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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. <em>You can find more about the Game Master's role on page 26!</em>
</li>
</ul>
<p><em>You can find more about the Game Master's role on page 26!</em></p>
<ul>
<li>
<strong>Player</strong>. Each of the remaining participants — two to five
people — will create a heroic protagonist and then control that character's
actions within the game world. Each protagonist is known as a Player
Character, generally abbreviated as PC.
</li>
</ul>
<p>
<p>
Characters that are controlled by the Game Master, on the other hand, are
called Non-Player Characters, or NPCs.
</p>
<p><em>You can find more about each Player's role on page 24!</em></p>
</p>
<p>
<em>You can find more about each Player's role on page 24!</em>
</p>
</li>
</ul>
<p>
While it is true that the role of the Game Master is to present obstacles and

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<h1>22 GAME RULES</h1>
<h2>RECHARGING INVENTORY POINTS</h2>
<p>
Characters can recharge their Inventory Points when they are in a town,

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<h1>22 GAME RULES</h1>
<h2>Sample Areas Threat Level Travel Roll</h2>
<table>
<thead>

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<h1>22 GAME RULES</h1>
<p><strong>DISCOVERIES</strong></p>
<p>
Discoveries don’t happen that often, so the Game Master should make sure each

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<h1>INTRODUCTION</h1>
<p><strong>CHAPTER d THE BASICS OF PLAY</strong></p>
<h2>The Basics of Play</h2>
<p>
In the conversation, Players describe their characters' actions and choices:
</p>
@@ -28,9 +27,7 @@
fiction".
</p>
<p class="section-break"></p>
<h2>d THE RULES</h2>
<h2>THE RULES</h2>
<p>
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 @@
<hr />
<p>This is a tale of heroes and darkness.</p>
<p>Of great hope... and even greater sacrifice.</p>
<blockquote>
This is a tale of heroes and darkness. Of great hope... and even greater
sacrifice.
</blockquote>

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<h2>22 GAME RULES</h2>
<p>
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

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<h1>22 GAME RULES</h1>
<h2>SERVICE COST DESCRIPTION</h2>
<h3>Town Services</h3>

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combining clever tactics and coordinating with your allies will you emerge
victorious... especially when fighting against bosses!
</p>
<h2>Your World</h2>
<p>
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!
</p>
<p style="border-left: 3px solid #ccc; padding-left: 10px">
"There is more than one side to each story..."
</p>
<blockquote>"There is more than one side to each story..."</blockquote>

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<h1>22 GAME RULES</h1>
<p><strong>Chapter Info:</strong> W | CHAPTER</p>
<h2>BASIC SHIELDS</h2>

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<h2>22 GAME RULES</h2>
<p><strong>PLAYER CHARACTER AGAINST PLAYER CHARACTER</strong></p>
<p>
While the protagonists of Fabula Ultima are heroes, this doesn’t mean there

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<h1>MAGIC AND TECHNOLOGY</h1>
<h2>MAGIC AND TECHNOLOGY</h2>
<p>
In every Fabula Ultima world, science and magic represent two different ways
of studying and manipulating reality: one concerns itself with the tangible

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<h1>YOUR WORLD COULD BE... HIGH FANTASY</h1>
<p>
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.
</p>
<h2>YOUR WORLD COULD BE...</h2>

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<h1>YOUR WORLD COULD BE... NATURAL FANTASY</h1>
<h2>Natural Fantasy Themes and Protagonists</h2>
<p>
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.
</p>
<h2>YOUR WORLD COULD BE...</h2>

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<h1>Natural Fantasy World Guide</h1>
<section>
<h3>NATURAL FANTASY LOCATIONS</h3>
<p>
<h2>NATURAL FANTASY LOCATIONS</h2>
<p>
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...
</p>
</section>
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...
</p>
<section>
<h3>NATURAL FANTASY MAGIC</h3>
<p>
<h2>NATURAL FANTASY MAGIC</h2>
<p>
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.
</p>
</section>
</p>
<section>
<h3>NATURAL FANTASY ANTAGONISTS</h3>
<p>
<h2>NATURAL FANTASY ANTAGONISTS</h2>
<p>
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.
</p>
</section>
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.
</p>

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<h1>YOUR WORLD COULD BE... TECHNO FANTASY</h1>
<p>
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.
</p>
<h3>YOUR WORLD COULD BE...</h3>
<div>
<strong>Techno</strong>&nbsp;&nbsp;<strong>Techno Fantasy</strong
>&nbsp;&nbsp;<strong>Fantasy</strong>
</div>

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<h1>Techno Fantasy Elements</h1>
<section>
<h2>TECHNO FANTASY LOCATIONS</h2>
<p>
<h2>TECHNO FANTASY LOCATIONS</h2>
<p>
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.
</p>
</section>
</p>
<section>
<h2>TECHNO FANTASY MAGIC</h2>
<p>
<h2>TECHNO FANTASY MAGIC</h2>
<p>
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.
</p>
</section>
stream of souls has been gravely wounded and corrupted, and the original ways
of magic were forgotten or — more likely — suppressed.
</p>
<section>
<h2>TECHNO FANTASY ANTAGONISTS</h2>
<p>
<h2>TECHNO FANTASY ANTAGONISTS</h2>
<p>
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.
</p>
</section>
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.
</p>

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<h2>GAME MATERIALS</h2>
<h1>GAME MATERIALS</h1>
<p>
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 @@
</p>
<p>To play the game, you will need the following:</p>
<h3>GAME SHEETS</h3>
<h2>GAME SHEETS</h2>
<p>These print-outs are used to keep track of important game information.</p>
<ul>
<li>
@@ -39,7 +39,7 @@
each sheet; in case you don't, you can find them at fabulaultima.com.
</p>
<h3>PAPER, PENCILS, AND ERASERS</h3>
<h2>PAPER, PENCILS, AND ERASERS</h2>
<p>
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 information you have

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<h2>INTRODUCTION</h2>
<h1>INTRODUCTION</h1>
<h3>TOKENS</h3>
<h2>TOKENS</h2>
<p>
Some characters will have special "points" at their disposal: Player
Characters have <strong>Fabula Points</strong> and Villains have
@@ -9,7 +9,7 @@
</p>
<p>The more tokens you have, the better.</p>
<h3>DICE</h3>
<h2>DICE</h2>
<p>The game makes use of a variety of dice in different shapes:</p>
<ul>
<li>
@@ -42,5 +42,3 @@
You can find these sets of polyhedral dice in game stores (or you can purchase
them online). You can also download mobile apps that roll dice for you!
</p>
<footer></footer>

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<h2>THE GAME MASTER</h2>
<h1>THE GAME MASTER</h1>
<p>If you are the Game Master, here's how you should approach the game:</p>
<h3>READ THIS BOOK</h3>
<h2>READ THIS BOOK</h2>
<p>
Make sure to read the Introduction — hey, you’re already doing that! — learn
the <strong>Game Rules</strong> and familiarize yourself with the World
@@ -10,7 +10,7 @@
learn how to consult the Bestiary.
</p>
<h3>GATHER THE PROPER TOOLS</h3>
<h2>GATHER THE PROPER TOOLS</h2>
<p>
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 the size of your
@@ -19,14 +19,14 @@
polyhedral dice (d6, d8, d10, d12, and d20).
</p>
<h3>FOLLOW THE RULES</h3>
<h2>FOLLOW THE RULES</h2>
<p>
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 matter with everyone else.
Only change those elements if the entire group has agreed on how to do so.
</p>
<h3>TAKE PART IN WORLD, GROUP AND CHARACTER CREATION</h3>
<h2>TAKE PART IN WORLD, GROUP AND CHARACTER CREATION</h2>
<p>
Assist the Players during World Creation (page 148), Group Creation (page
152), and Character Creation (page 154). Use this time to ask lots of
@@ -35,7 +35,7 @@
this will come back to help you create engaging situations during gameplay.
</p>
<h3>BREATHE LIFE INTO THE GAME WORLD</h3>
<h2>BREATHE LIFE INTO THE GAME WORLD</h2>
<p>
Regardless of the game world you have created together, it falls upon your
shoulders to populate it with fantastic locations, dangerous monsters, and

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<p>28</p>
<p>W W</p>

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<h1>GAME RULES</h1>
<p>This chapter contains the core rules required to play Fabula Ultima.</p>
<p>
This is probably the most important chapter in the book and one that should be

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</p>
<p>Generally, a scene flows like this:</p>
<h3>Ending the Scene</h3>
<p>
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:
</p>
<ul>
<li>The situation has been resolved (for better or worse).</li>
<li>Gameplay has moved to a different time or location.</li>
</ul>
<h3>Beginning the Scene</h3>
<p>
<div>
<h3>Beginning the Scene</h3>
<p>
The Game Master introduces the scene and describes the situation (a process
known as framing the scene), especially the following:
</p>
<ul>
</p>
<ul>
<li>
Which characters are present on the scene (this is often self-evident).
</li>
@@ -42,11 +32,12 @@
<li>
Creatures, items or other elements that the characters may interact with.
</li>
</ul>
<p class="note">
</ul>
<p class="note">
<em>Note:</em> The GM should keep things simple — one or two sentences are
enough.
</p>
</p>
</div>
<h3>Playing the Scene</h3>
<p>
@@ -61,4 +52,14 @@
needs to be determined by rolling dice (see Checks, on page 38).
</p>
<h3>Ending the Scene</h3>
<p>
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:
</p>
<ul>
<li>The situation has been resolved (for better or worse).</li>
<li>Gameplay has moved to a different time or location.</li>
</ul>
<p>Once a scene has ended, another one will begin.</p>

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<h1>GAME RULES</h1>
<p>
Once you start playing, you will find that scenes tend to flow naturally, so
you will rarely have to check whether a scene has ended.

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<h2>IMPORTANT RULES</h2>
<h1>IMPORTANT RULES</h1>
<section>
<h3>ALLIES</h3>
<div>
<h2>ALLIES</h2>
<p>
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.
</p>
</section>
</div>
<section>
<h3>ALWAYS ROUND DOWN</h3>
<div>
<h2>ALWAYS ROUND DOWN</h2>
<p>
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.
</p>
</section>
</div>
<section>
<h3>ADD, SUBTRACT, MULTIPLY, DIVIDE</h3>
<div>
<h2>ADD, SUBTRACT, MULTIPLY, DIVIDE</h2>
<p>
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.
do so in the following order:
<strong
>additions &rarr; subtractions &rarr; multiplications &rarr;
divisions</strong
>.
</p>
</section>
</div>
<section>
<h3>SPECIFIC BEATS GENERAL</h3>
<div>
<h2>SPECIFIC BEATS GENERAL</h2>
<p>
If a specific element of the game contradicts a general rule, that specific
element will take precedence. Example: Normally, a Player Character cannot
equip two shields at the same time. However, the
<strong>Skill Dual Shieldbearer</strong> (page 197) allows you to do so!
</p>
</section>
</div>
<section>
<h3>TIMING ISSUES</h3>
<div>
<h2>TIMING ISSUES</h2>
<p>
Sometimes a rule or effect will cause multiple choices or effects to
trigger, and it will be important to know who gets to act first.
@@ -60,4 +63,4 @@
always go first.
</li>
</ul>
</section>
</div>

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<h2>CHAPTER HIT POINTS, MIND POINTS, AND INVENTORY POINTS</h2>
<h1>HIT POINTS, MIND POINTS, AND INVENTORY POINTS</h1>
<p>
These pools of points represent three different "resources" available to a
character:
@@ -53,8 +53,9 @@
</p>
<h2>ZENIT</h2>
<p>
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.
</p>
<p>Zenit is the common currency used in the worlds of Fabula Ultima.</p>
<blockquote>
The hopes and fears of this land now rest on your shoulders. Ready or not,
this is your fate.
</blockquote>

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<h1>CHECKS</h1>
<p>
The word “Check” indicates a die roll based on a character’s core Attributes:
The word “Check” indicates a die roll based on a character's core Attributes:
<strong>Dexterity</strong>, <strong>Insight</strong>, <strong>Might</strong>,
and <strong>Willpower</strong>.
</p>
@@ -9,19 +9,20 @@
<p>In general, characters must perform Checks:</p>
<ul>
<li>
When required by the game rules. Striking a target, casting a spell, and
using a Class Skill often requires a Check to determine success or failure.
Effects that do not explicitly call for a Check always succeed
<strong>When required by the game rules.</strong> Striking a target, casting
a spell, and using a Class Skill often requires a Check to determine success
or failure. Effects that do not explicitly call for a Check always succeed
automatically.
</li>
<li>
When asked by the Game Master. The Game Master has the right to ask
characters to perform Checks when attempting risky actions, facing
opposition, or reacting to danger. For the game to run smoothly, the Game
Master must learn when to ask for a Check and when not to do so (see next
page).
<strong>When asked by the Game Master.</strong> The Game Master has the
right to ask characters to perform Checks when attempting risky actions,
facing opposition, or reacting to danger. For the game to run smoothly, the
Game Master must learn when to ask for a Check and when not to do so (see
next page).
</li>
</ul>
<p>
Note that only the Game Master can ask for a Check; Players may never do so.
</p>
@@ -32,8 +33,8 @@
</p>
<p>
<strong>Example:</strong> An <code>&lt;INS + WLP&gt;</code> Check performed by
a character with d6 Insight and d10 Willpower will result in that character
<strong>Example:</strong> An <code>【INS + WLP】</code> 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.
</p>
@@ -42,8 +43,9 @@
Some Checks will also require you to add or subtract a certain number from the
total you rolled:
</p>
<p>
<strong>Example:</strong> A Character performing a
<code>&lt;MIG + MIG&gt; +5</code> Check will roll their Might die twice and
then add 5 to the Result.
<code>【MIG + MIG】+5</code> Check will roll their Might die twice and then
add 5 to the Result.
</p>

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<h1>22 GAME RULES</h1>
<h2>WHEN TO PERFORM CHECKS</h2>
<p>
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 error. The following
@@ -7,7 +8,7 @@
<ul>
<li>
The Player Characters are heroes. Unless there’s a capable opposition or
The Player Characters are heroes. Unless there's a capable opposition or
immediate threat, a Player Character's actions should simply succeed.
Finding the tavern requires no roll — getting there without being noticed by
the local bandit gang, on the other hand, will take some effort.
@@ -19,30 +20,28 @@
dangerous and would require a Check.
</li>
<li>
<strong>Relevant background.</strong> If a character’s Traits or general
<strong>Relevant background.</strong> If a character's Traits or general
background are enough for them to succeed, the Game Master should simply
allow it. For instance, an aristocrat will have little to no trouble
securing an invitation for a court ball.
</li>
<li>
<strong>Impossible actions.</strong> Some actions simply cannot succeed, but
you have to be open to the Players’ creativity! You can’t jump from Earth to
you have to be open to the Players' creativity! You can't jump from Earth to
the Moon, but you can build a magical ship to get there. You just need to
remember that nothing comes for free, and build interesting situations
around the Players’ ideas.
around the Players' ideas.
</li>
<li>
<strong>Relevant failure.</strong> Failing a Check means the situation gets
worse. If failure has no relevant impact on the situation, the Game Master
should simply describe the outcome of the action and skip the Check. The
same is true when a character isn’t acting under pressure: their actions may
same is true when a character isn't acting under pressure: their actions may
require time, but they will no doubt achieve their goal.
</li>
<li>
<strong>Stick to the rules.</strong> If the rules ask for a Check — or if
they don’t — there’s probably a good reason. Think twice before doing the
they don't — there's probably a good reason. Think twice before doing the
opposite, and only do so if everyone at the table is okay with it.
</li>
</ul>
<h2>WHEN TO PERFORM CHECKS</h2>

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<h2>CHECK TERMINOLOGY</h2>
<h1>CHECK TERMINOLOGY</h1>
<p>The following terms are key to understanding how Checks work:</p>
<dl>
<dt><strong>Modifier</strong></dt>
<dd>
Any numerical value that is added to or subtracted from a Check. If you
perform a <code>&lt;DEX + MIG&gt;</code> +2 Check, for instance, the
perform a <code>&lt;DEX + MIG&gt; +2</code> Check, for instance, the
modifier is “+2”. If the modifier is added, it is a bonus; if it is
subtracted, it is a penalty.
</dd>
@@ -31,7 +32,7 @@
</dd>
</dl>
<h3>CRITICAL SUCCESS</h3>
<h2>CRITICAL SUCCESS</h2>
<p>
When both dice rolled during a Check show the same number, and that number is
6 or higher, the Result is a critical success. Another way to put this is that
@@ -41,17 +42,17 @@
(see next page).
</p>
<h3>FUMBLE</h3>
<h2>FUMBLE</h2>
<p>
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).
</p>
<p>
When a Player Character rolls a fumble, they immediately earn 1 Fabula Point
(see page 96).
controls your opposition in this scene gets an opportunity (see
<a href="/books/core/#page-41">next page</a>).
</p>
<hr />
<p>
When a Player Character rolls a fumble, they immediately earn 1 Fabula Point
(see <a href="/books/core/#page-96">page 96</a>).
</p>

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<h1>Opportunities</h1>
<h2>Opportunities</h2>
<p>
Opportunities are unexpected twists in the story — sometimes good, sometimes
bad.
</p>
<p>
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 scene. The Game Master
@@ -10,68 +12,85 @@
situation, and some spells and Skills will allow you to spend opportunities in
new and powerful ways.
</p>
<p>
<strong>Example:</strong> Valea the thief is hopping from roof to roof in an
attempt to shake off Count Eligor’s mercenaries. The Game Master calls for a
attempt to shake off Count Eligor's mercenaries. The Game Master calls for a
<code>【DEX + MIG】</code> 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 <cite>Favor</cite> opportunity: her daring performance will earn
her the sympathy of the villagers, who were already fed up with the Count’s
her the sympathy of the villagers, who were already fed up with the Count's
tyranny!
</p>
<h2>OPPORTUNITIES</h2>
<dl>
<dt>Advantage</dt>
<dd>The next Check performed by you or an ally will receive a +4 bonus.</dd>
<dt>Affliction</dt>
<dd>
A creature suffers dazed, shaken, slow or weak (<a href="#page-94"
<table>
<tr>
<td>Advantage</td>
<td>The next Check performed by you or an ally will receive a +4 bonus.</td>
</tr>
<tr>
<td>Affliction</td>
<td>
A creature suffers dazed, shaken, slow or weak (<a
href="/books/core/#page-94"
>see page 94</a
>).
</dd>
<dt>Bonding</dt>
<dd>
</td>
</tr>
<tr>
<td>Bonding</td>
<td>
You create a Bond towards someone or something or add an emotion to one of
your existing Bonds (<a href="#page-56">see page 56</a>).
</dd>
<dt>Faux Pas</dt>
<dd>
your existing Bonds (<a href="/books/core/#page-56">see page 56</a>).
</td>
</tr>
<tr>
<td>Faux Pas</td>
<td>
Choose a creature present on the scene: they make a compromising statement
chosen by the person who controls them.
</dd>
<dt>Favor</dt>
<dd>Your actions earn you someone’s support or admiration.</dd>
<dt>Information</dt>
<dd>
</td>
</tr>
<tr>
<td>Favor</td>
<td>Your actions earn you someone's support or admiration.</td>
</tr>
<tr>
<td>Information</td>
<td>
You spot a useful clue or detail. The Game Master may tell you what it is,
or ask you to introduce that detail yourself.
</dd>
<dt>Lost Item</dt>
<dd>An item is destroyed, lost, stolen, or left behind.</dd>
<dt>Progress</dt>
<dd>
You may fill or erase up to two sections on a Clock (<a href="#page-52"
</td>
</tr>
<tr>
<td>Lost Item</td>
<td>An item is destroyed, lost, stolen, or left behind.</td>
</tr>
<tr>
<td>Progress</td>
<td>
You may fill or erase up to two sections on a Clock (<a
href="/books/core/#page-52"
>see page 52</a
>).
</dd>
<dt>Plot Twist!</dt>
<dd>Someone or something of your choice suddenly appears on the scene.</dd>
<dt>Scan</dt>
<dd>
You discover one Vulnerability (<a href="#page-92">see page 92</a>) or one
Trait (<a href="#page-302">see page 302</a>) of a creature you can see.
</dd>
<dt>Unmask</dt>
<dd>You learn the goals and motivations of a creature of your choice.</dd>
</dl>
</td>
</tr>
<tr>
<td>Plot Twist!</td>
<td>Someone or something of your choice sutdenly appears on the scene.</td>
</tr>
<tr>
<td>Scan</td>
<td>
You discover one Vulnerability (<a href="/books/core/#page-92"
>see page 92</a
>) or one Trait (<a href="/books/core/#page-302">see page 302</a>) of a
creature you can see.
</td>
</tr>
<tr>
<td>Unmask</td>
<td>You learn the goals and motivations of a creature of your choice.</td>
</tr>
</table>

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<p>
For more information on how to handle and describe the outcome of a Check, see
page 44.
<a href="/books/core/#page-44">page 44</a>.
</p>

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<h1>22 GAME RULES</h1>
<h2>DIFFICULTY LEVELS</h2>
<p>
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:
</p>
@@ -64,7 +63,7 @@
</tbody>
</table>
<h3>GO WITH TEN</h3>
<h2>GO WITH TEN</h2>
<p>
If you are the Game Master and find yourself stumped when choosing an

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@@ -43,8 +43,8 @@
only a 5!
</p>
<p>
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.
</p>

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@@ -9,40 +9,41 @@
</li>
<li>
<strong>Relevant success.</strong> 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.
<p>
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 (<a
href="/books/core/#page-52"
>see page 52</a
>).
</p>
</li>
<li>
<strong>No do-overs.</strong> 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.
<p>
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.
</p>
<p>
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.
</p>
<p>
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.
</p>
</li>
</ul>
<h3>OPTIONAL: SUCCESS AT A COST</h3>
<p>
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.
</p>
<p>
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.
</p>
<p>
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.
</p>
<p>
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.
</p>
<h3>OPTIONAL: SUCCESS AT A COST</h3>

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@@ -1,4 +1,4 @@
<h1>Invoking a Trait to Reroll Dice</h1>
<h2>Invoking a Trait to Reroll Dice</h2>
<p>
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 @@
<strong>Identity</strong>, Gaonia Empire as their <strong>Origin</strong>, and
Guilt as their <strong>Theme</strong>.
</p>
<h2>Mechanics</h2>
<p>
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.
</p>
<p>You cannot invoke a Trait if your character fumbled the Check.</p>
<h2>Example</h2>
<p>
<strong>Scenario:</strong> Ricard the mage is rushing towards the docking
<strong>Example:</strong> 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 @@
</p>
<p>
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!”
</p>
<p>“Tell me more!” Nadia inquires.</p>
<p>
“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!”
</p>
@@ -53,16 +49,14 @@
<p>
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?”
</p>
<h2>Player Guidance</h2>
<p>
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.
</p>

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@@ -1,4 +1,4 @@
<h1>INVOKING A BOND TO IMPROVE YOUR CHECK</h1>
<h2>INVOKING A BOND TO IMPROVE YOUR CHECK</h2>
<p>
Just like how a character's Traits can be used to reroll dice, Bonds — which
@@ -44,7 +44,7 @@
measure of courage!"
</p>
<h2>Optional Rule: Invoking to Fail</h2>
<h3>Optional Rule: Invoking to Fail</h3>
<p>
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.
</li>
</ul>
<p><strong>Restrictions:</strong></p>
<ul>
<li>
You cannot invoke to fail on Support Checks (page 50), and you cannot
succeed at a cost (page 45) on a Check you already invoked to fail.
</li>
</ul>
<h3>OPTIONAL: INVOKING TO FAIL</h3>

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@@ -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 <code>【DEX + INS】</code> +1. The Difficulty Level is
generally equal to the target’s Defense score.
generally equal to the target's Defense score.
</p>
<p>
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.
</p>
<h3>Example</h3>
<p>
Montblanc the knight is struggling to free himself from the formidable grasp
of a dragon. The GM declares this is an Opposed Check using
<code>【DEX + MIG】</code>.
<strong>Example:</strong> Montblanc the knight is struggling to free himself
from the formidable grasp of a dragon. The GM declares this is an Opposed
Check using <code>【DEX + MIG】</code>.
</p>
<p>
Montblanc rolls d8 + d10, but the dragon boasts a powerful d12 + d12: when the

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@@ -1,4 +1,4 @@
<h1>OPEN CHECKS</h1>
<h2>OPEN CHECKS</h2>
<p>
This particular kind of Attribute Check has no Difficulty Level: instead, the
@@ -8,30 +8,36 @@
<p>
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.
</p>
<ul>
<li>
rolling a 13 while studying an ancient painting means you manage to get
information worthy of an expert archaeologist,
</li>
<li>
while rolling an 8 would only net you basic hints of what the artist wanted
to portray.
</li>
</ul>
<h2>Result Equates to...</h2>
<p>
<strong>7+:</strong> What could be accomplished by a person with a bit of
training or talent.
</p>
<p>
<strong>10+:</strong> What could be achieved by someone competent or very
talented.
</p>
<p><strong>13+:</strong> The work of an expert or true prodigy.</p>
<p><strong>16+:</strong> A result worthy of being remembered in history.</p>
<table>
<thead>
<tr>
<td>Result</td>
<td>Equates to...</td>
</tr>
</thead>
<tr>
<td><strong>7+</strong></td>
<td>
What could be accomplished by a person with a bit of training or talent.
</td>
</tr>
<tr>
<td><strong>10+</strong></td>
<td>What could be achieved by someone competent or very talented.</td>
</tr>
<tr>
<td><strong>13+</strong></td>
<td>The work of an expert or true prodigy.</td>
</tr>
<tr>
<td><strong>16+</strong></td>
<td>A result worthy of being remembered in history.</td>
</tr>
</table>
<h2>SITUATIONAL MODIFIERS</h2>
<p>

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@@ -1,4 +1,4 @@
<h1>GROUP CHECKS</h1>
<h2>GROUP CHECKS</h2>
<p>
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 <strong class="bonus">+1 bonus</strong> to the leader's Check.
</li>
<li>
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.
</li>
<li>
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.
</li>
<li>
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.
</li>
</ol>
<p>
Group Checks are extremely useful when two or more characters are performing
@@ -39,8 +39,9 @@
<h3>Example:</h3>
<p>
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
<span class="check">【INS + WLP】</span> Check, and the two supporting
characters perform <span class="check">【INS + WLP】</span> 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.
</p>

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<h1>22GAME RULES</h1>
<p><strong>CHAPTER</strong> <strong>CHAPTER</strong></p>
<h2>FREQUENTLY USED CHECKS</h2>
<p>
The table below contains a list of circumstances that might require a Check
@@ -24,7 +21,7 @@
<td>【DEX + INS】</td>
</tr>
<tr>
<td>Anticipating someone’s movements and catching them by surprise.</td>
<td>Anticipating someone's movements and catching them by surprise.</td>
<td>【DEX + INS】</td>
</tr>
<tr>
@@ -32,7 +29,7 @@
<td>【DEX + INS】</td>
</tr>
<tr>
<td>Moving gracefully to earn someone’s attention.</td>
<td>Moving gracefully to earn someone's attention.</td>
<td>【DEX + WLP】</td>
</tr>
<tr>
@@ -66,20 +63,20 @@
</tbody>
</table>
<p>
Beneath the Crystal Temple slumbers the Great Dragon God, who once turned the
Babel Empire to ash.
</p>
<h3>Optional Rule: Shared Attribute Choice</h3>
<p>
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).
</p>
<p>
This rule does not apply to Checks whose Attributes are already established by
the rules, such as Accuracy Checks.
</p>
<h4>OPTIONAL: SHARED ATTRIBUTE CHOICE</h4>
<blockquote>
Beneath the Crystal Temple slumbers the Great Dragon God, who once turned the
Babel Empire to ash.
</blockquote>

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@@ -20,10 +20,10 @@
surveillance, failed Checks might fill a “High Alert!” Clock.
</li>
<li>
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!
</li>
<li>
@@ -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!
</p>

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@@ -1,6 +1,7 @@
<h1>22GAME RULES</h1>
<p><strong>CHAPTER ADVANCING A CLOCK</strong></p>
<h2>CHAPTER ADVANCING A CLOCK</h2>
<p>In general, Clocks advance through Checks:</p>
<ul>
<li>Fill one section for a successful Check.</li>
<li>
@@ -35,10 +36,12 @@
Level 10. The Game Master fills two sections on the "Ambushed!" Clock — one
for her failure, and another because she failed the Check by three or more.
</p>
<h3>CLOCKS AND THE STORY</h3>
<p>
Clocks should always interact with what happens in the story. The Game Master
should use situational modifiers and adjust the Difficulty Level to represent
advantages or disadvantages derived from the Players' choices and the events
that are taking place in the scene.
</p>
<h2>CLOCKS AND THE STORY</h2>

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@@ -8,7 +8,7 @@
the challenge.
</p>
<h3>TURNING BACK A CLOCK</h3>
<h2>TURNING BACK A CLOCK</h2>
<p>
Characters can also take action to slow a Clock's advance and erase some of
the filled sections, eventually bringing it back to 0 — the method is

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<h2>GAME RULES</h2>
<section>
<h3>OTHER EVENTS</h3>
<p>
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.
</p>
<p>
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.
</p>
<p>
<h2>OTHER EVENTS</h2>
<p>
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.
</p>
<p>
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.
</p>
<p>
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.
</p>
</section>
</p>
<section>
<h3>CLOCKS DURING CONFLICT SCENES</h3>
<p>
<h2>CLOCKS DURING CONFLICT SCENES</h2>
<p>
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).
</p>
<p>
</p>
<p>
<strong>Example:</strong> 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.
</p>
</section>
Duma, the Game Master assigns each participant a six-section Clock. The first
challenger to complete their Clock will win the duel.
</p>
<section>
<h3>USING CLOCKS FOR PACING AND PRESSURE</h3>
<p>
<h2>USING CLOCKS FOR PACING AND PRESSURE</h2>
<p>
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.
</p>
<p>
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.
</p>
<p>
<strong>Example:</strong> 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!
</p>
<p>
</p>
<p>
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.
</p>
</section>
<footer></footer>
influenced through Checks — they should be the focus of one or more sessions.
</p>

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<h2>Bonds</h2>
<h1>Bonds</h1>
<p>
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 Checks (page 50), but
@@ -54,5 +54,3 @@
If you have the Dark Knight Belphegor among your Bonds and you feel
inferiority and hatred towards him, that Bond has a strength of 2.
</p>
<h2>BONDS</h2>

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<section>
<h1>GAME RULES</h1>
<h2>CREATING A BOND</h2>
<p>
<h2>CREATING A BOND</h2>
<p>
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.
</p>
<p>
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.
</p>
<p>
You can have Bonds towards characters, nations, kingdoms, organizations, and
even religions. You cannot have a Bond towards yourself.
</p>
</p>
<h2>STRENGTHENING A BOND OR CHANGING EMOTIONS</h2>
<p>
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
<h2>STRENGTHENING A BOND OR CHANGING EMOTIONS</h2>
<p>
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.
</p>
</p>
<h2>ERASING A BOND</h2>
<p>
<h2>ERASING A BOND</h2>
<p>
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.
</p>
</p>
<h2>BONDS ARE STRONGER THAN DEATH</h2>
<ul>
<li>
Even if a character dies or leaves your story, any Bonds other characters
had with them will remain until erased.
</li>
<li>
Bonds make your character stronger while reminding you of their ties with
the rest of the world and its people.
</li>
</ul>
<h2>BONDS ARE STRONGER THAN DEATH</h2>
<p>
Even if a character dies or leaves your story, any Bonds other characters had
with them will remain until erased.
</p>
<h3>Guidance on Character Development</h3>
<p>
<h3>The Role of Bonds</h3>
<p>
Bonds make your character stronger while reminding you of their ties with the
rest of the world and its people.
</p>
<p>
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.
</p>
<p>
The best choice is often to let Bonds grow organically, while also reaping
the benefits that come from having many high-strength Bonds.
</p>
<h2>THE ROLE OF BONDS</h2>
</section>
</p>
<p>
The best choice is often to let Bonds grow organically, while also reaping the
benefits that come from having many high-strength Bonds.
</p>

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<h2>CONFLICT SCENES</h2>
<h1>CONFLICT SCENES</h1>
<p>
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.

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<h2>GAME RULES</h2>
<p>Once all creatures have taken their actions, the round ends.</p>
<h3>Determine which characters will actively take part in the conflict</h3>
<ul>
<li>
Everyone else will be treated as an extra and mostly fade into the
background.
</li>
</ul>
<ol>
<li>
Determine which characters will actively take part in the conflict (be they
Player Charactesr or Non-Player Characters). Everyone else will be treated
as an extra and mostly fade into the background.
</li>
<li>
Discuss the goals of each participant. Player Characters should also declare
which items they have equipped at the start of the conflict.
</li>
<li>
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 <code>{DEX + INS}</code> Initiative Group Check
to determine which side acts first. The Difficulty Level for this Check
equals the highest Initiative among their adversaries.
</li>
<li>
<p>
<strong
>The conflict is handled as a series of consecutive rounds:</strong
>
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.
</p>
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.
</li>
<li>
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.
<ul>
<li>Each turn allows for a single action.</li>
<li>You cannot choose to "pass" a turn.</li>
@@ -39,22 +36,18 @@
</li>
</ul>
</li>
<li>
Player Characters perform a <code>{DEX + INS}</code> Initiative Group Check
to determine which side acts first. The Difficulty Level for this Check
equals the highest Initiative among their adversaries.
</li>
</ol>
<p>
<li>Once all creatures have taken their actions, the round ends.</li>
<li>
<strong>If the conflict continues, a new round begins:</strong> go back to
step 5.
</p>
<ul>
<li>
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.
</li>
</ul>
<li>
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.
</li>
</ol>

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suffice it to say, if a conflict takes place it's because at the very least
they don't want the heroes to achieve their own objectives!
</p>
<hr />

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<h1>22 GAME RULES</h1>
<p>CHAPTER INITIATIVE</p>
<h2>INITIATIVE</h2>
<p>
A character's Initiative modifier indicates how likely they are to give their
@@ -49,7 +48,6 @@
of each round will belong to either Silida or Ricard.
</p>
<h3>Note:</h3>
<p>
Note that even if a new participant joins an ongoing conflict scene, they will
simply adapt to the existing initiative.

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heroes have seized the initiative, each round will be as follows:
</p>
<p>PC Turn — Z — NPC Turn — Z — PC Turn — Z — NPC Turn — Z — NPC Turn</p>
<p>PC Turn &larr; NPC Turn &larr; PC Turn &larr; NPC Turn &larr; NPC Turn</p>
<p>
The round ends once every participant has performed the turn (or turns, in the

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<h1>22 GAME RULES</h1>
<h3>DYNAMIC TURN ORDER</h3>
<p>
Since turns do not belong to specific characters, you may switch the order of
your actions from round to round. For instance, a sorceress who took the last
@@ -9,7 +10,8 @@
individual strategy.
</p>
<h2>DYNAMIC TURN ORDER</h2>
<h3>THE ACTION ECONOMY</h3>
<p>
Much like any game that limits the amount of “moves” a character can perform
before their opponents get a chance to act, Fabula Ultima rewards you for
@@ -28,7 +30,8 @@
</li>
</ul>
<h2>THE ACTION ECONOMY</h2>
<h3>OPTIONAL: ENEMY INITIATIVE</h3>
<p>
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.
</p>
<h2>OPTIONAL: ENEMY INITIATIVE</h2>

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</p>
<p>There are a few important things to say about this:</p>
<ul>
<li>
<h3>ACTIONS AND DESCRIPTIONS</h3>
<p>
<dl>
<dt>ACTIONS AND DESCRIPTIONS</dt>
<dd>
Keep distances and movements abstract in your descriptions. If you want to
rush past the golems and snatch a cursed grimoire from the wizard's hands,
for instance, you can roll for that right away — it doesn't matter whether
you were ten, twenty, or fifty steps away, all that matters is who, or
what, is going to try and stop you.
</p>
</li>
<li>
<h3>ATTACKS</h3>
you were ten, twenty, or fifty steps away, all that matters is who, or what,
is going to try and stop you.
</dd>
<dt>ATTACKS</dt>
<dd>
<p>
The big difference between melee and ranged attacks isn't in the distance
they can cover, but in the various Skills they interact with and the
@@ -37,9 +35,9 @@
really shine — the ability to take a blow for your comrades becomes
critical to victory in battle.
</p>
</li>
<li>
<h3>SPLIT SCENES</h3>
</dd>
<dt>SPLIT SCENES</dt>
<dd>
<p>
If the conflict scene involves locations that are far away from each other
— say, if you are distracting the Pirate Queen with your conversational
@@ -53,5 +51,5 @@
interact with each other, but sometimes the two conflict scenes will merge
into one as the characters eventually regroup.
</p>
</li>
</ul>
</dd>
</dl>

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<section>
<h2>d OKAY , BUT...</h2>
<dl>
<dt>OKAY , BUT...</dt>
<dd>
<p>
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?
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?
</p>
<p>The advice boils down to the following:</p>
<ul>
@@ -13,16 +14,17 @@
</li>
<li>
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!
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!
</li>
</ul>
<p>
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.
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.
</p>
</section>
</dd>
</dl>

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</p>
<ul>
<li>
<p>
Pick up an item from the ground and/or drop something you are holding.
</li>
</ul>
<p>
</p>
<p>
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).
</p>
<ul>
<li>If you drop an equipped item, you will no longer have it equipped.</li>
<li>
If you want to properly rearrange your gear, you must perform the Equipment
action.
</p>
<p>If you drop an equipped item, you will no longer have it equipped.</p>
<p>
If you want to properly rearrange your gear, you must perform the
Equipment action.
</p>
</li>
</ul>
<p>Minor Activities also include:</p>
<ul>
<li>Quickly throw an item you are holding to another character.</li>
<li>
Perform a minor interaction with the environment: open an unlocked door,

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<h1>22GAME RULES</h1>
<section aria-labelledby="action-description">
<h2>Action Description</h2>
<!-- Action: Attack -->
<div class="rule-entry">
<h3>Attack</h3>
<p>You perform a melee or ranged attack.</p>
</div>
<!-- Action: Equipment -->
<div class="rule-entry">
<h3>Equipment</h3>
<p>
<table>
<thead>
<tr>
<th>Action</th>
<th>Description</th>
</tr>
</thead>
<tbody>
<tr>
<td><b>Attack</b></td>
<td>You perform a melee or ranged attack.</td>
</tr>
<tr>
<td><b>Equipment</b></td>
<td>
You switch any number of equipped items with any number of items in your
backpack.
</p>
<ul>
<li>This action doesn't apply to armor.</li>
<li>This action doesn't apply to <b>armor</b>.</li>
</ul>
</div>
<!-- Action: Guard -->
<div class="rule-entry">
<h3>Guard</h3>
<p>Only once per turn. Until the start of your next turn:</p>
</td>
</tr>
<tr>
<td><b>Guard</b></td>
<td>
Only <b>once per turn</b>. Until the start of your next turn:
<ul>
<li>You gain Resistance to all damage types.</li>
<li>You gain a +2 bonus to Opposed Checks.</li>
<li>
You may cover another creature and prevent foes from performing melee
attacks against them.
You may <b>cover</b> another creature and prevent foes from
performing melee attacks against them.
</li>
</ul>
</div>
<!-- Action: Hinder -->
<div class="rule-entry">
<h3>Hinder</h3>
<p>
</td>
</tr>
<tr>
<td><b>Hinder</b></td>
<td>
You perform a Check (DL 10) against an opponent. If you succeed, you
inflict dazed, shaken, slow, or weak upon them.
</p>
</div>
<!-- Action: Inventory -->
<div class="rule-entry">
<h3>Inventory</h3>
<p>
inflict <b>dazed</b>, <b>shaken</b>, <b>slow</b>, or <b>weak</b> upon
them.
</td>
</tr>
<tr>
<td><b>Inventory</b></td>
<td>
You spend Inventory Points to produce and immediately use a consumable
item.
</p>
</div>
<!-- Action: Objective -->
<div class="rule-entry">
<h3>Objective</h3>
<p>You work towards accomplishing an objective within the conflict.</p>
</td>
</tr>
<tr>
<td><b>Objective</b></td>
<td>
You work towards accomplishing an objective within the conflict.
<ul>
<li>This will require an Attribute Check or Opposed Check.</li>
<li>Complex goals will often require a Clock.</li>
</ul>
</div>
<!-- Action: Spell -->
<div class="rule-entry">
<h3>Spell</h3>
<p>You cast one of the spells you have learned.</p>
</div>
<!-- Action: Study -->
<div class="rule-entry">
<h3>Study</h3>
<p>You attempt to gain information about someone or something.</p>
</td>
</tr>
<tr>
<td><b>Spell</b></td>
<td>You cast one of the <b>spells</b> you have learned.</td>
</tr>
<tr>
<td><b>Study</b></td>
<td>
You attempt to gain information about someone or something.
<ul>
<li>
This will generally require an <strong>【INS + INS】</strong> Open
Check.
This will generally require an <b>【INS + INS】</b> Open Check.
</li>
</ul>
</div>
<!-- Action: Skill -->
<div class="rule-entry">
<h3>Skill</h3>
<p>Some Skills require you to spend an action.</p>
</div>
<!-- Action: Other -->
<div class="rule-entry">
<h3>Other</h3>
<p>
You perform an action that is not covered by any of the above, negotiating
its resolution and effects with the Game Master.
</p>
</div>
</section>
</td>
</tr>
<tr>
<td><b>Skill</b></td>
<td>Some Skills require you to spend an action.</td>
</tr>
<tr>
<td><b>Other</b></td>
<td>
You perform an action that is not covered by any of the above,
negotiating its resolution and effects with the Game Master.
</td>
</tr>
</tbody>
</table>

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<h1>ATTACK</h1>
<p>
A character may spend an action to perform an offensive maneuver using one of
the weapons they have available.
</p>
<h2>Choose a Target for Your Attack</h2>
<ul>
<li>You must know the position of the target and be able to see them.</li>
<dl>
<dt>Attack</dt>
<dd>
<p>
A character may spend an action to perform an offensive maneuver using one
of the weapons they have available.
</p>
<ol>
<li>
You must be able to reach the target with the weapon you are using; flying
enemies, for instance, cannot be reached by melee attacks.
<p>Choose a target for your attack.</p>
<p>You must know the position of the target and be able to see them.</p>
<p>
You must be able to reach the target with the weapon you are using;
flying enemies, for instance, cannot be reached by melee attacks.
</p>
</li>
</ul>
<h2>Perform an Accuracy Check</h2>
<p>
Use the formula indicated by the weapon you are attacking with. The Difficulty
Level is equal to the target’s Defense score.
</p>
<ul>
<li>
<strong>Success:</strong> You hit the target; <strong>Failure:</strong> It
<p>
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.
</li>
</ul>
<p>
A fumble indicates an automatic failure and a critical success means you hit
your target regardless of their Defense. They also generate opportunities.
</p>
<p>
The Game Master may apply situational modifiers (+2 or -2) to your Accuracy
Check based on especially favorable or hindering circumstances.
</p>
<h2>If You Hit the Target</h2>
<p>
You deal damage based on the formula indicated by the weapon you attacked
with. This will generally be a sum of your
<strong>Accuracy Check's High Roll</strong> and a fixed value based on the
weapon's power.
</p>
<p>For a list of common weapons, see page 132.</p>
<h2>The Target Loses Hit Points</h2>
<p>
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):
</p>
<ul>
</p>
<ul>
<li>
<strong>Vulnerable:</strong> A target loses twice the normal amount of Hit
Points.
A fumble indicates an automatic failure and a critical success means
you hit your target regardless of their Defense. They also generate
opportunities.
</li>
<li>
<strong>Resistant:</strong> A target loses half the normal amount of Hit
Points.
The Game Master may apply situational modifiers (+2 or -2) to your
Accuracy Check based on especially favorable or hindering
circumstances.
</li>
</ul>
</li>
<li><strong>Immune:</strong> A target loses no Hit Points.</li>
<li>
<strong>Absorbing:</strong> The target recovers Hit Points equal to the
damage suffered.
<p>
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.
</p>
<p>
For a list of common weapons, see
<a href="/books/core/#page-132">page 132</a>.
</p>
</li>
</ul>
<li>
<p>
The target loses a number of Hit Points equal to the damage you dealt.
</p>
<p>
This may be modified by their Affinity with the damage type (page 92):
</p>
<ul>
<li>
A Vulnerable target loses twice the normal amount of Hit Points.
</li>
<li>
A Resistant target loses half the normal amount of Hit Points.
</li>
<li>An Immune target loses no Hit Points.</li>
<li>
An Absorbing target recovers Hit Points equal to the damage
suffered.
</li>
</ul>
</li>
</ol>
</dd>
</dl>

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<h1>22 GAME RULES</h1>
<p>
Example: Our heroes are fighting a group of skeletons. Montblanc the knight
charges towards the nearest undead and swings his powerful waraxe. The
@@ -9,7 +8,7 @@
the two dice was a 9, the total is 23 damage.
</p>
<h2>FREE ATTACKS</h2>
<h4>FREE ATTACKS</h4>
<p>
Some game effects allow you to perform free attacks. These follow the
procedure on the previous page but generally take place as part of a different
@@ -20,7 +19,7 @@
that aren't part of your equipped items!
</p>
<h2>MULTI</h2>
<h4>MULTI</h4>
<p>
When you perform an attack with the multi property, you may select as many
different targets as the specific weapon or effect allows —
@@ -36,7 +35,7 @@
</ul>
<p>Finally, apply the normal damage calculation to each target.</p>
<h2>TWO-WEAPON FIGHTING</h2>
<h4>TWO-WEAPON FIGHTING</h4>
<p>
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

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<h2>d EQUIPMENT</h2>
<h3>EQUIPMENT</h3>
<p>
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 @@
</p>
<p>For more information on equipping items, see page 122.</p>
<h2>d GUARD</h2>
<h3>d GUARD</h3>
<p>
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.
</li>
</ul>
<p><strong>Limitations:</strong></p>
<ul>
<li>You cannot cover a creature that is already covering someone.</li>
</ul>
<p>
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

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<h2>22 GAME RULES</h2>
<h3>Hinder</h3>
<p>
You force an opponent into a disadvantageous position. This may represent a

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<h1>22 GAME RULES</h1>
<h2>KEEP THEM OUT</h2>
<p>
While facing off against a powerful necromancer, the heroes are swarmed by

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