Most of the information presented in a creature's stat - block is self-explanatory, and matches the statistics of hero - player characters. However, a few differences are worth - noting. (Playtest note: Right now, creatures are color - coded, but this won't be the only way we indicate different - features.Icons are coming too. What are presented in this - packet are temporary playtest stat blocks until we get real - layout.)
---FOR THE DIRECTOR The information in this Bestiary - playtest packet is for the Director, and all references - to> “you” in the packet refer to the director. If you're - a player who isn't planning on also running games, you - should> stop> reading now so your foes' abilities - remain a surprise .
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If a creature knows at least one language, their stat - block has a Languages entry that shows the languages they - know.Creatures who don't know any languages don't have this - entry.
-Each creature has one or more keywords. These keywords - don't necessarily mean anything on their own, but special - rulesmight apply to them. For instance, a creature with the - Goblin keyword benefits from and can contribute to goblin - VillainPower abilities (see below).
-Each Director-controlled creature has an encounter value - (abbreviated EV) that is used in building encounters. - SeeEncounter Building for more information.
-When a Director-controlled creature makes a free - strike,they don't roll. Instead, their stat block features - a Free Strike stat representing the amount of damage they - deal with a melee free strike with a distance of reach 1 or - the creature's signature action, whichever is higher. This - is also the amount of damage they deal with a ranged free - strike with a distance equal to 5 or the range of the - creature's signature action, whichever is higher. Unless - otherwise noted, a free strike in a trait is a weapon - attack. Creature free strikes are a static number for two - reasons. First, it keeps gameplay fast.You don't have to - stop play to roll dice, and there's no chance of a creature - rolling a critical hit and bogging things down further when - it isn't their turn. Second, by keeping these static values - relatively low, heroes are encouraged to take more risks - when it really counts, even if that might result in them - taking damage from a free strike.
-Even though a Director-controlled creature doesn't - have to roll when they make a free strike, if they have a - bane onattacks against a creature, they still can't make - an opportunity attack against them.
-Every creature has a signature action, which is the - first action that appears in their stat block.
-Many creatures have traits, which are features that - don't require an action, maneuver, or triggered action to - activate,such as the goblin monarch's Crafty trait.
-Many creatures have abilities that require Villain Power - (abbreviated VP) to activate. See Villain Power for - moreinformation.
-Certain creatures have the ability to take damage in - order to end one EoE (end of encounter) effect currently - affectingthem. The damage the creature takes to end the - effect can't be reduced in any way.
-The solo and boss creatures presented in this book are - designed to be fought in climactic battles at the end of an - adventure or campaign. Because of this, they get special - abilities called villain actions.
-A creature with villain actions always has three. Each - villain action can be used only once per encounter, and no - more than one villain action can be used per round. A - creature can use a villain action at the end of any other - creature's turn during combat. Villain actions are numbered - and intended to be used in a specific order that creates a - logicalencounter flow and cinematic arc, but you can use - them in any order you choose.
-The first villain action is an opener, which shows the - heroes they're not battling a typical creature. Openers - generally deal some damage, summon a lackey or three, buff - the boss, debuff the heroes, or move the creature into an - advantageous position. They're a taste of what's to - come.
-The second villain action provides crowd control. It - typically activates after the heroes have had a chance to - respond once or twice to the villain, move into position, - and surround the villain. This second action helps the - villain regain the upper hand. Like an opener, this action - comes in many flavors, but it's even more powerful than an - opener.
-The third and final villain action is an ultimate move - or “ult”—a showstopper that the villain can use to deal a - devastating blow to the heroes before the end of the - battle. If you have more than two creatures with villain - actions in an encounter (which should be a rare, if at all - occurrence), only one villain action total may be used per - round.
-Some creature abilities say “[Characteristic - Abbreviation] RR” instead of providing a dice equation. - This means that instead of the creature rolling when the - ability is used, the target of the ability must make a - resistance roll with the indicated characteristic against - the ability's effects.
-A creature's role describes its function in combat in a - general sense. Roles are descriptive, and most don't follow - special rules—they simply help you build encounters and use - creatures effectively in combat. (Playtest note: A lot - more guidance for using roles in building encounters is - coming.)
-Ambushers are melee warriors who can slip by beefier - heroes to reach squishier targets in the back lines.
-Artillery creatures fight best from afar, and can use - their most powerful abilities at great distance.
-Boss creatures are powerful commanders who often serve - as villains at the climax of adventures and campaigns. - They have better Stamina and damage output than other - creatures, and often aid those creatures—or can sacrifice - lesser allies for their own benefit.
-Brutes are hardy creatures who have lots of Stamina - and deal lots of damage. They have abilities and traits - that make them difficult to ignore and hard to get away - from, and that let them push enemies around.
-Controllers are creatures who change the battlefield, - often with magic or psionics. They reposition foes and - alter terrain to make it more advantageous for their - allies. Controllers are often on the squishier side, so - they need some protection!
-Defenders are tough creatures able to take a lot of - damage, and who can force enemies to attack them instead - of squishier targets. Defenders often act in squads with - allies who have lower Stamina, such as controllers and - hexers.
-Harriers are mobile warriors who make definitive use - of hit-and-run tactics. Their traits allow them to - makethe most of their positioning on the battlefield.
-Hexers specialize in debuffing enemies with conditions - and other effects. They are generally squishy and rely on - allies to help defend them.
-Mounts are mobile creatures meant to be ridden in - combat , and who make their riders even more dangerous. - Mounts act atthe same time as their riders.
-A solo creature is an action-oriented creature capable - of tak ing on the player characters on their own, or with - thebackup of just a handful of underlings. (Playtest - note: There are no solo creatures in this - packet.)
-Support creatures specialize in aiding their allies, - providing buffs, healing, movement, or action - options.
-If a creature has an ability or trait that allows them to - grab another creature, they can have only one creature - grabbed at a time unless their stat block specifies - otherwise. If the creature has already grabbed the maximum - number of creatures, the ability or trait used to grab can't - be used against another target unless the creature releases - an already grabbed target.
-Minions are weaker enemies who are made to die fast and to - be threatening in large squads. Minion is a monster role that - always has another role such as artillery or brute attached - to it, so you know what the minion does well in addition to - being a minion. The knowledge of how minions work isn't a - secret, and shouldn't be kept from the players. Share the - information in this section with them! They'll have a lot - more fun battling minions and shaping narrative around taking - out multiple foes at once if they understand how the rules - work.
-Minions with the same name (for instance, “goblin - sniper”) can be organized into squads. All members of a - minion squad act together on the same initiative, and can - make squad attacks (see Squad Action).
-Some minions are stronger than others . This lets you - create squads of differing numbers of minions to keep the - heroes on their toes as you build encounters that fit your - needs. Some minions attack and die in droves, such as the - lowly pitling demon with Stamina 4. Others might be able to - absorb the damage of one or two signature actions before - they drop, such as the radenwight ratagast with Stamina 12. - Both are level 1 minions, but their EVs are different. - Fewer ratagasts can and should be used in a battle as - compared to pitlings, and the heroes will need to use their - best abilities to kill several of those more powerful - minions at once.
-When minions act, each minion in the squad must use - their action in concert. This is because minions have squad - attacks that require participation from all minions, - requiring all individual attacks to happen at the same - time.
-Like all creatures, an individual minion—or all the - minions in a squad—can elect to take no action on a - turn.
-Minion turns are meant to be short. On their turn, - each minion can take only a move action and an action, a - move action and a maneuver, or two move actions.
-Minions can make opportunity attacks, but they - typically don't have bespoke triggered actions, keeping - them easy to run.
-Each minion has a signature action that is an attack - ability target ing one creature. When multiple minions in - a squad use their signature action on a turn, make one - roll for the whole squad. Each minion must target a - different creature with their signature action. Many - minion signature actions benefit from the squad being - close together, so don't spread them out too far!
-If a squad has minions who don't use their signature - action, those minions can still contribute to the squad's - effectiveness. Each such minion can use an action to - increase the damage to one target of the signature action - by an amount equal to the minion's free strike value, as - long as that target is within distance of the minion as - if the minion were using the action, and the minion has - line of effect to the target.
-If a minion squad gets a critical hit with their - signature action, then all the minions who participated - in using the action can use the action again.
-If you use multiple squads made up of the same type of - minions in an encounter—for instance, two squads of - goblin spinecleavers - it's important to make it easy for - the players to tell the squads apart. You can use - different miniatures for each squad, or give each squad's - miniatures an indicator (a colored magnet, ring, sticker, - and so forth) to help you and your players keep track of - which minions are part of the same squad as they start - moving around on the battlefield. Many online virtual - tabletops have tools for adding colors or textures to - icons that make tracking different squads easy.
-Any non-mount creature who speaks a language a squad of - minions can understand can be attached to that squad as a - captain. Captains aren't necessarily strategic leaders with - brilliant strategies. Sometimes they're just powerful - creatures who bully, inspire, or have some supernatural - influence that drives other creatures to action. A squad of - minions can only have one captain, and a creature can't be - captain to more than one squad of minions.
-A captain takes their turn at the same time as the - members of their squad but isn't limited in their action - options as minions are. A captain's Stamina isn't added - to a minion squad's Stamina pool and is tracked as for - any other creature in combat.
-While a minion squad has a captain, each minion in the - squad gains a +1 bonus to speed. Additionally, the - captain gains an edge on attacks against creatures who - are adjacent to one or more of their minions.
-If a squad of minions loses their captain, a new - allied creature can become that squad's captain at the - start of the round.
-We're still working on these guidelines, and need to add - information about how environment, party composition, and the - like affect encounters. But for this playtest, the basics of - encounter building are as follows.
-First,determine how difficult an encounter you want to - create based on the following guidelines.
-Trivial encounters are easier than easy. They present - no challenge at all for the heroes, who are guaranteed to - survive the battle with their Stamina mostly, if not - entirely, untouched. Think 10th-level heroes taking on a - small band of typical kobolds. There's no way it ends - well for the kobolds. These encounters can be fun to - occasionally throw into your game, but for many groups, - the novelty disappears quickly, so that too many trivial - encounters can feel like a waste of time.
-Unless you determine otherwise, trivial encounters - don't earn the heroes any Victories.
-Unless the heroes have already depleted most of their - Stamina and Recoveries, easy encounters won't threaten - their lives. Easy encounters are great for adventures - that want to give the heroes a lot of battles between - respites, or for when you want the heroes to feel like - superheroes while still overcoming a combat challenge - that feels as though it's within their pay grade.
-An easy encounter is worth 1 Victory.
-Standard encounters are the most common for many - adventuring groups. These battles deplete some of the - heroes' Stamina and Recoveries, especially from - melee-focused characters. Although character death is - uncommon in a standard encounter, it isn't impossible, - especially if a player makes a poor tactical choice or - just finds that the dice are against them.
-A standard encounter is worth 1 Victory.
-Hard encounters are typically climactic encounters - with bosses and their loyal servants, or some other - scenario that puts the heroes' lives in an equal amount - of peril. Hard encounters are winnable, but the heroes - need to play smart to survive.
-A hard encounter is worth 2 Victories.
-Extreme encounters feature threats of a level that the - heroes aren't likely to survive if they try to fight to - the bitter end. Such encounters rarely appear in most - campaigns, though if the heroes are 8th level or higher, - they can typically survive such encounters - or have a - good chance of coming back to life afterward.
-If the heroes overcome an extreme encounter, they - should be awarded at least 2 Victories.
-To determine how many creatures and other types of - challenges you should have in an encounter, you need to - figure out the heroes' encounter strength (abbreviated - ES).
-To calculate a group's ES, first determine each hero's - encounter worth. This starts at a baseline of 12, then you - add 3 for each level of the hero. For instance, a 3rd-level - hero has an encounter worth of 21 (12 + 3 + 3 +3). Then add - the encounter worth of all heroes together, and that's your - ES. For instance, a group of five 3rd-level heroes has an - ES of
-Victories make heroes more powerful on their way to - the next level. For each 3 Victories the heroes earn, - increase the overall ES as if there were another hero in - the party. For instance, if a party of 3rd-level heroes - has 3 Victories, increase the ES by 21. If they have 6 - Victories, increase the ES by 42. Be careful that the - larger ES doesn't lead you to using more creatures than - recommended in Number of Creatures. It's usually better - to use higher cost creatures in an encounter rather than - add lots when increasing ES thanks to Victories.
-Since you can rarely predict the exact order in which - the heroes will face encounters during an adventure, it - helps to keep a list of monsters with an EV cost worth - roughly the encounter worth of one, two, and three heroes - that make sense for the adventure you're running. You can - easily drop or swap these creatures into an encounter on - the fly.
-Once you know your ES and have chosen your encounter - difficulty, you can determine your encounter budget as - follows:
-You spend your encounter budget to “buy” hostile - creatures to take part in your encounter.Each hostile - creature costs a number of budget points equal to its - encounter value (EV). When choosing creatures, try to - choose a variety of roles for a more dynamic combat - experience.
-To ensure an encounter is challenging but not - devastating for the players, you want to choose creatures - whose level is within 2 of the heroes' level. For - instance, creatures of level 3 through 7 are appropriate - challenges for a party of 5th -level heroes. If the - heroes have 6 or more Victories, you can push the upper - limit to within 3 levels of the heroes.
-This is really the only indicator that level serves in - encounter building. Everything else relies on EV.
-Too many creatures or too many different stat blocks - in an encounter can create a big cognitive load for you - and turn exciting encounters into slogs.
-In general, you don't want more than five creatures - per hero at a time in an encounter.If the encounter has - more than two creatures per hero, at least half the - creatures in that encounter should be minions.
-When it comes to number of stat blocks, you generally - don't want to use more than six different kinds of stat - blocks in an encounter, though you can probably manage - more if you're using a lot of simple minion stat blocks. - If you're just starting out as a Director, keep the - variety small until you're confident in your ability to - run a complex combat encounter.
-Sometimes a combat encounter features a creature that - you want to stick around for more than a round of combat - and leave a lasting impression on the heroes. These are - typically the named villains who the heroes face in the - climax of an adventure or campaign.
-If you want a creature to stick around and leave a - lasting impression in a combat encounter, make it a hard - encounter and choose a boss or solo creature with an EV - that is at least half the encounter budget to be the star - of the show.
-Once you have your creatures selected, you'll put them - together in initiative groups, with all creatures in the - same initiative group acting on the same turn. Though it's - not a hard and fast rule, you can keep the following - guideline in mind as you build initiative groups: The total - EV of an initiative group should be between the encounter - worth of one to two heroes (see Step 2 above).
-This helps to ensure that each encounter group can hold - its own against any character in the party without - overwhelming that character.
-It's okay to have one group with a total EV less than - that. It's also okay for a group to be worth more than two - heroes,as long as that group consists of a single creature - or the heroes have racked up a lot of Victories.
-In a battle without a solo creature, you generally - want about as many initiative groups as there are heroes - plus or minus two. This gives you a healthy range to play - with and makes your turns effective without being - overwhelming for the heroes.
-Just as every hero has a Heroic Resource determined by - their class, so too do the heroes' foes need their own juice - to fuel their strongest threats. Villain Power (abbreviated - VP) is a resource gained by the Director. You use it to let - enemies in the game activate their most powerful abilities - and throw surprises at the heroes during combat.
-At the start of each round of combat, you gain VP equal - to the number of heroes in the battle. If a hero dies, they - stop generating VP for you in this way. At the end of an - encounter, all your villain power disappears.
-It's up to you if you want to show your players how much - VP you have. Some Directors feel the tension of watching VP - creep up and can create great drama, while others like to - keep the players guessing about what could come next. Do - whatever is most fun for your group, and if you're not - sure, ask your players what they would prefer!
-Non-minion monsters can spend VP the way heroes spend - their heroic resources, activating and enhancing their - abilities. Abilities that make use of Villain Power have - that VP cost noted in a creature's stat block.
-Specific types of monsters sometimes have other ways - they can spend VP, typically on features that affect an - entire group of enemies or that affect the encounter - environment. Such abilities can be found in the “[Creature] - Villain Power” section in a creature type's overall - writeup.
-You won't be able to spend your VP on every single - option a given encounter has to offer. It's totally up to - you how you deploy VP. You can spend it on smaller, but - still impactful, features each round. You can save it up - and use it on some very dramatic abilities. You can spend - it on the same feature that uses all your VP each round and - then forget about it until the next. Do whatever is most - fun for you and your players in a given encounter.
-Demons spawn in the Abyssal Wasteland, where evil and - chaos meet. These creatures of incarnate evil crave violence - and suffering in the way most other creatures need food. A - demon cares only for themself, and they torture and tear - apart lesser demons for fun.
-The bestial appearance of each demon is unique, composed - of a chaotic arrangement of teeth, claws, and limbs meant for - killing. Even demons of the same kind have unique features. - One might bear an extra set of eyes or teeth, while another - could have a human arm growing from their forehead.
-Demons form temporary alliances with evil mortals in - exchange for souls to consume. Such alliances create - carnage with alarming efficiency, though they inevitably - collapse when the demons decide to devour their foolish - partners. The only creature who can truly keep a demon in - line is a more powerful demon.
-Demons feast not on food or water, but on souls. Souls - fuel their anarchic powers, and while starved for souls, a - demon can scarcely think. Whenever a demon kills a creature - with a soul, they consume that soul and keep its energy - within their body. A demon can then burn that soul energy - to enact their most devastating abilities.
-Mortal scholars have classified demons into ten - categories, and the higher a demon's category, the more - powerful the fiend. Though demons don't use these - classifications themselves, this system reflects their - hierarchy, as stronger demons bully the weak into - service.
-Each time a demon consumes a soul, there's a chance they - might evolve into a more powerful demon. Though category 1 - demons typically become category 2 demons after consuming a - single soul, there's no known pattern to how more powerful - demons evolve. Some category 2 demons evolve to category 3 - after consuming just one soul, while others must devour - thousands before earning a promotion. The evolution from - one category to the next can be instant, or it can take - years. This inconsistency has led to much scholarly debate - on whether all souls are equal, or whether demonic - evolution is aided by the consumption of souls that are - especially corrupt—or heroic.
-Playtest note: More demon descriptions are - coming.
-The weakest of demon kind, the following category 1 - demons are included in this book:
-The following category 2 demons are included in this - book:
-Demons speak Proto-Ctholl.
-At the start of any demon's turn, you can spend VP to - activate one of the following features.
-Soulburn (3 VP): Every demon acting - this turn deals additional damage equal to their level - with their abilities and free strikes.
-Abyssal Rift (5 VP): Two size 2 - rifts to the Abyssal Wasteland appear at locations of - your choosing. Each demon within 5 squares of a rift - gains an edge on attacks. Any demon can use an abyssal - rift as a portal to another abyssal rift in the - encounter, moving into any space in one rift and - appearing immediately in any unoccupied space in the - other rift. Any non-demon creature who enters the rift - for the first time in a round or starts their turn - there takes corruption damage equal to the level of the - highest-level demon within 20 squares of a rift. An - abyssal rift is an immovable object that has Stamina - 25, weapon immunity 5, and holy weakness 5. As a - maneuver, a creature who has the Magic or Psionics - skill can make a hard Reason or Intuition test while - adjacent to a rift to destabilize it. On a success, the - rift closes. On a failure with a consequence, the rift - regains 5 Stamina. If no demons are within 20 squares - of the rift, it closes.
-Abyssal Evolution (7 VP): A demon - minion of your choice turns into a non-minion demon of - the same level.
-Level 1 Brute Minion Demon, - Planar EV 6 - Stamina: 10 Weakness: - Holy 3 Speed: 5 Size: - 1M / Stability 0 Free Strike: 2
-Barbed Tongues (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 3 Target: One creature or object per minion
-Soulsight Each creature within 2 - squares of the ensnarer can't be hidden from them.
-Level 1 Harrier Minion Demon, - Planar EV 4 - Stamina: 8 Weakness: - Holy 3 Speed: 6 Size: - 1M / Stability 0 Free Strike: 1
-Rip and Tear (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Charge, Melee, Weapon - Distance: Reach 1 Target: One creature or object per - minion
-Soulsight Each creature within 2 - squares of the frenzied can't be hidden from them.
-Level 1 Artillery Minion Demon, - Planar EV 2 - Stamina: 4 Weakness: - Holy 3 Speed: 5 (fly) - Size: 1T / Stability 0 Free - Strike: 2
-Spit (Action) ◆ 2d10 + 1 ◆ Signature - Keywords: Attack, Ranged, Weapon Distance: Ranged 10 - Target: One creature or object per minion
-Horrid Stench Any enemy who has three - or more pitlings within 2 squares of them can't regain - Stamina.
-Soulsight Each creature within 2 - squares of the pitling can't be hidden from them.
-Level 1 Harrier Demon, - Planar EV 10 - Stamina: 20 Weakness: - Holy 3 Speed: 6 Size: - 1M / Stability 0 Free Strike: 2
-Bloodletting Claws (Action) ◆ 2d10 + - 1 ◆ Signature Keywords: Attack, Melee, Weapon Distance: - Reach 1 Target: Two creatures or objects
-Salt Wounds (Maneuver) ◆ MGT RR ◆ 3 - VP Keywords: Magic, Ranged, Resistance Distance: Ranged - 10 Target: Three creatures without full Stamina
-Lethe While winded, the ruinant has - an edge on attacks, and attacks have an edge against - them.
-Soulsight Each creature within 2 - squares of the ruinant can't be hidden from them.
-Level 1 Controller Demon, - Planar EV 9 - Stamina: 15 Weakness: - Holy 3 Speed: 5 Size: - 1S / Stability 0 Free Strike: 2
-Cronenstorm (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Area, Magic, Ranged Distance: 3 cube - within 10 Target: Each creature
-Grasping Tendons (Maneuver) Keywords: - Magic, Ranged Distance: Ranged 10 Target: Three creatures - Effect: The torlas pulls the target up to 2 squares.
-Lethe While winded, the torlas has an - edge on attacks, and attacks have an edge against - them.
-Soulsight Each creature within 2 - squares of the torlas can't be hidden from them.
-Level 2 Hexer Demon, Planar - EV 11 Stamina: 20 - Weakness: Holy 3 Speed: - 5 Size: 1S / Stability 0 Free - Strike: 2
-Warp Perceptions (Action) ◆ PRS RR ◆ - Signature Keywords: Magic, Ranged, Resistance Distance: - Ranged 10 Target: One creature
-Vanish (Maneuver) ◆ 1 VP Keywords: - Magic, Ranged Distance: Ranged 10 Target: Self or one - ally Effect: The target immediately becomes hidden, - regardless of whether they have cover or concealment.
-Lethe While winded, the bendrak has - an edge on attacks, and attacks have an edge against - them.
-Soulsight Each creature within 2 - squares of the bendrak can't be hidden from them.
-Level 2 Ambusher Demon, - Planar EV 13 - Stamina: 25 Weakness: - Holy 3 Speed: 5 (teleport) - Size: 1S / Stability 0 Free - Strike: 3
-Abyssal Strike (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 1 Target: One creature or object
-Grasping Shadow (Maneuver) ◆ 5 VP - Keywords: Magic, Ranged Distance: Ranged 10 Target: Self - Effect: The remasch can teleport 2 squares then use - Abyssal Strike.
-Lethe While winded, the remasch has - an edge on attacks, and attacks have an edge against - them.
-Soulsight Each creature within 2 - squares of the remasch can't be hidden from them.
-Level 3 Brute Demon, Planar - EV 18 Stamina: 45 - Weakness: Holy 3 Speed: - 5 Size: 1M / Stability 0 Free - Strike: 2
-Barbed Tongues (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 2 Target: One creature
-Tongue Pull (Maneuver) ◆ 2 VP - Keywords: Attack, Ranged, Weapon Distance: Ranged 5 - Target: Three creatures Effect: Each target is pulled 3 - squares.
-Lethe While winded, the muceron has - an edge on attacks, and attacks have an edge against - them.
-Soulsight Each creature within 2 - squares of the muceron can't be hidden from them.
-Level 3 Boss Demon, Planar - EV 36 Stamina: 90 - Weakness: Holy 3 Speed: - 5 Size: 1M / Stability 2 Free - Strike: 4
-Agonizing Harmony (Action) ◆ 2d10 + 2 - ◆ Signature Keywords: Area, Weapon Distance: 5 burst - Target: Each enemy
-Chaotic Entrancing Harmony (Maneuver) - Keywords: Area Distance: 10 burst Target: Each enemy - Effect: Each target slides 3, ignoring their - stability.
-I Thrive on Pain (Triggered Action) ◆ - 3 VP Keywords: Magic Distance: Self Target: Self Trigger: - The chorogaunt is targeted by an attack. Effect: Any - damage from the attack is halved, and the chorogaunt - gains an edge on all ability rolls until the end of their - next turn.
-End Effect At the end of their turn, - the chorogaunt can take 5 damage to end one EoE effect - affecting them. This damage can't be reduced in any - way.
-Lethe While winded, the chorogaunt - has an edge on attacks, and attacks have an edge against - them.
-Soulsight Each creature within 2 - squares of the chorogaunt can't be hidden from them.
-Frightening Tones (Villain Action 1) - Keywords: Ranged Distance: Ranged 10 Target: Three - enemies Effect: Each target either takes 5 psychic damage - or is frightened of the chorogaunt (EoT). Each target - gets to choose which to do.
-Bully the Weak (Villain Action 2) - Keywords: Magic, Ranged Distance: Ranged 10 Target: One - ally Effect: The chorogaunt kills the target, and each - other ally gains an edge on attacks until the end of the - round. You gain VP equal to the number of heroes.
-Running Cacophony (Villain Action 3) - Keywords: Magic Distance: Self Target: Self Effect: The - chorogaunt shifts up to their speed, makes an Agonizing - Harmony attack, shifts up to their speed, and makes a - second Agonizing Harmony attack.
-As with all humanoid ancestries, different types of - goblins and goblin cultures can be found across many lands, - each with their own ideals. Known among themselves as - rogabrin, meaning “more of us” in their - language, goblins are one of the most numerous humanoids in - the world. They can be found in every environment humans - occupy and in places many other humanoids avoid, including - deep cave systems.
-Their long arms and prehensile toes make goblins - particularly well adapted to environments requiring climbing, - and they live equally comfortably in treetop cities as in - subterranean realms filled with stalactites, ledges, and - chasms. However, just as many prefer to dwell in tight-knit - neighborhoods within diverse cities. Many of those goblins - who cross swords with adventuring heroes are the worst of - their society—thieves and murderers shunned by their own - people.
-Whether within a society or living in exile, goblins - survive and thrive because they work together. A single - goblin forced into the wild is terrified. A dozen outlaw - goblins are supremely confident—perhaps overly so. Such - groups often become bandits who ambush travelers crossing - through their territory, be it desert, forest, or - underground. Larger bands might become unscrupulous - mercenaries serving powerful villains. No matter how - they're encountered, goblins prefer to fight as an - overwhelming force and to flee when foes outnumber - friends.
-Short, lithe, and long-armed, goblins are built for - mobility, stealth, and climbing. Goblins who dwell in - untamed wilderness and twisting caves utilize their natural - agility to hide from threats and flee when found. These - crafty skirmishers might run wild through battle, hacking - at their enemies' knees, or unleash arrows as they dart - from tree to tree.
-Some exiled goblins forge pacts with evil entities for - magical power, including archfey, deities, and fiends. - Goblin assassins conjure darkness made from the souls of - their victims, while goblin cursespitters hurl magic hexes - that keep their enemies at bay.
-A six-legged winged rodent the size of a housecat, a - skitterling moves their clawed feet as they fly, making - them appear to scurry through the air. Goblins train these - pets to claw at the faces of enemies, as their feet secrete - a toxin that causes temporary sluggishness.
-Goblins ride enormous arachnids as mounts in battle. - With blades attached to their legs, a war spider cuts a - swath through enemy forces while archers fire from atop a - platform on the beast's back. During a raid, a spider - arches their body to launch warriors off their back and - into the fray.
-Some goblins form a special bond with wargs—canine - creatures that many goblin communities raise as mounts, - guardians, and companions.
-Most goblins speak Caelian and Szetch.
-At the start of any goblin's turn, you can spend VP to - activate one of the following features.
-Goblin Mode (3 VP): Each goblin in - the encounter gains a +2 bonus to speed until the end - of the round.
-Tiny Stabs (5 VP): Each enemy in - the encounter takes 1 damage for each goblin who is - adjacent to them.
-Swamp Stink (7 VP): The encounter - map becomes covered in a green mist that lasts until - the end of the round, and which can't be dispersed by - wind. All areas of the map become difficult terrain for - non-goblins, and each non-goblin on the map must make a - Might resistance roll.
-Level 1 Harrier Minion Goblin, - Humanoid EV 4 - Stamina: 8 Speed: 6 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Club (Action) ◆ 2d10 + 1 ◆ Signature - Keywords: Attack, Charge, Melee, Weapon Distance: Reach 1 - Target: One creature or object per minion
-Crafty The runner doesn't provoke - opportunity attacks by moving.
-Level 1 Artillery Minion Goblin, - Humanoid EV 4 - Stamina: 5 Speed: 5 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Bow (Action) ◆ 2d10 + 1 ◆ Signature - Keywords: Attack, Ranged, Weapon Distance: Ranged 10 - Target: One creature or object per minion
-Crafty The sniper doesn't provoke - opportunity attacks by moving.
-Level 1 Brute Minion Goblin, - Humanoid EV 6 - Stamina: 10 Speed: 5 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Axe (Action) ◆ 2d10 + 1 ◆ Signature - Keywords: Attack, Melee, Weapon Distance: Reach 1 Target: - One creature or object per minion
-Crafty The spinecleaver doesn't - provoke opportunity attacks by moving.
-Level 1 Hexer Minion Animal, - Goblin EV 3 - Stamina: 5 Speed: 5 - (fly) Size: 1T / Stability 0 - Free Strike: 2
-Claws (Action) ◆ 2d10 + 1 ◆ Signature - Keywords: Attack, Melee, Weapon Distance: Reach 1 Target: - One creature or object per minion
-Level 1 Ambusher Goblin, - Humanoid EV 11 - Stamina: 20 Speed: 6 - (climb) Size: 1S / Stability 0 - Free Strike: 3
-Sword (Action) ◆ 2d10 + 1 ◆ Signature - Keywords: Attack, Melee, Weapon Distance: Reach 1 Target: - One creature or object
-Shadow Chains (Action) ◆ AGL RR ◆ 3 - VP Keywords: Magic, Ranged, Resistance Distance: Ranged - 10 Target: Three creatures
-Crafty The assassin doesn't provoke - opportunity attacks by moving.
-Hide While Observed The assassin can - take the Hide maneuver even while observed, though they - still must have cover or concealment.
-Level 1 Hexer Goblin, - Humanoid EV 9 - Stamina: 15 Speed: 5 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Eye of Surlach (Action) ◆ INU RR ◆ - Signature Keywords: Magic, Ranged, Resistance Distance: - Ranged 10 Target: One creature
-Dizzying Hex (Maneuver) ◆ INU RR ◆ 1 - VP Keywords: Magic, Ranged, Resistance Distance: Ranged - 10 Target: One creature
-Crafty The cursespitter doesn't - provoke opportunity attacks by moving.
-Level 1 Controller Goblin, - Humanoid EV 9 - Stamina: 15 Speed: 5 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Toxic Winds (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Area, Magic, Ranged Distance: 3 cube - within 10 Target: Each enemy
-Swamp Gas (Maneuver) Keywords: Area, - Magic, Ranged Distance: 3 cube within 10 Target: Special - Effect: The area is filled with a green haze until the - start of the stinker's next turn or until the stinker is - reduced to Stamina 0. The area is difficult terrain for - non-goblin creatures, and each such creature who moves - within the area takes 2 poison damage for each square - moved. The haze can't be dispersed by wind.
-Crafty The stinker doesn't provoke - opportunity attacks by moving.
-Level 1 Support Goblin, - Humanoid EV 10 - Stamina: 20 Speed: 5 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Sword (Action) ◆ 2d10 + 1 ◆ Signature - Keywords: Melee, Weapon Distance: Reach 1 Target: One - creature or object
-Get Reckless! (Maneuver) Keywords: - Ranged Distance: Ranged 10 Target: Each ally Effect: - Until the start of the underboss's next turn, each target - gains an edge on attacks, and attacks against them gain - an edge.
-Crafty The underboss doesn't provoke - opportunity attacks by moving.
-Level 1 Harrier Goblin, - Humanoid EV 10 - Stamina: 20 Speed: 6 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Spear (Action) ◆ 2d10 + 1 ◆ Signature - Keywords: Attack, Charge, Melee, Weapon Distance: Reach 1 - Target: One creature or object
-Bury the Point (Action) ◆ 2d10 + 1 ◆ - 2 VP Keywords: Attack, Melee, Weapon Distance: Reach 1 - Target: One creature
-Crafty The warrior doesn't provoke - opportunity attacks by moving.
-Level 1 Boss Goblin, - Humanoid EV 24 - Stamina: 50 Speed: 6 - (climb) Size: 1S / Stability 1 - Free Strike: 3
-Handaxe (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, Melee, Ranged, Weapon - Distance: Reach 1 or Ranged 5 Target: Two creatures or - objects
-Get in Here (Maneuver) ◆ 1 VP - Keywords: Ranged Distance: Ranged 20 Target: Special - Effect: Two goblin runners appear in unoccupied - spaces.
-Meat Shield (Triggered Action) - Keywords: Melee Distance: Reach 1 Target: One ally - Trigger: A creature targets the monarch with an attack. - Effect: The ally becomes the target of the triggering - attack instead.
-End Effect At the end of their turn, - the monarch can take 5 damage to end one EoE effect - affecting them. This damage can't be reduced in any - way.
-Crafty The monarch doesn't provoke - opportunity attacks by moving.
-What Are You Waiting For? (Villain Action - 1) Keywords: Area Distance: 10 burst Target: - Each ally Effect: Each target can move up to their speed - or make a free strike.
-Focus Fire (Villain Action 2) - Keywords: Ranged Distance: Ranged 10 Target: One enemy - Effect: Each ally within 10 squares of the enemy can move - up to their speed toward the enemy.
-Kill! (Villain Action 3) Keywords: - Area Distance: 10 burst Target: Each ally Effect: Each - target can make a free strike that deals an extra 1 - damage.
-Level 1 Mount Animal, Goblin - EV 28 Stamina: 60 - Speed: 7 (climb) Size: - 3 / Stability 2 Free Strike: 4
-Bite (Action) ◆ 2d10 + 2 ◆ Signature - Keywords: Attack, Melee, Weapon Distance: Reach 1 Target: - One creature or object
-Leg Blade (Action) ◆ 2d10 + 2 - Keywords: Attack, Melee, Weapon Distance: Reach 1 Target: - Two creatures or objects
-Trample (Action) ◆ 5 VP Keywords: — - Distance: Self Target: Self Effect: The spider shifts up - to their speed and makes a Leg Blade attack against each - creature who comes within their reach during the move. - The spider makes one power roll against all targets.
-Web (Maneuver) ◆ AGL RR ◆ 2 VP - Keywords: Area, Resistance Distance: 3 cube within 1 - Target: Each creature
-Ride Launcher An ally who leaps off - the back of the spider can jump up to 6 squares without a - test, and takes no damage if they fall during the jump. - After the jump, the first melee attack an ally makes on - the same turn gains an edge.
-Wide Back Two of the spider's size 1 - allies can occupy the same space while riding the - spider.
-Level 1 Mount Animal, Goblin - EV 10 Stamina: 20 - Speed: 7 Size: 1L / - Stability 1 Free Strike: 2
-Bite (Action) ◆ 2d10 + 1 ◆ Signature - Keywords: Attack, Charge, Melee, Weapon Distance: Reach 1 - Target: One creature or object
-Sprint (Maneuver) ◆ 1 VP Keywords: — - Distance: Self Target: Self Effect: The warg moves up to - their speed.
-Mounted Charger If a warg used as a - mount charges, their rider gains an edge on melee attacks - until the end of their turn.
-Shared Crafty If the warg's rider has - the Crafty trait, the warg also has the Crafty trait.
-Humans flourish in every habitable part of the world, from - inviting coastal cities to unforgiving mountainous terrain. - While most humans live quietly in peaceful communities, some - are drawn to adventure by an unquenchable thirst for - excitement or power.
-Recognizing their limited lifespan, humans often set - their eyes on immortality. They unfurl empires at the tip - of a sword, sacrifice lives to erect grand monuments, and - even aspire to godhood, all in hopes their names will be - remembered forever. Violence and greed are close cousins in - the human family. Those with power and wealth often strive - for more by the sword. Others turn to theft, often driven - to desperation by rapacious neighbors. Travelers in human - lands are likely to encounter robbers and barons—both exact - a toll. Other humans pursue power more subtly, turning - their cunning toward selfish ends. When ambitions exceed - circumstances, there is always some ancient evil power to - call on. Cultists seek dark desires in exchange for - service, sacrificing to forbidden gods and courting - apocalypse. Fortunately, many humans devote themselves to - righting wrongs and reshaping the world for the better. - Heroes plunge themselves into danger time and time again, - standing against natural and supernatural perils in pursuit - of justice.
-Humans devote as much attention to games and gambling as - to more serious pursuits. Perhaps this competitive training - explains their renowned knack for seizing the - moment—knowing when to risk it all on a throw of the dice. - Whether in sport or battle, humans quickly spot their - opponent's mistakes and seize the advantage. Humans see - unrealized potential everywhere, whether envisioning an - untamed forest transformed into a prosperous village or an - ancient dungeon yielding a chest full of coins. Pursuing - such ambitions might end in catastrophe, but for these - gamblers, it's a game worth playing.
-With an appetite for warfare and gold, human adventurers - are well represented in most mercenary bands. A human - mercenary makes a stout ally… if you can afford their - price.
-Humans are connected to the natural world in a way that - other species are not. As such, they have an uncanny knack - for detecting when nearby creatures, objects, and phenomena - are created by magic and psionics. This same sense allows - them to resist supernatural abilities and effects.
-Most humans have the following trait:
-Most humans speak Caelian and one Vaslorian human - language.
-At the start of any human's turn, you can spend VP to - activate one of the following features:
-Alchemical Device (3 VP): A - non-minion human acting this turn can use a maneuver to - throw an alchemical device.
-Alchemical Device (Maneuver) ◆ INU - RR Keywords: Area, Magic, Ranged, Resistance Distance: - 3 cube within 10 Target: Each creature in the cube
-Exploit Opening (5 VP): Each human - making an attack this turn has an edge on ability - rolls, or a double edge on abilities that target - enemies affected by a condition.
-Staying Power (7 VP): Each - non-minion human in the encounter regains Stamina equal - to 5 times their level.
-Level 1 Artillery Minion Human, - Humanoid EV 6 - Stamina: 8 Immunity: - Magic 2, Psionic 2 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 2
-Crossbow (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Ranged, Weapon Distance: - Ranged 10 Target: One creature or object per minion
-Level 1 Hexer Minion Human, - Humanoid EV 5 - Stamina: 8 Immunity: - Magic 2, Psionic 2 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 2
-Necrotic Bolt (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Magic, Ranged Distance: - Ranged 10 Target: One creature or object per minion
-Level 1 Brute Minion Human, - Humanoid EV 6 - Stamina: 12 Immunity: - Magic 2, Psionic 2 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 2
-Halberd (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 2 Target: One creature or object per minion
-Level 1 Harrier Minion Human, - Humanoid EV 6 - Stamina: 10 Immunity: - Magic 2, Psionic 2 Speed: 7 - Size: 1M / Stability 0 Free - Strike: 2
-Handaxe (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Charge, Melee, Ranged, Weapon - Distance: Reach 1 or Ranged 5 Target: One creature or - object per minion
-Level 2 Controller Minion Human, - Humanoid EV 6 - Stamina: 10 Immunity: - Magic 2, Psionic 2 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 2
-Lightning Strike (Action) ◆ 2d10 + 1 - ◆ Signature Keywords: Attack, Magic, Ranged Distance: - Ranged 10 Target: One creature or object per minion
-Level 1 Brute Human, - Humanoid EV 16 - Stamina: 40 Immunity: - Magic 2, Psionic 2 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 4
-Haymaker (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 1 Target: One creature or object
-Throw (Maneuver) ◆ 1 VP Keywords: - Melee Distance: Reach 1 Target: One creature grabbed by - the brawler Effect: The brawler pushes the creature they - have grabbed 5 squares. This breaks the grab.
-Shoot the Hostage The brawler takes - half damage from attacks if they have an enemy grabbed. - They then apply the remaining damage to the grabbed - enemy.
-Level 1 Ambusher Human, - Humanoid EV 14 - Stamina: 30 Immunity: - Magic 2, Psionic 2 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 4
-Rapier & Dagger (Action) ◆ 2d10 + - 1 ◆ Signature Keywords: Attack, Melee, Weapon Distance: - Reach 1 Target: One creature or object
-Dagger Storm (Action) ◆ 5 VP The - scoundrel makes a Rapier & Dagger attack against - three creatures or objects, and can shift 2 squares - before or after each attack.
-Level 1 Artillery Human, - Humanoid EV 12 - Stamina: 20 Immunity: - Magic 2, Psionic 2 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 4
-Crossbow (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Ranged, Weapon Distance: - Ranged 15 Target: One creature or object
-Level 2 Support Human, - Humanoid EV 16 - Stamina: 40 Immunity: - Magic 2, Psionic 2 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 4
-Death Scythe (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Magic, Melee, Ranged, Weapon - Distance: Reach 1 or Ranged 10 Target: One creature or - object
-Rise, My Minions (Maneuver) ◆ 1 VP - per minion Keywords: Area Distance: 5 burst Target: One - or more dead minions Special: Each target must have died - during this encounter Effect: Each target returns to life - with their full Stamina, but they die at the end of the - encounter or if the death cultist is killed. If the - target dies a second time, they can be brought back to - life by this ability again.
-Level 3 Controller Human, - Humanoid EV 17 - Stamina: 40 Immunity: - Magic 2, Psionic 2 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 5
-Lightning Bolt (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, Magic, Ranged Distance: - Ranged 10 Target: One creature or object
-Gust of Wind (Maneuver) ◆ MGT RR ◆ 3 - VP Keywords: Area, Magic, Resistance Distance: 5 cube - within 1 Target: Each creature and object
-Arcane Shield Whenever the mage takes - damage from an enemy adjacent to them, the damage is - reduced by 3 (minimum 0), and the enemy takes 3 thunder - damage and is pushed 2 squares.
-Level 1 Boss Human, Humanoid - EV 38 Stamina: 80 - Immunity: Magic 2, Psionic 2 - Speed: 5 Size: 1M / - Stability 2 Free Strike: 4
-Zweihander (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 1 Target: Each adjacent enemy
-You! (Maneuver) Keywords: Ranged - Distance: Ranged 10 Target: One enemy Effect: The target - is marked until the start of the blackguard's next turn. - The blackguard and each of their allies gain an edge on - attacks against any target marked by the blackguard, and - such attacks deal an extra 2 damage.
-End Effect At the end of their turn, - the blackguard can take 5 damage to end one EoE effect - affecting them. This damage can't be reduced in any - way.
-Parry! (Triggered Action) Keywords: - Melee, Weapon Distance: Reach 1 Target: Self or one ally - Trigger: A creature targets the blackguard or an ally - adjacent to the blackguard with an attack. Effect: The - triggering attack's damage is halved.
-Advance! (Villain Action 1) Keywords: - Weapon Distance: Self Target: Self Effect: The blackguard - shifts up to their speed. During or after this movement, - they can make two Zweihander attacks.
-Back! (Villain Action 2) Keywords: - Area, Magic Distance: 5 burst Target: Each enemy Effect: - The blackguard slides each target 5 squares.
-I Can Throw My Blade and So Should You! - (Villain Action 3) Keywords: Area, Magic, - Ranged, Weapon Distance: 3 cube within 5 Target: Each - enemy in the cube Effect: The blackguard makes a - Zweihander attack against each enemy in the area, making - one power roll against all targets. Additionally, each - ally within 5 squares of the area can make a free strike - against any enemy in the area.
-Level 3 Boss Human, Humanoid - EV 54 Stamina: 120 - Immunity: Magic 2, Psionic 2 - Speed: 5 Size: 1M / - Stability 2 Free Strike: 5
-Whip & Magic Longsword (Action) ◆ - 2d10 + 2 ◆ Signature Keywords: Attack, Magic, Melee, - Weapon Distance: Reach 1 Target: Two enemies or - objects
-Kneel, Peasant! (Maneuver) Keywords: - Attack, Melee, Weapon Distance: Reach 1 Target: One enemy - or object
-Bloodstones (Triggered Action) - Keywords: Magic Distance: Self Target: Self Trigger: The - bandit chief makes a power roll for an attack. Effect: - The bandit chief takes 4 corruption damage and increases - the result of the power roll by one tier.
-End Effect At the end of their turn, - the bandit chief can take 5 damage to end one EoE effect - affecting them. This damage can't be reduced in any - way.
-Shoot! (Villain Action 1) Keywords: - Area Distance: 10 burst Target: Each ally Effect: Each - target can make a ranged free strike.
-Form Up! (Villain Action 2) Keywords: - Area Distance: 10 burst Target: Each ally Effect: Each - target shifts up to their speed. Until the end of the - encounter, any enemy takes a bane on attacks against the - bandit chief or any of the bandit chief's allies if they - are adjacent to that target.
-Lead From the Front (Villain Action - 3) Keywords: Attack, Weapon Distance: Self - Target: Self Effect: The bandit chief shifts twice their - speed. During or after this movement, they can attack up - to four targets with Whip & Magic Longsword. Any ally - of the bandit chief adjacent to a target can make a free - strike against that target.
-Level 1 Mount Animal - EV 13 Stamina: 20 - Speed: 7 (flying) Size: - 2 / Stability 0 Free Strike: 3
-Talons (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 1 Target: One creature or object
-Dive (Maneuver) The hawk moves up to - their speed.
-Mounted Platform Any creature riding - the hawk can make a free strike during or after the - hawk's movement.
-Level 1 Mount Animal - EV 28 Stamina: 60 - Speed: 7 (flying) Size: - 3 / Stability 0 Free Strike: 4
-Talons (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 1 Target: Two creatures or objects
-Bombs Away! (Action) ◆ AGL RR ◆ 7 VP - Keywords: Area, Magic, Ranged, Resistance Distance: 5 - cube within 10 Target: Each creature and object
-Dive (Maneuver) The hawk moves up to - their speed.
-Mounted Platform Any creature riding - the hawk can make a free strike during or after the - hawk's movement.
-Small, agile, and hardy, radenwights have the appearance - of humanoid rodents. They're often referred to as “ratfolk,” - a name they don't particularly mind but also don't embrace. - Should anyone ask, many radenwights speak of being a ratfolk - when they're alone, but always a radenwight when part of a - group. Radenwight groups proudly call themselves a “meddle,” - and have a knack for appearing where others hoped they - wouldn't or whenever they are least expected. Radenwight - meddles can be found in the wilderness as easily as in any - city, so long as there's suitable work and excitement to keep - the members of the meddle occupied.
-If radenwights' enemies expect them to scurry away like - rats, they will be painfully surprised to see the combined - arrows, bodies, and blades of a meddle thrown against them - all at once. Whatever radenwights do, they do it fearlessly, - with deeply cherished values of bravery and fair play shining - through in even the most rakish and roguish of them. - Radenwights aren't above banditry if it will support the - meddle, but they greatly prefer to overwhelm, knock down, and - knock out their targets rather than engage in deadly - violence. They prefer weapons of precision, and look for - opportunities to strike as they and their comrades create - openings for one another.
-It's a big world out there for a bunch of small ratfolk, - and radenwights learned long ago that trying to survive by - running away or climbing to safety only gets you so far. - Radenwights learn boldness from birth and are taught to - hurl themselves fearlessly against any challenge that - stands in their way. The key to this bravery is the intense - bond of trust that exists between every radenwight, their - comrades, and their community, and the knowledge that every - other radenwight will act just as decisively as they do. In - a scrap, it's not one radenwight's blade or arrow that - brings down the foe, but the instant and instinctual - follow-up from their fellows.
-The pursuit of arcane studies is unusual among - radenwights, though the community throws their support - behind any child who happens to show that talent. Somewhat - more common is the spontaneous discovery of magical - aptitude through music, as the culture of radenwight - meddles strongly emphasizes both music and dance. - Radenwights are particularly drawn to flutes and panpipes, - inspired by the legend of a flutist who enraptured an evil - dragon while her meddle lined up a suitably sized boulder - to be dropped from the cliff above.
-Most radenwights speak Caelian and Szetch.
-At the start of any radenwight's turn, you can spend VP - to activate one of the following features.
-Trouser Cut (3 VP) A non-minion - radenwight can use the following ability.
-Trouser Cut (Action) ◆ 2d10 + 2 - Keywords: Attack, Melee, Weapon Distance: Reach 1 Target: - One creature
-Rat Race (5 VP) Each radenwight shifts - up to their speed. Wherever a radenwight ends this movement - adjacent to at least one other radenwight, they can make a - melee free strike against a target.
-Wall of Rats (7 VP) A 10-foot wall of - living rats scurrying atop one another in a coordinated - manner appears in unoccupied spaces anywhere on the - encounter map and lasts until the end of the encounter. The - wall doesn't block line of effect for radenwights and their - allies, but it does for other creatures, as the rats - coordinate their movements with the radenwights. Each - square of the wall has 10 Stamina. If the last radenwight - in the encounter dies and the wall is still standing, the - rats let out a hideous screech as they disperse. Each enemy - on the encounter map must then make an Intuition resistance - roll.
-Level 1 Ambusher Minion Humanoid, - Radenwight EV 7 - Stamina: 10 Speed: 7 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Dagger Dance (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 1 or Ranged 5 Target: One creature per minion
-Ready Rodent (Triggered Action) - Keywords: Melee, Weapon Distance: Reach 1 Target: One - creature Trigger: An ally deals damage to the target. - Effect: The mischiever makes a free strike against the - target.
-Level 1 Defender Minion Humanoid, - Radenwight EV 7 - Stamina: 12 Speed: 6 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Stinky Glissando (Action) ◆ 2d10 + 1 - ◆ Signature Keywords: Attack, Magic, Melee Distance: - Reach 1 Target: One creature or object per minion
-Ready Rodent (Triggered Action) - Keywords: Melee, Weapon Distance: Reach 1 Target: One - creature Trigger: An ally deals damage to the target. - Effect: The ratagast makes a free strike against the - target.
-Level 1 Harrier Minion Humanoid, - Radenwight EV 6 - Stamina: 10 Speed: 7 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Rapier Flunge (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 1 Target: One creature or object per minion
-Ready Rodent (Triggered Action) - Keywords: Melee, Weapon Distance: Reach 1 Target: One - creature Trigger: An ally deals damage to the target. - Effect: The swiftpaw makes a free strike against the - target.
-Level 1 Artillery Minion - Humanoid, Radenwight EV 6 - Stamina: 8 Speed: 5 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Eyes-On-Me Shot (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Ranged, Weapon Distance: - Ranged 10 Target: One creature or object per minion
-Ready Rodent (Triggered Action) - Keywords: Melee, Weapon Distance: Reach 1 Target: One - creature Trigger: An ally deals damage to the target. - Effect: The redeye makes a free strike against the - target.
-Level 1 Brute Humanoid, - Radenwight EV 16 - Stamina: 40 Speed: 5 - (climb) Size: 1M / Stability 2 - Free Strike: 5
-Lockjaw (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 1 Target: One creature or object
-Flurry of Bites (Action) ◆ 2d10 + 1 ◆ - 3 VP Keywords: Area, Weapon Distance: 1 burst Target: - Each enemy
-Ready Rodent (Triggered Action) - Keywords: Melee, Weapon Distance: Reach 1 Target: One - creature Trigger: An ally deals damage to the target. - Effect: The bruxer makes a free strike against the - target.
-Level 1 Support Humanoid, - Radenwight EV 13 - Stamina: 30 Speed: 5 - (climb) Size: 1S / Stability 0 - Free Strike: 2
-Piercing Trill (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Magic, Melee, Ranged - Distance: Reach 1 or Ranged 10 Target: One creature or - object
-Vivace Vivace! (Maneuver) ◆ 3 VP - Keywords: Area, Magic Distance: 5 burst Target: Each ally - Effect: Each target who has used their Ready Rodent - ability since their last turn regains the use of their - triggered action.
-Ready Rodent (Triggered Action) - Keywords: Melee, Weapon Distance: Reach 1 Target: One - creature Trigger: An ally deals damage to the target. - Effect: The piper makes a free strike against the - target.
-Level 1 Harrier Humanoid, - Radenwight EV 13 - Stamina: 30 Speed: 7 - (climb) Size: 1S / Stability 0 - Free Strike: 5
-En Garde! (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, Weapon Distance: Reach - 1 Target: Two creatures or objects
-Over Here, Thanks (Maneuver) - Keywords: Melee Distance: Reach 1 Target: One enemy - Effect: Slide 1; the ratcrobat can then shift into the - square the target left.
-Ready Rodent (Triggered Action) - Keywords: Melee, Weapon Distance: Reach 1 Target: One - creature Trigger: An ally deals damage to the target. - Effect: The ratcrobat makes a free strike against the - target.
-Gymratstics The ratcrobat gains an - edge on attacks against larger creatures.
-Level 1 Boss Humanoid, - Radenwight EV 38 - Stamina: 80 Speed: 5 - (climb) Size: 1S / Stability 1 - Free Strike: 5
-Cacophony (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Area, Magic Distance: 5 burst Target: - Each enemy
-Tempo Change (Maneuver) ◆ PRS RR - Keywords: Magic, Ranged, Resistance Distance: Ranged 10 - Target: Two enemies
-5 VP: Each ally of the maestro within distance has - their speed increased by 2 until the end of their next - turn.
-Ranged Ready Rodent (Triggered - Action) Keywords: Magic, Ranged Distance: Ranged - 10 Target: One creature Trigger: An ally deals damage to - the target. Effect: The maestro makes a free strike - against the target.
-End Effect At the end of their turn, - the maestro can take 5 damage to end one EoE effect - affecting them. This damage can't be reduced in any - way.
-Overture (Villain Action 1) Keywords: - Area Distance: 10 burst Target: Each ally Effect: Each - target shifts up to their speed or takes the Defend - action.
-Solo Act (Villain Action 2) Keywords: - Ranged Distance: Ranged 15 Target: One creature Effect: - Until the end of their next turn, the target's stamina - can't be reduced below 1, their speed is doubled, and - their next power roll is automatically a tier 3 - result.
-Rondo of Rat (Villain Action 3) - Keywords: Area Distance: 10 burst Target: Each dead ally - Effect: Each target stands, makes a free strike, then - collapses again. Allies of the targets can use Ready - Rodent as a free triggered action once in conjunction - with these free strikes.
-The kuran'zoi (coor-AN-zoy), also called time raiders, are - humanoids who make the astral realm of the Sea of Stars their - home. Many kuran'zoi make their living as guides for - travelers from other planes, while others survive on the Sea - of Stars through piracy against interplanar vessels.
-Thousands of years ago, the synlirii—a powerful species - of evil psionic aberrations—created the kuran'zoi as - soldiers. But as the synlirii experimented with and - enhanced these warriors' psionic potential, the kuran'zoi - came to understand the true nature of their progenitors. - They rebelled against the synlirii and fled to the Sea of - Stars, becoming nomads of the timescape.
-Kuran'zoi possess resilient ocular sensors that allow - them to see in the dark. Knowing these sensors would also - defend them against the hardlight storms of the astral - realm, the escaping kuran'zoi chose the Sea of Stars as - their home. They thrive where the winds of limbo roar. Time - raiders also have two sets of arms, allowing them to wield - melee weapons at the same time as ranged weapons. A single - well-trained kuran'zoi is like a squad unto themself.
-Like their synlirii foes, time raiders travel on - mindships and wield psionic weapons and tools that only - their people can activate. Many kuran'zoi specialize in - melee weapons that psionically devastate enemies, but time - raider vertexes also learn to pilot enormous suits of - psionic armor that empower their allies.
-The moniker “time raider” is imprecise. Rather, when - kuran'zoi raid a world of the timescape that relies on - sorcery instead of kuran'zoi technology—including Orden—it - seems to those worlds' people as though the time raiders - have come from the future, wielding marvelous weapons of - light that hit as hard as steel.
-Time raider pirates plunder the vessels they target, but - allow just enough of the crew to survive so the ship can - make it back home. Kuran'zoi pirate captains often remind - their crews: “Leave the sheep alive. Next year, they'll - return with a new coat of wool for us to shear.”
-While in the Sea of Stars, time raiders and other - creatures don't age. As a result, many living kuran'zoi - recall the Psychic Wars. They carry the lessons learned - from millennia of conflict with the synlirii into new - battles with devastating effect, using mindships to launch - attacks on other planes and appearing exactly where they - want to. However, this knowledge serves them far beyond - war. Time raiders raise their young in ruined citadels and - similar strongholds on obscure worlds, keeping their - creches secret and protected.
-Most time raiders speak Caelian and Voll.
-At the start of any time raider's turn, you can spend VP - to activate one of the following features:
-Level 3 Harrier Minion Humanoid, - Time Raider EV 8 - Stamina: 15 Immunity: - Psychic 3 Speed: 7 - Size: 1M / Stability 0 Free - Strike: 2
-Brutal Flail (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, Melee, - Psionic, Weapon Distance: Reach 1 - Target: One creature or object per - minion
-Foresight The archon doesn't take a - bane on attacks against concealed creatures.
-Level 3 Brute Minion Humanoid, - Time Raider EV 10 - Stamina: 20 Immunity: - Psychic 3 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 2
-Fifth Fist (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, Melee, - Psionic, Weapon Distance: Reach 2 - Target: One creature or object per - minion
-Foresight The myriad doesn't take a - bane on attacks against concealed creatures.
-Level 3 Defender Humanoid, Time - Raider EV 21 - Stamina: 60 Immunity: - Psychic 5 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 5
-Serrated Saber (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, Melee, - Psionic, Weapon Distance: Reach 1 - Target: One creature or object
-Shared Sickness (Triggered Action) ◆ - REA RR Keywords: Psionic, Ranged, - Resistance Distance: Ranged 20 - Target: Triggering creature - Trigger: A creature deals damage to any - ally of the armiger to whom the armiger has line of - effect.
-Foresight The armiger doesn't take a - bane on attacks against concealed creatures.
-Kuran'zoi Heraldry While any time - raider starts their turn with line of effect to the - armiger, that time raider can end one condition affecting - them.
-Level 3 Artillery Humanoid, Time - Raider EV 18 - Stamina: 40 Immunity: - Psychic 4 Speed: 5 - Size: 1L / Stability 3 Free - Strike: 5
-Sunderbuss (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Area, Psionic, - Ranged, Weapon Distance: 3 cube within - 10 Target: Each enemy
-Buss Buffer (Triggered Action) - Keywords: Area, Psionic - Distance: 5 burst - Target: Each ally - Trigger: A creature damages the - cannonfall with a ranged ability. - Effect: The damage is reduced by half - for the cannonfall and each target also affected by the - triggering ability.
-Foresight The cannonfall doesn't take - a bane on attacks against concealed creatures.
-Level 3 Controller Humanoid, Time - Raider EV 17 - Stamina: 40 Immunity: - Psychic 4 Speed: 5 (fly) - Size: 1M / Stability 0 Free - Strike: 5
-Blaster Volley (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, Ranged, - Psionic, Weapon Distance: Ranged 10 - Target: Three creatures
-Kinetic Lane (Maneuver) - Keywords: Area, Psionic, Ranged - Distance: 4 × 2 line within 10 - Target: Special Effect: - Until the start of the helix's next turn, the area - becomes a psionically charged treadmill that pushes - creatures and objects at high speed in one direction of - the helix's choice. Any creature that moves into the area - or starts their turn there is immediately slid 3 squares - toward the square at the end of the area in the - appropriate direction, starting with creatures closest to - the helix. Any non-time raider standing in the area when - it first appears takes 3 damage before they are moved. - 5 VP: The helix creates a second kinetic - lane.
-Foresight The helix doesn't take a - bane on attacks against concealed creatures.
-Level 3 Ambusher Humanoid, Time - Raider EV 20 - Stamina: 50 Immunity: - Psychic 5 Speed: 6 - Size: 1M / Stability 0 Free - Strike: 5
-Golden Sickles (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, Melee, - Psionic, Weapon Distance: Reach 1 - Target: One creature
-Psi-Sickle (Maneuver) - Keywords: Psionic, Ranged, Weapon - Distance: Ranged 5 - Target: One creature or object - Effect: The hijack psychically latches - their sickle onto the target and closes the distance - between them. If the target has a weight of 4 or higher, - the hijack moves adjacent to the target. Otherwise, the - target is pulled 4 squares toward the hijack.
-Foresight The hijack doesn't take a - bane on attacks against concealed creatures.
-Level 3 Hexer Humanoid, Time - Raider EV 17 - Stamina: 40 Immunity: - Psychic 4 Speed: 5 - Size: 2 / Stability 2 Free - Strike: 5
-Repelling Psihander (Action) ◆ 2d10 + - 2 ◆ Signature Keywords: Attack, Melee, - Psionic, Weapon Distance: Reach 1 - Target: Two creatures adjacent to each - other
-Mindpunk (Action) ◆ REA RR - Keywords: Area, Psionic, Resistance - Distance: 2 Burst - Target: All enemies
-Foresight The mind punk doesn't take - a bane on attacks against concealed creatures.
-Level 3 Harrier Humanoid, Time - Raider EV 19 - Stamina: 50 Immunity: - Psychic 5 Speed: 7 - Size: 1M / Stability 0 Free - Strike: 5
-Golden Scythe (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, Melee, - Psionic, Weapon Distance: Reach 2 - Target: One creature or object
-Kinetic Crush (Action) ◆ MGT RR ◆ 2 - VP Keywords: Psionic, Ranged, Resistance - Distance: Ranged 10 - Target: One creature
-Foresight The nemesis doesn't take a - bane on attacks against concealed creatures.
-Level 3 Support Humanoid, Time - Raider EV 19 - Stamina: 50 Immunity: - Psychic 5 Speed: 5 (fly) - Size: 2 / Stability 3 Free - Strike: 5
-Psionic Slam (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, Melee, - Psionic Distance: Reach 2 - Target: One creature
-Split Space (Action) ◆ 5 VP - Keywords: Area, Psionic, Ranged - Distance: 2 cube within 10 - Target: Special Effect: - A portal fills the area, leading to a location the vertex - has seen (in person or otherwise) on any plane of - existence. Each creature who touches the portal is - instantly teleported to the nearest unoccupied square at - the chosen location. The portal lasts until the vertex - dies, uses this ability again, dismisses the portal (no - action required), or is transported by the portal.
-Invigorated March (Maneuver) - Keywords: Area, Psionic - Distance: 4 burst - Target: Each ally - Effect: Each target can shift half their - speed.
-Foresight The vertex doesn't take a - bane on attacks against concealed creatures.
-Level 3 Boss Humanoid, Time - Raider EV 54 - Stamina: 120 Immunity: - Psychic 7 Speed: 10 (fly, teleport) - Size: 2 / Stability 0 Free - Strike: 5
-Gatling Blaster (Action) ◆ 2d10 + 3 ◆ - Signature Keywords: Attack, Melee, - Ranged, Psionic, Weapon Distance: Reach - 2 or Ranged 10 Target: Three creatures - or objects
-Air Raid! (Maneuver) ◆ 3 VP - Keywords: Psionic, Ranged - Distance: Ranged 10 - Target: Three time raiders - Effect: Each target is psionically - lifted into the air and can fly up to their speed. If a - target doesn't land in an unoccupied space, they - fall.
-Precog Reflexes (Triggered Action) - Keywords: Psionic, Ranged - Distance: Ranged 10 - Target: One creature - Trigger: The target attacks the - tyrannis. Effect: The power roll for the - attack takes a bane and the tyrannis makes a free strike - against the target.
-End Effect At the end of their turn, - the tyrannis can take 5 damage to end one EoE effect - affecting them. This damage can't be reduced in any - way.
-Foresight The tyrannis doesn't take a - bane on attacks against concealed creatures.
-We Will Won! (Villain Action 1) - Keywords: Psionic, Ranged - Distance: Ranged 10 - Target: Three allies - Effect: Each target gains 15 temporary - Stamina and has their speed doubled until the end of - their turn.
-Stick To The Plan! (Villain Action - 2)
-Keywords: Area - Distance: 10 burst - Target: Each ally - Effect: Each target can end one effect - or condition affecting them or can move up to their - speed.
-Armageddon (Villain Action 3)
-Keywords: Area - Distance: 5 burst - Target: Special Effect: - The tyrannis fires a sensor mine into each unoccupied - square in the burst and a gravity well into one of their - own squares. Whenever an enemy moves into a square with a - sensor mine, the mine explodes, dealing 3 damage to the - enemy.
---- CONTENT WARNING: BRAINWASHING AND BODY HORROR
-War dogs are explicitly evil soldiers built from the - body parts of various humans. They are created brainwashed - and indoctrinated to carry out the vile orders of Ajax, a - tyrant who wants to rule the world. Check in with your - players before running war dogs to make sure that they're - okay with battling these brainwashed soldiers with an - appearance akin to Frankenstein's monster if he were built - to be a shock troop. If anyone is uncomfortable, modify the - appearance and lore of the war dogs as you see fit.
-
Ajax's War Dogs—brutal patchwork soldiers—owe their new - lives to the Iron Saint, and fight for him fanatically. War - Dog minions are the freshest recruits, possessing minimal - patchwork qualities and generally treated as disposable. - Those who survive a battle are rewarded with gifts from the - Body Banks. Those who don't survive become material for those - Body Banks.
-Most war dogs speak Caelian and one Vaslorian human - language.
-At the start of any war dog's turn, you can spend VP to - activate one of the following features:
-Reconstitut (3 VP): One war dog - acting this turn tears apart a nearby corpse of a - humanoid and incorporates its body parts into their - own. The war dog regains Stamina equal to 5 times their - level.
-Fire for Effect (5 VP): A war dog - acting this turn can use the following maneuver.
-Fire for Effect (Maneuver) ◆ AGL RR ◆ - 12 VP Keywords: Area, Magic, Ranged, - Resistance Distance: 5 cube within 10 - Target: Each creature
-✸ ≤11: 7 fire damage; slowed (MGT ends)
-★ 12–16: 6 fire damage; slowed (EoT)
-✦ 17+: 3 fire damage
-Fodder Run (7 VP): Each war dog - minion in the battle can shift their speed, make a free - strike, and then die.
-Level 1 Ambusher Minion Humanoid, - War Dog EV 5 - Stamina: 8 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 2
-Daggers (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, - Ranged, Weapon Distance: Reach 1 or - Ranged 5 Target: One creature per - minion
-Loyalty Collar When the commando - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 1 Harrier Minion Humanoid, - War Dog EV 4 - Stamina: 8 Speed: 7 - Size: 1M / Stability 0 Free - Strike: 2
-Blade (Action) ◆ 2d10 + 1 ◆ Signature - Keywords: Attack, Charge, Melee, Ranged, - Weapon Distance: Reach 1 or Ranged 5 - Target: One creature per minion
-Loyalty Collar When the conscript - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 1 Artillery Minion - Humanoid, War Dog EV 4 - Stamina: 8 Speed: 7 - Size: 1M / Stability 0 Free - Strike: 2
-Bolt Launcher (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Ranged, - Weapon Distance: Ranged 5 - Target: One creature or object per - minion
-Loyalty Collar When the sharpshooter - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 1 Brute Minion Humanoid, - War Dog EV 6 - Stamina: 8 Speed: 5 - Size: 1M / Stability 0 Free - Strike: 2
-Daggers (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, - Weapon Distance: Reach 2 - Target: One creature or object per - minion
-Tether A captain attached to a - tetherite squad has their Stability increased by the - number of tetherites within 2 squares of them.
-Loyalty Collar When the tetherite - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 1 Defender Humanoid, War - Dog EV 11 Stamina: - 25 Speed: 5 (fly) Size: - 1M / Stability 0 Free Strike: 2
-Synlirii Grafts (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Area, Psionic - Distance: 1 burst - Target: Each enemy
-Posthumous Promotion (Maneuver) - Keywords: Magic, Ranged - Distance: Ranged 10 - Target: One war dog with a loyalty - collar Effect: The target's loyalty - collar detonates, killing them instantly.
-The Voice (Maneuver) ◆ 1 VP - Keywords: Psionic, Ranged - Distance: Ranged 10 - Target: Each enemy - Effect: The cognivite chooses an ally - within 10 squares, then chooses whether each target is - taunted by the ally (EoT) or has a double bane on attacks - against the ally (EoT). The same choice must be made for - all targets.
-Loyalty Collar When the cognivite - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 1 Artillery Humanoid, War - Dog EV 10 Stamina: - 15 Immunity: Psychic 3 - Speed: 5 Size: 1M / - Stability 0 Free Strike: 2
-Flamebelcher (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Area, Weapon - Distance: 5 × 1 line - Target: Each creature and object
-Posthumous Promotion (Maneuver) - Keywords: Magic, Ranged - Distance: Ranged 10 - Target: One war dog with a loyalty - collar Effect: The target's loyalty - collar detonates, killing them instantly.
-Loyalty Collar When the crucibite - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 1 Harrier Humanoid, War - Dog EV 10 Stamina: - 20 Speed: 7 Size: 1M / - Stability 0 Free Strike: 3
-Chainsaw Whip (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, - Weapon Distance: Reach 3 - Target: One creature or object
-Posthumous Promotion (Maneuver) - Keywords: Magic, Ranged - Distance: Ranged 10 - Target: One war dog with a loyalty - collar Effect: The target's loyalty - collar detonates, killing them instantly.
-Loyalty Collar When the eviscerite - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 1 Ambusher Humanoid, War - Dog EV 11 Stamina: - 20 Speed: 5 (teleport) - Size: 1M / Stability 0 Free - Strike: 3
-Corrupted Ash Daggers (Action) ◆ 2d10 - + 1 ◆ Signature Keywords: Attack, Melee, - Ranged, Weapon Distance: Reach 1 or - Ranged 5 Target: One creature or - object
-Posthumous Promotion (Maneuver) - Keywords: Magic, Ranged - Distance: Ranged 10 - Target: One war dog with a loyalty - collar Effect: The target's loyalty - collar detonates, killing them instantly.
-Corrupted Ash Teleport (Maneuver) ◆ 1 - VP Keywords: Magic - Distance: Self Target: - Self Effect: The portalite teleports up - to 5 squares and gains an edge on attacks this turn.
-Loyalty Collar When the portalite - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 2 Brute Humanoid, War - Dog EV 15 Stamina: - 35 Speed: 5 Size: 1M / - Stability 0 Free Strike: 4
-Several Arms (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, Melee, - Weapon Distance: Reach 2 - Target: One creature or object
-Posthumous Promotion (Maneuver) - Keywords: Magic, Ranged - Distance: Ranged 10 - Target: One war dog with a loyalty - collar Effect: The target's loyalty - collar detonates, killing them instantly.
-Loyalty Collar When the amalgamite - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 2 Hexer Humanoid, War - Dog EV 10 Stamina: - 20 Immunity: Acid 3 - Speed: 5 Size: 1M / - Stability 0 Free Strike: 2
-Caustic Detonator (Action) ◆ MGT RR ◆ - Signature Keywords: Magic, - Ranged, Resistance Distance: Ranged 10 - Target: One creature or object - Effect: A detonator attaches to the - target. At the end of each round, roll a die. On an odd - result, the detonator explodes, triggering the resistance - roll.
-Posthumous Promotion (Maneuver) - Keywords: Magic, Ranged - Distance: Ranged 10 - Target: One war dog with a loyalty - collar Effect: The target's loyalty - collar detonates, killing them instantly.
-Loyalty Collar When the phosphorite - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 2 Support Humanoid, War - Dog EV 12 Stamina: - 25 Speed: 5 Size: 1M / - Stability 0 Free Strike: 3
-Command Saber (Action) ◆ 2d10 + 1 ◆ - Signature Keywords: Attack, Melee, - Weapon Distance: Reach 1 - Target: One creature or object
-Posthumous Promotion (Maneuver) - Keywords: Magic, Ranged - Distance: Ranged 10 - Target: One war dog with a loyalty - collar Effect: The target's loyalty - collar detonates, killing them instantly.
-The Iron Saint Does Not Recognize - Retreat Each ally within 5 squares of the - subcommander adds 3 to their stability.
-Loyalty Collar When the subcommander - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 3 Controller Humanoid, War - Dog EV 13 Stamina: - 25 Immunity: Poison 3 - Speed: 5 Size: 1M / - Stability 0 Free Strike: 2
-Plaguecaster (Action) ◆ INU RR ◆ - Signature Keywords: Area, - Magic, Ranged, Resistance Distance: 3 - cube within 10 Target: Each creature
-Posthumous Promotion (Maneuver) - Keywords: Magic, Ranged - Distance: Ranged 10 - Target: One war dog with a loyalty - collar Effect: The target's loyalty - collar detonates, killing them instantly.
-Loyalty Collar When the pestilite - dies, they explode, dealing 1d6 damage to each adjacent - enemy.
-Level 3 Boss Humanoid, War - Dog EV 36 Stamina: - 90 Speed: 5 Size: 1M / - Stability 2 Free Strike: 5
-Conditioning Spear (Action) ◆ 2d10 + 2 ◆ - Signature Keywords: Attack, - Melee, Ranged, Weapon Distance: Reach 1 - or Ranged 5 Target: Two creatures or - objects
-Highest Posthumous Promotion - (Maneuver) Keywords: Area, - Magic Distance: 10 burst - Target: Each war dog with a loyalty - collar Effect: The target's loyalty - collar detonates, killing them instantly.
-Final Orders (Triggered Action) - Keywords: Magic, Ranged - Distance: Ranged 10 - Target: One ally - Trigger: The target has a condition - imposed on them, is force moved, or is killed. - Effect: The target can move up to their - speed and make a free strike before the triggering effect - happens.
-End Effect At the end of their turn, - the ground commander can take 5 damage to end one EoE - effect affecting them. This damage can't be reduced in - any way.
-Loyalty Collar When the ground - commander dies, they explode, dealing 2d6 damage to each - adjacent enemy.
-Combined Arms (Villain Action 1) - Keywords: Area - Distance: 10 burst - Target: Each ally - Effect: Each target can make a ranged - free strike, then immediately use the Charge action.
-Make an Example of Them (Villain Action - 2) Keywords: Magic, Ranged - Distance: Ranged 10 - Target: One enemy - Effect: Each ally within 5 squares of - the target can move up to their speed and make a free - strike against the target. The target is then frightened - of the ground commander (INU ends).
-Claim Them for the Body Banks (Villain Action - 3) Keywords: Area, Magic - Distance: 10 burst - Target: Each ally - Effect: Each target can shift up to 2 - squares and use the Grab maneuver. For the rest of the - encounter, any enemy takes a bane on the Escape Grab - maneuver.
-Draw Steel Compendium is an independent product published - under the DRAW STEEL Creator License and is not affiliated with - MCDM Productions, LLC. DRAW STEEL © 2024 MCDM Productions, - LLC.
-This is a game about fighting monsters. About - larger-than-life, extraordinary heroes plunging into battle - against terrifying, monstrous enemies.
-That covers a lot! So let's get specific and talk about what - this game is, and what it is not.
-This game will absolutely feature dungeons. Ancient - underground complexes filled with ravenous undead or creeping - oozes. But it isn't a dungeon crawler. It's not about “clearing - rooms.” It's not a survival horror game where you must track - light and food and the weight of every object you carry.
-You can fight monsters in a dungeon, but the game is not - about dungeons. Lots of games focus on that gameplay and do it - really well! Like Shadowdark.
-It's not a wilderness exploration game, aka a hex crawl. - It's not about surviving in extreme weather, getting lost, or - trying to navigate your way back to safety.
-You can fight monsters in the wilderness, even run a whole - campaign in the wilderness, but this game is not about the - wilderness. We love games that focus on that fantasy, like - Forbidden Lands.
-You can run adventures with horror themes, but this is not a - horror roleplaying game like Call of Cthulhu. Your - sessions can and will feature comedy, but this isn't a comedy - RPG like Paranoia.
-We genuinely love all those games. But we love them because - they focus on specific genres of gameplay and deliver on them - really well.
-Our game is heroic fantasy. That's its genre. Extraordinary - people fighting dragons and necromancers.
-But “heroic fantasy” is still a little too broad for our - purposes, so we added two other keywords to explain how our - game might be different from other games in this genre: - tactical and cinematic.
-These terms are just guidelines. A vibe. But we find them - useful when trying to choose between different features. “Both - of these ideas are cool, but which is the most cinematic? The - most heroic?”
-So let's talk about what we mean when we use these - terms.
-Strategy is: “What are we trying to do?” Break a siege, - free a prisoner, rescue a captive, steal a tome of ancient - lore. Strategy is about long-term goals.
-Tactics is about: “How are we going to do that?” We're - going to … surround them! Sneak around them! Pick them off - one by one! Kill their leader first. Kill their priest first! - “No resurrections!”
-In a tactical game, positioning matters. So our game is - played on a grid. Effects and distances are measured in - squares. This means everyone is looking at the same problem, - and there is no ambiguity regarding where the heroes and - villains are in relation to each other. The hobgoblin - troopers are setting themselves up in a line to stop our - tactician and fury from getting into melee with the hobgoblin - war mage. We can all see that happening, and can talk about - what we're going to do to stop it.
-That means teamwork matters. That's why initiative works - the way it does—to encourage the players to plan! “Okay, you - use Concussive Slam on that trooper, it'll push him back, and - on my turn I can use Phalanx Forward to get us all into melee - with the death captain.”
-We think focusing on teamwork also makes the game more - heroic! :D
-In a tactical game, you have many choices each round. You - are never reduced to just swinging your sword. You have - options. If we do a good job, you don't feel like you - outlasted your opponents because you wore their hit points - down before they could reduce yours to 0—you feel like you - beat those hobgoblins! Through stealth and sorcery, - coordination and ferocity!
-As you play with the same group of characters, you learn - what they can all do. You discover synergies, “combos.” Some - of them intended by the designers, some not! You start to - learn these unique characters, and rely on them to do their - cool things. It's a great feeling when another player comes - up with a cool plan that relies on your unique abilities.
-You learn which characters are the “squishies” who need to - be protected or healed. You learn which characters can push - themselves right to the edge and keep fighting. “Don't worry - about healing Barlaca. She's our fury. She's happier with 3 - Stamina.”
-Our game is not about tactics. It's not a war game. But it - is tactical.
-Our game is definitely about heroism! :D
-For us, this means a couple of things. It means we don't - assume your character is primarily motivated by greed. They - might be! But we don't assume that. Instead we assume you're - going to do the right thing. It might take some convincing, - and there might be some reluctant heroes in your party, but - that's part of the fun!
-You should absolutely be able to run a Chain of - Acheron-style campaign where the heroes are hard-bitten - mercenaries in a morally ambiguous world. But that's not the - baseline assumption. The fiction and adventures that inspire - us feature epic villains trying to remake the world in their - image, and the dashing, unyielding heroes who strive against - them even in the face of impossible odds.
-So that's one component of the heroic keyword. But another - component, equally important, is what kinds of things happen - “on-screen,” so to speak. This is very closely related to the - cinematic keyword.
-For instance, you never see Indiana Jones having to find a - local sporting goods store because he needs to stock up on - ammo. You never see Katniss Everdeen have to stop and take a - shower because she stinks.
-These things do happen. No one watching Raiders of the - Lost Ark thinks that Indy's gun is magical and doesn't - need bullets—but we just don't need to see Indy doing that - stuff. We don't need to waste time on it.
-Closely tied to the heroic keyword, the cinematic keyword - is about how we like powers and abilities with a strong - visual component. You can imagine your character doing or - saying these things. “In All This Confusion” is a good name - for the shadow's ability to slip out of melee and retreat to - safety. The text of the ability says how it works, but the - name creates a visual that explains how it's working.
-When Sir Vanazor the dragon knight fury leaps onto a - goblin war spider, cleaving through the goblins riding the - creature in a single turn, you can see it in your mind. It - feels like a movie. It doesn't feel simply as if you rolled - well, but like an epic scene, complete with slow motion and a - Carpenter Brut soundtrack.
-You should imagine your tactician character leading the - battle, granting your allies free attacks, extra maneuvers. - Coordinating the battle. That's what the name implies. And if - we've done a good job, when you read the character's - abilities, you think, “Yes! This is what I was imagining! I - can't wait to do this!”
-Just … you know … it's got dragons and stuff. :D
-It's worth mentioning—while everyone basically already - knows what fantasy means in this context, we do imagine it a - little more broadly than your average classical medieval - fantasy. We like that stuff! Vasloria is our medieval - European fantasy analog with knights on horseback and wizards - in towers. But we also like high fantasy urban intrigue, and - so we're developing Capital, the City of the Great Game, the - Greatest City In This or Any Age. Vasloria is mostly humans - and elves and orcs and dwarves, but Capital has dozens, - hundreds of different ancestries in it.
-Looking back at movies like Star Wars and the work of - artists like Chris Foss, that '70s stuff now seems explicitly - fantastical. There's nothing scientific or even plausible - about a lightsaber or a John Berkey spaceship. But damn, they - look cool!
-So our setting includes the timescape—our multiverse, of - which the world of Orden containing Capital and Vasloria is - only one part. The timescape is more explicitly “space - fantasy.”
-These core rules mostly cover the classic fantasy stuff. - But we think Capital and the timescape will help us deliver a - game where more people can see their fantasy in our - worlds.
-For us, fantasy includes magic, like wizards casting - spells, and psionics, the natural and focused ability some - creatures have to manipulate and warp reality with their - minds. You know, telekinesis and telepathy! Jean Grey style! - Although heroes have a few of these options in the core - rules, you'll see more psionics in later products.
-If you've most often played medieval fantasy RPGs that use - a d20 and have Strength, Dexterity, Constitution, - Intelligence, Wisdom, and Charisma as primary creature - statistics, you're going to notice a lot of similarities - between that style of game and Draw Steel. But as talked - about above, our game is explicitly heroic and tactical, and - it includes our own ideas of what a fantasy world should - include. As such, you'll definitely notice some differences. - We might use similar terminology for rules, but our use of - those game terms might mean different things, because we're - trying to support a specific style of play and there are only - so many words that make sense to use with a fantasy game in - the English language.
-Here are a few key distinctions between this game and - typical d20 fantasy that you'll notice right away. These - aren't the only distinctions, but they're the most - obvious:
-The flow of playing Draw Steel is like playing any other - tabletop roleplaying game with a Director (also called a Game - Master or GM in other games). Play is a conversation between - the Director and the heroes that describes the story. The - Director sets the scene, describing the important elements of - the environment that the heroes would notice.
-Director: You stand in the doorway of the - top level of the ruined necromancer's tower. The air is stale - and reeks of death. A pale full moon shines through a broken - ceiling, illuminating six sarcophagi upon a raised dais, each - with a lid carved in the likeness of a devil. Broken flasks, - beakers, and other laboratory glass covers the floor.
-After the Director sets the scene, each player describes how - their character interacts with the area. The Director then - describes how the environment and any creatures in it respond - to the heroes' actions.
-Alyssa (playing Jorn): I'm going to hang - out at the back of the group with my warhammer drawn. I want to - be ready in case any of those skeletons we snuck by on the - lower levels make their way up the stairs.
-Matt (playing Linn): Linn uses her - Telekinesis ability to sweep up the glass on the floor and form - a path free of glass that goes from the door to the dais.
-James (playing Korvo): I'll light a torch - as I step into the room. Is there anything new we can see - now?
-Director: With the glass cleared away and - brighter light glowing in the room, you can see that the floor - is covered in faded sigils.
-At some point, a player will have their hero attempt a task - that has a risk of failing in a way that is narratively - interesting. In such cases, the Director calls for some dice to - be rolled! Don't worry—the rules outline when and how to do - this.
-Grace (playing Val): Before anyone steps on - them, I want to examine the symbols and figure out what they - mean.
-Director: Okay, well for that, I need you - to make an easy Reason test.
-Grace: I got a 12! What do I know?
-Director: You can tell these old sigils are - part of a necromancy spell that has been woven into the stone - floor. Also, Jorn can hear something coming up the steps. It's - the clicking and clacking of bone on stone.
-Alyssa: Uh, let's make a decision here, - folks. We got boneheads incoming!
-Matt: Linn has had enough of this - dillydallying. She moves to the dais and ushers everyone inside - the room so we can shut and barricade the door.
-Grace: Uh-oh.
-Director: Before anyone else can move, - Linn's foot connects with one of the sigils. A burst of red - lightning cracks from the place where her foot touched the - floor, running to the walls and up to the ceiling.
-Matt: Oh, right. Necromancy.
-Grace: Yeah. Should have warned you.
-Director: The whole tower starts to sway as - the sarcophagus lids slide to the floor and clawed undead hands - emerge from within. Six decaying devils, each tattooed with - glowing green runes, rise. They're eager for violence.
-James: I think we found the Rotting Lords - of Hell.
-Director: Draw steel!
-Each creature in the game has five characteristics that - represent their capacity to interact with other creatures and - the environment.
-Might (MGT) represents strength and brawn. A creature's - ability to break down doors, swing an axe, stand up during - an earthquake, or hurl an ally across a chasm is determined - by Might.
-Agility (AGL) represents coordination and nimbleness. A - creature's ability to backflip out of danger, shoot a - crossbow, dodge an explosion, or pluck keys from a guard's - belt is determined by Agility.
-Reason (REA) represents a logical mind and education. A - creature's ability to solve a puzzle that unlocks a door, - recall lore about necromancy, decipher a coded message, or - blast a foe with psionic power is determined by Reason.
-Intuition (INU) represents instincts and experience. A - creature's ability to hear the approach of a distant rider, - figure out the tell of a bluffing gambler, calm a rearing - horse, or track a monster across the tundra is determined - by Intuition.
-Presence (PRS) represents force of personality. A - creature's ability to lie to a judge, convince a crowd to - join a revolution, impress a queen at a royal banquet, or - cast a magic spell by singing a song is determined by - Presence.
-Each characteristic has a score that runs from −5 to +5. - The higher a score, the more impact the creature has with - that characteristic. A baby bunny rabbit would have a Might - score of −5, while an ancient dragon would have a Might - score of 5. The average human has a score of 0 in all their - characteristics. Characteristic scores are added to power - rolls—the dice rolls you make whenever your character - attempts a task with an uncertain outcome (see Power - Rolls).
-This game uses ten-sided dice (also called d10s). Each - player and the Director should have two of these. The game - also makes occasional use of a six-sided die (called a d6), - so it's helpful if each player has one or two of those as - well.
-On rare occasions, the rules ask a player to roll one or - more three-sided dice (also called d3s). If you don't have - a d3, you can roll a six-sided die instead, treating a roll - of 1–2 as a 1, a roll of 3–4 as a 2, and a roll of 5–6 as a - 3.
-Whenever a hero or other creature in the game attempts a - task with an uncertain outcome, such as attacking a foe, - sneaking by a guard patrol without being seen, or persuading - a queen to provide military aid, the creature makes a power - roll to determine the outcome of their actions.
-The game uses three types of power rolls:
-When you make a power roll, you roll two ten-sided dice - (sometimes noted as 2d10 in the rules) and add one of your - characteristics. The characteristic you add depends on the - kind of roll you're making, as outlined in Abilities and - Tests.
-The result of a power roll determines your outcome - tier—three levels that determine how successful your - power roll is.
-Tier 1: If your power roll result is - 11 or lower, it is a tier 1 result. This is the worst - result a power roll can have. If you're using an ability, - a tier 1 result means you still do something, but the - impact of what you do is minimal. With this result, an - attack ability might deal a little bit of damage and not - do much else. For a test, a tier 1 result means you fail - at what you set out to do, and you might also suffer a - negative consequence.
-Tier 2: If your power roll result is - 12 to 16, it is a tier 2 result. This is the average - result of many power rolls, especially for heroes who are - 1st level. When using an ability, a tier 2 result means - that what you do has a moderate impact. With this result, - an attack ability deals a decent amount of damage and has - an effect that briefly helps allies or hinders enemies. - For a test, a tier 2 result means you might succeed at - what you set out to do— though depending on the - difficulty, success might have a cost.
-Tier 3: If your power roll result is - 17 or higher, it is a tier 3 result. This is the best - result a power roll can have. When using an ability, a - tier 3 result means you deliver the maximum impact - possible. With this result, an attack ability deals a lot - of damage and has a powerful or lasting effect on enemies - or allies. For a test, a tier 3 result means you succeed - at what you set out to do. If the test has an easy - difficulty, you also get a little something extra in - addition to your success
-Whenever you make a power roll, you can downgrade it - to select the result of a lower tier. For instance, if an - ability has a tier 3 result that lets you impose the - restrained condition on a creature, but the tier 2 result - for that ability lets you impose the slowed condition, - you can use the tier 2 result if you would rather have - the creature slowed than restrained.
-If you downgrade a critical hit, you still get the - extra action benefit of the critical hit (see Critical - Hit in Abilities).
-The result of your power roll before your - characteristic or any other modifiers are applied is - called the natural result. The rules often refer to this - as “rolling a natural X,” where X is the result of the - roll. For example, if you get a 20 on the power roll - before adding your characteristic, this is called rolling - a natural 20.
-Whenever you roll a natural 19 or 20 on a power roll, - you always achieve the tier 3 result, no matter what - characteristic is added to the roll.
-An archer standing on a castle wall fires down into a - throng of enemies, hitting the mark each time thanks to - their high ground. A drunken bandit struggles to land blows - on sober opponents as alcohol clouds their senses. Under - certain circumstances, you need more than just a - characteristic to represent the advantages and - disadvantages that heroes, their enemies, and their allies - might have.
-An edge represents a situational advantage a hero or - an enemy has when making a power roll. For example, a - standing hero who makes a melee attack against a prone - creature gains an edge on the power roll for their - attack. A pair of magic gloves that makes your hands - sticky might grant you an edge when making a power roll - to climb walls!
-When you make a power roll with a single edge, you add - 2 to the roll. If you make a power roll with two or more - edges, you have a double edge. This means you don't add - anything to the power roll, but the result of the roll - automatically improves one tier (to a maximum of tier - 3).
-A bane represents a situational disadvantage a hero or - an enemy has when making a power roll. For example, if - you make an attack while prone, the power roll for the - attack takes a bane. A rainstorm might give you a bane on - a power roll made to climb an outdoor wall because the - weather makes the stone surface extra slick.
-When you make a power roll with a single bane, you - subtract 2 from the roll. If you make a power roll with - two or more banes, you have a double bane. This means you - don't subtract anything from the power roll, but the - result of the roll automatically decreases one tier (to a - minimum of tier 1).
-Under certain circumstances, you might have one or - more edges and banes on the same roll. For instance, you - might take a bane when weakened by poison, even as you - gain an edge for attacking a prone creature. In general, - edges and banes cancel each other out, resolving as - follows:
-The rules tell you when to modify a roll with an edge - or a bane. The Director can also modify rolls with edges - and banes as a response to narrative or environmental - circumstances. For instance, no rule specifically says - that rain imposes a bane on power rolls made to climb a - stone wall. But it makes sense that rainy conditions - should make climbing that wall harder, so a Director - should absolutely do so!
---We capped edges and banes at a maximum of two each - for several reasons, including thinking about the - narrative of those penalties. Every little advantage or - disadvantage in a heroic story has diminishing returns, - acknowledging that a creature can only benefit or be - hindered by short-term circumstances so much. For - example, a character who is prone and weakened by - poison already finds it difficult to attack—so that - becoming restrained by a net can't really make it - harder.
-We also liked capping edges and banes at two because - it keeps play quick. It's nice to not need to count - beyond two positive or negative circumstances in a - battle with a lot of effects flying around.
-
While edges and banes cover most circumstantial effects - that can have an impact on a power roll, a few rules add - numeric bonuses or penalties to power rolls. Bonus and - penalty values are specified in the rules that impose them, - and are calculated independently of edges and banes, and - before edges and banes are factored into a power roll. - There is no limit to the number of bonuses or penalties - that can apply to a power roll, and bonuses and penalties - always add together.
-Though it might sound as if the math with bonuses and - penalties can get confusing, fear not! Bonuses and - penalties are rare except in the case of skills, which - appear on your character sheet (see Skills for more - information).
-When players roleplay their heroes well or take big risks, - the Director can reward them with the potential to restore - vitality when it's needed, in the form of hero tokens. Hero - tokens are given out by the Director one at a time, either to - an individual player or to the group as a whole. They can be - tracked using poker chips, stones, or other markers, and are - then shared by all players.
-Whenever hero tokens are available, you can spend a hero - token on your turn or whenever you take damage (no action - required). When you do, you regain Stamina equal to your - recovery value without spending a Recovery. A hero token - benefits only one creature at a time, and you can't spend - more than one hero token per turn.
-Players can also be awarded hero tokens as part of a - test's outcome when they succeed in a task with a reward (see - Tests). Unless the Director decides otherwise, unused hero - tokens disappear at the end of a session.
---You can award hero tokens to the players for taking - risks with their heroes beyond what the game typically - expects of them. For instance, battling a group of - monsters is part of the game and doesn't earn a hero - token. However, the following sorts of activities - might:
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-- A hero stands alone against a group of enemies to - allow their comrades to escape.
-- A hero willingly jumps into quicksand, into lava, - off a cliff, or into some other hazard to save another - character.
-- The group is presented with an easy way out of a - difficult situation that involves lying, cheating, - stealing, or the like, but they take the more arduous - and honorable path.
-- A hero gives away an important resource, such as a - Healing Potion, to help another creature in need.
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This game has a fair number of rules. But it also has - plenty of character options, specialized equipment, and other - game elements that let you break those rules. This is on - purpose! Breaking the rules allows heroes to feel special and - makes their foes seem extra dangerous.
-If you're not sure what to do when two rules come into - conflict with each other, remember that a specific exception - always beats a more general rule. The Director has the final - say in how rules are adjudicated.
-There are times when the rules tell you to divide a number - in half. Whenever you divide an odd number in half and it - results in a decimal, round the result down to the nearest - whole number. For instance, if you have a speed of 7 and - become slowed (a condition that halves your speed), then your - speed becomes 3.
-This game uses the terms “creature” and “object.” - Creatures are living or unliving beings such as animals, - elves, humans, dragons, giants, zombies, and valok. Objects - are inanimate matter such as walls, carriages, cups, swords, - ropes, coins, paintings, columns, and buildings. Creatures - always have stat blocks that relay their statistics, but - objects do not.
-When a creature dies, their body becomes an object, and - can be affected by abilities and other effects that target - objects. For example, a talent can't use their Telekinesis - power to slide an unwilling enemy cult leader into an evil - temple's pit of hellfire. But if that boss dies, the talent - can slide their body into the pit to prevent the boss from - being raised as a powerful undead by the temple's magic.
-The game sometimes refers to “unattended objects,” which - are objects that aren't held, worn, or controlled by a - creature. Whenever an ability affects objects, it affects - only unattended objects unless the Director determines - otherwise.
-Two types of characters inhabit the world of the game— the - player characters (also called PCs or heroes) who are created - and controlled by the players, and nonplayer characters - (NPCs) created and controlled by the Director. NPCs can - include any of the game's monsters, but when the rules refer - to NPCs, they generally do so in the context of interacting - with them outside of combat.
-The game takes place in a series of scenes with the heroes - as the main characters. An adventure is a collection of - scenes that make up a single story arc, and a campaign is a - collection of adventures that tell the entire epic tale of a - group of heroes. You can think of each adventure as a movie - in a saga of films, a book in a series of novels, or a season - of a television show. While many heroes have their stories - told over the course of a campaign, some wrap up their - careers in a single adventure that takes place in one game - session, called a one-shot. You can think of a one-shot as a - great stand-alone novella or movie.
-This game is built so that each adventure you play and - each battle you fight gets more exciting as it goes on. In - fantastic tales, the heroes and their foes both grow in power - over the course of an adventure. But it isn't time alone that - grows a hero's capabilities. Rather, it's the adrenaline that - comes from battle, the danger of the hero's profession, and - the pressure to save the world that pushes a character to do - the impossible. Each small act of heroism gives a hero the - confidence and bravery to perform legendary feats against all - odds.
-The things a hero can achieve at the end of the story are - far more daring and impactful than what they do at the start, - and the final showdown against a villain's forces is more - deadly and desperate than the first. The rules of the game - help build a heroic narrative in this same fashion, making - use of the four most important mechanics for building heroic - narratives: Victories, Experience, Heroic Resources, and - Recoveries.
-Your hero's power increases throughout an adventure as - you fight more battles and overcome other challenges, - measured through a stat called Victories. At the start of - an adventure, your hero has 0 Victories.
-Each time your hero survives a combat encounter in - which the party's objectives are achieved, your Victories - increase by 1. The Director can decide that a trivially - easy encounter doesn't increase a hero's Victories.
-When your hero successfully overcomes a big challenge - that doesn't involve combat, the Director can award you 1 - Victory. Such challenges can include things like a - particularly complicated and deadly trap, a negotiation, - a montage test, a complicated puzzle, or the execution of - a clever idea that avoids a battle.
-Whenever you finish a respite (see Respite), your - Victories are converted into Experience.
---We're still figuring out rules for encounter building, - but here are some general guidelines.
-A successful combat in which the party's objectives - are achieved earns the heroes 1 Victory. Particularly - hard encounters are worth 2 Victories when completed. - We'll have better guidelines on this topic in the future, - but for now, consider tough boss battles worth 2 - Victories.
-A successful negotiation or montage test should earn - the heroes 1 Victory. Other noncombat challenges are left - to the Director's discretion, but consider the following - guidelines to help you determine when awarding 1 Victory - is warranted:
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-- If the heroes overcome a complicated trap that - requires more than one test to find and disarm, award - them 1 Victory.
-- If the heroes investigate a series of clues in a - mystery, award 1 Victory when they solve the - mystery.
-- If the heroes solve a complicated puzzle that - requires them to use resources or would take most - people at least 10 minutes to complete, award them a - Victory.
-- If the heroes achieve a major story goal that - accomplishes a quest (such as saving a prince trapped - by an evil baroness or stopping a necromancer from - performing a world-ending ritual), award them 1 - Victory.
-- If the heroes use clever thinking to easily and - surprisingly overcome or bypass a combat encounter, a - negotiation, a montage test, a trap, a puzzle, or some - other challenge that would award them 1 or more - Victories in a more difficult fashion, award them 1 - Victory. Clever thinking is just as worthy of a - Victory—if not more so!
-At the Director's discretion, particularly hard - negotiations, puzzles, mysteries, and other noncombat - challenges can be worth 2 Victories.
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Victories temporarily increase a hero's power during an - adventure, but Experience (or XP) permanently improves - their capabilities. Each time you finish a respite (see - below), you gain XP equal to your Victories, then your - Victories drop to 0. In other words, your Victories are - converted to XP when you finish a respite.
-For more information on how XP increases your hero's - power, see Heroic Advancement.
-Your hero has a Heroic Resource (sometimes two Heroic - Resources) determined by your class, and which you manage - during play. For many classes, earning Resources can - increase your hero's power, and Resources are spent to - activate your most powerful abilities. Other classes, like - the talent, earn a negative resource that gives them a - penalty during battle, and they gain the resource to - activate their most powerful abilities. Each class gains - and uses its Heroic Resource differently, and resources - aren't equivalent across classes. For example, 1 piety for - the conduit isn't worth as much as 1 focus for the - tactician.
-Some classes, such as the tactician and the fury, - generate and use Heroic Resources only during combat - encounters. Others, such as the shadow and the talent, can - use their Heroic Resources both in and out of combat.
-Your hero's class description has more information about - how to use your Heroic Resource.
---Some players might think that quickly starting a fight - with some bar patrons or carrying around a bag of rats is - a good way to gather up those sweet, sweet Victories and - Heroic Resources. Those strategies don't work! The rules - of the game exist to help you tell a cool heroic fantasy - story, not so you can try to be clever and exploit them - by harming innocent rats to “win.” In order to generate - Victories and Heroic Resources, you must face and - overcome challenges worthy of a hero!
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Each hero has a limited number of Recoveries that they - can use to heal themself. Recoveries are a way to rally and - get back some of the energy you lose in battle by taking a - breather, accepting a little magical help from a conduit or - troubadour, getting an allied tactician to inspire you with - a rush of adrenaline, and so forth. Of course, your body - can only rally so many times before your energy reserves - are completely shot, so you have a limited number of - recoveries as a result.
-When you spend a Recovery, you regain Stamina equal to - your recovery value, which is one-third your Stamina - maximum.
-During combat encounters and similarly dangerous - situations when time is tracked in rounds (see Combat), - you can use the Catch Breath action to regain Stamina. - See Catch Breath in Actions for more information. Some - heroes have abilities that allow them or their allies to - spend more Recoveries without using the Catch Breath - action.
-Outside of combat and other dangerous situations, you - can spend Recoveries freely.
-You regain all lost Recoveries when you finish a - respite (see Respite).
-A respite is a focused period of rest and recuperation - that allows heroes to regain Stamina and Recoveries. During - a respite, you must spend 24 hours uninterrupted and doing - nothing but sleeping, eating, dressing your wounds, and - recuperating. You can also undertake one respite activity, - such as making a project roll (see Research and Crafting in - future packets for more information), or changing your kit - (see Kits).
-When you finish a respite, you regain all your - Recoveries and Stamina, and your Victories convert to - Experience. It is best to take a respite in a safe place - where you aren't in a hostile environment or at risk of - being attacked. If your respite is interrupted by enemies - attacking, an earth tremor, swarms of biting insects, and - similar serious distractions, the respite ends early and - you don't gain the benefits for finishing it.
-The standard eightish hours of sleep one gets at night - doesn't count as a respite. The rules assume that all - heroes take the time to sleep, eat, and take care of all - the other functions necessary for life even if they aren't - engaged in a respite.
-A new game demands new worlds! Welcome to the timescape—a - collection of worlds spanning high fantasy, dark fantasy, and - even space fantasy! We sincerely hope you take these rules - and adapt them to your own world, or adapt your world to - these rules, or something in between!
-Our tour begins on the world of Orden, the Prime - Manifold—a realm of elves, dwarves, humans, orcs, dragons, - and more. But human civilization and politics dominate here, - especially in the great city of Capital, a hotbed of urban - fantasy intrigue.
-Orden contains seven major regions, the largest of which - is Vasloria.
-A forested medieval and feudal land, Vasloria holds few - cities—just towns and villages. Western Vasloria, including - most of Aendrim and Corwell and parts of Graid, was until - recently ruled by Good King Omund. His draconian knights, - the Dragon Phalanx, protected the weak from the strong, - dispensing justice throughout the land. But Omund died - fifteen years ago—and so died the rule of law in Vasloria. - Now, forests claim towns and roads once held safe under his - rule. The woods are dangerous, their only law that of tooth - and claw.
-When Omund was betrayed by Mandrake, a captain of the - Dragon Phalanx, his castle fell to Ajax the Invincible—now - called the Overlord and the Iron Saint. Ajax's wizard - Mortum unlocked the secret of the ancient flying cities of - the sky elves to raise the Chrysopolis, Ajax's - city-fortress in the sky.
-Ajax abolished all faiths and temples in Vasloria. He - executed the dukes who served King Omund loyally, leaving - only the three surviving baronies of Dalrath, Bedegar, and - Tor to hold human civilization together. Once, the people - of all the lands of Vasloria were loose allies. There was - trade between humans, elves, dwarves, and orcs.
-Now there is only suspicion.
-The high elves of the Fallen City, once the sky elf city - of Irranys, pay tribute to Ajax with ancient artifacts they - plunder from their ruined home. The wode elves of the - Orchid Court, lacking any centralized government or cities, - refuse to bow to the Iron Saint.
-The dwarves of Kal Kalavar pay tribute in prisoners they - abduct from among those foolish enough to travel the roads - unescorted—prisoners who serve Ajax as forced labor or are - fed into the Body Banks. Brooding under the mountains in - their fabled Hanging City of Kal Kalavar, the stone dwarves - do not like this deal with the Overlord, but they lack the - power—or perhaps the will—to rebel.
-The Hawklords of the High Aerie now act as Ajax's royal - guard. Mounted on their giant hawks, these human warriors - project Ajax's power, enforce his tyrannical order, and - extend his influence into every corner of the wilderness. - Their mastery of the air means that any revolt or rebellion - is seen and crushed quickly.
-The Dragon Phalanx is broken now, its knights scattered. - Ajax has placed a high bounty on their heads. Some folk - still see Omund's knights as symbols of justice, heroes of - a lost age before might made right. But in every town, - every village, there are always desperate people willing to - collect the bounty, summoning the Hawklords to pluck any - dragon knight foolish enough to travel without a disguise - away to the Chrysopolis.
-The peoples of Dalrath, Bedegar, and Tor, isolated and - outnumbered, desperately fight a losing battle against the - encroaching wilderness. Law dies. Chaos thrives.
-The Greatest City in This or Any Age! City of the Great - Game! Located west across the Bale Sea from Vasloria on the - eastern coast of Rioja, Capital is not only the largest - city in Orden. It's the largest city there has ever - been—larger than the fabled steel dwarf capital of Kalas - Valiar, larger even than Alloy, the City at the Center of - the Timescape. Capital is the exception to many rules.
-It is a city of playwrights and opera, of spies and - sorcery. Famed throughout the world as a city of high magic - where flying tapestries act as taxis. But the reality of - living in Capital is somewhat more mundane, for only the - very wealthy can afford such luxuries.
-The Great Houses, Capital's ancient noble families, - reluctantly share power with the upstart guilds who think - that their vast wealth entitles them to rule. The members - of the Great Houses are proud of their city, and believe - anyone, from anywhere, should be able to come to Capital - and earn a living, own property, and expect justice. They - just don't think anyone else should be able to rule. The - guilds of the city, by contrast, are more egalitarian, - more democratic, largely obsessed with accruing - wealth—and caring little for the welfare of the city or - its people.
-The Great Game is espionage, and House Alvaro are the - best players in the world. Led by Duke Prospero, House - Alvaro sponsors the Imperial University, the greatest - center of learning in the world. Nobles from across - Orden, including from lands as far away as Vanigar, send - their children to learn diplomacy and statecraft at the - university. The greatest spies in the world are all - graduates of the Actian School, one of the university's - many colleges, which once doubled as the intelligence - agency of Capital's late prince.
-House Vorona runs the city's navy, the largest - military organization of any kind in Orden. Their - engineers perfected the secret of blackpowder and guard - it jealously.
-The Imperial Navy's canons protect trade across Orden, - placing Capital at the center of international affairs. - Vorona's Far Mariners, aka the marines, are the closest - thing to a citywide law enforcement organization. Each - Great House is expected to police its own district.
-Duke Marco Vorona sponsors the Imperial War College, - also known as the Academy. A prestigious institution - rivaling any college of the Imperial University, the - Academy boasts graduates among all the noble families in - Orden. This widespread allegiance creates a vast informal - network in the city, referred to cynically as the Old - Class Ring, that gives House Vorona access to - intelligence that other factions can only dream of.
-House Navarr, the oldest of the Great Houses, enforces - the law of the Church of Saint Ysabella the Pitiless, - which theycall justice. The house is led by His Grace - Orsino, Duke Navarr, archbishop of that most powerful - church in the city. Under his rule, House Navarr - consolidates a vast network of different churches and - knights across the region under one elaborate system of - patronage.
-Arguably the most powerful Great House, House Valetta - controls the city's tax collectors, known as the Arbitros - Fiat. Valetta is led by the Duchess Lenore, who opened - theCodex Mortis while in mourning for her assassinated - husband Maximo, speaking a ritual from that ancient - necromantic artifact that should have returned her love - to life. Instead, she brought about the Lilac Night, - which transformed everyone in her district into - undead—including herself. The Duchess Lenore is now an - immortal vampire queen, a dead lady ruling over a dead - city.
-After the Lilac Night, with the city no longer able to - rely on House Valetta to deliver the taxes it collected, - Lady Shirome bought Great House status for the - Fulcrum—the city's assayer's guild she controls—along - with the Broadsheet Guild and the Farrier's Guild. The - Fulcrum controls the Trade Integrity Board, which sets - lending rates and leads trade negotiations between - Capital and other governments in Orden. It was that guild - that convinced the late prince to switch the city to - paper money. As a result, Capital is the first and only - city in Orden to have a robust monetary policy.
-The Broadsheet Guild, formally known as the Font, - publishes the thrice-daily news sheets that everyone in - the city reads. Guildmaster Inān al-Adwiyya uses a vast - network of young people called the Paperfeathers to - deliver and sell the broadsheets throughout the city. - Lady al-Adwiyya knows almost everything happening - anywhere in Capital.
-The Farrier's Guild, popularly known as the Rasp, - controls transport throughout the city. The guild is led - by Lord Kashimir, a heliox from the planar gateway city - of Alloy. It was he who introduced the flying tapestries - that metaphorically shrank Capital, allowing the rich and - powerful to cross the thirteen-mile-wide city in just a - few minutes. He also created the Kites, couriers famous - for being able to get a message to anywhere in Capital in - only a few hours. His monopoly on importing flying - tapestries from Alloy gives Lord Kashimir enormous power, - and he is not shy about wanting more.
-Orden is only one world in the timescape! Each star in - the night sky is another world, though this fact is not - known to most people living on Orden. Higher worlds are - more energetic, affording access to alien technologies. - Great star freighters ply the space lanes, with knights - wielding psionically powered hard-light blades dueling - against star pirates with hard-light blasters.
-The lower worlds lack the energy necessary for such - extraordinary technology to function, and so rely on magic - to break the rules.
-On Axiom, the Plane of Uttermost Law, the memonek live - on a world teeming with complex, inorganic life. UNISOL, - the Universal Solar League, ensures and protects trade - across the upper worlds, defending the star freighters from - pirates such as the time raiders and the infamous - Sunrunners on their legendary ship the K.R.A.D - Fearless.
-Meanwhile, on Proteus, the Sea of Eternal Change, the - formless proteans rebelled against the synlirii who once - ruled the plane of uttermost chaos, exiling the voiceless - talkers to the World Below. Now the masters of their world, - the proteans take to the stars in their living - change-ships, hurling their small fleet against what they - perceive as the tyrannical might of UNISOL.
-On Quintessence, the lowest of the upper worlds, - proteans and memonek alike rub shoulders with devils, fire - dwarves, and even humans in Quintessence's capital city of - Alloy, the City at the Center of the Timescape. The Free - City of Alloy, also known as the City of Brass, is the - gateway to the timescape. People traveling to or from the - upper and lower worlds meet here to trade goods and - information, free from the inflexible laws of UNISOL.
-Traveling downward from Quintessence, one arrives on - Orden, the Plane of Gods and Sorcery, highest of the lower - worlds where magic rules. The gods, forbidden from - interfering directly in a world with such a low energy - state, rely on saints to enact their will. The technology - from the upper worlds does not function down here, unless - powered by a strong psionic mind, or the miracle mineral - prismacore.
-Almost coterminous with Orden is its sister-plane, the - World Below, and the Dark Under All. This plane of exiles - is ruled by A Lie Cloaked In Star's Silver—the Queen of - Night, and the first of the Three Sisters Below. The World - Below is a land of vast caves and sunless seas. There are - no stars here, no sky, but only endless caves and warrens. - Some of those are vast enough to hold entire cities, - including Or-Mazaar, the City of the Black Star, from where - the Queen of Night rules.
-The power of the World Below wanes, even as the power of - Equinox rises. Also known as Dusk, this smaller parasitic - manifold is home to the exiled shadow elves and ruled by - the Queen of Shadows, third of the Three Sisters Below. She - plots to return her people to their homeland in Orden, and - to escape the twisted shadow world.
-The last plane of law, the Seven Cities of Hell, is - among the lowest of the lower planes. A realm of devils - proud of their civilization, the Seven Cities are each - ruled by an archduke who schemes to ascend to the Throne of - Hell. Living in a world of bureaucratic law, the devil - denizens of Hell have little interest in the other planes. - Life is so much more interesting down here. The seven dukes - of Hell conspired together once, agreeing to create the - Order of Desolation, also known as the illriggers. Doing so - was meant to extend their power into the timescape, and to - defend the Seven Cities from the demon hordes below.
-The demons of the Abyssal Waste, the lowest plane, claw - and scramble over each other, competing for souls in this - heat-blasted desert under a baleful, giant orange sun. - Mindless collections of organs, claws, and teeth, demons - collect souls until they reach sentience, gaining identity - and the blessing of memory. These demons will do anything - to escape upward out of the wasteland, lest they lose their - collected souls, lose their identities, and fall into that - mindless state called lethe.
-At the center of the Abyssal Waste lies the Necropolitan - Ruin, the Last City. A great city of the dead, the site is - ruled by Khorsekef, once the Infinite Pharaoh of the desert - wasteland of Khemhara, now the Ultralich. Khorsekef intends - to return to Orden and sit once again on his throne in the - grand Heliopolis at the center of Khemhara—and he has a - plan …
---We use the timescape and its medieval fantasy land - Orden as the default setting presented in these books. - Doing so makes it easier for us as designers to marry our - design with real examples from a real (imaginary) fantasy - world. We also think it's easier for you to take the - names for places, languages, and gods, and replace them - with your own. We might reference some hero or villain, - saint or god, whose name makes you think, “Well, I don't - have that in my setting.” If we do a good job, though, - you might be inspired to say, “But that makes me think …” - And being inspired is part of the fun!
-If you're the Director, you can use as many or as few - of the details of the timescape as you like. You might - wish to create your own world within the timescape, or - use a setting you've created that exists outside of the - official MCDM manifolds. You can use details from - settings published by other companies. There are no rules - when it comes to world-building. Feel free to take what - you like from this book and change the rest. For example, - you might not care for our dwarves having literal stone - skin. That's fine. You can make them fleshy, stout, - bearded folk, or mohawked, barrel-chested punk rockers, - or anything else you wish. As long as you're running a - heroic fantasy campaign about fighting monsters, then the - game's rules are still likely to serve your narrative - even if that narrative deviates from ours.
-If you're a player, ask your Director about the - setting where the game takes place and discuss with them - the sort of hero you want to create. Maybe you want to - play a more traditional gruff and bearded dwarf rather - than go all short and stony. An open dialogue and honest - discussion with your Director can lead to everyone - getting what they want out of the game.
-
If you're not the Director, then you create and play one of - the main characters in the game's story—a hero. Your hero is a - person motivated to fight forces of evil to protect the - innocent, but each hero has their own personal reason for doing - so. You don't have to be a pure beacon of good. Heroes have - flaws and are complex, just like people in the real world. But - your hero should be someone who isn't afraid to battle monsters - for altruistic reasons. If you're only interested in playing a - money-grubbing sellsword, you can achieve that with these - rules, but you'll likely be happier playing another game.
-The hero you create will be roleplayed by you. Often when - referring to your hero, the rules use second-person pronouns - (you/your) for shorthand, only making a distinction between you - and your hero when that distinction is important.
-Getting together with your friends to make characters can - be a lot of fun. Many groups spend most of their first - session talking about the campaign's story, making heroes, - and going over expectations for the game. It's a great way to - kick off a long-term campaign.
-The Director should make an agenda for a campaign's first - session—often called “session zero”—which can include any of - the following items:
-Use the following step-by-step guide to create a hero. - These steps are presented in what we believe is the best way - to approach making your first hero for Draw Steel. - That said, the order of the steps is still a suggestion, not - a hard and fast rule.
-Many players like to build a hero from the backstory up, - making ancestry and culture ideal first choices. However, - some players like to start more in the present, choosing an - inciting incident and a class—the choices with the most - potential impact on what your character can do in the - game—and then going back and figuring out where their hero - came from. There's no wrong way to do it!
-You'll want a character sheet to fill out while you make - your hero.
-(Playtest note: The character sheet is still to - come.)
-The first thing you should do is think about the kind of - hero you want to make. Ask yourself the following - questions:
-Choose your hero's humanoid ancestry from among the - range of ancestries available in the game—devil, dragon - knight, dwarf, hakaan, high elf, human, memonek, orc, - polder, revenant, time raider, or wode elf. Future - supplements will introduce additional ancestries you can - choose from. See Ancestries for more - information.
-(Playtest note: A selection of the game's full range - of ancestries are currently available, some of which - feature lore entries.)
-Create your hero's culture. Although ancestry gives your - hero a number of physiological benefits, your culture - describes the community that raised you and gives you - languages and skills. See Culture for more - information.
-Choose your hero's career, which describes what you did - for a living before you became a hero. Your career gives - you skills and a title, and might also give you languages, - Renown, or knowledge for crafting and research. See - Careers for more information.
-Choose your hero's class. This choice has the biggest - impact on how your hero interacts with the rules of the - game, especially the rules for combat. Your class provides - your characteristic scores and Stamina, in addition to - skills, several abilities, and other benefits. You can be a - censor, conduit, elementalist, fury, null, shadow, - tactician, talent, or troubadour. See Classes for - more information.
-(Playtest note: The currently available classes are - the conduit, elementalist, fury, shadow, and tactician, - each of which includes only 1st-level features.)
-Choose your hero's kit. Your kit provides you with - equipment and a fighting style that grants a signature - ability and bonuses to one or more of your game - statistics.
-Every hero has the ability to make free strikes under - certain circumstances—extra attacks that don't require your - action. (You can also make a free strike as an action on - your turn, though you'll usually have better options for - your action.) Your class might grant you free strike - options, but each character also has two standard free - strikes.
-A melee weapon free strike is a melee attack made with - an unarmed strike or improvised weapon. A ranged weapon - free strike is a ranged attack made with an improvised - weapon.
-Power Roll + Might or Agility:
-Power Roll + Might or Agility:
-See Free Strikes for more information on - using free strikes, and see Abilities for - information on the ability format.
-Your hero experienced an event that has left them with a - benefit and a drawback. Complications are optional, so - check with your Director to make sure your game is using - them. See Complications for more information.
-Once you've created your hero, it's time to determine - the additional details of their backstory, appearance, and - personality. How do the events of their culture, career, - inciting incident, and class tie together into a cohesive - narrative? What's their name? What do they look like? Do - they have any cool scars? Any dope tattoos? Do they still - sleep with their teddy bear? These sorts of details can - help define a well-rounded hero.
-Ask the Director if all the heroes start the campaign - knowing each other. If they do, talk to the other players - and build some connections between your heroes. If you - like, you can use the following prompts to make those - connections, or to come up with prompts of your own:
-Answer these questions with the other players present, - and be sure to get a player's approval if your answer makes - use of their character.
---This game has lots of skills, and lots of - opportunities during character creation to gain them. We - recommend recording a list of all the skills you might - gain from the different steps of the character creation - process, then making your choices at the end of that - process rather than flipping back and forth through the - book.
-If you gain the same specific skill from two different - sources (for instance, from a career and a class), you - can pick a different skill from the same skill group. See - Skills for more information.
-
If you pick a skill, ability, class, or any other option - that you end up not liking after using it in the game—even - your character's ancestry—you can always freely change that - option between game sessions. If you want to change an option - during a session, ask your Director. If they say it's fine to - swap that option out for something else, go for it.
-Your character's heroic advancement is marked by level. - Each time you gain a new level in your class, your Stamina - increases, and you gain new features or abilities according - to your class's advancement, as detailed in - Classes.
-In the standard setup for the game, heroes gain Experience - each time they finish a respite. When you gain sufficient - Experience, you gain a level during the same respite (see - Building a Heroic Narrative). The Heroic Advancement - table shows how much Experience (XP) you need to advance from - one level to the next. The amount of Experience you gain is - cumulative.
-| XP Range | -Level | -
|---|---|
| 0–9 | -1 | -
| 10–24 | -2 | -
| 25–39 | -3 | -
| 40–54 | -4 | -
| 55–69 | -5 | -
| 70–84 | -6 | -
| 85–99 | -7 | -
| 100–114 | -8 | -
| 115–129 | -9 | -
| 130+ | -10 | -
Though many games might advance using the standard setup - for heroic advancement, the Director can decide that their - game uses different advancement. Check with your Director - to see what method of advancement they plan to use.
-Some Directors prefer that heroes level up faster or - slower to suit the pace of their story. The Adjusted - XP Advancement table is set up for campaigns where - heroes advance at double or half the usual pace. - Directors can also create their own customized pace for - XP-based advancement.
-| Level | -XP for Double Speed | -XP for Half Speed | -
|---|---|---|
| 1 | -0–4 | -0–19 | -
| 2 | -5–12 | -20–49 | -
| 3 | -13–20 | -50–79 | -
| 4 | -21–28 | -80–109 | -
| 5 | -29–36 | -110–139 | -
| 6 | -37–43 | -140–169 | -
| 7 | -44–51 | -170–199 | -
| 8 | -52–58 | -200–229 | -
| 9 | -59–65 | -230–259 | -
| 10 | -66+ | -260+ | -
Rather than tracking XP, some games see the heroes - advance in level when they achieve a particular story - milestone. For example, when a party defeats the main - villain of an adventure and foils their dastardly plot, - each hero gains a level for achieving this objective, no - matter how many or few obstacles they faced along the - way.
-For many Directors using milestone advancement, the - end of each adventure within a campaign serves as a - milestone for leveling up. The Director can share these - milestones with the players to encourage them to work - toward particular goals, and to engage with the story and - world the Director has prepared. For example, in a - campaign where the heroes have to face nine evil mages, - it makes sense that each time the heroes defeat a mage, - they gain a level. The Director should keep milestone - goals flexible, though. Defeating a mage could mean - stopping them with violence, using negotiation to make - them stand down, or anything else that thwarts their evil - plans.
-Some games don't track XP or goals at all. The heroes - simply gain a level whenever the Director decides it's - appropriate for the story.
-Fantastic peoples inhabit the worlds of Draw Steel. - Among them are devils, dwarves, elves, time raiders—even humans - with their ability to sense the supernatural.
-Your hero is one of these folks! The fantastic ancestry you - choose bestows benefits that come from your anatomy and - physiology. This choice doesn't grant you cultural benefits, - like crafting or lore skills. While many game settings have - cultures made of mostly one ancestry, other cultures and worlds - have a cosmopolitan mix of peoples.
-Ancestry describes how you were born. Culture (in the next - chapter) describes how you grew up. If you want to be a wode - elf who was raised in a forest among other wode elves, you can - do that! If you want to play a wode elf who was raised in an - underground city of dwarves, humans, and orcs, you can do that - too!
-Orden is a fantasy world. It works on principles similar - to those many people throughout history believed governed the - real world. “I dunno, a god did it probably.”
-Humans, elves, orcs, dwarves, dragons—all have creator - gods—the elder gods, four of whom made the world for some - reason. Maybe they were bored.
-The fashion among those gods for creating new, intelligent - species petered after the orcs. Once humans came along and - invented war, it stopped being fun.
-It may be all species were created by gods. That's - certainly what a lot of people throughout our own history - assumed. Orden has no Darwin and probably won't ever. There's - still inheritance. People expect children to look like their - parents, but there aren't evolutionary pressures except on a - very local scale.
-And in a world where powerful, world-altering magics are - available, mortals sometimes try to recreate the gods' - efforts. Some succeed, and new intelligent, speaking peoples - are born.
-However, mortals are not gods and lack their ineffable - wisdom. They are, in fact, very effable. Many have sought the - power to create. It is available to any sorcerer of - near-godlike power with the right rituals, though these days - that power is very obscure. Creating new intelligent species - was easier for mortal wizards back in the youth of the world - when magic was friskier.
-In every instance in recorded history, attempts by mortals - to make obedient servitor species backfire. The steel dwarves - worked marvels with valiar, the truemetal, and the miracle - mineral prismacore that grants objects a semblance of life. - Eventually, their science and magics produced the omnivok, - machines that were self-aware. Perhaps uniquely, when the - dwarves realized they had created beings equal to themselves, - they stopped their work and gave their creation full rights - and independence, preferring to work with them rather than - attempt, and inevitably fail, to be their masters.
-Normally, it doesn't work out that nicely. Even with the - best of intentions, things go awry. The Dragon Phalanx were - created by Good King Omund's wizard Vitae to be the perfect - knights, dispensing justice throughout the lands. But the - same sorceries that grant self-awareness also grant - independence. Agency. And though they enjoyed thirty years of - peace and justice, eventually the dragon knights were - betrayed by one of their own, seduced by the power offered by - Ajax.
-The law of unintended consequences applies to the just and - the unjust alike.
-Usually when some powerful being tries to create an - intelligent people, it's for less than virtuous reasons. The - synliroi are responsible for several intelligent species in - the timescape, each an attempt to create a perfectly obedient - servitor species. The most notorious example are the - kuran'zoi, the time raiders who rebelled almost immediately - and carry a burning hate for the voiceless talkers to this - day.
-A perhaps less egregious use of this power is called - quickening. Used when a powerful mage lives in and amongst - some clever species just on the cusp of self-awareness. These - instances, which are much more numerous than creating a new - species from whole cloth, are more like the concept of - uplifting found in science fiction. The mage or witch or - shaman didn't create anything. They just gave these cute, - clever, frog-things a little boost. A little nudge. And - suddenly there are angualotls walking around having - conversations with each other, wondering when someone will - invent a fabric that doesn't get moldy in the swamp.
-This also carries serious ethical repercussions! “You - didn't create angualotls! You screwed up some perfectly good - frogs! Look at them, you gave them anxiety!”
-This is only how it works on Orden. You may have - completely different explanations for why there are several - different intelligent species walking around in your world. - Or no explanation! Or competing and irreconcilable theories - on the matter! Use whatever inspires you.
-At the end of the day, if you throw out all of this and - replace it with something you made up, it will be better. - Because it's yours!
-Unless otherwise noted, a character from any of these - ancestries is size 1M and has a speed of 5.
-Where an ancestry provides you with an ability, see - Abilities for details of the ability format.
-“Go to hell!”
-“You know, I have a rather interesting story about - that…”
-The native ancestry of the Seven Cities of Hell, devils - are humanoids with red or blue skin expressed in a wide - variety of hues, from bright crimson to deep purple. Each - devil is born with some hellmark—horns, a tail, cloven - hooves, a forked tongue, fanged incisors, or even wings.
-Hell is dominated by the Seven Cities of Hell, each ruled - by a different archdevil who constantly plots and schemes - against the others in the hope of ascending to the Throne of - Hell.
-Those devils who join “the trade,” as their civil service - is called, spend their days in bureaucratic service, hoping - or scheming for promotion. Devils looking for a quick path up - the bureaucratic ladder sign up for the Exchange, whereby - mortals in the mundane world who perform the right rituals - can summon a devil, who bargains with the supplicant on - behalf of their archdevil. Archdevils can grant temporary - worldly power in exchange for a supplicant's soul, with the - summoned devil acting as the broker.
-On rare occasions, the summoning goes wrong and the - supplicant dies before the deal can be struck, stranding the - summoned devil on Orden permanently. Some stranded devils - seek to return to Hell, but most prefer life in Orden, where - the phrase “stabbed in the back by a colleague” is usually a - metaphor.
-The majority of devils in Orden are not from, nor have - ever been to, the Seven Cities. They are descendants of - devils who were stranded in the mundane world decades, - centuries, even millennia ago.
-Adelard scuttled across the floor of his basement, a - heavy tome clutched in one hand, his index finger marking a - page. Occasionally he would stop, open the book, consult a - diagram, look at the chalk markings he'd made on the floor, - tilt his head, then bend down and refine or rub out an - esoteric symbol.
-One of the red candles suddenly guttered out, making the - small room noticeably darker. “Damn and blast!” he hissed. - Then he relit it from another candle.
-Stepping back to admire his handiwork, Adelard crossed - his arms and nodded. He'd spent his last coppers on the - candles—they weren't cheap. And he feared the skull might - be fake, but did it matter? The book just said a - skull—it didn't even specify a human skull! Did it - matter if it was real? It was probably real. What kind of - market was there for replica skulls? But it was awfully - cheap. Anyway, did it matter? How would the ritual know if - the skull was real?
-He was wittering, putting off the inevitable. He pulled - himself together. It was either going to work, or it - wasn't, and wittering wasn't going to help. He opened the - book and turned the page—then began to speak the - ritual.
-Moments later, the candles flared, there was a burst of - flame, and acrid brimstone filled his nostrils. When the - smoke cleared… there was a devil standing in his - basement—dark purple skin, horns, even a twitching - tail.
-“Aha! Yes, finally.” It rubbed its hands together. “It's - about time,” the creature said, pulling on the bottom of - his waistcoat to straighten it. “Now then! How does it go? - Oh, yes.” He cleared his throat. “On behalf of my lord, his - grace Archduke Dispater, Lord of Dis, I am empowered to - offer you…”
-But his speech fell on deaf ears.
-“It worked!” Adelard said, holding his clenched fists - up. “Ahahaha! It worked! Finally, after years! I will have - my revenge! Hahaha…!” cough cough Adelard - was suddenly gripped by a coughing fit, but he kept - crowing. “Dismiss me from service, will they?! - cough Old and useless… am I?! I'll show them!” He - coughed again, fighting to breathe now. “I will hex them - and torture them until they…”
-He stopped cavorting and capering, and his eyes went - wide. “Until they… until…” He clutched his chest.
-“Uh-oh,” the devil said, genuinely worried.
-“HNNG!” Adelard grunted. Then he collapsed to the - ground, curled into a fetal position, obviously in immense - pain.
-“Nono. Nurse!” the devil called out. “Doctor!? Is - anyone… you should lie down. Well, you are lying down. Do - some… some deep-breathing exercises. Have a cup of tea! - That always…”
-Adelard gasped one last time and uncurled, muscles - relaxed. Eyes open but unseeing.
-“…calms me down,” the devil said quietly.
-Suddenly, the candles were extinguished as one, plunging - the room into pitch-blackness. The devil's hellsight meant - this was only a minor inconvenience for him. “Um,” he said - to the empty room. “Uh-oh.”
-He poked the tip of his boot at the chalk symbol - surrounding him on the floor. Nothing happened. He stepped - on it. Nothing happened. He put his weight on that foot. No - alarms went off.
-He walked out of the circle. Nothing happened. No one, - it seemed, cared.
-A few moments later, the door to a small home, little - more than a wooden shack on the outskirts of a small - village, opened. A well-dressed devil peeked out and then - slowly emerged, stepping onto the dirt road that led - through the center of the village. A keep stood atop a hill - in the distance.
-“Ah,” the devil said.
-A wide woman dressed in wool, carrying a pile of clean - clothes, saw him and stopped in her tracks, her mouth - open.
-“Oh! Good day to you, madam, I wonder if you could tell - me…”
-“AAAHHHHH!!!” she screamed. For quite a long time. Then - she dropped her laundry and ran.
-“Ah. Um. Hmm.”
-A young man in a low, stone building saw this exchange, - grabbed what looked like a long iron poker, and ran out to - confront the new arrival.
-“Have at you, devil!” he said, assuming something like a - dueling pose.
-“I say! Steady on!” The devil raised his hands.
-The two of them stood there, frozen in the middle of the - street for a few moments.
-Then the devil turned and ran away as quickly as he - could.
-“And that's how I ended up here!” Riyalkin toasted his - dinner companion. “Now, after years of obscurity, a - legendary hero!”
-“Legendarily vain,” his dinner guest teased with a - smile.
-“Simply playing my part, darling. People expect a - certain amount of vanity in a troubadour, don't they?”
-She laughed. “Riyalkin the Red Pen is every bit as - advertised.”
-“Thank you. And besides, accusations of vanity are a bit - rich coming from my leading lady.”
-“Not all actors are vain.” She took offense beautifully. - “Just the good ones.” She sipped her drink.
-“Well then, you must be very vain indeed,” the devil - said.
-“Anyway, does that answer your question?”
-“Mostly. Do they speak Caelian in hell?”
-“What a good question. Unless it's very old, the ritual - usually grants knowledge of the summoner's language. I - gather in the bad old days, we used to just show up in a - cloud of brimstone and gabble at people. I'm sure it was - impressive, but what did it achieve? Not very professional, - I can tell you that.”
-“No cloud of brimstone now?” she teased.
-He waggled his eyebrows. “Style counts for - something.”
-“But wait, that was….” She did some quick mental math. - “Fifteen years ago?”
-“Well, I was an accountant here in Capital for several - years in between.”
-“An accountant!”
-Riyalkin shrugged. “It's what I did before. I'm - moderately good at it.”
-“And how does one go from being an alien accountant to a - famous troubadour?”
-“Well…” Riyalkin seemed uncomfortable suddenly. “It's - just that… the thing is, accountancy in the Seven Cities is - just so much more interesting than it is here. Plotting and - scheming, always on the lookout for an assassin, people - constantly trying to claw their way up the ladder, usually - over your dead body. And I guess I just… missed the - excitement.”
-“The excitement of being an accountant.”
-“The excitement of being an accountant in Hell,” - Riyalkin said. “In any event, enough about me and the - thrill of double-entry bookkeeping. Perhaps you can - enlighten me. Why is it, in spite of my impeccable taste - and the outrageous sums I spend looking good, I always feel - underdressed in your presence? Do you employ sorcery? Or is - it that any outfit is improved by your unearthly - beauty?”
-She blushed in spite of herself and raised her own glass - in a toast.
-“You silver-tongued devil.”
-As a devil character, you have the following - benefits:
-When you create a devil character, you have 3 fiend - points, which you use to select a number of the following - features.
-BARBED TAIL (1 FIEND POINT): Your - pointy tail allows you to punctuate all your actions. - Once per round, you can deal 1 extra damage on a - melee attack or free strike.
-BEAST LEGS (2 FIEND POINTS): Your - powerful legs improve your speed by 1.
-EXPOSED SKELETON (2 FIEND - POINTS): Your bones are visible and hardened - above your skin, granting you Weapon immunity 2.
-GLOWING EYES (1 FIEND POINT): - Your eyes are a solid, vibrant color that flares to - show your excitement or rage. Whenever you take - damage from a creature, you can use a triggered - action to curse that creature for daring to do you - harm. The creature takes 1d10 psychic damage.
-HELLSIGHT (1 POINT): Your eyes - let you see through the dark, fog, and other types of - concealment. You don't take a bane on attacks against - concealed, unhidden creatures.
-HORNS (1 FIEND POINT): Your - cherished horns are a hardened representation of your - force of will, granting you an edge on Presence - resistance rolls.
-PREHENSILE TAIL (2 FIEND POINTS): - Your prehensile tail allows you to challenge foes on - all sides. You can't be flanked.
-WINGS (2 FIEND POINTS): You - possess wings powerful enough to take you airborne. - As a maneuver, you can switch between walking and - flying when you are touching the ground, or vice - versa when you are within 1 square of the ground. - While flying, your stability drops to 0 and you have - damage weakness 5. While using your wings to fly, you - can stay aloft for a number of rounds equal to your - Might (minimum of 1 round) before you fall prone.
-SILVER TONGUE: You can twist how - your words are perceived to get a better read on - people. You gain an edge when attempting to discover - an NPC's motivations and pitfalls during negotiations - (see Negotiation).
-“I thought the dragon knights would save us, but even they - couldn't stop Ajax. Now the roads aren't safe. People are - taken from their homes without cause or warning, never to - return. I don't know what's going to happen now, except - everyone's afraid all the time.”
-“I think things are going to get a lot worse before they - get better.”
-The Ritual of Dracogenesis that grants - the power to create a generation of dragon knights—also known - as draconians or wyrmwights—is obscure and supremely - difficult for even an experienced sorcerer to master. Small - populations of draconians in Khemhara, Higara, and Khorshir - attest to this. Descendants of original generations created - millennia ago by powerful wizards, they have never been - numerous. A typical clutch yields only a single egg. After - only a few generations, these draconians begin to show new - adaptations like feathers or frilled ridges.
-The largest extant population of draconians is the - remnants of the Dragon Phalanx in Vasloria. Created by Good - King Omund's wizard Vitae, the Dragon Phalanx once numbered - several thousand of the king's greatest knights, ensuring the - rule of law across the land.
-Knighthood was a title carried by every member of that - first generation of dragon knights. Within the Dragon Phalanx - were shadows, censors, tacticians, and elementalists. Members - of virtually every heroic vocation could be found in one of - the eight dragonflights that made up the phalanx. For over - thirty years, these heroes were symbols of justice, - protecting the weak from the strong, and standing between the - common folk and those who sought power over others. Those who - grew up in that place and time could never have imagined any - other way of life.
-Then Ajax came.
-The cloaked figure at the back of the inn stood up. As - they did so, their hood slipped down, revealing their head - and face. A susurration rippled through the crowd. One man - standing near the bar dropped his jaw, followed by his - flagon of mead.
-A tall, broad draconian stepped into the light. He was - old, his scales battle-scarred. He rested one clawed hand - on the pommel of a mace that hung from a loop on his belt, - while the other carried his shield by a strap. His flat, - expressionless look was more terrifying than any - threatening glower.
-The three human bandits took a step back. One of the - dwarves just sneered—then, sensing his human compatriot's - reluctance, turned to look at them. “What's this?” the lead - dwarf growled.
-“Don't be cowards now!” the other dwarf said, a hint of - joy in his voice. “Look what a prize we have caught!”
-“We didn't…” one bandit said, shaking. “We didn't - know…”
-Looking at the dragon knight, the other bandit added - quickly, “We didn't know there was one of you here.”
-The draconian didn't move. Didn't give any indication he - heard the man. Just stared unblinking at the lead - dwarf.
-“Think of the bounty,” the dwarf hissed to the humans, - but he kept his eye on the draconian. “We'll all be - rich.”
-“I don't…” One of the bandits dropped her sword and held - her hands up as she backed away from the group toward the - exit. “I don't need it that bad,” she said. Then she turned - and ran out the door. Her human compatriots followed.
-The two dwarves surveyed the tavern. The people were now - all facing them. A few had stood up. They weren't afraid - anymore.
-“We'll be back,” the lead dwarf said, and the two of - them backed out of the inn, sheathing their shortswords - before they turned and left.
-As one, the people in the tavern turned to look with - undisguised awe at the dragon knight. He noticed this, - ducked his head to avoid their gaze. “Show's over,” he - growled, then he turned to go back to his seat in the - rear.
-“Thank you,” the woman behind the bar said. “Thank you - for…”
-She stopped when she saw the draconian was ignoring - her.
-A short, doughty, middle-aged man stood up, and two - equally doughty women at the same table stood up with him. - “Excuse me, sir knight,” the man said as the dragon knight - walked past their table.
-The knight moved on, ignoring them. The man reached out - and grabbed the massive draconian's arm. The knight wheeled - on the peasant, looming over him.
-The man bowed his head and touched his forelock. The two - women with him curtseyed and tried to avoid making eye - contact.
-“Begging your pardon, sir, but we been lookin' for - you.”
-The dragon knight sneered and bared a set of sharp - teeth. “Look for someone else,” he growled as he pulled his - arm away.
-The man scurried around to stand in front of the - draconian, blocking his way. He took off his worn cap and - held it over his breast. “I'm sorry sir, but there ain't no - one else. And there's this new tax, you see, from the new - baron. And a priest says he's of Saint Ajax.”
-The knight bared his impressive teeth, ready to scare - Jago and the other two away—when someone else spoke.
-“You might want to hear 'em out, Vaant,” said a voice - from the table the three peasants had been sitting at.
-The dragon knight turned sharply to look at the man - who'd spoken. His back was to the draconian, but the voice - gave him away.
-“John?”
-The man turned to look up.
-“Hi Vaant,” he said, smiling. He rose from the table. He - was middle-aged, fit. Black hair hung down to his - shoulders. He was armed with many weapons, looked like a - captain of the guard. “Folks,” he said, “this is - Vaantikalisax, Knight of King Omund in the Thunder Phalanx. - He may be the last of the Storm Knights.”
-The man held out his hand. The dragon knight looked at - it for a moment before reaching out slowly to grasp it. - “What are you doing out here?” Vaantikalisax asked.
-“These people need help. I said I'd find it. Heard a - rumor someone matching your description was holed up here - having a drinking contest with Mr. John - Barleycorn.”
-The draconian sniffed, released John's hand, and looked - at the three peasants. “Why do you people need me? You're - in the company of Sir John, Commander of the Fifth …”
-“Just John,” Sir John said, holding a hand up. “The new - baron stripped me of my title. My lands.”
-“I didn't know that.” The draconian's voice softened. - “I'm sorry.”
-“I'll be fine. But these people…” John said, gesturing - to the three older peasants. Vaantikalisax waved him to - silence.
-“Sure,” he said. “But why me?”
-“Thought maybe you'd like to get back in the game.”
-“The game.”
-“Yeah.” Sir John smiled. “The hero game.”
-Vaantikalisax said nothing. The inn had mostly gone back - to its business but the three peasants watched intently. - Eventually, the dragon knight spoke again, his voice - low.
-“I owe you a lot, John—but not everything.”
-“I'm not asking everything.”
-“No, that's not how it starts. But I have this feeling - that's how it'll end.”
-“What does your oath say? ‘Even should the sun stop in - the sky, even should the night—'”
-“John,” the dragon knight said, his voice suddenly sad. - Exasperated. “You don't want to quote my oath to me. You - really don't. I liked serving with you. I have fond - memories of that time—of you. Don't spoil it.” He looked at - his friend, the three peasants, then shook his head and - turned to leave the inn.
-“Vaant,” Sir John said, following. “Sir Vaantikalisax, - by your oath!”
-The dragon knight stopped and spun around. Everyone in - the inn was watching the show again. Act two.
-“The people need leadership,” John said as he looked at - all the folk watching.
-Vaantikalisax's reptile eyes flashed in anger. “They had - it. Thirty years, and what did it amount to?! I watched - Ajax… I watched him…” The dragon knight's eyes flinched. - His clawed hands tightened on his mace and shield. “I - watched the oath… fail.”
-“Vaant… Vaant, the Dragon Phalanx didn't fail. You were - betrayed. It was Mandrake! One of your own, don't you get - it? You're just as fallible as the rest of us. You were - never ‘incorruptible.' It's just what we wanted to believe. - You're just people—like the rest of us.”
-The dragon knight looked at the people around him, at - the three peasants desperate for someone, anyone, to help - them. Then he looked back to his friend.
-“Exactly,” Vaantikalisax said. Then he turned and left - the inn.
-As a dragon knight character, you have the following - benefits:
-Your hardened scales grant you immunity 5 to one of - the following damage types: cold, corruption, fire, - lightning, or poison. You can change your damage immunity - type while out of combat (no action required).
-The legacy of the Dragon Phalanx lives in you. Choose - one of the following benefits.
-DRACONIAN RUSH: As a maneuver, - you can fly in a straight line up to your speed. - Until you reach level 6, you must end your turn on a - solid surface or fall, then fall prone.
-DRACONIAN GUARD: When you or a - creature adjacent to you is attacked, you can use a - triggered action to swing your wings around and guard - against the blow, reducing any damage from the attack - by an amount equal to your level + your - Victories.
-DRACONIAN PRIDE: You can use the - following ability:
-DRACONIAN PRIDE
-You let loose a mighty roar to repel your foes and - shake their spirits.
-Keywords: Area, Magic
-Type: Action
-Distance: 2 burst
-Target: All enemies
-Power Roll + Might or Presence:
-11 or lower: 2 damage; push 1
-12–16: 4 damage; push 3
-17+: 7 damage; push 5; frightened (EoT)
-Effect: You have a bane on the - power roll for this ability when you use it in - consecutive rounds of the same encounter.
-“Remember, we are dwarves. Our strength is the strength of - the earth. The strength of the marble column that rises to - the heavens. The strength of the granite foundation that - reaches deep into the ground. But what is the value of - strength if it is not used in service of justice?”
-—Zarok the Lawgiver, Hero, Dwarves 232
-Possessed of a strength that belies their size, dwarves - have flesh infused with stone—a silico-organic hybrid making - them physically denser than other humanoids. They enjoy a - reputation in Orden as savvy engineers and technologists - thanks to the lore they inherited from their elder siblings, - the long-extinct steel dwarves.
-Dwarves are the children of the elder god Ord, and a - common phrase among dwarves is “Ord made the world”—their way - of saying, “What will be, will be.” They take great pride in - knowing that along with Aan, Eth, and Kul, their god created - the mundane world, and many dwarves leave their homes to see - the world and seek glory in Ord's name.
-There's nothing a team of dwarves can't do! Five dwarves - alone can easily kill a dragon. Ten dragons!1 Why, Vorka the Fell-Handed - alone slew five dragons at the Siege of Var Loska before - succumbing to her wounds. One dwarf! Think what a small, - dedicated party of dwarves could do!
-There aren't many of the great dragons left, alas, so we - must … I mean, dwarves must content themselves with - fighting lesser evils. Necromancers, tyrants. Folks who - cheat at dice.
-Dwarves take the long view. Well, so do elves, but elves - seem more interested in preserving things. Dwarves want to - make things! Improve the world! “The world is fine the way - it is …” Shut up! No it's not! The world is full of pain, - misery, injustice. We cannot make a perfect world, but we - can strive to improve the one we've got!
-Anyway. Humans make too much of this so-called rivalry - between dwarves and elves. Yes, it was an elf army that - slew the last steel dwarves in the War Against Night, but - that was tens of thousands of years ago. And anyway, those - were the shadow elves, long banished to the World Below. - And none now live who remember those days.
-The steel dwarves—the greatest of us—are dead now, and - our cousins the fire dwarves left this world for - Quintessence long ago. There they built Alloy, the City of - Brass, the City at the Center of the Timescape. A marvel! - Not so large as Capital, perhaps, but not so … fragrant - either.
-It is left to us, the stone dwarves, the Last Children - of Ord, to work stone, create great marvels with it. Our - greatest days are not behind us! Who speaks thus?! Have we - not been to the Hanging City of Kal Kalavar together? Will - you ever forget that place? I will not should I live to be - a thousand, and neither will you. And it was finished in my - lifetime. Only three hundred years ago! It's brand new!
-Elven rivalry. Pagh! Did we not name the most precious - metal in the earth “valiar” after their god Val? Val is a - noble god, a worthy patron of the elves. He seeks justice - and glory in his own way, we deem. Were one to choose the - path of the conduit, you could pick worse gods than Val to - serve.
-It is the humans who make so much of rivalries between - the ancestries. It was the humans who called us “dwarves.” - We do not know the significance of this word in their - tongue, but we accept it. Their speech is crude, true, but - they are a young species after all. We must not judge them - too harshly. “Elemental” would be a faithful translation of - our word for ourselves into the Caelian tongue.
-Ah, the record of dwarven achievement is long … too long - to tell in so short a space. And it is not seemly to - compare ourselves so. This entry spends many words on elves - and men as though we were competitors, but who says it? Why - should it be thus? Was it a dwarf who slew Baalorak the - Griefbringer? No! It was the Crown of Nine Stars! That - legendary company of heroes who counted three dwarves among - their number, but also elves and orcs and humans. Like the - great cosmopolitan city of Alloy, we are stronger - together.
-Look you again at the Hanging City. Yes, your eyes well - with tears from the magnificence of it, but see it clearly. - Is it a dwarven city? Everyone calls it thus, but do you - know how many humans live there? Thousands. And orcs. And - elves! Of course! How else should it be?
-Some say the greatest ages of the world are behind us, - but this is not so. Not so. While there is yet will in the - world, there is greatness. You will see. The elves, the - orcs. Humans and dwarves. All the speaking peoples have - wonder in them yet. Our greatest days are ahead. Did not - Ord make the world?
-None of us ask to come into this world, and apart from - the Hakaan, none of us know how we will leave it. But - remember, you are a dwarf. You have it in you to work - marvels. To change the world, be you a holy conduit of - Valak-koth the Peacebringer, one of the talented Mind - Masters of the White Gem, a beastheart of the Darkdivers - seeking through the World Below for deep knowledge, or a - master tactician of the Imperial War College in Capital. - You will make a better world.
-You are young yet, but already those who work evil deeds - should fear you. You are a dwarf. You have a great destiny - ahead.
-As a dwarf character, you have the following - benefits:
-Your heavy stone body and connection to the earth - makes it difficult for others to move you. Your stability - increases by 1.
-You can carve a magic rune onto your skin. The rune - you carve determines the benefit you receive. You can - change or remove this rune with 10 minutes of work while - not engaged in combat.
-Your stone skin affords you potent protection. Your - Stamina increases by 6 at 1st level, then increases by an - additional 1 each time you gain a new level
-See you the wood so dark and deep, Where runs the fox and - hare? You know now why your mother weeps. Your father's bones - lie there.
-See you the river clear and sweet So beautiful and fair? - Follow it in and you may meet The Queen of Dark and Air.
-Children of the sylvan celestials and masters of the - elf-haunted forests called wodes, wode elves see all forests - as their domain by birthright. They know and enjoy their - reputation among humans for snatching children who wander too - far into the woods. Humans should fear the trees.
-The wode elves' natural ability to mask their presence, - called glamor, complements their guerilla style of fighting, - letting them strike quickly from cover and then meld back - into the underbrush. These traits also make the relatively - few wode elves who dwell in cities naturally adept at urban - warfare.
-“I'm scared,” Wenna said. “We should go back.” The - forest felt as if it was closing in on them.
-“We're not going back,” Jeremy said. Normally, such a - statement would be the end of the discussion, but they were - alone and far from home.
-“What if we're going in circles?”
-“Then we keep going in circles!” Dade said from - somewhere up ahead. “Until we find the elves.”
-“The elves have found you!” a clear, bright voice called - out. The children froze. They scanned the wood, but there - were no signs of the speaker.
-Then, only a few feet from them, a half-dozen figures - melded out of the background, as if the trees and bushes - and grass had been painted on them to perfectly match the - wode. They wore light armor covered in leaves, moss, and - vines, and they bristled with weapons.
-“Black gods!” Meliora gasped. Credan frowned, and Wenna - hushed her for swearing. Dade was ushered back toward them - by two more wode elves, his bow in hand. The children - huddled together, Credan's hand on the symbol of Saint - Gryffyn around his neck, and Jeremy's hand on the hilt of - his sword.
-The elves were tall, taller than an adult human, but - seemed always to crouch as soon as they stopped moving. - Their eyes were unsettling, widely spaced and huge. But it - was their ears, long and tall and twisting and set with - great scoops to catch all sound, that marked them as elves - of the wode.
-“Admittedly, though, most terrans regret the - experience.”
-The voice they had heard called out again—from above. - The children looked up and now saw a wode elf with long, - furry, twisting ears and nut-brown skin smiling down at - them. They were wearing a brightly colored outfit. The - children watched the elf leap lightly from branch to lower - branch until finally landing with a flourish on the forest - floor before them.
-“Consort!” An elf before them spoke in Yllyric as he - stood from his crouch and bowed. “We have been tracking - these since they entered the wode.”
-Meliora, who understood the words, whispered to the - others. “They called that one ‘consort!'”
-Llyander smiled, looking from Meliora to the elf who had - just addressed them with a See? I told - you! look on their face.
-The tall, swashbuckling elf bowed to the children. “I am - Llyander, the Lightning Strike, Consort to Queen Imyrr.” - They indicated the elf who had spoken. “This is my cousin, - Rhythylthin.”
-“How did you know we were here?” Jeremy asked. Dade - stood just behind him, with an arrow now nocked.
-The one called Rhythylthin reached out while Dade was - turned, looking at the queen's consort, and deftly plucked - the arrow from the young man's bow.
-“Nothing happens within the wode without our knowledge,” - the elf said. Dade spun on him and nocked another arrow. - “And approval,” Rhythylthin added, closing his hand and - snapping the arrow in it.
-“You come bearing a gift for our queen—the Codex - Dryadalis.” Llyander nodded at the heavy scroll Meliora - carried. “My cousin Rhythylthin here was sent to capture - you and escort you to the Orchid Court. But I am the - queen's consort, and have my own thoughts on the - matter.”
-The elf smiled at the children. “But have no fear,” they - said. Their Vaslorian was perfect, their voice a song. “You - are safe … now.” The pause before “now” spoke volumes.
-“Are you a … a … boy or a girl?” Wenna asked.
-Llyander smiled gaily. “I am a song! I contain melodies - and harmonies alike,” they said. Wenna smiled.
-Rhythylthin rolled his eyes. Llyander noticed this and - winked at him. “Fashions change. My cousin here wears the - new trends.” They gestured at the other wode elf's garb and - masculine appearance. “Me? I'm old-fashioned.” They - gestured to their own outfit and appearance. “Grace never - goes out of style.”
-Llyander turned to Rhythylthin and the rest of the wode - elf band. “Their gift goes to Lord Tear, methinks. I will - escort them.” Then, suddenly imperious, they added, “You - may go.”
-In spite of his previous skepticism toward the queen's - consort, Rhythylthin straightened and bowed. As one, the - elves turned and flowed into the wode. In only a few steps, - they melded into the trees and undergrowth.
-“How did they do that?” Meliora demanded, spinning to - confront their benefactor.
-“Hmm? Do what?” Llyander asked, looking after the elves, - wondering what Meliora meant.
-“Just … disappear like that!”
-Llyander looked at the other children with a combination - of wonder and annoyance. “Do terran children not play - hiding games?”
-“Well …” Jeremy looked at Dade, who was no help. “We do, - but …”
-Llyander made a theatrical, dismissive gesture with one - arm. “Well, it is the same thing, then. But for our people, - it is a game we practice all our lives! We would be poor - protectors of the wode if we could not conceal ourselves - within it.”
-“But that was …” Meliora was frustrated at the elf's - seeming evasion. “That was magic!”
-“You say? Well,” Llyander mused, “terrans are a part and - apart, it is said. It is your blessing and your curse - methinks. Perhaps someday you can explain it to me!” The - elf's eyes twinkled at Meliora's frustration.
-Llyander turned and marched off. “Come!” they called. - The children ran to catch up.
-“Where are we going?” Wenna asked.
-“I enjoy the favor of Lord Tear,” Llyander said. “We are - old friends. With me as your guide, he will treat you - well—likely bestow favor upon you! You should be in - anticipation of great treasure.” They smiled.
-The elf stopped suddenly and spun toward them, serious - but kindly. They pointed to each of the children in - turn.
-“I will instruct you on the proper etiquette, but - remember this: Lord Tear will test us. Some tests for you - and some for me. The high elves and the wode elves are but - distant cousins. You will hear much that is polite, much - that is flattering, but it is all another kind of glamor. - It hides deep tensions, recently exacerbated by the treaty - with Ajax.”
-The children nodded. The elf, satisfied, marched off and - they followed.
-Jeremy turned to Dade. “I feel like we're in a dream,” - he whispered.
-“You are!” their escort called out. “The wode is a - dream! With a little luck, one you may soon wake safely - from.”
-As a wode elf character, you have the following - benefits.
-Your elven body and mind can't be contained for long, - and accessing memories is as easy as living in the - present for you. You gain an edge on resistance rolls, - and on tests that use any skills you have from the lore - skill group.
-Your speed is 6.
-You can magically alter your appearance to better - blend in with your surroundings. You gain an edge on - Agility tests made to hide and sneak, and tests made to - find you while you are hidden take a bane.
-“Ajax has a kind of crude style, perhaps, but no taste. I - have no objection to a villain, you understand. The world is - a tale, but a tale is only as good as its villain. And Ajax - is so … artless. We deserve a better villain.”
-Children of the solar celestials created to tend their - libraries and attend to the true elves as heralds, the high - elves remember a better age, before the coming of humans and - war. A time when the celestials were still in the world, and - all that mattered was art and beauty.
-In the millennia since their creators retired to Arcadia, - the high elves built a civilization for themselves, primarily - living in and among the fallen celestial sky cities. With no - creators left to please, the elves continue as they did - before—collecting lore and knowledge, worshiping art, and - turning more inward and distrusting of outsiders with each - generation.
-“They're so beautiful,” Wenna said. “It's hard to - imagine we're in danger.”
-“It's not that hard,” Dade said darkly.
-The five children stood alone in the center of a large - circular courtyard open to the sky, their wode elf escort - Llyander at their side. Lord Tear, King of the High Elves, - sat on a marble throne, holding the scroll of the Codex - Dryadalis in his lap. He had not spoken since Llyander made - their speech and handed the codex over. The members of the - court, nobles and courtiers and learned sages, gathered to - watch. Implacable warriors in golden plate with fine - filigree etched into the metal stood guard around the - perimeter. They bristled with weapons.
-“They seem like …” Meliora said, searching for the - words.
-“Like the lords of all the world,” Wenna said with awe - and wonder.
-“And we are their prisoners,” Jeremy said, looking at - his brother Dade and Credan beside him.
-“You're not prisoners,” Llyander said quietly. “You are - guests. You're safer here than you would be even in your - own homes.”
-“Yes,” Jeremy said, looking at the nearest guards with - their longspears and swords. “We feel very safe.”
-“Who are you kidding?” Dade said. “Everyone knows how - much elves hate humans.”
-At this, Lord Tear exchanged a look with Llyander, - consort to Queen Imyrr. It was a knowing look, full of - sadness and melancholy. Then he broke his silence.
-“Show me an elf who hates humans,” he said, his voice - deep and sonorous, “and I will show you an elf who loved a - human and watched them grow old and die.” He looked at the - children for the first time and smiled a melancholy smile. - “Love is like sunlight for us, you see. We love completely - but rarely. The loss of it means an eternity of grief for - us.”
-The king tapped the scroll against his lap, seeming to - have reached a decision.
-“Well done, consort. Young humans, your escort here - seeks to shame me. For they know well they could have taken - this prize to their queen and earned her favor. Instead, - Llyander brought it to me in the hopes that by doing so, - they deliver me the power necessary to throw off the yoke - of Ajax's rule. Long has Llyander resented the decision I - made and sought to change it …” He looked at Llyander. “… - by changing my mind.”
-Llyander nodded deferentially, silently congratulating - the king on his insight.
-“Alas, your escort's efforts are for naught.” Then the - king's face became softer. He held up the heavy scroll. - “But this is not nothing,” he said. “We made a treaty with - Ajax to deliver unto him any artifacts our search teams - discover from the ruins of this city. He benefits from this - bargain more than we. But this, methinks, will stay with - us. It was written by my mother in the youth of the world, - and there are some things which must be denied the Iron - Saint, even should they violate the treaty.”
-Llyander turned to the children and smiled brilliantly, - eyebrows waggling in a show of glee. Wenna and Credan - couldn't help but smile. “Well, you see, children?” - Llyander said. “We only have more to do, not everything to - do.”
-The king stood up and a herald beside the throne - announced, “Gather ye, and attend! The Lord of Fallen - Irranys, Morning Dew On a Single Leaf Like a Tear from the - Sun, speaks. And know his word is law!”
-Lord Tear glided down the steps until he was standing, - as tall as Llyander, before the children. His face was - noble and beautiful. Wisps of silver-like strands of smoke - spread across his golden skin. He seemed at once eternal - and youthful.
-“You have heard many things about my people, but this - above all you should know. We do not value lore for lore's - sake, but beauty first and above all other things. And the - truth, to us, is a kind of beauty. Thus do we find - knowledge beautiful.
-“You have returned something not only of enormous - worldpower, but at the same time, a work of art my mother - labored over for many of your centuries. It is something of - a miracle that it is returned to me now. I will not forget - this. You have made an ally of the lord of the high elves. - And though you lead brief lives, while you live, you shall - have the favor of the elves.” He turned to hand the scroll - over to a sage and confer with his herald.
-“He seems wise,” Credan said.
-“And smart,” Meliora said.
-“I'm surprised how kind he is,” Jeremy said. “He seems a - good king.”
-Llyander chuckled. Wenna noticed. She didn't say - anything at first, but eventually, she couldn't resist. - “What?”
-Llyander raised an eyebrow, then walked in front of the - children so that as the wode elf spoke, their back was to - the king.
-“Do you remember when my cousin's soldiers hid in the - wode?” they said, their voice low. “How astonished you - were?”
-Wenna and Meliora nodded. Llyander nodded to the guards - and guests. “This is their glamor. Whatever you find - pleasant and attractive in another? That is what you see in - them. If you value good humor, they are jesters. If you - value beauty, they are breathtaking. If you find - intelligence attractive, they are sages. It is not just an - effect of appearance, though it is also that. It is one of - demeanor.”
-“But how do they do …” Meliora started.
-Llyander put a finger to their lips, silencing young - Meliora. “It is not a thing they do. It is an effect in - your mind.”
-“You mean they don't even know they're doing it?” - Meliora asked.
-“Then what do they really look like?” Wenna asked.
-Llyander shrugged. “What does anyone really look like?” - And while the other children chalked this up to their - escort's normally abstruse mode of communication, Meliora - caught a glimpse of understanding somewhere in her - mind.
-The king turned back to them. “Should any of you seek - hidden lore or deep wisdom, please allow me to serve you - first. But you, young woman, the human child who learned - our language, I name thee elf friend. And my naming carries - power. You will find the learning of our lore will come - more quickly to you, and all those who still revere the - elves will give you safe passage in their lands.”
-Llyander put their hands on their hips and regarded the - children. “Not bad for your second quest. What shall you do - for an encore?”
-As a high elf character, you have the following - benefits.
-A magic glamor makes others perceive you as - interesting and engaging, granting you an edge on - Presence tests using the Flirt or Persuade skills. This - glamor makes you look and sound slightly different to - each creature you meet, since what is engaging to one - might be different for another. However, you never appear - to be anyone other than yourself.
-Your elven body and mind can't be contained for long, - and accessing memories is as easy as living in the - present for you. You gain an edge on resistance rolls, - and on tests that use any skills you have from the lore - skill group.
-Your mind allows you to maintain your cool in any - situation. You can't be dazed.
-“COME FORTH, SONS OF ORD!” the hakaan metamorph bellowed - as Ajax's dwarven legion advanced. “AND MEET A BETTER WOMAN - THAN THEE!!”
-In spite of their friendly, outgoing nature, the rare - presence of a hakaan in human society is considered a - harbinger—an omen of dark times.
-Descended from a tribe of giants in upper Vanigar, the - original Haka'an tribe made a bargain with Holkatja, the - Vanigar trickster god. They traded some of their gigantic - size and strength for the ability to see the future.
-But Holkatja betrayed them, and the only future they are - allowed to see is the moment and nature of their own death. - These visions are never of some mundane tragedy. No hakaan - ever received a vision of dying from choking on a grape. The - doomsight is always momentous—always dramatic.
-This doomsight can happen at any moment. It does not come - for all or even most hakaan, but when it comes, it is - considered an act of overwhelming hubris to ignore it. Trying - to escape the doomsight means a painful, tragic death, and - cursing your family to live with shame.
-For this reason, the only hakaan the average human meets - is one trying to fulfill their doom. The human - superstition—that the arrival of one or more hakaan in human - lands is a sign of great forces acting in the world, - auspicious times—is literally true. In dark times, many - hakaan experience the doomsight and leave their communities - to venture out into the mundane world, in search of their - destiny.
-Humans in Vanigar have their own word for this concept of - a personal fate, “wyrd.” Traditional hakaan sometimes refer - to the doomsight as wyrdken.
-“You … you know when you're going to die?”
-The Pillar, dressed in her civilian clothing—a simple - pleated dress cinched at the waist that left her bare arms - free to work—dipped her hand in the pail of water. It - immediately sprang to life, the water sizzled and danced as - her fingers cooled. She pulled her hand out, shook off the - water, and went back to sculpting the granite.
-The hard, tough stone melded like clay under her - fingers. Whatever she was doing, it generated enormous heat - in her fingertips, hence the pails of water beside her. The - Arrow couldn't tell if this was her talent manifest, or - something her people could do, or neither. As he watched, - he realized he recognized the bust. It was the girl they - rescued during the Society's recent battle with the - Academy.
-“Not exactly,” the Pillar said as she concentrated on - her art. “Not when. More sort of …” She looked away from - her sculpture and looked out the window, thinking. “How. - Why. I am told there is a sense of …” she looked at the - young man, a teenager, only recently recruited to the - Society. “Anticipation. Eagerness when the time is nigh. - So,” she took in a deep breath, which was an impressive - sight to see in a 9-foot-tall woman, and let it out, - smiling at the young man. “Not anytime soon.” Her smile was - like a sunrise.
-Though he had lived with fear most of his young life, - mortality was not something that plagued the Arrow's mind. - He had a hard time grasping it. “That must be … awful.”
-“Oh no,” she went back to her work. “No it's … I do not - know how to say it in Caelian. It is a blessing. I have - seen people die for no reason. Be taken from their loved - ones without warning, without … without purpose. There are - unjust deaths. They destroy families. Communities.
-“But the doomsight only comes in time of great need. - People forget Holkatja is also the goddess of luck, and - those who beat luck—under … underdogs, as you say. She gave - more than she stole, I sometimes think.
-“I do not know how long I have. No one does, but I know - my death will have meaning. I know it, do you understand? I - know it like I know my own name. Often I feel …” Her great - hands clenched and unclenched, as though she were trying to - grasp something just out of reach. “I yearn for it. I want - it to happen. What greater end can there be than fulfilling - one's destiny?” She looked at the mostly-finished - sculpture. “It gives everything I do a sense of purpose.” - She went back to work.
-“My people are a serene and peaceful lot. We do not seek - glory like the folk of Vanigar. But, in battle sometimes, - knowing I am getting closer to my wyrd, my destiny, I think - I know how they feel. Something comes over me, some - enormous sense of … of rightness.” She smiled again at the - young man. “It scares my friends sometimes, I know.”
-The Arrow had seen it, and enthusiastically agreed.
-“You're not from the Barrow Hills,” he said.
-The Pillar shook her head. “No, I do not wot of your - hills. I am from the hills north of the Blue Cloud - Mountains in far Vanigar.” She turned and looked down at - the Arrow with some pride. “My people are descended from - the original Haka'an tribe.” She went back to work. “Though - I am sure the Barrow Men, as you call them, are a fine - people. We're all related, you see.”
-“Is that why you joined the Society?”
-“Oh yes,” the Pillar said. “I had only left home a - fortnight previous when Memory came to Vanigar to recruit - me. I had a sense my wyrd lay in some distant land, but I - did not know the world was so big.”
-“Did she look like herself?” the Arrow asked, smiling, - enjoying a moment of shared experience with the giant - woman.
-The Pillar chuckled, and the Arrow's chest vibrated with - the force of it. “No, she looked like an agéd wise woman of - Vanigar. I think only in fabled Alloy could the Memory of a - Sunset at Dawn walk the streets without ‘scaring the - horses,' as they say.”
-“Alloy?”
-The Pillar looked at the Arrow out of the corner of her - eye. “You'll see,” she said with some glee.
-“You were following your vision, you said.”
-“Yes, my wyrd as the Vanigair call it.”
-“What did you see?”
-“Oh,” she smiled and blushed, “it is not meet to - say.”
-“It's bad luck?”
-“Mmmm … you would say maybe. I think … rude is closer, - but the doomsight is rarely clear in any event. It is full - of symbolism and metaphor. My father is the shaa'er of our - tribe. The skald as the Vanigair call it. He thought the - symbolism was a kind of protection. So that I might know - with certainty the meaning, but be unable to clearly convey - it to others.” She nodded. “I think he is right.”
-“Is it like a dream or a nightmare?” The Arrow wasn't - sure how much it was okay to ask.
-“No, it was not a dream, it was a thing that happened.” - She turned to face the Arrow and leaned her massive arms on - her legs. “I know not how it is for other doomseekers, but - this is how it was for me. I was collecting flecks of - jasper, a … a mineral we add to our food. I was picking - flakes of rock up off the ground when I saw a bee that - could not fly and a horde of ants all around, one with - wings. In that moment, that was all that I could see. It - was like the rest of the world fell away, and the bee and - the ants filled my sight. Though the bee was surrounded and - the ants seemed to go on forever, I could see the ants were - afraid. There were dozens of dead ants on the ground.”
-“What did you do?”
-“Mm?” The Pillar was lost for a moment, remembering the - moment.
-“What happened next?”
-The Pillar shrugged, giant muscles in her shoulders - rippling. “That was the end of my vision. At that moment, I - knew I had to leave home.”
-“Wow.”
-“Indeed. Its meaning is clear to me. I stand alone - against the endless horde. In my heart, they are Ajax's war - dogs. I think I know this, but …” She shrugged again.
-“But how come you're alone? Where am I? Where's the - Society?”
-“Who knows?” she smiled. “When the vision comes upon - you, it is all you can see. Maybe it is like a painting, - and I am the painter. And if only I could turn my head a - little ways to the left or right, I would see my friends - there, fighting with me. I like to think mine is a great - sacrifice, made so my friends can escape some overwhelming - evil. It is a common theme among the fated I am told.”
-“What about the bee? What happened to the bee?”
-“Oh, feeling sorry for it, I placed my finger gently on - the ground, and you must see,” she held up her pinky, “even - my little finger is like a mighty wall for the bee. I - sought only to protect it from the ants, but it quickly - scrambled onto my finger, and after I stood up, it cleaned - itself and flew away.”
-“It could fly!” the Arrow said, suddenly full of - youthful exuberance. “It could fly the entire time! It was - just waiting … for someone else to come along.”
-The Arrow stared, wide-eyed at the Pillar. Even before - the young man spoke, the hakaan talent's eyes widened in - realization. “My vision …” she said.
-“Wasn't over!” the Arrow said, his joy impossible to - hide.
-As a hakaan character, your size is 1L, and you have the - following benefits:
-Working with your Director, you can predetermine an - encounter in which you will die. When that encounter - begins, you become doomed. While doomed, you lose the - Undaunted benefit from this ancestry, you automatically - get tier 3 results on tests and resistance rolls, and you - don't die no matter how low your Stamina falls. You then - die immediately at the end of the encounter.
-If you don't predetermine your death encounter, you - can choose to become doomed while you are dying with the - director's approval (no action required). Doing so should - be reserved for encounters in which you are dying as a - result of suitable heroism, such as making a last stand - against a boss or saving civilians, or when the - consequences of your actions have finally caught up to - you—not because you're playing a one-shot and have - nothing to lose, Hacaarl.
-When you force move a creature or object, you can - increase the distance moved by 1.
-You can't be weakened. Additionally, when your Stamina - equals the negative of your winded value, you turn to - rubble instead of dying. You are unaware of your - surroundings in this state. After 12 hours, you regain - Stamina equal to your recovery value.
-“Humans,” the dwarf said with a combination of - exasperation and awe. “Their only virtue seems to be - believing in impossible things.”
-“Humans belong to the world in a way the other speaking - peoples do not. You can sense the presence of magic—that… - oily smell in the air, as I've heard it described. And the - presence of deathless causes the hairs on the back of your - neck to stand up. Or why do you think graveyards affect you - so? Whatever magic is, its grip on you is light. Whatever - drives the deathless, your nature rebels against it.
-“No one knows why this should be. We elves have no such - senses. Nor do the elementals or the kanin … the dwarves and - the orcs as you say. What is it that sets humans apart? I am - an historian, not a physician. I cannot say. Perhaps some of - you will one day find out and teach us all the reason.”
-So, we arrive here at the end of your first semester of - Human Culture. I hope to see you next year in the Caelian - Empire course, and though it may be hard to believe now, I - often see former students' names in our textbooks years - later. Perhaps that will be some of you.
-I will now answer the one question I am asked most - often, and which I save answering until the last day of - class: What do I think of humans?
-I am a high elf, as you deem it in your tongue. A child - of the solar celestials. And I have taught this class, - mostly to young humans, since the Caelian emperors founded - this city. I was asked to join the faculty by the first - chancellor. I have seen generations of your people come - through this classroom, and that alone would well qualify - me to answer this question.
-What do I think of humans? Well, I will tell you.
-I was here, teaching this class during the fire of - Enlightenment 373. The fire leveled this city. Can you - imagine that? Can you imagine the heat, the death, - destruction that such a thing causes?
-Six months after the Great Fire, your ancestors had - rebuilt… everything. I have seen many miracles in my life. - Witnessing that feat might be chief among them.
-Liches are almost always humans. Did you know that? I - think I know why. Your lives are so short—almost as soon as - you're born, you're thinking about dying, and you refuse to - yield.
-That refusal to yield to death… to death… is what drives - you, I think. Drives you to leave the world better than you - found it. Causes ruined people to rebuild great city.
-We studied human history in this room. Did you feel that - those great ancestors of yours were perhaps made of finer - stuff than you? Do not think thus. I knew them, and I know - you, and your future is greater. I sometimes think each - human generation greater than the last—more courageous, - more generous. Quicker to forgive.
-Today, Ajax's name is on everyone's tongue, but I have - seen many great evils arise in the world. I was teaching in - this classroom when the Pharaoh Khorsekef, desperate, his - power failing, opened the Great Tet and drank of the time - stored there, becoming the Ultralich. He was defeated, and - now rules the Necropolitan Ruin in the Abyssal Waste.
-I was alive, though not yet a professor, when Cthrion - Uroniziir tried to reduce the timescape into one singular - universe, wiping out reality as we know it. She was - defeated, and we see her cage every day.
-Each of these great evils was defeated by a coalition. - The armies and heroes of many speaking peoples. And all of - them—all of them—were led… by humans. That's a fact. That's - history. You can look it up.
-Is there some rare trait that makes you uniquely - qualified to lead disparate peoples, bring them together to - achieve great things? I think… there must be.
-Those great humans, your ancestors, did not focus on - differences. They did not weigh different people and grade - them based on arbitrary traits deemed virtues and flaws. - That is what Ajax does. No, those humans focused on the - future. On making a better world… for all of us. A world - many of them knew they would not live to see. That is a - sacrifice… I can scarcely imagine.
-The people who stand against Ajax and tyrants like him - will be just like you—normal people. Priests and scholars - and merchants and farmers. Maybe even teachers.
-Stopping Ajax will require you to become something else. - You must become heroes. Conduits of saints, warmasters of - great armies. Censors and shadows. That may seem unlikely - now, but the future has a way of surprising us.
-Some of your names, I will see written in future - textbooks.
-But some of your names, I will see written in the - stars.
-(Professor Cilliarwn did not elaborate on this.)
-As a human character, you have the following - benefits:
-As a maneuver, you open your awareness to detect - supernatural creatures and phenomena. Until the end of - your next turn, you know the location of any supernatural - object, Undead, Construct, or creature from another plane - of existence within 5 squares of you, even if you don't - have line of effect to them. You know if you're detecting - an item or a creature, and you know if a creature is - Undead, a Construct, or from another plane of - existence.
-Your connection to the natural world protects you from - supernatural forces. You have Magic immunity 2 and - Psionic immunity 2. Each of these immunities increases by - 1 each time you level up.
-Your human anatomy allows you to fight, run, and stay - awake longer than others. Increase your number of - Recoveries by 2.
-“This world of yours. Ships of wood and swords of steel. - It's so … primitive. Like a fairy tale.”
-“Where do you come from, lady, that our world seems a - fable? You have no ships and swords?”
-“We have them.” Lady Urusistra cast a hand across the sky. - “You see those stars? That is my home—the timescape. Our - ships are great star freighters that ply the space lanes. And - among those stars, light hits as hard as steel.”
-The native denizens of Axiom, the Plane of Uttermost Law, - memonek dwell in a land with lakes and trees and birds and - flowers. But on this alien world, the lakes are seas of - mercury, the birds glitter with wings of glass stretched - gossamer thin, and the flowers' petals are iridescent metal - as flexible and fragile as any earthly rose.
-The minds of memonek are highly ordered. Their reason is - their great pride. But when descending to the lower planes, - including a manifold like Orden where law and chaos mix, a - sickness comes over them—an uncontrollable sensation called … - emotion.
-“You want to tell me what just happened?” Sir John - asked.
-Count Revile avoided his gaze, then turned and stamped - away across the bloody battlefield.
-“I'm fine!” Revile shouted, all evidence to the - contrary.
-“I know what I saw,” John said as he followed his - friend. “You went into a bloodlust. And it's not the first - time. Whether you like it or not, whether I like it or not, - I'm in charge of this mission. Either you tell me what's - going on, or I have no choice. I have to conclude you're a - danger to the team and cut you loose.”
-Revile stopped and turned to look at the rest of the - party, recovering from their wounds. The memonek's white - porcelain chest heaved as he tried to calm himself. His - ceramic skin looked as strong as plate, but John knew it - was brittle, fragile.
-Count Revile took a deep breath. “We call it - velloparatha,” he said. “In your tongue it would be … - world-sick … or world-sickness? It is a thing that happens - … to my people … when they come to your world. It is an - illness of … of feeling. Emotion.”
-“Are you going mad?” John asked in a whisper.
-The memonek smiled ruefully. “It feels that way - sometimes. I spent an hour this morning staring at an - insect that landed on my finger—a grasshopper, the polder - called it. I thought I had never seen a thing so perfect - and beautiful. That was awe. As powerful as I have ever - felt. In the battle today, anger—just as powerful.
-“I thought I could resist it. When I arrived here and - felt no different, I thought perhaps world-sickness was a - legend. But it is a slow process, this illness, these - insidious emotions.”
-“No emotions where you're from?”
-Count Revile shook his head. “Not like this. We are - creatures of reason, we of Axiom. It is our art, our - pride—our religion sometimes, methinks. We have emotions. - Joy, sadness, wonder, grief. Love. But they are… a fashion. - They do not happen to us. They are something we indulge in, - out of propriety. Here… everything is order and chaos - mixed—even in me. In me.” Revile placed his hand on his - chest.
-“In the battle today,” he said. “That anger was not - directed at Ajax's War Dogs. It was directed at - myself.”
-“At yourself? Why? What did you—”
-“John,” the memonek said, and now it was his turn to - whisper. “I was afraid. Afraid of … of being wounded, of - failing you, failing my friends … of dying. And out of that - fear came … enormous anger—at myself. Anger that I was so - weak, so … useless. Anger so … strong, so powerful … I - forgot who I was.”
-John chuckled. “That's just …” He smiled broadly. - “That's normal, man. That's just normal. We all feel that - way.”
-“What? No, you don't understand—”
-“Oh, I don't understand? Okay, let me guess—it felt like - you were gonna piss yourself.”
-“Yes!”
-“Yeah, happens to all of us.”
-“Even you?!”
-Sir John shrugged. “Are you kidding? Sure. But it - doesn't help. You still got a job to do. In fact, I'd say - that is the job. Anyone can learn the blade.” He placed his - hand on the pommel of his sword. “Nothing special about - that. It's learning to deal with the fear. That's the - job—what separates the professionals from the - amateurs.”
-Count Revile said nothing, just thinking.
-“Feeling better?”
-Revile nodded. “I always recover afterward, but these - outbursts come unbidden, like thunder from a clear - sky.”
-“Hmm. Yeah. Well, that explains what happened when you - met Embers.”
-Count Revile did not like being reminded of that. He - looked to the sky and shook his head. “I made a fool of - myself.”
-“Don't be so hard on yourself. If you're trying to - seduce our void mage, you made a good start of it. She's - three thousand years old, I've known her since I was - fifteen. I don't think I've ever seen her blush. Anyway, - now that I know what's going on, now that I know you're - basically a giant teenager with overactive glands, I can - relax a little.”
-Sir John and Count Revile, both tacticians, stood - together on the bloody battlefield, looking at each - other.
-“John, I fear this may get worse before it gets - better.”
-“So, just like everything else?” He clapped the memonek - on the shoulder. “Don't worry, we'll help you get through - it. I'll let the others know. Once they understand, they'll - help too. They'll probably just take the piss out of you. - That'll help, you'll love that.”
-“You're a good friend, John.”
-“Heh. Is that you, or the world-sickness talking?”
-“Me, I think. The world-sickness would have me say … - you're a bastardly son of a bitch. But you're my bastardly - son of a bitch.” Count Revile smiled.
-John laughed and put his arm around his friend as they - headed back to the party. “Funny. The world-sickness sounds - a lot like me.”
-As a memonek character, you have the following - benefits:
-Your silicone body is aerodynamic and low in density. - Your speed is 7, and whenever you fall, you reduce the - distance of the fall by 2 squares. Additionally, your - stability decreases by 2 to a minimum of 0. When you are - force moved, you are force moved an additional 2 - squares.
-When you or a creature adjacent to you makes a power - roll, you can remove an edge or a bane on the roll as a - free triggered action. You can only use this benefit once - per round.
-“Even should an arrow pierce their heart, each kanin - warrior has within them one last act of revenge.”
-An anger that cannot be hidden. A fury that drives them in - battle. Orcs are famed throughout the world as consummate - warriors—a reputation that the peace-loving orcs find - distasteful.
-The fifth of the speaking peoples, orcs arrived on Orden - after humans and elves. They made their homes in the - borderlands between those two cultures, preferring the - natural forests and avoiding the elf-haunted wodes. For - generations, this put them directly in the path of humans who - cut down the trees and built roads and farms.
-Each orc has within them a fire that causes their veins to - glow once blood is drawn. This anger propels them right to - the edge of death. The dichotomy between their desire to be - left alone and their zeal in battle is summarized in a - dwarven proverb:
-“Be thankful orcs do not hold grudges.”
-What a world we have made.
-Indeed, what a marvel!
-It is a marvel now, with the dragons and celestials, - elementals and terrans.
-It is unseemly. It was better before things started - talking.
-And having opinions. About our creation. About us!
-Oh, I don't know. I thought I agreed, but then look you - what our sibling Ord has made. A fine people, these - elementals. They make marvels. Ord made them, and now they - make miracles.
-We make marvels. The world is a miracle, and enough.
-Yes. But still. I think I might try my hand at children. - It seems a worthy pursuit.
-Heed the lesson of our Shamèd Brother. It was better - before the coming of the terrans. Before the coming of - war.
-But war has come. Ord and I are of one mind in this: - what is done cannot be undone. My children should not seek - war, but they would excel at it should it come to them.
-They would be strong, like the elementals. But theirs - would be a strength of spirit. They would never relent, - never give up. Always seeking, always striving. Like life - itself.
-They should love the forest and green things, like the - children of Val. But they should be at home in the cities - the terrans and elementals build. In this world of chaos - and law, they should seek balance. Not quick to anger. But - once angered? A wildfire.
-If they excel at war, the terrans will be jealous. They - will be in constant conflict with each other.
-Perhaps. Yes, I think you're right. It seems to be the - great tragedy of our creation, war. But the constant threat - of it will bring wisdom. It will take great wisdom to avoid - such conflict, and those possessed of such wisdom will - become great leaders.
-Would they be lorewise and crafty?
-Oh, I would leave that to them. It is not meet that - children should be too closely molded by their parents. But - you ask, and my mind goes to Ket. They should lack the - pride of Ket's children…
-Look where that got him.
-Hush, you. We should not be too hard on our Brother In - Mourning. He has paid for his hubris. My children would - love the world more than lore. That is my answer.
-They seem a fine people, if you ask me.
-And there they are, look at them! Kul, your thoughts - made real! Only in the world a little while, and already - growing, learning.
-Ah! My children! So fierce and unyielding. I see you - lead short lives, like the terrans. Perhaps this is - good.
-I see they get along well with Ord's children. I think - this a good sign.
-Already they make homes in the forests by the elves. - Some little skirmishing over borders, I note. Nothing - serious.
-What shall you call them?
-Oh, I do not care for such things. They should be free - of our designs, like the terrans. Let them name - themselves.
-Oh! They already have! Kanin. It means “the people” in - their tongue. I like that. Very democratic. Good for - them.
-And will they know you?
-If they wish. Much as I agreed with…the Father of Men…I - find worship unseemly.
-Agreed.
-Agreed!
-Let me introduce myself, at least.
-Ahem.
-“Hear me, kanin! This world we made is yours, as much as - it is anyone's. You belong here.
-“Know that you are my children, the children of Kul, he - who put fire within the world. And there is fire in you. - And though the world and fate and baser minds may conspire - to destroy your light, you will survive. And more than - survive, you will thrive. And in thriving, you will - conquer!”
-As an orc character, you have the following - benefits.
-When you take damage, your speed increases by 2 until - the end of your next turn. You can benefit from this - feature only once per round.
-When a creature deals damage to you that leaves you - dying, you can make a free strike against any creature. - If the creature is reduced to 0 Stamina by your attack, - you can spend a Recovery.
-“Wait, where'd he go? Where'd that little son of a bitch - go? AAAAGGH!”
-After humans, polders are the most numerous and diverse - ancestry in Orden. They are not humans, but they live in and - among humans, sharing their gods and culture. Almost every - human culture in Orden has a polder saint or a human saint - venerated by polder.
-Short creatures averaging three-and-a-half feet tall, - polders have obscure origins. They are a young species who, - like humans, have no single patron god. Their natural ability - to blend in with shadows makes them excellent spies and - thieves. However, many polders consider this stereotype a - base slander, pointing out that they're also famed as - chefs—though polders can be found in virtually every - profession, especially in cities.
-The three peasants—Jago, his wife Sarah, and his sister - Beth—sat together watching the three heroes talk in the - crowded common room of the inn. Well, Jackson Bootblack - seemed to be doing most of the talking.
-“This kind of shit doesn't work if it's just a bunch of - ratcatchers like us,” the polder said. “You need the people - to rise up. Been fifteen years since Omund died—fifteen - years of fighting wolves and bandits and worse. The people - welcome a tyrant after that. They like order, you know? - They adapt.”
-“If you stand on the grass long enough, it learns to lie - flat,” A Mist Coils Around Dying Embers said. “But what do - you say?”
-“Eh?” the polder asked her. But he glanced at Sir John - staring at him.
-“You say the people have no stomach for rebellion,” - Embers said. “But what about you?”
-“Oh,” the polder said, “I say it doesn't matter much - what I say. Why's he looking at me like that?” the polder - asked the high elf and pointed at Sir John. Realizing he - was being rude, John shook his head to clear it. “Sorry, I - just … I never met a polder before,” he said.
-“Are you kidding me?” Jackson said.
-“No! Sorry, I just …”
-“What are you, from the moon? Where you from that you - never met a polder before? There's polder in every fucking - village and town from here to the sea.”
-“Really? That's weird. I'm from Tor, I've been all - over—just never met a polder before.”
-Jackson looked at his friend, the high elf void mage. - “Am I crazy?”
-“You're not crazy,” Embers smiled. She was enjoying - watching two of her friends get to know each other.
-“John's just never run into one, it seems.”
-“Well, we're adorable,” the polder said, and drank some - ale.
-“They must have been around I guess,” John said. “I - probably just never noticed.”
-The polder put his drink down. “Oh, thank you. Thank you - very much. You know, it's funny. I never have any problem - noticing you big assholes. One of you makes about as much - noise as a cow, which … I don't even know how you manage - that.”
-“You're talking just … my voice is just as loud as - yours!”
-“I mean the way you walk around. Just the way you move, - the way you stand up and sit down. You make so much goddamn - noise.”
-Jago, Sarah, and Beth all smiled at the exchange.
-“Humans are loud, yes,” Embers agreed.
-“Do we have to … can we talk about something else, - please?”
-“I just …” The polder wouldn't let it go. “You seriously - never … you never been to an inn? Cavall's teeth, I can't - count how many inns and taverns I've been to run by - polders, got polders in the kitchen or waiting tables. One - of the only two things we're good at, I think.”
-“Yeah?” John asked. “What's the other one?”
-The little man smiled. “Getting into places we ain't - supposed to be.”
-“Now we're talking,” Sir John said. “You were saying we - need the people behind us. I agree.”
-“Yeah, okay. To business: How to rally the people.” The - polder took the question seriously. “It's not hard. First, - we need someone they'll rally around. I could make someone - up, invent a local folk hero, but if we can find the real - thing? They just need to look the part, that's all. I'll - take care of the rest.”
-“I'm working on that,” John said. “But it's … slower - going than I thought. I'm betting on a long shot.”
-“What's the holdup?”
-John thought about how to put what he knew into words. - “You know,” he shrugged. “Some people can only be heroes if - they think they're above everyone else. Some people can - only be heroes once they realize they're not. And some - people …”
-He looked at his drink, at the expensive clear glass the - innkeep had given him because he recognized Sir John. He - turned the glass slowly on the table and now he was mostly - talking to himself. “Some people still have to figure that - out.”
-“Which is best?” Jackson asked, and Embers could tell - the little man was testing John.
-John took a deep breath and came back to reality. “Well. - If we could be picky, we wouldn't need a hero,” he - said.
-The polder looked at the high elf and nodded, impressed. - Test passed.
-“Okay. Well, if you've already got a candidate, I could - get things started. The other half is: we need a good - story—short, punchy. Something that'll catch on, needs to - be easy to relate to, but bigger than life. A tax. A toll! - Bridge toll, classic. An ogre … no, three ogres. Yeah, - three is better. Three ogres in Ajax's livery. A lone - figure standing against them. See? Easy.”
-“Where are we going to find three ogres?” John - asked.
-“What do you mean?” Now it was the polder's turn to be - confused.
-“What do you mean, ‘What do I mean?'” John said.
-“I'm not … we don't need real ogres.” Jackson looked at - the elf. “Is he for real?”
-“Trust me,” the void mage said.
-“You mean you're going to make it up?!” John - exclaimed.
-“I…” Jackson looked with incredulity at the high elf - void mage, then back at the human. “Yes, I do mean that. - Does he know what I do?” he asked the elf.
-“He'll learn,” Embers smiled.
-The polder turned back to Sir John. “Hello. I lie for a - living. And I'm really good at it. Sometimes also kill - people, but only if lying or running away doesn't - work.”
-John turned to Embers. “I thought he was a thief.”
-“I was a thief,” the polder said.
-“You were a thief.”
-“Yeah, I was with the Clock. Probably still am—they - don't exactly let you just walk away. We sort of have an - agreement. I agree to do what they tell me and they agree - not to tell me to do anything.”
-“Did they kick you out, or did you quit?”
-“Depends on who you ask. I don't like being told what to - do. It's sort of a polder thing. Hereditary or ancestral or - whatever. Everybody wants a polder chef until they start - trying to tell us what to cook.”
-“So what are you now?”
-“I'm annoying.”
-The elf smiled. “He's a troubadour—one of the best.”
-Sir John looked at him, nodded. “No lute, I notice. And - you don't seem the type to sit by the hearth telling - stories.”
-The polder grinned. “I ain't that kind of troubadour. - I'm the other kind. I think the best story is the one - people tell each other.”
-“Propaganda,” Sir John said, a grin spreading across his - face. The polder pointed a finger at him and smiled. John - heard the door to the inn open behind him. This wasn't - notable, but the gasp from the customers was.
-“Hey,” the polder said, looking past John to the - doorway. “Hey, I think our folk hero just showed up. Damn, - he looks the part all right. Or she, I can never tell with - these guys.”
-John turned to see. Sir Vaantikalisax loomed just inside - the doorway, his scales and armor glowing in the light of - the hearth fire. Sir John shot up out of his chair, a huge - smile on his face.
-“I, uh …” Vaantikalisax said. The tall, broad draconian - looked from John to the three peasants. Jago, Sarah, and - Beth were beaming with even more joy than John, if that - were possible.
-The knight stared at them for a moment, then turned back - to his friend.
-“Maybe you're right,” the dragon knight said.
-As a polder character, your size is 1S and you have the - following benefits.
-When you start your turn while no creatures have line - of effect to you, or while you are hidden from or have - concealment from all creatures with line of effect to - you, your speed is increased by 3 until the end of your - turn.
-You gain the following ability:
-You become an actual shadow.
-Effect: You flatten yourself into a - shadow against a wall or floor you are touching, and - become hidden from any creature you have cover or - concealment from or who isn't observing you. While in - shadow form, you have full awareness of your - surroundings, attacks against you and tests made to - find you take a bane, and you can't move or take - actions or maneuvers except to exit this form. Any - ability or effect that targets more than 1 square - affects you in this form only if it explicitly affects - the surface you are flattened against. You can exit - this form as a maneuver.
-“I will suck the life from your flesh and leave you a - withered corpse!”
-The revenant null flexed his arms and assumed a fighting - pose. He smiled.
-“Little late for that.”
-The dead walk among us. Some of them are happier about it - than others.
-Unlike the necromantic rituals that produce wights and - wraiths and zombies, revenants rise from the grave through a - combination of an unjust death and a burning desire for - vengeance. Creatures sustained on pure will, they have no - need of food or water or air—and, unlike their zombified - cousins, they retain all their memories and personality from - life.
-These revenants are rare. Many are hunted by ignorant - villagers who see only their dead flesh and assume the worst. - Those who survive the pitchfork brigade either choose a - solitary life, often as a wandering soul seeking out living - company yet constantly in fear of it, or they migrate to a - metropolis such as Blackbottom or Capital, where lost souls - gather to make a home.
-“I'm telling you, we are being followed.”
-“No one knows we're here. No one even knows this place - exists! We got all day. We stash everything here, and take - a sample to …” The head thief pulled a vial out of a crate - stuffed with straw and looked at it.
-“It's just …” The junior cutpurse spoke nervously. - “There was this lady knight in Blackbottom sniffing around. - She seemed serious. I got this weird … chill when I looked - at her.”
-“Hey,” the head thief said, his brow furrowed as he - looked at the label on the vial. “Where'd you say you - bought this stuff? You said a ship—a ship from where?”
-“I dunno, uh … uh, Capital I think.”
-The head thief looked at the panicking cutpurse. “This - lady knight—she have a red and blue device on her - shield?”
-“Black gods,” one of the other thieves said. “It can't - be Lady Filliamo, can it?”
-There was a firm knock at the door to the safe house. A - door which, from the outside, looked like an unremarkable - section of wall.
-“Oh, you've got to be kidding me.”
-“Nonono! How could she … Capital was nine months - ago!”
-“She's a revenant, idiot! She doesn't even need air. She - could have walked here! Just … into the water and across - the bottom of the sea! Black gods, why didn't you say - anything?”
-“I did! You asshole, I just did! I been trying to tell - you for—”
-“Man, there is a difference between, ‘Hey I think we're - being shadowed,' and, ‘There's a deathless copper coming - after us!'”
-One of the four thieves opened a vial and dipped his - dirk into the red oil within.
-“What is that gonna do? She's already dead!”
-Another knock at the hidden door. “Forget it. Let her - knock. Grab as many as you can, and we'll go out the - back.”
-The head thief ran for the door out the back of the safe - house. He jerked it open—and the other thieves watched as a - silver flash silently flared across his forehead.
-Through the open door, they could see the silhouette of - the knight, her open hand held up in front of her.
-She clenched her hand into a fist and the judgment she - had placed on the head cutpurse detonated, hurling him - backward. He sprawled across the floor, conscious but - stunned.
-The gray-skinned knight walked into the room. Metal - heels rang out on the wooden floor. She seemed relaxed, but - her eyes burned with inner fire.
-“Boys,” Lady Filliamo said pleasantly. “Busy - morning.”
-“How did you … this is impossible, how did you find - us?”
-She looked at the man groaning on the floor. “Your boss - didn't tell you about the vengeance mark?”
-“You marked us. Back in Capital. You marked one of us - and just … just walked here.”
-“Don't be stupid. I marked you in Blackbottom. Capital - was just normal detective work. I came here by ship.” She - smiled—black lips on pale gray skin.
-“Come on.” The braver of the three remaining thieves - drew twin daggers. “She can't get all of us at—”
-Lady Filliamo made a broad gesture with her right hand - and argent marks flared across the foreheads of all three - thieves. A clatter of weapons hitting the floor. Three - pairs of hands slowly rose in the air.
-“Good boys. Here, put these on.” She tossed three pairs - of manacles on the floor.
-“Hang on, you can't arrest us,” one of the thieves, - unarmed and still holding his hands up, said. “This isn't - Capital. You don't have jurisdiction!”
-Lady Filliamo shrugged. “I'm a knight of the church. - Jurisdiction's for the city watch.” She drew her silver - sword a few inches from the scabbard just to show them the - blade.
-“I deal in steel.”
-As a revenant character, you have the following - benefits.
-Choose the ancestry you were before you died. Your - size equals that ancestry's size. Your speed is 5. You - lose all other ancestral benefits from your original - ancestry.
-As a maneuver, you place a magic sigil on a creature - within 10 squares of you. When you place a sigil, you can - decide where it appears on the creature's body, and - whether the sigil is visible to only you or to all - creatures.
-You always know the direction to the exact location of - a creature who bears one of your sigils and is on the - same plane of existence as you.
-Additionally, you gain the following ability.
-A magical sigil you placed on a creature explodes with - energy.
-Power Roll + Reason, Intuition, or - Presence:
-Effect: The sigil disappears from the - creature.
-You can have an active number of sigils equal to your - level. You can remove a sigil from a creature harmlessly - (no action required). If you are already using your - maximum number of sigils, your oldest sigil disappears - with no other effect.
-Your undead body grants you cold, corruption, - lightning immunity, and poison immunity equal to your - level. You also have fire weakness 5. You can't - suffocate, and you don't need to eat or drink to stay - alive.
-Additionally, when your Stamina equals the negative of - your winded value, you become inert instead of dying. You - can continue to observe your surroundings, but you can't - speak, take actions, maneuvers, or triggered actions, or - move and you fall prone. If you take any fire damage - while in this state, your body is destroyed and you die. - Otherwise, after 12 hours, you regain Stamina equal to - your recovery value.
-Your supernatural gifts allow you to influence other - undead. You gain an edge on Reason, Intuition, and - Presence tests made to interact with undead - creatures.
-“I fear no living thing, but the time raiders.”
-—Chief Executive Admiral Lithiri Aswandala
-Commander of the HOV First Get Behind Them Memonek
-The original servitor species of the synliiroi—evil psions - with near god-like power—the kuran'zoi liberated themselves - during the First Psychic War. In the centuries since, they - built their own culture and civilization as nomads of the - timescape. The exonym “time raiders” was given to them by - denizens of the lower worlds who, seeing the advanced - technology they wield, concluded they must be from the - future.
-Extraordinarily rare in Orden, the time raiders thrive on - the Sea of Stars, the Sea Between Worlds, where the winds of - limbo roar.
-In place of eyes, kuran'zoi possess crystalline ocular - sensors that grant them high-spectral vision hardened against - the extreme radiations encountered in the Sea of Stars, - permitting them to operate freely outside their vessels with - only their portable rebreathers. Time raiders also have two - sets of arms, allowing them to wield melee weapons at the - same time as ranged weapons. A single well-trained kuran'zoi - is like a squad unto themself.
-“You will tell me the location of the ship you came here - in.”
-Taxiarch Lycaon paced outside the ruined church. The - four-armed woman with crystal eyes and flaming pink hair in - a strip down the center of her shaved head sneered at him. - She was chained to the ruin of a stone column outside the - ruin of a stone church.
-“Is it that your brain is so small you must talk in - order to think?” The woman's smile was a sneer.
-Lycaon strode toward the alien, grabbed a length of - chain around her waist, and yanked on it, pulling it taut - so the chain around her neck tightened. “You are going to - die in any event,” he said. “If you wish to deny me the - pleasure of hearing you howl and scream for mercy, tell me - what I want to know now and my dogs will kill you - quickly.”
-Up close she could see the fine stitching along Lycaon's - cheeks and forehead, the very slight differences in skin - tone that showed his skin was not his own.
-“You seem to be made of bits,” the alien said as she - peered at Lycaon, her crystalline eyes catching and - reflecting prismatic light. “And not the best bits. - Leftovers? Is that what you are? A walking assemblage of - cast-off scraps? Hahah, I thought the proteans were - hideous. Someone should let them know! There are creatures - even more foul-seeming and useless in the timescape.”
-The Taxiarch smiled to himself, nodded with respect at - the woman's epithets. He placed his foot on a low piece of - rubble, once part of the wall of the stone church, and - leaned his arm on his knee. He was not dressed as the other - war dogs. No black leather for him. He wore a gold - breastplate with the embossed head of a ram molded into it, - a white cape over his back. Gold greaves and red leather - boots and gloves. The other war dogs only had patches of - hair but his was long and blonde.
-He struck a casual, jaunty pose. “Where is your - worldship?” he said in a more reasonable voice. “Or came - you here in a single-seater starskimmer?” At this, the - alien's crystal eyes went wide, betraying surprise.
-“You see?” The Taxiarch said, impressed with himself. “I - am not a primitive like these peasants, who hounded you - because you are alien,” he nodded at the folk of the small - town watching from the stables some distance away. “I am - Ajax's elite. Better than his chosen. I was made for - victory.”
-Indeed, Taxiarch Lycaon looked almost fully human. - Handsome and fit like a statue from Phaedros, which his - model had almost certainly been inspired by. Unless you - looked closely, there was no sign he was a product of the - body banks. “If you agree to lead me to your vessel, I will - let you go free.”
-The alien sighed. “‘Blaap blaap blaap,'” she said. “You - should hear yourself. Like barking thrazz, you sound to me. - Who holds your leash I wonder? For surely a microbrain such - as you could not command any more than these rabble,” she - nodded her head at the other twenty or so war dogs.
-Her taunts worked. Lycaon hauled back and punched the - alien in the jaw. Her head smashed into the ruined column. - She was dazed but she shook it off and laughed.
-“Look how easily this one is goaded!” she said. She spat - out dark blue blood and turned to the peasants gathered. - “You people! Why do you let yourselves be cowed by these … - bits? Bits of people kludged together? Even the least of - you is worth more than these.”
-“Perhaps from the air,” Flight Captain Lyria offered, - and she stroked the feathers of her giant hawk mount to - calm it. “I could scout the forest around the …”
-“No!” Taxiarch Lycaon pointed a finger at the hawklord - and strode toward her. “You are the elite of Ajax's winged - harriers, I am his chosen brigade commander. We are not - scavengers! This one,” he stabbed a gloved finger at the - alien, “will come to heel, or I will give her to my war - dogs.” He turned to face the chained alien, who yawned. - Lycaon seethed.
-“They may pull you apart,” he said to her, and at this, - his squadron of soldiers, all in black leather and golden - pauldrons, started making barking sounds. Then they laughed - at each other.
-“Or I may let my crucibite melt the skin from your - bones.”
-At that, a war dog clad in leather from head to foot - wearing a heavy mask with glass circles where the eyes - should be and some kind of canister over his mouth stepped - forward. The long thin brass tube in his hands connected to - a large metal tank on his back.
-“Shall I let you choose?” the Taxiarch said and drew a - dagger from his belt. “I will cut off one finger. If you - cry out, I kill you. If not, another finger. And if you cry - out then…”
-Slowly everyone assembled could make out the sounds of a - conversation, quiet with a metallic ring to it. The voices - got louder until eventually they could be heard.
-“…should be ready for anything,” one voice said, deep, - commanding, and images started to form around and between - the war dogs, the hawklord, and the Taxiarch. Like faded - images in a manuscript they seemed, gaining pigment and - clarity and, eventually, depth as their voices grew louder - and clearer.
-“Oh, thank you for the brilliant tactical advice,” - another voice, high pitched, piped up.
-Suddenly, the images became three dimensional, solid, - and four heroes stood among them. A human in working battle - plate. A polder with twin rapiers in his hands. A tall - willowy high elf with night-black skin and golden hair. And - a Dragon Knight. The people of the town gasped when they - saw him. Even at a distance, even with the war dogs between - them, they recognized the device of Good King Omund on the - knight's shield.
-The war dogs scrambled. For a moment, it seemed they - might flee at this sudden intrusion, but the Taxiarch - bellowed “Hold fast!” and they held their ground, - uncertainty over the unknown threat of a band of heroes - battling in each of them with the certain fear of their - commander.
-John immediately read the situation. It was a clear - enough picture.
-There was something about the war dogs. They loved - Ajax's cruelty—reveled in it. John had crossed swords with - other commanders in Ajax's army before. Ground Commander - Vordokov was a professional—could be reasoned with, but he - was an orc.
-Not the war dogs—they were fanatics.
-“What's this?” the Taxiarch called out with a hungry - grin. “Allies of the alien?” He was projecting confidence. - Trying to muster his wary soldiers.
-Sir John ignored the war dog, tilted his head toward the - alien. “Embers?”
-“A kuran'zoi,” the high elf said, and the alien held her - head up with pride. “A time raider from the upper worlds. - What the truth is I cannot say, and no people are all one - thing. But by reputation? They're intractable, - ungovernable, they loathe authority, hate tyranny and are - totally, utterly without fear.”
-John watched the alien. They sneered their approval at - Ember's summary. That was enough for Sir John, they could - work out the details later. After everything they'd been - through before, he trusted Embers implicitly.
-He could see the shape of the next moments play out, all - he had to do was take the initiative. If he was right, the - whole thing would be over in seconds. There was no time to - communicate. No time to plan, and everyone, everyone had to - play their part.
-John knew what came next, but he wasn't an assassin. He - had his own part to play. He took a step forward, away from - his teammates, and noted the Taxiarch didn't react. This - spoke volumes. He locked eyes with his enemy.
-“She goes free,” John commanded, his voice steel, “or - you die here.” He could feel the muscles tightening in his - comrades, the whole company like a steel spring wound - tight.
-Lycaon cocked his head at Sir John and took a few - foolish steps toward the tactician. He was just out of - reach. But close enough.
-“I see you are a man, like Ajax. Why do you lower - yourself with these … creatures?” the war dog Taxiarch - looked at the elf, polder, and dragon knight. “Little more - than slimy things crawled out of the sea? Join us. Join me. - Join Ajax. It'll be nice for you,” his voice lowered almost - to a whisper, “to be on the winning side for a change.”
-Sir John took a deep breath, his body language changed - and that was enough. Several things then happened at once, - so quickly no one would later be able to say who acted - first.
-Ember's eyes flashed into a starfield. The time raider's - chains dissolved into starspace and reappeared around - Flight Captain Lyria pinning her arms to her side. She was - giving the hawklord an excuse to sit this one out. Gods, - John was glad she was with them.
-The time raider's right upper hand shot out, as though - she'd been waiting for the void mage to do exactly what she - just did, and her meson blaster leapt out of the hands of - the war dog who'd chained her. The pistol made of glass and - bronze slammed into her hand and its tip flared with - prismatic light.
-From the sun's shadow cast by Taxiarch Lycaon, the - polder Jackson Bootblack emerged, a rapier in each hand, - and no one had seen him move from where he'd been a moment - before.
-At the same instant, a call—a horn. From directly behind - John a blast of sound like a chord played by a dozen - trumpets, and hope sang in John's heart—the Clarion Call of - the last Storm Knight!
-John hadn't hesitated, he'd already drawn his sword.
-“All right, you patchwork son of a bitch.” He charged - Lycaon, who fumbled with the short-sword on his belt.
-“Draw steel!”
-As a time raider character, you have the following - benefits.
-Your senses extend past mundane obscuration and the - veil of the future alike. You instinctively know the - location of any concealed creatures who aren't hidden - from you, negating the usual bane on attacks against - them. Additionally, whenever you are attacked, you can - use a triggered action to impose a bane on the power - roll.
-Your multiple arms let you take on multiple tasks at - the same time. Whenever you use the Grab or Knockback - maneuver against an adjacent creature, you can target an - additional adjacent creature, using the same power roll - for both targets. You can grab up to two creatures at a - time.
-Your mind is a formidable layer of defense, granting - you psionic immunity 5.
-What makes a hero? Is their desire to stand up for the - innocent and protect others somehow innate? Are they born - knowing that tyrants must fall? Does a higher power instill the - idea that sometimes those least deserving of compassion are - those who need it most?
-No. A hero's life experience teaches them right from - wrong—and that experience starts with the culture that raised - them.
-(Playtest note: Sample cultures are coming.)
-A hero's culture describes the beliefs, customs, values, - and way of life held by the community in which they were - raised. This community provides life experiences that give a - character some of their game statistics. Even if a hero - doesn't share their culture's values, those values shaped - their early development and way of life. In fact, some people - become heroes primarily from the rejection of the ways of - their culture.
-For our purposes, a hero's culture represents people, not - a place. Yes, you might have grown up in the city of Capital, - but your culture is more specific than that. One hero's - culture might be House Alvaro, a noble house in Capital where - they were raised. Another's culture could be a group or - organization that moves around, such as a band of pirates or - a secret order of sorcerers sworn to protect books of fell - magic. It helps to get specific when thinking about your - culture, and working with the four aspects of a culture can - help you do that: language, environment, organization, and - upbringing.
-Directors can use the rules in this section to build - cultures that players can choose for their characters. - Players can use these rules to build a unique culture or - modify an existing culture for their character, working - with the Director to find a right place for that culture - within the world of the campaign's world. The Vasloria - Cultures table provides a cultural breakdown for Vasloria, - the game's medieval European fantasy analog.
---(Playtest note: That table is still to come.)
-
You can use the table for a campaign that takes place in - Vasloria, or pillage from it liberally for a custom - setting.
-In many worlds, at least some cultures have a majority - ancestry. The people of Bedegar, a duchy in Vasloria, are - mostly humans. The folk dwelling in the Great Wode, a - forest realm north of Bedegar, are primarily wode elves. - However, you can always choose to be from one of these - cultures and take a different ancestry. A dwarf raised in - the culture of the Great Wode speaks Yllyric and probably - knows a lot about nature, while a dwarf raised in the - dwarven thanedom of Kal Kalavar speaks Zaliac and might - know a good deal about smithing.
-Building a character is about more than adding up your - stats, picking skills and abilities, and recording that - information on a character sheet. You're building a hero—a - main character in a story, be it a one-shot or a heroic - campaign. Think about the personality and the past of who - you are creating. That's why the game lets you build a - culture rather than simply saying, “Pick three skills and a - bonus language.” We want players to imagine their heroes as - complex and intricate characters.
-The culture you choose or create grants you the following - benefits:
-Your culture's language aspect determines how the people - of your culture communicate. This can be any language in - Languages.
-Your culture's environment aspect describes where the - people of that culture spend most of their time. Is your - culture centered in a bustling city or a small village? Did - you spend your early life in an isolated monastery? Or did - you wander the wilderness, never staying in one place for - long?
-When you build a culture, select its environment aspect - from the following options: nomadic, rural, secluded, - urban, or wilderness. You then gain skill options from your - chosen environment. All of these environments can be found - in any sort of terrain, whether aboveground, in - subterranean caverns, deep in trackless forest, or even - underwater.
-A nomadic culture travels from place to place to - survive. They might follow animal migrations or the - weather, travel to sell their wares or services, or - simply enjoy a restless lifestyle full of new experiences - and peoples. Those who grow up in nomadic cultures learn - to navigate the wilderness and interact with others.
-Skill Options: One skill from the - exploration or interpersonal skill groups.
-A rural culture is one located in a town, village, or - smaller settled enclave. People dwelling in such places - often cultivate the land, trade goods or services with - travelers passing through, harvest fish from the sea, or - mine metals and gems from the earth.
-Living among a small population, most folks in a rural - community learn a trade and are handed down bits of - essential knowledge to help their community survive. For - example, when a rural culture has only one blacksmith, - it's important to have an apprentice already learning at - the anvil well before that smith starts to get old. If - the only priest in town gets the sniffles, folks want an - acolyte ready to wear the fancy robes should the worst - occur.
-Skill Options: One skill from the - crafting or lore skill groups.
-A secluded culture is based in one relatively - close-quarters structure—a building, a cavern, and so - forth—and interacts with other cultures only rarely. Such - places are often buildings or complexes such as - monasteries, castles, or prisons. Folk in a secluded - culture have little or no reason to leave their home or - interact with other cultures on the outside, but might - have an awareness of those cultures and of events - happening outside their enclave.
-When people live together in close quarters, they - typically learn to get along. They often spend much time - in study or introspection, as there is not much else to - do in seclusion.
-Skill Options: One skill from the - interpersonal or lore skill groups.
-An urban culture is always centered in a city. Such a - culture might arise within the walls of Capital, a - massive metropolis with a cosmopolitan population; within - a network of caverns that hold an underground city; or in - any other place where a large population lives relatively - close together. The people of urban cultures often learn - to effectively misdirect others in order to navigate the - crowds and the political machinations that can come with - city life.
-Skill Options: One skill from the - interpersonal or intrigue skill groups.
-A wilderness culture doesn't attempt to tame the - terrain in which its people live, whether desert, forest, - swamp, tundra, ocean, or more exotic climes. Instead, the - folk of such a culture thrive amid nature, taking their - sustenance and shelter from the land itself. A wilderness - culture might be a circle of druids protecting a great - wode, a band of brigands hiding out in desert caves, or a - camp of orc mercenaries who call the trackless mountains - home. People in a wilderness culture learn how to use the - land for all they need to live, typically crafting their - own tools, clothing, and more.
-Skill Options: One skill from the - crafting or exploration skill groups.
-Your culture's organization aspect determines the - functioning and leadership of your community. You might - come from a place with an officially recognized government - and a system of laws. Or your culture might have enjoyed a - less formal organization, with the people in charge having - naturally gravitated toward their positions without any - official offices or oaths.
-When you build a culture, select its organization aspect - from the following options: anarchic, bureaucratic, or - communal. You then gain skill options from your chosen - system of organization.
-In an anarchic culture, there are no rules and no one - person leads the others. This might sound like complete - chaos—people taking what they want when they want it—and - some cultures that practice anarchy are. Other anarchic - cultures are peaceful places where people mostly work for - themselves, their friends, or their family, but rely on - the whole group when times get tough.
-Many anarchic cultures come together when the need - arises, but they leave day-to-day responsibilities up to - the individual. If an informal leader appears, it's - because each member of the culture has decided to follow - that person for a time, and the leader enjoys their power - only as long as they keep everyone happy. A group of - rangers who protect a vast forest, a gang of rebels - fighting against a tyrannical despot leader, and a bandit - group roving the wilds without a leader are all anarchic - cultures.
-Most anarchic cultures operate outside of settled - lands, sticking to the wilds, city sewers, or other - secret places. For even when such cultures are harmless, - their members know that outsiders might try to impose - rules upon them if they live in the same place. As such, - many folks in anarchic cultures learn how to navigate the - wilds and fend for themselves while avoiding the danger - that other folks can represent.
-Skill Options: One skill from the - exploration or intrigue skill groups.
-Bureaucratic cultures are steeped in official - leadership and formally recorded laws. Members of such a - culture are often ranked in power according to those - laws, with a small group of people holding the power to - rule according to birthright, popular vote, or some other - official and measurable standard. Many bureaucratic - communities have one person at the very top, though - others might be ruled by a council. A trade guild with a - guildmaster, treasurer, secretary, and a charter of rules - and regulations for membership; a feudal lord who rules - over a group of knights, who in turn rule over peasants - who work the land; and a militaristic society with ranks - and rules that its people must abide are all examples of - bureaucratic cultures.
-Those who thrive in bureaucratic cultures don't just - follow the rules. They know how to use those rules to - their advantage, either bending, changing, or - reinterpreting policy to advance their own interests. - Schmoozing with those who make the laws is often key to - this approach. Others in a bureaucratic culture might - specialize in operating outside the strict regulations - that govern the culture without getting caught.
-Skill Options: One skill from the - intrigue or lore skill groups.
-A communal culture has no formal book of laws or rules - for governing. Instead, the community works together to - pick leaders and make important decisions. Often in these - cultures, each person has a relatively equal say in how - the culture operates, and everyone contributes to help - the culture survive and thrive. People share the burdens - of governing, physical labor, childcare, and other - duties. A collective of farmers who work together to - cultivate and protect their land without a noble, a city - of pirates where each person can do as they wish, and a - traveling theatrical troupe whose members vote on every - artistic and administrative decision are all communal - cultures.
-Some communal cultures have one or more people who - serve as leaders, but the way these leaders come to power - is never official. Some are thrust into the role by - people who admire their stances and actions. Other - leaders seize power without the help of an official - process, dethroning a previous leader and claiming their - power without a challenge. People in communal cultures - learn that their voice and individuality has worth, as do - the opinions and hard work of others.
-Skill Options: One skill from the - crafting or interpersonal skill groups.
-Your culture's upbringing aspect is a more specific and - personal part of your hero's story, describing how you were - individually raised within your culture. Were you trained - to become the newest archmage in a secret order of wizards, - or to be a sword-wielding bodyguard who protected that - arcane organization? Did you learn to delve deep into mines - looking for ore in a mountain kingdom, or did you build - machines meant to dig faster and deeper than any person - could alone? Whatever your culture, your upbringing makes - you special within that culture.
-Pick your upbringing aspect from the following list: - academic, creative, illegal, labor, martial, or noble. You - then gain skill options from your chosen aspect.
-Heroes with an academic upbringing were raised by - people who collect, study, and share books and other - records. Some academics focus on one area of study, such - as a college for wizards dedicated to the study of magic, - or a church that teaches the word of one deity. People in - an academic culture learn how to wield the power that is - knowledge.
-Skill Options: One skill from the - lore skill group.
-Heroes with a creative upbringing were raised among - folk who create art or other works valuable enough to - trade. A creative culture might produce fine art such as - dance, music, or sculpture, or more practical wares such - as wagons, weapons, tools, or buildings. People in such - cultures learn the value of quality crafting and - attention to detail.
-Skill Options: The Music or Perform - skill, or one skill from the crafting skill group.
-Heroes with an illegal upbringing had caregivers who - performed activities that other folk—whether within or - outside their culture—considered unlawful. A band of - pirates, a guild of assassins, or an organization of - spies all commit unlawful acts for money. People with - illegal upbringings typically don't mind breaking the - rules when it suits them—and are good at making sure no - one finds out they did.
-Skill Options: One skill from the - intrigue skill group.
-People who labor for a living survive through - cultivation, typically raising crops or livestock on a - farm; by harvesting natural resources, whether by - hunting, trapping, logging, or mining; or through manual - labor tied to settlement and trade, such as construction, - carting, loading cargo, and so forth. People with a labor - upbringing know the value of hard work.
-Skill Options: One of the - Blacksmithing or Handle Animals skills, or one skill from - the exploration skill group.
-Heroes who have a martial upbringing are raised by - warriors. These might be the soldiers of an established - army, a band of mercenaries, a guild of monster-slaying - adventurers, or any other folk whose lives revolve around - combat. Heroes with a martial upbringing are always ready - for a fight—and they know how to finish that fight.
-Skill Options: One of the Alertness, - Blacksmithing, Climb, Endurance, Fletching, Intimidate, - Jump, Monsters, Ride, or Track skills.
-Heroes with a noble upbringing were raised by leaders - who rule over others and play the games of politics to - maintain power. Many families are nobles by birthright, - but some cultures have noble titles that are earned - through deeds or popularity. Whatever the case, heroes - with this background understand why the whispered words - in the right ear can sometimes be more powerful than any - army.
-Skill Options: One skill from the - interpersonal skill group.
---If the culture you create doesn't grant a skill that - you want, check with your Director about modifying what - the culture's aspects offer. For instance, you can - easily make the case that a culture with the martial - upbringing aspect should give a character access to the - Alertness skill, given that being successful in battle - means always being aware of your surroundings.
-
Hero isn't a job. It's a calling. But before you answered - that call, you had a different job or vocation that paid the - bills. Thank the gods for that, because the experience you - gained in that career is now helping you save lives and slay - monsters.
-(Playtest note: Eight careers are detailed below, with more - coming.)
-The careers in this section don't go into great detail - about the actual jobs they represent. We assume that you know - the basics of what an artisan, a criminal, or a gladiator - does for a living. However, each career does include a list - of questions that you should think about to help you define - the specific details of your hero's career. For instance, if - you pick the Artisan career, one of the questions is, “What - did you create?” You don't need to answer these questions, - but doing so helps shape a more complete picture of your - hero.
-Your career describes what your life was before you became - a hero. When you select a career, you gain a number of - benefits, the details of which are specified in the career's - description.
-Each career grants you two or three skills. If a career - grants you a skill you already have, you can select a - different skill.
-Some careers allow you to learn extra languages, chosen - from those available in Languages.
-Some careers increase your starting Renown score. See - Renown for more information.
-Some careers provide project points that you can put - toward research and crafting projects (see Research and - Crafting in future packets for more information). These - points can be divided among multiple projects, but they - can't be used more than once. At the Director's discretion, - your career might also let you start the game with the - materials needed for one or more projects, so that you can - immediately put your project points toward them.
-Your career provides you with a common title. See Titles - for more information.
-(Playtest note: The Titles section is still to - come.)
-Each career has a list of inciting incidents, each of - which suggests a potential reason why you gave up your - career, turned away from a possibly comfortable and reliable - living, and took up the sword (or axe or wand) to become an - adventuring hero. Each inciting incident represents a - life-changing event that might have motivated you to change - course, becoming a person who risks it all to save - others.
-You can roll for or choose an inciting incident from the - table that accompanies each career. You can also use the - table as inspiration and work with your Director to come up - with a unique inciting incident of your own.
-(Playtest note: There are currently three inciting - incidents for each career. More are coming.)
-During your inciting incident, something was taken from - you. It might have been a material object, such as an - heirloom sword or a locket that proves your royal heritage. - It could be a person you loved who was killed, kidnapped, - or cursed. It might be something deeper and more abstract, - as with a chance for happiness or a lifetime goal snatched - away.
-It might be the case that you're obsessed with getting - back what you lost. You might be in a position where you'll - never recover what was taken from you, but you want to - prevent that same loss from happening to others. It might - be a little bit of both. Whatever the case, the loss you've - suffered is part of what drives you to be a hero. Record - what was taken from you on your character sheet, and let - your Director know.
-You started off making and selling art or useful wares. In - defining your career, think about the following - questions:
-You gain the following career benefits:
-| d3 | -Incident | -
|---|---|
| 1 | -Continue the Work: A great hero - was a fan of the things you created, and gave you a - generous commission to create your best work for - them. While working on this commission, you and the - hero became close friends. The day you finished the - work was the same day they disappeared. To honor - their legacy, you took up the mantle of a hero with - the intent of finishing your friend's work. | -
| 2 | -Inspired: As you traveled the - road selling your wares, troll bandits attacked you. - One of the bandits claimed an item belonging to - someone precious to you—or perhaps claimed that - person's life—but the rest were driven off or slain - by a group of heroes. Seeing the quick work these - heroes made of the bandits inspired you to follow in - their footsteps. | -
| 3 | -Robbery: A criminal gang stole - your goods and harmed a number of people who worked - for you. You became a hero to prevent such - indignities from being visited upon others, to seek - revenge for the assault, or to find the thieves and - get your stuff back. | -
You once worked as a bandit, insurgent, smuggler, outlaw, - or even as an assassin. In defining your career, think about - the following questions:
-You gain the following career benefits:
-| d3 | -Incident | -
|---|---|
| 1 | -Atonement: The last criminal job - you pulled led to the death of someone or the - destruction of something you love. In order to make - up for the loss you caused, you left your criminal - ways behind and became a hero. | -
| 2 | -Friendly Priest: You went to - prison for your crimes and eventually escaped. An - elderly priest took you in and shielded you from the - law, convinced that your soul wasn't corrupt. They - never judged you for your past, speaking only of the - future. Eventually, the priest died, imparting final - words that inspired you to become a hero. | -
| 3 | -Stand Against Tyranny: When a - tyrant rose to power in your homeland, they began - cracking down on all criminals with deadly raids and - public executions. The nature of the crime didn't - matter—pickpockets and beggars were made to kneel - before the axe alongside murderers. After losing - enough friends, you stood up and joined the - resistance—not just against this tyrant, but against - authoritarians anywhere. | -
In the past, you entertained the masses with flashy - displays of violence in the arena. In defining your career, - think about the following questions:
-You gain the following career benefits:
-| d3 | -Incident | -
|---|---|
| 1 | -Betrayed: A local crime lord - offered you money to throw your last bout, promising - that you'd live through the ordeal and get a cut of - all the wagers placed on the match. You held up your - end of the deal—which made the knife in your back - after the loss so surprising. You woke in a shallow - grave, barely alive, and ready to mete out - justice. | -
| 2 | -Heckler: As you stood victorious - on the arena sands, a voice cried out among the - cheering. “This violence is just for show. You should - be ashamed. There are people who need you—who need - your skills!” Why did that voice ring so clear? And - why did it sound so familiar? You never saw the face - of the person who uttered the words, but they weighed - heavy on you. The next day, you fled the arena to - begin a hero's life. | -
| 3 | -New Challenges: You earned every - title you could. You beat every opponent willing to - face you in the arena. Your final battle with your - rival ended with you victorious—and yet you were - unsatisfied. There are other, greater foes out there, - and you mean to find them. | -
You worked as a farmer, a builder, a lumberjack, a miner, - or some other profession engaged in hard manual labor. In - defining your career, think about the following - questions:
-You gain the following career benefits:
-| d3 | -Incident | -
|---|---|
| 1 | -Disaster: A disaster, such as a - cave-in, wildfire, or tidal wave, hit your crew while - you were working. You saved as many folks as you - could, but the ones you couldn't save weigh heavily - on your mind. You took up the life of a hero to save - as many people as possible, vowing that what happened - to you won't happen again. | -
| 2 | -Embarrassment: A noble you - worked for admonished you publicly for work done - poorly—more than once. Finally, you had enough. You - vowed to take up a new path and show this noble that - you are far more than what they make you out to - be. | -
| 3 | -Live the Dream: You worked with - a good friend, and on the job you'd always fantasize - about what it'd be like to hit the road as - adventuring heroes—someday. You didn't count on your - friend falling ill and passing away. Now it's time to - live out that dream for both of you. | -
For long years, you studied magic under the mentorship of - a more experienced mage. In defining your career, think about - the following questions:
-You gain the following career benefits:
-You cast an entertaining spell that creates a minor but - impressive magical effect.
-Keywords: Magic
-Type: Action
-Distance: Self
-Target: Self
-Effect: Choose one of the following - effects:
-| d3 | -Incident | -
|---|---|
| 1 | -Oops: While studying magic, you - accidentally sent yourself from your original world - to this one. Now you're stranded here, hoping to get - back home by finding ancient texts or powerful - magical treasures that might transport you there. A - life of adventure it is! | -
| 2 | -Ultimate Power: The mage you - worked for was a kindly old soul, but the basic magic - they taught you always seemed like a small part of - something bigger. It wasn't until you met an - adventuring elementalist that you realized hitting - the road as a hero was the only way to truly improve - and hone your skills. You resigned your - apprenticeship and found yourself walking the path of - a hero the next day. | -
| 3 | -Missing Mage: One day you woke - up and the mage you worked for was just gone. They - didn't take any of their belongings, and there was no - sign of any foul play—just the scent of sulfur in - their bedchamber. You set out on your heroic journey - in the aftermath, and have been looking for them ever - since. | -
You can sing, act, or dance well enough that people - actually pay to see you do it. Imagine that! In defining your - career, think about the following questions:
-You gain the following career benefits:
-| d3 | -Incident | -
|---|---|
| 1 | -Cursed Audience: During a - performance, you watched in horror as the audience - was suddenly overcome by a curse that caused them to - disintegrate before your eyes. You're not sure what - happened, but seeking that answer quickly led you to - places where only heroes dare to go. | -
| 2 | -Fame and Fortune: You thought - you were famous—then that hero came to your show. - Suddenly, all eyes were on the dragon-slaying brute - instead of the stage where they belonged. The - audience even gave them a standing ovation when they - entered the room. All you got was polite applause. - Fine. If people want a hero, then a hero you shall - be. | -
| 3 | -Tragic Lesson: When a producer - who once shortchanged you shouted out on the street - for you to stop a thief who had picked their pocket, - your spite toward the producer inspired you to let - the thief run right on by. But that decision led to - tragedy when the thief later harmed someone you - loved. From that moment on, you decided to make it - your responsibility to protect others. | -
From an early age, you dedicated yourself to learning, - whether you shared the knowledge of the world with others or - sought out secret lore only for yourself. In defining your - career, think about the following questions:
-You gain the following career benefits:
-| d3 | -Incident | -
|---|---|
| 1 | -Bookish Ideas: You were always - content to live a peaceful life in your library, - until you found that one book—the one that told the - tale of heroes who had saved the timescape. They - didn't spend their days behind a desk. They made a - real difference. It was time for you to do the - same. | -
| 2 | -Cure the Curse: You used to - think knowledge could fix everything. You were wrong. - When someone you loved fell under a curse, the means - to cure them couldn't be found in any of the books - you owned. But that wasn't going to stop you. The - answers are out there, and you'll find them even if - you need to face down death to do so. | -
| 3 | -Lost Library: An evil mage took - all your books for themselves, cackling at your - impotence as they raided your shelves. Now you're off - to search through ancient ruins and secret libraries - to rebuild your collection of rare tomes—and to find - the mage who stole from you. | -
In your formative years, you fought tirelessly in - skirmishes and campaigns against enemy forces. In defining - your career, think about the following questions:
-You gain the following career benefits:
-| d3 | -Incident | -
|---|---|
| 1 | -Dishonorable Discharge: You - enlisted in the military to protect others, but your - commander ordered you to beat and kill civilians. - When you refused, things got violent. You barely - escaped the brawl that ensued, but now you vow to - help people on your own terms. | -
| 2 | -Out of Retirement: You had a - long and storied career as a soldier before deciding - to retire to a simpler life. But when you returned to - your old home, you found that your enemies had laid - waste to it. Now the skills you earned on the - battlefield are helping you as you become a different - kind of warrior, seeking to save others from the fate - you suffered. | -
| 3 | -Sole Survivor: You were the last - surviving member of your unit after an arduous battle - or monstrous assault, surviving only because of your - luck. You turned away from the life of a soldier - then, seeking to become a hero who could stand - against such threats. | -
(Playtest note: Introduction to come.)
-Your class provides you with most of your abilities. For - details on the ability format, see Abilities.
-(Playtest note: The currently available classes are the - conduit, elementalist, fury, shadow, and tactician, each of - which includes only 1st-level features.)
-The power of the gods flows through you! As a vessel for - divine magic, you don't just keep your allies in the fight. You - make those allies more effective, even as you rain divine - energy down upon your foes. While the deity or saint you serve - might have other faithful and clergy, you are special among - worshippers, receiving your abilities from the highest - source.
-As a conduit, you heal and buff your allies, and debuff your - foes while smiting them with divine magic. The spark of - divinity within you shines, aweing your enemies and granting - you increased empathy.
-| Level | -Features | -
|---|---|
| 1st | -Deity and Domains, Piety, Domain Feature, Healing - Grace, Pious Force, Triggered Action, Conduit - Abilities Signature, 3,5 | -
| 2nd | -Gift of the Gods, Domain Feature, Domain Ability - Signature, 3, 5, 5 (Domain) | -
| 3rd | -Restore Life, 7-Piety, Ability Signature, 3, 5, 5 - (Domain), 7 | -
As a conduit, you gain the following features.
-Choose a god or saint who you revere from the Conduit - Deities table, or ask your Director about the deities in - your campaign world. With the Director's permission, you - can also create your own deity, and can choose four domains - to be part of their portfolio.
-After choosing your deity, pick two domains from their - portfolio. Your choice of domains determines many of the - features you'll gain from this class.
-(Playtest note: More gods and saints are coming, along - with their descriptions.)
-| Deity | -Domains | -
|---|---|
| Adun | -Love, Protection, Storm, War | -
| Cavall | -Knowledge, Protection, Sun, War | -
| Cyrvis | -Fate, Death, Nature, Trickery | -
| Malus | -Creation, Fate, Life, Knowledge | -
| Salorna | -Death, Nature, Storm, Sun | -
| Viras | -Creation, Life, Love, Trickery | -
Your deity grants you a Heroic Resource called piety to - fuel your abilities. You use piety to heal and empower your - allies, and to unleash your deity's power upon your - foes.
-Outside of combat and other dangerous situations tracked - in turns and rounds, you have piety equal to your - Victories. If you lose some or all of this piety outside of - combat, it takes you 1 minute to regain it.
-When a combat encounter begins, you keep any piety you - had outside of combat. At the start of each of your turns - during combat, you gain 2 piety. You can also use the - Prayer ability to gain additional piety. When combat ends, - you once again have piety equal to your Victories.
-I beseech you!
-Keywords: Magic
-Type: Maneuver
-Distance: Self
-Target: Self
-Power Roll + Intuition:
-Effect: The first time you use this - ability during an encounter, it has a double edge. The - second time you use it, it takes an edge. The third time - you use it, it takes a bane. The fourth and each - subsequent time you use this ability during an encounter, - it has a double bane.
-Whenever you get the tier 3 result of the Prayer - ability, you can choose one of your domain's effects to - immediately take effect.
-You create a 5 wall of stone within 10 squares of - you.
-Two enemies of your choice within 10 squares of you - take corruption damage equal to 5 + your conduit - level.
-Choose another creature you have line of effect to. - That creature automatically gets a tier 1 or tier 3 - result (your choice) on their next power roll.
-Choose up to three allies within 10 squares of you. - Each ally has a double edge on the next power roll they - make.
-You or an ally within 10 squares of you can spend 2 - Recoveries, can end any effects on them that have a - duration of EoT or are ended by a resistance roll, and - can stand up if they are prone. Alternatively, you or - an ally within 10 squares of you gains 20 temporary - Stamina.
-Each ally within 10 squares of you gains 5 temporary - Stamina, and gains an edge on the next power roll they - make before the end of the encounter.
-Vines whip up from the floor or ground around a - creature of your choice within 10 squares of you, then - slide that creature a number of squares equal to 3 - times your Intuition score.
-An ally of your choice within 10 squares of you - gains damage immunity equal to your Intuition score - plus your level, which lasts until the end of your next - turn.
-Each enemy in a 3-cube area within 10 squares of you - takes lightning damage equal to 5 + your conduit - level.
-An enemy of your choice within 10 squares of you - takes fire damage equal to 10 + your conduit level.
-Choose a creature within 10 squares of you. You can - slide that creature a number of squares equal to 5 + - your conduit level. If you choose a willing ally, this - movement can ignore their stability.
-Your attacks deal extra damage equal to twice your - Intuition score until the end of your next turn.
-You gain a domain feature from one of your domains, as - shown on the 1st-Level Conduit Domain Features table. - Additionally, you gain a skill from the chosen domain, - selected from the skill group indicated on the table.
-| Domain | -Feature | -Skill | -
|---|---|---|
| Creation | -Hands of the Maker | -Crafting | -
| Death | -Grave Speech | -Lore | -
| Fate | -Fate Trance | -Lore | -
| Knowledge | -Cypher Mind | -Lore | -
| Life | -Revitalizing Ritual | -Exploration | -
| Love | -Compassionate Aura | -Interpersonal | -
| Nature | -Animal Spirit | -Exploration | -
| Protection | -Alertness Ward | -Exploration | -
| Storm | -Control Weather | -Exploration | -
| Sun | -Inner Light | -Lore | -
| Trickery | -Divine Thievery | -Intrigue | -
| War | -Ritual of Preparation | -Exploration | -
You exude a magic aura of awareness, granting you and - each ally within 2 squares of you an edge on tests that - use the Alertness skill.
-As an action, you conjure an animal spirit that takes - the form of any animal you have seen. The incorporeal - animal can't physically interact with the world, but they - have a speed of 5 (fly) and can move through mundane - objects. While you are within 20 squares of the spirit, - you can sense everything an animal of their form could - sense, in addition to sensing your own surroundings. You - can dismiss the spirit at any time (no action - required).
-You exude a magic aura that can soothe those willing - to socially engage with you. You gain an edge on any test - made to assist another creature with a test. - Additionally, when you are present at the start of a - negotiation, the NPC's patience increases by 1 (to a - maximum of 5), and the first test made to influence them - gains an edge.
-When you finish a respite, you can decide the weather - conditions in the local area. Those weather conditions - follow you through any mundane outdoors locations where - you travel until the end of your next respite. Choose one - of the following types of weather:
-Given a little time, you can translate almost any text - into a language you know, even if you don't know the - text's original language. For the purpose of making - project rolls (see Research and Crafting in future - packets for more information), you are considered fluent - in all languages.
-The gods favor your thievery with magic. Whenever you - make a test that uses a skill you have from the intrigue - skill group, you can use Intuition on the test instead of - another characteristic.
-If you spend 10 minutes in an uninterrupted meditative - state without moving, you get a glimpse of any - significant events that will happen in the area around - you in the next 24 hours unless you or your allies - intercede in those events. As described by the Director, - these glimpses of the future might be clear and concise, - or might be vague and hard to understand.
-You gain the following ability.
-The power of death lets you speak with those who - have passed from the world.
-Effect: You can speak to the corpse - or head of a creature who has died within the last 24 - hours and who can speak a language you know. The target - regards you as they would have in life, and you might - need to make tests to influence them and convince them - to speak with you. After 1 minute, the effect ends. You - can't use this ability on the same creature twice.
-You gain the following ability.
-Craft objects with the power of your mind!
-Effect: You create a mundane object - no larger than size 1S that you hold. If you use this - feature again or stop holding the object, it - disappears.
-Each time you finish a respite, you can choose - yourself or another character who is also ending a - respite to gain the benefit of a divine ritual. As you - perform the ritual, you place a ray of morning light into - the target's soul, granting the target an edge on - resistance rolls. This benefit lasts until you complete - another respite.
-Each time you finish a respite, you can choose - yourself or another character who is also ending a - respite to gain the benefit of a divine ritual. When you - perform the ritual, the target's recovery value increases - by an amount equal to your level. This benefit lasts - until you complete another respite.
-As a respite action, you can bless a weapon. Any - creature who wields the weapon gains a +1 bonus to damage - with abilities that use the weapon. This benefit lasts - until you complete your next respite.
-You gain the following ability, which you can use once - on your turn.
-Your divine energy restores the righteous.
-Effect: The target can spend 1 - Recovery.
-Spend Piety: For each piety spent, - you can choose one of the following enhancements:
-You gain the following ability, which can be used as a - ranged free strike.
-You unleash a blast of raw divine magic upon your - foe.
-Power Roll + Intuition:
-Effect: You can choose to change the - damage type to holy.
-Choose one of the following triggered actions.
-You sap the strength of an attacking enemy with divine - energy.
-Effect: The attack takes a bane and - the damage to one creature targeted by the attack is - reduced by an amount equal to your Intuition.
-Spend 1 Piety: The attack has a - double bane and the damage to one creature targeted by - the attack is reduced by an amount equal to twice your - Intuition score.
-You invigorate an attacking ally with divine - energy.
-Effect: The attack gains an edge and - deals holy damage equal to twice your Intuition - score.
-Spend 1 Piety: The attack has a - double edge and deals holy damage equal to twice your - Intuition score.
-Your training and faith let you specialize in magic that - buffs your allies, debuffs your foes, and lets you hold - your own in combat even while aiding your friends.
-Select one signature ability from the options below. - Signature abilities can be used at will.
-A tendril of divine energy shoots forth to draw in - your foe.
-Power Roll + Intuition:
-Holy light scours your foes and sets your allies - into perfect attack position.
-Power Roll + Intuition:
-Effect: You can teleport each ally - in the area and yourself (if you're in the area) to an - unoccupied space within the area.
-The divine energy of creation tears at your foe.
-Power Roll + Intuition:
-A bolt of holy energy saps the life from a foe.
-Power Roll + Intuition:
-You make use of a number of heroic abilities, all of - which channel piety to empower them.
-Choose one heroic ability from the following options, - each of which costs 3 piety to use.
-You conjure an angelic spirit who lashes your foes - with burning radiance.
-Effect: You summon an angelic - spirit of size 1M who can't be harmed, and who appears - in an unoccupied space within distance. The spirit - lasts until the end of your next turn. You and your - allies can move through the spirit's space, but enemies - can't. The first time on a turn that an enemy moves - within 1 square of the spirit or starts their turn - there, they take holy damage equal to twice your - Intuition score.
-Your divine fury is a hammer that crashes down upon - the unrighteous.
-Power Roll + Intuition:
-Divine wrath strikes your foe with lightning that - follows them across the battlefield.
-Power Roll + Intuition:
-Effect: If the target deals damage - to another creature before the end of their next turn, - the target of this ability takes another 1d10 lightning - damage.
-A resounding clap of thunder disrupts your foes.
-Power Roll + Intuition:
-Effect: You can also push each - willing ally in the area, and their stability doesn't - count against this forced movement.
-Choose one heroic ability from the following options, - each of which costs 5 piety to use.
-The divine light of protection surrounds your - allies.
-Power Roll + Intuition:
-Effect: This temporary Stamina - disappears at the end of the encounter.
-Divine energy scours your target to make them more - susceptible to harm.
-Power Roll + Intuition:
-A mote of holy light racks your foe with their - greatest fear.
-Power Roll + Intuition:
-A pulse of divine magic lets your comrades draw on - their reserves of inner strength.
-Effect: Each target can spend one - or two Recoveries, and end one effect that has a - duration of EoT or is ended by a resistance roll.
-Air for movement. Earth for permanence. Fire for - destruction. Water for change. Green for growth. Rot for death. - Void for the unknown. Years of study and practice and poring - over tomes brought you the revelations that allow you to - manipulate these building blocks of reality. Now you use your - mastery of the seven elements to destroy, create, and warp the - world with magic.
-As an elementalist, you can unleash your wrath across a - field of foes, put an enemy exactly where you want them, - debilitate foes with harmful effects, ward yourself and allies - against danger, manipulate terrain, warp space, and more. Your - choice of elemental specialization determines which of these - things you do best.
-| Level | -Features | -
|---|---|
| 1st | -Elemental Specialization, Essence, Hurl Element, - Persistent Magic, Practical Magic, Specialization - Feature, Specialization Triggered Action, - Elementalist Abilities Signature, 1, 3, 5 | -
| 2nd | -Specialization Feature, New 5-Essence Ability - Signature, 1, 3, 5, 5 | -
| 3rd | -Specialization Feature, 7-Essence Ability - Signature, 1, 3, 5, 5, 7 | -
As an elementalist, you gain the following features.
-Through your studies, you know and can manipulate the - seven primal elements of the timescape:
-Heroic abilities that include your specialization's - keyword have their initial essence cost reduced by 1 (to a - minimum of 1). This reduced cost doesn't apply to abilities - you gain because of your specialization, such as Manipulate - Earth or Void Sight.
-Choose one of the following elements to be your - specialty: earth, fire, green, or void. (Other elemental - specializations will be featured in future products.) Your - choice of specialization determines many of the features - you'll gain from this class.
-You channel the substance of creation in the form of a - Heroic Resource called essence. In times of great stress, - you can focus your control on this substance, gathering and - burning it to cast and maintain spells.
-Outside of combat and other dangerous situations tracked - in turns and rounds, you have essence equal to your - Victories. If you lose some or all of this essence outside - of combat, it takes you 1 minute to regain it. You can also - dedicate that essence to maintaining persistent abilities - (see Persistent Magic below).
-When combat begins, you keep any essence you had outside - of combat. At the start of each of your turns during - combat, you gain 2 essence. When combat ends, you once more - have essence equal to your Victories.
-You gain the following ability, which can be used as a - ranged free strike:
-You hurl a ball of elemental energy at a nearby - foe.
-Power Roll + Reason:
-Effect: When you make this attack, - choose the damage type from one of the following options: - acid, cold, corruption, fire, lightning, poison, or - sonic.
-Some of your heroic abilities have the Persistent - keyword. Whenever you use a persistent ability, you decide - whether you want to maintain it. If you maintain a - persistent ability in combat, you reduce the amount of - essence you earn at the start of your turn by an amount - equal to the ability's persistent value, which enables the - ability's persistent effect. All your active persistent - abilities end when combat ends.
-You can maintain a persistent ability outside of combat - as long as you have Victories equal to or greater than its - persistent value. If you maintain a persistent ability - outside of combat, the maximum essence you can use on other - abilities is reduced by the ability's persistent value. For - instance, if you have 4 Victories and maintain the Stone - Ward ability (a persistent ability with a cost of 1 - essence), you can only use abilities costing 3 essence or - less outside of combat.
-You can't maintain any abilities that would make you - earn a negative amount of essence at the start of your turn - or have a negative amount of essence outside of combat. You - can stop maintaining an ability at any time (no action - required).
-If you maintain the same ability on several targets and - the effect includes a power roll, you make that roll once - and apply the same effect to all targets. A creature can't - be affected by multiple instances of a persistent - ability.
-Whenever you take damage while you have an active - persistent ability, you must make the following power - roll.
-Power Roll + Reason:
-You have the following ability:
-Your mastery of elemental power lets you customize - your magic.
-Effect: Choose one of the following - effects:
-Your elementalist specialization grants you a feature, - as shown on the 1st-Level Elementalist Specialization - Features table.
-| Specialization | -Feature | -
|---|---|
| Earth | -Manipulate Earth | -
| Fire | -Melt | -
| Green | -Speech of the Wild | -
| Void | -Void Sense | -
You gain the following ability:
-The earth rises, falls, or opens at your - command.
-Effect: You touch a square - containing mundane dirt, stone, or metal and create a 5 - wall of the same material, which rises up out of the - ground and must include the square you touched.
-Alternative Effect: You touch a - structure of mundane dirt, stone, or metal that takes - up at least 2 squares. You can open a 1-square opening - in the structure where you touched it.
-Alternative Effect: You touch a - doorway or other opening in a mundane dirt, stone, or - metal surface that is no larger than 1 square. The - opening is sealed by the same material that makes up - the surface.
-Spend No Essence: You can use this - ability without spending essence. If you do, you must - spend 1 uninterrupted minute using the ability while - within reach of the target before its effect - occurs.
-You gain the following ability:
-With the merest touch, you cause an object to turn - into slag or ash.
-Effect: You heat the target and - cause it to combust and melt. If the object is larger - than 1 square, then only the square of the object that - you touch is destroyed.
-Spend No Essence: You can use this - ability without spending essence. If you do, you must - spend 1 uninterrupted minute using the ability while - touching the target before its effect occurs.
-You can speak with and understand Animals, Plant - Creatures, and Monstrosities, even if they don't share a - language with you. Your ability to communicate with such - creatures doesn't make them inherently more intelligent - or less hostile toward you.
-Additionally, when you touch a living plant object, - you can communicate with it telepathically. You can use - words to communicate with the plant, but it communicates - with you only by transmitting feelings and sensations - that can't be overly specific.
-You instantly recognize illusions for what they are, - you can see invisible creatures, and supernatural effects - can't conceal creatures and objects from you. You always - know if an area or object you observe is magical or - affected by magic, and the specifics of what that magic - can do.
-You also gain the following ability:
- -Your specialization grants you a triggered action, as - shown on the Elementalist Triggered Actions table.
-| Specialization | -Triggered Action | -
|---|---|
| Earth | -Earthen Force | -
| Fire | -Explosive Assistance | -
| Green | -Mend the Soul | -
| Void | -Void Embrace | -
You imbue an attack with the strength of stone.
-Effect: The attack deals extra damage - equal to 3 times your Reason score.
-Spend 1 Essence: The attack deals - extra damage equal to 4 times your Reason score instead - and pushes the target a number of squares equal to your - Reason score.
-You add a little magic to an ally's aggression at just - the right time.
-Effect: The distance of the forced - movement is increased by a number of squares equal to - your Reason score.
-Spend 1 Essence: The distance of the - forced movement is increased by a number of squares equal - to twice your Reason score instead.
-The power you channel grants the ability to get back - in the fight.
-Effect: The target can spend a - Recovery.
-You call on the void to swallow and spit out an - ally.
-Effect: At any point during the move, - you teleport the target a number of squares equal to your - Reason.
-Spend 1 Essence: You teleport the - target a number of squares equal to twice your Reason - score instead.
-Your mastery of elemental magic grants you unique - magical abilities that let you damage, move, and debuff - your enemies, empower your allies, and alter the terrain - around you.
-Select one signature ability from the options below. - Signature abilities can be used at will.
-A sudden storm of detritus assaults your foes and - leaves them struggling to move.
-Power Roll + Reason:
-Effect: The ground beneath the area - becomes difficult terrain for your enemies.
-A jet of fire erupts with elemental fury where it - strikes.
-Power Roll + Reason:
-Whipping vines erupt from a foe's body to grasp at - another close by.
-Power Roll + Reason:
-Effect: A creature within 5 squares - of the target is pulled 2 squares toward the - target.
-A beam of energy corrupts and hinders whatever it - touches.
-Power Roll + Reason:
-You channel a range of heroic abilities, all of them - fueled by your essence
-Choose one heroic ability from the following options, - each of which costs 3 essence to use.
-Fire engulfs a target of your choice and burns at - your command.
-Power Roll + Reason:
-Persistent 1: If the target is - within distance at the start of your turn, make a power - roll for this ability again.
-Mushrooms erupt from a foe, sapping their vitality - to spread strengthening spores.
-Power Roll + Reason:
-Effect: The mushrooms can be - removed by the target or by an adjacent creature as an - action. While the mushrooms are on the target, each of - your allies adjacent to the target gains an edge on - attacks against them.
-You slam the ground, which buckles out from you in - every direction.
-Power Roll + Reason:
-Effect: You must be touching the - ground or floor to use this ability. The surface - beneath the area becomes difficult terrain for your - enemies.
-You open a rift into the void to harry your - enemies.
-Power Roll + Reason:
-Persistent 1: At the start of your - turn, you can use this ability again as a maneuver - without spending essence.
-Choose one heroic ability from the following options, - each of which costs 5 essence to use.
-A storm of fire descends upon your enemies.
-Power Roll + Reason:
-Persistent 2: At the start of your - turn, you can use this ability again as a maneuver - without spending essence.
-The material substance of a creature shreds away at - your command.
-Effect: Until the start of your - next turn, the target has damage immunity 5 and can - move through 1 square of solid matter once per turn. If - the target ends their turn inside solid matter, they - are shunted out into the space where they entered it - and this effect ends.
-Persistent 1: The effect lasts - until the start of your next turn.
-You call down a rain that burns your enemies and - restores your allies.
-Power Roll + Reason:
-Effect: You and each ally in the - area suffering any effect that has a duration of EoT or - is ended by a resistance roll have all such effects - end.
-The surface of the world around you opens up at your - command.
-Effect: You open four holes with - 1-square openings that are 6 squares deep, and which - can be placed on any mundane surface within distance. - You can place these holes next to each other to create - fewer holes with wider openings. For each creature - standing above a hole when it opens and small enough to - fall in, make a power roll.
-Power Roll + Reason:
-Persistent 1: At the start of your - turn, you open another hole.
-You do not temper the heat of battle within you, you unleash - it! Like a raptor, a panther, a wolf, your experience in the - wild taught you the secret of channeling unfettered anger into - martial prowess. Primordial chaos is your ally. Leave it to - others to use finesse to clean up the pieces you leave - behind.
-As a fury, you have abilities that deal a lot of damage, - move you around the battlefield, and grow in strength as your - rage increases. Nature has no concept of fairness—and neither - do you.
-| Level | -Features | -Abilities | -
|---|---|---|
| 1st | -Primordial Aspect, Rage, Growing Rage, Mighty - Leaps, Aspect Features, Aspect Triggered Action, Fury - Abilities | -Signature, 3, 5 | -
| 2nd | -Aspect Feature, Aspect Ability | -Signature, 3, 5, 5 (Aspect) | -
| 3rd | -Aspect Feature, 7-Rage Ability | -Signature, 3, 5, 5 (Aspect), 7 | -
As a fury, you gain the following features.
-You come from a tradition older than civilization, older - than warfare, older than most of the world. You have - undergone a rite of passage that revealed the building - blocks of the timescape—the Primordial Chaos—and which left - an aspect of the Primordial Chaos inside you. As you - channel the rage that shapes you, you can choose a - primordial aspect from the following:
-Your choice of primordial aspect determines many of the - features you'll gain from this class.
-As the battle intensifies around you, your determination - and anger grow, fueling a Heroic Resource called rage.
-Outside of combat and other dangerous situations tracked - in turns and rounds, you have fury equal to your Victories. - If you lose some or all of this rage outside of combat, it - takes you 1 minute to regain it.
-When a combat encounter begins, you keep any rage you - had outside of combat. At the start of each of your turns - during combat, you gain 1d3 rage. When combat ends, you - once again have rage equal to your Victories.
-You gain certain benefits in combat based on the amount - of rage you have. See Aspect Features for details. The - benefits from your growing rage last until the end of your - turn, even if a benefit would become unavailable to you - because of the amount of rage you spend during your - turn.
-You always succeed on Might tests made to jump. You can - still roll to see if you get a reward result.
-Your chosen primordial aspect grants you features as - shown on the 1st-Level Primordial Aspect Features - table.
-| Aspect | -Feature | -
|---|---|
| Berserker | -Primordial Strength | -
| Reaver | -Primordial Cunning | -
| Stormwight | -Primordial Shape, Relentless Hunter | -
You are never surprised. Additionally, whenever you - would push a target with forced movement, you can slide - them instead.
-As your rage grows, your primordial cunning - intensifies. These benefits are cumulative.
-| Rage | -Benefit | -
|---|---|
| 2 | -• You gain an edge on Agility tests and
- resistance rolls. - • Once per turn, when you slide a target or when - you move adjacent to a target during a shift, you - can deal weapon damage to the target equal to - your Agility score. |
-
| 4 | -Once per turn, when you slide a target or - when you move adjacent to a target during a - shift, you can deal weapon damage to the target - equal to twice your Agility score, instead of - once your Agility score. | -
| 6 | -You have a double edge on Agility tests and - resistance rolls. | -
When you select a martial kit, you can instead select a - stormwight kit (see Stormwight Kits). Your stormwight kit - grants you a number of benefits, including effects tied to - your Growing Rage feature.
-When you damage an object with a weapon attack, it - takes an additional 5 damage. Additionally, whenever you - push another creature, you can make it a vertical - push.
-As your rage grows, your primordial strength - intensifies. These benefits are cumulative.
-| Rage | -Benefit | -
|---|---|
| 2 | -• You gain an edge on Might tests and
- resistance rolls. - • You gain a bonus to weapon damage equal to your - Might score if you are at least 2 squares from - where you started your turn when you attack. |
-
| 4 | -You gain a bonus to weapon damage equal to - twice your Might score, instead of once your - Might score, if you are at least two squares from - where you started your turn when you attack. | -
| 6 | -You have a double edge on Might tests and - resistance rolls. | -
You gain an edge on tests that use the Track - skill.
-Your primordial aspect grants you a triggered action, as - shown on the Fury Triggered Actions table.
-| Aspect | -Triggered Action | -
|---|---|
| Berserker | -Relentless Toss | -
| Reaver | -Uncanny Dodge | -
| Stormwight | -Regeneration | -
Your transformative abilities bring you back into the - fight.
-Effect: After damage is resolved, if - your rage is high enough, you can enter your animal or - hybrid form as a free triggered action. If you can't gain - the temporary Stamina from that form because you have - already done so this encounter, you gain temporary - Stamina equal to your Might.
-Spend 1 Rage: If you are not dying, - you can spend a Recovery.
-The Primordial Chaos allows you to redirect kinetic - energy for a monstrous smash!
-Effect: You can select a new target - of the same size or smaller within distance to be force - moved instead. Additionally, you can increase the forced - move distance by a number of squares equal to your Might - score. You can use your Primordial Strength benefit to - make this forced movement vertical.
-Spend 1 Rage: You can increase the - forced move distance by a number of squares equal to - twice your Might score instead.
-When a damaging effect surrounds you, you stay two - steps ahead.
-Effect: You shift up to 2 squares. If - that moves you out of the area of effect, you ignore the - attack. Otherwise, you take half damage.
-Spend 1 Rage: You move a willing - adjacent ally affected by the attack with you, applying - the same outcome to them.
-You specialize in dealing massive damage on the - battlefield, mastering a number of unique martial abilities - that allow you to strike hard and keep moving in - combat.
-Select one signature ability from the options below. - Signature abilities can be used at will.
-The heavy impact of your weapon attacks drives your - foes ever backward.
-Power Roll + Might:
-Keeping in constant motion helps you slip out of - reach after a brutal assault.
-Power Roll + Might:
-Effect: You can shift 1 square - after the attack is resolved.
-You hit with a strength that's worth the risk of - raising your opponent's ire.
-Power Roll + Might:
-Effect: You can choose to do an - extra 1d6 damage to the target. If you do, the target - gains an edge on their next attack against you.
-Fighting up close lets you keep your foe exactly - where you want them.
-Power Roll + Might:
-Effect: If the target is grabbed, - they take a bane on attempts to escape the grab. If you - move while you have the target grabbed, they take 1 - damage for each square you move.
-You fight with an array of heroic abilities, all of - which cost rage to fuel them.
-Choose one heroic ability from the following options, - each of which costs 3 rage to use.
-Your enemies will get out of your way—whether they - want to or not.
-Power Roll + Might:
-Effect: When you force move the - target, you can move into squares they leave. The - target takes the damage from any free strikes you - provoke with this movement.
-When you barrel through your foes, they feel your - wrath.
-Effect: Move up to your speed in a - straight line toward a creature or object. You don't - treat enemy creatures as difficult terrain for this - move. If the target is a creature, you can end your - movement in the target's square, moving them to an - adjacent open square. Make a power roll against the - target and every enemy you moved through.
-Power Roll + Might:
-Effect: The target takes an extra - 1d6 damage for every free strike you triggered from - your move.
-As your foes close in around you, why bother taking - them on one by one?
-Power Roll + Might:
-Unless they get some help, your foe is finished.
-Power Roll + Might:
-Effect: While slowed in this way, - the target takes an extra 3 damage at the start of each - of your turns.
-Choose one heroic ability from the following options, - each of which costs 5 rage to use.
-A mighty strike leaves your foe reeling.
-Power Roll + Might:
-Effect: You can choose to deal 1d6 - damage to yourself to deal an extra 2d6 damage to the - target.
-You can always trust your anger to get the job - done.
-Effect: The next attack you make - this turn automatically achieves a tier 3 result and - deals an extra 1d6 damage.
-You focus your rage into a single devastating - strike.
-Power Roll + Might:
-Spend 1 or More Additional Rage: If - you are winded, you can add 1d6 damage for each rage - spent. If you are dying, you can add 1d10 damage for - each rage spent. In either case, you then lose 1d6 - Stamina.
-The destructive power of nature cannot be - contained.
-Power Roll + Might:
-Effect: Targets are pushed one at a - time, starting with the target closest to you.
-The primordial aspect of the stormwight lets you channel - your rage into the form of an animal and grants you knowledge - of one of a number of special stormwight kits. You can master - additional stormwight kits through play, swapping them out - during a Respite as with any other kit. (See Kits.)
-All stormwight kits have the following features in - common.
-You always have the noted benefits, whether in your - true form, the animal form you can take at any time, or - the hybrid form that some stormwight kits grant you as - your rage increases.
-You have some of the noted benefits all the time, but - gain other benefits only while in animal form, as noted - on the table that tracks the benefits you gain from your - Growing Rage feature for each stormwight kit.
-The animal form feature for each stormwight kit grants - you the following ability:
-You take on the form of the animal who channels your - rage.
-Effect: You can shapeshift into the - animal defined by your stormwight kit or back into your - true form. While in animal form, you can't use - signature abilities or heroic abilities unless they - have the Animal keyword.
-Additionally, you can both speak normally and speak - to animals who share your form. If negotiation with an - animal comes into play, you treat your Renown as 2 - higher than usual while in your animal form.
-Spend 1 Rage: As a free maneuver on - your turn, you can shapeshift a second time, either - into another animal form or back into your true - form.
-Each stormwight is associated with a primordial storm - that refers to a specific damage type used by certain - stormwight abilities.
-You wear no armor and wield only your unarmed - strikes—which become devastating natural weapons as your - rage grows.
-These bonuses apply in your true form, your animal - form, and your hybrid form if you have one.
-Each stormwight gains a specific set of benefits for - their fury Growing Rage feature, as noted in the table - for each stormwight kit. These benefits are - cumulative.
-With this stormwight kit, you channel your primordial - rage into the form of a bear, becoming large, durable, and - imposing. Boren are tied to the craggy, rocky north, and - this aspect is associated with the blizzard's bitter - cold.
-Whenever you use forced movement to push a creature, - you can pull that creature instead. Whenever an attack - pulls a creature adjacent to you, you can attempt to grab - that creature as a free triggered action.
-When you are in your bear form, your speed increases - by 2, your size becomes 2, and you have a +1 reach bonus - with melee attacks. You gain 10 temporary Stamina the - first time you shapeshift into bear form during an - encounter.
-Your primordial damage type is cold.
-Attacks with your sharp and deadly claws send your - foes staggering back.
-Power Roll + Might:
-BEAR GROWING RAGE
-| Rage | -Benefit | -
|---|---|
| 2 | -• You gain an edge on Might tests,
- resistance rolls, and power rolls made to
- grab. - • While in bear form, your attacks deal extra - damage equal to your Might score, and any - target you have grabbed at the start of your - turn takes damage equal to your Might - score. |
-
| 4 | -While in bear form, you can use all your - abilities, your attacks deal extra damage equal - to twice your Might score, and any target you - have grabbed at the start of your turn takes - damage equal to twice your Might score, instead - of once your Might score. | -
| 6 | -You have a double edge on Might tests, - resistance rolls, and power rolls made with the - Grab ability. | -
With this stormwight kit, you channel your primordial - rage into the form of a crow. Corven are tied to the - mountain passes and the hot winds that flow through them. - This aspect is associated with the katabatic wind.
-You gain an edge on tests made to hide and sneak. - Whenever you are falling, you can use your Animal Form - ability as a free triggered action.
-When you are in your crow form, your movement gains - the Fly keyword, and your size becomes 1T. You can use - the Hide maneuver as a free maneuver, and you can use - your allies as cover when you hide.
-Whenever your rage is 4 or higher, you can shapeshift - to become a hybrid bipedal crow of your true form's size. - You gain 10 temporary Stamina the first time you - shapeshift into hybrid crow form during an encounter.
-Your primordial damage type is fire.
-Foes who try to close around you do so at their - peril.
-Power Roll + Agility:
-Effect: Resolve each attack - individually using one power roll. You can shift 1 - square after resolving damage for each target, then - choose your next target from your new location.
-| Rage | -Benefit | -
|---|---|
| 2 | -• You can shift 1 square as a free maneuver
- once per turn. - • While in crow form, your attacks deal extra - damage equal to your Agility score. - • Once per turn while in crow form, when you move - away from an enemy, that enemy takes damage equal - to your Agility score. |
-
| 4 | -• While in crow or hybrid crow form, you can
- use all your abilities, and your attacks deal
- extra damage equal to twice your Agility score,
- instead of once your Agility score. - • Once per turn while in crow or hybrid crow - form, when you move away from an enemy, that - enemy takes damage equal to twice your Agility - score, instead of once your Agility score. |
-
| 6 | -You can shift up to 2 squares as a free - maneuver once per turn. | -
With this stormwight kit, you channel your primordial - rage into the form of a rat. Raden are associated with the - true nature of the rat, before cities became their habitat. - Rats are avatars of the balance between green and rot, and - this aspect is associated with the rat flood.
-You gain an edge on tests made to hide and sneak. - Additionally, you ignore difficult terrain, and you gain - an edge on tests made to climb other creatures. If you - are hidden, you automatically achieve a tier 3 result on - attempts to climb and remain hidden.
-When you are in your rat form, your movement gains the - Climb keyword, and your size becomes 1T. You can use the - Hide maneuver as a free maneuver, and you can use your - allies as cover when hiding. You can stay hidden while - moving through squares occupied by a creature.
-Whenever your rage is 4 or higher, you can shapeshift - to become a hybrid bipedal rat of your true form's size. - You gain 10 temporary Stamina the first time you - shapeshift into hybrid rat form during an encounter.
-Your primordial damage type is corruption.
-Your enemies try in vain to fall back from your - pouncing attack.
-Power Roll + Agility:
-Effect: Resolve each attack one at - a time. After each attack, you can shift the same - number of squares that you pushed the target. You - select your second target from the square where you end - your shift, which can be the first target again.
-| Rage | -Benefit | -
|---|---|
| 2 | -• You have Weapon immunity 2. - • While in rat form, your attacks deal extra - damage equal to your Agility score. - • While in rat form, if you attack a creature you - are climbing, that creature is bleeding - (EoT). |
-
| 4 | -While in rat or hybrid rat form, you can use - all your abilities, and your attacks deal extra - damage equal to twice your Agility score, instead - of once your Agility score. | -
| 6 | -You have Weapon immunity 2. Any damage you - ignore because of this immunity is dealt to each - enemy adjacent to you when you are attacked. | -
With this stormwight kit, you channel your primordial - rage into the form of a wolf. Vuken are tied to forests and - open steppes, and this aspect is associated with the - thunderstorm.
-You and an ally gain the benefits of flanking whenever - you are both adjacent to a target. If you and at least - two other allies are all adjacent to a target, each of - you has a double edge for flanking.
-When you are in your wolf form, your speed increases - by 2, you ignore difficult terrain, and your size becomes - 1M.
-Whenever your rage is 4 or higher, you can shapeshift - to become a hybrid bipedal wolf of your true form's size. - You gain 10 temporary Stamina the first time you - shapeshift into hybrid wolf form during an encounter.
-Your primordial damage type is lightning.
-A savage assault forces your foes back.
-Power Roll + Might:
-Effect: You can shift up to 2 - squares as long as you end the shift adjacent to the - target.
-| Rage | -Benefit | -
|---|---|
| 2 | -• You gain an edge on Agility tests and
- resistance rolls. - • While in wolf form, your attacks deal extra - damage equal to your Agility score. - • When you attack a target while in wolf form, - the next ally to damage that target before the - start of your next turn deals extra damage equal - to your Agility score. |
-
| 4 | -• While in wolf or hybrid wolf form, you can
- use all your abilities, and your attacks deal
- extra damage equal to twice your Agility score,
- instead of once your Agility score. - • When you attack a target while in wolf or - hybrid wolf form, the next ally to damage that - target before the start of your next turn deals - extra damage equal to twice your Agility score, - instead of once your Agility score. |
-
| 6 | -You have a double edge on Agility tests and - resistance rolls. | -
Subtlety is your art, the tip of the blade your brush. You - studied at a secret college, specializing in alchemy, illusion, - or shadow-magics. Your training and knowledge places you among - the elite assassins, spies, and commandos. But more powerful - than any weapon or sorcery is your insight into your enemy's - weakness.
-As a shadow, you have abilities that deal a lot of damage, - let you move swiftly across the battlefield and away from - hazards, and allow you to fade from notice even in the middle - of the most heated combat encounter. You also possess more - skills than any other hero.
-| Level | -Features | -Abilities | -
|---|---|---|
| 1st | -Shadow College, Insight, College Feature, College - Triggered Action, Hesitation is Weakness, Shadow - Abilities | -Signature, 3, 5 | -
| 2nd | -College Feature, College Ability | -Signature, 3, 5, 5 (College) | -
| 3rd | -Assess and Aim, 7-Insight Ability | -Signature, 3, 5, 5 (College), 7 | -
As a shadow, you gain the following features.
-Shadow colleges are secret institutions that turn - ordinary folk into something else. Finding a college is the - first step in a rigorous initiation process that tests the - mettle of an applicant. Even those who make the cut often - wash out—or are kicked out—as the master shadows who teach - stealth, magic, and assassination to their students are - often less than gentle in their approach.
-You are one of the few who has graduated from a shadow - college, chosen from the following options:
-Your choice of shadow college determines many of the - features you'll gain from this class.
-By observing your enemy, you learn how to use their - weaknesses against them. You have a Heroic Resource called - insight.
-Outside of combat and other dangerous situations tracked - in turns and rounds, you have insight equal to your - Victories. If you lose some or all of this insight outside - of combat, it takes you 1 minute to regain it.
-When a combat encounter begins, you keep any insight you - had outside of combat. At the start of each of your turns - during combat, you gain 2 insight. You gain 1 insight - whenever you get a tier 3 result with an attack. When - combat ends, you once again have insight equal to your - Victories.
-Your choice of college grants you one or two features, - as shown on the 1st-Level Shadow College Features - table.
-| College | -Feature | -
|---|---|
| Black Ash | -Black Ash Teleport | -
| Caustic Alchemy | -Coat the Blade, Smoke Bomb | -
| Harlequin Mask | -I'm On Your Side | -
You gain the following ability.
-In a swirl of black ash, you step from one place to - another.
-Effect: You teleport up to 5 - squares. If you end this movement in concealment or - cover, you can use the Hide maneuver even if you are - observed.
-Spend Insight: You teleport 1 - additional square for each insight spent.
-You gain the following ability.
-Just a little poison goes a long way.
-Effect: You coat one of your - weapons with a harmful poison. The next creature you - damage with an ability that uses that weapon takes - extra poison damage equal to twice your Presence score - or the target is weakened (EoT). You choose the effect - when you apply the poison. The poison loses its potency - after you damage the creature or at the end of the - encounter.
-Spend Insight: For each insight you - spend, the damage dealt by the poison increases by a - number equal to your Presence score. You can't spend - more Insight than your shadow level on this - ability.
-You gain the following ability.
-Taking on the illusory countenance of another - creature gives you an advantage on subterfuge.
-Effect: Choose a creature of your - size, whose size is no more than 1 greater than yours, - and who is within 10 squares of you. Your body is - covered in an illusion that makes you appear to be that - creature. This illusion covers your entire body, - including clothing and armor, and changes your voice to - sound like the creature. While this illusion lasts, you - gain an edge on attacks against and Presence tests made - to interact with the creature's allies, and you don't - provoke opportunity attacks from those allies. These - benefits don't apply against the creature whose - appearance you've taken on. The illusion ends when you - harm another creature, when you and another creature - physically interact, when you use this ability again, - or when you end the illusion (no action required).
-You always carry a supply of smoke bombs to make it - easy for you to distract and get away from foes. You can - use the Hide maneuver even if you are observed and don't - start in cover or concealment. If you do, you can shift a - number of squares equal to your Agility. If you end this - movement in cover or concealment, you are hidden.
-Your college grants you a triggered action, as shown on - the Shadow Triggered Actions table.
-| College | -Triggered Action | -
|---|---|
| Black Ash | -In All This Confusion | -
| Caustic Alchemy | -Defensive Roll | -
| Harlequin Mask | -Misdirection | -
When an enemy attacks, you roll with the impact to - reduce the harm.
-Effect: You shift up to 2 squares, - halve the triggering damage, and don't suffer any effect - associated with the damage. If you end this movement with - concealment or cover, you can use the Hide maneuver even - if you are observed.
-Spend 1 Insight: If the triggering - damage was from an attack, you also reduce the attack's - damage by one tier.
-You teleport away in a plume of black smoke to avoid - danger.
-Effect: You teleport up to 4 squares, - halve the triggering damage, and don't suffer any effect - associated with the damage.
-Spend Insight: You teleport 1 - additional square for each insight spent.
-You sow a moment of confusion in combat, to your - enemy's peril.
-Effect: Choose an enemy within - distance of the attack. The attack targets that enemy - instead.
-You know how to seize the advantage in battle, working - with your allies to find the perfect moment to strike. You - have the following ability.
-Waiting for your enemies to act was never your - style.
-Effect: You take your turn - immediately.
-You specialize in dealing damage, then getting out of - harm's way before the inevitable counterattack. You know a - number of unique martial abilities that define your - presence on the battlefield.
-Select one signature ability from the options below. - Signature abilities can be used at will.
-Your precise strikes let your allies take advantage - of a target's agony.
-Power Roll + Agility:
-Facing an enemy alone lets you exploit their - overconfidence.
-Power Roll + Agility:
-Effect: If the target has no allies - adjacent to them, you gain an edge on the attack.
-Being fast on your feet makes your ranged attacks - especially deadly.
-Power Roll + Agility:
-Effect: You can shift 1 square - before or after the attack.
-Keeping an enemy's focus on you lets your ally hit - hard.
-Power Roll + Agility:
-Effect: If you are flanking the - target when you make this attack, one ally who is - flanking with you has a double edge on melee attacks - against the target until the end of the ally's next - turn, even if they are no longer flanking the - target.
-A range of heroic abilities define your combat - prowess, all of which make use of your insight.
-Choose one heroic ability from the following options, - each of which costs 3 insight to use.
-As you move across the battlefield, every foe within - reach feels your wrath.
-Effect: You move up to your speed, - and that movement doesn't provoke opportunity attacks. - You make one power roll that targets each enemy who - becomes adjacent to you during the move.
-Power Roll + Agility:
-A foe forced away from you might assume they're out - of danger, but they'll soon learn otherwise.
-Power Roll + Agility:
-Effect: You can shift into squares - the target leaves behind when you force move them.
-Striking two foes at once is second nature to - you.
-Power Roll + Agility:
-You leave your foe bleeding out after a devastating - attack.
-Power Roll + Agility:
-Effect: While bleeding, the target - takes 4 damage at the start of each of your turns.
-Choose one heroic ability from the following options, - each of which costs 5 insight to use.
-You seize the perfect moment and strike with fatal - precision!
-Power Roll + Agility:
-Move unexpectedly, strike fast, and be gone!
-Power Roll + Agility:
-Effect: You can move up to your - speed, and that movement doesn't provoke opportunity - attacks. You can move before or after your attack, or - can split your movement before and after your - attack.
-Your attack leaves a foe in the perfect position for - your allies to finish them.
-Power Roll + Agility:
-You put on a burst of magical speed to get the job - done.
-Effect: You make two signature - attacks that each deal extra damage equal to twice your - Agility.
-Strategist. Defender. Leader. With sword in hand, you lead - allies into the maw of battle, barking out commands that - inspire your fellow heroes to move faster and strike more - precisely. All the while, you stand between your compatriots - and death, taunting the followers of evil to best you if they - can.
-As a tactician, you have abilities that heal your allies and - grant them extra damage, movement, and attacks. You can taunt - your enemies into attacking you instead of targeting your - allies, and can help soak up damage when those allies stand - alone.
-| Level | -Features | -Abilities | -
|---|---|---|
| 1st | -Tactical Doctrine, Focus, Mark, Seize the - Opening, Doctrine Features, Doctrine Triggered - Action, Field Arsenal | -Field Arsenal, 3, 5 | -
| 2nd | -Doctrine Features, Doctrine Ability | -Field Arsenal, 3, 5, 5 (Doctrine) | -
| 3rd | -All According to Plan, 7-Focus Ability | -Field Arsenal, 3, 5, 5 (Doctrine), 7 | -
As a tactician, you gain the following features.
-Warfare is as old as civilization—and perhaps even - older. As battle became ever more developed and complex, - military leaders invented doctrine, outlining how - combatants should be structured, used, and deployed. - Doctrine can be learned at war colleges passing on ancient - martial traditions, or directly through blood and sweat on - the battlefield.
-You have developed a mastery of tactics of historical - significance, letting you choose one of the following - doctrines:
-Your choice of doctrine determines many of the features - you'll gain from this class.
-The ring of steel panics others but brings order to your - mind, granting you a Heroic Resource called focus.
-Outside of combat and other dangerous situations tracked - in turns and rounds, you have focus equal to your - Victories. If you lose some or all of this focus outside of - combat, it takes you 1 minute to regain it.
-When a combat encounter begins, you keep any focus you - had outside of combat. At the start of each of your turns - during combat, you gain 2 focus. If an ally gets a tier 3 - result on an attack against a target you have marked, you - gain 1 focus. When combat ends, you once again have focus - equal to your Victories.
-You know how to focus the attention of your allies as - you push them toward victory. You have the following - ability.
-You draw your allies' attention to a specific foe—with - devastating effect.
-Effect: The target is marked by you - until the start of your next turn. When attacking a - marked target, you and each of your allies gains an edge - on power rolls and deals extra damage equal to your - Reason score.
-Spend 1 Focus: You mark 1 additional - creature within distance.
-Your ability to command your allies in combat grants you - the following ability.
-As the battle unfolds, you tell your allies exactly - when to strike!
-Effect: The target makes a signature - attack as a free triggered action, and deals extra damage - equal to your Reason score.
-Spend 5 Focus: You target two allies - instead of one.
-Your chosen doctrine grants you two features, as shown - on the 1st-Level Tactical Doctrine Features table.
-| Doctrine | -Feature | -
|---|---|
| Vanguard | -Imposing Attitude | -
| Mastermind | -I Read Your Book! | -
| Insurgent | -Covert Operations | -
While in your presence or working according to your - plans, each of your allies gains an edge on tests with - any skill from the intrigue skill group. Additionally, - you can use the Lead skill to assist on any test made - with a skill from the intrigue skill group. At the - Director's discretion, you and your allies can use skills - from the intrigue skill group to attempt research or - reconnaissance during a negotiation instead of outside of - negotiation.
-You command any room you walk into. While you are - present, each hero with you is treated as having a Renown - 2 higher than usual for the purpose of negotiations and - influencing tests. Additionally, each hero with you has a - double edge on tests made to stop combat and start a - negotiation with the other side.
-Your encyclopedic knowledge of the history of battle - lets you apply that knowledge to current challenges. - While you are with them, any hero treats the Discover - Lore project as one category cheaper, with projects - seeking common lore becoming free. (See Research and - Crafting in future packets for more information.)
-Additionally, if you have a reasonable amount of time - before a combat encounter or negotiation, and you have at - least one clue or rumor regarding the encounter, you can - make a Reason test as a Respite activity. The following - test results apply to a combat encounter:
-The following test results apply to a negotiation:
-You can only make this test once for each encounter - and negotiation.
-Your doctrine grants you a triggered action, as shown on - the Tactician Triggered Actions table.
-| Doctrine | -Triggered Action | -
|---|---|
| Vanguard | -Parry | -
| Mastermind | -Overwatch | -
| Insurgent | -Flank Them Now! | -
You help keep your side in motion as attacks rain down - on your foes.
-Effect: The target can shift up to 2 - squares before the attack resolves. After the attack - resolves, both the original attacker and the target can - shift up to 2 squares.
-Spend 1 Focus: The attack deals an - extra 1d6 damage.
-Your quick reflexes cost an enemy the precision they - seek.
-Effect: The attack's damage against - the target is halved.
-Spend 1 Focus: The result of the - attack's power roll is treated as one tier lower before - the damage is halved. If the attack is a critical hit, - the attacker can still take an additional action.
-Under your direction, an ally waits for just the right - moment to strike.
-Effect: At any point during the - target's movement, one ally can make a free strike - against the target.
-Spend 1 Focus: The target's speed - becomes 0 (EoT).
-You have drilled with a broad array of weapons and have - developed techniques to optimize their use. Whenever you - select or change your kit, you can select an additional - martial kit and gain the benefits of both kits. (See - Kits.)
-If both kits grant you the same benefit, you take one or - the other and can't change your choice until you finish a - Respite. (This usually means taking the higher of two - bonuses.) You also gain access to the signature abilities - of both kits.
-For example, if you take the Shining Armor and Sniper - kits, you gain the following benefits overall:
-Kit signature abilities already have their bonuses - applied. For example, you might take the Martial Artist - kit, which gives a melee weapon damage bonus of +2/+2/+2, - and the Mountain kit, which gives a melee weapon damage - bonus of +0/+0/+4. If you choose to use the Mountain kit's - damage bonus, then the Battle Grace signature ability from - the Martial Artist kit would reduce its damage by −2/−2/−2, - as it loses the bonus from the Martial Artist kit. It then - gains the +0/+0/+4 of the Mountain kit, to deal damage of - 3/7/14 for its tier 1, tier 2, and tier 3 results.
-You are a formidable combatant in your own right, but - your greatest strength in battle is the ability to make - your allies even more formidable. You know a range of - abilities that shape the scope of your control of the - battlefield.
-Your additional kit from your Field Arsenal feature - grants you a second signature ability. Signature - abilities can be used at will.
-Your heroic abilities cover a range of combat tactics, - all of which require focus to use them.
-Choose one heroic ability from the following options, - each of which costs 3 focus to use.
-Hearing your shout of triumph fills your allies with - combat fervor.
-Effect: Each target gains an edge - on the next attack or resistance roll they make before - the end of the encounter.
-Your precise strike leaves your foe struggling to - respond.
-Power Roll + Might:
-You hit a foe so hard that it gets your allies back - in the fight.
-Power Roll + Might:
-On your command, you and your allies force back the - enemy line.
-Effect: Each target can move their - speed, push an adjacent enemy 1 square at the end of - that move, and shift 1 square into the square the enemy - left.
-Choose one heroic ability from the following options, - each of which costs 5 focus to use.
-Your attack is your allies' signal to strike!
-Power Roll + Might:
-Effect: If an attack is left to be - resolved and the target was reduced to 0 Stamina, the - attacker can pick a different target.
-Your allies wait for your command—then unleash - death!
-Effect: Each target can make a free - strike.
-Leaving your foe struggling gives your allies a - strategic opening.
-Power Roll + Might:
-Effect: The target is marked (EoE). - Each of your allies can spend a Recovery the first time - they attack any target you've marked before the start - of your next turn.
-A quick signal from you gives your allies a chance - to turn the tide of battle.
-Effect: Each target who hasn't - acted yet this round can take their turn in any order - immediately after yours.
-(Playtest note: This is not all the kits we imagine will be - available in the game, but just a sampling. There might be more - implement and weapon categories too.)
-The knight in shining armor. The warrior priest. The hermit - mage. As you build your character, you can tap into these and - many more archetypal concepts using kits. A kit is a - combination of weapons, armor, implements, and fighting and - spellcasting techniques that lets you personalize your - character for battle.
-The game features two types of kits. A hero can take any - kit, but some kits are better suited to specific classes.
-Your choice of kit is always flexible, and your character - is never locked into a specific kit. If you want to change - your kit, you can do so as a respite activity (see - Respite).
-Each kit includes an armor entry. Martial kits also have a - weapons entry, and caster kits have an implement entry. It's - important to know what equipment a kit uses, because that - informs your hero's appearance and story. It also determines - the type of treasures they can wield.
-The description of gear in your kit is limited to broad - categories, leaving you free to decide the specifics that - best align with your vision of the character. For instance, - the Guisarmier kit provides medium armor and a polearm. One - player using this kit could wear heavy layers of hide and - wield a longspear, while another might wear a shining - breastplate and carry a halberd into battle.
-The equipment categories your kit gives you are part of - what affects the math behind your kit's benefits, alongside - the fighting techniques each kit provides.
-You should absolutely feel free to describe your - equipment in a way that makes sense for the story of your - game and hero. For instance, if your hero uses a weapon in - the whip category as part of their kit, they could use a - leather whip, a spiked chain, or a dagger tied to a knotted - rope. A hero who wears heavy armor might wear a suit of - chain mail, plate armor, or heavy wooden planks tied - together. Your choices for equipment aren't limited just to - the examples in this book.
-Each kit has an armor category that indicates the kind - of protection you have while using the kit.
-Each martial kit has a weapon category that indicates - the types of weapons you wield while using the kit. You can - use any ability with the Weapon keyword even if your kit - doesn't have a weapon, but you don't get to apply your - kit's bonuses to that ability.
-If a kit uses no weapons, then you don't wield any - weapons effectively, not even your own fists and - feet.
-Bows cover any weapon used to fire an arrow or bolt - projectile. This includes crossbows, longbows, and - shortbows. You don't need to track mundane ammunition for - these weapons, unless the Director says otherwise.
-Ensnaring weapons include bolas, nets, and other - weapons made to capture an enemy and hold them in - place.
-Heavy weapons are two-handed melee weapons with - weighty bladed or bludgeoning heads, made to seriously - harm or kill enemies in a single mighty blow. - Greatswords, greataxes, mauls, and morningstars are all - examples of heavy weapons.
-Light weapons are one-handed melee weapons that can be - used to make several strikes in rapid succession. Many - such weapons can be thrown or used as an off-hand - defensive weapon. Daggers, shortswords, rapiers, and - throwing hammers are typical light weapons.
-If your kit uses a light weapon, you can wield two - light weapons at a time.
-Medium weapons are one-handed melee weapons that can - be carried into battle while leaving one hand free, or - while using that hand to hold a shield or implement. - Battleaxes, clubs, longswords, and warhammers are medium - weapons.
-Polearms are two-handed melee weapons with long hafts - that increase the wielder's reach. They include glaives, - halberds, longspears, and quarterstaffs.
-Any kit that uses unarmed strikes allows you to use - your body as a weapon. Punches, kicks, eye gouges, and - the like are your forte.
-Whip weapons include the standard whip, but also - include spiked chains, flails, and any similarly long and - flexible melee weapon.
---Improvised weapons include rocks, bottles, plates, - furniture, and anything else you pick up that can be - bashed, hurled, or stabbed into an enemy. As well, any - weapons that aren't part of your kit count as - improvised weapons for you. If you're not using a kit - with unarmed strikes, then your feet and fists are - improvised weapons.
-Improvised weapons can be used to make attacks with - the Weapon keyword that you gain from your class, - though not from your kit. They add no special bonuses - from your kit to the attack. Many melee-focused heroes - choose a kit that maximizes their melee capabilities, - then make ranged free strikes with improvised - weapons.
-
Caster kits have an implement that enhances and focuses - a hero's magic abilities. Even a creature who doesn't use - magic abilities can eke a bit of power from an implement by - using the proper spellcasting style and techniques. Each - material can boost some of a caster's magic abilities, but - also focuses on improving a specific aspect of their magic. - Your implement might be an amulet or a book of - incantations, a holy symbol, orb, rod, staff, or wand, or - any other similar item that you touch while using your - abilities. The exact look of an implement is for you to - decide.
-Each material that can be used to create an implement - (such as bone, crystal, or metal) enhances a different - aspect of your fighting style and magical abilities. The - materials used to create your implement are determined by - your kit, but you choose how much they factor into the - implement's visual design. For example, a hero with the - Frigid kit wields an implement made of crystal. This could - be a crystal-tipped cane, rod, staff, or wand, or it could - be a tome with a large crystal embedded in the cover. You - can also include other materials in your implement, though - they have no effect on your kit's bonuses.
-You can use any ability with the Magic keyword even if - your kit doesn't have an implement, but you don't get to - apply your kit's bonuses to that ability.
-Implements made from bone siphon the residual energy - of your magic abilities to create or enhance a protective - ward around you.
-Crystal implements spread the energy of magic - abilities that create areas of effect to send their power - farther.
-While wielding a glass implement, your magic abilities - are drawn into your body, giving you the gift of alacrity - to increase your speed.
-When supernatural force flows through metal, that - force's ability to harm is enhanced. Metal implements - increase the damage you deal with magic abilities.
-When you wield a stone implement, you absorb the - metaphysical weight of your magic abilities, increasing - your stability.
-Wood implements catapult magic energy that travels - through them, increasing the range of your supernatural - abilities.
-When you find a supernatural item such as a magic sword, - you can use the item as long as it matches one of your - kit's equipment categories. A Blade of Quintessence is a - medium weapon, so you can use it with the Ranger or Shining - Armor kits. However, you can't use it with the Cloak and - Dagger or Spellslinger kits because those kits don't use - medium weapons, meaning you haven't done the necessary - preparations to use the weapon effectively. You can still - swing a Blade of Quintessence around, but you don't get any - of its bonuses or benefits.
-If you find a piece of equipment you really want to use - that isn't part of your kit, you can always change your kit - as a respite activity.
-Taking a martial kit can increase your Stamina, speed, and - stability, as well as the damage, distance, and reach of your - weapon abilities. Caster kits can increase your Stamina, - speed, and stability, as well as the damage, distance, and - area of your magical abilities. Kit bonuses are applied to - free strikes.
-Your kit's Stamina bonus is added to your Stamina - maximum.
-Your kit's speed bonus is added to your speed.
-Your kit's stability bonus is added to your - stability.
-Martial and caster kits can grant you a bonus to damage - with certain types of abilities.
-Martial kits can have a melee weapon damage bonus. - This bonus is added to abilities with the Melee and - Weapon keywords that deal damage.
-Martial kits can have a ranged weapon damage bonus. - This bonus is added to abilities with the Ranged and - Weapon keywords that deal damage.
-Caster kits can have a magical damage bonus. This - bonus is added to magic abilities that deal damage.
-Kit damage bonuses are presented as “+X/+Y/+Z.” The X - bonus is added to qualifying tier 1 power roll results, - the Y bonus is added to qualifying tier 2 power roll - results, and the Z bonus is added to qualifying tier 3 - power roll results.
-For example, the Shining Armor Kit has a +2/+2/+2 - melee weapon damage bonus, increasing the damage of your - abilities with the Melee and Weapon keywords across all - tier results. The Dancer kit has a +0/+1/+2 magic damage - bonus, having no effect on tier 1 results, increasing the - damage of tier 2 results by 1, and increasing the damage - of tier 3 results by 2 for your magic abilities.
-If you have a martial kit, its distance bonus increases - the distance of your abilities with the Ranged and Weapon - keywords.
-If you have a caster kit, its distance bonus increases - the distance of your abilities with the Magic and Ranged - keywords.
-A distance bonus doesn't increase the size of any - ability's area of effect.
-Your kit's reach bonus is added to the reach of your - melee weapon attacks.
-Some caster kits have an area bonus. For all areas - except walls, the bonus is added to all dimensions of any - area of effect created by your magic abilities. For walls, - the bonus is added to the number of squares the wall can - create.
-For example, the conduit's Thunder of the Divine ability - has a 4-cube area of effect, so an area bonus of +1 - increases the ability's area of effect to a 5-cube.
-Some martial kits grant you the Mobility trait. With - this trait, when an enemy ends their turn adjacent to you, - you can shift up to 2 squares as a free triggered - action.
-Each kit grants you a signature ability, which already - includes the kit's bonuses.
-Each caster kit grants you a ward that is active as long - as you are alive and not unconscious. This ward protects you - from harm and can hinder your foes. The narrative details of - how this ward manifests are up to you. A ward might be - something anyone can notice, such as a glimmering field of - energy that always surrounds you. Or it might be hidden from - the senses of others until combat begins.
---The rules of the game expect that heroes always have - access to their equipment. However, there may be times - where your group wants to tell a story of heroes who are - captured and stripped of their equipment or who find - themselves at a masquerade where weapons need to be - checked at the door. For those sorts of scenarios, you - can use the following rules:
--
-- If your kit has armor and you aren't wearing or - wielding it, then you lose your kit's bonuses to - Stamina and stability. If you lose your shield but keep - the rest of your armor, your Stamina decreases by 3. As - long as you are carrying your shield, you don't lose - its bonus to Stamina, even if you aren't actively - wielding it.
-- If your kit has a medium or heavy weapon that you - aren't wielding, you lose the kit's melee damage - bonus.
-- If your kit has a light weapon that you aren't - wielding, you lose the kit's melee damage, ranged - damage, and distance bonus.
-- If your kit has a reach weapon or whip that you - aren't wielding, you lose the kit's melee damage and - reach bonus.
-- If your kit has an ensnaring weapon that you aren't - wielding, you lose the kit's signature ability.
-- If your kit has an implement that you aren't - wielding, you lose the kit's speed, stability, - distance, area, damage bonus, and ward.
-
This section details a number of martial kits, whose - bonuses and benefits are summarized in the Martial Kits - table.
-Providing throwable light weapons and light armor easily - concealed by a cloak to confuse your enemies, the Cloak and - Dagger kit makes you more mobile while providing a boost to - your effectiveness at range and to your damage. This kit is - good for a hero who wants to be able to move all over the - battlefield while keeping their options open for using - short-range attacks.
-You wear light armor and wield one or two light - weapons.
-Fade A stab, and a few quick, careful - steps back.
-Keywords: Attack, Melee, Ranged, - Weapon
-Type: Action
-Distance: Reach 1 or range 10
-Target: 1 creature
-Power Roll + Might or Agility:
-The Guisarmier kit is for those who want to use a - polearm for extended reach and still gain the extra - protection of armor. This is the kit that allows you to - become the ultimate halberd, longspear, or glaive - fighter.
-You wear medium armor and wield a polearm.
-Forward Thrust, Backward Smash In - your hands, the haft is as good as the head.
-Keywords: Attack, Melee, Weapon
-Type: Action
-Distance: Reach 2
-Target: 2 creatures or objects
-Power Roll + Might or Agility:
-If you want to be fast in a fight, then Martial Artist - is the kit for you. Unencumbered by weapons or armor, this - fighting style rewards quick, focused unarmed strikes to - opponents, and allows you to be the ultimate - skirmisher.
-You wear no armor and wield only your unarmed - strikes.
-Battle Grace You feint to move your - enemies into perfect position.
-Keywords: Attack, Melee, Weapon
-Type: Action
-Distance: Reach 1
-Target: 1 creature
-Power Roll + Might or Agility:
-Effect: If you roll a 12 or better - and can't swap places with the target because one or both - of you is too big to fit into the swapped space, you both - remain in your original spaces and the target takes 2 - extra damage.
-The Mountain kit does exactly what it says on the tin. - You don heavy armor and a heavy weapon to stand strong - against your foes, quickly demolishing them when it's your - turn to attack.
-You wear heavy armor and wield a heavy weapon.
-Pain for Pain An enemy who tagged you - will pay for that.
-Keywords: Attack, Melee, Weapon
-Type: Action
-Distance: Reach 1
-Target: 1 creature
-Power Roll + Might or Agility:
-Effect: If the target dealt damage to - you since the end of your last turn, this attack gains an - edge.
-If you want a good balance of protection, speed, and - damage, the Panther kit is for you. This kit increases your - Stamina not by wearing armor, but through the focused - battle preparation of body and mind, letting you be fast - and mobile while swinging a heavy weapon at your foes.
-You wear no armor and wield a heavy weapon.
-Devastating Rush The faster you move, - the harder you hit.
-Keywords: Attack, Melee, Weapon
-Type: Action
-Distance: Reach 1
-Target: 1 creature or object
-Power Roll + Might or Agility:
-Effect: You can move up to 3 squares - straight toward the target before this attack. You deal - extra damage equal to the distance moved this way.
-Meant for brawlers and boxers, the Pugilist kit gives - you access to a melee fighting style that boosts your - Stamina and damage while allowing you to float like a - butterfly. If you want to be a tough, strong hero who doles - out punishment with your fists, then this kit is for - you.
-You wear no armor and wield only your unarmed - strikes.
-Let's Dance Keeping your enemies - stumbling around the battlefield is second nature to - you.
-Keywords: Attack, Melee, Weapon
-Type: Action
-Distance: Reach 1
-Target: 1 creature
-Power Roll + Might or Agility:
-Effect: You can shift into any square - your target leaves after you slide them.
-The Raider kit keeps you protected while granting you - full mobility, providing a boost to speed and distance that - lets you run around the battlefield like a Viking - warrior.
-You wear medium armor and wield a shield and a light - weapon.
-Shield Bash In your hands, a shield - isn't just for protection.
-Keywords: Attack, Melee, Weapon
-Type: Action
-Distance: Reach 1
-Target: 1 creature
-Power Roll + Might or Agility:
-The Ranger kit outfits you with light armor and several - weapons, letting you easily switch between using a melee - weapon and a bow. This kit provides a good balance of - bonuses to Stamina, speed, damage, and range to create a - hero who is a jack-of-all-trades.
-You wear medium armor and wield a medium weapon and a - bow.
-Hamstring Shot A well-placed shot - leaves your enemy struggling to move.
-Keywords: Attack, Ranged, Weapon
-Type: Action
-Distance: Ranged 10
-Target: 1 creature
-Power Roll + Might or Agility:
-The Rapid-Fire kit is for archers who want to deal - maximum damage by shooting as many arrows as possible into - nearby enemies. With this kit, your fighting technique - focuses on peppering foes at medium range.
-You wear light armor and wield a bow.
-Two Shot When you fire two arrows - back to back, both hit their mark.
-Keywords: Attack, Ranged, Weapon
-Type: Action
-Distance: Ranged 12
-Target: 2 creatures or objects
-Power Roll + Might or Agility:
-The retiarius is often depicted as a lightly armored - warrior with a net in one hand and a trident in the other, - and this kit gives you the equipment and fighting technique - to make that happen. Tie up your foe with a net and then - poke them to death!
-You wear light armor, and wield a polearm and several - ensnaring weapons.
-Net and Stab The well-thrown net that - follows your main attack leaves your foes right where you - want them.
-Keywords: Attack, Melee, Weapon
-Type: Action
-Distance: Reach 2
-Target: 1 creature
-Power Roll + Might or Agility:
-The Shining Armor kit provides the most protection a kit - can afford, providing you with the sword, shield, and armor - necessary to play the prototypical knight.
-You wear heavy armor and wield a shield and a medium - weapon.
-Protective Attack The strength of - your assault makes it impossible for your foe to ignore - you.
-Keywords: Attack, Melee, Weapon
-Type: Action
-Distance: Reach 1
-Target: 1 creature
-Power Roll + Might or Agility:
-The Sniper kit gives you the tools and techniques to - take down enemies from afar. This kit can help you become - the archer who lurks behind trees or down tunnels, picking - off enemies with a bow or crossbow as they approach.
-You wear no armor and wield a bow.
-Patient Shot Breathe… aim… wait… then - strike!
-Keywords: Attack, Ranged, Weapon
-Type: Action
-Distance: Ranged 15
-Target: 1 creature
-Power Roll + Might or Agility:
-Effect: If you don't take a move - action this turn, you gain an edge on this attack.
-Armed with a simple reach weapon, often a quarterstaff, - heroes using the Stick and Robe kit are highly mobile - thanks to their light armor. This allows them to make - maximum use of their weapon's length.
-You wear light armor and wield a polearm.
-Where I Want You When your stick - speaks, your enemy moves.
-Keywords: Attack, Melee, Weapon
-Type: Action
-Distance: Reach 2
-Target: 1 creature
-Power Roll + Might or Agility:
-If you want to be mobile and deal a lot of damage with - melee attacks, then you should reach for the Swashbuckler - kit. This is a great kit for heroes who want to be master - duelists.
-You wear light armor and wield a medium weapon.
-Fancy Footwork All combat is a - dance—and you'll be the one leading.
-Keywords: Attack, Melee, Weapon
-Type: Action
-Distance: Reach 1
-Target: 1 creature
-Power Roll + Might or Agility:
-Effect: You can shift into any square - your target leaves after you force move them with this - ability.
-The Whirlwind kit makes effective use of whips, granting - you mobility, damage, and reach. If you want to be a mobile - warrior who uses a chain or whip, then this is the kit for - you.
-You wear no armor and wield a whip.
-Extension of My Arm When you draw - your whip back after an attack, your enemy comes ever - closer.
-Keywords: Attack, Melee, Weapon
-Type: Action
-Distance: Reach 3
-Target: 1 creature
-Power Roll + Might or Agility:
-| Kit | -Armor | -Weapon | -Stamina | -Speed | -Stability | -Melee Damage | -Ranged Damage | -Weapon Distance | -Reach | -Mobility | -
|---|---|---|---|---|---|---|---|---|---|---|
| Cloak and Dagger | -Light | -Light | -+3 | -+2 | -— | -+1/+1/+1 | -+1/+1/+1 | -+5 | -— | -Yes | -
| Guisarmier | -Medium | -Polearm | -+6 | -— | -+1 | -+2/+2/+2 | -— | -— | -+1 | -— | -
| Martial Artist | -None | -Unarmed Strike | -+3 | -+3 | -— | -+2/+2/+2 | -— | -— | -— | -Yes | -
| Mountain | -Heavy | -Heavy | -+9 | -— | -+2 | -+0/+0/+4 | -— | -— | -— | -— | -
| Panther | -None | -Heavy | -+6 | -+1 | -+1 | -+0/+0/+4 | -— | -— | -— | -— | -
| Pugilist | -None | -Unarmed Strike | -+6 | -+2 | -+1 | -+1/+1/+1 | -— | -— | -— | -— | -
| Raider | -Medium, Shield | -Light | -+9 | -+1 | -— | -+1/+1/+1 | -— | -+5 | -— | -Yes | -
| Ranger | -Medium | -Medium, Bow | -+6 | -+1 | -— | -+1/+1/+1 | -+1/+1/+1 | -+5 | -— | -Yes | -
| Rapid-Fire | -Light | -Bow | -+3 | -+1 | -— | -— | -+2/+2/+2 | -+7 | -— | -Yes | -
| Retiarius | -Light | -Polearm, Ensnaring | -+3 | -+1 | -— | -+2/+2/+2 | -— | -— | -+1 | -Yes | -
| Shining Armor | -Heavy, Shield | -Medium | -+12 | -— | -+1 | -+2/+2/+2 | -— | -— | -— | -— | -
| Sniper | -None | -Bow | -— | -+1 | -— | -— | -+0/+0/+4 | -+10 | -— | -Yes | -
| Stick and Robe | -Light | -Polearm | -+3 | -+2 | -— | -+1/+1/+1 | -— | -— | -+1 | -Yes | -
| Swashbuckler | -Light | -Medium | -+3 | -+3 | -— | -+2/+2/+2 | -— | -— | -— | -Yes | -
| Whirlwind | -None | -Whip | -— | -+3 | -— | -+1/+1/+1 | -— | -— | -+1 | -Yes | -
This section details a number of caster kits, whose - bonuses and benefits are summarized in the Caster Kits - table.
-Sometimes you need a direct line to your heart to get - the most of your magic. The Bloodpact kit trades your blood - or lifeforce for more power and heightened casting. With - careful control of your natural resources (or borrowing - someone else's), you can take care of business before - succumbing to your own hubris. While using this kit, the - smell of blood becomes super intense to your senses.
-You wield an implement of metal, such as a tome or a - crown.
-You drain the energy from your target and revitalize - your senses.
-Keywords: Attack, Magic, Melee
-Type: Action
-Distance: Reach
-Target: 1 creature
-Power Roll + Reason, Intuition, or - Presence:
-The blood ward is a large projection of your heart - that magnifies the sound of your heartbeat. Whenever an - ability lets you spend a Recovery, you can forgo - regaining Stamina to instead increase your speed by 2 and - have your abilities deal 2 extra corruption damage until - the end of the encounter instead.
-The Dancer kit forgoes nearly all equipment in exchange - for speed, letting you rely purely on kinetic energy to - channel your power. The more you move, the more others may - want to move with you. Select this kit when your party - regularly needs to close the distance on your enemies. - While you use this kit, your heartbeat becomes an audible - metronome.
-You don a tiny implement of glass such as a pendant or - an anklet.
-Visible energy sparks off you to wash across a nearby - foe, who you invite to dance with you.
-Keywords: Attack, Magic, Melee
-Type: Action
-Distance: Reach 2
-Target: 1 creature or object
-Power Roll + Agility, Intuition, or - Presence:
-Effect: If you roll a 12 or better - and can't swap places with the target because one or both - of you is too big to fit into the swapped space, you both - remain in your original spaces and the target takes 2 - extra damage.
-Your ward surrounds you with a soft, enchanting melody - whose volume you control, and grants you the following - benefits:
-The Frigid kit is for heroes who want to tap into the - power of arcane blizzards and magical cold. Armed only with - an implement of crystal, you can create bursts of ice and - protect yourself with frigid winds. When you meditate to - prepare this kit, others notice the area around you - becoming slightly cooler.
-You wield an implement of crystal, such as a staff or - a wand.
-You unleash a blast of frigid air to freeze and hinder - your foes.
-Keywords: Area, Magic, Ranged
-Type: Action
-Distance: 3 cube within 12
-Target: All enemies
-Power Roll + Reason, Intuition, or - Presence:
-Your ward covers your body in ice, and grants you the - following benefits:
-The Meditator kit allows you to wield magic hardened by - experience and isolation. Your spirit visibly extends - beyond your physical form in the form of moss, spores, and - pulsing aura of light. While using this kit, you tend to - skip meals and ignore inclement weather.
-You wear light armor and wield an implement of bone - such as a staff or a skull.
-Your curse causes a foe's flesh to rot off as spores - that aid your allies.
-Keywords: Attack, Magic, Ranged
-Type: Action
-Distance: Ranged 5
-Target: 1 creature
-Power Roll + Reason, Intuition, or - Presence:
-Your spirit overflows and warms the area around you. - It grants you the following benefits:
-The Missile kit allows you to throw your implement at - your foes, then recall it back to you. Enemies impacted by - this concentration of magic are left reeling while you - stand safely out of their reach. When you use this kit, - your competitive nature is more pronounced, and you wield - your implement recklessly.
-You wield an implement of wood such as an orb or a - hooked rod.
-You lob your implement at high speed toward your - opponent, unleashing a chaotic flare of magic.
-Keywords: Attack, Magic, Ranged
-Type: Action
-Distance: Ranged 15
-Target: 1 creature or object
-Power Roll + Reason, Intuition, or - Presence:
-Effect: If your Magic Eye Ward is - locked onto the target, you can target them with this - ability regardless of the distance as long as you have - line of effect to them, and this ability deals additional - damage equal to your highest characteristic.
-Your ward wraps itself around your head and shields - your eyes, granting you the following benefits:
-The Nature Calling kit allows you to tap into the - magical forces of nature. You wield an implement of stone - so that your feet stand firm on the earth and your magic - can be carried by the wind. While using this kit, you can - faintly hear the whispers of the land around you.
-You wield an implement of stone, such as a club or a - crown.
-You call forth a small bolt of lightning, then hurl it - at your foe.
-Keywords: Attack, Magic, Ranged
-Type: Action
-Distance: Ranged 12
-Target: 1 creature or object
-Power Roll + Reason, Intuition, or - Presence:
-Your ward surrounds you with protective animal - spirits, and grants you the following benefits:
-The Rook kit allows you to use strong armor so you can - be better protected while you heal and enhance your allies - on the frontline. Heroes with this kit often dive into - support magic. While using this kit, your armor resonates - with the sounds of choirs from on high as you polish - it.
-You wear heavy armor and wield an implement of bone, - such as a scepter or a staff.
-Burning radiance falls upon your foe, outlining them - with a holy glow.
-Keywords: Attack, Magic, Ranged
-Type: Action
-Distance: Ranged 5
-Target: 1 creature or object
-Power Roll + Reason, Intuition, or - Presence:
-Your armor is reinforced by a bright ward of holy - energy, and grants you the following benefits:
-The Spellslinger kit is for those who want to focus - magic on their foes from far away, becoming a magical - blaster surrounded by rippling energy. While using this - kit, you can faintly see auras of energy emanating from - far-off creatures.
-You wield an implement of metal, such as a knife or a - scepter.
-Two beams of supernatural force lance out at your - command.
-Keywords: Attack, Magic, Ranged
-Type: Action
-Distance: Ranged 10
-Target: 2 creatures or objects
-Power Roll + Reason, Intuition, or - Presence:
-Your ward surrounds you with crackling energy.
-Whenever you take damage, you gain a bonus to damage - equal to your highest characteristic score, which you - apply to the next damage-dealing magic ability you use - before the end of the encounter. This benefit is - cumulative, so that you can accrue bonus damage multiple - times, then expend it all on one use of an ability.
-The Ward Weaver kit allows you to protect yourself in - combat with telekinetic techniques that also boost your - damage. This kit creates a supernatural hero who can more - effectively ward themself and their allies. While you use - this kit, you occasionally take on the mannerisms of your - allies without realizing it.
-You wield an implement of stone such as a wand or - pendant.
-Absorbing psychic energy from another creature lets - you shield yourself within it.
-Keywords: Attack, Magic, Ranged
-Type: Action
-Distance: Ranged 10
-Target: 1 creature
-Power Roll + Intuition:
-You have an invisible ward of magical force that - extends 2 squares from you in all directions. When you or - an ally within the area of your ward take damage from - another creature's melee ability, you can push that - creature a number of squares equal to your highest - characteristic score.
-| Caster Kits | -Kit Armor | -Implement | -Stamina | -Speed | -Stability | -Magical Damage | -Magic Distance | -Area | -
|---|---|---|---|---|---|---|---|---|
| Bloodpact | -None | -Metal | -+6 | -— | -— | -+2/+2/+2 | -+5 | -— | -
| Dancer | -None | -Glass | -— | -+2 | -— | -+0/+1/+2 | -— | -— | -
| Frigid | -None | -Crystal | -+3 | -— | -— | -— | -+7 | -+1 | -
| Meditator | -Light | -Bone | -+6 | -+1 | -— | -— | -— | -— | -
| Missile | -None | -Wood | -— | -— | -— | -+0/+1/+2 | -+10 | -— | -
| Nature Calling | -None | -Stone | -— | -— | -+2 | -— | -+7 | -— | -
| Rook | -Heavy | -Bone | -+12 | -— | -— | -— | -— | -— | -
| Spellslinger | -None | -Metal | -— | -+1 | -— | -+1/+1/+1 | -+5 | -— | -
| Ward Weaver | -None | -Bone | -+6 | -— | -+1 | -— | -+5 | -— | -
Beyond your abilities and features, your hero might have - something else that makes them … unusual. Perhaps you have an - earth elemental living in your body. Or you might wield a magic - sword that devastates enemies but feeds on your own - vitality.
-A complication is an optional feature you can take to enrich - your hero's backstory, with any complication providing you both - a positive benefit and a negative drawback. Because - complications are optional, check with your Director before - taking one.
-Your complication gives your hero both a benefit and a - drawback. Some of these benefits and drawbacks are - mechanical, while others are narrative. The benefit and - drawback of a complication makes your connection to the game - deeper and more interesting, and provides hooks to let the - Director better draw your hero into the campaign's story.
-Not all complication benefits and drawbacks are created - equal, but each benefit is balanced by its drawback. If you - have a powerful positive side to your complication, be - prepared to have an equally influential bit of negative - backstory as well.
-You can modify the narrative of a complication to better - fit with your vision of your character's backstory—or change - it entirely. For instance, if you choose Devil Deal as a - complication, you can have your hero instead make that deal - with an archfey or an undead general!
-Many of the details of each complication are purposefully - left vague, so that you can connect it to the rest of your - backstory. If your complication took place during “an attack” - or “an accident,” you decide the specific details of who or - what attacked you, or what type of accident befell you.
-You can choose your character's complication, or you can - roll on the Complications table.
-(Playtest note: More complications are coming.)
-Cultists captured you while raiding your home, then - began an unholy ritual to turn your body into an undead - spirit. The ritual failed, but your body became infused - with corrupted magic, turning you partially - incorporeal.
-Benefit: Once per turn, you can move - through a solid mundane object no more than 1 square thick. - If you end your turn inside the object, you take 5 damage - and are shunted out into the space where you entered the - object.
-Drawback: Your body is more susceptible - to negative energy. You have corruption weakness 5.
-Your ancestors made a deal with an archdevil that has - tied you to that fiend's service. When you first learned of - this deal, you were taken to the Seven Cities of Hell, - where some of the timescape's best minds taught you the - ways of battle or magic. The archdevil allows you to use - these gifts as you will … until they require a favor from - you.
-Benefit: Whenever you are present for a - battle in which all the creatures on one side are not - surprised, your side goes first on a result of 4 or greater - on the d10 roll (see Determine Who Goes First in Combat - Round).
-Drawback: The archdevil occasionally - asks you to defeat enemies on their behalf. If you refuse, - your fiendish patron sends devils after you and those you - care about.
-When an evil mage threatened someone you loved, you - blocked your foe's summoning of an elemental creature by - absorbing their magic with your body. You are now infused - with the power of that elemental—and they're not happy - about it.
-Benefit: Your Stamina increases by 6 at - 1st level, then increases by an additional 1 each time you - gain a new level.
-Drawback: When you are dying, your - possessing elemental takes control of your body. The - elemental yearns for destruction, causing you to attack the - closest creature they notice without regard for your - desires or your body's safety.
-A great monster who breathed fire burned your home to - the ground. While everything around you was consumed, you - somehow stood strong amid the inferno, your body adapting - to ignore the effects of the flames.
-Benefit: You have fire immunity 5.
-Drawback: You have cold weakness 5.
-You once contracted a terrible illness for which no one - could find a cure. You sought out a primordial swamp said - to be either incredibly poisonous or miraculously - salubrious. It turned out to be both, keeping your illness - at bay while corrupting your body with its unnatural - energy.
-Benefit: You have poison immunity 5 and - corruption immunity 5.
-Drawback: The number of Recoveries you - have is reduced by 1.
-Through ignorance, fear, spite, or selfishness, you - refused to help someone in need. To teach you a lesson, a - deity offered you what seemed to be a blessing—extra power - to help you heal yourself in times of need, but harsh - consequences should your need become excessive. You took - the deal, and now benefit from the blessing but also suffer - from a curse.
-Benefit: You have 2 additional - Recoveries.
-Drawback: When you are out of - Recoveries, you are dying, no matter what your current - Stamina is.
-You are the sole survivor of a shipwreck that left you - stranded on a remote and inhospitable island for years. - Your struggle to survive there granted you insight into the - natural world but distanced you from who you once were.
-Benefit: You gain two skills from the - exploration skill group.
-Drawback: You have forgotten one - language you know.
-You broke a magic amulet that immersed your mind in - weird magic. This magic has given you the power of - premonition, but you struggle to control this new gift. - Whenever you take a respite, make a Reason power roll to - determine whether you gain this complication's benefit or - drawback.
-Benefit: On a 12 to 16, you experience - a vision of an event currently happening in your world. The - vision lasts for just a few seconds, but the information - you glean is helpful to you. On a 17 or higher, you receive - a full minute or more of the scene.
-Drawback: On an 11 or lower, you - receive a painful vision that is fractal and inscrutable. - When the respite ends, you immediately lose 1 Recovery.
-Your childhood sweetheart was royalty, and the two of - you stayed close throughout the years. When your former - sweetheart died, you swore an oath to dedicate your life to - become a tutor for their child, advising them in the ways - of being a benevolent monarch.
-Benefit: You know how to talk to - monarchs, aristocrats, and other wealthy leaders. When you - engage with any such NPC during a negotiation, their - patience increases by 1 (to a maximum of 5).
-Drawback: Your royal ward regularly - calls upon you for advice and takes that advice to - heart—for better or for worse.
-Being in the wrong place at the wrong time saw you - caught in the middle of a conflict between two warring - thieves' guilds. Whether by choice or by accident, you - wound up helping one faction at the expense of the - other.
-Benefit: Having gained the favor of the - faction you helped, you can call on its members three times - for favors. If a favor is reasonable and within the - faction's power to grant, they'll do it, no questions - asked.
-Drawback: The faction you wronged hates - you, and its members would love to see you pay for your - transgression.
-| d10 | -Complication | -
|---|---|
| 1 | -Cult Victim | -
| 2 | -Devil Deal | -
| 3 | -Elemental Absorption | -
| 4 | -Fire and Chaos | -
| 5 | -Primordial Sickness | -
| 6 | -Punishment Curse | -
| 7 | -Shipwrecked | -
| 8 | -Vivid Dreams | -
| 9 | -Ward | -
| 10 | -War of the Guilds | -
When you want your hero to rifle through a desk and locate a - specific document, scale a castle wall, negotiate a treaty with - a monarch, or undertake any other activity with a chance of - failure, you'll need to make a test to determine how successful - you are on the task. A test is any power roll that has failure - as an option.
-The Director should ask a player to make a test only when - the player's hero attempts a task where the consequences of - failure are interesting or dramatic, and where failure won't - grind the story to a halt. For example, if a hero wants to - leap over a waist-high wall while casually walking through a - peaceful city neighborhood, the worst case for failure is - probably that the hero falls on their butt, takes no damage, - and can stand up to either try again or walk around the wall. - As such, no test is required. But if the hero were being - chased by enemies, failing to leap over the wall means the - pursuers can catch them, so the Director might decide to call - for a test to determine what happens.
-The advancement of a story shouldn't be halted by failing - a test. For instance, the heroes might need to know the color - of a dwarf king's crown to solve a puzzle, with that puzzle - opening the only entrance to a tomb they must enter to stop a - world-ending ritual. It could be that a successful Reason - test allows the heroes to recall that lore, but the test - shouldn't be their only option to get the information. If the - test fails, perhaps the heroes need to go to a flying library - to do research, or they might be able to delve into a ruin to - find the ancient monarch's portrait. A failed test should - always result in a story becoming more interesting, not in - the action coming to an end.
-When a hero attempts to solve a task that normally - requires a test with clever, outside-the-box thinking, the - Director can instead decide that no test is required and - the attempt automatically works! For example, if a hero who - wants to climb a wall first covers their hands and feet in - giant strands of sticky spider webs, the Director might - decide that they can climb up the wall without needing to - make a test.
-That said, such clever ideas often work for free the - first time, but the Director could decide they require - tests if they are used again.
-Each test has the following steps:
-When you describe a task you want your hero to undertake - and the Director determines that a test is necessary, they - then determine which characteristic the test uses based on - the nature of the task. For instance, if you're scaling a - wall, the Director could ask for a Might test to determine - how far and how quickly you're able to climb. If you're - attempting to plead your innocence in court for a murder - you didn't commit, the Director might ask for a Presence - test if you're attempting to win over the jury with your - personality, or a Reason test if you're laying out a - logical argument to support your innocence.
-Though the Director can decide to call for tests in any - circumstances, a number of tasks that heroes routinely - undertake are commonly set up as tests.
-You make a Might test whenever a risky task calls for - the use of physical strength. Might tests are most often - used for breaking down doors and other structures, - hurling heavy objects, pulling your body up a sheer wall, - swimming against a mighty current, and other feats of - physical power.
-You make an Agility test whenever a risky task calls - for the use of your physical coordination and nimbleness. - Agility tests are most often used for tumbling, sneaking, - picking locks, and engaging in sleight of hand.
-You make a Reason test whenever you attempt a risky - task that requires the use of your mental acumen and - education, formal or otherwise. Reason tests are most - often used to recall lore, deduce information based on - clues, complete a puzzle, forge counterfeit items or - documents, break a code, convince others of a logical - argument, or make an estimation.
-You make an Intuition test whenever you attempt a - risky task that requires the use of your powers of - observation and instinct. Intuition tests are most often - used to notice hidden creatures or details, discern - another person's motivations or honesty, calm and - reassure others, and train animals.
-You make a Presence test whenever you attempt a risky - task that requires the use of your force of personality. - Presence tests are most often used to gain trust, project - confidence, and influence and lead other creatures.
---Tests can't be used by NPCs or PCs to influence the - actions of PCs. Many players feel that their agency is - taken away if they're compelled to jump into a pile of - gold filled with hidden scorpions because an NPC - convinced them to do so with a Presence test. For most - players, it's not fun to be in control of a single hero - and lose some of that control.
-Instead, Directors should do their level best to have - an NPC suggest that a character dive headlong into the - gold like a billionaire duck, then let the player decide - what their character does. Similarly, a Director might - decide that one player character can't make an Intuition - test to discern another PC's motivations or honesty.
-That said, if everyone in your gaming group decides to - lift one or more of these restrictions after talking - about it, go for it! There's no wrong way to play as long - as everyone is having fun. The MCDM Safety Toolkit - (available for download at https://mcdm.gg/SafetyToolkit) - discusses how to talk about potentially problematic - topics such as limiting character agency at your - table.
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The Director decides how difficult a task that requires - a test is: easy, medium, or hard. If a task seems as though - it's easier than easy, then no test is necessary. The hero - simply accomplishes the task. If the task seems harder than - hard, then the Director is free to decide that it's - impossible to complete with a test.
-On a test-by-test basis, the Director can share the - difficulty of a task before the player makes the test, - which makes interpreting the result faster at the table. - The Director can also keep the test's difficulty secret - until after the player rolls the test, for dramatic - effect.
-An easy test has some risk of failure, but most heroes - will likely overcome it. The power roll you make for an - easy test determines the outcome (see Test Outcomes):
-A medium test has some risk of failure that most - heroes will likely overcome—but with a cost. The power - roll you make for a medium test determines the - outcome:
-A hard test has a greater risk of failure, and most - heroes are likely to suffer some hardship while trying to - overcome the intended task. The power roll you make for a - hard test determines the outcome:
-When you get a natural 19 or 20 on a test's power - roll, you succeed on the task with a reward, even if the - test has a medium or hard difficulty.
-Depending on a test's difficulty and the result of the - power roll made to accomplish a task, you can obtain one of - the following outcomes.
-If you fail a test and incur a consequence, you don't - do what you set out to do—in addition to which, you - suffer an impactful setback. The Director determines the - exact nature of the consequence, which is typically - related to the specific task. For instance, if a hero - suffers a consequence while trying to climb a wall, they - might make it halfway up the wall and then fall, taking - damage and landing prone. A hero trying to sneak by - cultists might be spotted by those foes, who immediately - attack. If a consequence strikes when a hero attempts to - bribe a prison guard, the guard might decide to arrest - the hero or lead them into a trap. If a hero suffers a - consequence on a Reason test made to recall lore about - the king's favorite meal, they might confuse it for a - dish to which the monarch is deathly allergic.
-Not all consequences need to be immediate or apparent. - For example, a hero might fail with a consequence on a - test made to cheat at a high-stakes game of cards with a - noble. The failure means that the noble notices, but the - Director decides that the noble doesn't say anything. - This consequence isn't made apparent until later in the - evening, when the noble has guards surround the hero and - take the cheater down to the dungeon for stacking the - deck.
-Common consequences for failing a test include the - following:
-In lieu of other consequences, the Director has the - option to gain 2 additional Villain Power (VP), a - resource their creatures use in combat, at the start of - the next combat encounter.
-If you fail a test without incurring a consequence, - you simply don't do what you set out to do. If you're - attempting to climb a wall, you find no purchase. If - you're attempting to recall lore, you can't remember the - desired facts. If you're attempting to bribe a guard, - they don't take the bait.
-When you get this result, the Director can decide that - there might still be a small penalty for failure, - depending on the circumstances of the test. This penalty - shouldn't be as harsh as rolling a failure with a - consequence, though. For instance, a hero who gets this - result on an Agility test made to sneak by a group of - cultists might draw the attention of one cultist with - their failure. Now that cultist is coming to investigate, - but they haven't raised the alarm… yet.
-If you succeed on a test and incur a consequence, you - do what you set out to do, but with an added cost. You - might succeed in climbing up a wall, but the surface of - the wall crumbles and becomes unstable as you do, making - the climb more difficult for the ally ascending after - you. When trying to sneak by a cultist, you successfully - do so, but you leave footprints or other evidence of - trespassing behind that someone will eventually find. If - you attempt to bribe a guard to let you sneak into a - prison, the guard lets you in—but then demands that you - hand over a gemstone you need for an important crafting - project before they let you out.
-Just like failure with a consequence, the consequences - accompanying success don't need to be immediately - apparent. In lieu of other consequences, the Director has - the option to gain 2 additional VP at the start of the - next combat encounter.
-Sometimes when a hero rolls a failure without a - consequence, the Director can offer to let them succeed - with a consequence. Likewise, a hero who rolls a success - with a consequence might be given a chance to fail - without a consequence if doing so is the better option. - For instance, when a hero rolls a 10 on an easy Might - test to break down a locked door, that's a failure. But - the Director could offer the player the choice of either - not breaking down the door, or breaking down the door and - losing 1d6 Stamina as they get injured in the effort.
-If you succeed on a test without consequence or - reward, you simply achieve whatever you set out to do. - You climb that wall, sneak by those cultists, or bribe - that guard just like you planned it. Smooth.
-If you succeed on a test with a reward, you accomplish - whatever you set out to do. But you also gain a little - something extra, in the form of momentum or luck that - makes the immediate future easier for you or your - friends. The Director determines your reward, which is - most often related to the task at hand. For instance, if - you succeed with a reward while climbing a wall, you - might find a ladder at the top that you can lower so any - allies climbing after you can do so without needing to - make a test. A hero trying to sneak by cultists who - succeeds with a reward might then be able to dose the - cultists' nearby water barrel with sleeping poison as - they pass by unseen. Succeeding with a reward while - bribing a prison guard could mean that the guard will - unlock a door for you in addition to forgetting you were - ever there.
-As with consequences, the reward that comes with a - success doesn't need to be immediate or apparent. For - example, a hero succeeds with a reward on an easy test - made to cheat at a high-stakes game of cards with a - noble. Not only does the hero win the game, but the - Director decides that their reward comes from a servant - watching the game who's impressed with the character's - performance. After the game, the servant approaches the - hero, offering a Flying Potion from the noble's private - stash in congratulations and admiration.
-Some common rewards accompanying success on a test - include the following:
-In lieu of other rewards, the Director can also decide - that a hero who succeeds on a test with a reward earns - the players a hero token (see Hero Tokens).
---Coming up with consequences and rewards for tests - can be a big part of the fun for many Directors, but - even the best of us occasionally run low on ideas. - That's why the game gives the default option of - consequences and rewards in the form of Villain Power - and hero tokens. However, if you're a Director who - prefers narrative consequences and rewards, consider - asking the players to pitch you different consequences - and rewards when they make a test. You can reject, add - to, or modify their ideas as you see fit. Players who - take this option should understand that they need to - pitch real consequences when they suffer one, and not - minor rewards disguised as consequences.
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The amount of time required for a task involving a test - is determined by the Director. A task such as recalling - lore with a Reason test might take no time at all. Ducking - behind a barrel to hide with an Agility test might require - a maneuver or an action, while tracking a band of voiceless - talkers through the World Below could take hours or even - days.
-Many (but not all) tests that a hero might make during - combat are made as maneuvers. See Make a Test in - Maneuvers for more information.
-In many cases when you fail a test, you can't attempt - the test again unless the circumstances of the test change. - For instance, if you attempt an Agility test to pick a lock - and fail, you can't attempt to pick the lock again unless - you get some better lockpicks, oil the lock, have someone - demonstrate how to pick a similar lock, and so on.
-The Director decides when the circumstances have changed - enough to allow a new attempt at a test.
-If a hero attempts to sneak by an enemy guard unnoticed, - should the hero make an Agility test to sneak, or should the - guard make an Intuition test to catch the hero in the act? If - a cultist lies to a hero about the location of a secret - temple, does the cultist roll a Presence test to conceal the - truth, or does the hero roll an Intuition test to discern the - cultist's honesty?
-Unless the rules state otherwise, heroes make tests and - NPCs do not. Heroes are the stars of the story, and the - consequences and rewards of tests have longer-lasting - implications for them. There are exceptions to this rule, of - course. If a hero travels with an NPC retainer or companion, - that NPC would almost certainly make tests too. But for the - most part, NPCs working against the heroes never need to make - tests.
-To quickly assess the difficulty of a task and the test - made to attempt it, the Director can use the following - guidelines (though these are not hard and fast rules):
-The failure consequences of opposed actions are some of - the easiest to create on the fly. Fail to hide from someone, - and they see you. Fail to lie to someone, and they catch your - duplicity. Fail to arm wrestle someone for a free ale, and - you're picking up the tab. The consequence is that the - opposition bests the hero.
-At times, a hero and an NPC might oppose each other in a - scenario where the Director chooses for the NPC to make a - test instead of a player. This occurs when an NPC - undertakes an action the heroes aren't aware of or aren't - seeking actively to notice. By having the NPC roll in these - scenarios, the Director can keep secret the fact that the - task is happening, as well as its outcome.
-For example, if an assassin attempts to ambush the - heroes while they sit around a campfire without anyone - keeping watch for danger, the assassin makes an Agility - test to sneak up on the heroes unnoticed. The Director - rolls and doesn't reveal the result until the heroes - actually realize someone is approaching their camp. If the - assassin fails the test, the heroes notice immediately as - their assailant loudly steps on a twig. If the assassin - succeeds, the heroes don't notice until the assailant is - right on top of them. But if any player had said that their - hero was on the lookout for danger, that hero would make an - Intuition test instead.
-An NPC might also make a Presence test if they lie to - the heroes, as long as the heroes have no reason to believe - the character would be deceptive. You'll know if the heroes - are wary in that way, because the players will ask if they - can make a test to discern the NPC's honesty.
-The difficulty of the NPC's test can be modified by the - skills and characteristics of the heroes they attempt to - deceive, in the same way NPC statistics can modify a hero's - test difficulty.
-As an optional rule, the Director is also free to ask - the heroes to make a reactive test to a deceptive NPC - action instead (see Reactive Tests) whenever they - see fit.
-In the very rare occurrence that two or more heroes are - in conflict with each other in a way that requires them to - make tests, the Director can have all the heroes involved - make a test. The hero with the highest result on their - power roll wins. You can't earn a reward as part of these - opposed power rolls, and they don't follow the typical - difficulty structure or have three different tiers of - possible outcomes.
-For example, if your hero attempts to sneak by an allied - hero, you would make an Agility test opposed by the player - of the other character making an Intuition test. If your - hero gets the higher result, you sneak by without the other - hero noticing. If the other hero gets a higher result, they - catch you in the act of sneaking. If multiple sneaking - heroes attempt to get by multiple heroes on the lookout for - sneaks, then each character makes a test and all the - results are compared to determine which heroes on guard - notice which sneaking heroes.
-In the event of a tie in an opposed test, the state of - the scene doesn't change. In the previous example, a tie - means that if a hero on guard duty didn't know a sneaking - hero was there, then the guard hero remains oblivious. If - the guard did know the sneak was out there somewhere and - the sneak is trying to avoid being noticed, a tie means - that the guard still knows the sneak is there.
-The Director can also use opposed power rolls when - heroes face off against important NPCs using tests.
-At certain times when a hero isn't engaged in overcoming a - task, the Director might ask the player of the hero to make a - test without context, explaining the test only after the - power roll is made. This often happens when a hero has a - chance of knowing or noticing something of significance that - the player doesn't know to look for or ask about.
-Reactive tests are typically made in the following - circumstances, though the Director can call for them in any - appropriate scenario:
-Some Directors prefer to make the power rolls for - reactive tests for the heroes rather than asking the - players to do so. This allows the Director to make the - rolls when appropriate for hidden objects, creatures, - motivations, and information without tipping off the - players that there is information to be gained. Having the - Director roll requires the Director to have everyone's - characteristics and skills written down (whether physically - or digitally) for easy reference.
-(Playtest note: Currently, some skills are more useful - than others. This is likely going to be the case for a while, - since the game isn't completed yet. There are also certain - skills that will always be more useful in a particular type - of campaign. This is called out in the “Are All Skills - Equal?” sidebar.)
-Skills represent the different specializations a hero has - outside of attacking, defending, and using their ancestry - features, class features, and equipment. Whenever you make a - test, having a particular skill associated with the test - increases your chance of success.
-If you have a skill that applies to a test you make, you - gain a +2 bonus to the test. For instance, if your hero has - the Hide skill, you have a +2 bonus to any test you make - that involves hiding yourself. This might include an - Agility test to hide behind a barrel, or a Presence test to - disappear into a crowd.
-Unless the Director deems otherwise, you can make a - skill test even when you don't have the appropriate skill. - This means you simply make the test using the typical - characteristic but without the +2 bonus the skill grants. - You can't apply more than one skill to a test.
-The bonuses from characteristics and the +2 from - skills are separate and can apply to the same roll. - Although certain skills are often paired with one - characteristic more than others, a skill can apply to any - characteristic test that makes sense. The Director has - the final say on which characteristic is used to complete - a task and can call for a different characteristic based - on the circumstances.
-For example, intimidating someone with a purely verbal - threat is a Presence test. But if a player describes - their character tearing a log in half with their bare - hands to intimidate a foe, the Director is likely to call - for a Might test instead. The Intimidate skill applies to - both tests. In the same way, scaling the side of a - building is covered by a Might test, but if a hero does a - series of leaps from one balcony to another to reach a - roof, the Director could call for an Agility test - instead. The Climb skill applies to both of these - tests.
-This game includes a big list of skills, and each is - fairly specific. For example, instead of one Athletics - skill that covers climbing, jumping, swimming, and lifting - heavy objects, your character might use separate Climb, - Jump, Lift, and Swim skills. Instead of a Thievery skill - that covers picking locks, picking pockets, and disabling - traps, the game has three skills: Pick Lock, Pick Pocket, - and Sabotage.
-We made the decision to have a lot of specific skills - based on our design goals. First, having skills this - specific means that you will frequently make tests that - don't use one of your character's skills and simply apply a - characteristic. By not having a few broader skills, it - means that having a character who covers the spread of - every skill is actually impossible. Luckily, the math of - the game doesn't require you to have a skill to have a - decent chance of success on a test. That means heroes can - attempt tasks without the help of a skill just because - someone needs to do it, and that is pretty darn heroic!
-Since players don't need to be worried about their - characters covering a wide spread of skills, they're free - to choose the skills they think fit their heroes best and - are the most fun to work with. In this way, you can get - pretty specific with the hero you want to make. Maybe - you're thinking about an elementalist who has a gymnastic - background in jumping and tumbling, and who also studied - religion and blacksmithing. You can make that in our game! - Having a specific backstory is part of cinematic - storytelling.
-Our rules for skills allow for them to be flexibly - applied to any test that is appropriate for the skill. This - encourages clever thinking. A player can ask the Director, - “I want to impress the duke with a story about how I - ascended the sheer Cliffs of Azgahnan. Can I use my Climb - skill to get a +2 bonus to my Presence test?” That's great! - Getting creative like that is a lot of fun. It paints a - visual picture and it's tactical thinking! However, if the - skills in a game are too broad in the kinds of activities - they represent, that sometimes encourages players to find a - way to apply the same skill over and over again with as - many tests as possible. This isn't fun for anyone, and - doesn't make a very compelling story.
-Skills are broken down into five groups: crafting, - exploration, interpersonal, intrigue, and lore.
---Directors should feel free to make their own skills - that they feel are relevant and useful to their - campaigns and adventures. For instance, the game - doesn't have a Brewing skill for brewing ale or a - Painting skill for making art because those aren't - tasks that typically come up or require a test in a - game about fighting monsters and saving the world. - However, a Director could decide that their campaign - involves poisoned barrels of ale and large amounts of - counterfeit art, and that adding these two new skills - to the game would make it more fun for the players. The - Director simply needs to pick a group for these new - skills—in this case, crafting makes sense. They then - let the players know that they can swap out any - crafting skill they have for these new skills.
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Skills from the crafting skill group are used in the - creation and appraisal of goods and for jury-rigging - contraptions. They are especially useful during rests and - downtime.
-Rewards for tests made with crafting skills typically - include having leftover rare material used in the - creation process, knowing a buyer willing to pay extra - for goods or items you're appraising, or making a - jury-rigged device so amazing that it lasts for more uses - than it should.
-Failure consequences for tests made with crafting - skills typically include wasting rare materials used in - the creation process, greatly overestimating or - underestimating an item's value, and poorly jury-rigging - a contraption so that it harms people (or at least the - wrong people).
-| Skill | -Use | -
|---|---|
| Alchemy | -Make bombs and potions | -
| Architecture | -Create buildings and vehicles | -
| Blacksmithing | -Forge metal armor and weapons | -
| Fletching | -Make ranged weapons and ammunition | -
| Forgery | -Create false badges, documents, and other - items | -
| Jewelry | -Create bracelets, crowns, rings, and other - jewelry | -
| Mechanics | -Build machines and clockwork items | -
| Tailoring | -Craft cloth and leather clothing | -
Skills from the exploration skill group are used to - physically explore the environment around the characters - and to overcome physical obstacles.
-Rewards for tests made with exploration skills - typically include helping another creature engaging in - the same task succeed without needing to also make a - test, automatically succeeding on a follow-up test while - engaged in the same task, reaching a destination faster - than you anticipated, and learning about or avoiding an - upcoming hazard.
-Failure consequences for tests made with exploration - skills include harming yourself, your gear, or your - allies, becoming lost, or stumbling headlong into a - hazard or a place you were trying to avoid.
-| Skill | -Use | -
|---|---|
| Climb | -Move up vertical surfaces | -
| Drive | -Control vehicles | -
| Endurance | -Remain engaged in strenuous activity over a - long period | -
| Gymnastics | -Move across unsteady or narrow surfaces, and - tumble | -
| Heal | -Use mundane first aid | -
| Jump | -Leap vertical and horizontal distances | -
| Lift | -Pick up, carry, and throw heavy objects | -
| Navigate | -Read a map and travel without becoming - lost | -
| Ride | -Ride and control a mount who isn't sapient, - such as a horse | -
| Swim | -Move through deep liquid | -
Skills from the interpersonal skill group are used to - socially interact with other creatures and are - particularly useful during negotiations. Aside from the - Handle Animals skill, you can generally only use - interpersonal skills when you attempt to influence - creatures who have emotions and who can understand - you.
-Rewards for tests made with interpersonal skills - typically include gaining an extra favor, item, or piece - of information from the person or people you interact - with.
-Failure consequences for tests made with interpersonal - skills include making the person you're interacting with - angry, sad, embarrassed, offended, or otherwise upset or - uncomfortable, which might cause them to ignore you, - storm off, spread rumors about you, attack you, betray - you, blackmail you, or otherwise attempt to harm you.
-| Skill | -Use | -
|---|---|
| Brag | -Impress others with stories of your - deeds | -
| Empathize | -Relate to someone on a personal level | -
| Flirt | -Attract romantic attention from someone | -
| Gamble | -Make bets with others | -
| Handle Animals | -Interact with animal wildlife that isn't - sapient | -
| Interrogate | -Obtain information from a creature - withholding it | -
| Intimidate | -Awe or scare a creature | -
| Lead | -Inspire people to action | -
| Lie | -Convince someone that a falsehood is - true | -
| Music | -Perform music vocally or with an - instrument | -
| Perform | -Engage in dance, oratory, acting, or some - other physical performance | -
| Persuade | -Convince someone to agree with you through - use of your charms and grace | -
| Read Person | -Read the emotions and body language of other - creatures | -
Skills from the intrigue skill group are used in tasks - centered around investigation, thievery, and - spycraft.
-Rewards for tests made with skills from this group - typically include helping another creature engaging in - the same task succeed without needing to also make a - test, automatically succeeding on a follow-up test while - engaged in the same task, discovering helpful information - in addition to what you set out to learn, and performing - an extra bit of clandestine activity in addition to what - you set out to do.
-Failure consequences for tests made with intrigue - skills include getting caught in the act or failing to - notice a detail that places you in danger, such as - triggering a trap or walking into an ambush.
-| Skill | -Use | -
|---|---|
| Alertness | -Intuitively sense the details of your - surroundings | -
| Conceal Object | -Hide an object on your person or in your - environment | -
| Disguise | -Change your appearance to look like a - different person | -
| Eavesdrop | -Actively listen to something that is hard to - hear, such as a whispered conversation through a - door | -
| Escape Artist | -Escape from bonds such as rope or - manacles | -
| Hide | -Conceal yourself from others' - observation | -
| Pick Lock | -Open a lock without using the key | -
| Pick Pocket | -Steal an item that another person wears or - carries without them noticing | -
| Sabotage | -Disable a mechanical device such as a - trap | -
| Search | -Actively search an environment for important - details and items | -
| Sneak | -Move silently | -
| Track | -Follow a trail that another creature has left - behind | -
Skills from the lore skill group are used to research - and recall specific information. They are especially - useful during rests and downtime.
-Rewards for tests made with lore skills typically - include learning an extra piece of useful - information.
-Failure consequences for tests made with lore skills - typically include learning an incorrect piece of - information that seems useful, but which actually makes - things worse or wastes time. (It's fun to roleplay these - sorts of moments, so lean in!) Alternatively, the - Director can make medium and hard lore tests for each - hero in secret and let the players know the narrative - outcome without revealing the result of the dice.
-| Skill | -Use | -
|---|---|
| Culture | -Knowing about a culture's customs, folktales, - and taboos | -
| Criminal Underworld | -Knowing about criminal organizations, their - crimes, their relationships, and their - leaders | -
| History | -Knowing about significant past events | -
| Magic | -Knowing about magical places, spells, - rituals, items, and phenomena | -
| Monsters | -Knowing monster ecology, strengths, and - weaknesses | -
| Nature | -Knowing about natural flora, fauna, and - weather | -
| Psionics | -Knowing about psionic places, spells, - rituals, items, and phenomena | -
| Religion | -Knowing about religious mythology, practices, - and rituals | -
| Rumors | -Knowing gossip, legends, and uncertain - truths | -
| Society | -Knowing noble etiquette and the leadership - and power dynamics of noble families | -
| Timescape | -Knowing about the various planets of the - timescape | -
--This game has a big list of skills, and it's - impossible for us or anyone else to know in advance - which will be most useful during a campaign. For - instance, the Swim skill might be used constantly - during a campaign that takes place on the ocean and has - heroes exploring underwater ruins, but it won't come up - as much in a campaign that takes place entirely in a - vast desert. The Psionics skill might come up a lot in - a campaign where voiceless talkers are the main foes, - and Magic might be more useful in a game where the - heroes take on a circle of evil wizards.
-If you're worried about whether a skill you'd like - to take will be useful, discuss your skill list with - the Director after you create a hero. At the Director's - discretion, you can swap out any skill you have with - any other skill in the same group.
-
You can attempt to assist another creature with a test - they make, provided you have a skill that applies to the - test, the other creature isn't using that same skill on the - test, and you can describe how your character helps to the - Director's satisfaction. In other words, your attempt to help - has to make sense, and you have to bring some useful - expertise to the table. Helping another creature sneak by - shouting encouragement at them isn't going to make them - stealthier.
-When you attempt to assist another creature, make an easy - test using the skill you choose, and with a characteristic - chosen by the Director based on the action you take to help. - The outcome of that test determines the bonus applied to the - test you're assisting:
-For example, if you want to use the Flirt skill to help - another hero pick a jailor's pocket, the Director might ask - you to make a Presence test using Flirt. The outcome of that - test determines the bonus you provide to the other hero's - Agility test to pick the pocket.
-Whenever two or more heroes attempt to overcome a single, - simple task together that calls for them to make the same - test, the Director can call for a group test. For example, if - several heroes are all attempting to climb the outside of a - tower at the same time, giving each other boosts and advice, - they could be asked to make a Might group test. If a group of - heroes attempt to sneak by a sleeping ogre, they might make - an Agility group test.
-The Director determines the difficulty of a group test - the same way they do for individual tests. Group tests can - be easy, medium, or hard.
-Each hero participating in the group test makes the test - individually as usual, but the Director waits until all the - tests have been made to interpret the results. A hero who - is participating in the group test can't assist another - hero participating in the test.
-When interpreting the outcome of a group test, the - Director first determines if the task succeeded or not - before figuring out rewards and consequences. If half or - more of the heroes making the group test succeed, then the - group test succeeds. Otherwise, the group test fails.
-If the heroes succeeded and half or more of them - obtained a reward from the test, the Director gives the - group a collective reward and ignores any consequences - incurred in the test. This collective reward should be - equivalent to earning two individual rewards. In fact, it - could be two consumable items, juicy pieces of information, - or hero tokens. However, it could also be something more - tailored to the task. For instance, if the heroes earn a - collective reward while sneaking through the camp of an - enemy army, the Director might allow them to sabotage a - bunch of war engines or steal a few horses on their way - out.
-If the heroes failed the group test and more than half - of them incurred a consequence as a result, the Director - gives the group a collective consequence and ignores any - earned rewards. This collective consequence should affect - everyone. An easy option is for the stress of failing the - test to cause each hero to take a bane on their next power - roll or for the Director to gain 2 VP per hero at the start - of the next combat encounter, but the consequence could - also be tailored to the task. For instance, if the heroes - fail in their attempt to sneak through the camp of an enemy - army, they're spotted and the camp immediately goes on - alert as waves of enemies attack them.
-If fewer than half the heroes get a consequence or - reward on their individual tests, then the group test - simply succeeds or fails.
-When a group of heroes works together over time to - accomplish a common goal that requires more than a single - characteristic, the Director can call for a montage test. - Such tests typically take place over a prolonged period and - focus on collective or shared activities. Navigating a vast - desert, convincing farmers to rise up against a tyrannical - leader, and performing a ritual to open a magically sealed - gate can all be accomplished with montage tests.
-In a montage test, the players take turns making tests as - their characters tackle a task together in a montage test - round. Each hero has a chance to make a test (or to assist - another hero's test) intended to influence the outcome of the - task (see Assist a Test).
-A hero can also spend their turn using an item, ability, - or other option they have available that they believe can - help in the montage test. For example, if a group of heroes - wants to cross an ocean on a sailing ship before a storm - begins, one hero might make use of a magic fan that creates - wind to keep the sails full day and night. The Director - decides that this clever action gives the heroes 2 automatic - successes in the montage test, with no individual tests - necessary (see Total Successes and Failures).
-Once a hero makes a test, assists with a test, or uses an - ability or other option, they can't do anything else as part - of the montage test until each other hero involved in the - montage test does so as well. A hero can also choose to do - nothing, most often if they have no one to assist and fear - that their actions might make the situation worse (see - Montage Test Outcomes). Once every hero has had a chance to - act, the montage test round ends and a new one begins.
-As the name suggests, montage tests create a kind of - cinematic montage in the action of the game. A montage test - can take place over the course of several hours or days, - with each individual test or other activity set up as a - brief vignette within the montage, and starring one of the - heroes. Combat encounters, negotiations, and other - challenges and scenes can break up a montage test (see - Sample Montage Test below).
-The Director should deploy montage tests only when the - players are engaged in overcoming a goal that has stakes - for the story and some sort of pressure, such as a looming - deadline or impending harm. A montage test is great for a - race to get to another location before an enemy army does, - a chase to escape or catch up to a foe, weathering a - hazard, preparing a village for war, or similar activities. - Low- or no-stakes activities such as travel through a - forest with no time pressure, or training during a respite - to use a new kit, can be narrated in montage style, but - they don't require a montage test.
-At the start of a montage test, the Director should - describe the scenario underlying the task at hand, and the - various challenges the heroes might face as they attempt to - collectively accomplish it. For example, if the heroes are - attempting to chase down a pickpocket through a crowded - market, the Director might talk about the throngs of - innocent people blocking the way forward, obscuring the - characters' vision, and making noise that complicates - attempts to hear the thief's nimble footsteps. There are - also traveling carts to dodge, the speed and dexterity of - the pursued character to contend with, and a pack of stray - dogs who chase after anyone who sprints through the market. - Describing these obstacles gives the heroes ideas about - what they're trying to overcome as they attempt to achieve - their goals.
-The difficulty of each individual test in a montage test - is set by the Director and can vary from test to test. For - instance, if the heroes are preparing the defenses of a - village threatened by a band of approaching raiders, the - Director might decide that a character who wants to dig a - trench around the village needs to make an easy Might test. - Another hero wants to train the untested farmers of the - village in the ways of war, and the Director decides this - is a hard Reason test.
-The same rules and guidelines that apply to all - individual tests apply here. If a hero has a clever, - out-of-the-box idea that the Director thinks should - automatically succeed without rolling dice, it does. If the - circumstances of the test should grant an edge or a bane, - they do. Individual test outcomes shouldn't halt the - story.
-The Director should couch each success or failure as it - relates to the overall goal of the montage test. If the - heroes are trying to reach an ancient temple, failing a - Might test to ford a river in their path doesn't mean they - don't cross the river and are stuck on the other side. But - it could mean that failing to cross the river in a timely - manner gives a rival group of villains the chance to beat - the party to the temple.
-The rewards and consequences of individual tests made - during a montage test should be handled on an individual - basis. The Director can use the default additional VP in - the next combat encounter for consequences and hero tokens - for rewards to keep the montage moving.
-An individual character can't use the same skill more - than once in a montage test. Though multiple heroes can use - the same skill, a test or an assist with a specific skill - represents each characters' entire contribution to the - montage test with that skill. At the Director's discretion, - this restriction can be lifted for prolonged montage tests, - or for montage tests that are limited in scope and have - only a small number of skills that apply to them.
-In general, when a hero makes a test as part of a - montage test, they should choose new obstacles to overcome - that haven't already been tackled as part of the test. If - the heroes are chasing a thief through the marketplace and - one of them has already distracted the pack of stray dogs - with a deft hand and a piece of meat, additional tests made - to distract the animals don't count toward the result of - the montage test.
-When it fits the scenario, the Director can adjust this - restriction. If part of a montage test involves searching - for people trapped in a burning building, the Director is - likely to allow multiple tests to fight or avoid the fire, - since this will happen throughout the montage test, not - just once.
-During a montage test, a Director can introduce new - challenges for the heroes to face. While attempting to run - out of a burning building from the top floor, the - characters might discover that by the time they reach the - second floor, beams are starting to fall and glass windows - are exploding as the structure begins to collapse. These - new challenges can be incorporated into the tests the - heroes subsequently make.
-The Director or another player will track the total - number of successes and failures the heroes earn during a - montage test. Every montage test has a success - limit and a failure limit. When - the number of successful tests equals the success limit, - the montage test ends and the heroes achieve total success - (see Montage Test Outcomes). The montage test can also end - when the number of failed tests equals the failure limit, - and the heroes suffer total failure.
-A montage test should last only 2 montage test rounds. - If the heroes don't end the montage test by achieving the - success limit or failure limit, the montage test ends when - the second montage test round is over. This time limit - helps to keep a montage test from becoming a slog, and - prevents heroes from simply using their turns to assist the - one hero with the best chance of success. This can inspire - each hero to be a more active participant in the montage - test. That said, the Director can increase the number of - rounds a montage test lasts if they wish to create a - particularly grueling challenge.
-The Director determines the success limit and failure - limit of a montage test. They can share this information or - keep it secret, depending on what feels the most fun and - dramatic for the situation and the players.
-In general, the higher the success limit, the harder and - more complicated it is for the heroes to overcome the - montage test since a hero can't make the same test twice. - The Montage Test Difficulty table gives a - recommended success limit and failure limit for easy, - moderate, and hard montage tests for groups with five - heroes.
-| Difficulty | -Success Limit | -Failure Limit | -
|---|---|---|
| Easy | -5 | -5 | -
| Moderate | -6 | -4 | -
| Hard | -7 | -3 | -
For larger or smaller groups, you can make the - following adjustments to keep montage tests achievable - but challenging:
-A montage test can have three different outcomes:
-If the heroes earn a total success, they achieve what - they set out to do without complication. For instance, if - the heroes engaged in a montage test to see if they can - cross a desert to reach a city before a tyrant's army - arrived there and leveled the place, a total success sees - them arrive at the city gates with plenty of time to warn - people of the impending assault. The heroes earn - 1 Victory when they achieve total - success on an easy or moderate montage test, and - 2 Victories on a hard montage test.
-If the heroes earn a partial success, they succeed at - what they set out to do, but there is a complication or a - cost involved. For instance, when crossing the desert to - reach and warn the city of the tyrant's army, a mixed - success sees the characters arrive at the city gates with - the enemy forces just behind them. Alternatively, the - Director might allow the heroes to arrive well before the - army, but they don't cover their movements well enough. - The tyrant realizes the city has been warned and decides - to call in a favor to have a powerful dragon join the - siege. The heroes earn 1 Victory when - they achieve partial success on a hard or moderate - montage test.
-If the heroes suffer total failure, they don't achieve - what they set out to do. Just as with standard tests, - failure on a group test shouldn't bring a story to a - halt. Total failure should make things more interesting - and challenging! With a total failure in a montage test - to cross the desert and warn the city, the characters - arrive at the city to find it already under siege by the - tyrant.
-Four heroes must cross the vast and inhospitable - Infinite Desert to warn the city of Ahset that the - tyrannical Empress Vardo is coming to conquer them. If the - characters arrive in time, they can organize the defenses - of the city, giving its people a greater chance of - defeating the tyrant.
-The Director determines that crossing the desert is a - montage test of hard difficulty. With four heroes involved, - the success limit is 6 and the failure limit is 2 as the - montage test begins:
-Before the next montage test round, the Director pauses - the montage test to run a battle with a kingfissure worm, - who attacks the heroes as they cross over an ancient ruin - partially buried in the sand. After the heroes defeat the - kingfissure worm, the test continues:
-The heroes could have attempted other tests during their - travels, such as an Agility test using the Stealth skill to - lead the group through dangerous shortcuts in the desert - without being seen or waylaid by predators, a Reason test - using the Nature skill to find enough food and water to - keep the group hydrated and fed, or a Presence test using - the Music skill to inspire allies to travel faster with - song.
-This section collects a number of the rules for adventuring - that make up the heart of the game. These rules will be - organized differently as the game is developed.
-Resistance rolls are special power rolls made to avoid - harmful effects from traps, hazards, and other creatures' - attacks and abilities. You don't decide when it's time to - make a resistance roll. Instead, you make one in response to - a dangerous situation when the rules or the Director call for - it. The higher the result of the resistance roll, the less - harm the effect does to your character.
-For example, a hero who activates a fire trap might need - to make the following resistance roll:
-Resistance + Agility:
-Many abilities and other options refer to creatures, - objects, or spaces that are adjacent to a specified creature. - Something is adjacent to a creature if it is within 1 square - of that creature.
-When you fall 2 or more squares, you take 2 damage for - each square you fall, then you land prone. When you fall, you - reduce the effective height of the fall by a number of - squares equal to your Agility score. Falling into liquid that - is at least 1 square deep reduces the effective height of a - fall by 4 squares.
-Falling is not forced movement, but being force moved - downward is considered falling (see Forced Movement in - Combat). Movement from falling doesn't provoke opportunity - attacks (see Opportunity Attacks).
-If you land on another creature when you fall, that - creature takes the same damage you do from the fall. You - then land prone in the nearest unoccupied space of your - choice. If your size is greater than the creature's Might - score, the creature also falls prone.
-When you first fall from a great height, you fall 100 - squares in the first round. At the end of each subsequent - round that you remain falling, you fall another 100 - squares.
-Hiding and sneaking are important tools for heroes and - their foes. You might want to avoid another creatures' notice - to eavesdrop on conversations, steal items, set up an ambush, - or avoid a combat encounter.
-When you wish to hide from a creature, you must have - cover or concealment (see Combat) from your foe, and that - foe can't observe you attempting to hide. If you duck - behind a barrel to hide from a foe, your attempt to hide - has a chance of succeeding only if your foe doesn't notice - you doing so. If you are being chased by a hungry dragon, - you can hide only if you first move into a place where the - dragon can't observe you, such as turning a sharp corner - into a tunnel full of giant stalagmites before the dragon - does. You then make your hide attempt.
-Most often, you use the Hide maneuver to hide during - combat (see Maneuvers). If you do so while you have cover - or concealment from a creature who isn't observing you, you - are automatically hidden from them unless the Director - deems otherwise. If you hide outside of combat, the - Director might ask you to make a test using the Hide - skill.
-If you are hidden from another creature, you gain an - edge on attacks made against them, and the creature can't - target you with attacks. You are no longer hidden from a - creature if you don't have cover or concealment from them. - If you use an ability, interact with an enemy creature, - move without sneaking, or otherwise make noise or reveal - yourself while hidden, you are no longer hidden once the - thing you're doing resolves. For instance, if you are - hidden and then make an attack, you resolve the attack - first, then are no longer hidden.
- -While you are hidden from another creature and you want - to move, you can attempt to sneak in order to remain - hidden. While sneaking, your speed is halved, and you must - end your move with cover or concealment from the creatures - you are hidden from. If you do so, you can make an Agility - test with a difficulty set by the Director, remaining - hidden if you succeed. This test can use another - characteristic at the Director's discretion.
-When you create your hero, you'll be able to select the - languages they know. The following details the languages of - Orden, the baseline world of the game, but the Director can - use these languages in their own campaign world or swap this - list with their own languages.
-If your hero knows a language, they can speak, read, - write, and understand it.
-(Playtest note: The full list of languages for the - game isn't included here. More is coming.)
-The Caelian Empire dominated five of the seven regions - of Orden three thousand years ago. During the height of - this most recent human empire, all humans (including folks - from Vanigar in the far north, but not folks from the - islands of Ix) learned to speak the Caelian tongue. For - many, especially the noble classes and the well-to-do, - Caelian effectively replaced their native language.
-Some thirteen hundred years after the fall of the - Caelian Empire, the languages of the different regions of - the empire are enjoying a resurgence. Still, the Caelian - tongue is spoken by most humans in most regions to one - extent or another.
-Most people in Orden can speak and understand some - Caelian, simply because the empire was so powerful and so - widespread. Anyone trading with the empire or living near - its borders or under its influence eventually learned to - speak Caelian, including dwarves, elves, orcs, lizardfolk, - and goblins. If you speak more than one language in Orden, - your second language is almost certainly Caelian. As a - result, that language of empire is now colloquially - referred to as “the common tongue”—the language that most - folk of Orden have in common.
-Folks have been speaking and writing in Orden for at - least thirty thousand years, but most of those languages - are now dead. Many have been forgotten. Others were spoken - by peoples who never developed writing, preventing those - languages from being preserved. And many languages that - were preserved in writing left no related descendants, so - that no one knows what sounds that writing represented.
-The languages on the Vasloria Languages by Ancestry - table are the most common languages in that region, - actively spoken by significant populations. Most languages - are associated with a specific ancestry and its culture, - but being a member of an ancestry doesn't automatically - make you part of the associated culture the language is - tied to. For example, if your orc hero was raised in a - culture of elves, you probably speak one of the elven - languages and might never have learned Kalliak.
-Most languages have colloquial or casual names. For - instance, many people in Orden call Kalliak “Orcish” and - Hyrallic “Elvish,” but any sage knows there are many orcish - and elven languages, just as there are multiple human - languages.
-| Ancestry | -Language | -Notes | -
|---|---|---|
| Angulotls | -Filliaric | -Offshoot of Cyllinric | -
| Demons | -Proto-Ctholl | -- |
| Devils | -Anjal | -Language of contract law | -
| Dwarves | -Zaliac | -Language of engineering | -
| Dragons | -Xakalliac | -- |
| Dragons, elder | -The First Language | -Language of magic | -
| Elves, wode | -Yllyric | -Language of druids | -
| Elves, high | -Hyrallic | -Language of interspecies diplomacy, the common - language of the elves | -
| Fae creatures | -Khelt | -Offshoot of Kheltivari | -
| Giants | -Kuric | -- |
| Gnolls | -Anjal | -- |
| Gnomes | -Variac | -- |
| Goblins | -Szetch | -- |
| Kobolds | -Kethaic | -Patois of Xakalliac and Caelian | -
| Lizardfolk | -Khamish | -- |
| Ogres | -Kuric | -- |
| Olothec | -Urollialic | -- |
| Orcs | -Kalliak | -Offshoot of Zaliac | -
| Overminds | -Za'hariax | -- |
| Time raiders | -Voll | -- |
| Trolls | -Variac | -Common language of the World Below | -
| Voiceless talkers | -Variac | -- |
| - | Mindspeech | -A symbolic language shared among native - telepaths. | -
| Everyone | -Caelian | -Common tongue | -
| Region | -Language | -
|---|---|
| The Gol | -Uvalic | -
| Higara | -Higaran | -
| Ix | -Oaxuatl | -
| Khemhara | -Khemharic | -
| Koursir | -Khoursirian | -
| Phaedros | -Phaedran | -
| Rioja | -Riojan | -
| Vanigar | -Vaniric | -
| Vasloria | -Vaslorian | -
Hyrallic is the primary language of - the high elves in Orden. Although young for an elven - language, Hyrallic is older than almost all other modern - cultural languages, save those of the dwarves. As a - result, while anyone who lives near or trades with a - human culture probably speaks at least a little Caelian, - most nobles across all ancestries make sure their - children or offspring speak Hyrallic. Caelian is new from - many cultures' point of view, while Hyrallic as a - language for diplomacy is considered cultured and - traditional.
-Yllyric is the cultural language of - wode elves, and also the common language among those who - defend and protect the natural forests of Orden.
-Within any document concerning the workings of - machines, masonry, or geology, you are likely to find a - healthy supply of jargon using Zaliac, - the most popular dwarven language. Even when such texts - aren't fully written in Zaliac, they use a lot of dwarven - language when describing esoteric, complex ideas.
-Just as Zaliac is used in engineering, contract law - isn't written purely in Anjal, the - dominant language of the Seven Cities of Hell. But, a lot - of the legal jargon in any contract, as well as some of - the language of trial courts, features many Anjal words. - People are sticklers for detail in the Seven Cities, - making their language popular among lawyers.
-In the same way that intelligent creatures in Orden - who live near or trade with other cultures use - Caelian as a common language, the - denizens of the World Below, the Dark Under All, often - speak Variac, the language of the - voiceless talkers.
-For an adventuring hero with an ambition to create great - works or unlock deep lore, it can be useful to be able to - read ancient writing. Much deep lore is attested only in - ancient tomes and scrolls written in languages that no - modern culture uses.
-Most of these ancient writings were written by people - who expected other people to read it. The lore might have - been kept secret by not sharing it with anyone outside the - college or cult whose members originally wrote it, but the - actual writing was not intended to be difficult to read or - understand. It wasn't written in code—just in a language - that people stopped speaking long ago.
-Sages can reconstruct many of these languages by - learning which modern languages descended from them, then - comparing them to related languages from the same time - period that might have survived. Translating such ancient - languages has been extremely useful for the purposes of - crafting and research.
-| Language | -Related Languages | -Common Topics | -
|---|---|---|
| Kheltivari | -Yllyric, Cyllinric | -Using a wode to travel through time | -
| Khamish | -Khoursirian | -Beast magic | -
| Old Sky Elf | -Hyrallic | -Flying castles | -
| Old Sun Elf | -Hyrallic, Yllyric | -Liannar, the Sunmetal | -
| Hobgoblin | -Anjal | -Zodiakol, the Bloodmetal | -
| Old Star Elf | -Hyrallic, Yllyric | -Rovion, the Starmetal | -
| Steel Dwarf | -Zaliac | -Valiar, the Truemetal | -
| Old Variac | -Variac | -Kollar, the Sinmetal | -
As you accomplish heroic deeds, your fame allows you to - influence NPCs and attract followers. Your infamy among - enemies also grows, and their hatred and fear of you can - cause foes to lash out during negotiations (see Negotiation). - Every hero has a Renown score that represents how they can - use their reputation to influence others. The higher the - score, the greater your impact with those who know of your - legend.
-At the start of character creation, your Renown is 0. Some - careers can increase your initial Renown score (see - Careers).
-Renown typically increases at the end of an adventure, - often after the acknowledgment of a powerful NPC that you - helped save them, their family, their home, or their - organization. That NPC and anyone else who witnessed your - heroics can tell the tale, and from there, your legend - grows.
---In general, a hero gains 1 Renown each time they - complete an adventure. If you want the characters to be - less famous than in a standard heroic tale, you can - adjust this to give out Renown only after every other - adventure or only when the heroes level up. - Alternatively, you can award more Renown after each - adventure if you want the heroes to become power - players in the world more quickly.
-
Renown changes the way NPCs respond to heroes during - negotiations. For more information, see Negotiation.
-You can also use your Renown score to attract and employ - followers who perform different duties or favors for you. - The Renown Followers table shows how many - followers a hero can have at one time based on Renown. You - can always let go of a follower in your employ to hire a - new one.
-You can recruit as many new followers as your Renown - allows as a respite activity, provided you are in a place - or have a means of communication that allows you to recruit - such followers.
-| Renown | -Number of Followers | -
|---|---|
| 3 | -1 | -
| 6 | -2 | -
| 9 | -3 | -
| 12 | -4 | -
Many followers stay at a stronghold, which is a home - base you designate and can change. Your stronghold is - typically a location shared by your fellow heroes. It - could be a few rooms at an inn in a sleepy village, an - old castle you claimed after clearing it of monsters, or - a fleet of sailing ships.
-When you attract a new follower, you decide on their - name and ancestry, and choose what role they play in their - service to you.
-(Playtest note: More types of followers are - coming.)
-Artisans are crafting experts who can contribute to - your research and crafting projects (see Research and - Crafting).
-(Playtest note: The Research and Crafting section - is still to come.)
-An artisan can contribute one project roll per day to - a project you choose while they remain at your - stronghold, provided they have access to the necessary - materials.
-When you recruit an artisan, choose four skills from - the crafting skill group that they know. An artisan has a - Might or Agility score of 1 (your choice), a Reason score - of 1, and a 0 in all other characteristics. They know - Caelian and two other languages of your choice.
-Sages are research experts who can contribute to your - research and crafting projects. A sage can contribute one - project roll per day to a project you choose while they - remain at your stronghold, provided they have access to - the necessary materials.
-When you recruit a sage, choose four skills from the - lore skill group that they know. A sage has a Reason and - Intuition score of 1, and a 0 in all other - characteristics. They know Caelian and two other - languages of your choice.
-The Director can use Renown as a tool that determines - how much access heroes have to exclusive places in the - campaign's world, or how much power they wield in - organizations of which they are members. The rules for - using Renown in such ways is in the For the Director - section.
-(Playtest note: This section is yet to - come.)
-The word supernatural is used to describe - abilities, creatures, and objects that are magical or psionic - in nature.
-The word mundane is used to describe - attacks, creatures, and objects that aren't magical or - psionic.
-During combat or under similarly stressful conditions, you - can hold your breath for a number of rounds equal to your - Might score (minimum 1 round). At the end of each round after - that, you take 1d6 damage while holding your breath.
-Out of combat, you can hold your breath for a number of - minutes equal to your Might score. Being unable to breathe - after that time counts as a stressful condition, causing you - to run out of air as above.
-This isn't a game about tracking gear, so you don't need - to list every piece of equipment you own on your character - sheet. The game assumes that heroes generally have enough to - eat and drink, so the rules don't expect you to track food - and water either.
-If your character has a skill that implicitly requires - gear, such as lockpicks for the Pick Lock skill or basic - alchemy supplies for use with the Alchemy skill, then you - have that gear. Likewise, your character is assumed to have - standard useful adventuring gear, including a torch, a rope, - and a backpack at minimum.
-At the Director's discretion, you might lose certain gear - in the course of an adventure, or your gear could break. If - this happens, you might not be able to perform certain tasks - as effectively without that gear.
-A torch sheds light for 10 squares in every direction, - and you can light a torch as a free maneuver. Just as you - don't need to track every ration or arrow you use, you - don't need to track how long a torch lasts.
-A rope is 10 squares long. A creature able to use an - anchored rope to climb can do so without needing to make a - test unless the Director deems otherwise.
-This game also isn't about accumulating and counting every - piece of copper you acquire. Instead of tracking a bank - account, the amount of stuff your hero can purchase is based - on their level. As you accomplish more deeds, you acquire - more treasure and rewards from grateful NPCs that allow you - to be an even more effective hero.
-The Hero Wealth table shows the types of items, gear, - services, property, and more that you can purchase at various - levels in the game. The table shows both the purchases that - heroes can acquire individually and that a party can acquire - when the characters pool their resources together as a - group.
-This isn't an exhaustive list, but you and the Director - can use the table to judge what your character can and can't - purchase. For instance, the price of an ox isn't on this - list, but you can reasonably assume that if you can buy a - horse, you can probably afford an ox as well. (Don't @ us, - farm nerds.) And if you can't afford something you want, fear - not! You might still be able to acquire a specific good or - service through negotiation, or by trading your heroic - services instead of spending cash. Treasures such as magic - swords and psionic crowns are rare and typically can't be - purchased. Instead, they're found on adventures, traded for - other treasures, given as rewards by NPCs, or crafted by the - characters.
-| Level | -Individual | -Group | -
|---|---|---|
| 1st–2nd | -Mundane clothing, gear, armor, implements, and - weapons; meals or drinks at a common tavern; stay at - a common inn; passage on a boat | -Horse and cart; dinner at a fine tavern; stay at - a fine inn | -
| 3rd–4th | -Horse and cart; dinner at a fine tavern; stay at - a fine inn | -Catapult; small house | -
| 5th–6th | -Catapult; small house | -Library; tavern; manor home; sailing boat | -
| 7th–8th | -Library; tavern; manor home; sailing boat | -Church; keep; wizard tower | -
| 9th–10th | -Church; keep; wizard tower | -Castle; shipyard | -
Your class, kit, ancestry, titles, and other heroic options - give you access to abilities that make your hero stand out. - Abilities are special actions, maneuvers, and more that allow - you to affect creatures, objects, and the environment. - Abilities are presented in a format that breaks out specific - entries for keywords, time, distance, target, and effect. If an - ability is an attack, it also includes a damage entry.
-Each ability has an evocative name that sets up what it - does in the game, followed by a line or two of flavor text - that provides a sense of how the use of the ability might - appear if described in an action scene in a story.
-The name and story text for abilities sometimes make - reference to specific ways in which the ability is - used—particularly combat abilities whose names imply specific - types of weapons or tactics. However, that narrative flavor - has no effect on how an ability can be used. For example, the - fury's Impaling Strike ability allows you to grab a - target, setting up the idea of harpooning your monstrous foe - with a sword, then wrenching them in close before pulling - your weapon free. But you can use that ability with an axe, a - mace, a hammer, or any other weapon.
-Some abilities have a Heroic Resource cost to use them. - When you use one of these abilities, you spend your Heroic - Resource, then activate the ability.
-Each ability has a “Keyword” entry with one or more - keywords that explain how the ability functions.
-Abilities with the Area keyword create an area of - effect. Many area abilities also deal damage, but such - abilities are not attacks. See Area Abilities for more - information.
-Abilities with the Attack keyword (referred to simply as - “attacks”) deal damage to or impose a harmful effect on - other creatures.
-Abilities with the Charge keyword can be used with the - Charge action in place of a melee free strike (see Charge - in Actions in Combat).
-Magic-keyword abilities are used by creatures who can - cast spells, have innate magical features, or wield magic - items. These abilities do magical things such as create - rays of fire, open swirling portals, or summon - creatures.
-Abilities with the Melee keyword can be used only over - very short distances, typically within a creature's reach, - because they require you to touch someone or something with - your body, a weapon, or an implement.
-Psionic-keyword abilities are used by creatures who can - manifest psionic powers, have innate psionic features, or - wield psionic items. These abilities might create blasts of - psychic energy, move objects with telekinesis, or slow down - time with chronopathy.
-Abilities with the Ranged keyword can be used to affect - creatures who are too far away to touch.
-Abilities with the Resistance keyword require the target - to make a resistance roll to lessen or avoid their - effect.
-(Playtest note: Only monsters and villains have - Resistance-keyword abilities right now.)
-The Weapon keyword is used in attacks that are made with - blades, bows, and other such items. Weapon abilities also - include attacks creatures make with their own bodies, such - as punches, kicks, bites, tail slaps, and more. Your kit - determines the types of weapons you wield and use with - weapon abilities (see Kits).
---The Attack keyword and phrases like “makes an attack” - are reserved for abilities that have a creature - specifically targeting other creatures or objects (not an - area) and dealing harm to them by making a power roll. - Other abilities that target areas of effect, or that - require the target to make a resistance roll instead of - having the creature using the ability make the roll, are - not attacks. They instead use the Area and Resistance - keywords, respectively. That means if a feature - distinctly interacts with an attack (for instance, the - conduit's Holy Infusion triggered action), that feature - has no effect on abilities with the Area or Resistance - keyword.
-
Each ability has a “Type” entry that describes how long it - takes to execute the ability. For instance, if you use an - ability that has “Action” as its type entry, you must use - your action to activate the ability. Most abilities require - you to use an action, a maneuver, a triggered action, a free - maneuver, or a free triggered action (see Combat for more - information).
-If an ability takes 1 minute or longer to use, you can't - use it in combat.
-If an ability requires a triggered action or a free - triggered action to use, a “Trigger” entry is part of the - ability. For example, the trigger for the tactician's Parry - ability is: “A creature makes a Weapon attack against the - target.”
-An ability's “Distance” entry indicates how close you need - to be to a creature or object to affect that target with the - ability.
-Abilities with a distance of “Reach X” require you to - touch a creature with your body, a weapon, or an implement. - X is the distance in squares at which you can physically - make contact with another creature or object targeted by - the ability. For instance, a distance of “Reach 2” can be - used to target creatures or objects within 2 squares of - you.
-Abilities with a distance noted as “Ranged” can be used - to target creatures who are more than a touch away. Ranged - distances are presented as “Ranged X,” with X being the - number of squares away a creature or object can be while - still allowing you to target them with the ability. For - instance, a distance of “Ranged 5” can be used to target - creatures or objects within 5 squares of you.
-If you make a ranged attack while an enemy is adjacent - to you, you have a bane on the attack's power roll.
-Some abilities have a melee distance and a ranged - distance. When you use such an ability, you choose whether - to use it as a melee or a ranged ability. The ability never - has both the Melee and Ranged keywords at the same time. - For example, if you have the Cloak and Dagger kit, which - has a weapon damage bonus to melee and ranged abilities, - only one bonus at a time applies to an ability with the - Melee or Ranged keywords.
-Area abilities cover an area, creating an effect within - that area that lets you target multiple creatures or - objects at once. When an ability allows you to create an - area of effect, you are sometimes given a distance, noted - as “within X,” that describes how many squares away from - you the area can be. If an area ability doesn't originate - from you, then at least 1 square of the area of effect must - be within that distance and your line of effect. This - square is referred to as the origin square of the area of - effect. The area of effect can spread from the origin - square however you choose, as long as the area of effect - conforms to the shape and arrangement rules of that - particular area.
-Unless otherwise noted, area abilities don't pass - through solid barriers such as walls or ceilings or spread - around corners. These obstructions stop areas from - spreading. As long as you have line of effect and distance - to the origin square, you can place an area ability to - include one or more squares where you don't have line of - effect (see Line of Effect below).
-An area ability might use any of the following areas of - effect:
-If an ability has a distance of “Self,” that ability - originates from or affects only you. The ability's - description specifies how it works.
-The “Target” entry of an ability notes the number of - creatures or objects who can be targeted by that ability.
-If an ability targets one or more creatures, you can - have it target any creature within the ability's distance. - You aren't an eligible creature target for your own - abilities unless those abilities also have “self” as a - target (see below).
-If an ability targets one or more objects, you can have - it target any object within the ability's distance. Unless - otherwise noted, objects have poison and psychic immunity. - When an ability can target creatures and objects, the - ability can damage objects. However, unless otherwise noted - or if the Director decides otherwise, objects are immune to - an ability's other effects.
-If an ability targets one or more enemies, you can use - the ability to target only creatures who are hostile to - you. Typically, you decide who counts as an enemy, though - the Director has the final say.
-If an ability targets one or more allies, you can use - the ability to target only creatures who are friendly to - you. Typically, you decide who counts as an ally, though - the Director has the final say. You aren't an eligible ally - target for your own abilities unless those abilities also - have “self” as a target.
-If an ability targets “self,” then you are a valid - target for the ability.
-If an ability doesn't provide a number of targets but - instead says it applies to all creatures, objects, enemies, - or allies, then all eligible targets are affected.
-If an ability requires a power roll, it has a “Power Roll” - entry that tells you which characteristic to add to the 2d10 - roll you make when you activate the ability. Unlike power - rolls made as tests, ability power rolls always do something - useful when you make them. You're just rolling to see the - impact of the ability, including damage and any effects based - on the tier result of the power roll.
-For instance, the fury's Brutal Slam ability is a melee - attack that targets a creature within reach, and which has - the following effects:
-Both attacks and area abilities deal damage and often - have an additional effect on their target. The amount of - damage and the strength of the effect are determined by the - power roll.
-To keep things quick and easy to read at the table, - damage and effects are separated in a power roll entry with - a semicolon, with effects abbreviated whenever possible. An - effect determined by the power roll result always applies - to the target unless otherwise specified. For instance, the - Brutal Slam ability described above has the following power - roll setup:
-Power Roll + Might:
-Unless otherwise indicated, any effects that are - determined by a power roll result occur after the power - roll's damage has been dealt to all targets.
-When you make a power roll as part of an attack or - action and the total of the roll is 19 or 20 before - adding your characteristic (a natural 19 or natural 20), - you score a critical hit. This allows you to immediately - take an additional action after resolving the power roll, - whether or not it's your turn and even if you are dazed - (see Conditions).
-Certain ability effects allow you to move and affect - other creatures or objects during that move, such as the - shadow's Blade Dance ability. For such abilities, the - move begins in the space you first leave when you move, - and ends in the last space you move into.
-When an ability targets multiple creatures, you make one - power roll and apply the result to all the creatures you - target. If you have edges or banes against some but not all - of your targets, you might apply a different tier of result - to individual targets.
-For example, if you target three creatures with an - attack ability and your result is 11, each of the targets - should be affected by the tier 1 result of the ability. - However, if you gain an edge on attacks against one of the - targets to add 2 to the power roll, your result against - that target is 13 and that target is affected by the tier 2 - result of the ability.
-Some abilities that are used by the heroes' foes have the - target of the ability make a resistance roll instead of the - creature using the ability making a power roll. These - abilities have the Resistance keyword, indicating that the - target rolls to see how well they can resist the ability. For - instance, the goblin cursespitter's Eye of Surlach ability - forces a target to make an Intuition resistance roll:
-Target Resists + Intuition:
-Because a resistance roll measures how well a target - shakes off an ability's damage and effects, the higher the - tier result of the roll, the weaker the ability's damage and - effects.
-Many abilities that require power rolls also have effect - entries describing additional effects or rules for how the - ability is used. If an ability doesn't require a power roll, - it has an effect entry that describes how it works.
-Some abilities have a “Spend X [Heroic Resource]” entry. - These are similar to effect entries, except they cost Heroic - Resources to use. You must spend X of your Heroic Resource to - activate the effect. If the entry reads “Spend [Heroic - Resource]” with no number, then you can spend as much of your - Heroic Resource as you like to increase the effect's impact, - as described in the entry's details.
-The unique effects of different abilities are combined if - their durations and targets overlap. However, the effects of - the same ability used multiple times don't add together. - Instead, the most impactful result—such as the highest - bonus—from each use of the ability applies. The most recent - ability applies for determining duration.
-Different effects that impose the same condition (see - Conditions) don't stack to impose the condition twice. For - example, if a hero is targeted by numerous creatures whose - abilities can halve a target's recovery value, the hero's - recovery value is only halved once.
-When a creature suffers a lasting effect, whatever - ability, hazard, or other mechanic imposed the effect - specifies how long the effect lasts. Unless otherwise noted, - all effects and conditions (see Conditions) that are imposed - on you during a combat encounter end when the encounter is - over if you want them to.
-If an effect ends with “(EoT)” at the end of its - description, a creature suffers the effect until the end of - their next turn.
-If an effect ends with “([CHARACTERISTIC] resistance - ends)” at the end of its description, then a creature - suffering the effect can make a resistance roll at the end - of your turn to remove the effect. Unless otherwise - specified, a resistance roll to end an effect is set up as - follows:
-Power Roll + [Specified - Characteristic]:
-Heroes' abilities don't apply effects that require - resistance rolls, to prevent the Director from doing a lot - of tracking and rolling.
-If an effect ends with “(EoE)” at the end of its - description, a creature suffers the effect until the end of - the encounter. In general, enemies' abilities don't apply - end-of-encounter effects to heroes, since heroes should - always have a chance to get back in the fight!
-Boss creatures have the End Effect trait, which allows - them to end EoE effects at the end of their turn in - exchange for taking damage.
-To target a creature or object with an ability, including - attacking the creature or object, you must have line of - effect to that creature or object. If a solid object, such as - a wall or pillar, completely blocks the creature from you, - then you don't have line of effect to them. If you're not - sure if you have line of effect to a creature, imagine - drawing a straight line from any corner of the space you - occupy on the map to any corner of a space the creature - occupies. If you can do this with at least one corner - connecting to another with no obstruction in between, you - have line of effect to the creature.
-At the Director's discretion, flimsy or fragile - obstructions such as a glass window or linen curtains don't - block line of effect and might be automatically broken or - torn by attacks made through them.
-If you want to create an area of effect in a specific - area, you must have line of effect to at least one of the - squares in that area. See Area Abilities.
-Whenever your character moves or when you or another - creature are force moved, that movement is typically in a - straight line. Abilities that allow you to move or to - forcibly move another creature often talk about moving - straight toward or away from another creature or an object. - Although a line of travel must be straight, it doesn't have - to travel a straight line of squares on the grid.
-Some abilities and other effects apply specific negative - effects called conditions to a creature. The following - conditions show up regularly in the game and are included on - your character sheet. (Playtest note: They are not included - on your character sheet yet.)
-While you are bleeding, you can't regain Stamina.
-While you are dazed, you can do only one thing on your - turn: use a maneuver, use an action, or take a move action. - You also can't use triggered actions, free triggered - actions, or free maneuvers.
-If you are frightened, attacks you make against the - source of your fear take a bane. If that source is a - creature, their attacks against you gain an edge. You can't - willingly move closer to the source of your fear if you - know the location of that source. If you gain the - frightened condition from one source while already - frightened by a different source, the new condition - replaces the old one.
-While you are grabbed, your speed is 0, you can't be - force moved, you can't use the Knockback maneuver, and you - take a bane on attacks that don't target the creature - grabbing you. If the creature grabbing you moves, they - bring you with them. If the creature's size is equal to or - less than yours, their speed is halved while they have you - grabbed.
-The creature grabbing you can use a maneuver to move you - into an unoccupied space adjacent to them. The creature - grabbing you can end the grab at any time (no action - required). You can also attempt to escape being grabbed - (see Escape Grab in Combat). If you teleport or if the - creature grabbing you is force moved to a space that isn't - adjacent to you, you are no longer grabbed.
-While you are prone, you are flat on the ground, attacks - you make take a bane, and melee attacks made against you - gain an edge. You must crawl to move along the ground, - which costs you 1 additional square of movement for every - square you crawl. You can't climb, jump, swim, or fly while - prone. If you are climbing, flying, or jumping while you - are knocked prone, you fall.
-While prone, you can stand up as a maneuver (see - Maneuvers in Combat), unless the ability or effect that - imposed the condition says otherwise. You can use a - maneuver to make an adjacent prone creature stand up.
-While you are restrained, your speed is 0 and you can't - be force moved. Your attacks take a bane, attacks and - damaging area powers against you gain an edge, and you have - a bane on Might and Agility resistance rolls. If you - teleport while restrained, the condition ends.
-While you are slowed, your speed is 2 unless it is - already lower.
-If you are taunted, you have a double bane on attacks - that don't include the creature who taunted you. If you - gain the taunted condition from one creature while already - taunted by a different creature, the new condition replaces - the old one.
-While you are weakened, all your ability power rolls and - tests (but not resistance rolls) take a bane.
-When the heroes face a problem that can be solved only with - action, or when they come up against creatures who want to harm - them, it's time to throw down!
-When combat begins, the Director should position - miniatures or tokens on a gridded map to represent the - environment, the heroes, their foes, and any other creatures - in the battle.
---It's helpful to know how big a square is for abilities - that heroes and NPCs can use outside of combat. A single - square is 5 feet on all sides. The Director can change - this measurement to 2 meters, 1 meter, or any other - measurement you prefer, as long as that scale stays - consistent throughout your game.
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A creature's size indicates how many squares they occupy - during combat, which defines the creature's space. If a - creature's size is 1, they occupy a space of 1 square. If a - creature is larger than 1 square, their size equals the - number of squares they take up in length, width, and - height. For example, a horse has a size of 2, which means - that during combat, they occupy a space that is 2 squares - long, 2 squares wide, and 2 squares high. You could also - think of that space as a cube that is 2 squares on all - sides.
-If a creature is a size 1, their size value includes the - letter T, S, M, or L, abbreviations of tiny, small, medium, - and large respectively. Since the minimal amount of space a - creature can take up during combat is 1, this letter - indicates the difference between tiny pixies, small - polders, medium humans, and large hakaan, each of which - occupy of a space 1 square in combat. These sizes in order - from smallest to largest are 1T, 1S, 1M, and 1L.
-Objects can also have a size rating. If an object has an - O (an abbreviation for oblong) next to its size, it - indicates that the object's size isn't the number of - squares the object occupies, but rather it's relative mass - and weight to a creature of equivalent size. If an ability - or feature allows you to interact with objects of a certain - size that rule includes all objects of that size, oblong or - otherwise.
-The Creature and Object Sizes table shows examples sizes - of creatures and objects up to size 5, but there is no - limit to what a creature or object's size could be.
-| Size | -Example Creature | -Example Object | -
|---|---|---|
| 1T | -Pixie | -Potato | -
| 1S | -Polder | -Heavy armor | -
| 1M | -Human | -Wardrobe | -
| 1L | -Hakaan | -Anvil | -
| 2 | -Ogre | -Carriage | -
| 3 | -Treant | -Sailboat | -
| 4 | -Ancient Dragon | -Galley | -
| 5 | -The Kraken | -Castle | -
Every combat encounter is a conflict between two sides. - The heroes and any of their allies are one side, controlled - by the players. Any creatures who oppose the heroes are the - other side, controlled by the Director. All creatures who - oppose the heroes are on the same side, even if those - creatures also oppose each other. For example, if the - heroes are battling a group of bandits when a kingfissure - worm suddenly bursts into the fray to devour player - characters and brigands alike, the worm is still on the - side of the bandits for the purpose of the game's combat - rules.
---If an NPC ally fights alongside the heroes, the - Director should give the players the ally's stat block - and let them control the NPC during combat. The - Director has enough to worry about. As well, any - missteps, mistakes, or triumphs the ally makes will be - thanks to the decisions of the players and not the - Director, which can make the outcome of the battle more - satisfying for the players.
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Combat takes place over a series of rounds. During a - round, each creature in the battle takes a turn. Once every - creature has taken a turn, a new round begins.
-When battle begins, the Director determines which - creatures, if any, are caught off guard. Any creature who - isn't ready for combat at the start of an encounter is - surprised until the end of the first round of combat. A - surprised creature can't take triggered or free triggered - actions, attacks and damaging area powers rolled against - them gain an edge, and they have a bane on resistance - rolls.
-For example, if the heroes sneak up unnoticed on a camp - of marauders and attack, each marauder is surprised. - Likewise, if the heroes fail to notice that all the cloaked - figures in a tavern are actually brain-devouring zombies, - then the heroes are surprised. If one of the heroes notices - the disguised undead before the zombies attack but has no - opportunity to warn their allies, that hero isn't surprised - but the rest of the characters are.
-Sometimes figuring out who gets to take the first turn - in combat is automatic. If all the creatures on one side - are surprised, then a creature on the other side gets to go - first. But if both sides have creatures who aren't - surprised, the Director or a player they choose rolls 1d10. - On a result of 6 or greater, the heroes' side acts first. - Otherwise, the other side acts first.
-Whichever side goes first chooses a creature (or - sometimes a group of creatures on the Director's side) to - act at the start of combat. Whenever the rules talk about a - creature acting in combat, that creature gets to take their - turn. When that turn is over, the other side chooses a - creature to act. Play continues back and forth this way as - each creature takes their turn.
-Unless an ability or special rule allows them to do so, - any creature who has taken a turn during a round can't act - again until a new round begins. To help track which - creatures have already acted in the current round, each - creature can have a coin, token, or card they flip over on - the table, or some kind of flag they set on their virtual - tabletop token, once they've taken a turn. That way, all - the players know who has already acted and who hasn't.
-In many encounters, a point comes when one side has - creatures who haven't acted yet but all the creatures on - the other side have. The creatures who have yet to act get - to take their turns in any order they choose, without turns - in between from the other side. For example, consider four - heroes taking on six enemies. When all four heroes have - taken their turns and four of the enemies have taken - theirs, the two enemies who are left take their turns one - after the other to end the round.
-Once all creatures on both sides of a battle have acted, - the round ends and a new one begins. The side whose members - acted first during the starting round of combat acts first - in all subsequent rounds.
-When it comes to the heroes' side, the choice of who - should act next is intended to give players the - opportunity to comment, strategize, and plan. Some - tables, in some encounters, might find that the choice of - who should act next isn't obvious, leading to debate. - That's fine. Deliberating about what the group should do - next is classic roleplaying.
-In general, though, most groups find that it's usually - only one or two players in a given round who think it - best if they act next. And as soon as those players - explain why they want to act next and what they plan on - doing, the issue is quickly resolved.
-If the players do end up arguing in circles about what - to do next, the Director can place a timer on the - discussion. Usually, giving the players a warning and 30 - seconds to decide who goes next does the trick. If they - can't choose by the end of that time, the Director - chooses a hero to act.
---If planning everyone's turn order isn't fun for your - group, you can leave it to the dice instead. At the - start of combat, have each hero, enemy, and group of - enemies make an Agility test, then record the results. - When it's time for someone on the heroes' side to act, - the hero with the highest result goes first. On the - next hero turn, the hero with the second-highest result - takes their turn, and so on. The Director-controlled - creatures act the same way. Creatures on the same side - should reroll tied Agility tests to determine who among - the tied creatures acts before the others.
-At the Director's discretion, a hero can swap their - turn in the initiative order with another willing hero - at the start of a new round of combat. This allows - certain abilities that interact with the core - initiative system, such as the shadow's - Hesitation is Weakness ability, to - better work with this alternative system.
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Director-controlled creatures act in groups, with - information for building groups found in the Bestiary. - When a group of enemies acts, the Director chooses a - single creature or minion squad to take a turn. Once that - turn is over, the Director chooses another creature in - that group to take a turn, continuing until all members - of the group have taken their turn.
-Once all creatures on both sides of a battle have acted, - the round ends and a new round begins.
-Each creature in combat—whether hero, adversary, or - something in between—gets to take a move action, a - maneuver, and an action on their turn. Each combatant can - perform their maneuver and action in any order, and can - break up the movement granted by their move action before, - after, or between their maneuver and action however they - like. You can also turn your action into a move action or a - maneuver, so that your turn can alternatively consist of - two move actions and a maneuver; or two maneuvers and a - move action.
-The Movement section breaks down how your move action - works, while the Maneuvers and Actions sections break down - the baseline maneuvers and actions your character can - undertake. For any activities not specifically covered in - those rules, such as cutting down a chandelier to drop on - enemies, the Director decides whether such an activity is a - maneuver or an action.
-Your hero might have one or more unique triggered - actions, each of which has a specified trigger that - allows the action to be used. You can use one triggered - action per round, either on your turn or another - creature's turn, but only when the action's trigger - occurs. For instance, a fury hero can use the - Relentless Toss triggered action to - force move a target, but only after an enemy has first - tried to force move the fury or one of their allies.
-A free triggered action follows the same rules as a - triggered action, but it doesn't count against your limit - of one triggered action per round. For instance, a shadow - hero can use their Hesitation is - Weakness ability to take their turn in response - to the trigger of another hero ending their turn. But - because that ability is a free triggered action, the - shadow can still use their In All This - Confusion triggered action if attacked by an - enemy.
-If multiple triggered actions occur in response to the - same trigger, any heroes and other player-controlled - creatures taking a triggered action or a free triggered - action decide among themselves which of those triggered - actions are resolved first. Then the Director decides the - same for creatures they control.
-Any effect that prevents you from making triggered - actions also prevents you from making free triggered - actions.
-Boring stuff like opening an unlocked door, picking up - an arrow from the ground, giving an object to an adjacent - ally, or drawing a weapon doesn't require a maneuver or - an action. Rather, you can undertake such straightforward - activities as free maneuvers on your turn. A free - maneuver follows the same rules as a regular maneuver, - but you can typically take as many free maneuvers as you - like.
-At the Director's discretion, circumstances could make - something that is typically boring more impactful and - exciting. For instance, if you need to pick a magic arrow - up off the ground during a violent earthquake, what would - otherwise be a free maneuver could require a maneuver or - an action to accomplish.
-Likewise, the nature of an activity might make it too - complicated for a free maneuver. For example, picking up - the body of an unconscious talent ally to carry them to - safety can probably be done as a free maneuver. But if - your Might is lacking and you need to pick up a tactician - ally decked out in the Shining Armor kit, the Director - might determine that you need to use a regular maneuver - to hoist their armored form over your shoulders.
-Any effect that prevents you from making maneuvers - also prevents you from making free maneuvers.
-Free maneuvers cover most of the simple activities you - might want to undertake on your turn. When it isn't your - turn, you can typically undertake even simpler activities - requiring no action with the Director's approval. For - instance, shouting out a warning to an ally or dropping - an item so another creature can pick it up require no - action.
-The Director can limit what kinds of no-action - activities you can attempt when it isn't your turn. For - instance, shouting out a warning about an unseen foe to - an ally on the ally's or the foe's turn requires no - action. But the Director might stop you from giving that - ally complex tactical advice, saying that doing so - instead requires a free maneuver on your turn.
-During combat, creatures can employ multiple mechanics - that allow them to move around the battlefield. The most - common of those mechanics is to use your move action on your - turn, but abilities granted by your class, equipment, - ancestry, title, or other options might allow you other ways - to move.
-Your hero starts with a speed based on their - ancestry—usually 5. This represents the maximum number of - squares you can move when you take the move action or when - another effect allows you to move. Your speed can be - increased by your kit and other game options.
-All squares adjacent to your character cost 1 movement to - move into. No, there is no Pythagorean theorem on the grid. - It's a game, don't overthink it.
-You can move freely through an allied creature's space. - You can move through an enemy creature's space, but it counts - as difficult terrain (see Difficult Terrain). You can't stop - moving in any other creature's space, including making an - attack or using an action or maneuver while in that space and - then continuing your move.
-A creature can break up their movement granted by their - move action with their maneuver and action however they - wish.
-A single move or other effect can never allow a creature - to move more squares than their speed, unless the effect - specifically states otherwise. For example, a creature with - a speed of 5 might have that speed halved to 2. If an ally - then targets them with an effect that allows them to move - up to 3 squares, the creature can move only 2 squares - because that's their current speed.
-Whenever you use your move action or when another effect - allows you to move, you can instead shift to use up to half - the maximum squares of movement the effect allows. Whenever - you shift, creatures can't make opportunity attacks against - you during your movement (see Free Strikes).
-Certain effects might also allow you to shift a specific - number of squares, including many effects that let you - shift up to your speed.
-Creatures in the game can use eight types of movement: - walk, burrow, climb, swim, jump, crawl, fly, and - teleport.
-Walking is the most common movement type, whether it - refers to ambulating on legs, slithering, or some other - default method of movement. Unless specified otherwise, - all creatures can move over solid horizontal ground - without any problem.
-A creature with “burrow” in their speed entry can move - through dirt vertically or horizontally, and either has - the means to breathe while doing so or doesn't require - air to live. Such creatures can't move through more solid - ground, such as stone, unless their stat block says - otherwise.
-If a creature's speed entry includes the word “climb,” - they can climb across vertical and horizontal surfaces at - full speed. Likewise, if a creature has “swim” in their - speed entry, they can swim in liquid at full speed.
-Creatures without those types of movement can still - climb or swim when a rule allows them to move, but each - square of climbing or swimming costs 2 squares of - movement. If a surface is difficult to climb (for - instance, a sheer cliff or ice-covered wall) or a liquid - is hard to swim through (a raging river or whirlpool), - the Director can call for a Might test. On a failure, a - creature can't climb or swim but wastes no movement in - the attempt. The Director can also impose other - consequences to failure, such as being caught in the - spinning current of a whirlpool.
-You can attempt to climb a creature whose size is - greater than yours. If the creature is willing, you can - climb them without any trouble. If the creature is - unwilling, you make the following test:
-Power Roll + Might or Agility:
-While you climb or ride a creature, you gain an edge - to melee attacks against them. The creature can use a - maneuver to attempt to knock you off. If you are knocked - off a creature, you must make the following test:
-Power Roll + Might or Agility:
-If you are knocked prone while climbing or riding a - creature, you fall and land prone in an adjacent space of - your choice, taking damage as usual from the fall.
-When an effect allows you to move, you can long jump a - number of squares up to your Might or Agility score (your - choice; minimum 1 square) without a test as part of that - movement. If you move at least 2 squares in a straight - line immediately before your jump, you can long jump 1 - additional square.
-If you want to jump even farther than your initial - jump allows, make an easy Might test. On a success, you - jump 1 additional square, or 2 additional squares if you - get a success with a reward.
-The height of your jump is 1 square. If you move at - least 2 squares in a straight line immediately before - your jump, you can jump 1 square higher.
-You can't jump farther or higher than the distance of - the effect that allows you to move.
-If you are prone (see Conditions), you can remain - prone and crawl on the ground. Doing so costs you 1 - additional square of movement for every square you crawl. - If you intentionally want to crawl, you can fall prone as - a free maneuver on your turn. While voluntarily prone, - you can choose to stand as a free maneuver.
-A creature who can fly can move through the air - vertically or horizontally at full speed. Such creatures - can also hover in midair. If a flying creature is knocked - prone or has their speed reduced to 0, they fall (see - Falling).
-When you teleport, you move from one space to another - space instantaneously. The following rules apply to - teleporting:
-Areas of thick underbrush, rubble, spiderwebs, or other - obstacles to movement create difficult terrain. It costs 1 - additional square of movement to enter a square of - difficult terrain.
-When you make an attack against a creature or object and - you occupy a space that is fully above the space the target - takes up, with the bottom of your space higher than the top - of the target's space, you gain an edge on the power roll - against that target.
-Some actions and maneuvers allow you to push, pull, or - slide another creature a specific distance across the - battlefield. Collectively, these types of movement are - called forced movement:
-When you force move a target, you can always move that - target fewer squares than the number indicated. For - example, when the conduit gets a tier 3 “push 5” result - with their Thunder of the Divine ability, they can push - targets any distance up to 5 squares, including choosing to - not move certain targets at all.
-Forced movement ignores difficult terrain and never - provokes opportunity attacks. When you force move a target - into damaging terrain or into terrain that produces an - effect, they are affected as if they had moved into it - willingly.
-If a forced movement effect has the word “vertical” in - front of it, then the forced movement can move a target - up or down in addition to horizontally. For example, if a - forced movement effect says “vertical push 5,” then the - creature targeted by the effect can be pushed up to 5 - squares in any direction, as long as the forced movement - is a straight line.
-If a creature who can't fly is left in midair at the - end of a vertical forced move, they fall.
-Though you can't push, pull, or slide a creature - unless that forced movement specifies “vertical,” you can - move them along a slope. For a creature to be force moved - along a slope, each square of the slope can be no more - than 1 square higher or lower than the previous - square.
-When you force move a creature into another creature, - the movement ends and both creatures take 1 damage for - each square remaining in the first creature's forced - movement. You can also force move an object into a - creature. The object's movement ends and the creature - takes 1 damage for each square remaining in the object's - forced movement.
-It is possible to move a creature or object of a - larger size into several creatures of a smaller size at - the same time. When this happens, all creatures in the - collision take damage once.
-If a creature is killed by damage from an attack or - effect that force moves them, the second creature still - takes damage unless the Director deems otherwise.
-You can force move another creature into yourself with - a pull or a slide.
---At the Director's discretion, mundane objects that - are force moved into creatures or other objects take - damage as if they were creatures. Sturdy objects can - take damage as follows:
--
-- For each square a wood object occupies, it can - take 3 damage before it is destroyed.
-- For each square a stone object occupies, it can - take 6 damage before it is destroyed.
-- For each square a metal object occupies, it can - take 9 damage before it is destroyed.
-More fragile objects are destroyed after taking any - damage.
-
When you force move a creature into a stationary - object that is their size or larger and the object - doesn't break (see below), the movement ends and the - creature takes 1 damage for each square remaining in - their forced movement.
-If you force move a creature downward into an object - that doesn't break (including the ground), they also take - falling damage.
-When you move a creature into a mundane object, the - object can break depending on how many squares of forced - movement remain:
-If any forced movement remains after the object is - destroyed, you can continue to move the creature who - destroyed the object.
-If you can't fly and are force moved across an open - space that would cause you to fall, such as being pushed - over the edge of a cliff, you continue moving the total - distance you were moved first. If you are still in a - position to fall when your move ends, you fall.
---This is a tactical game. To get the most out of the - rules for movement, difficult terrain, and falling, you - should use encounter maps with interesting - environmental features. You might have ledges, pits of - acid, walls of fire, mechanical traps, columns, giant - webs, magical hazards, and the like for creatures to be - thrown into, thrown off of, or thrown through. You'll - want most of your battles to take place in environments - with plenty of space to move around, avoiding a lot of - long corridors that are 1 square wide.
-
Each creature has a stability that allows them to - resist forced movement. When a creature is forced moved, - they can reduce the movement up to a number of squares - equal to their stability. Heroes start with a stability - of 0 that can be increased through kit and ancestry - options.
-A maneuver typically involves less focus and exertion than - an action. It can be an opportunity to move other creatures, - drink a potion, or undertake similar activities.
-Sometimes you might not have anything you can do with your - maneuver. That's totally fine! Often, the best thing to do on - your turn is take an action and move on.
-Choose an enemy adjacent to you. The next attack an ally - makes against that creature before the start of your next - turn has an edge.
-You can use this maneuver to drink a potion yourself or - to administer a potion to an adjacent creature.
-While you are grabbed by another creature (see Grab - below), you can attempt to escape by making a resistance - roll. You take a bane on the roll if the creature's size is - larger than yours.
-Power Roll + Might or Agility:
-You attempt to grab a creature using the following - ability:
-GRAB
-Power Roll + Might:
-Effect: You gain an edge on the power - roll if the creature's size is smaller than yours. You can - grab only one creature at a time this way.
-Using the Hide maneuver, you attempt to hide from other - creatures who aren't observing you while you have cover or - concealment (see Hide and Sneak).
-You attempt to shove an adjacent creature using the - following ability:
-KNOCKBACK
-Power Roll + Might:
-Effect: You gain an edge on the power - roll if the creature's size is smaller than yours.
-Many tests are maneuvers if made in combat. Searching a - chest with a Reason test, picking a door's lock with an - Agility test, or lifting a portcullis with a Might test - would all be maneuvers. Assisting a test is also a maneuver - in combat.
-Complex or time-consuming tests might require an action - if made in combat—or could take so long that they can't be - made during combat at all. Other tests that take no time at - all, such as a Reason test to recall lore about mummies, - are usually free maneuvers in combat. The Director has the - final say regarding which tests can be made as - maneuvers.
-You can use this maneuver to stand up if you are prone, - ending that condition. Alternatively, you can use this - maneuver to make an adjacent prone creature stand up.
-When you take an action on your turn, you most often do so - to use a unique ability defined on your character sheet (see - Abilities). These abilities are the most unique, flavorful, - and impactful things you can do with your action. You can - also use your action to catch your breath, help another - creature regain Stamina, charge into battle, defend yourself, - or make a free strike.
-By using the Catch Breath action, you spend a Recovery - and heal an amount equal to your recovery value. In - addition, you also gain the benefit of the Defend - action.
-If you are dying (see Dying and Death in Stamina), you - can't take the Catch Breath action, but other creatures can - help you spend recoveries.
-When you take the Charge action, you move up to your - speed in a straight line, then make a melee free strike - (see Free Strikes) against a creature when you end your - move. You can't shift when you charge.
-When you take the Defend action, all attacks against you - have a double bane until the end of your next turn. You - gain no benefit from this action while another creature is - taunted by you (see Conditions).
-You can use this action to make a free strike (see Free - Strikes). Most of the time, you'll want to use the more - impactful actions found on your character sheet, just as - the director will use the actions in a creature's stat - block, but free strikes are always available for when all - else fails. For instance, a fury who has no other options - for ranged attacks might use the Ranged Weapon Free Strike - attack with an improvised weapon when battling a flying - creature.
-You use your action to employ medicine or inspiring - words to make an adjacent creature feel better and stay in - the fight. The creature can spend a Recovery to regain - Stamina, or can make a resistance roll against a - “(resistance ends)” effect they are suffering.
-Every creature can make a free strike as - an action on their turn, though doing so typically isn't the - most effective choice. Most of the time, you'll use free - strikes when the rules call for it. Specific rules let you - use free strikes as part of an action that allows you to also - do something else impactful, such as how the Charge action - lets you move and use a melee free strike in one action (see - Charge above).
-Many rules and abilities allow heroes to make free strikes - when it isn't their turn, such as the tactician's Overwatch - ability. As well, all characters can make an opportunity - attack free strike.
-Whenever a creature within the reach of your melee free - strike moves out of it without shifting, you can take - advantage of their movement to quickly make a melee free - strike against them as a free triggered action. This is - called an opportunity attack.
-If you have a bane or double bane on the power roll - against the creature, you can't make the free strike.
-Every hero has two standard free strikes available to - them. Your class might give you additional free strike - options, and your kit can improve the standard options (see - Kits).
-A melee weapon free strike is a melee attack made with - an unarmed strike or an improvised weapon. A ranged weapon - free strike is a ranged attack made with an improvised - weapon. At the Director's discretion, the damage type of an - improvised weapon can change based on the object used. For - example, if you use a burning torch as an improvised - weapon, it could deal fire damage.
-Power Roll + Might or Agility:
-Power Roll + Might or Agility:
-When you and at least one ally are adjacent to the same - enemy and on completely opposite sides of the enemy, you are - flanking that enemy. While flanking an enemy, you gain an - edge on melee attacks against them.
-If you're unsure whether your hero and an ally are - flanking a foe, imagine a line extending from the center of - your space to your ally's space. If that line passes through - opposite sides or corners of the enemy's space, then you and - your ally are flanking the enemy.
-You must have line of effect to the enemy and be able to - take triggered actions in order to gain or grant the flanking - benefit.
-When you have line of effect to a creature or object but - that target has at least half their form blocked by a solid - obstruction such as a tree, wall, or overturned table, the - target has cover. You take a bane on attacks and area - abilities that deal damage against creatures or objects that - have cover from you.
-Darkness, fog, invisibility magic, and any other effect - that fully obscures a creature but doesn't protect their body - grants that creature concealment. You can target a creature - who has concealment with attacks, provided they aren't hidden - (see Hide and Sneak in Adventuring). However, attacks against - such creatures take a bane. Even if you have line of effect - to a creature, they have concealment from you if you can't - see them.
-Invisible creatures always have concealment from other - creatures. If an invisible creature isn't hidden, they can - still be targeted with abilities, though attacks against - them take a bane. The test made to find a hidden creature - who is invisible takes a bane.
-Whenever you take damage, you reduce your Stamina by an - amount equal to the damage taken.
-Typical damage, such as that caused by weapons, falling, - traps, and monstrous claws, has no type associated with it. - That's because for most creatures, there's no difference in - the amount of harm caused by being run through with a pike, - dropped from a height onto a stone floor, slashed by a - pendulum scythe, or skewered on a minotaur's horns. - However, when it comes to elemental and magical damage - sources, some creatures might have an immunity or weakness - to that damage. As such, attacks and effects note when they - deal any of the following damage types: acid, cold, - corruption, fire, holy, lightning, poison, psychic, or - sonic.
-Damage immunity means that a creature can ignore some - or all of the damage they would usually take from certain - attacks or effects.
-Damage immunity might have a damage type associated - with it, expressed as “[damage type] immunity.” - Alternatively, damage immunity might apply to any powers - that deal damage with the Weapon, Magic, or Psionic - keyword. Damage immunity of either kind often has a value - associated with it, so that one creature's stat block - notes “fire immunity 5,” while another creature has - “Magic immunity 5.”
-Whenever a target with damage immunity takes damage of - the indicated type or from a power with the indicated - keyword, they reduce the damage by the value of the - immunity (to a minimum of 0 damage). If the value of the - immunity is “all,” then the target takes no damage of the - indicated type or from those powers.
-Certain creatures also have forced move damage - immunity. Whenever they take damage from forced movement, - that damage is reduced by a number equal to their - immunity.
-Damage immunity should be the last thing applied when - calculating damage. For instance, if your hero has Weapon - immunity 5 and takes 8 damage from a weapon attack, you - would take 3 damage. If a tactician first halved the - damage you take with the Parry triggered action, you - would take 4 damage from the attack before immunity is - applied, with immunity then reducing the damage to 0.
-If multiple damage immunities apply to a source of - damage, only the immunity with the highest value - applies.
-Damage weakness works like damage immunity, except - that creatures take extra damage whenever they take - damage of the indicated type, or from a source with the - indicated keyword. For instance, if a creature has fire - weakness 5 and is dealt 10 fire damage, they take 15 fire - damage instead.
-A creature who has “damage weakness X” with no - specific type or keyword indicated has weakness of the - indicated amount when they take damage of any type.
-If you have both damage immunity and weakness applied - to a source of damage, apply both. First apply weakness, - then immunities.
-Your hero's survivability is represented by your - Stamina. Think of Stamina as a combination - of a creature's physical vitality and their overall energy - for dodging and resisting incoming blows, spells, and other - violence. It's not that every instance of damage deals a - bleeding wound to you, but that each one chips away at your - ability to fight effectively. An attack might make you sweat - as you leap back to avoid an arrow, while another might just - graze your elbow with a dagger nick, leaving a dull, - distracting pain. Eventually, though, this draining of energy - leaves you open for bigger blows that can truly harm your - body—or possibly kill you.
-After any damage you take is reduced by damage immunity or - other effects, your Stamina is reduced by an amount equal to - the remaining damage. Some effects can also reduce your - Stamina maximum, limiting the amount of Stamina you can - regain.
-Each hero has a number of Recoveries determined by their - class. A hero also has a recovery value that equals - one-third of their Stamina, rounded down. When you use the - Catch Breath action (see Actions), you spend a Recovery and - regain Stamina equal to your recovery value. Outside of - combat, you can spend as many Recoveries as you have - remaining. Some abilities, items, and other effects allow - you to spend a Recovery to regain Stamina equal to your - recovery value plus a little extra (as described by the - effect), or to regain Stamina without spending a - Recovery.
-Your winded value equals half your Stamina maximum. When - your Stamina is equal to or less than your winded value, - you are winded. Although being winded has no effects on its - own, certain ancestry, class, item, and title abilities - affect winded creatures.
-You can tell when other creatures are winded and vice - versa.
-When your Stamina is 0 or lower, you are dying. While - dying, you can't take the Catch Breath action in combat, - and whenever you make a test using Might or Agility, make - an attack, or use an action, maneuver, or a triggered - action, you lose 1d6 Stamina after the action, maneuver, or - triggered action is resolved. This Stamina loss can't be - prevented in any way. While you are dying, your allies can - help you spend recoveries in combat, and you can spend - Recoveries out of combat as usual.
-While your Stamina is lower than 0, if it reaches the - negative of your winded value, you die. When you die, you - can't be brought back to life without the use of a special - powerful item such as a Scroll of Resurrection.
-Director-controlled creatures die when their Stamina - drops to 0.
-Director-controlled creatures don't have Recoveries or - a recovery value. Any such creatures who regain Stamina - during a battle do so via a special item or an ability in - their stat block. However, there are times when a hero - might wish to use an ability that allows another creature - to spend a Recovery or to regain Stamina equal to their - recovery value on an injured NPC. In such cases, a - Director-controlled creature regains Stamina equal to - one-third their Stamina maximum.
-If you damage a creature with an attack that would kill - them, you can choose to instead knock them unconscious. If - a creature takes damage while unconscious in this way, they - die.
-Director-controlled creatures remain unconscious for 1 - hour if no one does anything to end that condition. They - then gain 1 Stamina and their unconsciousness ends. Heroes - remain unconscious for 1 hour if no one does anything to - end that condition. After 1 hour, they can spend a Recovery - and end their unconsciousness. If the hero has no - Recoveries left, they can't wake up until they complete a - respite.
-While you are unconscious, you can't take actions, - maneuvers, triggered actions, free triggered actions, or - free maneuvers; your speed is 0; you are unaware of your - surroundings; and you are prone. Attacks against you have - a double edge. If you wake up from being unconscious, you - can stand up from prone as a free maneuver.
-Some abilities, treasures, and other effects grant a - creature temporary Stamina. Temporary Stamina shouldn't be - included in a creature's Stamina total when figuring out a - creature's recovery value or winded value. If you have - temporary Stamina while winded, dying, or dead, the - temporary Stamina doesn't change those states.
-Whenever you take damage while you have temporary - Stamina, the temporary Stamina decreases first, and any - leftover damage is applied to your Stamina as usual. For - instance, if you have 10 temporary Stamina and take 16 - damage, you lose the temporary Stamina and then lose - another 6 Stamina.
-There is no maximum to how much temporary Stamina you - can have. Regaining Stamina can't restore temporary - Stamina. If you have temporary Stamina and then gain more - temporary Stamina, you get whichever amount of temporary - Stamina is greater, rather than adding the two pools - together. For instance, if an ability grants you 10 - temporary Stamina when you already have 5, you have 10 - temporary Stamina, not 15.
-Unless otherwise indicated, temporary Stamina disappears - when you finish a Respite.
-Mundane objects in the game have Stamina based on the - material they're made of. When an object's Stamina is - reduced to 0, the object is destroyed. Objects have damage - immunity to all poison and psychic damage. Objects made of - common materials have Stamina as follows:
-The Director can decide that a well-made or poorly made - object has more or less Stamina. Destroying a supernatural - object often (but not always) requires a specific quest, - such as throwing a magic ring back into the volcano where - it was forged.
-If a creature is fully submerged in water, they have fire - immunity 5 and lightning weakness 5. If their speed doesn't - have the Swim keyword, all their power rolls take a bane.
-A willing allied creature with the Mount role (see - Creature Roles in the Bestiary) can serve as your mount as - long as their size is greater than yours. You can climb onto - your mount freely (see Climbing Other Creatures). You can - then use your maneuver on your turn to allow your mount to - take a move action instead of you. The mount can benefit from - this extra move action only once per round.
-If a creature riding a mount is force moved, they are - knocked off the mount, and must make a test to determine how - they land (see Climbing Other Creatures). If a mount is force - moved, they carry any riders with them.
-At the end of combat, the Director determines if the - heroes each gain a Victory (see Victories). Any effect or - condition affecting you that you suffered during combat - (except for being winded, unconscious, or dying) ends if you - want it to.
-The Director determines when a combat encounter is over. - While some battles—especially showdowns with important - villains—can be about a fight to the bitter end, many other - encounters can become a slog if the heroes need to fight - until every last enemy's Stamina is reduced to 0.
-To avoid a battle dragging, the Director can set - objectives when they build the encounter. Once the heroes - achieve those objectives, or if it becomes clear that they - can win the fight with minimal effort, the Director can end - the encounter. They might do so by calling “Cut!” like a - film director, or can use some other phrase or - indicator.
-When the Director ends combat this way, the players - typically choose how the battle ends by narrating a - dramatic finish. Or in rarer cases when the heroes achieve - a major objective that sets off a story-defining event, the - Director narrates the end of the battle with a positive - outcome for the players, called an event ending (see - below).
---If you've played an RPG like this one before, odds - are you've had an encounter where you didn't chase down - every last fleeing foe—and then one such foe grabbed - another bunch of evil buddies and came back to ambush - you. It takes only one experience like this to create - players who promise, “No survivors. No mercy!” whenever - foes break ranks. Chasing down every last foe can be - fun once in a while, but it can easily turn a tactical - encounter into a slog.
-Luckily, this is a heroic game. Although the - Director can surprise the players with dramatic reveals - and twisty-turny stories, “Gotcha!” moments that make - players suspicious of every fleeing bandit shouldn't be - part of those stories. If a bandit is fleeing an - encounter, they're running away to rethink their life. - If they're going for help, the players should get some - sense of that—for example, the bandit screaming at the - top of their lungs as they run toward their leader's - tent. That way, the players can process what's - happening, and will understand that stopping that - fleeing bandit is part of the challenge of the - encounter.
-
While planning a combat encounter, the Director can set - one or more objectives the heroes can achieve to end the - encounter without dropping every last foe. Some broad - categories of objectives are described in this section, but - the Director should feel free to create their own. As well, - Directors can always end combat anytime it becomes clear - that the heroes are going to win an encounter with minimal - effort, even if they haven't achieved all the - objectives.
-Sometimes the heroes simply defeat enough of their - enemies that the rest don't stand a chance. For example, - the Director might decide that an encounter ends when the - heroes have no non-minion enemies remaining, when the - heroes outnumber their foes, or when the number of - remaining enemies is half of what it was at the start of - the encounter.
-The Director can also use the following guideline to - determine when it's time to call “Cut!” if one of the - encounter's objectives is for the heroes to diminish - their foes. At the end of a round of combat with no - living solo or boss creatures (see the Bestiary), the - Director should add up the levels of all the enemies who - oppose the heroes. Minions count as 1/5 of their listed - level for this purpose. Then the Director adds the levels - of all the remaining heroes who aren't dying together. If - the combined level of the heroes is twice or more than - the combined level of their enemies, the Director should - end combat.
-A combat encounter might include one or more of the - heroes' enemies commanding the rest, such as a hobgoblin - captain leading a group of mercenaries, or one or more - particularly powerful foes among a group of weaker ones, - such as a pair of tusker demons in a gnoll war band. - Because these enemies are the stars of the encounter, if - only weak foes are left once the stars are gone, the - battle loses its challenge and it's time to wrap it up. - Under such circumstances, the Director can end the combat - once those special creatures are defeated.
-Classic heroic fantasy is full of important objects - that the heroes must protect from the forces of evil: - magic rings, royal birth certificates, dragon eggs, and - the like. Heroes often find themselves at violent odds - with their enemies as they race to collect a valuable or - important item from a guarded temple or castle, or when - they need to steal the item from a group of enemies - already in possession of it.
-Objectives in this category work well when paired with - other objectives. For instance, the heroes must steal a - ledger containing a record of criminal activity from an - overmind and her lackeys. However, even if they obtain - the ledger, the battle won't be over until they also - defeat the overmind, who won't let the book go without a - fight!
-Combat doesn't always have to be about destroying your - enemies. Sometimes it's about destroying their stuff! - Burning a pirate captain's vessel, closing a portal to - the Abyssal Wasteland before it lets in an army of - demons, or shutting down a massive kobold trap made of - spinning blades could so hamper the heroes' foes that the - battle is no longer worth fighting once the damage is - done.
-No one earns the mantle of hero without saving a few - lives. If the heroes rescue a powerful ally from the - clutches of their foes during combat, the added strength - of that ally might be enough to make the remainder of the - encounter trivial. When you and your allies save a - griffon from a crew of poachers, the hunters become the… - well, you know the rest.
-Sometimes the heroes just need to buy time. They might - need to battle a conquering tyrant's army to allow - innocent villagers time to escape. They might need to - hold off wave after wave of zombies while a group of - priests completes a ritual to lay the undead to rest for - good. To achieve this objective, the heroes need to stay - alive and protect a particular position for a number of - rounds determined by the Director.
-Sometimes combat is complicated by the fact that the - heroes need to stop the villainous actions of their foes. - It's not enough to simply defeat the warriors in a cult. - The heroes must also stop the zealots' - archdevil-summoning ritual! Or it might be that the - heroes need to interrupt a wedding and make sure an evil - mage doesn't marry the heir to the throne. Despite - combat, the mage forces the ceremony to continue!
-Objectives in this category often have a timer - associated with them. If the heroes don't achieve the - objective in a certain number of rounds, the conditions - of the battle should change. For instance, if the - cultists summon the archdevil, defeating the devil - suddenly becomes the heroes' new objective!
---Encounters work best if the players have a good idea - of what they are working toward. The Director doesn't - need to state objectives outright to the players at the - start of the battle, though they can if they like. Not - all groups want to start combat with the Director - saying, “Your objectives are to break the eldritch - machine and destroy the vampire lord,” because doing so - might take the players out of the game's narrative.
-In many combat encounters, the objectives are - obvious. For instance, in a battle against a - necromancer controlling a horde of undead minions, the - players probably don't need to be told that defeating - the necromancer ends the encounter when that's an easy - assumption. In an encounter against cultists performing - a world-ending ritual, the heroes can guess that - stopping the ritual is one of their objectives. In - fact, they probably went on this adventure to - specifically achieve that objective. They're not there - for karaoke at the end of existence!
-Not all objectives are so clear, however. In a - battle against a goblin cursespitter, a kobold - legionary, and three human knaves guarding the entrance - to a bandit fortress, it can be difficult to know what - the exact objective of the encounter is, beyond “Defeat - them all!” The objective could be to simply diminish - the enemy forces, but it could also be the case that - the cursespitter leads the group, so that defeating the - goblin causes the other forces to fall apart. In such a - case, it helps if the Director provides at least a hint - of that setup at the start of the battle. The - cursespitter could clearly issue orders and even call - the other bandits cowards, demanding that they not “run - away like last time!”
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The opposite of “Stop the Action,” this objective - ending sees the characters charged with initiating an - event, performing a ritual, and so forth. For instance, - if the heroes are attempting to launch an airship while - repelling a time raider boarding party, the encounter - could be over the moment the heroes manage to activate - the vessel and take off with just a few time raiders - actually aboard.
-Objectives can modify an encounter's difficulty by - extending the scope of success beyond grinding every - enemy down to 0 Stamina. When the heroes are challenged - to defeat specific foes or take other actions while - trying not to die, those objectives can make an encounter - easier than the encounter rules would usually dictate. As - such, the Director should feel free to turn up the heat a - bit.
-(Playtest note: More specific advice on this topic is - to come as the encounter-building system is - developed.)
-If the heroes are able to end a fight with a dramatic - finish, the Director assigns each hero one or more of their - remaining enemies, then asks that hero's player to describe - how the hero neutralizes that enemy. The hero might deliver - a killing blow, knock their foe out, or let the enemy flee - with their tail between their legs (literally or - figuratively). If the fight has more heroes than Director - controlled enemies, the Director can assign more than one - hero to an enemy, then ask the players how their characters - work together to bring that enemy down. After everyone - gives a description, the battle ends.
-If the Director calls the end of combat when a specific - objective in an encounter is achieved, the event ending - creates a big narrative finish. The Director can pick a - narrative trigger for an event ending before an encounter - begins, or can come up with one on the fly if that makes - more sense.
-Event endings can cover big scenarios, such as the - characters destroying a dam to unleash a river upon their - enemies, or completing a ritual that sends all the demons - they've been battling back to the Abyssal Wasteland. These - endings should be accompanied by vivid visual details. For - example, if the heroes are battling a necromancer - controlling a horde of zombies, the undead might crumble to - dust upon the necromancer's defeat. Similarly, if the - heroes destroy an eldritch machine sapping the land of its - natural energy, the shockwave from its destruction could - vaporize the cultists trying to protect it.
---For players who enjoy fighting to the bitter end - rather than ending combat early, the Director can use - this optional rule to bring things to - a quicker conclusion. When it's clear that the heroes - are going to win a battle, their enemies are overcome - with fear, despair, and panic. In this weakened state, - each enemy's Stamina drops to 1, and each minion has a - damage threshold of 1. The heroes can then swiftly - finish off the remaining foes, getting the satisfaction - of total annihilation through dice rolls.
-
Negotiation gives the heroes a chance to get what they want - without combat … or at least without further combat! You might - negotiate with a king to obtain military support against an - incursion of demons in a neighboring country. You could enter - into talks with a bandit leader to convince her to stop - attacking merchant caravans on the road, and instead target - nobles loyal to a tyrant. You might attempt to convince an - archmage to allow you access to their secret library so you can - research the location of a dragon-slaying axe. Negotiation - covers all these scenarios and more.
-Think of negotiation as something like learning a new system - for combat, exploration, or investigation in an RPG. This set - of rules provides a framework for roleplaying. The negotiation - rules are meant to be read by players and Directors, so that - both understand the rules of negotiation. If a player hasn't - read these rules, the Director and other players who have can - explain them to that player during their first negotiation.
-In order for a negotiation to occur, an NPC must have an - interest in negotiating with the heroes—but must also have a - reason to not simply jump on board with whatever the heroes - propose. Negotiations happen only when an NPC has that - internal tension between interest and reluctance. For - example, if the characters ask a king to send his army into a - neighboring kingdom to battle a demon incursion, the king - needs to be conflicted. He wants to stop the incursion, but - he doesn't want to risk the lives of his soldiers defending a - foreign nation while leaving their own people unprotected. If - the heroes want the help of the king's army, they need to - negotiate.
-Heroes aren't expected to use the negotiation rules every - time one character tries to convince an NPC to see things - their way. For instance, if a hero wants information about a - cult leader from a captured cultist, a single Presence test - using the Lie skill or a Might test using Intimidate is - likely all that's needed. A character who wants to flirt with - the local alchemist to obtain a free Healing Potion likely - just needs to make a Presence test using the Flirt skill.
-By contrast, negotiations typically involve all the heroes - interacting with one or more important named NPCs who can - provide information, items, or services that dramatically - change the course of an adventure. Often, this involves the - heroes seeking an item of great power, a retainer or - companion, the services of an influential organization or - nation, or a plot-twist-worthy piece of information. - Convincing a lich to lend the party the legendary Codex - Mortis, trying to convince a dragon to halt an attack on a - wizard's tower, or talking the leaders of an enemy army into - standing down means that a negotiation is in order.
-To negotiate successfully, the heroes must make persuasive - arguments to convince NPCs to do what they want. “Do it or we - kill you” is a threat that might well accompany a single - Might test using the Intimidate skill, but it's not a - negotiating tactic.
-Some players might instinctively feel that the - negotiation rules should give them something akin to - mind-control superpowers. They're not used to imagining - NPCs complexly, and might attempt to negotiate in - situations where negotiation is either completely - unreasonable or literally impossible. No matter how - persuasive or well spoken a hero is, there's no argument to - be made that might convince the vile Lord Syuul to give up - his pursuit of evil and become a gardener. A negotiation - typically can't convince a queen to hand over her crown to - the heroes and name them the new rulers of the land, or - inspire a dragon to fork over every piece of treasure in - their hoard.
-Negotiations only work when the heroes ask for something - from an NPC that the NPC is willing to seriously consider - giving them.
-Negotiation is not a process that changes an - NPC's character. Rather, the heroes are trying to - make an NPC understand how behaving differently would be in - character. You might well be able to get the hitherto loyal - lieutenant of an evil boss to reconsider the error of their - ways. That's a classic dramatic trope. But even then, - you're not changing their character—you're convincing them - that their current evil ways are out of character. “Is this - who you are? Is this how you want to be remembered?!”
-If some players want to use the negotiation system as a - means to an end by having their characters say, “Just do - what we tell you, or else!,” you can remind them that - that's not how most people, including NPCs, work. Any - heroes who open with that attitude are likely to lose the - negotiation before it begins.
-In the real world, negotiations rarely come with a - threat of immediate violence. Ambassadors don't usually get - into fistfights. But this is a heroic fantasy RPG, - featuring heroes who are armed to the teeth and able to - alter reality with their minds. The threat of violence is - already implied. Everyone involved knows that the - characters could draw steel at any moment.
-The Director typically assumes that the underlying - potential for events to turn violent is already factored - into every negotiation. However, if the heroes decide to - bring that threat to the forefront, then they've exited the - realm of negotiation and have entered into a different type - of relationship—and it's probably time to determine - initiative.
-Negotiation is about persuading someone to help you - willingly because you've convinced them that meeting your - objectives is a good idea. Working with you is wise or - logical, or might make them look good. A hero can - absolutely threaten someone with violence and force them to - do what they want, but this is an incredibly temporary - state. A threatened NPC isn't willingly doing what they've - been asked. They're doing it on threat of violence, and - will comply only while that threat is evident—after which, - they'll likely go back to their previous behavior as soon - as they think they can get away with it.
---If you've never played a game with a dedicated - negotiation system like this, you might need to run it - once or twice before you master it, similar to learning - any new subsystem in an RPG. The new rules you'll learn - are all dedicated to facilitating roleplaying by allowing - the heroes to beseech an NPC for aid, and only involve - rolling dice when the heroes don't directly appeal to - that NPC's motivations.
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During negotiation, the Director assigns NPCs four - temporary statistics—interest, patience, motivations, and - pitfalls. The heroes can strike a favorable deal if they - maximize an NPC's interest by making arguments that invoke - the NPC's motivations and avoid their pitfalls—but they have - to do all that before the NPC's patience wears out.
-An NPC's interest represents how eager they are to make - a deal with the heroes. Interest is graded on a scale of 0 - (no interest) to 5 (the most possible interest). When a - negotiation begins, an NPC's interest is between 1 and 4. - If the NPC's interest goes to 5, they make a final offer - and the negotiation ends (see Keep Going or Stop, - below). If the NPC's interest drops to 0, they end a - negotiation without offering the heroes any deal.
-Interest increases and decreases during the negotiation - based on the arguments the heroes make.
-An NPC's patience represents how much time and effort - they're willing to devote to a negotiation. Patience is - graded on a scale of 0 to 5, with each NPC starting a - negotiation with their patience higher than 0. If an NPC's - patience reaches 0, the NPC makes a final offer and - negotiation ends (see Keep Going or Stop).
-Patience can decrease each time the heroes make an - argument during a negotiation.
-If at least one hero negotiating with an NPC speaks - the NPC's native language (not including Caelian), then - the NPC's patience increases by 1 at the start of the - negotiation (to a maximum of 5). If three or more heroes - negotiating with an NPC speak the NPC's native language, - the NPC's patience increases by 2 (to a maximum of - 5).
---It's up to you as the Director to decide whether to - share an NPC's interest or patience during a negotiation. - Sometimes sharing this information can make an encounter - more dramatic, with the players watching their progress - rise and fall in real-time. Other groups might find - negotiation more fun, dramatic, and immersive if those - exact numbers are hidden from the players. In - playtesting, some groups loved seeing these statistics - and some groups didn't, just as some groups like knowing - the Stamina of every creature in a battle and others - prefer to keep that information secret. Talk to your - group about what they'd prefer.
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Each NPC has at least two motivations the heroes can - appeal to with their arguments. Arguments that appeal to an - NPC's motivation require an easier power roll to increase - the NPC's interest. Arguments that don't appeal to a - motivation require a more difficult power roll. See - Making Arguments for more information.
-Each motivation can be successfully appealed to only - once during a negotiation. To successfully appeal to a - motivation, the heroes must use the motivation in an - argument without mentioning one of the NPC's pitfalls or - being caught in a lie.
-Pitfalls are motivations that spark ire, discomfort, - shame, fear, or some other negative response in an NPC. - Using a pitfall in an argument causes an NPC's interest and - patience to wane. Each NPC has at least one pitfall, and - many have two or more.
-Pitfalls and motivations are two sides of the same - concept. They're presented below as a single list, so that - what might be a motivation for one NPC is a pitfall for - another. Whenever the heroes make an argument, they risk - stumbling into one of an NPC's pitfalls unless they do - their research beforehand or read the NPC well.
-An NPC can have any of the following twelve motivations - or pitfalls.
-An NPC with the benevolence motivation believes in - sharing what they have with others. However, an NPC - involved in a negotiation must be limited in their - benevolence, so that they don't just give the heroes what - they need.
-Sometimes an NPC's benevolence might extend only to a - specific group of people, so that a benevolent pirate - captain might share their plunder freely with the rest of - their crew—but they're still plundering! Other times, an - NPC's charity might be limited by the fact that they - don't have much to give. A benevolent NPC might be - hesitant to give the heroes help because they believe - their limited resources are more necessary or could do - more good somewhere else.
-An NPC with the benevolence pitfall has a cynical view - of the world, believing that no creature has a right to - anything just by being alive. The idea of helping others - because it's the right thing to do is a preposterous, - immature, or inexperienced idea to be laughed off or - snuffed out.
-Arguments that appeal to a benevolence motivation - contend that if the NPC strikes a deal with the heroes, - the people the NPC cares about will benefit from the - deal. Example arguments include the following:
-An NPC with the discovery motivation wants to learn - new lore, explore forgotten places, break ground with new - experiments, or uncover artifacts lost to time. Their - curiosity and quest for knowledge might be driven by a - specific goal, such as seeking the cure for a rare - disease or a portal to a specific far-off world. Or it - could be that they are a naturally inquisitive person who - just wants to understand all they can about the - timescape.
-An NPC with the discovery pitfall has no interest in - finding new places, peoples, or ideas. It might be that - the unknown scares them or makes them so uncomfortable - that they'd rather remain ignorant. Alternatively, a - previous pursuit of discovery might have turned out - poorly for them.
-Arguments that appeal to a discovery motivation - contend that striking a deal with the heroes will allow - the NPC to gain new knowledge or acquire unique property. - Example arguments include the following:
-An NPC with the freedom motivation wants no authority - above them and desires no authority over others. They - might already have personal freedom and wish to maintain - that status quo, or they might wish to liberate themself - or others from someone else's authority.
-An NPC with the freedom pitfall believes that a world - without authority is one in turmoil and chaos. They might - even believe that they are the right person to rule, and - that their ideals should be the ones that become the law - of the land.
-Arguments that appeal to a freedom motivation contend - that helping the heroes will maintain or grant freedom to - the NPC or other people. Example arguments include the - following:
-An NPC with the greed motivation desires wealth and - resources above almost anything else. Sometimes these - NPCs are misers, much like wyrms who hoard coins and gems - but never spend or donate them. Others flaunt their - wealth, viewing it as a sign of their station in life. - Greed-driven NPCs might share their wealth with a select - group of people they love, such as a noble lord who - indulges his children's every desire. Some NPCs might be - greedy for resources other than money, such as a demon - who wants to collect and devour souls, or a troll lord - who hungers endlessly for the flesh of others.
-An NPC with the greed pitfall has no interest in - accumulating wealth or other resources, and becomes - offended if anyone tries to buy their participation. They - hold their ideals above material desires.
-Arguments that appeal to a greed motivation contend - that helping the heroes will increase the NPC's wealth or - assets. Example arguments include the following:
-An NPC with the justice motivation wants to see the - righteous rewarded and the wicked punished, however - subjective their sense of who or what is good and evil. A - priest who venerates a god of nature might believe that - all who protect plants and animals are righteous, and - that those who harvest natural resources as miners and - lumberjacks must die. Having a justice motivation doesn't - necessarily make an NPC a kind or charitable person.
-An NPC with the justice pitfall doesn't believe that - the timescape is an inherently just place, and has no - interest in making it one. The world is eternal conflict, - there is no such thing as justice, and anyone who thinks - otherwise is a naive fool.
-Arguments that appeal to a justice motivation position - the heroes on the good side of an NPC's sense of right - and wrong. Example arguments include the following:
-An NPC with the legacy motivation desires fame while - alive and acclaim that lasts long after their death. They - hope others will know and remember their deeds, great or - terrible. Some of these NPCs might even seek immortality - through deification or undeath, so that the eventual - shedding of their mortal coil doesn't prevent them from - continuing to make history.
-An NPC with a legacy pitfall cares nothing about - leaving a personal mark on the world. To them, such vain - thinking is nothing but a waste of time.
-Arguments that appeal to a legacy motivation contend - that striking a deal with the heroes increases the - likelihood that people will talk about the NPC for - centuries to come. Example arguments include the - following:
-An NPC with the peace motivation wants calm in their - life. Under typical circumstances, they want to be left - alone to run their business, farm, kingdom, criminal - empire, or whatever small slice of the timescape is - theirs. Some such NPCs don't have peace and need help - obtaining it, while others want their peaceful status quo - to be maintained.
-An NPC with the peace pitfall hates being bored. They - want excitement, drama, and danger in their life. For - them, there's nothing worse than the status quo.
-Arguments that appeal to a peace motivation contend - that helping the heroes will earn the NPC some peace, at - least for a little while. Example arguments include the - following:
-An NPC with the power motivation covets the authority - of others. They want to increase their influence, no - matter how great it already is, and maintain their - domain. They might seek power through conquering others, - the collection of artifacts, or through the infusion of - supernatural rituals—though why choose one method when - all three together achieve the best results? Some such - NPCs are world-traversing tyrants, but the petty - administrators of village organizations and shrines can - covet power just as hungrily.
-An NPC with the power pitfall has no interest in - authority for themself. They might respect the authority - of others, but they hate the thought of ruling over other - people and roundly reject any suggestion of the idea.
-Arguments that appeal to a power motivation contend - that working with the heroes will increase or protect the - NPC's power. Example arguments include the following:
---Just like the heroes, NPCs in negotiations are - complex individuals who can change over time. It's - possible that the heroes might have to negotiate with - the same NPC for several different favors during the - course of a campaign, over which time the NPC's - motivations and pitfalls might change. If the heroes - turn a bandit captain with the greed and power - motivations into a temporary ally, that criminal might - learn from them, changing their ways to rob only those - who exploit the poor and giving those earnings to - people in need. The next time the heroes negotiate with - the bandit captain, they have the benevolence and - protection motivations.
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An NPC with the protection motivation has land, - people, information, items, or an organization they want - protected above all else. Keeping their charge safe is a - duty they hold dear, and aiding in that protection earns - their favor. Most people have friends or family they wish - to protect, but an NPC with the protection motivation - believes in doing so above all else.
-An NPC with the protection pitfall is happy to leave - others to fend for themselves. They don't believe that - it's their responsibility to protect anyone other than - themself, and might be outright disgusted at the thought - of risking themself or their property to protect - others.
-Arguments that appeal to a protection motivation - contend that helping the heroes allows an NPC to better - protect their charge. Example arguments include the - following:
-An NPC with the revelry motivation just wants to have - fun. They enjoy socializing at parties, thrill-seeking, - or indulging in other hedonistic activities. Getting - pleasure out of life while spending time with people they - like is paramount to such NPCs.
-An NPC with the revelry pitfall sees social encounters - and hedonism as a waste of time. They take pleasure only - in work or in building their own skills and character. - Others who suggest immature debauchery are not worth - their time.
-Arguments that appeal to the revelry motivation - contend that striking a deal with the heroes will allow - the NPC to get back to reveling sooner, longer, or - harder. Example arguments include the following:
-An NPC with the vengeance motivation wants to harm - another who has hurt them. Their desire for revenge could - be proportional to the harm that was inflicted upon them, - or they might wish to pay back their pain with interest. - In some cases, a desire for vengeance can be satisfied - only by the death of another, but an NPC might wish to - pay back their own suffering with embarrassment, career - failure, or some other less permanent pain.
-An NPC with the vengeance pitfall believes that - revenge solves nothing. They might have gained this - belief firsthand, or they might simply not have the - ambition to seek revenge—and they take a dim view of - others who do.
-Arguments that appeal to the vengeance motivation - contend that the NPC can gain payback for their pain by - helping the heroes. Example arguments include the - following:
-A negotiation begins when the heroes ask something of an - NPC and the Director deems that the circumstances require a - negotiation. Those circumstances always involve the heroes - requiring assistance that could change the course of the - adventure, and having the NPC conflicted about working with - them.
-If a hero wants to halt hostilities to negotiate with - the other side, they can use a maneuver to make a hard - Presence test (or another applicable test, as the Director - determines) in an attempt to stop combat and start a - negotiation. The test has a chance of success only if the - Director believes the other side is willing and capable of - negotiating. A foe who has the upper hand, who hates the - heroes beyond measure, or who lacks sapience is unlikely to - negotiate.
-An NPC's starting negotiation stats depend on their - attitude toward the heroes, as shown on the Negotiation - Starting Attitudes table, and can be adjusted by the - Director as they see fit. A naturally irascible NPC might - have lower patience, while a hostile NPC with a - greater-than-expected stake in the negotiation topic might - have a higher-than-typical interest.
-| Attitude | -Description | -Interest | -Patience | -
|---|---|---|---|
| Hostile | -Openly opposed to the heroes. Barely willing to - listen. | -1 | -2 | -
| Suspicious | -Doubts the heroes' motives, but is willing to - listen. | -2 | -2 | -
| Neutral | -Doesn't feel one way or the other. Would - probably rather be somewhere else, but doesn't want - to be rude. | -2 | -3 | -
| Open | -Willing to listen, willing to help, as long as - the heroes aren't asking too much. | -3 | -3 | -
| Friendly | -The heroes seem like the NPC's people. The NPC - is willing to give them the benefit of the - doubt. | -3 | -4 | -
| Trusting | -The NPC has reason to take the heroes at their - word, and will help if the characters don't screw - this up. | -3 | -5 | -
If a hero wishes to figure out an NPC's motivations, they - can begin by simply asking, “What do you want out of this - deal?” In response, the NPC can willingly hint at or reveal - one of their motivations, usually by asking for something. - For instance, a monarch NPC with the greed motivation and a - penchant for collecting rare animals might suggest that the - heroes retrieving a griffon egg would earn the monarch's - gratitude. The Director can also decide that during the - natural course of the negotiation, the NPC might offer up - similar suggestions without the heroes asking, provided the - NPC already has an interest of at least 3.
-If an NPC isn't as forthcoming, or if the heroes want to - learn one of the NPC's pitfalls, a hero can make a Reason, - Intuition, or Presence test while interacting with the NPC - during the negotiation, based on the tactics used to draw out - the NPC. The test has the following outcomes:
-Power Roll + Reason, Intuition, or - Presence:
-After this test is made, the heroes can't make another - test to determine the same NPC's motivations or pitfalls - until they make an argument to the NPC or the negotiation - ends.
-While the heroes can discover an NPC's motivations or - pitfalls through tests made during negotiation, they can - employ other methods of investigating motivations or - pitfalls before negotiation. Research or a little - reconnaissance (for instance, reading the NPC's diary or - talking to their closest friends), can reveal quite a bit - about a person!
-As part of their initial request to an NPC in a - negotiation, a hero makes an argument as to why the NPC - should give the heroes what they want. The hero might offer - to do something in exchange as part of their argument, such - as clear bandits from a forest, hand over a piece of - treasure, or slay a dragon for the NPC. Or instead of - offering something, the hero could attempt to convince the - NPC that it's in their own best interest to help—or even that - it's a moral imperative. For example, a hero could appeal to - a knight's sense of duty, the potential wealth a mercenary - could make, or the final wish of a queen's dearly departed - grandmother as part of an argument. NPCs who admire the - heroes are more likely to respond to compliments and - buttering up, while those who fear the heroes are more likely - to respond to intimidation and awe.
-Arguments need a justification as to why they're true. - “Helping us defeat Lord Saxton is good for you in the long - run,” is half of an argument, so that the hero also needs to - explain why this is the case. “Helping us defeat Lord Saxton - is good for you in the long run, because we know he's coming - for your kingdom after Bedegar falls!” If a hero makes half - an argument, the NPC might follow up with questions such as, - “Why do you say that?” or “What makes you think that's true?” - to get the full argument from the hero.
-One hero makes an argument to an NPC, but the players can - discuss the details of the argument out of character - beforehand. It's up to the group to decide how much - discussion to have before making an argument, and to decide - what argument the players think will best sway the NPC.
-This is a good topic for discussion before a group - actually gets into a negotiation, so everyone knows the other - players' thoughts. Some groups have the most fun without any - around-the-table discussion, while others prefer being able - to strategize as often as possible.
-If an argument doesn't include a pitfall and appeals to - one of the NPC's motivations that hasn't already been - appealed to, the hero making the argument can make an easy - test to attempt to sway the NPC with the argument. - Depending on the argument, this can be a Reason, Intuition, - or Presence test using any applicable skill—most commonly a - skill from the interpersonal skill group. The test has the - following outcomes:
-Power Roll + Reason, Intuition, or - Presence:
-At the Director's discretion, a particularly - well-roleplayed or well-reasoned argument automatically - counts as a tier 3 result without a test. Good roleplaying - should be rewarded!
-If the heroes attempt to appeal to a motivation that's - already been appealed to, the NPC's interest remains the - same and their patience decreases by 1.
-If an argument doesn't include one of the NPC's - motivations or pitfalls, the hero who makes the argument - must make a more difficult test to appeal to the NPC. The - test has the following outcomes:
-Power Roll + Reason, Intuition, or - Presence:
-If the heroes try to use the same argument without a - pitfall or motivation twice, the test automatically gets a - tier 1 result.
---Since Reason and Intuition with creatively applied - skills can be used to make arguments, all heroes can - actively participate in the process of negotiation. The - hero with the highest Presence who has the Persuade skill - doesn't automatically have to be the one who makes all - the tests.
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If a hero lies to an NPC with an argument that fails to - increase the NPC's interest, the Director can decide that - the NPC catches the lie and is offended by it. The NPC's - interest decreases by 1, in addition to any decrease - imposed by the failure.
-If an argument uses one of the NPC's pitfalls, it - automatically fails and the NPC's interest and patience - each decrease by 1. The NPC might also warn the heroes not - to treat them in such a way again.
-During a negotiation, an NPC has an Impression score - that determines the amount of Renown needed to influence - them (see Renown). This score only matters if the NPC knows - of the heroes. A dragon who slumbered away the last hundred - years and was just woken up to negotiate can't be - influenced by a hero's Renown. (By the way, it's a terrible - idea to wake a dragon, even if they do know you're famous.) - If the NPC does know of the hero and has an Impression that - is equal to or lower than the hero's Renown, the NPC can be - influenced by that hero.
-The higher an NPC's Impression, the harder they are to - influence with Renown. A small-time brigand has a lower - Impression score than a monarch who meets with powerful and - famous people all the time. The NPCs and - Impression table provides examples of different - archetypical NPC Impression scores. If a creature has a - level, then their Impression equals their level unless the - Director deems otherwise.
-| Impression | -Example NPC | -
|---|---|
| 1 | -Brigand leader, commoner, shop owner | -
| 2 | -Knight, local guildmaster, professor | -
| 3 | -Cult leader, locally known mage, noble - lord | -
| 4 | -Assassin, baron, locally famous - entertainer | -
| 5 | -Watch captain in a large city, high priest, - viscount | -
| 6 | -Count, warlord | -
| 7 | -Marquis, world-renowned entertainer | -
| 8 | -Duke, spymaster | -
| 9 | -Archmage, prince | -
| 10 | -Demon lord, monarch | -
| 11 | -Archdevil, archfey, demigod | -
| 12 | -Deity, titan | -
If a hero has enough Renown to influence an NPC during - negotiation, the Director decides if they are famous or - infamous to the NPC. If the NPC appreciates a character's - deeds and views them as a hero who makes the world a - better place, that hero is famous to them. If the NPC - believes the hero's accomplishments make the world worse - and views them as an enemy, the hero is infamous to the - NPC.
-If a hero is famous to an NPC, they gain an edge on - tests when making arguments to which the Flirt, Lead, or - Persuade skill could be applied. If they are infamous to - the NPC, they gain an edge on tests when making arguments - to which the Brag, Interrogate, or Intimidate skill could - be applied. A hero gains this edge even if they don't - have the appropriate skill.
-After a hero makes an argument, the NPC responds in one of - three ways:
-Unless the NPC is deceitful, it should be clear to the - heroes if their argument helped convince the NPC, if they - need to take a new approach, or if the argument actually did - more harm than good.
-The initial response should come with an offer (or a - refusal to make an offer) based on the NPC's current - interest. If a hero's argument reduces an NPC's patience to - 0, the NPC lets the heroes know that this is their final - offer.
---Under certain circumstances, an NPC might not want to - show the heroes how well their arguments are working. For - example, if an NPC's interest has dropped so low that - they now intend to harm the heroes, the NPC might falsely - agree to what the heroes ask for as part of a trap. - Likewise, a greedy NPC might try to keep their enthusiasm - for a deal concealed while their interest is high to - obtain more money or favors from the heroes. If a hero - thinks an NPC is attempting to fool them, they can make - an Intuition test. On a success, the hero learns their - true standing with the NPC.
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If the NPC's interest is 5, they offer everything the - heroes initially asked for—and then sweeten the deal. This - result is the best possible outcome for the heroes. If they - offered to perform any services or make payments as part of - the deal, the NPC might waive those obligations, allowing - the heroes to get what they want for free. Alternatively, - the NPC might hold the heroes to any offers they made and - instead offer an extra service or item on top of what was - asked for.
-For example, if the heroes asked the boss of a thieves - guild for that organization's help in standing against Lord - Saxton, the guildmaster might pledge to send a unit of - elite assassins to aid in the battle against that - tyrannical noble, and then offer the heroes a quiver filled - with explosive arrows to give them an additional advantage - in the fight.
-The NPC should let the heroes know that this is the best - offer they can make.
-If the NPC's interest is 4, they offer the heroes - everything they asked for but won't sweeten the deal. The - NPC also accepts anything the heroes have offered as part - of the deal with this result.
-For example, if the heroes offered to help spring a - guild thief from prison in exchange for the thieves guild's - elite assassins standing against Lord Saxton, the - guildmaster agrees to those terms without attempting to - adjust anything. This likely ends the negotiation, but it's - possible that the heroes could push for a little more, - provided the NPC has the patience for another argument. A - Director could prompt the heroes to push for more by having - the NPC ask a leading question, such as, “Is there anything - else?” or “What else do you want from me?”
-If the NPC's interest is 3, they offer the heroes what - they want in exchange for everything the heroes offered … - then they ask for a little extra, such as a favor or a - payment from the characters. If the heroes offered to free - a thieves guild member from prison in exchange for the - service of the organization's assassins, the guildmaster - might ask them to free an additional prisoner, or to grant - the prisoner they rescue a sum of cash or a magic - weapon.
-If the NPC's interest is 2, the NPC can't give the - heroes what they want. However, they are willing to offer - other less impactful goods or services in exchange for - whatever the heroes have promised. The guildmaster might - not be willing to spare any troops to fight Lord Saxton, - but could instead offer the latest spy reports on Saxton's - movements in exchange for the jailbreak.
-If the NPC's interest is 1, they outright reject the - heroes' idea without a counteroffer. If the NPC still has - patience, they might press the heroes for a better deal, - saying something like, “Why should we risk our necks to - help you fight Lord Saxton? What's really in it for the - thieves guild, other than a short, brutal end when you - inevitably fail?”
-If an NPC's interest is 0, they offer nothing, refuse to - negotiate further, and seek to harm the heroes. The NPC - might attack immediately, or they could take a different - approach, perhaps spreading malicious rumors about the - characters, sending assassins after them, or otherwise - making their lives difficult. If the heroes don't want to - be at odds with the NPC, they'll need to offer an valuable - gift or undertake a quest just to make amends.
-It is impossible to continue a negotiation when an NPC's - interest drops to 0.
---When you're preparing a negotiation, think of at least - two specific asks that the NPC could make of the heroes. - Then you're prepared if the heroes ask what they can do - for the NPC and you want to give a response, or if the - NPC's interest becomes 3.
-These asks could be specific items the heroes have or - can obtain (such as a magic sword or psionic crystal), or - they might be favors in the form of adventuring (such as - slaying a dragon or rescuing a village from a siege).
-You should also have at least two specific ways the - NPC can help the heroes beyond what they're asking for. - These can be used if the NPC's interest becomes 2, to - give the heroes something that can help them that isn't - what they asked for. They can also be used if the NPC's - interest rises to 5, to give the heroes something extra - in addition to what they asked for. This help could take - the form of treasures or the assistance of a companion or - retainer. It might be hidden information that the heroes - don't yet know, and which can help them with their - overall goal. Or perhaps it's a less impactful version of - what the heroes initially asked for. If the heroes ask an - ancient dragon for help storming a castle, the dragon - might offer the services of their younger, less powerful - offspring instead of their own assistance … or in - addition to it!
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If an NPC still has patience after making an offer and - their interest is between 1 and 4, the heroes can make - another argument to attempt to improve the deal. - Alternatively, they can accept the offer and end the - negotiation. Let the players drive this decision. You can - always have an NPC show they have patience remaining by - asking, “Is there anything else?”
-If the NPC's patience is 0 or their interest is 5, then - the offer the NPC makes is their final offer to the - characters. The heroes can accept the offer or not, but - either way, the negotiation ends.
-If the NPC's interest is 0, the NPC ends the negotiation - without accepting a deal.
-The heroes can walk away from a negotiation without - accepting a deal at any time.
-After killing the true lord of Bedegar, the tyrannical - Lord Saxton took over the barony's capital, and is presently - gathering forces of his own to march on the rest of Bedegar's - settlements. The heroes recently saved Edmund, the true heir - to Bedegar's throne, and are now gathering forces to build an - army that can stand against Saxton and defeat the tyrant.
-The heroes are engaging in a negotiation with Zola - Honeycut, the human guildmaster of the Clock—a thieves' guild - whose headquarters is located in Bedegar's capital. The guild - openly opposed Saxton when he first seized power, but the - tyrant was quick to crack down on all known members of the - Clock, forcing them into hiding or hanging them as a warning - to others. The heroes' hope is that they can convince Zola to - support their armed resistance.
-Zola is neutral toward the heroes when the negotiation - begins. She knows them only by reputation, though she - understands that they too believe Saxton is a tyrant who - must be stopped. However, standing up to that tyrant has - cost her people dearly, and she's not sure she's ready to - rejoin the fight. One wrong move could spell the end of the - Clock!
-ZOLA HONEYCUT NEGOTIATION STATS:
-Motivations - - Benevolence: Zola's name, Honeycut, comes - from the fact that she always gives her fellow thieves a - bigger cut than her own on jobs. - - Protection: The members of the Clock are - the only family Zola's ever known. The guild's motto is - “The Clock is always ticking,” because they're always - planning the next job and their ever-richer future. Zola - doesn't want to be the guild's last master.
-Pitfalls - Higher - Authority: Zola has no interest in serving anyone - other than herself, and she scoffs at the suggestion of - taking orders. - Revelry: Zola is all - business and has no time for frivolity, especially while - living under Saxton's threat.
-Zola is glad that people are finally opposing Lord - Saxton, but is angry that no one rose up with the Clock - months ago when the tyrant first staged his coup. She's - passionate about protecting her people, quick to call out - dangerous plans in arguments she doesn't like, and fast to - praise statements she agrees with. She's not afraid to - speak her mind to the heroes, knowing that they share her - desire to see Saxton gone. She's just not sure she can risk - more of her found family in the current fight.
-Here's how the negotiation with Zola might play out. In - this scenario, Alyssa is playing Jorn the tactician, Grace - is playing Val the conduit, James is playing Korvo the - shadow, and Matt is playing Linn the talent. All the heroes - have a Renown of 2 except for Jorn, who has a Renown of 3 - and is therefore famous to Zola.
-Director: The windows are boarded up, - allowing no light to enter the seemingly abandoned Goat's - Eye tavern. The whole place smells of charred wood, - evidence of the fire that burned most of the building's - interior three years ago. As the door shuts behind you, - light from a hooded lantern on the opposite side of the - tavern suddenly fills the room. Amid the blackened walls - and pillars, you see that six burly ruffians flank your - group on both sides. The human holding the lantern smiles. - “Welcome. I'm Zola. Willoughby told me you were coming. - Have a seat.” She motions to a few crates arranged in a - circle around a wide barrel.
-James (playing Korvo): I have a seat - and say, “Korvo at your service, Ms. Honeycut. And - these here are the finest companions a polder could ask - for: Linn, Jorn, and Val.”
-Director: Zola nods to each of you in - turn, then says, “You'll excuse me if I dispense with more - pleasantries. These days, no place is safe for the Clock. - We keep moving. So tell me, what are you here for?”
-Alyssa (playing Jorn): “We're building - an army to take down Saxton once and for all.”
-Director: Zola gives a mirthless - chuckle as she shakes her head. “Oh is that all? I have to - tell you, I don't think the four of you stand much of a - chance. Unless you're hiding a legion or two of dwarves in - your pockets. Yes, you have Jorn the Mighty with you, but - you'll need more than one famous warrior to win the - day.”
-Alyssa: Ah! So she has heard of me at - least! Thanks, Renown.
-Grace (playing Val): “We don't. But we - do have Lord Edmund—the true heir to the Bedegar - throne.”
-Director: Zola nods, impressed. “I'm - glad the boy is safe, but that's all he is—a boy, not an - army.”
-Matt (playing Linn): “He's a boy people - will rally around. We have no army, but that's why we're - here. We're planning on changing that. Can you spare any - soldiers for our cause?”
-The negotiation officially starts. The heroes have - stated what they want from Zola. The Director begins by - prompting them to make an argument.
-Director: Zola leans back on her crate. - “There it is. The Clock has sacrificed much against Saxton. - Why should we risk more to help? No one was here to help us - months ago when we stood up to tyranny.”
-Alyssa: I nod along as Zola speaks, - listening before I say, “We didn't hear of your struggle - until after Saxton had already hanged many of your brave - people. We're here now. How can we help?”
-Before making an argument, Jorn is attempting to learn - what Zola's motivations are by simply asking. The Director - decides to reveal one of Zola's motivations: - protection.
-Director: “If I were to make a deal - with you, and that's a big ‘if,' I'd need assurances that - you can end this. Proof would be even better. The - protection of my people is my top priority. We can earn - freedom from Saxton once we regain our strength.”
-James: Aha! I got this, folks. I stand - atop my crate and say, “Well, we can surely offer that, - Ms. Honeycut. We have convinced Lord Edmund to grant - amnesty to any who swear to serve him.” I'd like to roll a - Presence test to convince her.
-Director: Hold it there, champ. Zola's - eyes narrow as you speak, and she holds up a hand to cut - you off. “I will not swear to serve any ruler, no matter - how benevolent. I'll consider being a partner, but even - that outlook is grim if you tell me again that I need to - bend the knee.”
-Korvo inadvertently made an argument using a pitfall by - appealing to a higher authority. The Director notes that - Zola's interest drops to 1 and her patience drops to 2. - Zola gave a pretty firm “No” response here, which is what - an NPC with an interest of 1 would say. However, the - Director phrased Zola's response in such a way that the - heroes know they can keep making arguments if they wish, - since her patience hasn't run out.
-James: Sorry! I thought that'd work. - Seems like higher authority is a pitfall for her.
-Grace: Let's try to avoid any others. - Val says, “We're sorry, Zola. We don't want to do anything - else to offend you.” I'd like to make an Intuition test and - use my Read Person skill to gauge her reaction to see if I - can discern any other pitfalls.
-Director: Cool. Hard difficulty.
-Grace: I got a 17! Success.
-Director: Zola sits back, chuckling. - “There's two things I can't stand—anyone telling me to kiss - a ring and merry fools who would rather go drinking than - fight for their freedom. Luckily, you're not the latter.” - You can tell that revelry also won't go over well with - Zola.
-The heroes now know both of Zola's pitfalls: higher - authority and revelry.
-Linn: Linn is going to say, “We're - recruiting more than just the Clock. We have a good chance - of recruiting the elves of the wode and the orcs of Forest - Rend, and we're already training the people of Gravesford - to put up a fight. If we strike before Saxton can fully - build his forces, we all stand a better chance of survival. - If you don't stand with us, Saxton will still come for you. - He's already coming for you. The Clock stands less of a - chance alone.”
-Director: I think that's a Reason test, - since you're using logic to point out that you have a - better chance together than on your own. It's easy too, - since you're appealing to one of her motivations.
-Linn: Great! Can I use Lead here, since - I'm demonstrating our ability to bring people together?
-Director: I'll allow it.
-Linn: That's a 14!
-Because Linn appealed to a motivation, Zola's interest - increases to 2, and her patience remains at 2. The Director - gives a “No, but …” response based on Zola's interest. At - this point, the heroes haven't promised anything, so she - offers them something for free. The Director makes it clear - in Zola's response that the negotiation can still continue - if that's what the players want.
-Director: Zola nods along as you speak. - “You're correct, but I'm not sure I can spare the people. - I'll tell you what I can do. I have spies watching Saxton - still. I can give you information about his troops' - movements. Will that suffice?”
-Alyssa: I don't think so, right?
-James: No. We need an army.
-Matt: Yeah, let's push it.
-Grace: Agreed.
-Alyssa: I wonder if we can try to - figure out another one of her motivations.
-James: Is there anything I know about - Zola's reputation? I have the Criminal Underworld - skill.
-Director: Make a hard Reason test.
-James: That's an 18! Success!
-Director: Korvo would know that Zola - got the name Honeycut because she's generous with the - guild's earnings. She gives all her fellow thieves a nice - cut of every job.
-Korvo's success has revealed Zola's benevolence - motivation.
-James: Brilliant! I think I probably - would've shared that with the group before this.
-Director: Yeah, that makes sense.
-Alyssa: Great. I'll say, “It would be - worthwhile in other ways for your crew if you joined our - side.”
-Director: Zola's interest is piqued. - “What makes you say that?”
-Alyssa: “Even before his coup, Saxton - had a considerable amount of wealth. If he's deposed, those - riches need to go somewhere. The Clock will get a cut—a - honey of a cut, you might say. Edmund has also promised to - share his family's fortune with any who stand with him - against Saxton … after the young lord reclaims the throne, - that is.”
-Director: You're appealing to one of - her motivations, so make an easy Presence test.
-Alyssa: Can I use my Persuade skill - too?
-Director: Absolutely. And you gain an - edge because you're famous to her.
-Alyssa: I got a 12!
-Because Jorn appealed to a motivation, Zola's interest - increases to 3, and her patience is reduced to 1. The - Director gives a “Yes, but …” response while making it - clear that the negotiation can still continue.
-Director: Zola contemplates this for a - moment. She nods, “I'm starting to see the benefits. I - think I can spare some folks to help you, but you have to - help them first. See, my best warriors are locked up in - Bedegar Keep. They're supposed to be hanged in two days. If - you free them, I'll see to it they stand with you against - Saxton. We were making a plan to free them ourselves, but - could frankly use the help.”
-Grace: We could push the Clock to do it - themselves, but I can't see Val turning her back on people - in need.
-James: Hear, hear. I'm done pushing my - luck on this one.
-Matt: It'll mean less time to recruit - the other troops, so we'd better work quickly.
-Alyssa: Then we're in agreement. I - offer a handshake to Zola. “You've got yourself a - deal.”
-The negotiation ends! The heroes could have pushed for a - better deal, but they're satisfied with the offer from - Zola, so they accept her terms.
-This is what happens when you let a dwarven troubadour - write the dwarf entry.↩︎
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