one-way communication or two-way when combined with the reading pursuit. The duration of this effect is a number of minutes equal to the character’s influence rating, while the difficulty is based on the range to the target.

ControllingUsing this pursuit, a character can control the actions

of a target, forcing his body to abide by the character’s will. While the target can think normally, he cannot control what his body does when under the influence of this pursuit unless first making a contested fitness-

The Art of Magick 66

based composure task—this only permits one action as the character is still in charge of his target. The duration of this effect is a number of minutes equal to the character’s influence rating, while the difficulty is based on the range to the target.

The School of Sensory MagickThis school of magick focuses on trickery of the

senses. Those taught in the ways of this school are often called witches or warlocks.

Visual IllusionThis pursuit is used to create an image that appears

real, but has no true physical presence, meaning that it does not emit any sound, smell, or tactile sensation (unless combined with another pursuit from this school). The duration of this effect is a number of hours equal to the character’s influence rating, while the difficulty is determined by the desired size of the illusion (use the Alternate Size Difficulties table).

Aural IllusionCharacters can use this pursuit to create and mimic

sounds. The duration of this effect is a number of hours equal to the character’s influence rating.

Tactile IllusionThis pursuit is utilized by characters to form invisible

barriers or allow visual illusions to interact on a physical level (consider illusions to have a fitness and threshold rating equal to the character’s influence rating, along with an injury health meter). The duration of this effect is a number of hours equal to the character’s influence rating, while the difficulty is determined by the desired size of the illusion (use the Alternate Size Difficulties table).

CloakingUsing this pursuit, a character can make any target

invisible, or sound or appear as someone or something else. The duration of this effect is a number of hours equal to the character’s influence rating, while the difficulty is determined by the size of the target (use the Alternate Size Difficulties table)

The Methods of MagickIn order to apply the theory behind a magick pursuit,

a character must first execute one of the methods described below to produce the energies needed for such a feat. Each method has its own limitations and advantages, yielding the effects of magick differently.

Magick Calamities

The following random tables can be used to quickly determine the effects of a magick task turned calamity� Unless the result is a one-time penalty, consider the duration to be a number of hours equal to the roll of one die� Gimmicks followed by an asterisk (*) are described in Chapter Seven; a defined value for a gimmick that requires one should be chosen randomly or to suit the circumstances of the calamity�

These calamities are only suggestions, provided here for quick reference� The director is encouraged to be creative in devising his own calamities for the various types of magick effects� Improvising is not only a lot of fun, but often maintains the mood and theme of a story better than any random generic events�

Common calamities that can extend to custom magick pursuits include the gaining of fatigue or injury, having the magick affect the character rather than his target, and even fainting or becoming overwhelmed�

School of Aegis Magick roll effect 1 The character’s padding rating is reduced by half. 2 The character’s armor rating is reduced by half. 3 The character receives 1 line of absolute fatigue. 4 One object in the character’s possession shatters to pieces. 5 The character gains the vulnerability* gimmick. 6 All magick tasks that target the character receive a bonus of -2diff.

School of Battle Magick roll effect 1 The character is the victim of a plasma blast

(see the blasting pursuit for its effects). 2 The character is the victim of an etherial blast (see the etherial blasting pursuit for its effects). 3 One of the character’s allies is the victim of a plasma blast

(see the blasting pursuit for its effects). 4 One of the character’s allies is the victim of an etherial blast (see the etherial blasting pursuit for its effects). 5 The character’s enemy is hidden from view

(see the shrouding pursuit). 6 The character’s allies receive a penalty of +2diff on all composure tasks.

School of Bestial Magick roll effect 1 Anyone tracking the character receives a bonus of -2diff. 2 The character randomly gains one of the effects possible with the adapting pursuit. 3 The character gains the vulnerability* gimmick. 4 The character gains the undersized (2) gimmick. 5 The character gains the oversized (2) gimmick. 6 The character cannot perform any bestial magick tasks.

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ChantThis method consists of intoning a magick phrase

repeatedly until enough power is summoned. The phrase itself is sometimes very personal to the character, and often in an arcane language. The number of turns in which the character must maintain his chanting is determined by the roll of a single die. If the chanting is interrupted before the required number of turns, the character must restart the process. When the power is fully summoned, a magick task is then attempted for the desired effect. While a character can elect to cut the chanting short, the difficulty of the magick task is modified by +1diff for each required turn that is abandoned.

ArtificeAn ornately-decorated object, such as a staff, rod,

or amulet, must first be crafted by the magick-using character. This requires a challenging design task to make it capable of assisting in the process, and takes about a day. Once completed, however, the character can use this artifice to instantly focus his power and attempt a magick task. If the object is lost or destroyed, he can simply create a new one. An artifice can channel enough power for the character to create a single magick effect each turn.

CircumscriptionA character can create permanent effects with this

method by creating a circle on the ground. The circle can be formed by painting, inscribing, or burning it into dirt, sand, rock, and other fairly stable materials. A design task is first performed to draw the circle as smoothly as possible, requiring one turn for every half space in diameter. The intended target of the effect must be within the circle in order for the effect to manifest; otherwise, the target is not affected. While the target is inside the circle, however, the effect remains active regardless of the stated duration. As soon as any part of the target exits the circle, the effect immediately ceases.

PotionThis method consists of the brewing of a potion long

before the execution of the magick effect. This requires two tasks. The first is an alchemy task, which consists of brewing ingredients for a specific effect in a boiling cauldron. The second is a magick task for the desired effect. While the entire process of brewing a potion takes thirty minutes, the magick effect can be unleashed at any time and by anyone when the potion is poured on,

Magick Calamities Continued

School of Death Magick roll effect 1 The character cannot perform any creativity-based tasks. 2 The character cannot perform any reasoning-based tasks. 3 The character receives 1 line of absolute fatigue. 4 The character cannot be resurrected. 5 The character gains the meek (2) gimmick. 6 The character gains the weak-willed gimmick.

School of Divine Magick roll effect 1 Enemy clerics can scrye the character’s location automatically. 2 Any object touched by the character becomes toxic when eaten, inflicting 1 mark of injury. 3 The character attracts the undead;

they attack him before any other threat. 4 The character’s immunity value is reduced by half. 5 The character’s allies’ immunity values are reduced by half. 6 The character receives a penalty of +4diff on all creativity-based tasks.

School of Mind Magick roll effect 1 The character cannot sleep. 2 The character receives a penalty of +2diff on all tasks involving the school of mind magick. 3 The character cannot focus and receives a penalty of +4diff

on all reasoning-based tasks. 4 The character is preoccupied with the thoughts of others and receives a penalty of +4diff on all reaction tasks. 5 All expressing and controlling tasks that target the character

receive a bonus of -2diff. 6 The character falls asleep.

School of Sensory Magick roll effect 1 The character cannot see any visual illusions. 2 The character cannot hear any aural illusions. 3 The character cannot see. 4 The character cannot hear. 5 One of the character’s allies takes on the illusionary

appearance of a monster. 6 The character takes on the illusionary appearance of a monster.

Generic Calamities roll effect 1 The character receives a number of marks of absolute fatigue

equal to the roll of one die. 2 The character receives a number of marks of absolute injury equal to the roll of one die. 3 The character receives a number of marks of etherial energy

equal to the roll of one die. 4 The character becomes overwhelmed. 5 The character becomes unconscious. 6 The character cannot speak.

The Art of Magick 68

smashed against, or consumed by a target—no further task is required. If either of the tasks fail, a new potion must be created from scratch. Exploits are assigned to the task when the potion is made rather than when the effect manifests.

Magick TasksWhenever a character wishes to create a magick

effect, one of the available methods must first be chosen (chanting, artifice, circumscription, or alchemy), since that choice can alter when a magick task is made. A magick task relies on the character’s creativity rating and the relevant magick pursuit bonus. Unless otherwise noted, the base difficulty of the task is routine. Various factors can impact the task, depending on the specific pursuit; these are described below.

For ExampleKomad uses the circumscription method to use his etherial warding pursuit� He draws a circle in the dirt around him� Once completed, he performs a creativity-based etherial warding task� If successful, the effects are felt by the target within the circle, in this case himself� The optional arcing effect exploit can be used to affect more than one target within the circle�

rangeIf a task’s difficulty is determined by the range to a

target or size of a circumscription, use the table below.

Range or Size of Circumscription Difficultiesrange size of circumscription difficulty

Touch or Potion Up to 1 Space Trivial (8)

1 to 2 Spaces 2 to 3 Spaces Routine (10)

3 to 15 Spaces 4 to 5 Spaces Complex (12)

16 to 30 Spaces 6 to 10 Spaces Challenging (14)

31 to 49 Spaces 11 to 20 Spaces Improbable (16)

51 to 100 Spaces 21 to 30 Spaces Impossible (18)

SizeIf a task’s difficulty is determined by the size of a

target or effect, use one of the tables below. The first lists the default size difficulties, while the second is an alternate for tasks that specify its use.

Size DifficultiesUndersized (-3 or less) Trivial (8)

Undersized (-2) Routine (10)

Undersized (-1) to Normal to Oversized (+1) Complex (12)

Oversized (+2 or more) or Extra Challenging (14)

Super Improbable (16)

Epic Impossible (18)

Alternate Size DifficultiesUndersized (-3 or less) Challenging (14)

Undersized (-2) Complex (12)

Undersized (-1) to Normal to Oversized (+1) Routine (10)

Oversized (+2 or more) or Extra Complex (12)

Super Impossible (18)

Epic Cannot Be Done

TimeIf a task’s difficulty is determined by time, use the

table below.

Time DifficultiesSeveral Minutes Trivial (8)

Several Hours Routine (10)

Several Days Complex (12)

Several Weeks Challenging (14)

Several Months Improbable (16)

Several Years Impossible (18)

Combining PursuitsSome magick effects can be complementary to others.

For example, a visual and aural illusion can be combined. In order to achieve such a feat, a separate task is required for each effect, but only one can be attempted per turn. The separate tasks need not be performed in consecutive turns, but the duration for one effect is not linked to another, so they can cease at different times.

Optional: Magick GimmicksProceed to Optional: Magick Exploits if you are not going to use Magick Gimmicks.

Characters can have access to the following gimmicks at the discretion of the director. They are not required, but can make the story a bit more compelling. The director can also endow items with magick enchantments in the form of gimmicks.

Death Magnet ?

For some arcane reason, all undead creatures must attack the character at least once before attacking any other characters in his group.

Focal Ignorance ?

The character is incapable of using the artifice method to channel energy for magick.

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Local Ignorance (v) ?

The character is incapable of channeling power for magick when found in a particular location, as specified by the defined value. This location could be as broad as “cemeteries” or distinct as “the state of Milhorm.”

Magick Bonus (v)The weapon inflicts an amount of extra damage

equal to its defined value. For instance, a weapon with magic bonus (2inj) inflicts an additional two marks of injury when striking an opponent.

Magick Defense (v)The protective gear is more effective than normal,

gaining a bonus to its rating and/or protecting against other sources of damage as well. For instance, armor with magic defense (armor: +2) has an armor rating two greater than normal and magic defense (umbra +2) provides an umbra rating of two in addition to its normal armor rating.

Magick Degree (x) The character has been granted an illustrious degree

from a magick school, and is respected by fellow magick-users and those who would pay for his services. The defined value is equal to one, and increased by one for each iteration of this gimmick up to a maximum of five. The rank is determined by the defined value.

Rankdefined value secular divine infernal

1 Apprentice Disciple Acolyte

2 Journeyman Hostiary Dekon

3 Crafter Lector Magister

4 Magus High Priest Curate

5 Master Abbot Bane

Potent Magick (x)The character can endure more etheria than his

creativity rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is added to the character’s creativity rating when determining his etheria threshold and umbra value.

Stunted Magick (x) ?

The character can endure less etheria than his creativity rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the character’s creativity rating when determining his etheria threshold and umbra value.

Expanding Magick

While the information provided in this chapter is likely sufficient for most people, some may wish to expand upon it� This can be done with a little planning and knowledge of the existing material�

New PursuitsThe easiest way to customize magick is to invent new

pursuits to augment the existing schools� These new pursuits can be placed anywhere between the established tiers for a school� In addition to a hierarchal requirement, new pursuits can also exist parallel to others� In other words, pursuits at the same tier produce a choice when creating characters—because they are of the same tier, they can be chosen in any order, as long as a character possesses all the previous pursuits for the school� Only one of these parallel pursuits must be known to a character in order to learn those at higher tiers�

New SchoolsCompletely new schools of magick can be invented� This

involves outlining the function of the school and creating pursuits that conform to that function� This can be very time-consuming and tedious work, imagining exactly how the effects are manifested� The Atomik Magick and Grimoire generic add-ons are recommended for building custom magick systems (see the Precis Intermedia web site)�

New MethodsAlthough the existing methods cover the more common

techniques, they can be more finely tuned to meet your requirements. Specific dances or foci, for example, may be desired for the various schools or pursuits� Alternatively, completely new methods can be created to suit more custom elements, like science fiction techo-magick.

Building Magick-Using CharactersCharacters schooled in the art of magick should be created

just like regular ones� Magick pursuits can be chosen alongside mundane ones, for example� New vocations can be created for magick characters, making it easier to develop them without the added expense of using the available pool for both magick and mundane pursuits�

Characters should not be granted any special treatment for having access to magick� In other words, players do not get to choose additional pursuits just because their characters are magick-users� This is because that in order to learn such awesome powers, they must sacrifice other aspects of their lives, like mundane vocational training� This is not written in stone, however� As an option, one pursuit for a single chosen magick school can be given to a character for free� If desired, the director can allow players to choose pursuits from different schools or limit them to only being able to use pursuits belonging to a single school�

The Art of Magick 70

Optional: Magick ExploitsProceed to the next chapter if you are not going to use Exploits.

Magick exploits can vary greatly by effect. As such, the director must use his best judgment when applying them. Only one exploit can be performed per task.

Arcing EffectThe character’s magick task not only affects his target

(or group), but also one or more other targets. The number of extra targets is equal to the relevant pursuit bonus. The extra targets must be within one space of the original target (or within ten spaces for groups).

Charged EffectThe character focuses his energy to magnify the

strength of an effect, affecting damage, protection, or difficulty (only one per turn). If the effect inflicts or heals damage, increase it by a number of marks equal to the relevant pursuit bonus. If the effect modifies a protective value, increase the change by the relevant pursuit bonus. If the effect modifies a task’s difficulty, increase the change by the relevant pursuit bonus.

Enlarged EffectThe character focuses his energy to enlarge an effect’s

size. Increasing size is typically limited to broadening the diameter of a circle (see circle method), but can also do the same to any effect that manifests its power within a sphere or radius. If the relevant pursuit is a proficiency, the effect expands beyond the physical circle by a distance equal to half the radius. A specialty doubles the size of the circle and a mastery triples it.

Extended EffectThe character focuses his energy to extend an effect’s

duration. If the relevant pursuit is a proficiency, the duration is increased by half (multiply the time by 1.5), while a specialty doubles it, and a mastery triples it.

Minimizing EffectThe character holds back his energy to lessen the

strength of an effect, affecting damage, protection, or difficulty (only one per turn). If the effect inflicts or heals damage, decrease it by a number of marks equal to the relevant pursuit bonus. If the effect modifies a protective value, decrease the change by the relevant pursuit bonus. If the effect modifies a task’s difficulty, decrease the change by the relevant pursuit bonus.

Magick: A Quick Reference

School of Aegis Magick PursuitsWarding • Etherial Warding • Mending • Countering

School of Battle Magick PursuitsBlasting • Etherial Blasting •Shrouding • Rallying

School of Bestial Magick PursuitsTracking • Adapting • Regenerating • Transforming

School of Death Magick PursuitsFeeling •Animating •Draining • Resurrecting

School of Divine Magick PursuitsScrying • Cleansing •Knowing • Healing

School of Mind Magick PursuitsTiring •Reading •Expressing • Controlling

School of Sensory Magick PursuitsVisual Illusion • Aural Illusion • Tactile Illusion • Cloaking

The Methods of MagickChant • Artifice • Circumscription • Potion

Range or Size of Circumscription Difficultiesrange size of circumscription difficulty

Touch or Potion Up to 1 Space Trivial (8)

1 to 2 Spaces 2 to 3 Spaces Routine (10)

3 to 15 Spaces 4 to 5 Spaces Complex (12)

16 to 30 Spaces 6 to 10 Spaces Challenging (14)

31 to 49 Spaces 11 to 20 Spaces Improbable (16)

51 to 100 Spaces 21 to 30 Spaces Impossible (18)

Size DifficultiesUndersized (-3 or less) Trivial (8)

Undersized (-2) Routine (10)

Undersized (-1) to Normal to Oversized (+1) Complex (12)

Oversized (+2 or more) or Extra Challenging (14)

Super Improbable (16)

Epic Impossible (18)

Alternate Size DifficultiesUndersized (-3 or less) Challenging (14)

Undersized (-2) Complex (12)

Undersized (-1) to Normal to Oversized (+1) Routine (10)

Oversized (+2 or more) or Extra Complex (12)

Super Impossible (18)

Epic Cannot Be Done

Time DifficultiesSeveral Minutes Trivial (8)

Several Hours Routine (10)

Several Days Complex (12)

Several Weeks Challenging (14)

Several Months Improbable (16)

Several Years Impossible (18)

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Vehicles

Chapter six

Vehicles 72

Vehicles are represented similarly to characters, utilizing abilities and gimmicks. Purpose and scaling is also used to describe their function and general size respectively, and integrity replaces health.

ExampleCapital-Class Starship Speed handling Frame Tech 1 2 4 5Purpose: SpaceScale: EpicGimmicks: Self-Sufficient, Shields (4)Weapons: 4 Laser Batteries (cupolas, each facing a corner),

1 Rocket Battery (forward), Fusion Missile LauncherMEC Reliability: 5 STr Plating: 4 EEEEE Engaged EEEE Dented EEEEE Distressed EEEE Impaired EEEEE Overworked EEEE Breached EEEEE Overheated EEEE Compromised EEEEE Disabled EEEE Wrecked

vehicle essentials

ScalingVehicles can be labeled with scale identifiers, the same

ones discussed in Chapter Four—extra, super, and epic. This scale identifier not only measures the vehicle’s size in relation to a character, but also augments abilities and damage with its bonus when compared to vehicles with other scale identifiers. Sample vehicles and their corresponding general scale identifiers are listed at the end of this chapter.

Vehicle ScalingMotorcycles and Chariots Normal

Cars, Small Boat, Small Airplanes, Jet Fighters Extra

Jetliners, Naval Vessels, Space Shuttles, Space Fighters Super

Aircraft Carriers and Starships Epic

PurposeEvery vehicle has a single purpose that describes

how it can be used. Like character drives, this purpose cannot be changed during play, as it is the fundamental principle of design for the vehicle. Purpose has no direct mechanical use; it is intended as a descriptive element only. While rare, some vehicles can have two purposes, but only one can be the primary purpose; the speed and handling ratings for the second purpose are halved.

LandThis type of vehicle is designed to travel on stable

surfaces. Examples include chariots, motorcycles, automobiles, tractor-trailers, and hovertanks.

SeaSea-based vehicles traverse the oceans, rivers, and

lakes of a world. Examples include canoes, riverboats, galleons, naval destroyers, and aircraft carriers.

AirThese flying craft soar through the skies. Example

include zeppelins, biplanes, jet-fighters, passenger jets, and skyships.

SpaceThese vehicles are built to travel in space. Examples

include orbital satellites, starliners, asteroid miners, and starships.

AbilitiesAbilities describe the level of performance and

capability for various vehicle functions. Task can be made for vehicles using their abilities if no player or important non-player characters are directly involved in their use. When such a character is behind a vehicle’s controls, the relevant abilities for both the vehicle and character are compared; the lowest value is used as the ability rating for the task and referred to as the operating ability.

The fitness ability is typically used in tasks related to the direct operation of controls that maneuver a vehicle. Larger vehicles such as starships, however, rely on the reasoning ability, since they are mostly computer-controlled. Other functions may rely on other abilities. A driving, piloting, or control pursuit is most often used to operate a vehicle, hereafter referred to as an operating pursuit.

SpeedThe speed ability represents a vehicle’s acceleration

and maximum velocity. Maximum acceleration for a vehicle is a number of spaces equal to its speed rating. The top velocity is generally equal to twenty spaces, but may be modified by certain gimmicks. A speed rating of zero indicates that the vehicle must be moved by way of another force, such as being hitched to a truck or pulled by a beast of burden. When hitched, the towing vehicle’s speed is reduced by half of the towed vehicle’s frame rating. When pulled by an animal, the

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vehicle only moves as fast as the animal (the animal can only walk, unless other animals are also participating).

handlingThe handling ability represents the vehicle’s

maneuverability and responsiveness. It affects the operating character’s ability to perform stunts, establish formations, and evade some attacks.

Vehicle Speed and Handling Ratings0 Abysmal Performance

1 Poor Performance

2 to 3 Average Performance

4 to 5 Exceptional Performance

6 or more Unimaginable Performance

FrameThe frame ability represents the vehicle’s structural

design, efficiency, and general size.

Vehicle Frame Ratings0 Feeble or Exposed Frame

1 Weak Frame

2 to 3 Average Frame

4 to 5 Reinforced or Armored Frame

6 or more Unimaginable Frame

TechThe tech ability represents the vehicle’s level of

sophistication. It affects the complexities associated with repairs and grasping operation of the vehicle. Scale bonuses do not affect this ability.

Vehicle Tech Ratings0 Prehistoric Technology

1 Medieval Technology

2 Antiquated Technology

3 Twentieth Century Technology

4 Twenty-First Century Technology

5 Future Technology

6 or more Unimaginable Technology

GimmicksGimmicks can be used to better define a vehicle’s

systems, design oddities, or other aspects not covered by purposes, abilities, or weapons.

AmphibiousThe land-based vehicle is capable of travelling in

water, but its top speed and acceleration/deceleration are halved.

Vehicle Weapons

Vehicle weapons are either fixed to fire along a single bearing (forward, backward/aft, right/starboard, and left/port), two connected bearings via a cupola mount, or three connected bearings via a turret� Only targets within an appropriate bearing can be attacked using a given weapon� Unless otherwise noted, assume that a vehicle’s weapons are on turrets�

Cannons AMXThe earliest of artillery pieces, these weapons launch

projectiles over great distances� Powder cannons use gunpowder to not only launch balls, often explosive, but also shot that acts like shotgun blasts� Modern cannons launch explosive shells�

Machine Guns MXLike its smaller equivalent, this weapon fires high-powered

projectiles� It can be found in a variety of designs�

Rockets MXRockets are the most basic of short-ranged warheads,

utilizing high-speeds to reach their targets quickly at the expense of greater accuracy� A variety of rocket systems are available�

Missiles MXMissiles are best suited for longer ranges, equipped with

efficient tracking systems and powerful warheads. A variety of missile systems are available�

Torpedoes MXThese warheads are designed for combat actions that take

place below the water�

Laser Cannons XAs the most common armament in space, laser cannons

fire intense beams of energy. A variant known as laser streamers fire more refined beams that offer greater accuracy at the expense of variable effect�

Laser Batteries XThis large array fires a salvo of laser blasts that emanate

from a series of electronuclear detonations� Laser batteries offer solid destructive power at close ranges�

Particle Cannons XThis weapon fires a stream of magnetically-accelerated

micro-particles that can be devastating�

Ion Cannons XIon cannons are used to disrupt shielding and internal

systems through electrically-charged blasts� A variant known as the dampening cluster projects a scattered salvo of these blasts�

Vehicles 74

AtmosphericThe space-based vehicle is capable of travelling in a

planet's atmosphere, but its top speed and acceleration/deceleration are halved.

Cargo SpaceThe vehicle is designed to carry more cargo than

others of its type. The director should use his best judgment when determining whether or not the vehicle is encumbered.

DivingThe sea-based vehicle can submerge itself under water

for a number of hours equal to the square of its tech rating (x²).

Fast (x)The vehicle’s top speed is faster than its speed rating

indicates. The defined value is equal to five, and increased by five for each iteration of this gimmick. The defined value is added to the vehicle’s top speed.

FloatingThe air-based vehicle can only take off and land on

water. It can propel itself in water, but its top speed and acceleration/deceleration are halved. Attempts to touch down on dry land are considered impossible.

GlidingThe air-based vehicle can move through the air

without power, but cannot accelerate or decelerate. If the vehicle is not capable of acceleration on its own, it must be pushed off a cliff or towed until achieving optimum velocity.

Orbital BoostersThe air-based vehicle is capable of reaching and

maneuvering orbital altitudes, but its top speed and acceleration/deceleration are halved.

Overframed (x)The vehicle is considerably more massive than a

typical vehicle with the same frame rating. The defined value is equal to one, and increased by one for each iteration of this gimmick. All attempts to strike or target the vehicle receive a decrease in difficulty equal to the defined value. All of the vehicle’s weapons take advantage of larger mounting areas and power supplies inflicting an additional mark of damage equal to the defined value. Because of the larger frame, the vehicle’s structural damage threshold is increased by the defined value.

Poor Cover (x)The area around where characters reside in the

vehicle is less protective than the frame indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. The defined value is subtracted from the vehicle’s plating value when characters are targeted within the vehicle from the outside.

reinforced FrameThe vehicle’s frame is overlaid with an armored

coating and can only be damage by weapons mounted on vehicles of the same purpose and size.

SailsThe vehicle utilizes large sails to trap the wind,

propelling it forward. If there is no wind, the vehicle’s top speed is reduced to zero.

Self-OperatedThe vehicle is powered by the operator via pedals,

mechanical gears, or other mechanical means. The character receives one mark of absolute fatigue from driving the vehicle after each interval, which is a number of minutes equal to five times his fitness rating.

Self-SufficientThe vehicle is not only sealed from the outside,

preventing infections and toxins from breaching the structure, but can also generate enough power to function indefinitely.

Shields (x)The vehicle is equipped with an energy-based shielding

system that protects against both mechanical stress and structural damage. The defined value is equal to one, and increased by one for each iteration of this gimmick, up to a maximum of five. An abatement roll is made using the defined value as a protection value. Any damage that penetrates the shields is then treated normally and applied to the vehicle, typically requiring a further abatement roll using the vehicle’s reliability or plating values. If a shields abatement roll with an amount of mechanical stress greater than the shields value is made, the shields value is reduced by one; once it reaches zero, the shields are useless until the next open scene. Shields may fail to work in adverse conditions like ion and dust storms.

Slow (x)The vehicle’s top speed is slower than its speed

rating indicates. The defined value is equal to five, and

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GENRE diversion

increased by five for each iteration of this gimmick. The defined value is subtracted from the vehicle’s top speed.

SubmarinerThe vehicle is built to survive the watery deep, but its

top speed and acceleration/deceleration are halved.

UnderframedThe vehicle is considerably less massive than a typical

vehicle with the same frame rating. The defined value is equal to one, and increased by one for each iteration of this gimmick. All attempts to strike or target the vehicle receive an increase in difficulty equal to the defined value. All of the vehicle’s weapons must be miniaturized, so they inflict one less mark of damage equal to the defined value (for a minimum damage of one mark). Because of the larger frame, the vehicle’s structural damage threshold is decreased by the defined value.

Vertical SystemsThe air-based vehicle is designed to take off and land

in place, eliminating the need for a runway.

IntegrityIntegrity works just like health, and is used to track a

vehicle’s current structural condition and system-wide stress. As either of these elements worsen, a vehicle suffers difficulty in performing certain actions, until it is finally disabled or completely wrecked.

There are two basic forms of integrity, mechanical stress and structural damage. Mechanical stress represents fatigue and wear on the vehicle’s drive components and internal systems. Structural damage represents physical damage sustained by the vehicle. Mechanical stress is represented by the abbreviation mec, while structural damage is represented by the abbreviation str.

Vehicles possess a threshold value for each type of integrity, just like characters. The mechanical stress threshold is equal to the vehicle’s tech rating, while the structural damage threshold is equal to the vehicle’s frame rating. Each threshold defines how much punishment a vehicle can take before its mechanical stress or structural damage is increased.

Vehicles can be overwhelmed just like characters, representing a change in course; the director can opt for a handling task to maintain control or simply change

the heading of the vehicle. If changing the heading, roll a die and consult the table below.

Integrity Grades mechanical stress structural damage penalty

1 Engaged Dented None

2 Distressed Impaired +1diff

3 Overworked Breached +2diff

4 Overheated Compromised +3diff

5 Disabled Wrecked Cannot Move*

* +4diff for mechanical stress, but only by sacrificing 1str

Overwhelming Course Change roll disposition

1 60° Counterclockwise

2 45° Counterclockwise

3 30° Counterclockwise

4 30° Clockwise

5 45° Clockwise

6 60° Clockwise

When a vehicle has sustained five grades of mechanical stress, it can still function, but additional damage is applied as structural damage. Mechanical stress is automatically decreased by one line if the vehicle does not move or tax its systems for at least one hour. This gives the internal components time to cool.

When a vehicle has sustained five grades of structural damage, it cannot move or function beyond minimal systems like life support. If the vehicle receives additional structural damage, it is totally destroyed. Structural damage can only be decreased by performing repairs, but only if it has not passed beyond four grades of damage. The difficulty of performing these repairs is determined by both the degree of damage and the vehicle’s tech rating.

Vehicle Repair Difficulties grades of structural damage difficulty Less than 1 Trivial (8)

1 Routine (10)

2 Complex (12)

3 Challenging (14)

4 Improbable (16)

5 Impossible (18)

vehicle tech rating difficulty modifier 0 to 1 None

2 to 3 +1diff

4 to 5 +2diff

6 or more +3diff

Vehicles 76

Vehicles possess two protective values—reliability and plating. Reliability protects against mechanical stress and is equal to the vehicle’s tech rating. Plating protects against structural damage and is equal to the vehicle’s frame rating. As with forms of character protection, neither of these values can be greater than five.

The Effects of DamageWhen a vehicle sustains mechanical stress or structural

damage, a penalty is applied to certain tasks (see table above). The penalty caused by mechanical stress is applied to any task involving the speed ability, while the penalty caused by structural damage is applied to all speed and handling tasks.

When targeting characters within a vehicle from the outside, an abatement roll is first made using the vehicle’s plating value (and modified by the poor cover gimmick). Any mechanical stress or structural damage that penetrates is converted to injury and the total damage is divided equally among all characters present in the targeted area. Each mark resulting from mechanical stress or structural damage is changed to one line of injury; damage that is already injury remains unchanged. A further series of abatement rolls using the characters’ armor ratings are made.

Optional: Scaling DamageDamage must be scaled before being applied in the

following situations:•If the conflict occurs between two vehicles with

different purposes and scaling identifiers.•If the conflict occurs between vehicles and

characters.Subtract the relevant scaling bonus of the target from

the scaling bonus of the source of damage.

Scaling Bonusesscaling identifier scaling bonus

None 0

Extra +5

Super +10

Epic +15

Consult the table below with the result to determine the adjustment that must be made to damage values. Mechanical stress and structural damage are always converted to injury when being applied to characters. Injury is converted to structural damage when being applied to vehicles, but fatigue damage is ignored.

Damage Value resulting bonus damage adjustment -15 Reduce to 1 for every 8; zero if less than 8

-10 Reduce to 1 for every 4; zero if less than 4

-5 Reduce to 1 for every 2; zero if less than 2

0 No Change

+5 Increase to 2 for every 1 (×2)

+10 Increase to 4 for every 1 (×4)

+15 Increase to 8 for every 1 (×8)

For ExampleJosh fires his pistol at a car (extra sized). The car’s scaling bonus is deducted from 0 (since Josh has no scaling bonus), for a result of -5 (0 - 5 = -5)� This means that the damage from the pistol is reduced to 1 for every 2 marks. It normally inflicts 3inj, but this is reduced to 1inj (2 of it is reduced to 1, but the remaining 1 is not enough to be reduced, so it is ignored)� The injury is then converted to structural damage for a final result of 1str�

Common Sources of Vehicle DamageDebris

When jostled, cargo on vehicles may fall. This causes a potential hazard to both passengers and those operating another trailing vehicle. Passengers should receive one or two lines of fatigue when cargo falls on them, while objects that fall in the path of another vehicle are considered impediments (see below).

Electrical and Other StormsStorms can cause disruption to a vehicle’s circuitry or

jam gears. This has the effect of inflicting one or two lines of mechanical stress.

Falling from the SkyAir-based vehicles that lose control or are shot out of

the sky are likely to plummet to the ground. In such cases, a number of dice are rolled to determine the amount of damage (see table below).

Falling Damage resulting bonus structural damage and injury to passengers

Low Altitude 1 Die

Moderately High Altitude 2 Dice

Very High Altitude 3 Dice

Extremely High Altitude 4 Dice

ImpedimentsVehicles coming into contact with small impediments

like fallen cargo, rocks, and wooden posts suffer one line of mechanical stress. Larger objects may cause structural damage or greater mechanical stress.

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CollisionsWhen a vehicle collides with a large object, such as

a starship hitting an asteroid, the vehicle sustains an amount of structural damage based on the size of the object, from one to four lines. Characters in the vehicle may also receive half of this value as fatigue or injury at the director’s discretion.

Vehicle Tasks Outrunning Tasks

A contested task can be made to determine if a vehicle travels faster than other vehicles. This task relies on the operating speed ability and an operating pursuit. This method is a more simplistic way of handling vehicle movement. For a more advanced method of movement, keep reading.

Maneuver TasksThe basic maneuvering task focuses on the operating

handling rating and operating pursuit.

Untrained TasksIf a character is not trained in the specific vehicle, the

difficulty in operating can vary based on its tech rating. The director may choose to allow academic pursuits to be used without proper training by applying these modifiers as an option.

Vehicle Tech Modifiers0 -2diff

1 to 3 None

4 +2diff

5 +4diff

6 or more +6diff

Vehicle Conflict As with normal physical conflict, a sequential scene

involving vehicles is performed on a turn-by-turn basis. The same routine contested reaction task is made at the beginning of each turn, with the vehicle operators achieving greater overkill acting before those with less overkill. The most common situations for modifying a vehicle reaction task are described below.

EncumbranceA vehicle carrying an excessive amount of cargo

receives a penalty of +2diff to +4diff on the reaction task. The director can choose based on the degree of encumbrance.

Mechanical Stress and Structural DamageVehicles that have sustained mechanical stress or

structural damage receive the normal penalties on the reaction task.

OverwhelmedIf a vehicle was overwhelmed on the previous turn,

its reaction task for the current turn receives a penalty of +2diff.

SurprisedVehicle operators who are taken by surprise (flanked

by cover, shot at by opportunity fire, or surprised via exploit) on the previous turn receive a penalty of +4diff on the reaction task.

Obscured AreasIf the area through which a vehicle is travelling is

obscured by fog, rain, snow, or similar conditions, a penalty of +3diff is applied to the reaction task.

Vehicle MovementAll distances are measured in spaces, although they

do not necessarily represent the normal distance of six feet. While spaces for default and extra-scale vehicles can maintain the normal distance of six feet in order to integrate their use with characters, super and epic scales do not. These larger scales should implement spaces as inches or hex-sizes for using miniatures, but exact real-world measurements should be avoided in order to keep the action flowing smoothly, less encumbered by very large, quantifiable distances.

Vehicle movement is always performed before all other actions during a turn. Vehicles can both accelerate/decelerate and maneuver during the same turn.

Standard Acceleration/DecelerationAcceleration = Speed Rating

Deceleration = 2× Speed Rating

A vehicle can travel up to a number of spaces each turn equal to its current speed, which must be tracked. While its speed begins at zero when at rest, the vehicle can accelerate each turn at a rate equal to its speed rating. Likewise, the vehicle can slow its velocity by deceleration at a rate equal to double its speed rating. The vehicle’s velocity can never be raised above its maximum speed or below zero.

Sharp Acceleration/DecelerationA vehicle can be pushed beyond its limits to accelerate

or decelerate more quickly. This is very taxing on the

Vehicles 78

vehicle and inflicts one line of absolute mechanical stress when performed. The result of this activity is that a single die can be rolled and added to the acceleration or deceleration for the turn. The vehicle’s velocity can never be raised above its maximum speed or below zero.

Standard Course ChangeA vehicle can change its heading (also called turning)

up to an angle of 45° without the need to perform a task.

hard Course ChangeChanging a vehicle’s heading by more than 45° and

no greater than 110° requires a maneuvering task. The difficulty is determined by the vehicle’s current speed.

Current SpeedUp to ¼ Top Speed Routine

¼+ to ½ Top Speed Complex

½+ to ¾ Top Speed Challenging

¾+ to Top Speed Improbable

Avoiding ObstaclesA handling task is required to avoid obstacles. The

difficulty is determined by the size of the obstacle and impacted by the vehicle’s current speed.

ObstaclesSmall Obstacle like a Bird, Dog, or Debris Routine

Medium Obstacle like a Person, Dolphin, or Shuttle Complex

Large Obstacle like a Boulder, Vehicle, or Asteroid Challenging

Huge Obstacle like a Wall, Space Station, or Planet Improbable

½ to ¾ Top Speed +2diff

¾+ to Top Speed +4diff

Travelling in reverseA vehicle can travel backwards, but only up to half

of its maximum speed. All speed and handling-related tasks also receive a penalty of +2diff.

The Effects of Stress and Damage on MovementWhen a vehicle is damage, its movement becomes

restricted. The limitations vary, depending on how bad it is.

•Whenavehiclesuffersfromtwogradesofmechanicalstress or structural damage, its maximum speed is reduced by two spaces.

•When a vehicle has sustained three grades ofmechanical stress or structural damage, its maximum speed is reduced by half.

•When a vehicle is afflicted with four grades ofmechanical stress or structural damage, its maximum speed is quartered.

•Whenavehiclehassustainedfivegradesofstructuraldamage (but not mechanical stress), it is out of action and cannot move.

Vehicle TerrainVehicles use the same terrain and obstacles rules as

for characters. They are repeated here verbosely for reference.

Open TerrainOpen terrain does not affect a vehicle’s movement

capability.

rough TerrainOne space through rough terrain counts as two spaces

of movement.

hazardous TerrainOne space through hazardous terrain counts as three

spaces of movement.

Impassable TerrainImpassable terrain cannot be traversed; vehicles must

go around it or travel in a different direction.

ranged Vehicle CombatBase Difficulty = Determined By Range

Ranged attacks made with vehicle-based weaponry are handled the same way as for personal weapons. Range is the determining factor for difficulty. A distance of one or two spaces is always considered point blank range, but other distances make up short, medium, and long ranges, depending on the weapon.

AimingA gunner can spend a full turn aiming his weapon

at a target just like the personal combat rules. Vehicle operators, however, do not have this luxury, since they must keep the vehicle under control.

Indirect AttacksRanged attacks can be launched indirectly at a target

with some vehicle weapons. See the personal combat rules for more information.

Close Vehicle CombatBase Difficulty = 8 + Target’s Handling + Pursuit Bonus/Penalty

In addition to firing weapons at the enemy, vehicles can also ram them directly. The difficulty for this attack is equal to 8 plus the target’s operating handling

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GENRE diversion

ability rating and operating pursuit bonus/penalty. The attacking vehicle inflicts an amount of structural damage equal to its frame rating. It sustains an amount of structural damage equal to half of the target’s frame rating. Characters in each vehicle receive half of this damage as either fatigue or injury (at the director’s discretion).

Defensive ManeuversBase Difficulty = 8 + Target’s Handling + (2 × Pursuit Bonus/Penalty)

Vehicles can perform active maneuvers during an entire turn. The operator cannot perform any attacks when doing this, but all attacks made against the vehicle have a difficulty of 8 plus the target’s operating handling rating and double his operating pursuit bonus. A vehicle can defend against all close vehicle attacks directed at it within a single turn without restriction, provided it does not become overwhelmed and is not stopped.

If a close vehicle attack that is defended in this manner results in a potential calamity, the defending vehicle can immediately perform its own close vehicle task against the attacker.

Character ActionsWhile the operator of a vehicle should be severely

limited in the type of actions he can perform, the passengers can perform a wide range of actions given the current conditions.

Impacting Vehicle Combat TasksThe following situations modify the difficulty of

certain attacks. The director is free to add his own impacts as needed by environmental, physical, or operator conditions.

Poor LightingIf an attack is made in partial lighting conditions, the

difficulty is modified by +2diff. The director is free to increase this difficulty further for even darker situations. While total darkness makes ranged attacks completely unthinkable, a modifier of +5diff can be applied to nudging and ramming attacks in such conditions.

hitting Smaller or Larger TargetsExtremely small, short, or thin targets modify the

difficulty of a ranged attack by +4diff, since they are much harder to hit. Only slightly smaller than normal targets modify the difficulty by +2diff. Conversely, larger than normal targets modify the difficulty by -2diff and very large targets modify it by -4diff. If size

Random Vehicle CalamitiesThe following random table can be used to quickly

determine the effects of a vehicle maneuver turned calamity�

General Movement and Maneuvers roll effect 1 The vehicle veers off into a random direction. 2 The vehicle goes out of control momentarily, reducing its speed by half. 3 The vehicle loses its cargo. 4 The vehicle’s internal systems are strained by the maneuver, causing it to receive 1 mark of absolute mechanical stress. 5 The character grazes an obstruction (or other vehicle), causing

it to receive 1 mark of absolute structural damage. 6 The vehicle collides with another vehicle; damage is applied normally.

Ranged Combat roll effect 1 The weapon is out of ammunition or power and must be

reloaded or recharged, respectively. 2 The weapon jams or targeting system crashes, becoming useless until it can be corrected with a reasoning-based task on a subsequent turn, using a pursuit that corresponds to the weapon or system. 3 The weapon causes an internal explosion, inflicting the vehicle

with 1 mark of absolute structural damage and each crew-member with a number of marks of injury equal to the roll of one die.

4 The attack accidentally hits an inconsequential animal, building, station, or other structure; damage is applied normally. 5 The attack accidentally hits an allied target; damage is applied

normally. 6 The attack is deflected, accidentally hitting the vehicle; damage is applied normally.

Random Obstructions and AnnoyancesThe following table can be used when a vehicle happens

upon an impediment as a result of a calamity�

Obstructions and Annoyances roll ground air 1 Wooden Sign Post Turbulence 2 Wooden or Metal Pole Flock of Birds 3 Concrete or Wooden Barrier Dirigible or Aerial Sensor 4 Metal Barrels or Wooden Crates Dark Clouds 5 Hail Storm Electrical Storm 6 Animal Herd or Stampede High Winds roll sea space 1 Buoy or Sonar Drone Rogue Asteroids or Rocks 2 Whales or Other Large Animals Drifting Debris 3 Drifting Debris Rogue Satellite or Vessel 4 High Waves Shock Wave 5 Whirlpool Ion Storm 6 Coral Reef (Shallow Water) Gravity Well

Vehicles 80

scaling is used, the difficulty may be further modified as per the rules in Chapter Four.

hitting Moving TargetsRanged attacks against targets that have moved

between ten and twenty spaces receive a penalty of +2diff. Those that move faster than twenty spaces cause a penalty of +4diff.

Mechanical StressVehicles that have sustained enough grades of

mechanical stress receive a penalty on all speed-related tasks. If the vehicle sustains five grades of mechanical stress, it can still move, but receives one line of absolute structural damage each turn that it does. See Integrity: The Effects of Damage earlier in this chapter.

Structural DamageVehicles that have sustained enough grades of

structural damage receive a penalty on all tasks.

FatigueIf the operator of the vehicle has gained enough grades

of fatigue, a penalty is applied to all tasks only on the first turn of a sequential scene. After that, adrenaline counters this affliction.

InjuredIf the operator of the vehicle has suffered enough

grades of injury, a penalty is applied to all tasks.

Unstable Surfaces or SpaceWhen a vehicle travels on unstable ground or

structures, the difficulty can be increased at the director’s discretion. Modifiers of +1diff to +3diff are most common.

Confined AreasAll handling-related tasks attempted in confined areas

like narrow streets, caverns, and asteroid fields receive a penalty of +1diff to +3diff based on the director’s discretion.

Adverse ConditionsSituations like high winds, shockwaves, and turbulence

can cause a penalty of +1diff to +3diff, depending on the severity.

Fringe DomainsAll actions attempted while coming into contact

with the outer edges of a vehicle’s domain, such as a planet’s atmosphere by starships or shallow waters by sea vessels, receive a penalty of +2diff.

OverwhelmedWhen a vehicle is overwhelmed by an attack, it

cannot perform any actions during the current turn. A modifier of +2diff is applied to all of its tasks during the following turn.

Optional: Vehicle Weapon GimmicksProceed to Optional: Vehicle Exploits if you are not going to use Vehicle Weapon Gimmicks.

These vehicle weapon gimmicks modify and amend those already presented for personal weapons.

Accuracy (±x)The vehicle weapon modifies the difficulty of the

attack task by its defined value. For example, a weapon with accuracy (+3) alters the difficulty by +3diff, while one with accuracy (-1) decreases the difficulty by one. Unlike personal weapons, vehicle weapons cannot be braced to negate the detrimental effects of this gimmick, but they can be steadied with computerized targeting assistance (most twenty-first century vehicles should be equipped with this).

rate (x)Most vehicle weapons can only fire once per turn.

Those with the rate gimmick can be fired more than once each turn. The weapon’s maximum number of shots per turn is equal to its defined value. Unlike personal weapons, vehicle weapons do not impose a penalty for multiple shots.

Spread (x)The vehicle weapon fires fragments that fan out

when launched, such as an array of rockets. Rather than using the weapon’s damage value, roll a number of dice equal to the defined value to determine the amount of damage inflicted.

OverloadThe vehicle weapon is not affected by shielding

systems, ignoring their effects completely.

OverchargeThe vehicle weapon can be charged beyond optimum

power in order to increase damage by one mark for a single shot. This can only be done once per turn regardless of the number of weapons on a vehicle that possess this gimmick. Each time a weapon is overcharged, the vehicle receives one mark of absolute mechanical stress.

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Optional: Vehicle ExploitsProceed to the Vehicle Weapons table if you are not going to use Exploits.

Only one exploit can be performed per attack or task.

Accidental repairThe close vehicle combat attack nudges a damaged

component into position, decreasing structural damage by a number of marks equal to the roll of one die.

reverseThe task to make a hard course change is so successful

that the vehicle turns a full 180°.

Vital hitThe attack strikes a weak part of the target vehicle,

inflicting an extra number of marks of damage equal to the operating pursuit bonus.

Shield OverloadThe attack strikes a vehicle’s shielding system at just

the right spot and angle, causing it to overload. The target vehicle’s shields cannot be used for the remainder of the scene.

Minimizing hitThe attack strikes a reinforced part of the target

vehicle, inflicting a fewer number of marks of damage equal to the operating pursuit bonus.

weak hit The ramming attack inflicts no damage, but the

target vehicle becomes overwhelmed and must change course.

Find VulnerabilityThe operator/gunner notices a weakness in the target

vehicle’s frame. The target’s plating value is reduced by half when making abatement rolls that result from an attack by the vehicle’s operator/gunner.

Precision hitThe attack strikes a specific area on the target, such as

the engine/generator, weapon mount, or control surface. The location has the potential to affect damage and pose other threats to the target. The director is free to improvise, devising new effects and locations.

•Control Surface: The vehicle’s ability to maneuver is severely hampered, causing a penalty of +4diff on all handling tasks.

•Engine/Locomotive System: The vehicle’s ability to accelerate/decelerate is halved and all speed tasks receive a penalty of +4diff.

•Weapons Mount: A targeted weapon on the vehicle is destroyed.

•Cargo: Some or all of the cargo on board the vehicle is destroyed.

•Crew/Passengers: The damage is applied to the characters on the vehicle rather than the vehicle itself.

Vehicle Weapons weapons damage short range medium range long range traits era

Powder Cannon (Round Shot) 2str 3–4 5–7 8–10 Accuracy (+2), Indirect A

Powder Cannon (Scatter Shot) *inj 3–4 5–6 7–10 Accuracy (+2), Radius (1), Spread A

Cannon 3str 3–8 9–17 18–25 Accuracy (+2), Indirect M

Machine Gun 1str 3–5 6–9 10–18 Accuracy (-1) M

Rocket Launcher (Small) 2str 3–7 8–12 13–18 Accuracy (+1), Rate (2) M

Rocket Launcher (Large) 5str 3–10 11–19 20–30 Accuracy (+1), Radius (1) M

Rocket Cluster *str 3–6 7–12 13–16 Accuracy (+1), Spread (1), Overload MX

Missile Launcher (Quick-Fire) 4str 3–12 13–20 21–40 Rate (3) M

Missile Launcher (Autonomous) 5str 3–15 16–35 36–50 M

Missile Launcher (Cruise) 6str 3–20 21–50 51–100 Radius (1) M

Missile Launcher (Bursting) *mec 3–15 16–20 21–30 Spread (1) X

Torpedo Tube 4str 3–4 5–8 9–15 Radius (1) M

Laser Streamer *str 3–4 5–6 7–8 Accuracy (-2), Spread (1), Overcharge X

Laser Cannon 2str 3–4 5–7 8–10 Overcharge X

Laser Cannon (Pair) 3str 3–4 5–7 8–10 Accuracy (-1), Overcharge X

Laser Cannon (Trio) 4str 3–4 5–7 8–10 Accuracy (-2), Overcharge X

Laser Battery 6str 3–4 5 6 Accuracy (-3), Overload, Overcharge X

Particle Cannon 5str 3–6 7–10 11–15 Accuracy (+2), Overcharge X

Ion Cannon 4mec 3–7 8–10 11–12 X

Fusion Missile Launcher 8str 3–9 10–14 15–20 Radius (1) X

Rocket Battery *str 3–5 6–8 9–10 Spread (1), Overload X

Dampening Cluster *mec 3–4 5–6 7 Spread (2) X

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Sample Vehiclesland vehicles scale speed handling frame tech gimmicks weapons era

Wagon — 0 1 1 1 Poor Cover (1) f

Motorcycle — 3 4 1 2 Poor Cover (1) M

Standard Car Extra 3 3 2 3 M

Sports Car Extra 3 3 2 3 Fast (1) M

Luxury Car Extra 3 3 2 3 Slow (1) M

Limousine Extra 3 2 3 3 Fast (1) M

Truck Extra 2 2 4 3 Cargo Space M

Tank Extra 3 2 5 3 Reinforced Frame Cannon, Machine Gun M

Hovercar Extra 5 4 4 4 Poor Cover (3) X

Hovertank Extra 4 3 5 3 Reinforced Frame Laser Cannon, Rocket Cluster X

air vehicles scale speed handling frame tech gimmicks weapons era

Helicopter Extra 2 3 1 3 Vertical Systems M

Attack Helicopter Extra 3 3 2 3 Vertical Systems, 2 Small Rocket Launchers (Forward), M

Reinforced Frame Machine Gun (Turret)

Small Plane Extra 3 3 1 3 Gliding M

Private Jet Extra 4 4 1 3 M

Fighter Jet Extra 5 5 2 3 Missile Launcher (Quick-Fire), Machine Gun, M

Missile Launcher (Autonomous) (all Forward)

Airliner Super 4 4 1 3 Cargo Space M

sea vehicles scale speed handling frame tech gimmicks weapons era

Raft — 0 1 1 0 Poor Cover (1) f

Brigantine Super 2 2 3 2 Poor Cover (2), Sailing 10 Powder Cannons (5 port, 5 starboard) A

Galleon Super 1 1 4 2 Poor Cover (2), Sailing 20 Powder Cannons (10 port, 10 starboard) A

Motor Boat — 3 3 1 2 Poor Cover (1), M

Self-Operated

Sail Boat Extra 2 2 1 3 Poor Cover (1), Sailing M

Speed Boat — 4 2 2 3 Poor Cover (1) M

Patrol Cutter Extra 4 3 3 3 Poor Cover (1) M

Yacht Super 2 2 3 3 M

Destroyer Super 4 2 4 3 Reinforced Frame 2 Missile Launchers (Cruise), M

4 Machine Guns

Attack Submarine Super 2 2 3 3 Submariner, 4 Torpedo Tubes M

Self-Sufficient

Aircraft Carrier Epic 4 1 5 3 Reinforced Frame, 2 Missile Launchers (Quick-Fire), M

Self-Sufficient 2 2 Missile Launchers (Autonomous), 4 Machine Guns

space vehicles scale speed handling frame tech gimmicks weapons era

Launch Extra 2 2 1 5 X

Shuttle Extra 2 2 2 4 Atmospheric X

Freighter Super 1 2 2 5 Cargo Space 2 Laser Cannons X

Explorer Super 4 2 2 5 Shields (1) 2 Laser Cannons (Pairs) X

Star-Fighter Extra 5 4 1 5 Atmospheric, Shields (2) 2 Laser Cannons (forward) X

Corvette Super 3 2 3 5 Shields (3) 4 Particle Cannons, Fusion Missile Launcher X

Star-Cruiser Epic 1 2 4 5 Self-Sufficient, 4 Laser Batteries (cupolas, each facing a corner) X Shields (4) 1 Rocket Battery (forward), Fusion Missile Launcher

Starbase Epic 0 1 5 5 Self-Sufficient, 8 Laser Batteries, 4 Rocket Batteries, X

Shields (5) 4 Fusion Missile Launchers

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Bestiary

Chapter seven

Bestiary 84

Monsters are essentially characters utilized as hazards, threats, and even villains for the heroes of a story. They possess abilities, pursuits, gimmicks, and health just like regular characters, and some may even be augmented by scale identifiers (see Chapter Four). Monsters are not created like characters, however, since they do not develop over time and are not typically integral to the story.

monster essentials

ScaleScale identifiers of extra (+5), super (+10), or epic

(+15) can be applied to a monster’s damage and size compared to other characters, monsters, and even vehicles. Abilities are not affected, since they are already scaled numerically. When attempting to hit a monster of a different scale, subtract its scale bonus from that of the attacker and consult the table below.

Difficulty Adjustment: Attacker’s Scale - Target’s Scale resulting bonus difficulty modifier -15 -16diff

-10 -8diff

-5 -4diff

0 0

+5 +4diff

+10 +8diff

+15 +16diff

When a monster hits a target (typically in close combat), subtract the target’s scale bonus from that of the monster and consult the table below. If striking a monster, reverse the math—subtract the monster’s scale bonus from that of the attacker. The actual amount of damage that would normally be inflicted on an opponent is modified. In other words, not only is the base damage altered, but also any damage resulting from natural weapons.

Damage Value: Attacker’s Scale - Target’s Scale resulting bonus damage adjustment -15 Reduce to 1 for every 8; zero if less than 8

-10 Reduce to 1 for every 4; zero if less than 4

-5 Reduce to 1 for every 2; zero if less than 2

0 No Change

+5 Increase to 2 for every 1 (×2)

+10 Increase to 4 for every 1 (×4)

+15 Increase to 8 for every 1 (×8)

AbilitiesThe abilities assigned to monsters are exactly the same

as those used by regular characters. Some monsters, however, possesses one or more abilities rated at zero to reflect their lack of potential in what is usually considered sentient behavior. In order to allow for a more random mix of monsters, a series of letters are assigned to the sample monsters provided at the end of this chapter. Roll two dice and consult the appropriate column (for the specified letter) on the table below to determine the ability rating randomly. For a quicker method, simply use the average ratings provided in parentheses for each of the monster’s abilities. If no letter is given, the rating is considered to be zero.

Random Ability roll a b c d e f

2 1 1 2 3 4 5

3 1 1 2 3 4 5

4 1 1 3 4 5 6

5 1 2 3 4 5 6

6 1 2 4 4 5 6

7 2 2 4 5 6 7

8 2 3 4 5 6 7

9 2 3 5 5 6 8

10 2 4 5 6 7 8

11 3 4 5 6 7 9

12 3 5 6 7 8 10

PursuitsMonsters possess pursuits no differently from regular

characters. Because most are not sentient, however, they should not be permitted to attempt certain tasks. For instance, a bear cannot operate a computer.

GimmicksIn addition to using gimmicks for characters, a

selection of new ones are also provided below.

healthMonsters track health just like regular characters,

although some gimmicks may affect the way health is used. As a general rule, monsters of the same scale as the characters that are treated as cannon fodder or henchmen should have threshold ratings of one (1). This makes the player characters more heroic, allowing them to dispatch threats more quickly, since it only requires five marks of injury to incapacitate these monsters. Individual monsters and those of larger scales should possess their normal threshold ratings, however.

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List of Monster GimmicksCamouflage f

The character blends into his surroundings. When hiding, all tasks made to spot him receive a penalty of +4diff and the character receives a bonus of -2diff on all stealth tasks when not solely relying on moving quietly.

Dead Stare f

The character’s stare is both mesmerizing and terrifying. Anyone happening to look at the character’s eyes must immediately make a contested composure task using the influence ability. The victim becomes immune to this effect after beating the character at the task at least twice.

Fire-Breathing f

The character can expel fiery gases from its lungs, inflicting normal fire damage (typically one die roll’s worth of injury). Each use of this gimmick causes the character to gain one mark of absolute fatigue.

Flight f

The character is capable of flying through the air unaided by technology, typically due to wings or other natural source. The character can fly normally up to a number of spaces each turn equal to one plus his fitness rating. During rushed flight, a character can move up to a number of spaces equal to twice his fitness rating plus the roll of one die (a penalty of +2diff is also applied to all tasks when moving this fast). As with running, evasion is possible when performing rushed flight. If immediately following a turn of rushed flight or gliding, the character can glide up to a number of spaces each turn equal to the roll of one die.

hardened f

The character does not feel stress in the traditional sense, and can ignore all penalties due to fatigue.

Impervious (v) f

The character cannot be harmed by a particular substance, as specified by the defined value. Any attacks made against the character with this substance inflict an equal amount of fatigue instead of injury.

Incorporeal f

The character’s physical form is either an illusion or barely accessible in normal space. As a result, it can only receive damage through energy-based weapons and sources.

Jumping (x) f

The character can jump considerably farther than his fitness rating indicates. The defined value is equal to one, and increased by one for each iteration of this gimmick. An extra die equal to the defined value is rolled and its result added to the distance traveled each time the character jumps.

Mechanical f

The character is not alive, rather an artificial life-form. As a result, he does not gain fatigue, cannot become unconscious, ignores all penalties due to injury, and always succeeds at composure tasks.

natural Protection (v) f

The character possesses a natural form of protection, increasing his padding or armor values as specified by the defined value (see below; no protective value can be raised above five).

•Fur: The character’s thick fur increases his padding rating by one.

•Scales: The character’s reptile-like scales increases his armor rating by one.

•Hide: The character’s tough hide increases his padding and armor ratings by two.

•Shell: The character’s chitinous shell increases his padding and armor ratings by two. When the grapple exploit is utilized, the difficulty of the target’s task to escape receives a bonus of -2diff.

natural weapon (v) f

The character possesses a natural armament, increasing the amount of damage inflicted as specified by the defined value (see below). The damage can be adjusted by the director for a specific character based on the nature of the weapon.

•Beak: The character can bite an opponent in close combat using his sharp beak, typically inflicting +0inj.

•Carnivorous Teeth: The character can perform a biting attack in close combat, using his powerful jaws and sharp teeth. This typically inflicts +1inj.

•Claws: The character can use his claws in lieu of a weapon in close combat, typically inflicting +1inj.

•Constriction: The character can wrap his body around an opponent. Doing so requires a normal brawling task with a penalty of +3diff. A success is handled in the same manner as the grapple exploit, except that +1fat in inflicted each turn.

Bestiary 86

•Energy: The character can drain the life out of an opponent merely by touching him. This typically inflicts +1fat or +1inj, and can only be abated by immunity.

•Fangs: The character can perform a biting attack in close combat, using his sharp fangs. This typically inflicts +0inj, and may also inject the victim with venom (see the venomous gimmick).

•Horns: The character can use his horn(s) in close combat, typically inflicting +1inj (+2inj when charging). Characters that stand erect receive a penalty of +2diff to utilize the horns in combat due to their placement.

•Sting: The character can attack an opponent in close combat using his stinger. This typically inflicts +0inj, but injects the victim with venom (see the venomous gimmick).

•Tail: The character can whip its tail in the direction of an opponent, using it in close combat to inflict +2fat.

•Talons: The character can use his talons in lieu of a weapon in close combat, typically inflicting +1inj. When the grapple exploit is utilized, the difficulty of the target’s task to escape receives a penalty of +2diff.

•Tusks: The character can use his tusks in close combat, typically inflicting +2inj.

night Vision f

By utilizing even the tiniest of light sources, the character can see in the dark without penalty.

regeneration (x) f

The character’s injury is reduced by a number of marks equal to the roll of one die every ten turns (sequential scenes) or a number of lines equal to the roll of one die each scene (open scenes).

repulsion (v) f

The character is repulsed by a particular object, as specified by the defined value. Whether this is out of fear or disgust, the character must make a challenging influence-based composure task. A success means that he overcomes the repulsion and can act normally, while a failure indicates that the character must run away from the object.

Tolerance to Pain f

The character does not feel pain in the traditional sense, and can ignore all penalties due to injury.

Undead f

The character is not alive in the traditional sense, whether animated by powerful magic or moving about by sheer will. As a result, he does not gain fatigue, nor can he become unconscious.

Venomous (x) f

The character’s body produces toxins that can be injected into an opponent either by a sting or bite that results in the victim receiving at least one mark of injury. The nature of the venom is specified by the defined value as a degree of severity.

•1: The venom inflicts a number of marks of fatigue equal to half the roll of one die.

•2: The venom inflicts a number of marks of fatigue equal to the roll of one die.

•3: The venom inflicts a number of marks of fatigue equal to half the roll of one die every hour for one day.

•4: The venom inflicts a number of marks of injury equal to half the roll of one die every hour for one day.

•5: The venom inflicts a number of marks of injury equal to the roll of one die every hour for one day.

•6: The venom inflicts a number of marks of injury equal to the roll of one die every hour until the victim dies.

Vulnerability (v) f

The character is allergic or susceptible to a particular substance, as specified by the defined value. The character receives one mark of absolute fatigue each turn he is within one space of the substance; one line of fatigue is sustained each turn he is in direct physical contact with it. Any attack performed with the substance against the character inflicts double the normal amount of damage.

water-Breathing f

The character’s respiratory system can filter oxygen from water, allowing him to breathe underwater as well as above it.

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Monsters, Animals, and ThreatsBear

All types of bears pose a serious threat to those in the wild. Brown, grizzly, and polar bears are the most dangerous, while black bears are much smaller yet still a potential hazard. Bears typically attack out of fear, to protect their young, or when hungry.

Fitness Awareness Creativity reasoning Influence D (5) B (2) 0 0 0

Scale: Normal or ExtraPursuits: Athletics (+2), Brawling (+3), Tracking (+3)Gimmicks: Natural Protection (Fur), Acute Smell (3)

Natural Weapon (Claws: +2inj; Carnivorous Teeth: +1inj)

Blood PuddleThis gelatinous pool of black is believed to consist of

the dried blood of its victims. Blood puddles are found in cold, dark, and damp dungeons. While they usually just creep about the ground, they can also climb walls.

Fitness Awareness Creativity reasoning Influence B (2) B (2) B (2) A (2) B (2)

Scale: NormalPursuits: Athletics (+1)Gimmicks: Natural Weapon (Energy: 2inj), Vulnerability (Fire),

Repulsion (Light, Heat), Hardened, Regeneration (4)

Cave DrakeRelated to dragons, but much smaller and lacking the

intelligence, cave drakes are predatory serpents of the highest order. They also lack wings and fiery breath, but use their powerful legs to jump great distances and primal instincts to tackle even the largest of prey. Cave drakes prefer to nest in caverns near hot springs and volcanic vents, and have been known to migrate frequently.

Fitness Awareness Creativity reasoning Influence D (5) D (5) 0 0 0

Scale: ExtraPursuits: Athletics (+2), Brawling (+3), Stealth (+2), Tracking (+2)Gimmicks: Natural Protection (Scales), Natural Weapon (Tail: +2fat;

Carnivorous Teeth: +2inj; Talons: +2inj), Jumping (2)

ChimaeraThis fire-breathing monstrosity makes even the

mightiest of warriors tremble in its presence. The chimaera has the head and upper body of a massive lion equipped with powerful teeth and claws, while its hind legs and quarters resemble that of a goat. A living serpent for a tail rounds out the abomination.

Fitness Awareness Creativity reasoning Influence D (5) C (4) 0 0 0

Scale: ExtraPursuits: Athletics (+2), Brawling (+3), Stealth (+2), Tracking (+2)Gimmicks: Natural Protection (Fur), Acute Smell (1), Night Vision,

Jumping (2), Venomous (6; via tail only), Fire-Breathing, Natural Weapon (Carnivorous Teeth: +2inj; Claws: +1inj)

Completing Monsters

The following entries illustrate how a completed monster should appear� The base damage element describes close combat damage inflicted against normal, extra, super, and epic-scaled targets� The damage adjustment component lists the modifiers to damage sustained by the monster when inflicted by attackers of the various scales. Bear in mind that the odds of hitting the monster in combat are also affected by its scale� normal|extra|super|epic

Kirkar the Dragon F

Fitness Awareness Creativity Reasoning Influence 6 5 2 6 5scale: SuperPursuits: Athletics (+2), Brawling (+2), Intimidation (+2),

Composure (+2)Gimmicks: Natural Protection (Scales), Fire-Breathing, Flight,

Natural Weapon (Tail: +2fat; Carnivorous Teeth: +1inj; Talons: +1inj)

Base damage: 8|4|2|1 fat damage Adjustment: ¼|½|0|²⁄¹Fatigue InjuryPadding: 1 Armor: 2

Dazed Bruised Stressed Sprained Strained Wounded Exhausted Maimed Unconscious Incapacitated

Orc Archer (Cannon Fodder) F

Fitness Awareness Creativity Reasoning Influence 4 4 2 4 2scale: NormalPursuits: Archery (+2), Athletics (+1), Brawling (+2), Melee (+1),

Intimidation (+1), Survival (+2), Composure (+2)Gimmicks: Oversized (1), Night Vision,

Natural Weapon (Carnivorous Teeth: +0inj)Base damage: 2|1|0|0 fat damage Adjustment: 0|²⁄¹|4⁄¹|8 ⁄¹Fatigue InjuryPadding: 1 Armor: 1

Dazed Bruised Stressed Sprained Strained Wounded Exhausted Maimed Unconscious Incapacitated

Scorpion Worm F

Fitness Awareness Creativity Reasoning Influence 3 5 0 0 0scale: ExtraPursuits: NoneGimmicks: Venomous (6), Regeneration (1),

Natural Weapon (Sting: +2inj)Base damage: 2|1|0|0 fat damage Adjustment: ½|0|²⁄¹|4⁄¹Fatigue InjuryPadding: 0 Armor: 0

Dazed Bruised Stressed Sprained Strained Wounded Exhausted Maimed Unconscious Incapacitated

Bestiary 88

DragonAs masters of the serpent kingdoms, dragons are

intelligent and majestic flying creatures. They are gentle by nature, but their love of treasure is often the cause for conflict with humanoid settlements. Dragons nest in cavernous lairs, typically proving deadly to the unwary treasure hunter.

Fitness Awareness Creativity reasoning Influence E (6) D (5) A (2) D (5) C (4)

Scale: SuperPursuits: Athletics (+2), Brawling (+2), Intimidation (+2),

Composure (+2)Gimmicks: Natural Protection (Scales), Fire-Breathing, Flight,

Natural Weapon (Tail: +2fat; Carnivorous Teeth: +1inj; Talons: +1inj)

Giant SerpentIncluding sand, sea, and flying serpents, these creatures

are plentiful and always in search of their next meals. The habitats in which they reside are just as varied as their appearances.

Fitness Awareness Creativity reasoning Influence D (5) B (2) 0 0 0

Scale: Extra or SuperPursuits: Athletics (+1), Brawling (+2), Stealth (+3)Gimmicks: Natural Protection (Scales), Venomous (4) or Flying,

Natural Weapon (Fangs: +0inj; Constriction: +1fat)

Giant SeahorseThis attractive creature serves as both a mount and

beast of burden to the aquatic races who train them. Its prehensile tail can be used to drag objects or constrict prey in battle.

Fitness Awareness Creativity reasoning Influence C (4) C (4) A (2) 0 0

Scale: ExtraPursuits: Athletics (+3), Brawling (+1), Composure (+2)Gimmicks: Natural Protection (Scales), Water-Breathing, Camouflage,

Natural Weapon (Constriction: +1fat; Carnivorous Teeth: +0inj)

hell houndVicious and powerful, these ghoulish hounds are

common among the dark lands. While some believe them to be demonic creatures, most are convinced of their earthly origins. Hell hounds lurk in the dark woods that usually surround isolated settlements and cities with domesticated animals, which are their primary sources of nourishment.

Fitness Awareness Creativity reasoning Influence D (5) D (5) 0 0 0

Scale: NormalPursuits: Athletics (+3), Brawling (+3), Stealth (+1)Gimmicks: Natural Weapon (Carnivorous Teeth: +1inj; Claws: +1inj),

Natural Protection (Fur), Night Vision

hill GiantThought to be related to trolls, these humongous

beings are especially violent, foul-tempered, and malicious towards weaker species. They also delight in spreading panic throughout neighboring humanoid settlements.

Fitness Awareness Creativity reasoning Influence D (5) B (2) B (2) A (2) B (2)

Scale: SuperPursuits: as per normal charactersGimmicks: Fearsome (2)

hobgoblinResembling miniature orcs, these ugly, green creatures

use baboon-like tactics to terrorize travelers and small villages.

Fitness Awareness Creativity reasoning Influence B (2) B (2) A (2) A (2) A (2)

Scale: NormalPursuits: as per normal characters, typically Athletics, Brawling,

Melee, and Riding of varying competenciesGimmicks: Undersized (1), Night Vision, Fearsome (2),

Natural Weapon (Carnivorous Teeth: +1inj)

horseAs the most common form of mount and beast of

burden, horses are extremely plentiful in most settings. Fitness Awareness Creativity reasoning Influence C (4) B (2) 0 0 0

Scale: ExtraPursuits: Athletics (+2)Gimmicks: Oversized (2)

Killer ApeSimilar to gorillas, these solitary primates not only

hunt and feed on humans, but also their own kind. Fitness Awareness Creativity reasoning Influence C (4) C (4) 0 0 0

Scale: NormalPursuits: Athletics (+3), Brawling (+1), Melee (+1), Tracking (+1)Gimmicks: Natural Protection (Fur),

Natural Weapon (Carnivorous Teeth: +1inj)

MammothThick-furred and enormous, these relatives of the

elephant are relatively tame, but like any wild animal, can be dangerous due to their unpredictably, especially during mating season.

Fitness Awareness Creativity reasoning Influence D (5) C (4) 0 0 0

Scale: ExtraPursuits: Brawling (+1), Tracking (+2)Gimmicks: Natural Protection (Hide, Fur),

Natural Weapon (Tusks: +2inj)

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GENRE diversion

Martian StormtrooperSoldiers from the Martian Canal Forces are not only

well-trained, but also highly-dedicated to the protection of Mars from the Human invaders. Martians’ innate ability to fly, coupled with their sharp claws give them a slight advantage, although Human inventions typically negate it.

Fitness Awareness Creativity reasoning Influence B (2) B (2) C (4) A (2) C (4)

Scale: NormalPursuits: as per normal characters, typically Athletics,

Brawling, Dueling, Firearms, and Composure of varying competencies

Gimmicks: Natural Weapon (Claws: +1inj), Flight

MechatrooperThese mechanized soldiers are utilized by a variety of

interstellar governments to prevent their own citizens from being placed in harm’s way.

Fitness Awareness Creativity reasoning Influence E (6) E (6) 0 B (2) 0

Scale: NormalPursuits: Brawling (+1), Firearms (+3), Gunnery (+2), Computers (+2)Gimmicks: Mechanical, Night Vision

nayomeHostile to intruders, nayome worship a variety of

bestial deities who command them to use humanoid species for sacrifice. Nayome appear human above the waist, but possess the lower bodies of serpents. They gracefully slither along the ground while remaining erect and alert. Nayome are masters of the fork and almost always travel in packs of six or more.

Fitness Awareness Creativity reasoning Influence B (2) B (2) B (2) B (2) B (2)

Scale: NormalPursuits: as per normal characters, typically Athletics, Dueling,

Melee, and Tracking of varying competenciesGimmicks: Agile (1), Acute Hearing (1)

OrcThe archetypical monsters, orcs are hulking, green-

skinned, beasts with foul-tempers. They thrive on subjugating weaker species and callously raiding unprotected settlements for food and useful materials. Orcs normally reside in subterranean keeps, venturing to the surface during the twilight hours or in inclement weather.

Fitness Awareness Creativity reasoning Influence C (4) B (2) A (2) B (2) C (4)

Scale: NormalPursuits: as per normal characters, typically Athletics, Brawling,

Melee, and Composure of varying competenciesGimmicks: Oversized (1), Night Vision,

Natural Weapon (Carnivorous Teeth: +0inj)

PegasusThe winged horses are solitary creatures and difficulty

to tame. Legends tell of their use by elves as war mounts, but no one has ever survived such an attack to confirm this tale.

Fitness Awareness Creativity reasoning Influence C (4) B (2) 0 0 0

Scale: ExtraPursuits: Athletics (+2), Brawling (+1)Gimmicks: Oversized (2), Flight

rocThis enormous bird is known for carrying off its

humanoid prey with its powerful talons Fitness Awareness Creativity reasoning Influence D (5) C (4) 0 0 0

Scale: ExtraPursuits: Athletics (+2), Brawling (+2), Stealth (+2)Gimmicks: Natural Weapon (Beak: +1inj; Talons: +2inj), Flight

Sabre-Toothed CatSolitary by nature, this ancestor of the cat is also

almost as large as an elephant. Its incisors coupled with a powerful jaw make it deadly, particularly when stalking prey or backed into a corner.

Fitness Awareness Creativity reasoning Influence C (4) C (4) 0 0 0

Scale: ExtraPursuits: Athletics (+2), Brawling (+2), Stealth (+2), Tracking (+2)Gimmicks: Natural Protection (Fur), Night Vision, Acute Smell (1),

Natural Weapon (Carnivorous Teeth: +2inj; Claws: +1inj)

Scorpion wormKnown as death wrigglers, these giant worms explore

the vast wastes of Mars for animal and humanoid alike, using their keen senses. The scorpion-like stings at the end of their bodies are then used to immobilize their victims.

Fitness Awareness Creativity reasoning Influence A (2) D (5) 0 0 0

Scale: ExtraPursuits: NoneGimmicks: Venomous (6), Regeneration (1),

Natural Weapon (Sting: +2inj)

Skeleton warriorThe remains of fallen warriors, these skeletons rise

as the undead. They task themselves with completing their original missions of carnage and destruction, no matter the opponent.

Fitness Awareness Creativity reasoning Influence A (2) B (2) A (2) B (2) A (2)

Scale: NormalPursuits: Brawling (+1), Dueling (+2), Melee (+2), Riding (+1)Gimmicks: Undead, Tolerance to Pain, Undersized (2),

Repulsion (Holy Symbols)

Bestiary 90

ShrikeThis nomadic species travel in packs, living on the

fringes of civilization. Though feared and labeled as bloodthirsty, Shrikes have been known to aid lost or wounded humanoids, nursing them back to health. They are wiry with tan-colored and marbled, rubbery skin that glistens with a slightly toxic secretion. Their sharp teeth jut from of their mouths, which cannot be completely closed; this lends to their reputations of being vicious. While this prevents the pronunciation of syllables requiring closed mouths, their voices have been described as angelic.

Fitness Awareness Creativity Reasoning Influence B (2) B (2) B (2) A (2) A (2)

Scale: NormalPursuits: as per normal characters, typically Melee and Tracking

of varying competenciesGimmicks: Natural Weapon (Carnivorous Teeth: +2inj), Venomous (1)

Sky WraithOften called the ghosts of the sky, these creatures

travel between worlds in search of fertile atmospheres through which they can sail and feed on a range of gases. While not usually dangerous, they have been known to accidentally strike orbital and sub-orbital vehicles. Sky wraiths exist in a cyclic-phasing state, making them impervious to high-speed projectiles, such as bullets and rockets (explosives must be timed or set to detonate upon contact with an energy signature).

Fitness Awareness Creativity Reasoning Influence F (7) B (2) 0 A (2) 0

Scale: SuperPursuits: Athletics (+3)Gimmicks: Flight, Incorporeal,

Natural Weapon (Energy Discharge: 3mec)

SpectreThese haunting spirits of the woods guard against

invading forces and those prepared to do harm to trees and other forms of nature. Their weapon of choice is the wooden staff, allowing them to directly comfort the souls of nature with a vengeance executed in their honor.

Fitness Awareness Creativity Reasoning Influence C (4) B (2) 0 A (2) B (2)

Scale: NormalPursuits: Melee (+2), Tracking (+3), Composure (+3)Gimmicks: Regeneration (3), Dead Stare, Undead, Camouflage

Stellar CarrionReferred to as buzzards in space, these amorphous

creatures cluster around the debris of wrecked starships. They feed on all organic matter, which remains visible while being digested.

Fitness Awareness Creativity Reasoning Influence F (7) C (4) 0 0 0

Scale: SuperPursuits: Athletics (+1)Gimmicks: Fire-Breathing, Natural Weapon (Energy: 2inj),

Tyrannosaurus RexThese huge predatory dinosaurs are the kings of their

domains. Fitness Awareness Creativity Reasoning Influence E (6) D (5) 0 0 0

Scale: SuperPursuits: Athletics (+1), Brawling (+3), Tracking (+2)Gimmicks: Natural Protection (Scales), Maladroit (3)

Natural Weapon (Carnivorous Teeth: +2inj; Tail: +1fat)

VelociraptorThese relatively small dinosaurs are fast and nimble.

Velociraptors often hunt in packs, using such tactics as ambushes and joint strikes.

Fitness Awareness Creativity Reasoning Influence D (5) B (2) 0 0 0

Scale: NormalPursuits: Athletics (+3), Brawling (+2), Tracking (+2)Gimmicks: Natural Protection (Scales), Quick (2), Jumping (2),

Oversized (2), Natural Weapon (Carnivorous Teeth: +1inj; Talons: +3inj)

WolfThe wolf is the progenitor of domestic dogs. They are

most dangerous when encountered in packs. Fitness Awareness Creativity Reasoning Influence B (2) C (4) 0 0 0

Scale: NormalPursuits: Athletics (+1), Brawling (+1), Stealth (+1), Tracking (+2)Gimmicks: Natural Protection (Fur), Night Vision, Acute Smell (1),

Natural Weapon (Carnivorous Teeth: +1inj)

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Conversions

Chapter eight

Conversions 92

The following guidelines have been made available for those who wish to convert setting material or characters from older/other Precis Intermedia games.

genreDiversion iMaking genreDiversion i games compatible with

these updated mechanics is easy. Only a few quick conversions are needed.

AbilitiesAbilities are handled the same way in both versions,

so no change is necessary.

PursuitsPursuits are used in a slightly different manner from

genreDiversion i’s skills. Consult the table below when converting skills to pursuits in order to determine the correct ratings.

Converted Pursuit Ratingsfrom skill to pursuit

0 Basic Knowledge

1 to 3 Proficiency

4 to 6 Specialty

7 to 8 Mastery

GimmicksGimmicks should work without modification.

DifficultiesThe difficulty scale has changed to accommodate the

new mechanics. In order to convert a difficulty from the old rules to the new rules, simply add ten to its numerical value.

healthNo changes are necessary for health.

Damage and ProtectionNo changes are required for damage and armor,

except that armor that protects against fatigue is now considered padding.

VehiclesThe speed and handling abilities are altered according

to the table below. A vehicle’s frame rating remains the same, while the shields ability is converted to the shielding (x) gimmick, with the defined value being equal to its rating. The tech ability should be assigned a rating using one’s best judgment. Vehicle integrity remains the same.

Converted Vehicle Ability Ratings from ability to ability

-5 to -4 0

-3 to -2 1

-1 to 0 2

+1 to +2 3

+2 to +3 4

+4 to +5 5

Iron GauntletsIron Gauntlets™ and genreDiversion are practically

interchangeable. Only a few quick conversions are needed, but these can be done on the fly.

AbilitiesAbilities are the same in both games, so characters

simply keep their existing ability ratings. Flairs can be converted to equivalent ability gimmicks or simply ignored.

PursuitsPursuits are handled somewhat differently in Iron

Gauntlets, which refers to them as skills. Consult the table below when converting pursuits to or from Iron Gauntlets in order to determine the correct ratings.

Converted Pursuit Ratingspursuit from iron gauntlets to iron gauntlets

Basic Knowledge 0 0

Proficiency 2 to 3 3

Specialty 4 to 6 5

Mastery 7 to 8 8

LuckWhen using the Iron Gauntlets mechanics, roll a

die for each character before play begins to determine the amount of luck they can use. When using the genreDiversion mechanics, ignore the luck ability.

GimmicksGimmicks should work without modification. When

dice are used as a bonus (+xD) or penalty (-xD), they can either be converted to a change in difficulty or bonus/penalty to dice total (each +1D/-1D = -2diff/+2diff or +2/-2 to dice total).

DifficultiesWhile the base numerical values for difficulty are

different in the two games, the classifications themselves are closely related. Simply refer to a named difficulty, such as complex, when performing tasks. If a difficulty

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GENRE diversion

classification is not present in one game, average the values for the lower and higher classifications to determine the proper numerical value. Numerical changes in difficulty, such as +1diff, are unchanged.

For ExampleChallenging and improbable can be averaged to fifteen, determining the equivalent value of formidable in genreDiversion (the average of 14 and 16 is 15)�

healthBecause genreDiversion introduces health thresholds,

it adds a more heroic atmosphere to the game. This element can either be borrowed when using the Iron Gauntlets mechanics or dropped for more realistic combat outcomes.

Damage and ProtectionNo changes are required for damage, but Iron Gauntlets

padding and armor values should be halved when using the genreDiversion mechanics (so that they range from zero to five).

Story Engine ClassicAlthough not directly interchangeable, Story Engine™

Classic and genreDiversion do share some similarities, making conversion possible.

AbilitiesStory Engine Classic uses aspects, which are similar

to abilities and used in the conversion. These must first be converted to abilities. Consult the table below to determine which aspects relate to genreDiversion abilities. Once that is done, consult the second table to choose the appropriate rating.

Converted Abilitiesgenrediversion ability story engine classic aspect

Fitness Matter

Awareness Mind

Creativity Chaos

Reasoning Mind

Influence Spirit

Converted Ability Ratingsfrom story engine classic aspect to genrediversion ability

0 2

1 3

2 to 3 4

4 to 5 5

6 or more Same as Aspect Rating

PursuitsPursuits are the same as trait affinities, even down to

the three levels of competence (see table below). While trait affinities can cover a wide range of talents and skills, pursuits are generally more focused. The function of the trait can be left intact or converted to an existing pursuit.

Converted Pursuit Ratingsfrom trait affinity to pursuit

Weak Proficiency

Mild Specialty

Strong Mastery

GimmicksGift affinities are essentially gimmicks, and must

be adjusted to work within the confines of the genreDiversion mechanics, although some can remain unchanged. Descriptors and quirks can also be converted to ability or descriptor gimmicks (see Chapter Four). Use the following guidelines for adapting these elements:

•Extra dice can either be converted to a change indifficulty or bonus to dice total (each extra die = -2diff or +2 to dice total).

•Health levels are treated as one line of health.Additional health levels are treated as a bonus to health thresholds.

•Burning a descriptor is replaced with gaining onemark of absolute fatigue.

DifficultiesStory Engine Classic employs a scale of difficulty

similar to that of the genreDiversion mechanics. Known as hard rates and target numbers, these difficulties can be converted easily. The difficulty value is equal to seven plus the target number (required number of odds).

healthNo changes are necessary for health—simply use the

genreDiversion mechanics.

Damage and ProtectionStory Engine Classic does not rely on fixed damage

and protection values, but each level of injury can be translated to one mark of either fatigue or injury.

Conversions 94

Going Diceless with Active ExploitsWhile many tasks in this game can be performed

without the need to roll dice, Active Exploits™ Diceless Roleplaying completely eliminates dice from tasks.

AbilitiesSince the abilities are the same in both games,

characters can simply use their existing ability ratings to exert effort on tasks. The table below specifies how much effort can be exerted (and what the equivalent rating is for Active Exploits characters). When consulting the table for scaled abilities, refer to the heroic column.

Effort Exerted From Abilitiesability rating effort heroic effort

0 -1 -1

1 0 0

2 0 +1

3 +1 +2

4 +1 +3

5 +2 +4

6 or more +3 +5

PursuitsPursuits are used just like Active Exploits’ skills,

providing free effort equal to their bonus (or penalty).

Discipline and LuckA character’s discipline rating is normally equal to

2. Characters using the extra or super scale posses a discipline rating of 4, and epic characters possess a rating of 6. Characters can use experience in the same manner as Active Exploits’ luck.

GimmicksGimmicks should work without modification,

although the director can choose to convert difficulty modifiers to effort modifiers.

DifficultiesThe base difficulty for tasks should be determined

according to the rules presented here rather than those in Active Exploits. The base difficulty measures the amount of effort required for success (see table below). Reduce all difficulty modifiers by half before applying them to a task.

For ExampleModifying a complex task by +2diff would increase the effort required from 2 to 3 (the +2diff becomes an increase in difficulty of 1).

Base Effort Requireddifficulty rating effort required

Trivial 0

Routine 1

Complex 2

Challenging 4

Improbable 6

Impossible 8

healthBecause dice are not used, abatement rolls are skipped.

Instead, reduce damage by the character’s protective value before applying it.

Damage and ProtectionNo changes need to be made when using genreDiversion

damage and protective values, although Active Exploits damage and armor classes can be substituted if desired.

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GENRE diversion

Chapter nine

Unbidden & Forsaken

a ready-To-Use Modern Horror setting

Unbidden & Forsaken 96

We all see our own version of reality, and it is never exactly the same as someone else’s vision. Reality is a nebulous thing; we never truly see it for what it is. We can only try to perceive it through our own flawed perceptions. What if the reality you once knew suddenly shattered into a million tiny fragments of half-truths and false impressions? As if everything you once knew as gospel suddenly fell apart, leaving you with a veracity that is equal parts horrifying and awe-inspiring.

Imagine having your life ripped out from under you and replaced with the horrifying truth that the world is going to hell in the proverbial hand-basket, and you are the only one who can do anything about it, provided you know the Secret Stories. You are woefully unprepared for a life of running, fighting, and surviving. And you still hold onto a ruined idealism that everything is white-picket fences, good can prevail, and everyone has an equal shot at living the good life if they work at it.

Such is the life of the Unbidden men and women who once held station in life, but suddenly had it taken away. Their exultant lifestyles have been replaced by a growing despondency. They are cursed with a task to serve on the front lines of a Secret War against dark horrors that corrupt and feed on mankind. To make matters worse, the Unbidden must do it alone, or at best in extremely small numbers. Once cursed with a life of unnatural persistence, they cannot count on society to lend them a hand. There is no going to the police; how would you explain the fact that you have just witnessed the brutal murder of a homeless man, who died at the hands of some perverse unnatural creature? How do you tell your friends and family that your dreams have dissolved into recurrent nightmares so vivid that they take possession of your soul and subdue its faculties?

It is this overwhelming fear and notion of powerlessness and amazement that eventually fosters an Unbidden’s endurance and tenacity, ensuring that the truths survive regardless of their own fate; it is a duty felt deeply by them all—or at least, most of them.

Unbidden is a setting of horror that is predicated on legends and myths, known as the Secret Stories, as they are perpetuated by a displaced people seeking a sense of mission. The characters live in a world where violence and death are commonplace, and where it is more advantageous to grovel before the powerful and shun the weak. Salvation is nowhere to be found.

But unlike traditional myths and legends, the Secret Stories of the Unbidden are as real as the sky is blue. They are multi-faceted allegorical narratives and a state of being that encompasses four core fundamentals—truth, mythos, endowment, and lore. The Secret Stories consist of outlandish, terrifying, and supernatural events. They serve as a conduit through which the Unbidden impose meaning upon their existence and fuel the mystical endowments and lore that they call their own. Through knowledge of the Secret Stories, the Unbidden are given a fighting chance against ancient, dark forces.

THe TrUTHThe first step to learning the Secret Stories comes

from discovering the truth. That is, to learn and accept that reality is a manufactured conjuncture propagated by dark forces that hide in shadow and encourage humanity’s base emotions. They fuel discord within the world, leading to its slow and eventual death. Once this truth is accepted, the consciousness is opened to a higher state of being and the Unbidden character is imbued with knowledge of the mythos, a mystical force that allows one to bend reality for his own purposes. Driven by the teachings of a particular sect’s ideology, the character also learns of the Secret War and those who fight it.

The Secret warThe Secret War is a two-fold battle. It is both a war of

personal sacrifice and a fight for the fate of humanity. To some, that may sound like a cliche. For the Unbidden, however, it is a scary reality, as well as an unwelcome and unsolicited responsibility.

book one

UnTold secreTs

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The Secret Stories tell of dark forces that found doors to our world and, once here, discovered a place ripe for perversion and corruption. Mankind is their plaything, serving as reservoirs of delectation and nourishment, for they are only satiated by dark human emotions and equally dark acts. Much like the Secret War, the gateways between worlds are equally inconspicuous—abandoned refrigerators, mirrors, dark alleyways, steam tunnels, and shadowy corners all serve as conduits for their infernal visitations.

The war has largely been waged behind the backs of an unwitting society, mostly because the dark forces act secretly. Their presence is still felt in all aspects of society and no one is safe from their hunger. Each day that the world slips further into misery, selfishness, and indifference is a day that the power of darkness expands and the Unbidden grow more desperate.

The UnbiddenFor those who are chosen, the Secret War is a fight

for survival, yet it is also one that many resist or have difficulty accepting. The Unbidden were once normal people living normal lives, until that life was forever disrupted. For them, the price of accepting the Secret Stories is an emotional and psychological dichotomy. As the Unbidden grow, they gain new perceptions of reality. With this awakening, however, comes great personal loss.

The transformation from a lower state of being, in which a character is oblivious of the true peril is propelled into an unbidden commitment that demands action. While these men and women usually balk at the thought of doing the right thing, they do it anyway. The ultimate sacrifice must be made for the welfare of humanity. This means being ostracized from normal society because of beliefs, actions, and vibe. Even after being shunned by friends and family, the Secret Stories keep them going, knowing that the dark forces must be halted.

To make matters worse, the power given to these tragic heroes coupled with knowledge of the Secret Stories makes them targets. The dark forces that pervert reality and bend it to serve their own ends delight and obsess over their hunting safaris, of which the Unbidden are the targets. The enemy is at the gates, and the only hope for mankind are those cast out of it.

Dark PortentsThe world of the Unbidden is very much like our

own, albeit a few shades darker. Mankind is still

Unbidden & Forsaken 98

trudging down its path of self-destruction with a penchant for screwing over the next guy at the expense of accountability and responsibility. The world is also marked by dramatic social change, secularism, technological advances, and intolerable danger—all things ripe for exploitation by dark forces. While man is not entirely responsible for his actions, how much is truly caused by the forces of darkness rather than man’s illegible heart?

A slow, cultural meltdown has been in progress for some time, largely due to mankind’s living habits and the forces that inspire humanity towards the darkness. Even still, many people disagree that the world is as bad as others claim—they simply do not or will not perceive a crisis. If not for the Unbidden, this refusal to see the world for what it is would be much more widespread. The world would have certainly been torn apart decades ago if not for these forsaken souls.

The dark forces fight tooth and nail to prevent widespread acceptance of the truth, so people go about their daily lives lacking the will to do the right thing. The inescapable conclusion is that mankind’s behavior is made wicked by a combination of its own greed and selfishness, as well as secretive and malevolent dark forces. Mankind’s ignorance is also likely to cost a steep price—that of freedom and free will.

THe MyTHosMythos is the invisible force that fuels the Unbidden. A

cosmic state of existence, it opens their mind to intense revelations and is the power behind their supernatural lores. No one is certain whether the Unbidden are born with a disposition toward Mythos or if it just comes to them through an abrupt revelation. Regardless, this fundamental is their greatest ally in the Secret War.

Over the centuries, Unbidden have grown into factions, or sects, each adhering to different beliefs and ways of wielding mythos. These sects teach mystical pursuits, known as lores, as handed down to them by masters of the lore. In essence, each sect shares the same fundamental goals, but approach them in varying ways. This is often a source of conflict among the sects.

LoremastersOf special importance to the sects are their

Loremasters, eminent men and women who hold high positions among Unbidden to ensure their survival as the Secret War wages. Each Loremaster embodies the principles and core beliefs of his sect, passing on his

wisdom to new generations of Unbidden who share the same views. They are mentors, protectors, guides, and demigods in their own right. Loremasters may be compassionate, nurturing, and supportive (often replacing real parents), but they are also fleeting, eclectic, and sometimes dangerous (like vengeful gods).

THe endowMenTThe most primal application of mythos is through an

Unbidden’s endowments. These are special gimmicks that provide rudimentary powers of which they are often oblivious. Endowments manifest at the onset of an unbidden’s awakening.

THe loreUnlike endowments, lores are skills that are taught

to fledgling Unbidden. They are special pursuits that provide access to supernatural powers, an important weapon in the Secret War.

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GENRE diversion

Characters are created normally, except that a few extra elements are involved. A third form of health known as dementia is used. Unbidden also belong to a specific sect that provides access to special pursuits and gimmicks, as well as additional gimmicks called personal demons. Vocations can also be chosen for characters.

secTs oF THe UnbiddenThe Unbidden have been drawn together over the

centuries, coalescing into a variety of sects, each with different beliefs and practices. The sect to which a character belongs determines the endowments he possessess and lores he can learn. Endowments are gained subconsciously in the form of gimmicks, while lores are learned through training in the form of pursuits. Both are discussed later in this chapter.

ArtisansArtisans believe that they can only defeat dark forces

by understanding both their powers and those of nature. Their first duty is to protect the lives of mortals, whom they consider more important than themselves, even to the point of sacrificing themselves to reach this goal. Artisans chose their name out of a wish to become the architects of peace and well-being in the world. Their doctrines stress that the loss of mankind means their own destruction.

CardinalsCardinals believe themselves to be the leaders of the

Unbidden and totally infallible. They feel that the other sects pursue wild dreams and false beliefs. Cardinals are taught to trust their instincts and senses, which allows them to understand and perceive things well beyond

the abilities of most others. Many are afraid of being betrayed by the other sects out of jealousy. Cardinals observe rather than interfere—the latter is left to other sects, but they still act when deemed necessary.

EldersElders have lived among mortals for centuries, having

succumbed to a need to remain a part of human society. They believe that the only way to protect humankind is to better understand it and its affinity with the Darkness. Elders are believed be the oldest sect of the Unbidden and strive to dominate the others.

ProphetsProphets are taught that they were created by a

supreme being to usher mankind into a new era of prosperity. They believe that the Darkness is a manifestation of mankind’s evil ways and recruit mortal acolytes to spread their gospel. While Prophets do not disclose their true selves to their followers, they convince them of their divinity. These followers are rarely allowed to have prolonged contact with Prophets, since doing so eliminates part of the mystery and wonderment when they do appear.

ShadowsShadows feel guilty about their effect on mortal life.

They prefer to remain in the shadows and avoid mortal contact completely unless the need arises to protect their charges. Shadows fight the Darkness by keeping their existence secret and avoiding direct confrontation in the presence of mortals. They believe that the Darkness can only be defeated by preventing the knowledge of it from spreading. Their fear is that mortals can be seduced to the Darkness if it is exposed.

book two

Unbidden awakening

Unbidden & Forsaken 100

warriorsWarriors see themselves as the saviors of mankind by

way of their physical prowess. They are highly skilled in the martial ways and often hire mortals to run martial arts academies in which they spread their beliefs to the masses, teaching them how to fight the Darkness.

Personal deMonsPersonal demons are a special category of gimmick,

intended to simulate psychological trauma and mental illness. Each character begins play with certain personal demons as specified for his sect. Additional personal demons can be gained during play as a result of dementia. A list of personal demons can be found later in this chapter.

deMenTiaThe Unbidden setting requires the use of dementia as

a form of health. More information regarding dementia can be found in Chapter Four, but to recap:

Dementia, represented by the abbreviation dem, measures the excessive strain on a character’s psyche that results from fright or emotional trauma. The dementia threshold is equal to a character’s reasoning rating. Protection against dementia is called ego. If a character’s creativity rating is 4 or greater, his default ego value is 1. Otherwise, it is 0. If a character has faced a specific situation that caused him dementia at least twice previously, his ego rating is increased by one for reoccurrences of that condition. A penalty is applied to all awareness and reasoning-based tasks as characters become demented. The degree of penalty is determined by the number of grades sustained.

Dementia Gradesgrade dementia penalty

1 Sensitive None

2 Agitated +1diff

3 Distracted +2diff

4 Irrational +3diff

5 Delirious See Panic Table

Panicroll effect

1 Cowardly: Stays in Fetal Position

2 Cowardly: Hides from Everyone

3 Cowardly: Runs Away from those Involved

4 Denial: Events Never Occurred

5 Aggressive: Screams and Mutters

6 Aggressive: Attacks anyone not Recognized

MyTHosMythos is used like a health meter, tracking an

Unbidden character’s true acceptance and mystical connection to the secret stories. All Unbidden characters possess a mythos threshold of five. As a character’s mythos increases, new secrets are unlocked by the lores. Once increased, a character’s mythos level cannot be reduced—once knowledge is unleashed, it cannot be sealed. Additionally, each grade of mythos adds a penalty to all of a character’s influence-based tasks involving animals and those not privy to the secret stories (see table below).

Mythos, represented by the abbreviation myt, is increased as a character defeats dark forces. Whenever a character foils the plans of an Agent of Darkness, he receives a number of marks of mythos equal to the Agent’s own grade of mythos. Since this is not considered absolute damage, an abatement roll is made using a protective rating called creed, which is equal to six less the character’s creativity rating (6 - creativity).

Mythos Penaltiesgrade mythos influence penalty

CCCCC 1 Neophyte +1diff

CCCCC 2 Apprentice +2diff

CCCCC 3 Journeyman +4diff

CCCCC 4 Mentor +5diff

CCCCC 5 Doyen +6diff

endowMenTsEndowments are special gimmicks that only Unbidden

characters possess. They represent powers that manifest as certain lores (see below) are taught to them. A list of endowments can be found later in this chapter.

loresLores are handled just like academic pursuits. Each

use of a lore requires a task. The appropriate ability varies by lore, and the task must be performed at the beginning of a turn unless otherwise stated. When a lore task is made, other tasks can still be made during the same turn, but receive a penalty of -1diff. If using the optional exploits rule, they can be applied to lore tasks normally.

Each lore consists of several effects—or powers. A character who possesses a lore can potentially use any of its associated effects. Each, however, requires the

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character to have reached a specified grade of mythos. In other words, if an effect is listed with “Mythos Grade 3,” the character must have three grades of mythos in order to produce that effect. While the lores are described below, their associated effects are provided later in this chapter.

Lore of CognizanceThe Truth about the vibrations of reality is the

focus of Cognizance. Reality emits undetectable signals that can be sensed and analyzed. This lore teaches an unbidden to grasp these signals, expanding his perception of reality.

Lore of CraftingThe Truth about material echoes is the focus of

Crafting. Objects can be made to channel primal energies. This lore teaches an unbidden to enhance mundane objects with special powers.

Lore of EnchantmentThe Truth about the perception of reality is the

focus of Enchantment. The way one views reality can be altered. This lore teaches an unbidden to affect the senses of living beings.

Lore of EssenceThe Truth about the projection of biological energy is

the focus of Essence. Whether it is called chi or ki, this lore teaches an Unbidden to extend his internal energy outward. A character must possess at least a proficiency in the Lore of Harmonious Center in order to also have knowledge of this lore.

Lore of Gentle TouchThe Truth about one’s connection with reality is

the focus of Gentle Touch. Life itself can override preconceptions of reality. This lore teaches an unbidden to harmonize his movements and mass with elements of nature.

Lore of harmonious CenterThe Truth about the shifting of biological energy is

the focus of Harmonious Center. Whether it is called chi or ki, this lore gives an Unbidden unprecedented control over his body via his internal energy.

Lore of Prestigious AirThe Truth about mortals is the focus of Prestigious Air.

Mortals are weak and should be used in an Unbidden’s war against the Darkness. This gives Unbidden limited control over mortals.

Lore of ProvidenceThe Truth about reality is the focus of Providence.

Reality has been clouded and obscured by both the Darkness and other unknown forces. This lore gives Unbidden the power to sense and experience stimuli normally undetectable by mortals.

Lore of Silent ContactThe Truth about human consciousness is the focus

of Silent Contact. This lore teaches an unbidden to interact with the minds of others.

Lore of wardingThe Truth about primal energies is the focus of

Warding. The raw energies of reality can be molded like clay in subtle ways. This lore teaches an unbidden to concentrate raw forces in protective or harmful ways.

bUilding an Unbidden cHaracTerThe following steps are required to build characters for

use with this setting. While the basic steps of deciding ability ratings, regular pursuits, and gimmicks remain unchanged, specialized rules augment the process.

Optional: Choose a VocationThe director can allow players to choose vocations for

their characters. Vocations provide a character with the listed pursuits at the proficiency level of competence. A few are provided later in this chapter, but the director can always create his own.

Choose a SectOne of the following sects must be chosen: Artisans,

Cardinals, Elders, Prophets, Shadows, or Warriors. Each sect determines which endowment(s) the character possesses, as well as the lores available to him.

AbilitiesAbilities should be handled normally as found in

Chapter One. The director should decide which method works best for him and his group. While Unbidden characters should have ability ratings within mortal standards, it is not a must.

Determine Personal DemonsIn addition to the secret (existence of Unbidden) gimmick,

a character begins play with the personal demon gimmicks provided by his relevant sect. A personal demon can be removed by reducing an ability rating by one; no more than one personal demon can be removed in this manner. Up to three new personal demons

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can be added in exchange for a new non-detrimental ability gimmick or pursuit level for each. The director must approve the defined value for each new applicable personal demon.

Personal Demon Gimmicks by Sect Artisans Fear (seeing a mortal harmed)

Cardinals Choose two: Fear (lores not known to them), Temptation (lead group), Temptation (prove his power), or Fear (getting too close to other sect)

Elders Choose: Trigger (rejection) or Trigger (disrespect) Choose one: Temptation (power), Temptation (sex),

or Temptation (alcohol or drugs)

Prophets Temptation (lead mortals)

Shadows Secret (character’s appearance), Secret (character’s identity)

Warriors Trigger (sudden moves), Fear (incompetent fighters), Trigger (threat to self or allies)

For ExampleLon’s character is from the Warrior sect� Lon removes the trigger (sudden moves) personal demon in exchange for reducing his influence rating by one� Lon also adds the fear (spiders) personal demon� He either wants to add the agile (1) gimmick or driving (+1) pursuit, but cannot decide� After completing the other steps, he finally decides to go with the pursuit�

Determine Current Degree of MythosThe number of marks of mythos with which a

character begins play is equal to five plus the roll of one die.

For ExampleA roll of 3 indicates that Joe’s character begins play with 8 marks of mythos (5 + 3 = 8). This is 1 grade of mythos, with 2 more marks required to reach 2 grades.1 CCCCC2 CCCEE3 EEEEE4 EEEEE5 EEEEE

Determine Endowment GimmicksCharacters automatically begin play with the

endowment gimmicks provided their relevant sects.

Endowment Gimmicks by Sect Artisans Scarecrow and Celestial Map

Cardinals Gospel, Sensitivity, and Attraction

Elders Scarecrow and Communion

Prophets Gospel and Noble Soul

Shadows Feathered Touch and Attraction

Warriors Phantom Center, Sensitivity, and Flowing Essence

Building Characters Reference

0. Optional: Choose VocationCharacter possesses listed pursuits as proficiencies.

1. Choose SectArtisans, Cardinals, Elders, Prophets, Shadows, or Warriors

2. Build AbilitiesA� Roll one die for each ability to determine its rating; count sixes as fives, but add one to any ability rating that is less than five.

B. or, allocate ratings of 1, 2, 3, 4, and 5.

C� or, allocate twelve points�

Optional: Choose one random ability gimmick for each ability�

3. Build Personal DemonsCharacter possesses the secret (existence of Unbidden) gimmick, plus those below by sect� Remove one by reducing an ability rating by one� Add up to three new ones in exchange for a new non-detrimental ability gimmick or pursuit level for each� Artisans Fear (seeing a mortal harmed)

Cardinals Choose two: Fear (lores not known to them), Temptation (lead group), Temptation (prove his power), or Fear (getting too close to other sect)

Elders Choose: Trigger (rejection) or Trigger (disrespect) Choose one: Temptation (power), Temptation (sex),

or Temptation (alcohol or drugs)

Prophets Temptation (lead mortals)

Shadows Secret (character’s appearance), Secret (character’s identity)

Warriors Trigger (sudden moves), Fear (incompetent fighters), Trigger (threat to self or allies)

4. Build MythosCharacter possesses 1myt times five plus the roll of one die�

5. Build Endowment GimmicksCharacter possesses the endowment gimmicks listed below by sect� Artisans Scarecrow and Celestial Map

Cardinals Gospel, Sensitivity, and Attraction

Elders Scarecrow and Communion

Prophets Gospel and Noble Soul

Shadows Feathered Touch and Attraction

Warriors Phantom Center, Sensitivity, and Flowing Essence

continued…

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Choose PursuitsPursuits are handled in the normal fashion. The

director can choose which method is optimal for his group. Characters can only learn lore pursuits that are taught by the sects to which they belong. Characters can optionally receive one lore (as a proficiency) for free.

Lores by Sect Artisans Lores of Warding and Crafting

Cardinals Lores of Providence, Cognizance, & Enchantment

Elders Lores of Warding and Silent Contact

Prophets Lores of Providence and Prestigious Air

Shadows Lores of Gentle Touch and Enchantment

Warriors Lores of Harmonious Center, Cognizance, & Essence

Choose Other GimmicksAgain, this remains unchanged from the basic methods

described in Chapter One.

Personal deMons lisTThe following personal demons are available, but the

director is encouraged to create his own.

Amnesia (v)The character has lost all memories associated with a

particular person, group of people, location, or event (the defined value) integral to his personal development.

Fear (v)The character suffers from irrational anxiety or dread

often brought on by clinical phobia, which hampers his performance when facing these elements. A challenging reasoning-based composure task must be made in order to pursue, face, or cause the source (the defined value).

Trigger (v)The character experiences irrational hatred and rage

when faced with the defined value, which can be a situation, person, general object, or even a thought or feeling. The cause is buried deep in his psyche as an emotional scar. A challenging reasoning-based composure task must be made in order to resist acting aggressively (whether as a physical or verbal outburst) when faced with the defined value.

Temptation (v)The character is inclined towards a desire (the defined

value), whether it is alcohol, a nervous tic, stammer, greed, lust, zeal, or other vice or habit. A challenging reasoning-based composure task must be made in order

6. Choose PursuitsA. Choose one incompetency, two proficiencies, three specialties, and one mastery�

B� Or, allocate ten points among pursuits�

Optional: Character possesses any one lore pursuit available to his sect as a proficiency.

Optional: Character can possess up to two incompetencies, each one increasing competency in another pursuit� Artisans Lores of Warding and Crafting

Cardinals Lores of Providence, Cognizance, & Enchantment

Elders Lores of Warding and Silent Contact

Prophets Lores of Providence and Prestigious Air

Shadows Lores of Gentle Touch and Enchantment

Warriors Lores of Harmonious Center, Cognizance, & Essence

5. Choose Other GimmicksA� Character can choose non-detrimental gimmicks; each one:

• Decreases an ability rating by one• Decreases a pursuit bonus by one• Adds a new pursuit incompetency• Adds a detrimental gimmick

B� Character can choose detrimental gimmicks; each one:

• Increases an ability rating by one• Increases a pursuit bonus by one• Adds a new pursuit proficiency• Adds a non-detrimental gimmick

6. Other ElementsA. Fatigue and Injury thresholds equal fitness rating.

B� Dementia threshold equals reasoning rating�

C� Base Padding/Armor is 0; +1 if fitness is 4 or more.

D� Base Ego is 0; +1 if creativity is 4 or more�

E� Base Creed is 6 minus creativity rating�

7. Complete the CharacterDescribe the character’s upbringing, desires, and personality, and how his transformation into Unbidden is either likely to affect them or already has changed them forever�

If there is an existing connection to other characters in the group, this too should be described, explaining how they met and what keeps them together, along with any additional allies that may be recruited and enemies that could be faced�

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to resist the urge, which results from stress or the mere presence of the defined value. The temptation can prevent characters from performing important tasks or otherwise hinders them. In the case of alcohol and narcotics, the director is free to impose penalties to simulate such abuse (+2diff on all tasks or +4diff on reasoning-based tasks, for instance).

Secret (v)There is an aspect of the character’s life that he

wishes to keep buried. The defined value could be an account of a past crime, dangerous knowledge, or even something as trivial as his waist-size. The character would never consciously reveal his secret to anyone. If even one person learns of his secret, the character receives a number of marks of dementia equal to the roll of one die.

SlothThe character is lazy and slow to work. This is usually

the result of depression or an inherent personality flaw. As a result, the character must make a successful challenging reasoning-based composure task in order to begin any strenuous activity in an open scene (this does not apply to sequential and other turn-based scenes). Once the character undertakes the initial steps of activity, however, no further task is required during the current scene.

endowMenTs lisTThe following endowment gimmicks are available.

GospelThe character can always sense if a fact told to him

is true or not simply by looking into the eyes of the mortal revealing it. This feat cannot be done if the character cannot see the person’s eyes.

noble SoulMortals take on an uncanny respect for the character,

preventing them from openly insulting, defaming, or otherwise verbally abusing him in the presence of at least two strangers.

Phantom CenterThe character’s reflexes are attuned to the detection

of movement, allowing him to more easily dodge incoming attacks. Throwing an object or performing a brawling attack against the character increases the attack’s difficulty by +2diff (this is only applied to the first such attack per turn, however).

Common Vocations

ActivistPursuits: Crafts, Cultural Sciences, Oratory

Airline PilotPursuits: Computers, Navigation, Piloting,

Mechanics

ArtistPursuits: any three creativity-based pursuits

AthletePursuits: Athletics, Performance, Composure

Auto-MechanicPursuits: Driving, Mechanics;

Electrics or Electronics

Civil ServantPursuits: Computers, Bureaucracy, Finances

Clergyman Pursuits: Behavioral Sciences, Theology, Oratory

CriminalPursuits: Legerdemain, Stealth, Disguise,

Seduction, Streetwise, Street-Talk

DetectivePursuits: Brawling, Driving, Firearms,

Interrogation, Investigation, Composure

DilettantePursuits: Athletics, Archery, Riding, Sailing,

Seduction

DoctorPursuits: Investigation, Medicine;

Behavioral Sciences or Biological Science

ExecutivePursuits: Commodities, Negotiation, Finances

JournalistPursuits: Interrogation, Investigation, Prose

ProfessorPursuits: any four reasoning-based pursuits

New Age MonkPursuits: Athletics, Investigation, Design,

Composure

SoldierPursuits: Brawling, Firearms, Stealth, Composure,

Survival

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SensitivityThe character knows when another Unbidden is near

him. The maximum distance at which this is possible is determined by the character’s current degree of mythos.

Range by Mythosgrade distance

1 25 Spaces

2 50 Spaces

3 100 Spaces

4 200 Spaces

5 300 Spaces

Flowing EssenceThe character’s internal energy channels itself into

a brawling attack. While this does not increase the attack’s damage, it does have the potential to overwhelm the target, who must make a fitness-based athletics task with a difficulty equal to 8 plus the character’s awareness rating. A failure indicates that the target is overwhelmed.

Feathered TouchThe character has a very light touch, providing a

bonus of -2diff on all legerdemain tasks, as well as other tasks involving manual dexterity.

AttractionMortals have an unconscious attraction for the

character, drawing them to his presence. This can either be a sexual attraction or need for friendship, depending on the circumstances. In either case, mortals desire to remain in his company, resisting any orders or requests to leave his side.

ScarecrowAnimals cannot approach the character due to an

enigmatic aura that surrounds him. The closest distance an animal can reach is a number of spaces equal to the character's current grade of mythos.

CommunionThe character can send and receive simple messages

telepathically with other Unbidden who also possess this gimmick (one message per turn). The maximum distance at which this is possible is a number of spaces equal to 500 times the character's current grade of mythos.

Celestial MapThe character not only instinctively knows the exact

time, day, month, and year of the calendar, but also his exact longitudinal and latitudinal coordinates by simply looking at a world map.

lore eFFecTs lisTThe following effects are available for their respective

lores, depending on a character’s current grade of mythos.

Lore of Cognizance

Silent Focus Mythos Grade 1The character can silence his thoughts with a

successful awareness-based Lore of Cognizance task. The character receives a bonus of -2diff on his next reasoning-based task made within a number of turns equal to his awareness rating.

Sensory Awakening Mythos Grade 2The character can heighten his senses with a successful

awareness-based Lore of Cognizance task. The character receives a bonus of -2diff on all awareness tasks made within a number of turns equal to his awareness rating.

Serenity Mythos Grade 3The character can quiet his anxiety with a successful

reasoning-based Lore of Cognizance task. The character can ignore all penalties due to dementia for a number of turns equal to his reasoning rating.

Chatter Mythos Grade 3The character can detect and isolate individual voices

in a crowd with a successful awareness-based Lore of Cognizance task. The character can hear every voice as if involved in each and every conversation. The difficulty is determined by range and the number of people present in the crowd.

Chatter DifficultiesUp to 3 Spaces Routine

4 to 10 Spaces Complex

11 to 20 Spaces Challenging

21 to 50 Spaces Improbable

51 to 100 Spaces Impossible

2 to 10 People —

11 to 20 People +2diff

21 to 50 People +4diff

51 or More People +6diff

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Exposed Posture Mythos Grade 3The character can detect truthful statements by

reading body language with a successful awareness-based Lore of Cognizance task. The target also receives a penalty of +2diff to attack the character for a number of turns equal to the character’s awareness rating.

Subconscious Awareness Mythos Grade 4The character can detect if someone has invaded

or manipulated his thoughts or memories with a successful awareness-based Lore of Cognizance task. While the character can determine whether his mind has been altered, he cannot determine who did it or what was actually done.

Unbound Vision Mythos Grade 4The character can see in total darkness with a

successful awareness-based Lore of Cognizance task. The character receives no penalties due to darkness for a number of turns equal to his awareness rating.

Mythic Knowledge Mythos Grade 5The character can determine another Unbidden’s

current mythos grade with a successful awareness-based Lore of Cognizance task. Penalties sustained by the target due to dementia are applied to this task.

Facet of Darkness Mythos Grade 5The character can determine the nature of an Agent

of Darkness with a successful awareness-based Lore of Cognizance task. The character recognizes the type of agent as well as the lores common to it.

Lore of Crafting

Avid Blade Mythos Grade 1The character can touch a bladed weapon, enchanting

it to inflict an additional +1inj with a successful reasoning-based Lore of Crafting task. The duration of this bonus is a number of days equal to the character’s reasoning rating.

Inspiration Mythos Grade 2The character can inspire mortals to create works of

art with a successful creativity-based Lore of Crafting task. This includes music, paintings, speeches, and the like. The target receives a bonus of -2diff on all such tasks for a number of turns equal to the character’s creativity rating.

Impervious Seal Mythos Grade 3The character can prevent any locking mechanism

or door from being opened with a successful influence-based Lore of Crafting task. The lock or door can only

be opened by Unbidden characters, but requires the task to be contested with the influence ability and Lore of Crafting bonus.

Protective Amulet Mythos Grade 3The character can touch any piece of jewelry,

enchanting it to protect its wearer with a successful reasoning-based Lore of Crafting task. The wearer receives an increase to his armor rating equal to the character’s Lore of Crafting bonus (to a maximum of five). The duration of this bonus is a number of days equal to the character’s reasoning rating.

Mirrored Portal Mythos Grade 4The character can alter the nature of a portal with

a successful influence-based Lore of Crafting task. For instance, a door can be changed to an open archway or a wall, or a wall can be changed to a door or archway. This change is permanent.

Suppressive Amulet Mythos Grade 4The character can touch any piece of jewelry,

enchanting it to prevent its wearer from using lores with a successful reasoning-based Lore of Crafting task. The wearer receives a penalty on all lore tasks equal to the roll of one die (a roll of 2, for instance, is a penalty of +2diff). The duration of this penalty is a number of days equal to the character’s reasoning rating.

regenerative Amulet Mythos Grade 5The character can touch any piece of jewelry,

enchanting it to regularly restore its wearer’s health with a successful reasoning-based Lore of Crafting task. The wearer’s injury or fatigue is restored by a number of marks equal to the character’s Lore of Crafting bonus each turn. The duration of this effect is a number of days equal to the character’s reasoning rating.

Lore of Enchantment

Trinket Mythos Grade 1The character can alter the appearance and function

of any small, common item (such as a pencil, comb, or lighter) to that of another similarly-sized object with a successful creativity-based Lore of Enchantment task. This change is permanent.

Material Glamour Mythos Grade 2The character can alter the appearance of an object

to that of another object with a successful creativity-based Lore of Enchantment task. This change is purely illusionary and does not change its nature (a chair cannot move on its own like a car), foiled by viewing

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it on a video recording, photograph, or even through a mirror. The difficulty is based on the size of the object and its complexity. The duration is equal to a number of days equal to the character’s creativity rating.

Material Glamour DifficultiesPebble-sized Trivial

Book-sized Routine

Trunk-sized Complex

Oven-sized Challenging

Bed-sized Improbable

Truck-sized Impossible

Rounded or Smooth Edges +2diff

Extremely Colorful +4diff

Reflective +6diff

Self-Illuminated +6diff

Personal Glamour Mythos Grade 3The character can alter his own appearance, making

others believe that he is someone else with a successful creativity-based Lore of Enchantment task. This change is purely illusionary, foiled by viewing him on a video recording, photograph, or through a mirror.

Outward Glamour Mythos Grade 3The character can alter another person’s appearance,

making others believe that he is someone else with a successful creativity-based Lore of Enchantment task. This change is purely illusionary, foiled by viewing him on a video recording, photograph, or through a mirror.

Siren’s Call Mythos Grade 4The character can instill a compulsion in a mortal to

approach him with a successful creativity-based Lore of Enchantment task. Both the character and the target must be visible to each other. The compulsion is either out of duty to the character or of sexual attraction. Once the target has reached the character, the compulsion is gone and he may be confused regarding his actions. This can be contested by the target’s reasoning ability and composure bonus/penalty.

heaven’s Tone Mythos Grade 5The character can alter the apparent weather

conditions with a successful creativity-based Lore of Enchantment task. This is purely illusionary, but can act as a distraction to others, such as sun suddenly shining in one’s eyes.

resting Place Mythos Grade 5The character can put a willing mortal into a state

of deep hibernation with a successful creativity-based

Lore of Enchantment task. The target cannot move, appearing dead by even the most highly-trained doctor. This cannot be attempted in combat or stressful situations. The duration of the hibernation is a number of hours equal to the character’s creativity rating.

Lore of Essence

Piercing Essence Mythos Grade 1The character can focus his internal energies into a

piercing strike with a creativity-based Lore of Essence task. If successful, his damage from a single brawling attack is converted to injury during the current turn.

Inertial Feat Mythos Grade 2The character can focus his internal energies to move

faster with a creativity-based Lore of Essence task. If successful, the character can move an extra number of spaces equal to his Lore of Essence bonus during the current turn.

healing Essence Mythos Grade 3The character can focus his internal energies to heal

others with a creativity-based Lore of Essence task. If successful, the character can restore a number of lines of either fatigue or injury equal to his Lore of Essence bonus. This total can either be concentrated on one person or distributed among many.

Thunderclap Mythos Grade 3The character can focus his internal energies to release

a loud, booming sound with a creativity-based Lore of Essence task and punching attack. The attack need not be successful, but if the Lore of Essence task is, anyone within earshot must make a routine reasoning-based composure task to resist being surprised (this state of surprise makes them more susceptible to attacks for the remainder of the turn and the reaction task on the following turn).

Seizure Mythos Grade 4The character can focus his internal energies, project

them to others, and spring the power back to him with a creativity-based Lore of Essence task. If successful, he can trap an object or person in an elastic band of energy, propelling them towards himself. The character must either catch or dodge objects with an athletics task (adjust difficulty for size and bulk), or dodge or grapple people.

Suppression Mythos Grade 4The character can focus his internal energies and

project them to another Unbidden within two spaces,

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thereby scrambling their own energies with a creativity-based Lore of Essence task. If successful, the target receives a penalty on his lore tasks and cannot use his endowed gimmicks for a number of turns equal to the character’s creativity rating.

Explosive winds Mythos Grade 5The character can focus his internal energies and

project them at a target over a distance with a creativity-based Lore of Essence task. If successful, the target receives a number of marks of injury equal to the character’s Lore of Essence bonus. The difficulty is determined as if this were a thrown attack.

Kindle Mythos Grade 5The character can focus his internal energies and direct

them to ignite flammable material with a creativity-based Lore of Essence task. If successful, the target bursts into flames (use normal fire rules). The difficulty is determined as if this were a thrown attack.

Lore of Gentle Touch

way of the Owl Mythos Grade 1The character can move very quickly and quietly with

a successful fitness-based Lore of Gentle Touch task. All stealth tasks receive a bonus of -2diff and movement is increased by a number of spaces equal to the roll of one die for a single turn.

way of the wind Mythos Grade 2The character can allocate his weight, permitting him

to leave no trail and cause no pressure while walking on certain surfaces with a successful fitness-based Lore of Gentle Touch task. The difficulty is based on the type of surface.

Way of the Wind DifficultiesStone Trivial

Dry Dirt or Underbrush Routine

Mud Complex

Sand or Snow Challenging

Thin Ice Improbable

Water Impossible

way of the Cat Mythos Grade 3The character can assume a cat-like grace with a

successful fitness-based Lore of Gentle Touch task. All athletics tasks receive a bonus of -2diff and injury received from falling is reduced by half for a single turn.

Meld Mythos Grade 4The character can blend into crowds with a successful

fitness-based Lore of Gentle Touch task. He is considered to be hiding, and cannot be noticed or recognized by mortals when surrounded by at least ten people. This can be contested by an observer’s awareness ability.

Feathered rise Mythos Grade 4The character can levitate up to five feet off the

ground with a successful fitness-based Lore of Gentle Touch task. He can hover for a number of turns equal to his fitness rating.

Enigma Mythos Grade 5Mortals cannot remember what the character looks

like once they have left his sight with a successful fitness-based Lore of Gentle Touch task. They are completely incapable of describing his appearance.

Lore of harmonious Center

Vigor Mythos Grade 1The character can focus his internal energies into a

physical strike or feat of strength with a creativity-based Lore of Harmonious Center task. If successful, either his damage from a single close combat attack is increased by one mark or a single athletics task receives a bonus of -2diff during the current turn.

Tolerance Mythos Grade 2The character can focus his internal energies to

resist physical pain with a creativity-based Lore of Harmonious Center task. If successful, the character can ignore a number of penalties due to injury equal to his Lore of Harmonious Center bonus for a number of turns equal to his creativity rating.

For ExampleAndy’s Lore of Harmonious Center bonus is +2, so he can ignore up to +2diff in penalties that are caused by injuries he has sustained�

rooted Center Mythos Grade 3The character can focus his internal energies, rooting

himself to the ground with a creativity-based Lore of Harmonious Center task. If successful, he cannot be knocked down or overwhelmed during the turn.

Ukemi Mythos Grade 3The character can focus his internal energies to regain

balance once it is lost with a creativity-based Lore of Harmonious Center task (perform the task when his balance is lost). If successful, he can return to his feet by the end of the same turn in which he was knocked

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down or overwhelmed. His padding/armor rating is also increased by his Lore of Harmonious Center bonus when making an abatement roll for falling.

resilience Mythos Grade 4The character’s metabolism can be enhanced with a

successful creativity-based Lore of Harmonious Center task (perform the task when he is subjected to toxins and diseases). This makes him completely immune to poison and illness.

Expansive Center Mythos Grade 4The character can focus his internal energies to

unbalance an opponent who has grappled him with a creativity-based Lore of Harmonious Center task. If successful, the character receives a bonus of -2diff on tasks made to free himself.

rigidity Mythos Grade 5The character can focus his internal energies to firm

his muscles and better resist harm with a creativity-based Lore of Harmonious Center task. If successful, the character’s padding/armor rating is increased by his Lore of Harmonious Center bonus for a number of turns equal to his creativity rating.

Lore of Prestigious Air

Dogma Mythos Grade 1When the character makes a successful influence-

based Lore of Prestigious Air task, all mortals believe his every word for an entire scene. The only limitation is that the character must speak the truth. If he tells a lie or makes an inaccurate statement, each mortal present makes a reasoning-based composure task (contested by the character’s influence ability and Lore of Prestigious Air bonus/penalty); the character is no longer believed by those who succeed at the task.

Daunt Mythos Grade 2The character can panic mortals by his stare. If

looking at the character when an influence-based Lore of Prestigious Air task is made, a mortal must succeed at an improbable reasoning-based composure task to resist running away in trepidation.

Sway Mythos Grade 2The character can alter the emotional state of a

mortal with an influence-based Lore of Prestigious Air task contested by the target’s reasoning ability and composure bonus/penalty. Examples of this modification to a person’s mood include sad to happy, amiable to hostile, and angry to depressed.

Enthusiasm Mythos Grade 3The character can make a mortal more enthusiastic

about his current predicament and actions with an influence-based Lore of Prestigious Air task. This has the effect of increasing the target’s morale, providing a bonus of -2diff on his next composure task.

Decree Mythos Grade 4The character can issue simple verbal commands

to a mortal using face-to-face communication and an influence-based Lore of Prestigious Air task contested by the target’s reasoning ability and composure bonus/penalty. Orders that compromise the mortal’s physical health are ignored, but all others must be obeyed. Examples of use include “walk to the door” and “bring me the book.”

Earthly Entitlement Mythos Grade 5The character radiates an aura that negates suspicion

and irreverence with a successful influence-based Lore of Prestigious Air task. Mortals in direct contact with the character are incapable of arresting, attacking, insulting, discrediting, or even suspecting him even if guilty.

Lore of Providence

resonance Mythos Grade 1The character can use this lore to hear sounds well

beyond the range of ordinary hearing. An awareness-based Lore of Providence task is made to hear sounds that occur in a distant location within the human spectrum of sound. The difficulty is determined by the distance. The sounds remain audible until the character shifts attention back to his immediate area; the character cannot hear any sound where he is physically located while using this lore.

Resonance DifficultiesWithin Same State or Province Trivial

Within Same Continent Routine

Within Adjacent Continent Challenging

Other Side of the World Improbable

Imagery Mythos Grade 2The character can use this lore to see images well

beyond the range of ordinary vision. An awareness-based Lore of Providence task is made to see sights that exist in a distant location within the human spectrum of light. The difficulty is determined by the distance. The images remain visible until the character shifts attention back to his immediate area; the character

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cannot see anything where he is physically located while using this lore.

Imagery DifficultiesWithin Same State or Province Trivial

Within Same Continent Routine

An Adjacent Continent Challenging

The Other Side of the World Improbable

Material Existence Mythos Grade 3The character can gain a sense of the history of

an inanimate object that he holds in his hands. An awareness-based Lore of Providence task is made to experience a series of rapid visions that show past events in the existence of the object. This phenomenon lasts only one turn, but its effects are felt for several, providing a penalty of +2diff on all tasks for a number of turns equal to the roll of one die. Additionally, the difficulty of the task is determined by the age of the object. Even if the task fails, however, the character still witnesses visions going as far back as one year in the object’s life. The character can also witness past events in a person’s life in this manner; the difficulty is determined by the target’s current grade of mythos, however.

Material Existence DifficultiesUp to 1 Year No Mythos Routine

Between 1 and 10 Years 1 Grade of Mythos Complex

Between 10 and 100 Years 2–3 Grades of Mythos Challenging

Between 100 and 500 Years 4 Grades of Mythos Improbable

Between 500 and 1,000 Years 5 Grades of Mythos Impossible

Unfettered Senses Mythos Grade 4The character can see the true form of any illusionary

image by performing an awareness-based Lore of Providence task. The difficulty is equal to 8 plus the appropriate ability and pursuit combination for the original task creating the illusion.

Tongues Mythos Grade 4The character can speak, comprehend, and write any

language known to man with an awareness-based Lore of Providence task. This faculty remains in effect for a single scene. The character can also use this power to communicate with animals, but the difficulty is challenging for that use.

Material Trail Mythos Grade 5The character can sense the direction in which an

object can be found. The object must have been in his

possession for at least one day and out of his hands for no more than one month. The difficulty is determined by the length of time in which the character possessed the object. The direction to the object is known to the character once a successful awareness-based Lore of Providence task is made until he touches it. The character can also track a person in this manner; the difficulty is modified by the target’s current grade of mythos.

Material Trail DifficultiesMore than 20 Years Trivial

Between 11 and 20 Years Routine

Between 6 and 10 Years Complex

Between 1 and 5 Years Challenging

Between 1 Month and 1 Year Improbable

Less than 1 Month Impossible

No Mythos +3diff

1 Grade of Mythos +1diff

3–4 Grades of Mythos -1diff

5 Grades of Mythos -2diff

rend Mythos Grade 5The character can open a rend in nature, causing a

gateway to appear. This portal leads to another location with which the character is familiar and has previously visited. The difficulty is based on the distance and the rend remains open for one scene.

Rend DifficultiesWithin Line of Sight Trivial

Within Same City or Locale Routine

Within Same State or Province Complex

Within Same Continent Challenging

Within Adjacent Continent Improbable

Other Side of the World Impossible

Lore of Silent Contact

Empathic Touch Mythos Grade 1The character can sense the general emotional state

of another individual within sight with a successful awareness-based Lore of Silent Contact task. The character can also detect whether the target has any hostile intentions or other feelings towards him. Once this task has been performed successfully, the character receives a bonus of -1diff on all tasks involving physical contact with the target, whether conflict or comfort.

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Utterance Mythos Grade 2The character can transmit a simple telepathic message

to another individual within sight with a successful influence-based Lore of Silent Contact task.

Trespass Mythos Grade 3The character can read the surface thoughts of a

mortal within sight with a successful awareness-based Lore of Silent Contact task. Penalties sustained by the target due to dementia are applied to this task.

Bewilder Mythos Grade 3The character can implant random thoughts into

the mind of a mortal within sight with a successful influence-based Lore of Silent Contact task. As a result, the target’s next task receives a penalty of +2diff.

Torment Mythos Grade 4The character can implant terrifying and emotionally

upsetting images into the mind a mortal within sight with a successful influence-based Lore of Silent Contact task. This causes the target to receive a number of marks of dementia equal to the character’s influence rating.

Forge Mythos Grade 4The character can implant a false memory into

the mind of a mortal within sight with a successful influence-based Lore of Silent Contact task. Penalties sustained by the target due to dementia are applied to this task.

Vagary Mythos Grade 4The character can enter and manipulate the dreams

of a mortal within sight with a successful influence-based Lore of Silent Contact task.

Enslave Mythos Grade 5The character can implant his choice of personal

demon into the mind of a mortal within sight with a successful influence-based Lore of Silent Contact task.

Soothing Touch Mythos Grade 5The character can heal dementia in others by touch

with a successful influence-based Lore of Silent Contact task. The number of lines of dementia restored is equal to the character’s Lore of Silent Contact bonus. This total can either be concentrated on one person or distributed among many.

Lore of warding

Veiled Circle Mythos Grade 1The character can create a field of energy around

himself that makes all those enveloped invisible to people on the outside with a successful influence-based Lore of Warding task. The field’s radius is a number of spaces equal to the character’s creativity rating. Its duration is a number of turns equal to the character’s creativity rating. Whenever the character moves, the field moves with him.

Protective Circle Mythos Grade 2The character can create a field of energy around

himself that protects all those enveloped against lores used on the outside with a successful influence-based Lore of Warding task. Any lores that target those within the field are contested by the character’s influence ability and Lore of Warding bonus. The field’s radius is a number of spaces equal to the character’s creativity rating. Its duration is a number of turns equal to the character’s creativity rating. Whenever the character moves, the field moves with him.

Barrier Mythos Grade 3The character can create a field of energy directly in

front himself that acts as a physical barrier (full cover) with a successful influence-based Lore of Warding task. Whenever the character moves, the barrier moves with him. The barrier’s duration is a number of turns equal to the character’s creativity rating.

Siphon Mythos Grade 4The character can negate any lore task by contesting it

with his influence ability and Lore of Warding bonus.

Channel Mythos Grade 4The character can deflect injury directed at another

individual to himself with a successful influence-based Lore of Warding task. The source of injury is irrelevant, originating from a weapon or lore. The number of marks of injury that can be channeled in a single turn is equal to the character’s influence rating.

Sanctify Mythos Grade 5The character can remove all bacteria, viral strains,

and toxins from a single source of food or drink with a successful influence-based Lore of Warding task.

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Evil is described as something morally bad, wickedness, or a cause of suffering or illness. Most people living in today’s society assert that evils are committed by others just for the sake of doing evil. Unfortunately, such is not the case with the Darkness. How can it be when agents of dark intent see nothing wrong with their actions?

Others often claim that the presence of evil is an argument against the existence of God. For instance, the Christian God is supposed to be both loving and all-powerful, yet despite these characteristics, He seems to be unable or unwilling to prevent the countless acts of evil and innocent suffering in the world caused by the Darkness. This concludes that either God is not loving or not all-powerful, or that God does not exist. If He did exist, He could stop all the suffering. Like the very definition of the word evil, proving or disproving the existence of God based on evil’s propagation is difficult at best and sheer folly at its worst.

Evil and the Darkness as portrayed in the world of Unbidden act independently of religious dogma and convictions; they are not in any way related to the Biblical terrors that plagued mankind over two millennia ago. Some of the more righteous Unbidden may certainly believe the Darkness to be earthly manifestations of Biblical demons, but this is not truly accurate. The abyssal terrors that pour through this world’s inconspicuous gateways are inter-dimensional beings of great power, hunger, and deprivation. Whether they come from another world or another dimension is not important. What is important is that they are here to stay.

cHaracTerisTicsAgents of Darkness are creatures of shadow and

blackness, each a different substance and form. They are not like the demonic visages found in the Bible, with barbed tails; cloven hooves; horns; and red scaly, skin. They embody principles founded on specific proclivities, like discord, ignorance, fear, and hatred. Regardless of their physical makeup, most of the entities comprising the Darkness share similar characteristics.

For one, Agents of Darkness seek total control over their environments and promote patterns of behavior and emotion in a particular manner. They want these patterns to have the appearance of rising spontaneously from within the environment, and not as their supernatural orchestrations. The Darkness feeds on base human emotions, seeking to perpetuate them whenever possible. Many seem omnipotent, but this is yet another allusion.

Each Unbidden eventually comes to hold certain aspects of the Darkness’ nature and existence as truth. There are several assumptions that are held as canon when describing the characteristics of the Darkness.

•AgentsofDarknessare immortal,butnoteternal.They can certainly withstand inhuman amounts of physical trauma and seem impervious to physical attacks, but this does not mean that they cannot be banished entirely.

•AgentsofDarknessarepowerful,butnotomnipotentand thus are limited in their approach to dealing with the Unbidden. While an Agent can ruin a mortal on a whim, it cannot foresee nor necessarily prevent its own demise at the hands of a worthy opponent.

book three

Forces oF darkness

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•AgentsofDarknessareknowledgeableandpossessa keen intellect, but they are not omniscient. An Agent that has been around for thousands of years has much knowledge at its command, but that does not necessarily make it all-knowing of every earthly proclivity. Many Agents fail to understand the complexities of the human mind. This is understandable, since they only see mundane folk as food and toys.

•AgentsofDarknessareunchangingentitiesthatdonot mature physically or age as mortals do.

•All Agents of Darkness have a will of their ownand unique desires. This is the reason for there being no discernible hierarchy within the Darkness. Most seem determined to operate alone and become territorial. There are always exceptions, however, as Screamers and Hordes frequently hunt in packs.

•MostAgentsofDarknesshaveaphysicalpresence,capable of touching, moving, and affecting our world. They still operate from the shadows, however, masking their presence from mortal senses.

•The Darkness is comprised of evil, perverse, anddepraved entities. These are the very natures through which they have been hardened. Agents are wretched and miserable, having been separated from emotions like happiness, love, and passion.

•AgentsofDarknessareincapableofdoinggoodandcan never willingly perform a good deed, unless it is a deceptive means to an evil end.

MoTivaTionsIn a large sense, the Darkness can be described as the

sum of the opposition to the benign desires and needs of mortals. There is no aspect of human life in which its presence is not felt. The discrepancy between what is and what ought to be has served to hide their presence from billions of people.

The Darkness’ motivations stem from performing acts of physical evil that cause harm to mortals. These acts can take the form of bodily harm, thwarting their dreams, or preventing the full development of their abilities. The manifestation of these acts can be physical (sickness, accidents, and death) or social (poverty, oppression, and prejudice). The ultimate result of these acts is what the Darkness seeks—mental illness, anxiety, and stress.

scHeMesAgents of Darkness are tempters. They seek to lead

mortals into evil and misery. They are not necessarily drawn toward people of exceptional evil, however. Their victims come from all walks of life and live different lifestyles. Corrupting or tormenting someone who already possesses immoral proclivities is an easier task, but the Darkness’ influence knows no bounds.

Once an Agent of Darkness marks someone as a target, it often focuses on that individual’s weaknesses via his dreams or emotional yearnings. The Darkness’ schemes are very subtle, never making their presences known unless warranted by extreme circumstances.

Once a person has become host to an Agent of Darkness, his base emotions are exaggerated and amplified—a victim may become more fearful over the course of days or months, until he is finally pushed to the edge of paranoia. Some might experience a developing rage, growing in intensity until they explode into a killing rampage. Others grow catatonic as their once-harmless bout with depression strangles them from within. Once the Agent has pushed a mortal over the edge, it moves on to the next victim. Agents of Darkness sometimes continue to haunt victims, feeding on their emotions or others also affected by them.

When the Darkness targets exceptionally upright and moral people, their own set of lores are tapped to create moral weaknesses in victims that can be further exploited. An Agent of Darkness particularly enjoys causing the embarrassing and often devastating fall from grace, destroying personal lives and credibility in the process.

agenTs as cHaracTersAgents of Darkness possess abilities, pursuits, and

lores just like regular Unbidden characters. While they cannot gain fatigue or dementia, injury and mythos are utilized to track their health. Because of their very nature, Agents can only be non-player characters.

Mythos of DarknessFor the Agents of Darkness, Mythos represents

malevolent energy rather than a connection to the Secret Stories. The use of mythos by the Unbidden and Darkness both stem from the same source, but like everything else in reality, one’s perception determines how that source is used.

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An Agent’s Mythos is replenished by feeding on the dementia of mortals. For every mark of dementia that an Agent witnesses being inflicted (after an abatement roll), they receive one mark of mythos. Dementia is a vicious cycle—as a mortal reaches closer to madness, the Darkness becomes stronger; as the Darkness becomes stronger, mortals are in even more danger of being driven mad. Once an Agent’s mythos reaches five grades, he no longer needs to feed off dementia, but mythos decreases by one line every week. Agents do not make abatement rolls for mythos, so creed is ignored. Their thresholds for mythos vary by type, however.

Banes of DarknessAgents of Darkness, like Unbidden, can possess

special gimmicks specific to their evil natures. These are known as bane gimmicks. A list of the banes are provided later in this chapter.

Lores of DarknessAgents of Darkness have access to several lores of

their own. These are quite different from those taught to the Unbidden, since they are intended for more sinister purposes. Each lore utilized by the Darkness produces only one effect and the Agent’s current grade of mythos typically defines it power. These lores can also be acted upon as tasks at any time during a turn; these are considered passive in nature and do not interfere with an Agent’s ability to perform other actions in a given turn. A list of the lores are provided later in this chapter.

Agents of DarknessThe following Agents represent the most dangerous

types encountered by the Unbidden. They are not to be underestimated. Even without their powers, Agents have no morals or ethics, giving them much greater freedom to act than mere human threats.

Any mortal that witnesses the effects of an Agent’s lore task or bane gimmick gains a number of marks of dementia equal to half the roll of one die. Unbidden are partially immune to such activity, so the amount of dementia they receive is always one mark. If a bane or lore causes dementia, it is inflicted separately.

FamiliarsFamiliars are impish creatures that influence mortals

interested in learning the fabled black arts of witchcraft and sorcery. Familiars adopt human forms augmented with animal aspects (like wolf ears or scaled skin), pretending to befriend their victims. Since the Darkness

does not imbue or lend powers to any mortal, Familiars delight in making them believe that their powers are now a mortal’s own. They are mischievous scamps who promise unbridled power upon swearing a blood oath and performing sacrifices to the Darkness. Once bound by the oath, the Familiar slowly consumes and corrupts the soul of the mortal until he is either overcome by dementia or death.

FiendsFiends come in all shapes and sizes, serving as the

backbone of the Darkness’ army in any form needed—from an animal to an employer or even inanimate objects. They delight in propagating mortal violence and the misery that typically follows, but do not operate in the open. They prefer to control their victims under cover of shadow and darkness. The form in which they choose to manifest typically embodies the emotions that they most enjoy. For instance, one drawn to jealousy could manifest as forbidden love letters, mysterious night-time strangers, or even a spouse’s ex-lover.

hordesHordes are monstrosities that commonly plague

sites in which large-scale violence and destruction once occurred. They are also a common cause of these events, stirring negative emotions and instigating discord. Hordes are so hideous in appearance that they often mask themselves as frail and infirm drifters that aimlessly wander the streets and alleyways. Their sickly facades belie their true power as harbingers of death and wretchedness.

IncubiIncubi are unique in that they use only a single

emotion to get their way —lust. An Incubus can either assume a male or female appearance, but always one of great beauty. They are masters of seduction and all the pains associated with love and lust. Incubi especially delight in making marriages and unions fall apart by tempting one or both members into adulterous affairs. They have also been known to topple entire countries and corporations through their lustful machinations.

KinderThese entities, as their name implies, masquerade

as small children who are in danger, alone, scared, or otherwise in need of assistance. They rely on their victims’ feelings of sympathy and sadness to fuel their powers, and are extremely weak compared to other

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Agents. A Kinder’s real strength is the need in mortals to come to the aid of the innocent. They go out of their way to remain in the presence of a caregiver only to make them sick with worry, anxiety, and fear. They commonly plague shopping malls, playgrounds, and fair grounds.

nightmaresNightmares are Agents that make their presence

felt solely through a mortal’s dreams. Because of this, they are some of the most difficult entities to hunt and defeat. Indeed, there has been no record of any Unbidden defeating a Nightmare, merely annoying it enough to abandon a victim.

Plague-BearersPlague-Bearers are a unique type of Agent that spread

disease and pestilence in order to satiate the hunger for human emotions. There have been several devastating plagues throughout the course of human history and all are thought to be the handiwork of Plague-Bearers. Like Fiends, these Agents assume a form that resembles a specific concept. Some of those responsible for spreading the Black Death, for instance, appeared as walking corpses, littered with black, puss-filled sores.

ragersRagers are mindless beings that do nothing but

kill and feed on the resulting emotions of survivors. Their evil is channelled only into violence and their actions seem almost instinctive. Unlike other Agents of Darkness, these entities often travel in packs. They are a curiosity to the Unbidden, since their actions are very different from other Agents.

ScreamersUnlike the other Agents of Darkness, Screamers are

human. More accurately, they are rogue Unbidden who have either been unable to come to terms with their new Reality or refuse to believe the Secret Stories. They wash away their fears and anxieties in a hazy sea of vices. Most are raging drug addicts, hell-bent on taking their aggressions out on other Unbidden. Screamers are dangerous since they are indistinguishable from common folk. They can be created normally, just like other Unbidden characters. Screamers should have several temptations and triggers as personal demons. Since they have abandoned their brethren, however, personal demons associated with sects can be ignored unless if fits a back story used to introduce the Screamer as a nemesis for the characters.

Agents of Darkness

Familiars Fitness Awareness Creativity Reasoning Influence 4 6 1 5 5Pursuits: Reverie (+1), Scry (+3), Dreamsend (+1),

Hardening (+2), Brawling (+2), Stealth (+3), Negotiation (+3), Performance (+3)

Gimmicks: Natural Weapon (Claws: +1inj), Bounding, Shade, Undark, Renewal

Injury Armor: 1 mythos Bruised Sprained Wounded Maimed Incapacitated

Fiends Fitness Awareness Creativity Reasoning Influence 5 6 2 5 6Pursuits: Absence (+3), Cloud (+3), Scry (+1),

Hellfire (+2), Athletics (+2), Negotiation (+2)Gimmicks: Natural Weapon (Claws: +1inj), Emanations,

Intincts, Unpresence, UndarkInjury Armor: 1 mythos

Bruised Sprained Wounded Maimed Incapacitated

Hordes Fitness Awareness Creativity Reasoning Influence 3 4 0 3 5Pursuits: Chilling Touch (+3), Craze (+3), Absence (+2),

Cloud (+2), Scry (+2), Meddle (+3), Melee (+2), Brawling (+3), Performance (+2), Intimidation (+2)

Gimmicks: Renewal, Unlife, Fearsome (3), Fortitude (2)Injury Armor: 4 mythos

Bruised Sprained Wounded Maimed Incapacitated

Incubi Fitness Awareness Creativity Reasoning Influence 3 5 3 5 5Pursuits: Chilling Touch (+1), Absence (+2),

Dreamsend (+3), Athletics (+2)Gimmicks: Emanations, Airs, Shade, Undark, Alluring (4)Injury Armor: 2 mythos

Bruised Sprained Wounded Maimed Incapacitated

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FatesFates deserve special mention, because they are some

of the most powerful beings aligned with the Darkness. Fates should rarely, if ever, be introduced into a new story with fresh characters. These Agents are enigmatic and highly evolved; they are truly alien in their thought processes and motivations. Fates are quite perplexing to the Loremasters, who wonder and debate why they have not made bolder strides to completely and utterly destroy humanity. Their powers would easily allow them to do so.

Some suspect that the Fates are planning a final conquest and the horrors that currently threaten the world are simply here to soften the mortal world for the final blow. Others believe there is a definite hierarchy to the Darkness and the Fates call the shots. Whatever their motivations, Fates are terrible and awe-inspiring creatures with the inhuman ability to obliterate anything that gets in their way.

If the machinations of a Fate are pitted against the characters, such an experience should be extremely vicious, both physically and mentally. In fact, a Fate should not even be utilized as a character. Forget the abilities and pursuits, and use the Fate simply as an element of the story, propelling it along as needed and motivating the characters to act. Since Fates are incredibly powerful, they can pretty much do whatever they want. The characters should always have a chance, however, no matter how slim it may be.

banes oF darkness lisTAirs

The character can defy the laws of gravity, levitating short distances (the same distance as walking), or clinging to walls and ceilings.

BoundingThe character can leap great distances with little

effort. Roll a number dice equal to the character’s current mythos grade and add the sum to his jumping distance on each instance.

EmanationsThe character can emit a particularly terrifying

growl, scream, or shriek. Anyone who witnesses this emanation must make a creativity-based composure task or receive a number of marks of dementia equal to the character’s current mythos grade.

More Agents of Darkness

Kinder Fitness Awareness Creativity Reasoning Influence 3 4 2 4 4Pursuits: Cloud (+2), Pestilence (+2), Swarm (+2),

Insomnia (+1), Terrors (+3), Spoil (+2), Performance (+3)

Gimmicks: Shade, Soulless, Weak (1)Injury Armor: 2 mythos

Bruised Sprained Wounded Maimed Incapacitated

Nightmares Fitness Awareness Creativity Reasoning Influence 3 6 4 5 7Pursuits: Chilling Touch (+1), Reverie (+2), Scry (+3),

Swarm (+2), Dreamsend (+3), Sleep (+3), Hardening (+2)

Gimmicks: Airs, Unpresence, Undark, Fortitude (3)Injury Armor: 4 mythos

Bruised Sprained Wounded Maimed Incapacitated

Plague-Bearers Fitness Awareness Creativity Reasoning Influence 2 5 1 4 5Pursuits: Paralysis (+3), Pestilence (+3), Pleasures (+2),

Swarm (+3), Decay (+2), Hardening (+2), Spoil (+3), Brawling (+2), Melee (+2)

Gimmicks: Emanations, Undark, Fortitude (3)Injury Armor: 3 mythos

Bruised Sprained Wounded Maimed Incapacitated

Ragers Fitness Awareness Creativity Reasoning Influence 8 4 0 1 4Pursuits: Hardening (+2), Hellfire (+3), Pleasures (+2),

Brawling (+3), Athletics (+3)Gimmicks: Bounding, Emanations, Renewal, Soulless,

Unlife, Fearsome (4)Injury Armor: 5 mythos

Bruised Sprained Wounded Maimed Incapacitated

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InstinctsWhenever the character is within five spaces of an

Unbidden, he gains a bonus of -1diff on all reaction tasks. This bonus is cumulative for multiple Unbidden, up to a maximum of -4diff.

renewalThe character can regenerate its injuries through its

own mythos. For each mark of mythos sacrificed, the character restores one mark of injury.

ShadeThe character can blend into dark and shadowy

backgrounds, becoming completely invisible to everyone else. This cloak last until the character moves.

SoullessThe character can steal the life essence from a victim

by touch. For each mark of mythos sacrificed, the victim receives one mark of absolute fatigue.

UndarkThe character does not receive penalties due to poor

lighting or complete darkness.

UnlifeThe character’s mythos is decreased by one mark for

every failed lore task or when overwhelmed by injury.

UnpresenceThe character can mask himself from human vision

and video equipment, but not animals, children, or those with at least four grades of dementia. The character effectively turns invisible for as long as he desires. If he attacks someone, he immediately becomes visible to that person, but not any others.

lores oF darkness lisTAbsence

The character can create an aura around itself with a successful influence-based absence task. The radius of the aura is a number of spaces equal to double the character’s current mythos grade, and the duration is a number of hours equal to the roll of one die. Any mortal or Unbidden within this area must make a successful reasoning-based composure task or receive a penalty on all tasks. This penalty is equal to +1diff times the character’s current mythos grade.

Chilling TouchThe character can inflict injury on a victim simply

by touching him and with an influence-based chilling touch task. While the touch is painfully cold, the actual

damage is supernatural in nature. The number of marks of injury inflicted is equal to the character’s current mythos grade.

CloudThe character can create and control a thick cloud-

like mist of pure blackness with a creativity-based cloud task. It can fill a radius as large as the character’s current mythos rating in spaces. The cloud dissipates after a number of turns equal to double the character’s mythos rating. Traditional light sources cannot pierce this darkness and anyone operating within its dark embrace suffers from the normal penalties associated with poor lighting.

CrazeThe character can put himself into a frenzied state,

committing gross violence and generating gore. A bonus is applied to all of the character’s fitness tasks with an awareness-based craze task. The bonus is equal to -1diff times the character’s current mythos grade. The bonus lasts for a number of turns equal to his reasoning rating, after which the character receives a penalty of +2diff on these same tasks for a number of turns equal to the roll of one die.

DecayThe character can causes a victim’s body to decay.

This requires the victim to be touched as well as a fitness-based decay task. After an initial turn of seeing no apparent effect, the victim receives one mark of injury per turn, eventually dying unless he can be healed by Unbidden lores. The physical decay is very obvious, as parts of the body slowly take on the appearance of charcoal. Anyone witnessing this transformation receives one mark of dementia.

DreamsendThe character can communicate with a victim

directly through his dreams. This is not used to scare a victim into submission, but as a preferred method of communication with folk under the influence of a Familiar, Nightmare, or Incubus. Once an influence-based dreamsend task is made to contact a victim, the character can communicate with that victim in this manner without further need of a task.

hardeningThe character can temporarily increase his armor

value with a successful fitness-based hardening task. The increase is an amount equal to his current mythos grade for a number of turns equal to the roll of one die.

Unbidden & Forsaken 118

hellfireThe character can project balls of fire at a target with

a successful fitness-based hellfire task. The difficulty is determined by the range to target as if the character were throwing a weapon. Roll a number of dice equal to the character’s current mythos grade. The sum of this roll determines the number of marks of injury.

InsomniaThe character can prevent a victim from sleeping

with an influence-based insomnia task. If successful, the victim remains awake for a number of days equal to double the character’s current mythos grade. The victim receives one mark of fatigue for every two hours beyond the first day that he remains awake and one mark of dementia for each day.

MeddleThe character can corrode a metal-based structure or

object by touching it and with a successful influence-based meddle task. If used against something the size of a cup, weapon, or lamp, it disintegrate in two turns, often taking the appearance of metal shavings let loose from a magnet. Larger items, up to a car in size, require approximately thirty to sixty minutes.

ParalysisThe character can paralyze a victim’s limb by

touching it and with an influence-based paralysis task. If successful, the paralysis lasts for a number of turns equal to the character’s current mythos grade. The victim receives a penalty of +4diff on all fitness-based tasks while paralyzed (or more if dependent on that part of the body).

PestilenceThe character can induce a victim with a dreadful

disease merely by looking at him and with an influence-based pestilence task. The director should use his best judgment when applying the effects of the disease (fatigue, injury, dementia, penalties, etc.). Since this disease is supernatural in nature, traditional medicine cannot treat it, nor is it contagious. Anyone infected in this manner can only be healed with Unbidden lores.

PleasuresThe character can take great pleasure in any pain

that it feels. A successful fitness-based pleasures task allows the character to convert penalties due to injury into bonuses for a number of turns equal to his current mythos grade (a penalty of +2diff from injury becomes -2diff, for instance).

reverieThe character can take control over a mortal’s body,

allowing him to shut down essential organs, causing a painful death or merely animate the person. This requires an influence-based reverie task that is contested by the victim’s awareness ability and composure bonus/penalty. If successful, the character gains complete control over the victim’s body while the latter watches, unable to interfere. The control lasts for a number of turns equal to the character’s current mythos grade.

ScryThe character can detect Unbidden who have been

rendered invisible or masked from normal sight/sound with a successful awareness-based scry task. This power of observation lasts for a number of turns equal to double the character’s current mythos grade.

SleepThe character can cause a mortal to fall asleep in

whatever position he is currently (remaining standing or crouched, for instance). This requires a successful influence-based sleep task that is contested by the victim’s fitness ability and composure bonus/penalty. The victim remains asleep for a number of turns equal to double the character’s current mythos grade.

SwarmThe character can summon a swarm of small, shadowy

sprites to encircle a victim with a successful influence-based swarm task. They appear from the shadows, releasing a flood of incorporeal shapes. These imps cannot be attacked by physical means, nor can they cause physical harm. Instead, they annoy, distract, and hamper their victims, who receive a penalty of +3diff on all tasks and are prevented from aiming ranged weapons. The imps dissipate in a number of turns equal to double the character’s current mythos grade.

TerrorsThe character can cause a victim to experience

disturbing dreams on a nightly basis. A successful influence-based terrors task marks a victim for this affliction, which does not cease until the character stops it or is killed. The victim receives one mark of dementia immediately after he awakens.

SpoilThe character can cause all foodstuffs within five

spaces to instantly rot with an influence-based spoil task.

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There are two ways to launch into an Unbidden story—either assume that the characters have already come to terms with their new lives or begin play as they descend into the initial madness and final revelation.

At its core fundamental, this setting is about the characters and their newly discovered powers and personal goals. Thus, it makes sense to give players the option of exploring the human condition and what it means to transform from a mortal into something not-quite human. This is facilitated through two concepts that deal with personal conversion—metamorphosis and transformation.

Metamorphosis is about change on a physical and emotional level. The change occurs when Unbidden accept the Secret Stories. Despite traditional thinking, this metamorphosis is not the result of any sort of curse, but a device that salvages characters from their basic instincts. Knowing the Truth and undergoing this necessary change means that they can actually do something about the Secret Stories.

This change illustrates a character’s gradual conversion from mortal to Unbidden. It begins as a mystery:

•Whyarethey changing?•Didthey do something wrong?•Arethey losing sanity?Until a character realizes the full extent of his change,

he is likely to seek a way to stop or reverse it. Throughout the process, players should be made to understand that their characters are becoming burdened by their new status. The director must make the characters’ lives complicated by their new responsibilities and failings. In other words, Unbidden can never hold down real jobs and usually lose their friends and families. Once the Darkness learns of their existence, characters are

also unable to operate within the normal boundaries of society. While there is a way for a character to solve this predicament, it involves even more sacrifice through an acceptance of drastic change in his life.

Human beings always try to understand their identities and purposes in life. Sometimes discoveries are horrifying, especially for the Unbidden, since those answers involve the Darkness and its agents of evil that manipulate reality. Thus, a mental transformation must occur, requiring the characters to search for more information that can shed light on their new identities, reconciling the Truth with their own beliefs. This often forces them to explore the darkest recesses of the human psyche. The director should continue to concentrate on the nature of change and how it affects characters throughout this part of the experience.

The climactic element of this descent involves a clarifying incident that represents the final transformation. The characters finally understand the true nature of their experience and how it has affected them. This point marks the true beginning of the story involving the Unbidden. The following is one such example of this transformation.

Michael Archer is a father and husband who works as a press-relations specialist and editor for a consumer advocacy group. Life is great for Michael Archer; he has a nice house in the suburbs, beautiful wife, healthy and happy child, and great job. It is the embodiment of the great American Dream.

Michael begins to experience vivid, reoccurring nightmares. These dreams are so terrifying that it starts affecting his daily life. Michael is afraid to sleep at night, and his personality changes as he grows despondent, weary, and fearful. Michael’s family, friends, and co-workers grow concerned. His wife suggests therapy and his boss calls him in for a talk about doing better at work.

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As time passes, Michael begins to experience what he thinks are psychotic delusions. Fleeting glances of dark shapes in the shadows haunt him at first, followed by sounds of faint whispers and a sense that he is being watched. This is the Darkness creeping into his life. In Michael’s case, it is a Nightmare haunting his dreams and feeding not only on his fear, but also the fear that his family experiences as they see his downward spiral of mental, physical, and social acuity.

Such a situation would normally continue at the whim of the Nightmare, typically beyond Michael being committed, suicidal, or homicidal. Fortunately, Michael is predestined for a greater purpose and chosen to receive the knowledge of the Secret Stories. Thus begins his physical metamorphosis. Now Michael can see and hear things that ordinary men cannot.

Michael eventually faces that which has been haunting him. The Nightmare realizes that its presence has been identified and becomes fearful since this is not a usual phenomenon. Because of this, Michael is likely to be attacked. As the Nightmare musters its power, however, Michael discovers his own strange but subtle powers. Over time, these become more powerful and overt.

Michael now thinks that he has gone completely mad and must make a choice—either embrace what has happened to him and learn more about it or deny all of it, wallow in self-pity, and grow bitter for what has been taken from him. Michael begins the transformation from mortal to Unbidden.

Choosing to embrace his new identity typically means obsessing over the object of his terror in order to eliminate it and return to a normal life. Like others before him, this is the turning point for Michael. People begin to look at him differently and feel uncomfortable around him. Most importantly, however, Michael’s own enigmatic and desperate actions isolate him from normal society.

The confrontation with the Nightmare, coupled with learning of his new station in life, is a final clarifying incident that provides Michael with a true purpose and understanding of what he has become. Michael is now ready to face his new life—at the very least, accept that his survival relies on his acceptance.

PloT THeMesThe following themes lend themselves nicely to the

mood of Unbidden. Bear in mind that recurring themes are perfectly acceptable, as long as each occurrence introduces a new and interesting twist.

revengeThis concept pits the characters against a foe that

has seriously wronged them, a family member, or other Unbidden group with which they are allied. The characters are forced to take matters into their own hands. Examples include:

•Dispensing street justice to a drug dealer whomurdered a loved one.

•TrackingdownanAgentofDarknessthatcausedacomrade-in-arms to go insane.

•Planting drugs or otherwise framing a rogueUnbidden who injured a Loremaster.

The characters should always be at the heart of such a story and more than likely, forced to resort to vigilante-style justice. Attention must also always be given to the victim(s) of the crime. While the victim is an expendable plot element, it is also an important one, acting as the catalyst through which the plot unfolds. If the proper emphasis is not placed on the victim, the characters cannot justify hazardous behavior. Because Unbidden are perpetually ignored or berated by the very people they have been charged to protect, they need really good motivation to avenge someone. Motivating an Unbidden can be difficult for the director. The cries of justice, a glimmer of hope, threats to themselves, possible harm to children or the elderly, and indoctrination of the mentally handicapped are just a few examples of the necessary emotional stimuli needed to get Unbidden characters involved.

rivalryThe Secret Stories are filled with rivalries between

Unbidden and their dark foes. Establishing such a conflict and struggle is paramount for this concept. Rivalry is perfect for providing continuity in long-term sagas. It can pit the characters against reoccurring foes that compete for the same goals, provide the foundation for a dispute against the prominence or superiority of another, or encompass two groups seeking the same objectives using very different means.

Adversaries are relatively unequal in terms of strength and resources. While the characters may have strength in numbers and a diversity of powers, their single inhuman foe could have powers of its own and a ferocity that is unmatched by any human antagonist. Accordingly, the strength of the characters should constantly be tested as they attempt to usurp their rivals. They will probably be victorious in some situations, while their foes will be in others. It is through this constant pendulum swing

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that the characters are sure to always remain sharp. The struggle between the characters and their foes is one of inversely proportional achievements—as one side rises, the other falls. Without struggle and conflict there can be no rivalry, and success without challenge is not a true victory.

QuestsQuests should always be epic in scope, even facilitating

a series of stories. Quests can have many twists, turns, and unexpected challenges. They encompass the characters’ search for either something tangible (a person, place, or thing) or intangible (knowledge, understanding, or realization). Quests center around the characters more than the plot itself, as their search reflects heavily on their beliefs and values, sometimes even altering them in some way.

The director can easily base a story around the desires of the players and the directions in which they would like to see their characters advance and develop. Some may wish to find a way to return to a normal life, ultimately accepting that it is not possible. Others may have grander aspirations, like ridding the entire world of the Darkness’ influence or amass enough power to obtain prestige among their kind. Whatever the case, the characters should each find themselves changed in fundamentally different ways at the end of the story.

Action is typically non-stop during quests. The characters should be constantly on the move, searching for the object of their quest. They learn something about the world and themselves in the process —the characters may know what their goal is, but not what truly awaits them if it is achieved. The plot is about the characters, so their development is more important than the target of the quest itself.

Action-AdventureUnlike the quest, action-adventure revolves around

daring-do. Instead of focusing on the characters during their journey, action-adventure stories concern themselves with the actual excursion and all the excitement it entails. This turns into a descent into the unknown. Examples include:

•BattlingHordesandFiendsindarkalleys.•UsurpingFatesfromtheirshadowythrones.•Laying waste to mortal communities that have

been completely infested by the Darkness.•Investigating hidden enclaves of the Darkness in

faraway places.

Events and locations need to be plotted beforehand, so that both elements are dangerous and awe-inspiring, whether that awe is unbridled terror, macabre fascination, or wondrous enthrallment. These elements must be present to further the story through continuity and logical progression, and not just there for the sake of it. While characters can enjoy the events for the action they bring, cause and effect should exist. Since the characters are important to the story, there must be a correlation between their actions and the plot. For instance, if the characters are exploring sewer tunnels beneath the city, there must be a logical reason for it.

When mapping the locations and journey, create as much detail as possible. It is the little details that make action-adventure what it is—a thriving, living character in its own right. Details provide the players with unparalleled immersion. It gives them the impression that the world in which their characters exist is a real place—one populated with individuals who have their own agendas and motives, and one that continues to evolve regardless of what the characters do.

PursuitPlaying the victim can sometimes be an exhilarating

test of cleverness, cunning, and nerve. Unbidden almost constantly look over their shoulders or at least keep a keen eye on their surroundings, since one never knows when the Darkness will strike. While playing the victim can get tiresome after awhile, eluding capture is exciting when used in moderation.

The chase is just as important as the people who take part in it. Pursuits rely heavily on dramatic twists and reversals, and the stakes are always high. For the Unbidden, surviving pursuit and turning the tables on their hunter can mean the difference between life and death. Pursuits also rely on copious amounts of tension. After all, how exciting can a chase be if the pursued get too far ahead of their pursuers?

If the characters are being pursued, it is very easy to make this tension a focal point of the story. As they attempt to elude a foe bent on killing them, the tension should increase as the pursuer gets closer. When they try to give their pursuer the slip, the characters find that he cannot be shaken from their tails. Tension is very effective and at its greatest just before capture seems inevitable. The inevitable is somehow foiled and the tension is released, whether only temporarily or at the climax of the story. This works just as effectively if the characters are the pursuers.

Unbidden & Forsaken 122

Pursuits should always be unpredictable. Enough surprises prevent the players from predicting what happens next. Cliches can ruin a pursuit, but also work well in moderation by applying new twists to them. Ultimately, a pursuit should have a real danger of the pursued getting caught and the pursuer should have a reasonable chance of catching them.

More on deMenTiaOnce a character has gained five grades of dementia,

he immediately panics. If further dementia is inflicted on the character regardless of the outcome of an abatement roll, he develops a mental illness and his dementia is reduced to four grades.

The new mental illness can either be the focus of the current scene, taking priority over all other events, or manifest slowly and in very obvious ways, often interfering with the tasks at hand. While the former method is the most obvious and shocking, the latter offers more in the realm of character development and story potential. It may also prove to be more interesting as the other characters experience an epiphany at a later time, realizing just how powerful the source of the shock really was. Recognizing the character’s patterns of behavior that lead to his illness only after it is too late can lead to their own dementia gain due to extreme guilt or depression. Such is life—a vicious cycle of cause and effect.

Mental illnesses can be very debilitating to a mortal, but for Unbidden, they are even worse. The exact nature of a mental illness is left to the discretion of the director, but the following examples illustrate just how devastating they can be. It should be assumed that the defined value for any gimmick requiring one can be whatever caused the mental illness unless otherwise stated.

AmnesiaSome horrors are not meant to exist. There eventually

comes a point when the psyche is overwhelmed with harmful memories and impulses. In order to maintain a grasp on reality, the psyche either blocks access to or completely erases all traces of the source of turmoil. Characters with amnesia are not able to recall memories associated with the events leading up to the onset of dementia. The victim of this illness gains the amnesia gimmick. Hypnosis and some endowments may be able to uncover the memories, but this would probably create even more issues, such as further dementia.

AddictionDrugs and alcohol may not solve all problems, but

they can at least numb them for awhile. A character with this illness gains the temptation gimmick. He turns to some form of addictive substance in order to relax and forget all the horrible and irreconcilable images in his head.

AnxietyNever approach the Darkness. A character with this

mental illness is uneasy when attempting new tasks. This is a result of his past actions that seemed to bring only dire consequences. The victim with this illness gains the fear (tasks never before attempted) gimmick.

DepressionWhy bother? A character with this mental illness has

given up on life. He has difficulty getting out of bed and performing any sort of laborious activity. The victim gains the sloth gimmick.

InsecurityOnce they know you are crazy, life is over. A character

with this mental illness has come to the realization that if he ever speaks about the situation that caused his dementia, he will be institutionalized. As a result, he never speaks about it to anyone—not even to other Unbidden. The victim gains the secret gimmick.

Multiple PersonalitiesSometimes the only way to deal is to hand your

problems over to someone else. A character with this mental illness gains a split personality. A new character (or characters) must be created by the director and hidden from the player. The character begins suffering from blackouts, missing time, and feelings of deja vu. In actuality, these are caused by the actions of his other selves as portrayed by the director.

night TerrorsReal scares never fade. A character with this mental

illness experiences terrifying nightmares that replay the events leading up to his breakdown. The director should apply a penalty of +2diff on all tasks attempted by the character for a few hours after he wakes. Should anything happen to the character that even slightly resembles what was in his nightmares, he gains 2dem.

PhobiaPhobias hold us back. Whatever event or entity sends

a character over the edge manages to burn itself into his psyche. The victim gains the fear gimmick.

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rageSome people lash out when frightened. The cause of

a character’s dementia has buried deep into his psyche, creating an irrational loathing and desire for violence. The victim gains the trigger gimmick.

Using loreMasTersLoremasters function as mentors and advisors. They

should never really be used as primary characters in Unbidden stories. Quite simply, a Loremaster would never be put on the front lines. Doing so, could jeopardize everything, since one less Loremaster means one less person to analyze the Secret Stories and one less person experienced enough to train new Unbidden.

Loremasters work much better as father-figures to the characters. They can direct the actions of those whom they train and influence other Unbidden, who would view them as wisemen. Loremasters are a prop—a way for the director to keep their players on track. If a group strays from what is expected, for instance, a Loremaster can contact them or arrive with new orders.

Loremasters also make for great plot hooks. The occasional Loremaster goes missing or must be contacted to forge a new alliance. Loremasters should be an important part of the game, but not the most important part and not important all the time.

gangs, coaliTions, and PacksIt is not uncommon for Unbidden to form gangs of

the willing. A group that is ready to fight the Darkness on a moment’s notice and fend for each other on the streets is a great asset. Such a gang can also attach itself to a territorial Loremaster, who would visit them sporadically to provide guidance and new information.

Many gangs also form coalitions with other gangs, typically those from nearby neighborhoods. There have also been known to be coalitions between gangs from different cities. These coalitions harbor the Loremasters and guard them from harm.

Beside the Darkness, there are also threats from rogue Unbidden who travel in packs to capture and torture Loremasters, hoping to learn their secrets. These packs are extremely brutal and willing to kill anyone who prevents them from achieving their goals. They have no moral restraints. After facing one of these packs, fledgling gangs seek out coalitions simply for their own protection.

Players may also decide to let their characters fend for themselves, joining other groups only when necessary for their survival or when it suits them. These characters are completely acceptable as long as the director can maintain a reason for all the characters to remain united during a story.

Unbidden & Forsaken

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