From 006307a62e978a50d54761b5cd1112c9adb82eb6 Mon Sep 17 00:00:00 2001 From: Drew Malzahn Date: Mon, 8 Jun 2026 21:11:07 +0000 Subject: [PATCH] chore: formatting --- books/core/10.html | 18 +- books/core/105.html | 1 - books/core/107.html | 2 - books/core/109.html | 2 - books/core/11.html | 13 +- books/core/117.html | 1 - books/core/125.html | 1 - books/core/13.html | 5 +- books/core/133.html | 1 - books/core/141.html | 1 - books/core/15.html | 2 +- books/core/16.html | 4 +- books/core/18.html | 4 +- books/core/19.html | 62 +- books/core/20.html | 7 +- books/core/21.html | 59 +- books/core/22.html | 6 +- books/core/23.html | 8 +- books/core/26.html | 12 +- books/core/28.html | 2 - books/core/29.html | 1 + books/core/30.html | 59 +- books/core/31.html | 1 - books/core/33.html | 39 +- books/core/37.html | 13 +- books/core/38.html | 28 +- books/core/39.html | 17 +- books/core/40.html | 21 +- books/core/41.html | 133 ++-- books/core/42.html | 2 +- books/core/43.html | 5 +- books/core/44.html | 4 +- books/core/45.html | 47 +- books/core/46.html | 22 +- books/core/47.html | 10 +- books/core/48.html | 9 +- books/core/49.html | 54 +- books/core/50.html | 21 +- books/core/51.html | 19 +- books/core/52.html | 6 +- books/core/53.html | 9 +- books/core/54.html | 2 +- books/core/55.html | 107 ++- books/core/56.html | 4 +- books/core/57.html | 96 ++- books/core/58.html | 3 +- books/core/59.html | 71 +- books/core/60.html | 2 - books/core/61.html | 4 +- books/core/62.html | 2 +- books/core/63.html | 11 +- books/core/64.html | 34 +- books/core/65.html | 58 +- books/core/66.html | 29 +- books/core/67.html | 186 +++-- books/core/68.html | 136 ++-- books/core/69.html | 7 +- books/core/70.html | 11 +- books/core/71.html | 2 - books/core/81.html | 2 - books/core/index.html | 1638 ++++++++++++++++++++--------------------- 61 files changed, 1511 insertions(+), 1625 deletions(-) diff --git a/books/core/10.html b/books/core/10.html index 0d0c2d4..bcfe6ef 100644 --- a/books/core/10.html +++ b/books/core/10.html @@ -27,24 +27,22 @@ that of portraying the game world in which the protagonists of the story act and live. As the protagonists establish goals and make choices, the Game Master will challenge those goals and describe the consequences of their - actions. + actions. You can find more about the Game Master's role on page 26! - -

You can find more about the Game Master's role on page 26!

- - -

- Characters that are controlled by the Game Master, on the other hand, are - called Non-Player Characters, or NPCs. -

-

You can find more about each Player's role on page 24!

While it is true that the role of the Game Master is to present obstacles and diff --git a/books/core/105.html b/books/core/105.html index 5bff731..0178d19 100644 --- a/books/core/105.html +++ b/books/core/105.html @@ -1,4 +1,3 @@ -

22 GAME RULES

RECHARGING INVENTORY POINTS

Characters can recharge their Inventory Points when they are in a town, diff --git a/books/core/107.html b/books/core/107.html index d76be58..3e72c8d 100644 --- a/books/core/107.html +++ b/books/core/107.html @@ -1,5 +1,3 @@ -

22 GAME RULES

-

Sample Areas Threat Level Travel Roll

diff --git a/books/core/109.html b/books/core/109.html index 35f4a20..53cf758 100644 --- a/books/core/109.html +++ b/books/core/109.html @@ -1,5 +1,3 @@ -

22 GAME RULES

-

DISCOVERIES

Discoveries don’t happen that often, so the Game Master should make sure each diff --git a/books/core/11.html b/books/core/11.html index 7386c89..d083afb 100644 --- a/books/core/11.html +++ b/books/core/11.html @@ -1,5 +1,4 @@ -

INTRODUCTION

-

CHAPTER d THE BASICS OF PLAY

+

The Basics of Play

In the conversation, Players describe their characters' actions and choices:

@@ -28,9 +27,7 @@ fiction".

-

- -

d THE RULES

+

THE RULES

This is also a game, and that's where the rules come into play: much like in a video game or board game, characters have scores and abilities representing @@ -45,5 +42,7 @@

-

This is a tale of heroes and darkness.

-

Of great hope... and even greater sacrifice.

+
+ This is a tale of heroes and darkness. Of great hope... and even greater + sacrifice. +
diff --git a/books/core/117.html b/books/core/117.html index 11de6fb..12b7e4e 100644 --- a/books/core/117.html +++ b/books/core/117.html @@ -1,4 +1,3 @@ -

22 GAME RULES

While the effects of spells and disciplines are defined by the rules of the game, the way they manifest in your world is something that can vary from one diff --git a/books/core/125.html b/books/core/125.html index f78c7fb..fa231fb 100644 --- a/books/core/125.html +++ b/books/core/125.html @@ -1,4 +1,3 @@ -

22 GAME RULES

SERVICE COST DESCRIPTION

Town Services

diff --git a/books/core/13.html b/books/core/13.html index 22a3664..381f39b 100644 --- a/books/core/13.html +++ b/books/core/13.html @@ -5,7 +5,6 @@ combining clever tactics and coordinating with your allies will you emerge victorious... especially when fighting against bosses!

-

Your World

Fabula Ultima has no default or "canonical" world, and that's on purpose! Your @@ -21,6 +20,4 @@ console roleplaying games, you can find a useful collection of inspirational worlds starting on page 16!

-

- "There is more than one side to each story..." -

+
"There is more than one side to each story..."
diff --git a/books/core/133.html b/books/core/133.html index c9ea897..5f8f70e 100644 --- a/books/core/133.html +++ b/books/core/133.html @@ -1,4 +1,3 @@ -

22 GAME RULES

Chapter Info: W | CHAPTER

BASIC SHIELDS

diff --git a/books/core/141.html b/books/core/141.html index 4e39f5f..5aa17f0 100644 --- a/books/core/141.html +++ b/books/core/141.html @@ -1,4 +1,3 @@ -

22 GAME RULES

PLAYER CHARACTER AGAINST PLAYER CHARACTER

While the protagonists of Fabula Ultima are heroes, this doesn’t mean there diff --git a/books/core/15.html b/books/core/15.html index a93a6d2..016dacd 100644 --- a/books/core/15.html +++ b/books/core/15.html @@ -1,4 +1,4 @@ -

MAGIC AND TECHNOLOGY

+

MAGIC AND TECHNOLOGY

In every Fabula Ultima world, science and magic represent two different ways of studying and manipulating reality: one concerns itself with the tangible diff --git a/books/core/16.html b/books/core/16.html index 7619ee8..2309f55 100644 --- a/books/core/16.html +++ b/books/core/16.html @@ -1,3 +1,5 @@ +

YOUR WORLD COULD BE... HIGH FANTASY

+

Great castles whose crystal spires reach the sky, fleets of ornate airships emerging from the clouds, vast stretches of enchanted forests, and ancient, @@ -26,5 +28,3 @@ Together they must overcome their differences and disagreements, forging strong bonds that will allow them to save the world from a terrible fate.

- -

YOUR WORLD COULD BE...

diff --git a/books/core/18.html b/books/core/18.html index cb63b98..eff5484 100644 --- a/books/core/18.html +++ b/books/core/18.html @@ -1,3 +1,5 @@ +

YOUR WORLD COULD BE... NATURAL FANTASY

+

Natural Fantasy Themes and Protagonists

Floating amidst a lush expanse of verdant forests, snow-capped mountains, and @@ -27,5 +29,3 @@ stir sentiments of hatred and mistrust, to prevent this darkness from corrupting the very balance of the world around them.

- -

YOUR WORLD COULD BE...

diff --git a/books/core/19.html b/books/core/19.html index 8cf3f6c..9928480 100644 --- a/books/core/19.html +++ b/books/core/19.html @@ -1,37 +1,29 @@ -

Natural Fantasy World Guide

+

NATURAL FANTASY LOCATIONS

+

+ In a natural fantasy world, every location and vista is deeply immersed in + vibrant colors and populated by great beasts and monsters. There are no cities + and roads, only small villages and narrow paths. But as our heroes venture + into ruins or deep into the darkest forests, things change — these forbidden + places are alien and magical, cold and terrifying. Things that were meant to + be forgotten dwell there... +

-
-

NATURAL FANTASY LOCATIONS

-

- In a natural fantasy world, every location and vista is deeply immersed in - vibrant colors and populated by great beasts and monsters. There are no - cities and roads, only small villages and narrow paths. But as our heroes - venture into ruins or deep into the darkest forests, things change — these - forbidden places are alien and magical, cold and terrifying. Things that - were meant to be forgotten dwell there... -

-
+

NATURAL FANTASY MAGIC

+

+ Magic is strongly tied to nature, life, and the elements: its traditions are + largely oral, passed down from elder to apprentice, and a mystery to most + people. The magic found in the ruins, however, is cold and artificial, a + remnant of an age of golems and machinery that defied and angered the forces + of nature. +

-
-

NATURAL FANTASY MAGIC

-

- Magic is strongly tied to nature, life, and the elements: its traditions are - largely oral, passed down from elder to apprentice, and a mystery to most - people. The magic found in the ruins, however, is cold and artificial, a - remnant of an age of golems and machinery that defied and angered the forces - of nature. -

-
- -
-

NATURAL FANTASY ANTAGONISTS

-

- In a natural fantasy world, antagonists tend to be disastrous calamities or - ancient and powerful monsters. When the antagonist is a person, they are - often misguided or acting for what they believed to be good for their - community: most of the time, they will see reason after the heroes thwart - their plans. The "true enemy", however, is generally something that cannot - be reasoned with, such as the immortal embodiment of a natural disaster that - will require great sacrifices to placate. -

-
+

NATURAL FANTASY ANTAGONISTS

+

+ In a natural fantasy world, antagonists tend to be disastrous calamities or + ancient and powerful monsters. When the antagonist is a person, they are often + misguided or acting for what they believed to be good for their community: + most of the time, they will see reason after the heroes thwart their plans. + The "true enemy", however, is generally something that cannot be reasoned + with, such as the immortal embodiment of a natural disaster that will require + great sacrifices to placate. +

diff --git a/books/core/20.html b/books/core/20.html index aa042ba..2df1941 100644 --- a/books/core/20.html +++ b/books/core/20.html @@ -1,3 +1,4 @@ +

YOUR WORLD COULD BE... TECHNO FANTASY

Heavy rain falls from polluted clouds, clanking sounds over the brass and steel pipework spreading from one building to another. Casting its shadow over @@ -33,9 +34,3 @@ Together, they engage a desperate struggle against those few who rule the world and the hearts of its people.

- -

YOUR WORLD COULD BE...

-
- Techno  Techno Fantasy  Fantasy -
diff --git a/books/core/21.html b/books/core/21.html index a0b56ef..08813b1 100644 --- a/books/core/21.html +++ b/books/core/21.html @@ -1,35 +1,28 @@ -

Techno Fantasy Elements

-
-

TECHNO FANTASY LOCATIONS

-

- Techno fantasy locations often take the form of a literal "above and below," - where the shining palaces of the wealthy steal the very sun from the vast - majority of the people who struggle daily in the slums below. Outside the - cities lies a barren world drained of all life and beauty, turned grey by - human greed. -

-
+

TECHNO FANTASY LOCATIONS

+

+ Techno fantasy locations often take the form of a literal "above and below," + where the shining palaces of the wealthy steal the very sun from the vast + majority of the people who struggle daily in the slums below. Outside the + cities lies a barren world drained of all life and beauty, turned grey by + human greed. +

-
-

TECHNO FANTASY MAGIC

-

- In a techno fantasy world, magic has largely been claimed by technology and - turned into yet another source of power, wealth, and warfare supremacy. The - stream of souls has been gravely wounded and corrupted, and the original - ways of magic were forgotten or — more likely — suppressed. -

-
+

TECHNO FANTASY MAGIC

+

+ In a techno fantasy world, magic has largely been claimed by technology and + turned into yet another source of power, wealth, and warfare supremacy. The + stream of souls has been gravely wounded and corrupted, and the original ways + of magic were forgotten or — more likely — suppressed. +

-
-

TECHNO FANTASY ANTAGONISTS

-

- The antagonists of a techno fantasy world should represent the darkness of - modern society and the ruthlessness of industry and exploitation. Wealthy - and influential, they simultaneously base their authority on brute military - force and stolen magic or artifacts. But perhaps their most insidious - quality is that many people still see them as ideal leaders and miraculously - self-made saviors, and are willing to be exploited and oppressed every day - in the vain hope of gaining their favor. Left unchecked, their egotistical - ambitions will lead to magical cataclysms or full-scale war. -

-
+

TECHNO FANTASY ANTAGONISTS

+

+ The antagonists of a techno fantasy world should represent the darkness of + modern society and the ruthlessness of industry and exploitation. Wealthy and + influential, they simultaneously base their authority on brute military force + and stolen magic or artifacts. But perhaps their most insidious quality is + that many people still see them as ideal leaders and miraculously self-made + saviors, and are willing to be exploited and oppressed every day in the vain + hope of gaining their favor. Left unchecked, their egotistical ambitions will + lead to magical cataclysms or full-scale war. +

diff --git a/books/core/22.html b/books/core/22.html index 63a44e1..da07f8c 100644 --- a/books/core/22.html +++ b/books/core/22.html @@ -1,4 +1,4 @@ -

GAME MATERIALS

+

GAME MATERIALS

Among the best qualities of roleplaying games is that they generally do not require particularly expensive materials beyond the rulebook — and you already @@ -6,7 +6,7 @@

To play the game, you will need the following:

-

GAME SHEETS

+

GAME SHEETS

These print-outs are used to keep track of important game information.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
AdvantageThe next Check performed by you or an ally will receive a +4 bonus.
Affliction + A creature suffers dazed, shaken, slow or weak (see page 94). +
Bonding + You create a Bond towards someone or something or add an emotion to one of + your existing Bonds (see page 56). +
Faux Pas + Choose a creature present on the scene: they make a compromising statement + chosen by the person who controls them. +
FavorYour actions earn you someone's support or admiration.
Information + You spot a useful clue or detail. The Game Master may tell you what it is, + or ask you to introduce that detail yourself. +
Lost ItemAn item is destroyed, lost, stolen, or left behind.
Progress + You may fill or erase up to two sections on a Clock (see page 52). +
Plot Twist!Someone or something of your choice sutdenly appears on the scene.
Scan + You discover one Vulnerability (see page 92) or one Trait (see page 302) of a + creature you can see. +
UnmaskYou learn the goals and motivations of a creature of your choice.
diff --git a/books/core/42.html b/books/core/42.html index acd299c..41bc6b9 100644 --- a/books/core/42.html +++ b/books/core/42.html @@ -47,5 +47,5 @@

For more information on how to handle and describe the outcome of a Check, see - page 44. + page 44.

diff --git a/books/core/43.html b/books/core/43.html index 6d01d16..733baed 100644 --- a/books/core/43.html +++ b/books/core/43.html @@ -1,8 +1,7 @@ -

22 GAME RULES

DIFFICULTY LEVELS

- A Check’s Difficulty Level (DL) is a measure of how complex and risky a + A Check's Difficulty Level (DL) is a measure of how complex and risky a certain operation can be. It abstracts several elements into a single number:

@@ -64,7 +63,7 @@ -

GO WITH TEN

+

GO WITH TEN

If you are the Game Master and find yourself stumped when choosing an diff --git a/books/core/44.html b/books/core/44.html index 8251022..1637532 100644 --- a/books/core/44.html +++ b/books/core/44.html @@ -43,8 +43,8 @@ only a 5!

- It is normally the Game Master’s role to describe the outcome of an action by - taking into account the character’s stated goals and the Result of their + It is normally the Game Master's role to describe the outcome of an action by + taking into account the character's stated goals and the Result of their Check; however, taking a step back and asking for input can make for great roleplay moments.

diff --git a/books/core/45.html b/books/core/45.html index d085d90..643177e 100644 --- a/books/core/45.html +++ b/books/core/45.html @@ -9,40 +9,41 @@
  • Relevant success. If a character succeeds at a Check, they - have confronted the odds and emerged victorious. The Game Master shouldn’t + have confronted the odds and emerged victorious. The Game Master shouldn't call for further Checks to “confirm” their success: they have earned it.

    - If you think an objective requires multiple Checks, use a Clock (see page - 52). + If you think an objective requires multiple Checks, use a Clock (see page 52).

  • No do-overs. Just like a success should not require further confirmation, a failure means you can't "try again" unless the situation is drastically altered in some way. -

    - This rule allows Player Characters to turn failure into success, but it - comes at a steep price. When a character fails a Check, anyone may propose - a success at a cost. The Game Master can make adjustments to the cost as - they see fit, and then the Player who performed the Check can accept or - refuse. -

    -

    - When determining whether a given cost would be appropriate, remember that - it should put the character in a rough spot or take something important - away from them. If a cost can be remedied with little effort, something is - wrong. -

    -

    - Back to the previous example: The High Master might listen to Brigid's - reasons, but only if she publicly apologizes and admits that Relde's - scholars are better than her. -

    • + +

    OPTIONAL: SUCCESS AT A COST

    + +

    + This rule allows Player Characters to turn failure into success, but it comes + at a steep price. When a character fails a Check, anyone may propose a success + at a cost. The Game Master can make adjustments to the cost as they see fit, + and then the Player who performed the Check can accept or refuse. +

    +

    + When determining whether a given cost would be appropriate, remember that it + should put the character in a rough spot or take something important away from + them. If a cost can be remedied with little effort, something is wrong. +

    +

    + Back to the previous example: The High Master might listen to Brigid's + reasons, but only if she publicly apologizes and admits that Relde's scholars + are better than her. +

    You cannot succeed at a cost if your character fumbled the Check. When you succeed at a cost, the Check's High Roll and Result remain the same.

    - -

    OPTIONAL: SUCCESS AT A COST

    diff --git a/books/core/46.html b/books/core/46.html index 1b8ede9..e2cd981 100644 --- a/books/core/46.html +++ b/books/core/46.html @@ -1,4 +1,4 @@ -

    Invoking a Trait to Reroll Dice

    +

    Invoking a Trait to Reroll Dice

    Player Characters can attempt to turn the tide in their favor by calling upon one of their core Traits: their Identity, Origin, and Theme. @@ -8,8 +8,6 @@ Identity, Gaonia Empire as their Origin, and Guilt as their Theme.

    - -

    Mechanics

    After performing a Check, a Player Character may spend 1 Fabula Point and invoke one of their Traits to immediately pick up one or both dice and roll @@ -18,10 +16,8 @@ dice) will cost another Fabula Point.

    You cannot invoke a Trait if your character fumbled the Check.

    - -

    Example

    - Scenario: Ricard the mage is rushing towards the docking + Example: Ricard the mage is rushing towards the docking platform of Sorcerer Antigles’ airship. His companions, Edgar and Valea, are held captive within the vessel. There are only a few seconds left before the airship lifts off; Nadia (the Game Master) asks Ricard’s Player, Mark, to @@ -31,14 +27,14 @@

    Mark rolls the dice and gets a 6 and a 3, definitely not enough for him to - succeed. However, Ricard has 2 Fabula Points left. “Ricard’s Identity is that - of a Young Traveling Mage, which isn’t that useful here...” Mark frowns, “And - his Origin is Malorn Village... which doesn’t help either. But... I could + succeed. However, Ricard has 2 Fabula Points left. “Ricard's Identity is that + of a Young Traveling Mage, which isn't that useful here...” Mark frowns, “And + his Origin is Malorn Village... which doesn't help either. But... I could still use my Theme!”

    “Tell me more!” Nadia inquires.

    - “Well, Ricard’s Theme is Belonging. He is terribly afraid of losing the + “Well, Ricard's Theme is Belonging. He is terribly afraid of losing the companions he has found, of being on his own again. I think this will push him beyond his limits!”

    @@ -53,16 +49,14 @@

    Mark grins. "Sure! Oh, and by the way, here's the Fabula Point. So, the guards patrolling the area see a thin boy wearing a pointy hat plunge himself from - the platform; but once the airship lifts off, there’s someone clinging + the platform; but once the airship lifts off, there's someone clinging desperately to the landing gear!... Uhm, I mean, airships do have a landing gear, right?”

    - -

    Player Guidance

    Players should describe their actions in a way that is coherent with their Identity, Origin, or Theme if they want to spend a Fabula Point. Basically, - you shouldn’t do this when it feels forced within the narration — but then + you shouldn't do this when it feels forced within the narration — but then again, you as a Player have final say on how and when you spend your Fabula Points.

    diff --git a/books/core/47.html b/books/core/47.html index 482ee75..63717ee 100644 --- a/books/core/47.html +++ b/books/core/47.html @@ -1,4 +1,4 @@ -

    INVOKING A BOND TO IMPROVE YOUR CHECK

    +

    INVOKING A BOND TO IMPROVE YOUR CHECK

    Just like how a character's Traits can be used to reroll dice, Bonds — which @@ -44,7 +44,7 @@ measure of courage!"

    -

    Optional Rule: Invoking to Fail

    +

    Optional Rule: Invoking to Fail

    If you use this optional rule, Players may invoke their character's Bonds and @@ -61,14 +61,8 @@ The Check is then treated as an automatic failure with a Result and High Roll equal to 0. Then, the character gains 1 Fabula Point. - - -

    Restrictions:

    - - -

    OPTIONAL: INVOKING TO FAIL

    diff --git a/books/core/48.html b/books/core/48.html index 5b8f0df..32f4065 100644 --- a/books/core/48.html +++ b/books/core/48.html @@ -4,7 +4,7 @@ when a character wants to strike targets that are ready to defend themselves. Each weapon lists a specific Accuracy formula; a Steel Dagger, for instance, requires a roll of 【DEX + INS】 +1. The Difficulty Level is - generally equal to the target’s Defense score. + generally equal to the target's Defense score.

    When performing an Accuracy Check, the High Roll (HR) will be used to @@ -43,11 +43,10 @@ count as a draw and the Checks should be repeated.

    -

    Example

    - Montblanc the knight is struggling to free himself from the formidable grasp - of a dragon. The GM declares this is an Opposed Check using - 【DEX + MIG】. + Example: Montblanc the knight is struggling to free himself + from the formidable grasp of a dragon. The GM declares this is an Opposed + Check using 【DEX + MIG】.

    Montblanc rolls d8 + d10, but the dragon boasts a powerful d12 + d12: when the diff --git a/books/core/49.html b/books/core/49.html index de6cbf2..106c16b 100644 --- a/books/core/49.html +++ b/books/core/49.html @@ -1,4 +1,4 @@ -

    OPEN CHECKS

    +

    OPEN CHECKS

    This particular kind of Attribute Check has no Difficulty Level: instead, the @@ -8,30 +8,36 @@

    When you perform an Open Check, simply compare the Result with the table - below: + below: rolling a 13 while studying an ancient painting means you manage to get + information worthy of an expert archaeologist, while rolling an 8 would only + net you basic hints of what the artist wanted to portray.

    - - -

    Result Equates to...

    -

    - 7+: What could be accomplished by a person with a bit of - training or talent. -

    -

    - 10+: What could be achieved by someone competent or very - talented. -

    -

    13+: The work of an expert or true prodigy.

    -

    16+: A result worthy of being remembered in history.

    + + + + + + + + + + + + + + + + + + + + + + + +
    ResultEquates to...
    7+ + What could be accomplished by a person with a bit of training or talent. +
    10+What could be achieved by someone competent or very talented.
    13+The work of an expert or true prodigy.
    16+A result worthy of being remembered in history.

    SITUATIONAL MODIFIERS

    diff --git a/books/core/50.html b/books/core/50.html index 929318e..db98cf0 100644 --- a/books/core/50.html +++ b/books/core/50.html @@ -1,4 +1,4 @@ -

    GROUP CHECKS

    +

    GROUP CHECKS

    Characters can choose to cooperate in order to increase their chance of success within specific situations. @@ -20,16 +20,16 @@ Each supporting character that successfully performed their Check will grant a +1 bonus to the leader's Check. -

  • - The leader performs the final Check, which works as normal and may generate - opportunities in case of a fumble or critical success. The Check's outcome - affects everyone who took part in the Group Check. -
  • If any of the successful supporting characters have a Bond towards the leader, the highest strength among those Bonds is also added to the leader's Check. Remember, only add the single highest Bond strength.
    • +
  • + The leader performs the final Check, which works as normal and may generate + opportunities in case of a fumble or critical success. The Check's outcome + affects everyone who took part in the Group Check. +

    • Group Checks are extremely useful when two or more characters are performing @@ -39,8 +39,9 @@

    Example:

    Three heroes are trying to persuade the Great Owl to grant them access to her - ancient library. The leader performs a DL 13 【INS + WLP】 Check, and the two - supporting characters perform 【INS + WLP】 Checks with a Difficulty of 10. - They both succeed, and one has a strength 2 Bond towards the leader. Thus, the - leader's Check will receive a total bonus equal to +4. + ancient library. The leader performs a DL 13 + 【INS + WLP】 Check, and the two supporting + characters perform 【INS + WLP】 Checks with a + Difficulty of 10. They both succeed, and one has a strength 2 Bond towards the + leader. Thus, the leader's Check will receive a total bonus equal to +4.

    diff --git a/books/core/51.html b/books/core/51.html index 39a9cae..76e265d 100644 --- a/books/core/51.html +++ b/books/core/51.html @@ -1,6 +1,3 @@ -

    22GAME RULES

    -

    CHAPTER CHAPTER

    -

    FREQUENTLY USED CHECKS

    The table below contains a list of circumstances that might require a Check @@ -24,7 +21,7 @@ 【DEX + INS】 - Anticipating someone’s movements and catching them by surprise. + Anticipating someone's movements and catching them by surprise. 【DEX + INS】 @@ -32,7 +29,7 @@ 【DEX + INS】 - Moving gracefully to earn someone’s attention. + Moving gracefully to earn someone's attention. 【DEX + WLP】 @@ -66,20 +63,20 @@ -

    - Beneath the Crystal Temple slumbers the Great Dragon God, who once turned the - Babel Empire to ash. -

    -

    Optional Rule: Shared Attribute Choice

    +

    If you use this optional rule, Players can decide one of the Attributes involved in each Check they perform, while the Game Master decides the other (which can be the same Attribute or a different one).

    +

    This rule does not apply to Checks whose Attributes are already established by the rules, such as Accuracy Checks.

    -

    OPTIONAL: SHARED ATTRIBUTE CHOICE

    +
    + Beneath the Crystal Temple slumbers the Great Dragon God, who once turned the + Babel Empire to ash. +
    diff --git a/books/core/52.html b/books/core/52.html index 54e6c31..3c95e50 100644 --- a/books/core/52.html +++ b/books/core/52.html @@ -20,10 +20,10 @@ surveillance, failed Checks might fill a “High Alert!” Clock.
  • - When the heroes realize they can’t defeat a colossal foe in usual combat, + When the heroes realize they can't defeat a colossal foe in usual combat, they might choose to adopt a different tactic: striking the stone columns and causing the roof to collapse on top of the enemy! In this scenario, a - Clock can be used to keep track of how weakened the ceiling’s support is; + Clock can be used to keep track of how weakened the ceiling's support is; once filled, the monster will be crushed under the debris!
  • @@ -39,7 +39,7 @@ should be visible to everyone: this makes for tense and adrenaline inducing play. They should also be tied to a specific obstacle, goal, or danger, but not to a specific method or approach: this will allow characters to interact - with them in different ways. Let’s take the collapsing ceiling described + with them in different ways. Let's take the collapsing ceiling described above: characters could accomplish that by striking the pillars, pulverizing them with magic, or even throwing an enemy against them!

    diff --git a/books/core/53.html b/books/core/53.html index e99bd3b..7ca642b 100644 --- a/books/core/53.html +++ b/books/core/53.html @@ -1,6 +1,7 @@ -

    22GAME RULES

    -

    CHAPTER ADVANCING A CLOCK

    +

    CHAPTER ADVANCING A CLOCK

    +

    In general, Clocks advance through Checks:

    + -

    THE ACTION ECONOMY

    +

    OPTIONAL: ENEMY INITIATIVE

    +

    If you are the Game Master, it can be hard to remember which adversaries still need to take their turn. An excellent solution is to have enemies take their @@ -37,5 +40,3 @@ predictable, but also allows you to focus on more important aspects of the conflict.

    - -

    OPTIONAL: ENEMY INITIATIVE

    diff --git a/books/core/64.html b/books/core/64.html index 5cc643b..63766fe 100644 --- a/books/core/64.html +++ b/books/core/64.html @@ -5,19 +5,17 @@

    There are a few important things to say about this:

    - + + diff --git a/books/core/65.html b/books/core/65.html index 2877d48..3e3a638 100644 --- a/books/core/65.html +++ b/books/core/65.html @@ -1,28 +1,30 @@ -
    -

    d OKAY , BUT...

    -

    - There are situations in which distances and positions are supposed to play - an important role: what if there's a sniper atop a tower? What if a terrible - ritual tears open a chasm in the middle of the battlefield? -

    -

    The advice boils down to the following:

    -
      -
    • - Don't overcomplicate things. Play to this game's strengths, and avoid - situations in which suspension of disbelief becomes too strained. -
      • -
    • - Sometimes, experiment. If you want to introduce distance as an important - element in the game, treat it as a "puzzle" that can be solved in creative - ways while the conflict progresses. For instance, you might make melee - attacks useless in a battle between two flying galleons — at that point, - engaging in close combat would require approaching and boarding the enemy - ship... time for a Clock! -
      • -
    -

    - In the end, the most important thing to remember is that conflicts shouldn't - be resolved through careful movement and positioning, but through clever use - of the character's Skills and actions. -

    -
    +
    +
    OKAY , BUT...
    +
    +

    + There are situations in which distances and positions are supposed to play + an important role: what if there's a sniper atop a tower? What if a + terrible ritual tears open a chasm in the middle of the battlefield? +

    +

    The advice boils down to the following:

    +
      +
    • + Don't overcomplicate things. Play to this game's strengths, and avoid + situations in which suspension of disbelief becomes too strained. +
      • +
    • + Sometimes, experiment. If you want to introduce distance as an important + element in the game, treat it as a "puzzle" that can be solved in + creative ways while the conflict progresses. For instance, you might + make melee attacks useless in a battle between two flying galleons — at + that point, engaging in close combat would require approaching and + boarding the enemy ship... time for a Clock! +
      • +
    +

    + In the end, the most important thing to remember is that conflicts + shouldn't be resolved through careful movement and positioning, but + through clever use of the character's Skills and actions. +

    +
    +
    diff --git a/books/core/66.html b/books/core/66.html index 82615c7..ca63b22 100644 --- a/books/core/66.html +++ b/books/core/66.html @@ -19,23 +19,20 @@

    -

    - When you pick up an accessory, a shield, or a weapon, you may immediately - equip it — provided you have a free slot and are able to equip the item in - question (for more information on this, see page 122). -

    - -

    Minor Activities also include:

    -

    Finally, apply the normal damage calculation to each target.

    -

    TWO-WEAPON FIGHTING

    +

    TWO-WEAPON FIGHTING

    When you perform the Attack action, if you have two weapons of the same Category equipped (such as two swords or two firearms), you may declare that diff --git a/books/core/70.html b/books/core/70.html index a2a67e8..9b1f5c4 100644 --- a/books/core/70.html +++ b/books/core/70.html @@ -1,4 +1,4 @@ -

    d EQUIPMENT

    +

    EQUIPMENT

    When you use this action, you may store any number of your equipped items in your backpack, and you may take any number of items from your backpack and @@ -13,7 +13,7 @@

    For more information on equipping items, see page 122.

    -

    d GUARD

    +

    d GUARD

    When using this action, you focus your attention on defending your teammates and thwarting enemy tactics. @@ -33,13 +33,10 @@ You may also choose to cover another creature present on the scene. If you do, that creature cannot be targeted by melee attacks until the start of your next turn — this effect will also end if you die, leave the scene, or - are knocked unconscious. + are knocked unconscious. You cannot cover a creature that is already + covering someone.

    • -

    Limitations:

    -

    Even if you gain the ability to perform multiple actions during your turn (or to perform the Guard action for free as part of another effect), the Guard diff --git a/books/core/71.html b/books/core/71.html index f8e9fe7..1dfe8a3 100644 --- a/books/core/71.html +++ b/books/core/71.html @@ -1,5 +1,3 @@ -

    22 GAME RULES

    -

    Hinder

    You force an opponent into a disadvantageous position. This may represent a diff --git a/books/core/81.html b/books/core/81.html index 8b3e6bb..043096e 100644 --- a/books/core/81.html +++ b/books/core/81.html @@ -1,5 +1,3 @@ -

    22 GAME RULES

    -

    KEEP THEM OUT

    While facing off against a powerful necromancer, the heroes are swarmed by diff --git a/books/core/index.html b/books/core/index.html index cae6ef6..b67fa57 100644 --- a/books/core/index.html +++ b/books/core/index.html @@ -2505,30 +2505,28 @@ protagonists of the story act and live. As the protagonists establish goals and make choices, the Game Master will challenge those goals and describe the consequences of their actions. + You can find more about the Game Master's role on page + 26! - -

    - You can find more about the Game Master's role on page 26! -

    - - -

    - Characters that are controlled by the Game Master, on the other - hand, are called Non-Player Characters, or NPCs. -

    -

    - You can find more about each Player's role on page 24! -

    While it is true that the role of the Game Master is to present @@ -2544,8 +2542,7 @@

    -

    INTRODUCTION

    -

    CHAPTER d THE BASICS OF PLAY

    +

    The Basics of Play

    In the conversation, Players describe their characters' actions and choices: @@ -2577,9 +2574,7 @@ often called "the fiction".

    -

    - -

    d THE RULES

    +

    THE RULES

    This is also a game, and that's where the rules come into play: much like in a video game or board game, characters have scores @@ -2596,8 +2591,10 @@

    -

    This is a tale of heroes and darkness.

    -

    Of great hope... and even greater sacrifice.

    +
    + This is a tale of heroes and darkness. Of great hope... and even + greater sacrifice. +
    @@ -2656,7 +2653,6 @@ coordinating with your allies will you emerge victorious... especially when fighting against bosses!

    -

    Your World

    Fabula Ultima has no default or "canonical" world, and that's on @@ -2673,9 +2669,9 @@ of Japanese console roleplaying games, you can find a useful collection of inspirational worlds starting on page 16!

    -

    +

    "There is more than one side to each story..." -

    +
    @@ -2738,7 +2734,7 @@
    -

    MAGIC AND TECHNOLOGY

    +

    MAGIC AND TECHNOLOGY

    In every Fabula Ultima world, science and magic represent two different ways of studying and manipulating reality: one concerns @@ -2802,6 +2798,8 @@

    +

    YOUR WORLD COULD BE... HIGH FANTASY

    +

    Great castles whose crystal spires reach the sky, fleets of ornate airships emerging from the clouds, vast stretches of enchanted @@ -2840,8 +2838,6 @@ forging strong bonds that will allow them to save the world from a terrible fate.

    - -

    YOUR WORLD COULD BE...

    @@ -2879,6 +2875,8 @@
    +

    YOUR WORLD COULD BE... NATURAL FANTASY

    +

    Natural Fantasy Themes and Protagonists

    Floating amidst a lush expanse of verdant forests, snow-capped @@ -2925,54 +2923,44 @@ darkness from corrupting the very balance of the world around them.

    - -

    YOUR WORLD COULD BE...

    -

    Natural Fantasy World Guide

    +

    NATURAL FANTASY LOCATIONS

    +

    + In a natural fantasy world, every location and vista is deeply + immersed in vibrant colors and populated by great beasts and + monsters. There are no cities and roads, only small villages and + narrow paths. But as our heroes venture into ruins or deep into + the darkest forests, things change — these forbidden places are + alien and magical, cold and terrifying. Things that were meant to + be forgotten dwell there... +

    -
    -

    NATURAL FANTASY LOCATIONS

    -

    - In a natural fantasy world, every location and vista is deeply - immersed in vibrant colors and populated by great beasts and - monsters. There are no cities and roads, only small villages and - narrow paths. But as our heroes venture into ruins or deep into - the darkest forests, things change — these forbidden places are - alien and magical, cold and terrifying. Things that were meant - to be forgotten dwell there... -

    -
    +

    NATURAL FANTASY MAGIC

    +

    + Magic is strongly tied to nature, life, and the elements: its + traditions are largely oral, passed down from elder to apprentice, + and a mystery to most people. The magic found in the ruins, + however, is cold and artificial, a remnant of an age of golems and + machinery that defied and angered the forces of nature. +

    -
    -

    NATURAL FANTASY MAGIC

    -

    - Magic is strongly tied to nature, life, and the elements: its - traditions are largely oral, passed down from elder to - apprentice, and a mystery to most people. The magic found in the - ruins, however, is cold and artificial, a remnant of an age of - golems and machinery that defied and angered the forces of - nature. -

    -
    - -
    -

    NATURAL FANTASY ANTAGONISTS

    -

    - In a natural fantasy world, antagonists tend to be disastrous - calamities or ancient and powerful monsters. When the antagonist - is a person, they are often misguided or acting for what they - believed to be good for their community: most of the time, they - will see reason after the heroes thwart their plans. The "true - enemy", however, is generally something that cannot be reasoned - with, such as the immortal embodiment of a natural disaster that - will require great sacrifices to placate. -

    -
    +

    NATURAL FANTASY ANTAGONISTS

    +

    + In a natural fantasy world, antagonists tend to be disastrous + calamities or ancient and powerful monsters. When the antagonist + is a person, they are often misguided or acting for what they + believed to be good for their community: most of the time, they + will see reason after the heroes thwart their plans. The "true + enemy", however, is generally something that cannot be reasoned + with, such as the immortal embodiment of a natural disaster that + will require great sacrifices to placate. +

    +

    YOUR WORLD COULD BE... TECHNO FANTASY

    Heavy rain falls from polluted clouds, clanking sounds over the brass and steel pipework spreading from one building to another. @@ -3013,57 +3001,44 @@ Together, they engage a desperate struggle against those few who rule the world and the hearts of its people.

    - -

    YOUR WORLD COULD BE...

    -
    - Techno  Techno Fantasy  Fantasy -
    -

    Techno Fantasy Elements

    -
    -

    TECHNO FANTASY LOCATIONS

    -

    - Techno fantasy locations often take the form of a literal "above - and below," where the shining palaces of the wealthy steal the - very sun from the vast majority of the people who struggle daily - in the slums below. Outside the cities lies a barren world - drained of all life and beauty, turned grey by human greed. -

    -
    +

    TECHNO FANTASY LOCATIONS

    +

    + Techno fantasy locations often take the form of a literal "above + and below," where the shining palaces of the wealthy steal the + very sun from the vast majority of the people who struggle daily + in the slums below. Outside the cities lies a barren world drained + of all life and beauty, turned grey by human greed. +

    -
    -

    TECHNO FANTASY MAGIC

    -

    - In a techno fantasy world, magic has largely been claimed by - technology and turned into yet another source of power, wealth, - and warfare supremacy. The stream of souls has been gravely - wounded and corrupted, and the original ways of magic were - forgotten or — more likely — suppressed. -

    -
    +

    TECHNO FANTASY MAGIC

    +

    + In a techno fantasy world, magic has largely been claimed by + technology and turned into yet another source of power, wealth, + and warfare supremacy. The stream of souls has been gravely + wounded and corrupted, and the original ways of magic were + forgotten or — more likely — suppressed. +

    -
    -

    TECHNO FANTASY ANTAGONISTS

    -

    - The antagonists of a techno fantasy world should represent the - darkness of modern society and the ruthlessness of industry and - exploitation. Wealthy and influential, they simultaneously base - their authority on brute military force and stolen magic or - artifacts. But perhaps their most insidious quality is that many - people still see them as ideal leaders and miraculously - self-made saviors, and are willing to be exploited and oppressed - every day in the vain hope of gaining their favor. Left - unchecked, their egotistical ambitions will lead to magical - cataclysms or full-scale war. -

    -
    +

    TECHNO FANTASY ANTAGONISTS

    +

    + The antagonists of a techno fantasy world should represent the + darkness of modern society and the ruthlessness of industry and + exploitation. Wealthy and influential, they simultaneously base + their authority on brute military force and stolen magic or + artifacts. But perhaps their most insidious quality is that many + people still see them as ideal leaders and miraculously self-made + saviors, and are willing to be exploited and oppressed every day + in the vain hope of gaining their favor. Left unchecked, their + egotistical ambitions will lead to magical cataclysms or + full-scale war. +

    -

    GAME MATERIALS

    +

    GAME MATERIALS

    Among the best qualities of roleplaying games is that they generally do not require particularly expensive materials beyond @@ -3071,7 +3046,7 @@

    To play the game, you will need the following:

    -

    GAME SHEETS

    +

    GAME SHEETS

    These print-outs are used to keep track of important game information. @@ -3111,7 +3086,7 @@ fabulaultima.com.

    -

    PAPER, PENCILS, AND ERASERS

    +

    PAPER, PENCILS, AND ERASERS

    Most of the time, you will want to write on your sheets in pencil — this will allow you to easily correct mistakes and update any @@ -3124,9 +3099,9 @@

    -

    INTRODUCTION

    +

    INTRODUCTION

    -

    TOKENS

    +

    TOKENS

    Some characters will have special "points" at their disposal: Player Characters have Fabula Points and Villains @@ -3136,7 +3111,7 @@

    The more tokens you have, the better.

    -

    DICE

    +

    DICE

    The game makes use of a variety of dice in different shapes:

    @@ -3290,13 +3263,13 @@
    -

    THE GAME MASTER

    +

    THE GAME MASTER

    If you are the Game Master, here's how you should approach the game:

    -

    READ THIS BOOK

    +

    READ THIS BOOK

    Make sure to read the Introduction — hey, you’re already doing that! — learn the Game Rules and familiarize @@ -3306,7 +3279,7 @@ consult the Bestiary.

    -

    GATHER THE PROPER TOOLS

    +

    GATHER THE PROPER TOOLS

    To play the game you will need pencils, erasers, a world sheet for your game world and a variable amount of map sheets, depending on @@ -3316,7 +3289,7 @@ d8, d10, d12, and d20).

    -

    FOLLOW THE RULES

    +

    FOLLOW THE RULES

    Learn the rules of the game and apply them as they are written. If you think one or more elements should be altered, discuss the @@ -3324,7 +3297,7 @@ entire group has agreed on how to do so.

    -

    TAKE PART IN WORLD, GROUP AND CHARACTER CREATION

    +

    TAKE PART IN WORLD, GROUP AND CHARACTER CREATION

    Assist the Players during World Creation (page 148), Group Creation (page 152), and Character Creation (page 154). Use this @@ -3334,7 +3307,7 @@ to help you create engaging situations during gameplay.

    -

    BREATHE LIFE INTO THE GAME WORLD

    +

    BREATHE LIFE INTO THE GAME WORLD

    Regardless of the game world you have created together, it falls upon your shoulders to populate it with fantastic locations, @@ -3401,13 +3374,11 @@

    -
    -

    28

    -

    W W

    -
    +

    GAME RULES

    +

    This chapter contains the core rules required to play Fabula Ultima. @@ -3482,38 +3453,29 @@

    Generally, a scene flows like this:

    - -

    Ending the Scene

    -

    - The Game Master can end the scene at any point, often wrapping - things up with a short description of what happens. You should - generally end a scene when: -

    - - -

    Beginning the Scene

    -

    - The Game Master introduces the scene and describes the situation - (a process known as framing the scene), especially the following: -

    - -

    - Note: The GM should keep things simple — one or two - sentences are enough. -

    +
    +

    Beginning the Scene

    +

    + The Game Master introduces the scene and describes the situation + (a process known as framing the scene), especially the + following: +

    +
      +
    • + Which characters are present on the scene (this is often + self-evident). +
      • +
    • The time and location of the scene.
      • +
    • + Creatures, items or other elements that the characters may + interact with. +
      • +
    +

    + Note: The GM should keep things simple — one or two + sentences are enough. +

    +

    Playing the Scene

    @@ -3529,11 +3491,21 @@ Checks, on page 38).

    +

    Ending the Scene

    +

    + The Game Master can end the scene at any point, often wrapping + things up with a short description of what happens. You should + generally end a scene when: +

    + +

    Once a scene has ended, another one will begin.

    -

    GAME RULES

    Once you start playing, you will find that scenes tend to flow naturally, so you will rarely have to check whether a scene has @@ -3650,38 +3622,41 @@

    -

    IMPORTANT RULES

    +

    IMPORTANT RULES

    -
    -

    ALLIES

    +
    +

    ALLIES

    Some effects in the game affect "allies". In game terms, an ally is simply anyone who you consider to be your ally in the current scene. If an effect specifically targets allies (and not simply creatures or characters), you cannot use it on yourself.

    -
    + -
    -

    ALWAYS ROUND DOWN

    +
    +

    ALWAYS ROUND DOWN

    While playing, you will sometimes need to halve numbers or divide them by a certain value. When this happens, always round down to a minimum of 0.

    -
    + -
    -

    ADD, SUBTRACT, MULTIPLY, DIVIDE

    +
    +

    ADD, SUBTRACT, MULTIPLY, DIVIDE

    If you ever need to perform multiple operations on the same - number, you must do so in the following order: additions u - subtractions u multiplications u divisions. + number, you must do so in the following order: + additions → subtractions → multiplications → + divisions.

    -
    + -
    -

    SPECIFIC BEATS GENERAL

    +
    +

    SPECIFIC BEATS GENERAL

    If a specific element of the game contradicts a general rule, that specific element will take precedence. Example: Normally, a @@ -3690,10 +3665,10 @@ Skill Dual Shieldbearer (page 197) allows you to do so!

    -
    + -
    -

    TIMING ISSUES

    +
    +

    TIMING ISSUES

    Sometimes a rule or effect will cause multiple choices or effects to trigger, and it will be important to know who gets to @@ -3716,7 +3691,7 @@ Player Characters always go first. -

    +
    @@ -3881,7 +3856,7 @@
    -

    CHAPTER HIT POINTS, MIND POINTS, AND INVENTORY POINTS

    +

    HIT POINTS, MIND POINTS, AND INVENTORY POINTS

    These pools of points represent three different "resources" available to a character: @@ -3939,16 +3914,19 @@

    ZENIT

    Zenit is the common currency used in the worlds of Fabula Ultima. +

    + +
    The hopes and fears of this land now rest on your shoulders. Ready or not, this is your fate. -

    +

    CHECKS

    - The word “Check” indicates a die roll based on a character’s core + The word “Check” indicates a die roll based on a character's core Attributes: Dexterity, Insight, Might, and Willpower. @@ -3957,19 +3935,20 @@

    In general, characters must perform Checks:

    +

    Note that only the Game Master can ask for a Check; Players may never do so. @@ -3982,7 +3961,7 @@

    - Example: An <INS + WLP> Check + Example: An 【INS + WLP】 Check performed by a character with d6 Insight and d10 Willpower will result in that character rolling a d6 and a d10 and adding them together, thus generating a total Result between 2 and 16. @@ -3992,15 +3971,17 @@ Some Checks will also require you to add or subtract a certain number from the total you rolled:

    +

    Example: A Character performing a - <MIG + MIG> +5 Check will roll their Might die - twice and then add 5 to the Result. + 【MIG + MIG】+5 Check will roll their Might die twice + and then add 5 to the Result.

    -

    22 GAME RULES

    +

    WHEN TO PERFORM CHECKS

    +

    For a Game Master, knowing when to call for a Check and when not to do so is a Skill that develops over time through trial and @@ -4009,7 +3990,7 @@

    - -

    WHEN TO PERFORM CHECKS

    -

    CHECK TERMINOLOGY

    +

    CHECK TERMINOLOGY

    +

    The following terms are key to understanding how Checks work:

    Modifier
    Any numerical value that is added to or subtracted from a Check. - If you perform a <DEX + MIG> +2 Check, for + If you perform a <DEX + MIG> +2 Check, for instance, the modifier is “+2”. If the modifier is added, it is a bonus; if it is subtracted, it is a penalty.
    @@ -4093,7 +4073,7 @@
    -

    CRITICAL SUCCESS

    +

    CRITICAL SUCCESS

    When both dice rolled during a Check show the same number, and that number is 6 or higher, the Result is a critical success. @@ -4104,29 +4084,31 @@ opportunity (see next page).

    -

    FUMBLE

    +

    FUMBLE

    When both dice rolled during a Check show a 1, the Result is a fumble, which is the exact opposite of a critical success: no matter the modifiers, a fumbled Check is always a failure — not due to the character’s incompetence, but because of some unfortunate twist. When you roll a fumble, whoever controls your - opposition in this scene gets an opportunity (see next page). -

    -

    - When a Player Character rolls a fumble, they immediately earn 1 - Fabula Point (see page 96). + opposition in this scene gets an opportunity (see + next page).

    -
    +

    + When a Player Character rolls a fumble, they immediately earn 1 + Fabula Point (see page 96). +

    -

    Opportunities

    +

    Opportunities

    +

    Opportunities are unexpected twists in the story — sometimes good, sometimes bad.

    +

    When you spend an opportunity, you may pick an option from the list below or come up with a different twist that fits the current @@ -4134,86 +4116,102 @@ appropriate to the current situation, and some spells and Skills will allow you to spend opportunities in new and powerful ways.

    +

    Example: Valea the thief is hopping from roof to - roof in an attempt to shake off Count Eligor’s mercenaries. The + roof in an attempt to shake off Count Eligor's mercenaries. The Game Master calls for a 【DEX + MIG】 Check and Valea rolls a 7 and a 7, a critical success! The Player controlling Valea describes how she loses her pursuers and chooses the Favor opportunity: her daring performance will earn her the sympathy of the villagers, who were already fed up with - the Count’s tyranny! + the Count's tyranny!

    OPPORTUNITIES

    -
    -
    Advantage
    -
    - The next Check performed by you or an ally will receive a +4 - bonus. -
    - -
    Affliction
    -
    - A creature suffers dazed, shaken, slow or weak (see page 94). -
    - -
    Bonding
    -
    - You create a Bond towards someone or something or add an emotion - to one of your existing Bonds (see page 56). -
    - -
    Faux Pas
    -
    - Choose a creature present on the scene: they make a compromising - statement chosen by the person who controls them. -
    - -
    Favor
    -
    Your actions earn you someone’s support or admiration.
    - -
    Information
    -
    - You spot a useful clue or detail. The Game Master may tell you - what it is, or ask you to introduce that detail yourself. -
    - -
    Lost Item
    -
    An item is destroyed, lost, stolen, or left behind.
    - -
    Progress
    -
    - You may fill or erase up to two sections on a Clock (see page 52). -
    - -
    Plot Twist!
    -
    - Someone or something of your choice suddenly appears on the - scene. -
    - -
    Scan
    -
    - You discover one Vulnerability (see page 92) or one Trait (see page 302) of a - creature you can see. -
    - -
    Unmask
    -
    - You learn the goals and motivations of a creature of your - choice. -
    -
    + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
    Advantage + The next Check performed by you or an ally will receive a +4 + bonus. +
    Affliction + A creature suffers dazed, shaken, slow or weak (see page 94). +
    Bonding + You create a Bond towards someone or something or add an + emotion to one of your existing Bonds (see page 56). +
    Faux Pas + Choose a creature present on the scene: they make a + compromising statement chosen by the person who controls them. +
    FavorYour actions earn you someone's support or admiration.
    Information + You spot a useful clue or detail. The Game Master may tell you + what it is, or ask you to introduce that detail yourself. +
    Lost ItemAn item is destroyed, lost, stolen, or left behind.
    Progress + You may fill or erase up to two sections on a Clock (see page 52). +
    Plot Twist! + Someone or something of your choice sutdenly appears on the + scene. +
    Scan + You discover one Vulnerability (see page 92) or one Trait (see page 302) of a creature you can see. +
    Unmask + You learn the goals and motivations of a creature of your + choice. +
    @@ -4270,16 +4268,16 @@

    For more information on how to handle and describe the outcome of - a Check, see page 44. + a Check, see + page 44.

    -

    22 GAME RULES

    DIFFICULTY LEVELS

    - A Check’s Difficulty Level (DL) is a measure of how complex and + A Check's Difficulty Level (DL) is a measure of how complex and risky a certain operation can be. It abstracts several elements into a single number:

    @@ -4347,7 +4345,7 @@ -

    GO WITH TEN

    +

    GO WITH TEN

    If you are the Game Master and find yourself stumped when choosing @@ -4406,8 +4404,8 @@ together... only a 5!

    - It is normally the Game Master’s role to describe the outcome of - an action by taking into account the character’s stated goals and + It is normally the Game Master's role to describe the outcome of + an action by taking into account the character's stated goals and the Result of their Check; however, taking a step back and asking for input can make for great roleplay moments.

    @@ -4444,48 +4442,49 @@
  • Relevant success. If a character succeeds at a Check, they have confronted the odds and emerged victorious. The - Game Master shouldn’t call for further Checks to “confirm” their + Game Master shouldn't call for further Checks to “confirm” their success: they have earned it.

    If you think an objective requires multiple Checks, use a - Clock (see page 52). + Clock (see page 52).

  • No do-overs. Just like a success should not require further confirmation, a failure means you can't "try again" unless the situation is drastically altered in some way. -

    - This rule allows Player Characters to turn failure into - success, but it comes at a steep price. When a character fails - a Check, anyone may propose a success at a cost. The Game - Master can make adjustments to the cost as they see fit, and - then the Player who performed the Check can accept or refuse. -

    -

    - When determining whether a given cost would be appropriate, - remember that it should put the character in a rough spot or - take something important away from them. If a cost can be - remedied with little effort, something is wrong. -

    -

    - Back to the previous example: The High Master might listen to - Brigid's reasons, but only if she publicly apologizes and - admits that Relde's scholars are better than her. -

    • + +

    OPTIONAL: SUCCESS AT A COST

    + +

    + This rule allows Player Characters to turn failure into success, + but it comes at a steep price. When a character fails a Check, + anyone may propose a success at a cost. The Game Master can make + adjustments to the cost as they see fit, and then the Player who + performed the Check can accept or refuse. +

    +

    + When determining whether a given cost would be appropriate, + remember that it should put the character in a rough spot or take + something important away from them. If a cost can be remedied with + little effort, something is wrong. +

    +

    + Back to the previous example: The High Master might listen to + Brigid's reasons, but only if she publicly apologizes and admits + that Relde's scholars are better than her. +

    You cannot succeed at a cost if your character fumbled the Check. When you succeed at a cost, the Check's High Roll and Result remain the same.

    - -

    OPTIONAL: SUCCESS AT A COST

    -

    Invoking a Trait to Reroll Dice

    +

    Invoking a Trait to Reroll Dice

    Player Characters can attempt to turn the tide in their favor by calling upon one of their core Traits: their Identity, Origin, and @@ -4497,8 +4496,6 @@ Origin, and Guilt as their Theme.

    - -

    Mechanics

    After performing a Check, a Player Character may spend 1 Fabula Point and invoke one of their Traits to immediately pick up one or @@ -4510,10 +4507,8 @@

    You cannot invoke a Trait if your character fumbled the Check.

    - -

    Example

    - Scenario: Ricard the mage is rushing towards the + Example: Ricard the mage is rushing towards the docking platform of Sorcerer Antigles’ airship. His companions, Edgar and Valea, are held captive within the vessel. There are only a few seconds left before the airship lifts off; Nadia (the @@ -4525,14 +4520,14 @@

    Mark rolls the dice and gets a 6 and a 3, definitely not enough for him to succeed. However, Ricard has 2 Fabula Points left. - “Ricard’s Identity is that of a Young Traveling Mage, which isn’t + “Ricard's Identity is that of a Young Traveling Mage, which isn't that useful here...” Mark frowns, “And his Origin is Malorn - Village... which doesn’t help either. But... I could still use my + Village... which doesn't help either. But... I could still use my Theme!”

    “Tell me more!” Nadia inquires.

    - “Well, Ricard’s Theme is Belonging. He is terribly afraid of + “Well, Ricard's Theme is Belonging. He is terribly afraid of losing the companions he has found, of being on his own again. I think this will push him beyond his limits!”

    @@ -4552,22 +4547,20 @@ Mark grins. "Sure! Oh, and by the way, here's the Fabula Point. So, the guards patrolling the area see a thin boy wearing a pointy hat plunge himself from the platform; but once the airship lifts - off, there’s someone clinging desperately to the landing gear!... + off, there's someone clinging desperately to the landing gear!... Uhm, I mean, airships do have a landing gear, right?”

    - -

    Player Guidance

    Players should describe their actions in a way that is coherent with their Identity, Origin, or Theme if they want to spend a - Fabula Point. Basically, you shouldn’t do this when it feels + Fabula Point. Basically, you shouldn't do this when it feels forced within the narration — but then again, you as a Player have final say on how and when you spend your Fabula Points.

    -

    INVOKING A BOND TO IMPROVE YOUR CHECK

    +

    INVOKING A BOND TO IMPROVE YOUR CHECK

    Just like how a character's Traits can be used to reroll dice, @@ -4616,7 +4609,7 @@ some good measure of courage!"

    -

    Optional Rule: Invoking to Fail

    +

    Optional Rule: Invoking to Fail

    If you use this optional rule, Players may invoke their @@ -4635,18 +4628,12 @@ and High Roll equal to 0. Then, the character gains 1 Fabula Point. - - -

    Restrictions:

    - - -

    OPTIONAL: INVOKING TO FAIL

    @@ -4657,7 +4644,7 @@ to defend themselves. Each weapon lists a specific Accuracy formula; a Steel Dagger, for instance, requires a roll of 【DEX + INS】 +1. The Difficulty Level is generally - equal to the target’s Defense score. + equal to the target's Defense score.

    When performing an Accuracy Check, the High Roll (HR) will be used @@ -4702,11 +4689,10 @@ be repeated.

    -

    Example

    - Montblanc the knight is struggling to free himself from the - formidable grasp of a dragon. The GM declares this is an Opposed - Check using + Example: Montblanc the knight is struggling to + free himself from the formidable grasp of a dragon. The GM + declares this is an Opposed Check using 【DEX + MIG】.

    @@ -4719,7 +4705,7 @@

    -

    OPEN CHECKS

    +

    OPEN CHECKS

    This particular kind of Attribute Check has no Difficulty Level: @@ -4730,33 +4716,40 @@

    When you perform an Open Check, simply compare the Result with the - table below: -

    - - -

    Result Equates to...

    -

    - 7+: What could be accomplished by a person with a - bit of training or talent. -

    -

    - 10+: What could be achieved by someone competent - or very talented. -

    -

    13+: The work of an expert or true prodigy.

    -

    - 16+: A result worthy of being remembered in - history. + table below: rolling a 13 while studying an ancient painting means + you manage to get information worthy of an expert archaeologist, + while rolling an 8 would only net you basic hints of what the + artist wanted to portray.

    + + + + + + + + + + + + + + + + + + + + + + + +
    ResultEquates to...
    7+ + What could be accomplished by a person with a bit of training + or talent. +
    10+ + What could be achieved by someone competent or very talented. +
    13+The work of an expert or true prodigy.
    16+A result worthy of being remembered in history.

    SITUATIONAL MODIFIERS

    @@ -4789,7 +4782,7 @@

    -

    GROUP CHECKS

    +

    GROUP CHECKS

    Characters can choose to cooperate in order to increase their chance of success within specific situations. @@ -4813,18 +4806,18 @@ Check will grant a +1 bonus to the leader's Check. -

  • - The leader performs the final Check, which works as normal and - may generate opportunities in case of a fumble or critical - success. The Check's outcome affects everyone who took part in - the Group Check. -
  • If any of the successful supporting characters have a Bond towards the leader, the highest strength among those Bonds is also added to the leader's Check. Remember, only add the single highest Bond strength.
    • +
  • + The leader performs the final Check, which works as normal and + may generate opportunities in case of a fumble or critical + success. The Check's outcome affects everyone who took part in + the Group Check. +

    • Group Checks are extremely useful when two or more characters are @@ -4835,18 +4828,17 @@

    Example:

    Three heroes are trying to persuade the Great Owl to grant them - access to her ancient library. The leader performs a DL 13 【INS + - WLP】 Check, and the two supporting characters perform 【INS + - WLP】 Checks with a Difficulty of 10. They both succeed, and one - has a strength 2 Bond towards the leader. Thus, the leader's Check - will receive a total bonus equal to +4. + access to her ancient library. The leader performs a DL 13 + 【INS + WLP】 Check, and the two + supporting characters perform + 【INS + WLP】 Checks with a Difficulty + of 10. They both succeed, and one has a strength 2 Bond towards + the leader. Thus, the leader's Check will receive a total bonus + equal to +4.

    -

    22GAME RULES

    -

    CHAPTER CHAPTER

    -

    FREQUENTLY USED CHECKS

    The table below contains a list of circumstances that might @@ -4874,7 +4866,7 @@ - Anticipating someone’s movements and catching them by + Anticipating someone's movements and catching them by surprise. 【DEX + INS】 @@ -4886,7 +4878,7 @@ 【DEX + INS】 - Moving gracefully to earn someone’s attention. + Moving gracefully to earn someone's attention. 【DEX + WLP】 @@ -4924,24 +4916,24 @@ -

    - Beneath the Crystal Temple slumbers the Great Dragon God, who once - turned the Babel Empire to ash. -

    -

    Optional Rule: Shared Attribute Choice

    +

    If you use this optional rule, Players can decide one of the Attributes involved in each Check they perform, while the Game Master decides the other (which can be the same Attribute or a different one).

    +

    This rule does not apply to Checks whose Attributes are already established by the rules, such as Accuracy Checks.

    -

    OPTIONAL: SHARED ATTRIBUTE CHOICE

    +
    + Beneath the Crystal Temple slumbers the Great Dragon God, who once + turned the Babel Empire to ash. +
    @@ -4968,11 +4960,11 @@ surveillance, failed Checks might fill a “High Alert!” Clock.
  • - When the heroes realize they can’t defeat a colossal foe in + When the heroes realize they can't defeat a colossal foe in usual combat, they might choose to adopt a different tactic: striking the stone columns and causing the roof to collapse on top of the enemy! In this scenario, a Clock can be used to keep - track of how weakened the ceiling’s support is; once filled, the + track of how weakened the ceiling's support is; once filled, the monster will be crushed under the debris!
  • @@ -4989,7 +4981,7 @@ tense and adrenaline inducing play. They should also be tied to a specific obstacle, goal, or danger, but not to a specific method or approach: this will allow characters to interact with them in - different ways. Let’s take the collapsing ceiling described above: + different ways. Let's take the collapsing ceiling described above: characters could accomplish that by striking the pillars, pulverizing them with magic, or even throwing an enemy against them! @@ -4997,9 +4989,10 @@
    • -

    22GAME RULES

    -

    CHAPTER ADVANCING A CLOCK

    +

    CHAPTER ADVANCING A CLOCK

    +

    In general, Clocks advance through Checks:

    +
    @@ -5060,7 +5055,7 @@ challenge.

    -

    TURNING BACK A CLOCK

    +

    TURNING BACK A CLOCK

    Characters can also take action to slow a Clock's advance and erase some of the filled sections, eventually bringing it back to @@ -5080,76 +5075,66 @@

    -

    GAME RULES

    +

    OTHER EVENTS

    +

    + If the Game Master feels like a certain event should fill or erase + sections of a Clock (even if that event is not tied to a Check), + they are free to fill or erase one section, or two sections for a + major event. +

    +

    + On the other end of that, some of the characters' choices might + automatically fill a Clock or make it completely useless — for + instance, smashing the Crystal of Life to pieces will make the + "channel the power of the Crystal" Clock irrelevant. +

    +

    + The Game Master is responsible for discarding Clocks that no + longer matter within the story, provided this doesn't strip the + Player Characters of the ability to shape the story. +

    -
    -

    OTHER EVENTS

    -

    - If the Game Master feels like a certain event should fill or - erase sections of a Clock (even if that event is not tied to a - Check), they are free to fill or erase one section, or two - sections for a major event. -

    -

    - On the other end of that, some of the characters' choices might - automatically fill a Clock or make it completely useless — for - instance, smashing the Crystal of Life to pieces will make the - "channel the power of the Crystal" Clock irrelevant. -

    -

    - The Game Master is responsible for discarding Clocks that no - longer matter within the story, provided this doesn't strip the - Player Characters of the ability to shape the story. -

    -
    +

    CLOCKS DURING CONFLICT SCENES

    +

    + The next section details the rules for conflict scenes — chases, + battles, audiences, and more! These scenes will see characters + working against each other to achieve goals, and Clocks are an + excellent way to keep track of everyone's progress, as explained + under the Objective action (page 72). +

    +

    + Example: During a duel between the two rivals + Bertrand and Duma, the Game Master assigns each participant a + six-section Clock. The first challenger to complete their Clock + will win the duel. +

    -
    -

    CLOCKS DURING CONFLICT SCENES

    -

    - The next section details the rules for conflict scenes — chases, - battles, audiences, and more! These scenes will see characters - working against each other to achieve goals, and Clocks are an - excellent way to keep track of everyone's progress, as explained - under the Objective action (page 72). -

    -

    - Example: During a duel between the two rivals - Bertrand and Duma, the Game Master assigns each participant a - six-section Clock. The first challenger to complete their Clock - will win the duel. -

    -
    - -
    -

    USING CLOCKS FOR PACING AND PRESSURE

    -

    - The Game Master should also employ Clocks to signal that the - heroes have a limited amount of time to stop an antagonist's - plans, obtain a specific item, or learn information. In short, - Clocks should be used to convey pressure and keep the tension - high — seeing how much time is left, the heroes will be able to - manage their resources appropriately and should feel like every - action is impactful. -

    -

    - Example: The Obliterator Airship Babel will be - operative within four days. If they want to neutralize its soul - core and prevent the Emperor from conquering the region, the - heroes have no time to lose! -

    -

    - The Game Master draws a huge Clock on the world map — four - sections only! Clocks like these are "time trackers" and - normally can't be directly influenced through Checks — they - should be the focus of one or more sessions. -

    -
    - -
    +

    USING CLOCKS FOR PACING AND PRESSURE

    +

    + The Game Master should also employ Clocks to signal that the + heroes have a limited amount of time to stop an antagonist's + plans, obtain a specific item, or learn information. In short, + Clocks should be used to convey pressure and keep the tension high + — seeing how much time is left, the heroes will be able to manage + their resources appropriately and should feel like every action is + impactful. +

    +

    + Example: The Obliterator Airship Babel will be + operative within four days. If they want to neutralize its soul + core and prevent the Emperor from conquering the region, the + heroes have no time to lose! +

    +

    + The Game Master draws a huge Clock on the world map — four + sections only! Clocks like these are "time trackers" and normally + can't be directly influenced through Checks — they should be the + focus of one or more sessions. +

    -

    Bonds

    +

    Bonds

    Bonds are a source of power for our heroes. You already know that Bonds can help improve Checks (page 47) or aid allies during Group @@ -5214,75 +5199,66 @@ feel inferiority and hatred towards him, that Bond has a strength of 2.

    - -

    BONDS

    -
    -

    GAME RULES

    +

    CREATING A BOND

    +

    + Bonds are generally created during resting scenes (page 91), + through opportunities, or due to specific Skills. Whenever an + effect in the game allows you to "create a Bond", you may add a + new Bond to your character sheet and immediately tie a single + emotion to it. This means that all Bonds start with a strength of + 1. +

    +

    + You can have Bonds towards characters, nations, kingdoms, + organizations, and even religions. You cannot have a Bond towards + yourself. +

    -

    CREATING A BOND

    -

    - Bonds are generally created during resting scenes (page 91), - through opportunities, or due to specific Skills. Whenever an - effect in the game allows you to "create a Bond", you may add a - new Bond to your character sheet and immediately tie a single - emotion to it. This means that all Bonds start with a strength - of 1. -

    -

    - You can have Bonds towards characters, nations, kingdoms, - organizations, and even religions. You cannot have a Bond - towards yourself. -

    +

    STRENGTHENING A BOND OR CHANGING EMOTIONS

    +

    + You can make your Bonds grow stronger by adding more emotions to + them (up to a maximum of three emotions, one per pairing). This is + generally done during resting scenes (see page 91), which will + also allow you to shift emotions around and adjust them to the + more recent developments in your story. +

    -

    STRENGTHENING A BOND OR CHANGING EMOTIONS

    -

    - You can make your Bonds grow stronger by adding more emotions to - them (up to a maximum of three emotions, one per pairing). This - is generally done during resting scenes (see page 91), which - will also allow you to shift emotions around and adjust them to - the more recent developments in your story. -

    +

    ERASING A BOND

    +

    + If you already have six Bonds and want to create a new one, you + must first erase one of your existing Bonds. You must explain how + your feelings and perspective changed. +

    -

    ERASING A BOND

    -

    - If you already have six Bonds and want to create a new one, you - must first erase one of your existing Bonds. You must explain - how your feelings and perspective changed. -

    +

    BONDS ARE STRONGER THAN DEATH

    +

    + Even if a character dies or leaves your story, any Bonds other + characters had with them will remain until erased. +

    -

    BONDS ARE STRONGER THAN DEATH

    -
      -
    • - Even if a character dies or leaves your story, any Bonds other - characters had with them will remain until erased. -
      • -
    • - Bonds make your character stronger while reminding you of - their ties with the rest of the world and its people. -
      • -
    - -

    Guidance on Character Development

    -

    - Do not shy away from complex Bonds: feeling both affection and - inferiority towards someone, or hatred and admiration, can and - will make your story more memorable. -

    -

    - The best choice is often to let Bonds grow organically, while - also reaping the benefits that come from having many - high-strength Bonds. -

    - -

    THE ROLE OF BONDS

    -
    +

    The Role of Bonds

    +

    + Bonds make your character stronger while reminding you of their + ties with the rest of the world and its people. +

    +

    + Do not shy away from complex Bonds: feeling both affection and + inferiority towards someone, or hatred and admiration, can and + will make your story more memorable. +

    +

    + The best choice is often to let Bonds grow organically, while also + reaping the benefits that come from having many high-strength + Bonds. +

    -

    CONFLICT SCENES

    +

    CONFLICT SCENES

    +

    When the story gets to a climax, when the stakes are high and when every split second can make a difference, a conflict scene begins. @@ -5344,42 +5320,39 @@

    -

    GAME RULES

    -

    Once all creatures have taken their actions, the round ends.

    - -

    - Determine which characters will actively take part in the conflict -

    - -
    1. Discuss the goals of each participant. Player Characters should also declare which items they have equipped at the start of the conflict.
      2. +
    2. - The Game Master may declare the end of the conflict scene - whenever they deem it appropriate. This generally happens when - one side achieves their goal or objective, when all sides except - one are unable or unwilling to continue, or when the various - factions find an acceptable compromise. + Player Characters perform a {DEX + INS} Initiative + Group Check to determine which side acts first. The Difficulty + Level for this Check equals the highest Initiative among their + adversaries.
      3. +
    3. -

      - The conflict is handled as a series of consecutive - rounds: - During each round, the Player Characters' side and the enemy - side alternate taking turns, starting with one participant - from the side who has the initiative. -

      + If the Player Characters succeed, the first participant to act + each round (see step 5) will be someone from their side. If they + fail, the first participant to act during each round will be one + of their foes. +
      4. + +
    4. + The conflict is handled as a series of consecutive rounds: + During each round, the Player Characters' side and the enemy + side alternate taking turns, starting with one participant from + the side who has the initiative.
      • Each turn allows for a single action.
      • You cannot choose to "pass" a turn.
        • @@ -5391,27 +5364,24 @@
      5. +
    5. - Player Characters perform a {DEX + INS} Initiative - Group Check to determine which side acts first. The Difficulty - Level for this Check equals the highest Initiative among their - adversaries. + Once all creatures have taken their actions, the round ends. +
      6. + +
    6. + If the conflict continues, a new round begins: + go back to step 5. +
      7. + +
    7. + The Game Master may declare the end of the conflict scene + whenever they deem it appropriate. This generally happens when + one side achieves their goal or objective, when all sides except + one are unable or unwilling to continue, or when the various + factions find an acceptable compromise.
    - -

    - If the conflict continues, a new round begins: go - back to step 5. -

    - -
    @@ -5470,13 +5440,10 @@ at the very least they don't want the heroes to achieve their own objectives!

    - -
    -

    22 GAME RULES

    -

    CHAPTER INITIATIVE

    +

    INITIATIVE

    A character's Initiative modifier indicates how likely they are to @@ -5530,7 +5497,6 @@ first turn of each round will belong to either Silida or Ricard.

    -

    Note:

    Note that even if a new participant joins an ongoing conflict scene, they will simply adapt to the existing initiative. @@ -5585,7 +5551,8 @@

    - PC Turn — Z — NPC Turn — Z — PC Turn — Z — NPC Turn — Z — NPC Turn + PC Turn ← NPC Turn ← PC Turn ← NPC Turn ← NPC + Turn

    @@ -5610,7 +5577,8 @@

    -

    22 GAME RULES

    +

    DYNAMIC TURN ORDER

    +

    Since turns do not belong to specific characters, you may switch the order of your actions from round to round. For instance, a @@ -5622,7 +5590,8 @@ individual strategy.

    -

    DYNAMIC TURN ORDER

    +

    THE ACTION ECONOMY

    +

    Much like any game that limits the amount of “moves” a character can perform before their opponents get a chance to act, Fabula @@ -5641,7 +5610,8 @@ -

    THE ACTION ECONOMY

    +

    OPTIONAL: ENEMY INITIATIVE

    +

    If you are the Game Master, it can be hard to remember which adversaries still need to take their turn. An excellent solution @@ -5651,8 +5621,6 @@ predictable, but also allows you to focus on more important aspects of the conflict.

    - -

    OPTIONAL: ENEMY INITIATIVE

    @@ -5664,20 +5632,18 @@

    There are a few important things to say about this:

    - + +
    -
    -

    d OKAY , BUT...

    -

    - There are situations in which distances and positions are - supposed to play an important role: what if there's a sniper - atop a tower? What if a terrible ritual tears open a chasm in - the middle of the battlefield? -

    -

    The advice boils down to the following:

    -
      -
    • - Don't overcomplicate things. Play to this game's strengths, - and avoid situations in which suspension of disbelief becomes - too strained. -
      • -
    • - Sometimes, experiment. If you want to introduce distance as an - important element in the game, treat it as a "puzzle" that can - be solved in creative ways while the conflict progresses. For - instance, you might make melee attacks useless in a battle - between two flying galleons — at that point, engaging in close - combat would require approaching and boarding the enemy - ship... time for a Clock! -
      • -
    -

    - In the end, the most important thing to remember is that - conflicts shouldn't be resolved through careful movement and - positioning, but through clever use of the character's Skills - and actions. -

    -
    +
    +
    OKAY , BUT...
    +
    +

    + There are situations in which distances and positions are + supposed to play an important role: what if there's a sniper + atop a tower? What if a terrible ritual tears open a chasm in + the middle of the battlefield? +

    +

    The advice boils down to the following:

    +
      +
    • + Don't overcomplicate things. Play to this game's strengths, + and avoid situations in which suspension of disbelief + becomes too strained. +
      • +
    • + Sometimes, experiment. If you want to introduce distance as + an important element in the game, treat it as a "puzzle" + that can be solved in creative ways while the conflict + progresses. For instance, you might make melee attacks + useless in a battle between two flying galleons — at that + point, engaging in close combat would require approaching + and boarding the enemy ship... time for a Clock! +
      • +
    +

    + In the end, the most important thing to remember is that + conflicts shouldn't be resolved through careful movement and + positioning, but through clever use of the character's Skills + and actions. +

    +
    +
    @@ -5779,28 +5747,25 @@

    -

    - When you pick up an accessory, a shield, or a weapon, you may - immediately equip it — provided you have a free slot and are able - to equip the item in question (for more information on this, see - page 122). -

    - -

    Minor Activities also include:

    -
    -

    22GAME RULES

    -
    -

    Action Description

    - - -
    -

    Attack

    -

    You perform a melee or ranged attack.

    -
    - - -
    -

    Equipment

    -

    - You switch any number of equipped items with any number of - items in your backpack. -

    -
      -
    • This action doesn't apply to armor.
      • -
    -
    - - -
    -

    Guard

    -

    Only once per turn. Until the start of your next turn:

    -
      -
    • You gain Resistance to all damage types.
      • -
    • You gain a +2 bonus to Opposed Checks.
      • -
    • - You may cover another creature and prevent foes from - performing melee attacks against them. -
      • -
    -
    - - -
    -

    Hinder

    -

    - You perform a Check (DL 10) against an opponent. If you - succeed, you inflict dazed, shaken, slow, or weak upon them. -

    -
    - - -
    -

    Inventory

    -

    - You spend Inventory Points to produce and immediately use a - consumable item. -

    -
    - - -
    -

    Objective

    -

    - You work towards accomplishing an objective within the - conflict. -

    -
      -
    • - This will require an Attribute Check or Opposed Check. -
      • -
    • Complex goals will often require a Clock.
      • -
    -
    - - -
    -

    Spell

    -

    You cast one of the spells you have learned.

    -
    - - -
    -

    Study

    -

    - You attempt to gain information about someone or something. -

    -
      -
    • - This will generally require an - 【INS + INS】 Open Check. -
      • -
    -
    - - -
    -

    Skill

    -

    Some Skills require you to spend an action.

    -
    - - -
    -

    Other

    -

    - You perform an action that is not covered by any of the above, - negotiating its resolution and effects with the Game Master. -

    -
    -
    + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
    ActionDescription
    AttackYou perform a melee or ranged attack.
    Equipment + You switch any number of equipped items with any number of + items in your backpack. +
      +
    • This action doesn't apply to armor.
      • +
    +
    Guard + Only once per turn. Until the start of your next + turn: +
      +
    • You gain Resistance to all damage types.
      • +
    • You gain a +2 bonus to Opposed Checks.
      • +
    • + You may cover another creature and prevent foes + from performing melee attacks against them. +
      • +
    +
    Hinder + You perform a Check (DL 10) against an opponent. If you + succeed, you inflict dazed, shaken, + slow, or weak upon them. +
    Inventory + You spend Inventory Points to produce and immediately use a + consumable item. +
    Objective + You work towards accomplishing an objective within the + conflict. +
      +
    • + This will require an Attribute Check or Opposed Check. +
      • +
    • Complex goals will often require a Clock.
      • +
    +
    SpellYou cast one of the spells you have learned.
    Study + You attempt to gain information about someone or something. +
      +
    • + This will generally require an 【INS + INS】 Open + Check. +
      • +
    +
    SkillSome Skills require you to spend an action.
    Other + You perform an action that is not covered by any of the + above, negotiating its resolution and effects with the Game + Master. +
    -

    ATTACK

    -

    - A character may spend an action to perform an offensive maneuver - using one of the weapons they have available. -

    - -

    Choose a Target for Your Attack

    - - -

    Perform an Accuracy Check

    -

    - Use the formula indicated by the weapon you are attacking with. - The Difficulty Level is equal to the target’s Defense score. -

    - -

    - A fumble indicates an automatic failure and a critical success - means you hit your target regardless of their Defense. They also - generate opportunities. -

    -

    - The Game Master may apply situational modifiers (+2 or -2) to your - Accuracy Check based on especially favorable or hindering - circumstances. -

    - -

    If You Hit the Target

    -

    - You deal damage based on the formula indicated by the weapon you - attacked with. This will generally be a sum of your - Accuracy Check's High Roll and a fixed value - based on the weapon's power. -

    -

    For a list of common weapons, see page 132.

    - -

    The Target Loses Hit Points

    -

    - The target loses a number of Hit Points equal to the damage you - dealt. This may be modified by their Affinity with the damage type - (page 92): -

    - +
    +
    Attack
    +
    +

    + A character may spend an action to perform an offensive + maneuver using one of the weapons they have available. +

    +
      +
    1. +

      Choose a target for your attack.

      +

      + You must know the position of the target and be able to + see them. +

      +

      + You must be able to reach the target with the weapon you + are using; flying enemies, for instance, cannot be reached + by melee attacks. +

      +
      2. +
    2. +

      + Perform an Accuracy Check using the formula indicated by + the weapon you are attacking with. The Difficulty Level is + equal to the target’s Defense score. If you succeed, you + hit the target; if you fail, it means they managed to + anticipate, evade or negate your offensive. +

      +
        +
      • + A fumble indicates an automatic failure and a critical + success means you hit your target regardless of their + Defense. They also generate opportunities. +
        • +
      • + The Game Master may apply situational modifiers (+2 or + -2) to your Accuracy Check based on especially favorable + or hindering circumstances. +
        • +
      +
      3. +
    3. +

      + If you hit the target, you deal damage based on the + formula indicated by the weapon you attacked with. This + will generally be a sum of your Accuracy Check's High Roll + and a fixed value based on the weapon's power. +

      +

      + For a list of common weapons, see + page 132. +

      +
      4. +
    4. +

      + The target loses a number of Hit Points equal to the + damage you dealt. +

      +

      + This may be modified by their Affinity with the damage + type (page 92): +

      +
        +
      • + A Vulnerable target loses twice the normal amount of Hit + Points. +
        • +
      • + A Resistant target loses half the normal amount of Hit + Points. +
        • +
      • An Immune target loses no Hit Points.
        • +
      • + An Absorbing target recovers Hit Points equal to the + damage suffered. +
        • +
      +
      5. +
    +
    +
    -

    22 GAME RULES

    Example: Our heroes are fighting a group of skeletons. Montblanc the knight charges towards the nearest undead and swings his @@ -6024,7 +5988,7 @@ highest of the two dice was a 9, the total is 23 damage.

    -

    FREE ATTACKS

    +

    FREE ATTACKS

    Some game effects allow you to perform free attacks. These follow the procedure on the previous page but generally take place as @@ -6035,7 +5999,7 @@ with weapons that aren't part of your equipped items!

    -

    MULTI

    +

    MULTI

    When you perform an attack with the multi property, you may select as many different targets as the specific weapon or effect allows @@ -6053,7 +6017,7 @@

    Finally, apply the normal damage calculation to each target.

    -

    TWO-WEAPON FIGHTING

    +

    TWO-WEAPON FIGHTING

    When you perform the Attack action, if you have two weapons of the same Category equipped (such as two swords or two firearms), you @@ -6080,7 +6044,7 @@

    -

    d EQUIPMENT

    +

    EQUIPMENT

    When you use this action, you may store any number of your equipped items in your backpack, and you may take any number of @@ -6097,7 +6061,7 @@

    For more information on equipping items, see page 122.

    -

    d GUARD

    +

    d GUARD

    When using this action, you focus your attention on defending your teammates and thwarting enemy tactics. @@ -6121,13 +6085,8 @@ scene. If you do, that creature cannot be targeted by melee attacks until the start of your next turn — this effect will also end if you die, leave the scene, or are knocked - unconscious. - - -

    Limitations:

    -

    @@ -6139,8 +6098,6 @@

    -

    22 GAME RULES

    -

    Hinder

    You force an opponent into a disadvantageous position. This may @@ -6757,8 +6714,6 @@

    -

    22 GAME RULES

    -

    KEEP THEM OUT

    While facing off against a powerful necromancer, the heroes are @@ -8301,7 +8256,6 @@

    -

    22 GAME RULES

    RECHARGING INVENTORY POINTS

    Characters can recharge their Inventory Points when they are in a @@ -8423,8 +8377,6 @@

    -

    22 GAME RULES

    -

    Sample Areas Threat Level Travel Roll

    @@ -8608,8 +8560,6 @@
    -

    22 GAME RULES

    -

    DISCOVERIES

    Discoveries don’t happen that often, so the Game Master should @@ -9083,7 +9033,6 @@

    -

    22 GAME RULES

    While the effects of spells and disciplines are defined by the rules of the game, the way they manifest in your world is @@ -9639,7 +9588,6 @@

    -

    22 GAME RULES

    SERVICE COST DESCRIPTION

    Town Services

    @@ -10258,7 +10206,6 @@
    -

    22 GAME RULES

    Chapter Info: W | CHAPTER

    BASIC SHIELDS

    @@ -10821,7 +10768,6 @@
    -

    22 GAME RULES

    PLAYER CHARACTER AGAINST PLAYER CHARACTER

    While the protagonists of Fabula Ultima are heroes, this doesn’t