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INTRODUCTION

-

Welcome to Fabula Ultima! What you hold in your hands is the core rulebook for a tabletop roleplaying game inspired by some of the most beloved JRPG videogames, such as Bravely Default, Bravely Second, Granblue Fantasy, Ni No Kuni, Octopath Traveler, and the legendary Final Fantasy series.

-

The JRPG acronym stands for Japanese (or Japanese-style) Roleplaying Game, a videogame genre that saw its origin in Japan but is currently spread all over the world, counting hundreds of titles. JRPG videogames share some major elements: they tell fantastic stories in which extraordinary individuals confront the darkness that threatens their world, growing and learning to trust each other: only by struggling together and casting aside their suspicions and differences will they save what they hold dear. This may read like a reasonably common premise, but what makes JRPGs unique is that the worlds in which they are set — often wondrous and bizarre! — are built around the protagonists and act as a reflection of the doubts, hopes and feelings driving their actions: the process of discovering the setting goes hand in hand with understanding who is accompanying us in our journeys.

+

A ROLEPLAYING GAME

+

Roleplaying games (abbreviated RPGs) are a particular type of game — they originated as tabletop games, but are nowadays often played online as well.

+

In a roleplaying game, a group of people play together to create a story: they do so by talking with each other, and that conversation is accompanied by the use of rules and (typically) dice rolls, which help determine the outcome of uncertain situations and guarantee that the story created reflects the premises of the game — tension and fear for a horror game, adrenaline scenes for an action game, deep and heartfelt character interaction for a romantic game, and so on.

+

In Japan, this activity is also known as a "table talk role-playing game" (TTRPG), specifically, because it relies so heavily on the conversation at the table.

+ +

ROLES IN THE GAME

+

The people who play this game will fulfill different roles:

+ -

Philip Forlenza (Order #)

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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 put the Player Characters in situations of risk and danger, their role is not that of an adversary, but rather someone who aims to make the protagonists shine throughout the story.

+

There is no "win condition" in this game: as long as you create a memorable story and enjoy each other's company, you're all winning.

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Example 2: Our heroes are searching for a massive dragon across the rocky hills surrounding Ildefort.

-

They finally track the monster down to a large cavern. At that point, a Player declares she wants to spend 1 Fabula Point to state that the creature is asleep — this will make it easier to get the drop on them.

-

The dragon is a creature introduced by the Game Master, which means the Player needs permission in order to make a statement about them. The GM is okay with this, but points out that this is no "magical sleep" and that the group will have to make Checks in order to avoid waking up the dragon.

+

Villains

-

Example 3: Seven years ago, the warrior-sorceress Daige deserted the imperial army.

-

Now Daige finds herself back in the imperial capital, leading an infiltration team determined to steal the Soul Crystal from the Empress' clutches.

-

While gathering information in the streets, Daige and her comrade Valincor realize they are being followed by a city guard: the Player controlling Daige, Hannah, spends 1 Fabula Point and reveals that their pursuer is actually a member of her former unit, Ramis. He was never a fan of imperial cruelties but remained in the army to feed his family. Since the city guard was a character introduced by the Game Master, Hannah needs permission — this is a huge change to the scene, but the GM is intrigued and agrees to it.

-

From now on, the Game Master will still control Ramis — but the heroes have gained a new and useful contact within the capital. However, Ramis still has a weakness: what will he do if his family is threatened?

-

There is more than one side to each story.

+

In Fabula Ultima, Villains are powerful antagonists that will give Player Characters a run for their money. Just as the Player Characters’ actions drive the story forward, Villains represent the powerful threats that loom over the world — sometimes lurking in the shadows, sometimes welcoming our protagonists with a warm and deceitful smile, and sometimes challenging them in an all-out battle that will decide the fate of the entire world.

- \ No newline at end of file +

Here are some good examples of Villains:

+ + +

Whatever form they take, Villains are usually connected to one or more Player Characters; sometimes this connection is thematic (as would be the case with a ruthless Villain opposing a character's Theme of Mercy), but it can also be much more tangible (a classic case would be a Villain who is revealed to be a Player Character's lost sibling).

+ +

Introducing Villains in the Story

+ +

The Game Master may introduce Villains whenever they see fit — either by adding a completely new character to the story or by revealing that a preexisting character or creature is a Villain.

+ +

Villains are often accompanied by henchmen or even by other Villains: two lovers fighting side by side, a Queen and her advisor, a powerful sorcerer and his massive golems, a bandit leader and her gang of rogues...

+ +

More information on how to create and manage Villains can be found in the Game Master chapter, on page 254.

+ +

VILLAINS

+

Philip Forlenza (Order #)

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Villains

+

GAME RULES

+
+

ULTIMA POINTS

+

Ultima Points are the dark mirror to Fabula Points. When a Villain is introduced, the Game Master must also decide whether that character is a minor, major, or supreme Villain — the GM can keep this a secret or openly reveal it.

-

In Fabula Ultima, Villains are powerful antagonists that will give Player Characters a run for their money. Just as the Player Characters’ actions drive the story forward, Villains represent the powerful threats that loom over the world — sometimes lurking in the shadows, sometimes welcoming our protagonists with a warm and deceitful smile, and sometimes challenging them in an all-out battle that will decide the fate of the entire world.

+

How Villains Receive Ultima Points

+
+
Minor (5)
+
Enemy commanders, unique and infamous monsters, and antagonists causing trouble in small settlements.
+ +
Major (10)
+
Tyrants, powerful mages, legendary creatures, and entities that threaten entire countries.
+ +
Supreme (15)
+
Archdemons, immortal entities, and alien deities bent on destruction or domination.
+
-

Here are some good examples of Villains:

- +

SPENDING ULTIMA POINTS

+

A Villain has three options for spending Ultima Points:

+ +
+
Escape (1 Point)
+
A Villain may spend 1 Ultima Point to safely leave the scene — the Game Master describes how they do so, perhaps leaving a few henchmen behind to "keep the heroes company".
+ +
Invoke Trait (1 Point)
+
After performing a Check, a Villain may spend 1 Ultima Point to invoke one of their Traits and reroll one or both dice (this follows the same rules seen on page 46).
+ +
Recovery (1 Point)
+
A Villain may use an action and spend 1 Ultima Point to recover from all status effects and also recover 50 Mind Points.
+
-

Whatever form they take, Villains are usually connected to one or more Player Characters; sometimes this connection is thematic (as would be the case with a ruthless Villain opposing a character's Theme of Mercy), but it can also be much more tangible (a classic case would be a Villain who is revealed to be a Player Character's lost sibling).

+

While Player Characters can gain Fabula Points in several ways, Villains cannot recharge their Ultima Points — in a way, they represent the Villain's determination and will to pursue their objectives. A Villain with no remaining Ultima Points is no longer a Villain and becomes equivalent to any other NPC; alternatively, they may choose to escalate (see next page).

+
-

Introducing Villains in the Story

- -

The Game Master may introduce Villains whenever they see fit — either by adding a completely new character to the story or by revealing that a preexisting character or creature is a Villain.

- -

Villains are often accompanied by henchmen or even by other Villains: two lovers fighting side by side, a Queen and her advisor, a powerful sorcerer and his massive golems, a bandit leader and her gang of rogues...

- -

More information on how to create and manage Villains can be found in the Game Master chapter, on page 254.

- -

VILLAINS

-

Philip Forlenza (Order #)

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GAME RULES

-
-

ULTIMA POINTS

-

Ultima Points are the dark mirror to Fabula Points. When a Villain is introduced, the Game Master must also decide whether that character is a minor, major, or supreme Villain — the GM can keep this a secret or openly reveal it.

+

ESCALATION

+

At any time during play, the Game Master may declare that a Villain has transformed into a new version of themselves — one with greater powers and darker ambitions. Narratively speaking, this is the moment in which the Villain rejects a chance at redemption and grows even more obsessive in the pursuit of their goal. The heroes forced them into a corner, and the results have proven catastrophic.

-

How Villains Receive Ultima Points

-
-
Minor (5)
-
Enemy commanders, unique and infamous monsters, and antagonists causing trouble in small settlements.
- -
Major (10)
-
Tyrants, powerful mages, legendary creatures, and entities that threaten entire countries.
- -
Supreme (15)
-
Archdemons, immortal entities, and alien deities bent on destruction or domination.
-
+ -

SPENDING ULTIMA POINTS

-

A Villain has three options for spending Ultima Points:

- -
-
Escape (1 Point)
-
A Villain may spend 1 Ultima Point to safely leave the scene — the Game Master describes how they do so, perhaps leaving a few henchmen behind to "keep the heroes company".
- -
Invoke Trait (1 Point)
-
After performing a Check, a Villain may spend 1 Ultima Point to invoke one of their Traits and reroll one or both dice (this follows the same rules seen on page 46).
- -
Recovery (1 Point)
-
A Villain may use an action and spend 1 Ultima Point to recover from all status effects and also recover 50 Mind Points.
-
+

Following this transformation, the character is treated as an entirely new Villain; the first time they appear during a scene, their Ultima Points will reset to a value appropriate to their new role in the story.

-

While Player Characters can gain Fabula Points in several ways, Villains cannot recharge their Ultima Points — in a way, they represent the Villain's determination and will to pursue their objectives. A Villain with no remaining Ultima Points is no longer a Villain and becomes equivalent to any other NPC; alternatively, they may choose to escalate (see next page).

-
+ - \ No newline at end of file +

Philip Forlenza (Order #)

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ESCALATION

-

At any time during play, the Game Master may declare that a Villain has transformed into a new version of themselves — one with greater powers and darker ambitions. Narratively speaking, this is the moment in which the Villain rejects a chance at redemption and grows even more obsessive in the pursuit of their goal. The heroes forced them into a corner, and the results have proven catastrophic.

+
+

VILLAIN AND FABULA POINTS

- +

Whenever a Villain makes an entrance during a scene, each Player Character gains 1 Fabula Point.

-

Following this transformation, the character is treated as an entirely new Villain; the first time they appear during a scene, their Ultima Points will reset to a value appropriate to their new role in the story.

+

Rules for Fabula Points

+ - +

Whenever the heroes are running low on Fabula Points, the Game Master should run a Game Master scene and show a Villain in action — this is a great way to push the story forward while also giving the heroes a bit more "fuel".

-

Philip Forlenza (Order #)

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General Guidance

+
+

Great evil is born when good intentions are met with mistrust and despair.

+
+ +

When choosing whether a Villain will escalate, the Game Master should consider the antagonist's importance within the story, their personality, and the way the heroes chose to confront them: a Villain's escalation shows that the heroes might win a conflict but still make the situation worse.

+ +

Most of the time it's best to simply let a Villain be defeated: maybe their resolve is broken, maybe they even realized they were wrong and will turn into an ally.

+ + + + +
+

SHOULD THIS VILLAIN ESCALATE?

+

Philip Forlenza (Order #)

+
+
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-

VILLAIN AND FABULA POINTS

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104

+

W

+

Player Characters have an abstract reserve of useful gear and consumable items, represented by Inventory Points (IP).

+

A character can normally carry a maximum of 6 Inventory Points; however, some Classes and special Skills will increase this limit.

-

Whenever a Villain makes an entrance during a scene, each Player Character gains 1 Fabula Point.

+

SPENDING INVENTORY POINTS

+

Whenever you need a consumable item from the list below, you may spend an appropriate amount of Inventory Points to produce it from your bag and apply its effect — all Inventory Points spent this way must come from the same character.

+

Once created, the item must be used immediately and is destroyed in the process; you cannot create it and then "save it for later".

+

The table below lists the default inventory objects available in the game; this information is also present on your group sheet for easier reference. The sheet also features blank spaces where you can write custom inventory items that are unique to your world!

+

The Tinkerer Class (page 210) can use Inventory Points in a variety of ways.

-

Rules for Fabula Points

- + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
ITEMIP COSTEFFECT
PotionsElixir 3One creature recovers 50 Mind Points.
Remedy 3One creature recovers 50 Hit Points.
Tonic 2One creature recovers from a single status effect.
UtilityElemental Shard 2 One creature suffers 10 damage of a type of your choice (air, bolt, earth, fire, or ice).
MagicTent 4 Allows the entire group to rest in the wilderness.
-

Whenever the heroes are running low on Fabula Points, the Game Master should run a Game Master scene and show a Villain in action — this is a great way to push the story forward while also giving the heroes a bit more "fuel".

- -

General Guidance

-
-

Great evil is born when good intentions are met with mistrust and despair.

-
- -

When choosing whether a Villain will escalate, the Game Master should consider the antagonist's importance within the story, their personality, and the way the heroes chose to confront them: a Villain's escalation shows that the heroes might win a conflict but still make the situation worse.

- -

Most of the time it's best to simply let a Villain be defeated: maybe their resolve is broken, maybe they even realized they were wrong and will turn into an ally.

- - - - -
-

SHOULD THIS VILLAIN ESCALATE?

-

Philip Forlenza (Order #)

-
-
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INVENTORY POINTS

+

Philip Forlenza (Order #)

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104

-

W

-

Player Characters have an abstract reserve of useful gear and consumable items, represented by Inventory Points (IP).

-

A character can normally carry a maximum of 6 Inventory Points; however, some Classes and special Skills will increase this limit.

+

22 GAME RULES

+

RECHARGING INVENTORY POINTS

+

Characters can recharge their Inventory Points when they are in a town, village, or other locations that allow them to purchase useful gear: the cost is 10 zenit for every Inventory Point they want to recharge.

+

At the Game Master’s discretion, characters may also recharge some of their Inventory Points in particular circumstances, such as stumbling upon an adventurer’s backpack or being rewarded by a village for their help with local troubles.

+

A character’s current Inventory Points can never go above their maximum Inventory Points — there is always a limit to how much can be carried comfortably.

-

SPENDING INVENTORY POINTS

-

Whenever you need a consumable item from the list below, you may spend an appropriate amount of Inventory Points to produce it from your bag and apply its effect — all Inventory Points spent this way must come from the same character.

-

Once created, the item must be used immediately and is destroyed in the process; you cannot create it and then "save it for later".

-

The table below lists the default inventory objects available in the game; this information is also present on your group sheet for easier reference. The sheet also features blank spaces where you can write custom inventory items that are unique to your world!

-

The Tinkerer Class (page 210) can use Inventory Points in a variety of ways.

+

SHARING INVENTORY POINTS

+

Characters are not allowed to redistribute Inventory Points among themselves.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
ITEMIP COSTEFFECT
PotionsElixir 3One creature recovers 50 Mind Points.
Remedy 3One creature recovers 50 Hit Points.
Tonic 2One creature recovers from a single status effect.
UtilityElemental Shard 2 One creature suffers 10 damage of a type of your choice (air, bolt, earth, fire, or ice).
MagicTent 4 Allows the entire group to rest in the wilderness.
+

GEAR AND TOOLS

+

All Player Characters are assumed to be carrying any gear and tools appropriate to their Identity or befitting their role as adventurers: there’s no need to keep track of torches, ropes, blankets and so on.

+

If a character needs a basic adventuring item, they will have it.

+

However, sometimes a character will need an item that is a bit uncommon or doesn't really fit their Identity. When this happens, the Game Master may allow the character to spend some Inventory Points (generally 2 to 4) in order to "miraculously" pull the item in question out of their backpack.

+

Example: A character whose Identity is “Princess of Thieves” will surely carry some quality lockpicks in her bag; on the contrary, a noble knight will probably have to spend a couple Inventory Points to pull them out of his backpack.

+

Items created this way are not immediately destroyed, but characters should not be allowed to sell them for a price higher than five times their IP cost. For instance, an item that costs 2 IP to create should sell for 10 zenit at most.

+

Note: While tools and similar gear might allow you to perform an otherwise impossible operation, they never grant any mechanical benefit.

-

INVENTORY POINTS

-

Philip Forlenza (Order #)

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Philip Forlenza (Order #)

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22 GAME RULES

-

RECHARGING INVENTORY POINTS

-

Characters can recharge their Inventory Points when they are in a town, village, or other locations that allow them to purchase useful gear: the cost is 10 zenit for every Inventory Point they want to recharge.

-

At the Game Master’s discretion, characters may also recharge some of their Inventory Points in particular circumstances, such as stumbling upon an adventurer’s backpack or being rewarded by a village for their help with local troubles.

-

A character’s current Inventory Points can never go above their maximum Inventory Points — there is always a limit to how much can be carried comfortably.

- -

SHARING INVENTORY POINTS

-

Characters are not allowed to redistribute Inventory Points among themselves.

- -

GEAR AND TOOLS

-

All Player Characters are assumed to be carrying any gear and tools appropriate to their Identity or befitting their role as adventurers: there’s no need to keep track of torches, ropes, blankets and so on.

-

If a character needs a basic adventuring item, they will have it.

-

However, sometimes a character will need an item that is a bit uncommon or doesn't really fit their Identity. When this happens, the Game Master may allow the character to spend some Inventory Points (generally 2 to 4) in order to "miraculously" pull the item in question out of their backpack.

-

Example: A character whose Identity is “Princess of Thieves” will surely carry some quality lockpicks in her bag; on the contrary, a noble knight will probably have to spend a couple Inventory Points to pull them out of his backpack.

-

Items created this way are not immediately destroyed, but characters should not be allowed to sell them for a price higher than five times their IP cost. For instance, an item that costs 2 IP to create should sell for 10 zenit at most.

-

Note: While tools and similar gear might allow you to perform an otherwise impossible operation, they never grant any mechanical benefit.

- -

Philip Forlenza (Order #)

\ No newline at end of file +

While conflicts may be the most memorable moments of a game session, the exploration of the game world is another major aspect of Fabula Ultima. At the beginning of the game, your group will create the world together (see World Creation, on page 148); however, this does not mean you know everything about it. While you may be familiar with the main regions and cities, there are plenty of discoveries — and dangers! — awaiting our heroes.

+

TRAVELING ACROSS THE WORLD MAP

+

When a group embarks on a journey, the Game Master makes use of the map sheet to track their movements. The basic unit of this system is the travel day: it is the average distance covered during a single day on the map (assuming the characters are traveling on foot). The length of one travel day when using your map sheet must be established by the group during World Creation.

+

For each travel day required by the journey, perform the following steps:

+

JOURNEYS AND TRA VELS

+

For the sake of simplicity, travel days should always be rounded up to the next whole number — a journey taking two and a half days is rounded up to three days, for instance.

+

The Game Master always has final say on how many travel days a journey will take.

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While conflicts may be the most memorable moments of a game session, the exploration of the game world is another major aspect of Fabula Ultima. At the beginning of the game, your group will create the world together (see World Creation, on page 148); however, this does not mean you know everything about it. While you may be familiar with the main regions and cities, there are plenty of discoveries — and dangers! — awaiting our heroes.

-

TRAVELING ACROSS THE WORLD MAP

-

When a group embarks on a journey, the Game Master makes use of the map sheet to track their movements. The basic unit of this system is the travel day: it is the average distance covered during a single day on the map (assuming the characters are traveling on foot). The length of one travel day when using your map sheet must be established by the group during World Creation.

-

For each travel day required by the journey, perform the following steps:

-

JOURNEYS AND TRA VELS

-

For the sake of simplicity, travel days should always be rounded up to the next whole number — a journey taking two and a half days is rounded up to three days, for instance.

-

The Game Master always has final say on how many travel days a journey will take.

- \ No newline at end of file +

22 GAME RULES

+ +

Sample Areas Threat Level Travel Roll

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
AreaThreat LevelTravel Roll
Within villages, cities and guarded areasMinimald6
Prairies, patrolled roads, countrysidesLowd8
Forests, hills, riversMediumd10
Vast forests, mountains, open sea, swampsHighd12
Deserts, frozen wastes, jungles, volcanoesVery Highd20
+ +

Needless to say, a frequently patrolled area under enemy control will count as a High or Very High danger, just like a prairie overrun by hostile monsters.

+ +

The Game Master has final say on the threat level for a given travel day.

+ +

Example

+

A group of heroes are leaving the village of Relde for the Kanka Hills, where they must search for an old mining tunnel that supposedly leads to the lair of a wise water serpent.

+ +

Liz (the Game Master) takes a look at the map and determines that the characters will need one travel day to reach the hills, and another travel day to explore the surrounding area in order to find the tunnel entrance.

+ +

For the first travel day, the group will cross prairies (d8) and hills (d10). Since only the highest die has to be taken into account, Liz should roll a d10. However, there is talk of a gang of bandits roaming the prairie: she decides this should raise the threat level to High (d12). The die comes up a 7: a danger!

+ +

Liz has the group encounter a band of four brigands, accompanied by a Grey Howler (a wolf-like creature). Following a quick conflict, the Player Characters manage to fend off the attackers.

+ +

Before moving on to the next travel day, the heroes choose to use a Magic Tent and rest, regaining their energies.

+ +

Finally, Liz rolls for the second travel day, spent exploring the hills in search of the fabled mine: this time, the die rolled is only a d10... and she rolls a 1! After giving it some thought, Liz describes the PCs finding an entrance to the ancient tunnels... but they are not alone! They meet a traveling merchant by the name of Lily, who wishes to be escorted through the mine: she seeks an audience with the serpent herself, and will reward them with goods or information for it!

+ +

Philip Forlenza (Order #)

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22 GAME RULES

+

DANGERS

+

Characters should generally be able to overcome a danger through a series of Checks or a conflict scene.

+ +

Examples of Dangers

+ + +

If you need to determine damage dealt by a danger, use the table below:

-

Sample Areas Threat Level Travel Roll

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - + + + + + + + + + + + + + + + + + + + + + + + + + + + +
AreaThreat LevelTravel Roll
Within villages, cities and guarded areasMinimald6
Prairies, patrolled roads, countrysidesLowd8
Forests, hills, riversMediumd10
Vast forests, mountains, open sea, swampsHighd12
Deserts, frozen wastes, jungles, volcanoesVery Highd20
LevelMinor DamageHeavy DamageMassive Damage
5+103040
20+204060
40+305080
-

Needless to say, a frequently patrolled area under enemy control will count as a High or Very High danger, just like a prairie overrun by hostile monsters.

+

Status effects are another good consequence for dangers: for instance, the polluted swamp mentioned above might inflict poisoned.

-

The Game Master has final say on the threat level for a given travel day.

- -

Example

-

A group of heroes are leaving the village of Relde for the Kanka Hills, where they must search for an old mining tunnel that supposedly leads to the lair of a wise water serpent.

- -

Liz (the Game Master) takes a look at the map and determines that the characters will need one travel day to reach the hills, and another travel day to explore the surrounding area in order to find the tunnel entrance.

- -

For the first travel day, the group will cross prairies (d8) and hills (d10). Since only the highest die has to be taken into account, Liz should roll a d10. However, there is talk of a gang of bandits roaming the prairie: she decides this should raise the threat level to High (d12). The die comes up a 7: a danger!

- -

Liz has the group encounter a band of four brigands, accompanied by a Grey Howler (a wolf-like creature). Following a quick conflict, the Player Characters manage to fend off the attackers.

- -

Before moving on to the next travel day, the heroes choose to use a Magic Tent and rest, regaining their energies.

- -

Finally, Liz rolls for the second travel day, spent exploring the hills in search of the fabled mine: this time, the die rolled is only a d10... and she rolls a 1! After giving it some thought, Liz describes the PCs finding an entrance to the ancient tunnels... but they are not alone! They meet a traveling merchant by the name of Lily, who wishes to be escorted through the mine: she seeks an audience with the serpent herself, and will reward them with goods or information for it!

+

World Map Management

+

While playing, the Game Master is free to add new landmarks, settlements and similar features to the map sheet whenever they feel appropriate. This usually happens when the group encounters a new point of interest or dangerous area, or when they learn about it from someone.

+

Players can also add new features and locations to the map by spending a Fabula Point to add a new story element, as explained on page 98.

+

Attribution

+

UPDATING THE WORLD MAP

Philip Forlenza (Order #)

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DANGERS

-

Characters should generally be able to overcome a danger through a series of Checks or a conflict scene.

+

22 GAME RULES

+ +

DISCOVERIES

+

Discoveries don’t happen that often, so the Game Master should make sure each and every one of them is unique and useful.

-

Examples of Dangers

-

If you need to determine damage dealt by a danger, use the table below:

+

Remember that a discovery is always a good thing: even if it’s a dangerous location, the reward it conceals should more than make up for it.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
LevelMinor DamageHeavy DamageMassive Damage
5+103040
20+204060
40+305080
+

The first airship pilot, Oona Sabine,

+

vanished during a flight over the Whisperwoods.

-

Status effects are another good consequence for dangers: for instance, the polluted swamp mentioned above might inflict poisoned.

- -

World Map Management

-

While playing, the Game Master is free to add new landmarks, settlements and similar features to the map sheet whenever they feel appropriate. This usually happens when the group encounters a new point of interest or dangerous area, or when they learn about it from someone.

-

Players can also add new features and locations to the map by spending a Fabula Point to add a new story element, as explained on page 98.

- -

Attribution

-

UPDATING THE WORLD MAP

Philip Forlenza (Order #)

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A ROLEPLAYING GAME

-

Roleplaying games (abbreviated RPGs) are a particular type of game — they originated as tabletop games, but are nowadays often played online as well.

-

In a roleplaying game, a group of people play together to create a story: they do so by talking with each other, and that conversation is accompanied by the use of rules and (typically) dice rolls, which help determine the outcome of uncertain situations and guarantee that the story created reflects the premises of the game — tension and fear for a horror game, adrenaline scenes for an action game, deep and heartfelt character interaction for a romantic game, and so on.

-

In Japan, this activity is also known as a "table talk role-playing game" (TTRPG), specifically, because it relies so heavily on the conversation at the table.

- -

ROLES IN THE GAME

-

The people who play this game will fulfill different roles:

- +

INTRODUCTION

+

CHAPTER d THE BASICS OF PLAY

+

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

-

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

- +

Similarly, the Game Master describes what happens in the world and also portrays the actions of every creature and character around the protagonists:

-

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!

+

Together, this is all known as roleplaying, and these events will take place in your imagination — a space that is often called "the fiction".

-

While it is true that the role of the Game Master is to present obstacles and put the Player Characters in situations of risk and danger, their role is not that of an adversary, but rather someone who aims to make the protagonists shine throughout the story.

-

There is no "win condition" in this game: as long as you create a memorable story and enjoy each other's company, you're all winning.

+

- \ No newline at end of file +

d 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 their strengths and weaknesses, and dice rolls will often be used to make a situation's outcome a bit tense and unpredictable.

+

Unlike video games and board games however, the possibilities of a roleplaying game are endless: there is no single approach to a situation and the story will naturally emerge from your interactions and choices at the table.

+ +
+ +

This is a tale of heroes and darkness.

+

Of great hope... and even greater sacrifice.

+

Philip Forlenza (Order #)

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22 GAME RULES

- -

DISCOVERIES

-

Discoveries don’t happen that often, so the Game Master should make sure each and every one of them is unique and useful.

+

The concept of a “dungeon” is a common trope in any type of RPG, tabletop and digital alike. Generally, a dungeon is frequently — but not always! — a labyrinthine environment, inhabited by hostile creatures... and often concealing valuable treasures and powerful magical items, or acting as an evil antagonist's lair.

+

In Fabula Ultima, the term “dungeon” is used to indicate a somewhat complex location that is worthy of being explored. It could be an abandoned mill turned into a brigand hideout, a witch’s castle, or a network of waterways guarded by ancient golems.

+

Most of the time, the dungeon itself won’t be that important: why the heroes are there and what can be found within it is what really matters. Other times, a dungeon can be a powerful way to tell a story about those who inhabited it — and maybe hint at some obscure truths or provide an answer to some of the game world's mysteries.

+

EXPLORING DUNGEONS

+

Depending on the size and importance of the dungeon in question, the Game Master may adopt any of the following methods:

- -

Remember that a discovery is always a good thing: even if it’s a dangerous location, the reward it conceals should more than make up for it.

- -

The first airship pilot, Oona Sabine,

-

vanished during a flight over the Whisperwoods.

- +

Additional advice on how the Game Master should prepare material for dungeons can be found starting on page 258.

+
+

DUNGEONS

Philip Forlenza (Order #)

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The concept of a “dungeon” is a common trope in any type of RPG, tabletop and digital alike. Generally, a dungeon is frequently — but not always! — a labyrinthine environment, inhabited by hostile creatures... and often concealing valuable treasures and powerful magical items, or acting as an evil antagonist's lair.

-

In Fabula Ultima, the term “dungeon” is used to indicate a somewhat complex location that is worthy of being explored. It could be an abandoned mill turned into a brigand hideout, a witch’s castle, or a network of waterways guarded by ancient golems.

-

Most of the time, the dungeon itself won’t be that important: why the heroes are there and what can be found within it is what really matters. Other times, a dungeon can be a powerful way to tell a story about those who inhabited it — and maybe hint at some obscure truths or provide an answer to some of the game world's mysteries.

+

DANGER CLOCKS

+ +

The Game Master can use Clocks to keep track of incoming threats in the dungeon. These Danger Clocks should feature a number of section based on the urgency of the threat they represent:

-

EXPLORING DUNGEONS

-

Depending on the size and importance of the dungeon in question, the Game Master may adopt any of the following methods:

-

Additional advice on how the Game Master should prepare material for dungeons can be found starting on page 258.

-
-

DUNGEONS

+ +

The Game Master may fill a Danger Clock as a consequence of failed Checks, as well as when an event would make the threat more likely, such as when the PCs spend time searching a room, make noise, rest inside the dungeon or draw unwanted attention.

+ +

Different Danger Clocks will be triggered by different actions and events, of course — casting a spell might fill an "arcane overload" Clock, while searching a room is unlikely to affect it.

+ +

As the Clock fills, the Game Master should foreshadow the incoming danger: once it is completely filled, that threat will become active in full, and the heroes will be forced to deal with it one way or another.

+

Philip Forlenza (Order #)

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DANGER CLOCKS

- -

The Game Master can use Clocks to keep track of incoming threats in the dungeon. These Danger Clocks should feature a number of section based on the urgency of the threat they represent:

+

The worlds of Fabula Ultima are innately magical, bound together on an atomic level by a stream of eternal souls. Because of this, many creatures can wield magic, manipulating soul energy to create supernatural effects.

+

SPELLS AND RITUALS

+

Magic in Fabula Ultima falls within one of two categories: spells or Rituals.

+

While powerful and extremely flexible, Rituals consume large amounts of Mind Points and require difficult Magic Checks; additionally, failing a Ritual will cause the magic to spiral out of control. While these downsides can be mitigated through time, effort, and complex procedures, the truth remains that Ritual magic is a powerful resource... but one that should be used sparingly.

+

The mechanics governing spells and Rituals can be found in the next pages.

-

The Game Master may fill a Danger Clock as a consequence of failed Checks, as well as when an event would make the threat more likely, such as when the PCs spend time searching a room, make noise, rest inside the dungeon or draw unwanted attention.

+

MAGIC DISCIPLINES

+

This book features a total of six disciplines: Arcanism, Chimerism, Elementalism, Entropism, Ritualism, and Spiritism. Five of these correspond to a specific Class: Arcanist, Chimerist, Elementalist, Entropist, and Spiritist, whilst Ritualism is available to all of these Classes, except for Arcanists.

-

Different Danger Clocks will be triggered by different actions and events, of course — casting a spell might fill an "arcane overload" Clock, while searching a room is unlikely to affect it.

- -

As the Clock fills, the Game Master should foreshadow the incoming danger: once it is completely filled, that threat will become active in full, and the heroes will be forced to deal with it one way or another.

+

ARCANISM

+

Arcanists can project a large portion of their soul outside their bodies, forcing it to resonate with the power left behind by ancient divine entities known as Arcana, and manifest a fragment of their power. To access an Arcanum’s power, one must first earn their favor: this often involves completing some sort of trial, quest, or mission.

+

Arcanism is a peculiar discipline that does not feature spells, but instead follows its own unique mechanics (see the Arcanist Class on page 176). Arcanism Rituals are also possible through the Arcane Rituals Skill.

+

MAGIC

Philip Forlenza (Order #)

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The worlds of Fabula Ultima are innately magical, bound together on an atomic level by a stream of eternal souls. Because of this, many creatures can wield magic, manipulating soul energy to create supernatural effects.

+

Chimerism

+

Chimerists gain their powers from the souls of beasts and monsters; they search for creatures able to cast spells and attempt to mimic the same effects.

+

Chimerism features both spells and Rituals. However, Chimerist spells must be learned from creatures (see the Spell Mimic Skill on page 183).

-

SPELLS AND RITUALS

-

Magic in Fabula Ultima falls within one of two categories: spells or Rituals.

- -

While powerful and extremely flexible, Rituals consume large amounts of Mind Points and require difficult Magic Checks; additionally, failing a Ritual will cause the magic to spiral out of control. While these downsides can be mitigated through time, effort, and complex procedures, the truth remains that Ritual magic is a powerful resource... but one that should be used sparingly.

-

The mechanics governing spells and Rituals can be found in the next pages.

+

Elementalism

+

Elementalists can control the stream of souls that binds the four core elements of creation: air, earth, fire, and water. They can also influence any of their combinations and manifestations, such as magma, blizzards, deserts, or clouds.

+

Elementalism features both spells and Rituals.

-

MAGIC DISCIPLINES

-

This book features a total of six disciplines: Arcanism, Chimerism, Elementalism, Entropism, Ritualism, and Spiritism. Five of these correspond to a specific Class: Arcanist, Chimerist, Elementalist, Entropist, and Spiritist, whilst Ritualism is available to all of these Classes, except for Arcanists.

+

Entropism

+

Entropists go beyond the stream of souls found in the world and reach for the vast expanse of nothingness between stars. Their chaotic magic defies logic, twisting time and space and dissipating souls, matter, and magical energy.

+

Entropism features both spells and Rituals.

-

ARCANISM

-

Arcanists can project a large portion of their soul outside their bodies, forcing it to resonate with the power left behind by ancient divine entities known as Arcana, and manifest a fragment of their power. To access an Arcanum’s power, one must first earn their favor: this often involves completing some sort of trial, quest, or mission.

-

Arcanism is a peculiar discipline that does not feature spells, but instead follows its own unique mechanics (see the Arcanist Class on page 176). Arcanism Rituals are also possible through the Arcane Rituals Skill.

+

Ritualism

+

Contrary to most other magical disciplines, Ritualism features no spells and can only be used in Ritual form. It is a catch-all term for Rituals performed to manipulate, sense, bind or unleash magical energy present within a location, item, mechanism, or relic.

+

From a certain point of view, magitech could be considered a combination of Ritualism and technology.

-

MAGIC

-

Philip Forlenza (Order #)

\ No newline at end of file +

Spiritism

+

Spiritists can manipulate the raw energy found within the souls of living creatures, influencing their emotions and manipulating their vital force: a power both miraculous and frightening.

+

Spiritism features both spells and Rituals.

+ +

Philip Forlenza (Order #)

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Chimerism

-

Chimerists gain their powers from the souls of beasts and monsters; they search for creatures able to cast spells and attempt to mimic the same effects.

-

Chimerism features both spells and Rituals. However, Chimerist spells must be learned from creatures (see the Spell Mimic Skill on page 183).

+

Spells can belong to any of the following disciplines: Chimerism, Elementalism, Entropism, and Spiritism. The remaining two disciplines, Arcanism and Ritualism, do not feature any spells.

-

Elementalism

-

Elementalists can control the stream of souls that binds the four core elements of creation: air, earth, fire, and water. They can also influence any of their combinations and manifestations, such as magma, blizzards, deserts, or clouds.

-

Elementalism features both spells and Rituals.

+

Spell Format

+

Each spell description uses the format below and contains a variety of information:

-

Entropism

-

Entropists go beyond the stream of souls found in the world and reach for the vast expanse of nothingness between stars. Their chaotic magic defies logic, twisting time and space and dissipating souls, matter, and magical energy.

-

Entropism features both spells and Rituals.

+

Example Spell Metadata

+

Ignis rr 10 × T | Up to three creatures | Instantaneous

+

You unleash a searing barrage against your foes, conjuring flames out of thin air. Each target hit by this spell suffers 【HR + 15】 fire damage.

+

Opportunity: Each target hit by this spell suffers shaken.

-

Ritualism

-

Contrary to most other magical disciplines, Ritualism features no spells and can only be used in Ritual form. It is a catch-all term for Rituals performed to manipulate, sense, bind or unleash magical energy present within a location, item, mechanism, or relic.

-

From a certain point of view, magitech could be considered a combination of Ritualism and technology.

+

Spell Components

+ -

Spiritism

-

Spiritists can manipulate the raw energy found within the souls of living creatures, influencing their emotions and manipulating their vital force: a power both miraculous and frightening.

-

Spiritism features both spells and Rituals.

- -

Philip Forlenza (Order #)

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Spells

+

Philip Forlenza (Order #)

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Spells can belong to any of the following disciplines: Chimerism, Elementalism, Entropism, and Spiritism. The remaining two disciplines, Arcanism and Ritualism, do not feature any spells.

- -

Spell Format

-

Each spell description uses the format below and contains a variety of information:

- -

Example Spell Metadata

-

Ignis rr 10 × T | Up to three creatures | Instantaneous

-

You unleash a searing barrage against your foes, conjuring flames out of thin air. Each target hit by this spell suffers 【HR + 15】 fire damage.

-

Opportunity: Each target hit by this spell suffers shaken.

- -

Spell Components

+

Casting a Spell

+

To cast a spell, you must fulfill the following prerequisites:

+

If all of the above are true, you may cast the spell.

-

Spells

-

Philip Forlenza (Order #)

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    +
  1. Declare which spell you want to cast among those your character has learned, and what its effect will be.
    2. +
  2. If required, choose the targets for your spell.
    3. +
  3. Perform the magical gestures and pronounce the formula — remember that any nearby creatures will see and hear you.
    4. +
+ +

Magic Checks

+

If the spell is an offensive spell, you must also perform a Magic Check. Elementalism, Entropism, and Spiritism Checks rely on 【INS + WLP 】, while Chimerism may choose between 【INS + WLP】 or 【MIG + WLP】.

+

Non-offensive spells are automatically successful and require no Check. Fumbles and critical successes on Magic Checks generate opportunities as normal.

+ +
    +
  1. Spend the required amount of Mind Points.
    2. +
+ +
    +
  1. Apply the effects of the spell.
    2. +
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Casting a Spell

-

To cast a spell, you must fulfill the following prerequisites:

+

Casting A Spell Furtively

+

Spells require precise movements and spoken incantations; they also produce visible and fantastical effects. Because of this, everyone nearby will immediately know that magic is being used, and who by — it is impossible to cast a spell furtively.

+ +

Offensive Spells

+

Spells marked with (rr) next to their name are offensive spells.

+

When you cast an offensive spell, you perform the appropriate Magic Check and the target's Magic Defense score determines the Difficulty Level. If the spell has multiple targets, it will affect each target whose Magic Defense is equal to or lower than the Result of your Magic Check (similarly to a multi attack). The spell will affect each target whose Magic Defense is equal to or lower than the total Result of your Magic Check.

+

If you roll a critical success on the Magic Check, the spell automatically hits all targets.

+ +

Calculating Damage and Similar Effects

+

Several spells require you to calculate the potency of their effects using your High Roll (HR) — to do so, simply take the highest die you rolled on your Magic Check. The same effect will then be applied to each target.

+ +

Ending the Effects of a Spell

-

If all of the above are true, you may cast the spell.

-
    -
  1. Declare which spell you want to cast among those your character has learned, and what its effect will be.
    2. -
  2. If required, choose the targets for your spell.
    3. -
  3. Perform the magical gestures and pronounce the formula — remember that any nearby creatures will see and hear you.
    4. -
+

Cumulative Spell Effects

+

If the same spell is cast more than once on a target, its effects will not stack — the most recent casting will replace the previous one.

+

Example: The spell Elemental Shroud grants Resistance to one damage type chosen among air, bolt, earth, fire, and ice. If this spell is cast on a creature granting them Resistance to fire, and is subsequently cast again on the same creature granting them Resistance to ice, the creature will only be Resistant to ice.

+

If two spells have identical effects but different names, they do not stack.

-

Magic Checks

-

If the spell is an offensive spell, you must also perform a Magic Check. Elementalism, Entropism, and Spiritism Checks rely on 【INS + WLP 】, while Chimerism may choose between 【INS + WLP】 or 【MIG + WLP】.

-

Non-offensive spells are automatically successful and require no Check. Fumbles and critical successes on Magic Checks generate opportunities as normal.

- -
    -
  1. Spend the required amount of Mind Points.
    2. -
- -
    -
  1. Apply the effects of the spell.
    2. -
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Casting A Spell Furtively

-

Spells require precise movements and spoken incantations; they also produce visible and fantastical effects. Because of this, everyone nearby will immediately know that magic is being used, and who by — it is impossible to cast a spell furtively.

- -

Offensive Spells

-

Spells marked with (rr) next to their name are offensive spells.

-

When you cast an offensive spell, you perform the appropriate Magic Check and the target's Magic Defense score determines the Difficulty Level. If the spell has multiple targets, it will affect each target whose Magic Defense is equal to or lower than the Result of your Magic Check (similarly to a multi attack). The spell will affect each target whose Magic Defense is equal to or lower than the total Result of your Magic Check.

-

If you roll a critical success on the Magic Check, the spell automatically hits all targets.

- -

Calculating Damage and Similar Effects

-

Several spells require you to calculate the potency of their effects using your High Roll (HR) — to do so, simply take the highest die you rolled on your Magic Check. The same effect will then be applied to each target.

- -

Ending the Effects of a Spell

+

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 character to another, and another great opportunity to inject personality into each of your heroes.

+

If you can use magic, spend some time during each session describing what your spells look like!

-

Cumulative Spell Effects

-

If the same spell is cast more than once on a target, its effects will not stack — the most recent casting will replace the previous one.

-

Example: The spell Elemental Shroud grants Resistance to one damage type chosen among air, bolt, earth, fire, and ice. If this spell is cast on a creature granting them Resistance to fire, and is subsequently cast again on the same creature granting them Resistance to ice, the creature will only be Resistant to ice.

-

If two spells have identical effects but different names, they do not stack.

- - \ No newline at end of file +

DESCRIBING YOUR MAGIC

+

Philip Forlenza (Order #)

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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 character to another, and another great opportunity to inject personality into each of your heroes.

- -

If you can use magic, spend some time during each session describing what your spells look like!

+

By acquiring specific Classes and Skills, characters may gain the ability to use Ritual magic belonging to different disciplines.

+

Each branch of Ritual magic grants you influence over different aspects of the world:

-

DESCRIBING YOUR MAGIC

+

Discipline Magic

+
+
Arcanism
+
【WLP + WLP】 Produce a magical effect based on the Arcana you have bound.
+
Chimerism
+
【INS + WLP】 or 【MIG + WLP】 Enhance your senses, see through the eyes of an animal, quell the fury of a monster.
+
Elementalism
+
【INS + WLP】 Walk on water, shape rock, snuff out fires, cause a rainstorm or summon powerful cyclones.
+
Entropism
+
【INS + WLP】 Cause the decay of physical matter, twist the flow of time, teleport creatures or items.
+
Ritualism
+
【INS + WLP】 Extract magic from an object, activate a soul circuit, sense the presence of magic.
+
Spiritism
+
【INS + WLP】 Sense the presence and feelings of creatures, put someone to sleep or embolden their heart.
+
+ +

The full process for casting Rituals is described on the next page. Remember that Ritual magic should never be able to accomplish any of the following:

+ + + +

Aside from these, most Rituals are fair game — but the stronger the effect you seek, the more tragic the consequences will be if your Ritual goes wrong.

+ +

RITUALS

Philip Forlenza (Order #)

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By acquiring specific Classes and Skills, characters may gain the ability to use Ritual magic belonging to different disciplines.

-

Each branch of Ritual magic grants you influence over different aspects of the world:

+

22GAME RULES

+

The Ritual

-

Discipline Magic

-
-
Arcanism
-
【WLP + WLP】 Produce a magical effect based on the Arcana you have bound.
-
Chimerism
-
【INS + WLP】 or 【MIG + WLP】 Enhance your senses, see through the eyes of an animal, quell the fury of a monster.
-
Elementalism
-
【INS + WLP】 Walk on water, shape rock, snuff out fires, cause a rainstorm or summon powerful cyclones.
-
Entropism
-
【INS + WLP】 Cause the decay of physical matter, twist the flow of time, teleport creatures or items.
-
Ritualism
-
【INS + WLP】 Extract magic from an object, activate a soul circuit, sense the presence of magic.
-
Spiritism
-
【INS + WLP】 Sense the presence and feelings of creatures, put someone to sleep or embolden their heart.
-
+

The Ritual is cast following the normal procedure for a spell (page 115), but it always requires a Magic Check which must meet or exceed a Difficulty Level based on the Ritual's potency (see below). The Check will rely on the Attributes indicated by the Ritual's discipline (see page on the left).

-

The full process for casting Rituals is described on the next page. Remember that Ritual magic should never be able to accomplish any of the following:

+

If you succeed, the Ritual has the desired effect; if you fail, the Game Master will describe how its effects have been twisted in a catastrophic way.

- +

Procedure for Casting The Ritual

+
    +
  1. Determine Goal: Describe what you want to accomplish with your Ritual and declare which area or creatures you want to affect.
    2. +
  2. Game Master Ruling: The Game Master has final say on whether a given effect can be accomplished, as well as which Ritual discipline it falls within.
    3. +
  3. Calculate Cost: By consulting the Area and Potency tables below, the Game Master determines the Ritual's total cost in Mind Points (MP).
    4. +
-

Aside from these, most Rituals are fair game — but the stronger the effect you seek, the more tragic the consequences will be if your Ritual goes wrong.

+

Potency Table

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
PotencyMPDLExamples
Minor207Create a flash of light, block a passage, shatter a glass.
Medium3010Create an illusion, treat an illness, locate someone or something, sense emotions, provide short-term energy.
Major4013Sense thoughts, influence emotions, dispel a curse, temporarily alter the weather, provide long-term energy.
Extreme5016Weaken a divine entity, prevent a catastrophe, cause a week-long change in a creature or location.
-

RITUALS

-

Philip Forlenza (Order #)

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Area Table

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
AreaMultiplierExamples / Scope
Individual×1A human-sized creature, a door, a tree, a weapon.
Small×2A few human-sized creatures, a large creature, a small clearing, a room, a railway car, a hut.
Large×3A crowd, a small forest, an airship or galleon, a castle hall, a house, a giant creature.
Huge×4A fortress, a lake, a mountaintop, a village, a city block.
+ +

Philip Forlenza (Order #)

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INTRODUCTION

-

CHAPTER d THE BASICS OF PLAY

-

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

- -

Similarly, the Game Master describes what happens in the world and also portrays the actions of every creature and character around the protagonists:

- -

Together, this is all known as roleplaying, and these events will take place in your imagination — a space that is often called "the fiction".

+

BUT WHAT IS THIS GAME ABOUT?

+

There are many roleplaying games in the world, and we play them for different reasons: many make us feel like heroes, some have us embroiled in dark investigations and tragic tales, others will challenge our skills and tactical mindset, and others make us reflect on heavy and important topics.

+

Fabula Ultima was designed to be a TTJRPG — a Table Talk JRPG, evoking the feel and stories that can typically be found in classic console Japanese roleplaying video games.

-

+

HEROIC AND FANTASTIC ACTION

+

In line with the genre that inspired it, this game doesn't concern itself with realism or verisimilitude — instead, it deliberately embraces a light-hearted, bizarre and "videogamey" feel, both in its tone and in its mechanics.

-

d 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 their strengths and weaknesses, and dice rolls will often be used to make a situation's outcome a bit tense and unpredictable.

-

Unlike video games and board games however, the possibilities of a roleplaying game are endless: there is no single approach to a situation and the story will naturally emerge from your interactions and choices at the table.

+

A GAME OF HEROES AND VILLAINS

+

This is a game about larger-than-life heroes and tragic antagonists. There is no predetermined plot, scenario, or "adventure" — the heroes' actions, motivations, and objectives will drive the story forward while the Game Master reacts to their choices and places obstacles on their path, often in the form of powerful villains with their own devious agendas, which will change time and time again as the protagonists manage (or fail) to thwart their plans.

-
+

HEROIC DESTINY

+

The heroes of Fabula Ultima are destined to accomplish great deeds, and they will only meet their end when the person who plays them deems it appropriate. That said, the price of defeat will often prove steeper than death — a major part of this game will be discovering how your heroes rise from their failures and learn to work together in order to accomplish what they could never do on their own.

-

This is a tale of heroes and darkness.

-

Of great hope... and even greater sacrifice.

-

Philip Forlenza (Order #)

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Philip Forlenza (Order #)

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22GAME RULES

-

The Ritual

+

RITUALS AS GROUP CHECKS

-

The Ritual is cast following the normal procedure for a spell (page 115), but it always requires a Magic Check which must meet or exceed a Difficulty Level based on the Ritual's potency (see below). The Check will rely on the Attributes indicated by the Ritual's discipline (see page on the left).

+

When a character attempts a Ritual, other characters can help (even if they have no ability to perform Rituals themselves). The Magic Check will become a Group Check (page 50), and the character who performs the Ritual will act as the leader.

-

If you succeed, the Ritual has the desired effect; if you fail, the Game Master will describe how its effects have been twisted in a catastrophic way.

+

REDUCING THE COST OF A RITUAL

-

Procedure for Casting The Ritual

-
    -
  1. Determine Goal: Describe what you want to accomplish with your Ritual and declare which area or creatures you want to affect.
    2. -
  2. Game Master Ruling: The Game Master has final say on whether a given effect can be accomplished, as well as which Ritual discipline it falls within.
    3. -
  3. Calculate Cost: By consulting the Area and Potency tables below, the Game Master determines the Ritual's total cost in Mind Points (MP).
    4. -
+

It is easy to notice that the MP cost of Rituals can be rather high. In order to reduce this cost, the spellcaster may provide an especially rare or powerful ingredient; doing so will cut the MP cost in half.

+ -

Potency Table

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
PotencyMPDLExamples
Minor207Create a flash of light, block a passage, shatter a glass.
Medium3010Create an illusion, treat an illness, locate someone or something, sense emotions, provide short-term energy.
Major4013Sense thoughts, influence emotions, dispel a curse, temporarily alter the weather, provide long-term energy.
Extreme5016Weaken a divine entity, prevent a catastrophe, cause a week-long change in a creature or location.
+

SAMPLE RITUALS

-

Area Table

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
AreaMultiplierExamples / Scope
Individual×1A human-sized creature, a door, a tree, a weapon.
Small×2A few human-sized creatures, a large creature, a small clearing, a room, a railway car, a hut.
Large×3A crowd, a small forest, an airship or galleon, a castle hall, a house, a giant creature.
Huge×4A fortress, a lake, a mountaintop, a village, a city block.
+

Use these examples as guidelines when adjudicating Rituals.

-

Philip Forlenza (Order #)

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Summoning a great globe made of fire and using it to destroy the engine of an airship is an Elementalism Ritual of major potency targeting a small area (80 MP, DL 13). If this Ritual fails, you might trigger a devastating firestorm.

+

Sensing whether a person is hostile is a Spiritism Ritual of minor potency affecting an individual area (20 MP, DL 7). On a failure, you might accidentally instill strong negative emotions inside them, with unpredictable consequences.

+

Erecting a barrier of energy to shield a castle from an avalanche is a Ritualism Ritual of extreme potency targeting a huge area (200 MP, DL 16). If the Ritual fails, you might cause a burst of uncontrolled magical force and trigger a supernatural cataclysm.

+

Altering the flow of time to briefly restore the functions of a damaged device is an Entropism Ritual of medium potency affecting an individual area (30 MP, DL 10). On the failure, the mechanism and some of the nearby objects might rapidly age before your eyes and crumble to dust.

+ +

Philip Forlenza (Order #)

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RITUALS AS GROUP CHECKS

+

GAME RULES

+

Potency Clock

+

The following describes the attributes associated with different levels of magical potency:

-

When a character attempts a Ritual, other characters can help (even if they have no ability to perform Rituals themselves). The Magic Check will become a Group Check (page 50), and the character who performs the Ritual will act as the leader.

- -

REDUCING THE COST OF A RITUAL

- -

It is easy to notice that the MP cost of Rituals can be rather high. In order to reduce this cost, the spellcaster may provide an especially rare or powerful ingredient; doing so will cut the MP cost in half.

-

SAMPLE RITUALS

+

RITUALS DURING CONFLICTS

-

Use these examples as guidelines when adjudicating Rituals.

+

Ritual magic can certainly be attempted during a conflict scene, but you will first need to gather enough magical energy.

+

The process is as follows:

-

Summoning a great globe made of fire and using it to destroy the engine of an airship is an Elementalism Ritual of major potency targeting a small area (80 MP, DL 13). If this Ritual fails, you might trigger a devastating firestorm.

-

Sensing whether a person is hostile is a Spiritism Ritual of minor potency affecting an individual area (20 MP, DL 7). On a failure, you might accidentally instill strong negative emotions inside them, with unpredictable consequences.

-

Erecting a barrier of energy to shield a castle from an avalanche is a Ritualism Ritual of extreme potency targeting a huge area (200 MP, DL 16). If the Ritual fails, you might cause a burst of uncontrolled magical force and trigger a supernatural cataclysm.

-

Altering the flow of time to briefly restore the functions of a damaged device is an Entropism Ritual of medium potency affecting an individual area (30 MP, DL 10). On the failure, the mechanism and some of the nearby objects might rapidly age before your eyes and crumble to dust.

+
+
    +
  1. Use the Objective action to begin the Ritual — perform steps 1 and 2 of the flowchart on page 119, determining the Ritual's discipline, area and potency.
    2. +
  2. A Ritual Clock is immediately created with a number of sections based on the Ritual's potency — see the table above. Now that this Clock is part of the scene, anyone can interact with it through the Objective action. Like any use of the Objective action, the Game Master will be the one adjudicating which Attributes should be used for the Check, as well as whether it has a fixed Difficulty Level or is an Opposed Check. The caster can perform the first Check to fill some sections the Clock as part of the Objective action they used to begin the Ritual.
    3. +
  3. Once the Clock is filled, the character who initiated the Ritual may use an action to perform step 3 of the flowchart on page 119; to do so, they will spend the appropriate Mind Points and perform the Magic Check for the Ritual, whose Difficulty Level is determined by the Ritual's potency (see above). The outcome of the Check will reveal whether the Ritual is successful or its effects are twisted catastrophically.
    4. +
+

Philip Forlenza (Order #)

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GAME RULES

-

Potency Clock

-

The following describes the attributes associated with different levels of magical potency:

+

Regardless of which fantastic world your adventures take place in, your heroes will likely find themselves purchasing and selling items. This section covers the basics of the economy and provides you with useful lists of items and prices.

+

ZENIT

+

The common currency of all Fabula Ultima worlds is zenit, a gold coin whose shape and size may vary from region to region. While prices may rise and fall depending on where you are, zenit is universally accepted.

+

On average, 5 z pays for a decent meal, 10 z will be enough to rent a room for the night in town, and 100 z can fetch you a bronze shield.

+ +

EQUIPPED ITEMS AND ITEMS IN YOUR BACKPACK

+

As shown on the character sheet, a Player Character can equip a limited number of items on their body:

+

Any item you have that is not equipped goes in your backpack. There is no set limit to how many items you can carry this way, as long as it makes sense. The Game Master has final say on what you can and cannot carry this way.

+

If you ever find yourself in need of transporting large and heavy items over long distances, consider purchasing a transport (see page 125).

+

It takes a few moments to find items stored inside a backpack: during a conflict, for example, you will need to spend an action searching for them. On the other hand, items you have equipped are readily accessible, but also more exposed to the risk of being damaged or stolen.

+

An item stored in your backpack does not grant you any of its properties. If you want it to “work”, you must equip it!

-

RITUALS DURING CONFLICTS

- -

Ritual magic can certainly be attempted during a conflict scene, but you will first need to gather enough magical energy.

-

The process is as follows:

- -
-
    -
  1. Use the Objective action to begin the Ritual — perform steps 1 and 2 of the flowchart on page 119, determining the Ritual's discipline, area and potency.
    2. -
  2. A Ritual Clock is immediately created with a number of sections based on the Ritual's potency — see the table above. Now that this Clock is part of the scene, anyone can interact with it through the Objective action. Like any use of the Objective action, the Game Master will be the one adjudicating which Attributes should be used for the Check, as well as whether it has a fixed Difficulty Level or is an Opposed Check. The caster can perform the first Check to fill some sections the Clock as part of the Objective action they used to begin the Ritual.
    3. -
  3. Once the Clock is filled, the character who initiated the Ritual may use an action to perform step 3 of the flowchart on page 119; to do so, they will spend the appropriate Mind Points and perform the Magic Check for the Ritual, whose Difficulty Level is determined by the Ritual's potency (see above). The outcome of the Check will reveal whether the Ritual is successful or its effects are twisted catastrophically.
    4. -
-
- +

ECONOMY AND ITEMS

Philip Forlenza (Order #)

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Regardless of which fantastic world your adventures take place in, your heroes will likely find themselves purchasing and selling items. This section covers the basics of the economy and provides you with useful lists of items and prices.

+

22GAME RULES

+

HOW TO GET NEW ITEMS

+

There are plenty of occasions for characters to acquire gear and equipment: villages and towns will always have one or more stores dedicated to weapons, armor, and useful accessories. This doesn’t mean a character can simply walk into a shop in the middle of nowhere and expect to purchase a magical crossbow, however: while basic weapons, armor, and shields should be available in most settlements, rare items should only be found in unique stores, hidden within the most dangerous of ruins, guarded by powerful monsters or offered as a reward for heroic deeds.

+

If you are the Game Master, see page 266 for rules and guidelines on how to create rare items, as well as several lists of premade items. A list of basic items can be found starting on page 130.

+

There are three main ways treasure and magical items can be handled during a Fabula Ultima campaign.

+

When you start playing, you should discuss which of the methods below you want to adopt; you can always change your decision later on after a few sessions.

-

ZENIT

-

The common currency of all Fabula Ultima worlds is zenit, a gold coin whose shape and size may vary from region to region. While prices may rise and fall depending on where you are, zenit is universally accepted.

-

On average, 5 z pays for a decent meal, 10 z will be enough to rent a room for the night in town, and 100 z can fetch you a bronze shield.

- -

EQUIPPED ITEMS AND ITEMS IN YOUR BACKPACK

-

As shown on the character sheet, a Player Character can equip a limited number of items on their body:

+

Methods for Handling Treasure

-

Any item you have that is not equipped goes in your backpack. There is no set limit to how many items you can carry this way, as long as it makes sense. The Game Master has final say on what you can and cannot carry this way.

-

If you ever find yourself in need of transporting large and heavy items over long distances, consider purchasing a transport (see page 125).

-

It takes a few moments to find items stored inside a backpack: during a conflict, for example, you will need to spend an action searching for them. On the other hand, items you have equipped are readily accessible, but also more exposed to the risk of being damaged or stolen.

-

An item stored in your backpack does not grant you any of its properties. If you want it to “work”, you must equip it!

-

ECONOMY AND ITEMS

+

REWARDS

Philip Forlenza (Order #)

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22GAME RULES

-

HOW TO GET NEW ITEMS

-

There are plenty of occasions for characters to acquire gear and equipment: villages and towns will always have one or more stores dedicated to weapons, armor, and useful accessories. This doesn’t mean a character can simply walk into a shop in the middle of nowhere and expect to purchase a magical crossbow, however: while basic weapons, armor, and shields should be available in most settlements, rare items should only be found in unique stores, hidden within the most dangerous of ruins, guarded by powerful monsters or offered as a reward for heroic deeds.

-

If you are the Game Master, see page 266 for rules and guidelines on how to create rare items, as well as several lists of premade items. A list of basic items can be found starting on page 130.

-

There are three main ways treasure and magical items can be handled during a Fabula Ultima campaign.

-

When you start playing, you should discuss which of the methods below you want to adopt; you can always change your decision later on after a few sessions.

+

Selling Items

+

Provided you can find someone willing to buy it, an item will sell for roughly half its original price. This amount may be modified by the item’s quality and condition: none will want the rusted, mud-caked axes picked up in the old tunnels.

+

The Game Master always has final say on whether you are able to sell a given item and how many zenit you can make from it; sometimes it will also be possible to barter or carry out duties in exchange for goods.

-

Methods for Handling Treasure

+

Artifacts

+

Player Characters will sometimes come into possession of incredibly powerful magic items, known as artifacts (see page 288). Given their nature, artifacts should never be purchased or sold: no amount of riches can do them justice. Entire kingdoms could go to war for a chance to obtain them.

+ +

Services and Transports

+

Prices and availability for animals, vehicles, lodging, and such may vary depending on your game world. The following lists are meant to be a guideline for the Game Master when establishing prices.

+

When it comes to transports, the list includes generic entries for mounts, cars, vessels, airships and such. Each transport can carry a certain number of passengers and increases the distance you can cover within a single travel day.

+ +

Transport Rules

-

REWARDS

-

Philip Forlenza (Order #)

\ No newline at end of file +

Vehicle Costs:

+ + +

Philip Forlenza (Order #)

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Selling Items

-

Provided you can find someone willing to buy it, an item will sell for roughly half its original price. This amount may be modified by the item’s quality and condition: none will want the rusted, mud-caked axes picked up in the old tunnels.

-

The Game Master always has final say on whether you are able to sell a given item and how many zenit you can make from it; sometimes it will also be possible to barter or carry out duties in exchange for goods.

+

22 GAME RULES

+

SERVICE COST DESCRIPTION

-

Artifacts

-

Player Characters will sometimes come into possession of incredibly powerful magic items, known as artifacts (see page 288). Given their nature, artifacts should never be purchased or sold: no amount of riches can do them justice. Entire kingdoms could go to war for a chance to obtain them.

+

Town Services

+

Recharge Inventory 10 z: Recharges a character's Inventory Points by one.

+

Full Rest (village) 5 z: Allows one person to rest for one night.

+

Full Rest (town) 10 z: Allows one person to rest for one night.

+

Full Rest (city) 20 z: Allows one person to rest for one night.

-

Services and Transports

-

Prices and availability for animals, vehicles, lodging, and such may vary depending on your game world. The following lists are meant to be a guideline for the Game Master when establishing prices.

-

When it comes to transports, the list includes generic entries for mounts, cars, vessels, airships and such. Each transport can carry a certain number of passengers and increases the distance you can cover within a single travel day.

+

Travel Services

+

Land Transportation 10 z: Allows one person to travel for one day.

+

Water Transportation 20 z: Allows one person to travel for one day.

+

Air Transportation 40 z: Allows one person to travel for one day.

-

Transport Rules

+

TRANSPORT COST PASSENGERS DISTANCE

+ +

Mounts

-

Vehicle Costs:

+

Vehicles

-

Philip Forlenza (Order #)

\ No newline at end of file +

Philip Forlenza (Order #)

\ No newline at end of file diff --git a/books/core/126.html b/books/core/126.html index ef6a755..6bff4a3 100644 --- a/books/core/126.html +++ b/books/core/126.html @@ -1,35 +1,30 @@ -

22 GAME RULES

-

SERVICE COST DESCRIPTION

+

There are four categories of items that can be equipped: accessories, armors, shields and weapons. Each item can be basic or rare (with the exception of accessories, which are always rare).

-

Town Services

-

Recharge Inventory 10 z: Recharges a character's Inventory Points by one.

-

Full Rest (village) 5 z: Allows one person to rest for one night.

-

Full Rest (town) 10 z: Allows one person to rest for one night.

-

Full Rest (city) 20 z: Allows one person to rest for one night.

- -

Travel Services

-

Land Transportation 10 z: Allows one person to travel for one day.

-

Water Transportation 20 z: Allows one person to travel for one day.

-

Air Transportation 40 z: Allows one person to travel for one day.

- -

TRANSPORT COST PASSENGERS DISTANCE

- -

Mounts

+

MARTIAL ITEMS (E)

+

Items marked with the (E) symbol can only be equipped by characters who have acquired certain specific Classes.

+

Characters who do not have the appropriate Classes can still carry a martial item, but they are unable to equip it and enjoy its benefits.

-

Vehicles

+

ACCESSORIES

+

Accessories are useful magical items that bestow special abilities upon those who wear them. Accessories are always considered rare items.

+

Each accessory entry uses the format below and contains a variety of information:

+ +

ACCESSORY COST

+Crested Helm 1000 z +

You gain a +1 bonus to your Accuracy Checks.

+ +

The general structure includes:

- -

Philip Forlenza (Order #)

\ No newline at end of file +

The Game Master can find a list of sample accessories starting on page 285.

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There are four categories of items that can be equipped: accessories, armors, shields and weapons. Each item can be basic or rare (with the exception of accessories, which are always rare).

+

ARMORS

+

Armor offers improved protection to its wearer.

-

MARTIAL ITEMS (E)

-

Items marked with the (E) symbol can only be equipped by characters who have acquired certain specific Classes.

+

Armor Entry Format

+

Each armor entry uses the format below and contains a variety of information:

+ +

Example Structure:

+

Sage Robe | 200 z | DEX die +1 | INS die +2 -2 | No Quality.

+

Brigandine E | 150 z | 10 | INS die -2 | No Quality.

+ +

Field Descriptions

-

Characters who do not have the appropriate Classes can still carry a martial item, but they are unable to equip it and enjoy its benefits.

-

ACCESSORIES

-

Accessories are useful magical items that bestow special abilities upon those who wear them. Accessories are always considered rare items.

-

Each accessory entry uses the format below and contains a variety of information:

- -

ACCESSORY COST

-Crested Helm 1000 z -

You gain a +1 bonus to your Accuracy Checks.

- -

The general structure includes:

- -

The Game Master can find a list of sample accessories starting on page 285.

\ No newline at end of file +

Examples

+

For a list of all the basic armors available in the game, see page 132.

+

Excluding Attribution: Philip Forlenza (Order #)

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ARMORS

-

Armor offers improved protection to its wearer.

+

W SHIELDS

+

Shields must be equipped in a character's off-hand slot and further enhance defenses.

-

Armor Entry Format

-

Each armor entry uses the format below and contains a variety of information:

+

Each shield entry uses the format below and contains a variety of information:

-

Example Structure:

-

Sage Robe | 200 z | DEX die +1 | INS die +2 -2 | No Quality.

-

Brigandine E | 150 z | 10 | INS die -2 | No Quality.

- -

Field Descriptions

-

Examples

-

For a list of all the basic armors available in the game, see page 132.

-

Excluding Attribution: Philip Forlenza (Order #)

\ No newline at end of file +

No Quality.

+ +

Understanding Shield Information

+ + +

For a list of all the basic shields available in the game, see page 133.

+ +

Armor Concepts

+

Martial and non-martial armors influence a character's Defense and Magic Defense scores in different ways.

+

Remember that regardless of which armor you are wearing, shields always add to it — if you have a free slot, it's never a bad idea to equip a shield.

+ + + +

ARMOR AND DEFENSES

+

Philip Forlenza (Order #)

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W SHIELDS

-

Shields must be equipped in a character's off-hand slot and further enhance defenses.

+
+

WEAPONS

+
-

Each shield entry uses the format below and contains a variety of information:

+

Weapons are divided into ten Categories: arcane, bow, brawling, dagger, firearm, flail, heavy, spear, sword, and thrown.

+

Weapon Entry Format

+ +

Each weapon entry uses the format below and contains a variety of information:

+ +
+ WEAPON COST ACCURACY DAMAGE +
+ +

Example: Rapier E 200 z 【DEX + INS】 +1 【HR + 6】 physical

+ +

One-handed w Melee w No Quality.

+ +

Components Explained

-

No Quality.

+

You do not have to keep track of ammunition for ranged weapons: once you purchase the item, you're simply assumed to have enough on your person to fight with.

-

Understanding Shield Information

- +

For a list of all the basic weapons available in the game, see the next page.

-

For a list of all the basic shields available in the game, see page 133.

+

A NOTE ON UNARMED STRIKES

+

Among the various weapons available in the game, one is the unarmed strike (see next page). These are the character's empty hands, and while they do count as one-handed weapons, they are automatically "equipped" whenever a hand slot is empty. Basically, an empty hand slot also counts as an unarmed strike.

-

Armor Concepts

-

Martial and non-martial armors influence a character's Defense and Magic Defense scores in different ways.

-

Remember that regardless of which armor you are wearing, shields always add to it — if you have a free slot, it's never a bad idea to equip a shield.

+

Legends tell of a sword capable of striking fear in the hearts of Dragons and Wyrms.

- - -

ARMOR AND DEFENSES

-

Philip Forlenza (Order #)

\ No newline at end of file + \ No newline at end of file diff --git a/books/core/13.html b/books/core/13.html index 61f3cb8..8929339 100644 --- a/books/core/13.html +++ b/books/core/13.html @@ -1,16 +1,11 @@ -

BUT WHAT IS THIS GAME ABOUT?

-

There are many roleplaying games in the world, and we play them for different reasons: many make us feel like heroes, some have us embroiled in dark investigations and tragic tales, others will challenge our skills and tactical mindset, and others make us reflect on heavy and important topics.

-

Fabula Ultima was designed to be a TTJRPG — a Table Talk JRPG, evoking the feel and stories that can typically be found in classic console Japanese roleplaying video games.

+

Challenging Battles

+

Combat in Fabula Ultima is reminiscent of the console games that inspired it — each character will have a few tricks up their sleeve, and only by properly combining clever tactics and coordinating with your allies will you emerge victorious... especially when fighting against bosses!

-

HEROIC AND FANTASTIC ACTION

-

In line with the genre that inspired it, this game doesn't concern itself with realism or verisimilitude — instead, it deliberately embraces a light-hearted, bizarre and "videogamey" feel, both in its tone and in its mechanics.

- -

A GAME OF HEROES AND VILLAINS

-

This is a game about larger-than-life heroes and tragic antagonists. There is no predetermined plot, scenario, or "adventure" — the heroes' actions, motivations, and objectives will drive the story forward while the Game Master reacts to their choices and places obstacles on their path, often in the form of powerful villains with their own devious agendas, which will change time and time again as the protagonists manage (or fail) to thwart their plans.

- -

HEROIC DESTINY

-

The heroes of Fabula Ultima are destined to accomplish great deeds, and they will only meet their end when the person who plays them deems it appropriate. That said, the price of defeat will often prove steeper than death — a major part of this game will be discovering how your heroes rise from their failures and learn to work together in order to accomplish what they could never do on their own.

- -

Philip Forlenza (Order #)

\ No newline at end of file +

Your World

+

Fabula Ultima has no default or "canonical" world, and that's on purpose! Your group will collaboratively create a custom world in which your tales will take place.

+

That said, the world and characters you create must adhere to eight core principles, known as the Eight Pillars — which you can find on the next page!

+

On the other hand, if you're not familiar with the classic tropes 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..."

+

— Philip Forlenza (Order #)

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-

WEAPONS

-
+
+

WEAPON LISTINGS

+

(Metadata: Cost | Accuracy | Damage)

+ +
+

Staff Category

+
    +
  • + Staff 100 z [WLP + WLP] [HR + 6] physical +

    Two-handed w Melee w No Quality.

    +
    • +
  • + Tome 100 z [INS + INS] [HR + 6] physical +

    Two-handed w Melee w No Quality.

    +
    • +
+
-

Weapons are divided into ten Categories: arcane, bow, brawling, dagger, firearm, flail, heavy, spear, sword, and thrown.

+
+

Bow Category

+
    +
  • + Crossbow 150 z [DEX + INS] [HR + 8] physical +

    Two-handed w Ranged w No Quality.

    +
    • +
  • + Shortbow 200 z [DEX + DEX] [HR + 8] physical +

    Two-handed w Ranged w No Quality.

    +
    • +
+
-

Weapon Entry Format

+
+

Brawling Category

+
    +
  • + Unarmed Strike [DEX + MIG] [HR + 0] physical +

    One-handed w Melee w Automatically equipped in each empty hand slot.

    +
    • +
  • + Improvised (Melee) [DEX + MIG] [HR + 2] physical +

    One-handed w Melee w Breaks after the attack.

    +
    • +
  • + Iron Knuckle 150 z [DEX + MIG] [HR + 6] physical +

    One-handed w Melee w No Quality.

    +
    • +
+
-

Each weapon entry uses the format below and contains a variety of information:

+
+

Dagger Category

+
    +
  • + Steel Dagger 150 z [DEX + INS] +1 [HR + 4] physical +

    One-handed w Melee w No Quality.

    +
    • +
+
-
- WEAPON COST ACCURACY DAMAGE -
+
+

Firearm Category

+
    +
  • + Pistol E 250 z [DEX + INS] [HR + 8] physical +

    One-handed w Ranged w No Quality.

    +
    • +
+
-

Example: Rapier E 200 z 【DEX + INS】 +1 【HR + 6】 physical

+
+

Flail Category

+
    +
  • + Chain Whip 150 z [DEX + DEX] [HR + 8] physical +

    Two-handed w Melee w No Quality.

    +
    • +
+
-

One-handed w Melee w No Quality.

- -

Components Explained

- - -

You do not have to keep track of ammunition for ranged weapons: once you purchase the item, you're simply assumed to have enough on your person to fight with.

- -

For a list of all the basic weapons available in the game, see the next page.

- -

A NOTE ON UNARMED STRIKES

-

Among the various weapons available in the game, one is the unarmed strike (see next page). These are the character's empty hands, and while they do count as one-handed weapons, they are automatically "equipped" whenever a hand slot is empty. Basically, an empty hand slot also counts as an unarmed strike.

- -

Legends tell of a sword capable of striking fear in the hearts of Dragons and Wyrms.

- -
+

BASIC WEAPONS

Philip Forlenza (Order #)

-
\ No newline at end of file +
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-

WEAPON LISTINGS

-

(Metadata: Cost | Accuracy | Damage)

- -
-

Staff Category

-
    -
  • - Staff 100 z [WLP + WLP] [HR + 6] physical -

    Two-handed w Melee w No Quality.

    -
    • -
  • - Tome 100 z [INS + INS] [HR + 6] physical -

    Two-handed w Melee w No Quality.

    -
    • -
-
+

22GAME RULES

-
-

Bow Category

-
    -
  • - Crossbow 150 z [DEX + INS] [HR + 8] physical -

    Two-handed w Ranged w No Quality.

    -
    • -
  • - Shortbow 200 z [DEX + DEX] [HR + 8] physical -

    Two-handed w Ranged w No Quality.

    -
    • -
-
+

Heavy Category

+
+

Iron Hammer

+

Stats: 200 z 【MIG + MIG】 【HR + 6】 physical

+

One-handed w Melee w No Quality.

+
-
-

Brawling Category

-
    -
  • - Unarmed Strike [DEX + MIG] [HR + 0] physical -

    One-handed w Melee w Automatically equipped in each empty hand slot.

    -
    • -
  • - Improvised (Melee) [DEX + MIG] [HR + 2] physical -

    One-handed w Melee w Breaks after the attack.

    -
    • -
  • - Iron Knuckle 150 z [DEX + MIG] [HR + 6] physical -

    One-handed w Melee w No Quality.

    -
    • -
-
+
+

Broadaxe E

+

Stats: 250 z 【MIG + MIG】 【HR + 10】 physical

+

One-handed w Melee w No Quality.

+
-
-

Dagger Category

-
    -
  • - Steel Dagger 150 z [DEX + INS] +1 [HR + 4] physical -

    One-handed w Melee w No Quality.

    -
    • -
-
+
+

Waraxe E

+

Stats: 250 z 【MIG + MIG】 【HR + 14】 physical

+

Two-handed w Melee w No Quality.

+
-
-

Firearm Category

-
    -
  • - Pistol E 250 z [DEX + INS] [HR + 8] physical -

    One-handed w Ranged w No Quality.

    -
    • -
-
+

Spear Category

+
+

Light Spear E

+

Stats: 200 z 【DEX + MIG】 【HR + 8】 physical

+

One-handed w Melee w No Quality.

+
-
-

Flail Category

-
    -
  • - Chain Whip 150 z [DEX + DEX] [HR + 8] physical -

    Two-handed w Melee w No Quality.

    -
    • -
-
+
+

Heavy Spear E

+

Stats: 200 z 【DEX + MIG】 【HR + 12】 physical

+

Two-handed w Melee w No Quality.

+
-

BASIC WEAPONS

-

Philip Forlenza (Order #)

-
\ No newline at end of file +

Sword Category

+
+

Bronze Sword E

+

Stats: 200 z 【DEX + MIG】 +1 【HR + 6】 physical

+

One-handed w Melee w No Quality.

+
+ +
+

Greatsword E

+

Stats: 200 z 【DEX + MIG】 +1 【HR + 10】 physical

+

Two-handed w Melee w No Quality.

+
+ +
+

Katana E

+

Stats: 200 z 【DEX + INS】 +1 【HR + 10】 physical

+

Two-handed w Melee w No Quality.

+
+ +
+

Rapier E

+

Stats: 200 z 【DEX + INS】 +1 【HR + 6】 physical

+

One-handed w Melee w No Quality.

+
+ +

Thrown Category

+
+

Improvised (Ranged)

+

Stats: 【DEX + MIG】 【HR + 2】 physical

+

One-handed w Ranged w Breaks after the attack.

+
+ +
+

Shuriken

+

Stats: 150 z 【DEX + INS】 【HR + 4】 physical

+

One-handed w Ranged w No Quality.

+
+ + +

Philip Forlenza (Order #)

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22GAME RULES

+

132 W BASIC ARMOR AND SHIELDS

+

BASIC ARMORS

+

ARMOR COST DEFENSE M. DEFENSE INITIATIVE

-

Heavy Category

-
-

Iron Hammer

-

Stats: 200 z 【MIG + MIG】 【HR + 6】 physical

-

One-handed w Melee w No Quality.

-
+

Armor Listings

-
-

Broadaxe E

-

Stats: 250 z 【MIG + MIG】 【HR + 10】 physical

-

One-handed w Melee w No Quality.

-
+
+

No Armor - DEX size INS size -
No Quality.

+
-
-

Waraxe E

-

Stats: 250 z 【MIG + MIG】 【HR + 14】 physical

-

Two-handed w Melee w No Quality.

-
+
+

Silk Shirt 100 z DEX size INS size +2 -1
No Quality.

+
-

Spear Category

-
-

Light Spear E

-

Stats: 200 z 【DEX + MIG】 【HR + 8】 physical

-

One-handed w Melee w No Quality.

-
+
+

Travel Garb 100 z DEX size +1 INS size +1 -1
No Quality.

+
-
-

Heavy Spear E

-

Stats: 200 z 【DEX + MIG】 【HR + 12】 physical

-

Two-handed w Melee w No Quality.

-
+
+

Combat Tunic 150 z DEX size +1 INS size +1 -
No Quality.

+
-

Sword Category

-
-

Bronze Sword E

-

Stats: 200 z 【DEX + MIG】 +1 【HR + 6】 physical

-

One-handed w Melee w No Quality.

-
+
+

Sage Robe 200 z DEX size +1 INS size +2 -2
No Quality.

+
-
-

Greatsword E

-

Stats: 200 z 【DEX + MIG】 +1 【HR + 10】 physical

-

Two-handed w Melee w No Quality.

-
+
+

Brigandine E 150 z 10 INS size -2
No Quality.

+
-
-

Katana E

-

Stats: 200 z 【DEX + INS】 +1 【HR + 10】 physical

-

Two-handed w Melee w No Quality.

-
+
+

Bronze Plate E 200 z 11 INS size -3
No Quality.

+
-
-

Rapier E

-

Stats: 200 z 【DEX + INS】 +1 【HR + 6】 physical

-

One-handed w Melee w No Quality.

-
+
+

Runic Plate E 250 z 11 INS size +1 -3
No Quality.

+
-

Thrown Category

-
-

Improvised (Ranged)

-

Stats: 【DEX + MIG】 【HR + 2】 physical

-

One-handed w Ranged w Breaks after the attack.

-
+
+

Steel Plate E 300 z 12 INS size -4
No Quality.

+
-
-

Shuriken

-

Stats: 150 z 【DEX + INS】 【HR + 4】 physical

-

One-handed w Ranged w No Quality.

-
- - -

Philip Forlenza (Order #)

\ No newline at end of file +

Contextual Information

+

Philip Forlenza (Order #)

\ No newline at end of file diff --git a/books/core/133.html b/books/core/133.html index 179dc1b..8eef761 100644 --- a/books/core/133.html +++ b/books/core/133.html @@ -1,46 +1,21 @@ -

132 W BASIC ARMOR AND SHIELDS

-

BASIC ARMORS

-

ARMOR COST DEFENSE M. DEFENSE INITIATIVE

+

22 GAME RULES

+

Chapter Info: W | CHAPTER

-

Armor Listings

+

BASIC SHIELDS

-
-

No Armor - DEX size INS size -
No Quality.

-
+ +
+
Bronze Shield
+
Cost: 100 z | Defense: +2 | M. Defense: - | Initiative: -
+
No Quality.
-
-

Silk Shirt 100 z DEX size INS size +2 -1
No Quality.

-
+
Runic Shield
+
Cost: 150 z | Defense: +2 | M. Defense: +2 | Initiative: -
+
No Quality.
+
-
-

Travel Garb 100 z DEX size +1 INS size +1 -1
No Quality.

-
+

The most massive shield in the world is the Adamantower, forged with the hide of an extremely rare and dangerous beast.

-
-

Combat Tunic 150 z DEX size +1 INS size +1 -
No Quality.

-
- -
-

Sage Robe 200 z DEX size +1 INS size +2 -2
No Quality.

-
- -
-

Brigandine E 150 z 10 INS size -2
No Quality.

-
- -
-

Bronze Plate E 200 z 11 INS size -3
No Quality.

-
- -
-

Runic Plate E 250 z 11 INS size +1 -3
No Quality.

-
- -
-

Steel Plate E 300 z 12 INS size -4
No Quality.

-
- -

Contextual Information

-

Philip Forlenza (Order #)

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Philip Forlenza (Order #)

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22 GAME RULES

-

Chapter Info: W | CHAPTER

- -

BASIC SHIELDS

- - -
-
Bronze Shield
-
Cost: 100 z | Defense: +2 | M. Defense: - | Initiative: -
-
No Quality.
- -
Runic Shield
-
Cost: 150 z | Defense: +2 | M. Defense: +2 | Initiative: -
-
No Quality.
-
- -

The most massive shield in the world is the Adamantower, forged with the hide of an extremely rare and dangerous beast.

- -

Philip Forlenza (Order #)

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Much like how spellcasters gain access to Ritual magic, characters with the Tinkerer Class (page 210) may start Projects and work on a variety of custom inventions — love potions, walking magitech shields, or even majestic airships.

+

Projects

+

Projects work as follows:

+
    +
  1. Describe the invention's effects, how it operates, what kind of energy it requires, and the specific benefits it provides. The Game Master has final say on whether a given invention is feasible in your circumstances.
    2. +
  2. By consulting the area, potency, and uses tables (see next page), the GM determines the invention's total cost in materials, to be paid immediately. For inventions of medium or higher potency, the Game Master also describes a necessary special ingredient or material. This item cannot simply be purchased and should become the focus of one or two sessions.
    3. +
  3. To complete the Project, you must reach an amount of progress equal to one for every 100 zenit of material costs (minimum one progress required).
    4. +

    At the end of each day, the Project will advance as follows:

    + +
  4. Once the required amount of progress is reached, the invention is created! If you can generate more progress in a day than what is currently needed to complete the Project, you may have it ready within a few hours instead.
    5. +
  5. If an invention is complex enough — such as a magitech motorcycle equipped with a cannon, acting as both a vehicle and a weapon — the Game Master is free to split the Project into two or more separate inventions, each requiring its own individual development process.
    6. +
  6. You may negotiate a terrible flaw with the Game Master — perhaps the invention must be recharged at regular intervals, is unreliable, cumbersome, or extremely loud. This flaw reduces the total cost of the Project by 25%.
    7. +
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Much like how spellcasters gain access to Ritual magic, characters with the Tinkerer Class (page 210) may start Projects and work on a variety of custom inventions — love potions, walking magitech shields, or even majestic airships.

-

Projects

-

Projects work as follows:

-
    -
  1. Describe the invention's effects, how it operates, what kind of energy it requires, and the specific benefits it provides. The Game Master has final say on whether a given invention is feasible in your circumstances.
    2. -
  2. By consulting the area, potency, and uses tables (see next page), the GM determines the invention's total cost in materials, to be paid immediately. For inventions of medium or higher potency, the Game Master also describes a necessary special ingredient or material. This item cannot simply be purchased and should become the focus of one or two sessions.
    3. -
  3. To complete the Project, you must reach an amount of progress equal to one for every 100 zenit of material costs (minimum one progress required).
    4. -

    At the end of each day, the Project will advance as follows:

    - -
  4. Once the required amount of progress is reached, the invention is created! If you can generate more progress in a day than what is currently needed to complete the Project, you may have it ready within a few hours instead.
    5. -
  5. If an invention is complex enough — such as a magitech motorcycle equipped with a cannon, acting as both a vehicle and a weapon — the Game Master is free to split the Project into two or more separate inventions, each requiring its own individual development process.
    6. -
  6. You may negotiate a terrible flaw with the Game Master — perhaps the invention must be recharged at regular intervals, is unreliable, cumbersome, or extremely loud. This flaw reduces the total cost of the Project by 25%.
    7. -
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22GAME RULES

+ +

CHAPTER

+

Potency Base Cost

+

The invention can...

+ +

Minor (100 zenit)

+

Provide light, transport people or cargo on land or water, obtain some limited form of protection.

+ +

Medium (200 zenit)

+

Travel underwater, contain a spell, relay sound or speech, perform a specific operation in place of the inventor, provide short-term energy.

+ +

Major (400 zenit)

+

Fly, alter the nature of an area for a short time, cancel the effects of a spell, possess minor intelligence, fight alongside the inventor, provide long-term energy, capture or immobilize the target.

+ +

Extreme (800 zenit)

+

Alter the nature of an area for a long time, contain the power of a demon, prevent a catastrophe, possess a full intelligence and personality.

+ +

Area Multiplier

+

The effects of the invention may affect...

+ + +

Uses Multiplier

+

Once activated, the invention...

+ + +

Remember that the Game Master has the right to split any particularly complex or powerful inventions into several Projects, each with its own costs and requirements.

+

Philip Forlenza (Order #)

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22GAME RULES

+

DAMAGE AND PROTECTION

+

Sooner or later, the heroes might want to craft items that give them an edge in battle. The Game Master always has final say on the potency of a given invention but should use the table below as a guideline when establishing it.

-

CHAPTER

-

Potency Base Cost

-

The invention can...

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
PotencyDamage / HealingProtection
MinorNot AvailableOne Resistance
MediumMinorTwo Resistances
MajorMajorOne Immunity or Two Resistances
ExtremeMassiveTwo Immunities or Three Resistances
-

Minor (100 zenit)

-

Provide light, transport people or cargo on land or water, obtain some limited form of protection.

- -

Medium (200 zenit)

-

Travel underwater, contain a spell, relay sound or speech, perform a specific operation in place of the inventor, provide short-term energy.

- -

Major (400 zenit)

-

Fly, alter the nature of an area for a short time, cancel the effects of a spell, possess minor intelligence, fight alongside the inventor, provide long-term energy, capture or immobilize the target.

- -

Extreme (800 zenit)

-

Alter the nature of an area for a long time, contain the power of a demon, prevent a catastrophe, possess a full intelligence and personality.

- -

Area Multiplier

-

The effects of the invention may affect...

-

Uses Multiplier

-

Once activated, the invention...

- +

To determine the amount of damage or healing granted by an invention, use the values corresponding to the current level of its inventor on the table below.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
LevelMinor AmountHeavy AmountMassive Amount
5+103040
20+204060
40+305080
-

Remember that the Game Master has the right to split any particularly complex or powerful inventions into several Projects, each with its own costs and requirements.

Philip Forlenza (Order #)

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DAMAGE AND PROTECTION

-

Sooner or later, the heroes might want to craft items that give them an edge in battle. The Game Master always has final say on the potency of a given invention but should use the table below as a guideline when establishing it.

+
+

USING MATERIALS TO PAY FOR PROJECTS

+

If you happen to gather precious materials during your adventures, you may use them to pay for the costs of a Project. The Game Master has final say on which materials and ingredients can help you cover the cost of a Project.

+

If the Game Master requests a given ingredient or material because of the invention's potency (as described under step 3 of the flowchart on page 134), said ingredient or material cannot also be used to pay for the Project's costs.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
PotencyDamage / HealingProtection
MinorNot AvailableOne Resistance
MediumMinorTwo Resistances
MajorMajorOne Immunity or Two Resistances
ExtremeMassiveTwo Immunities or Three Resistances
+

HIRING HELPERS

+

If an inventor wants to increase the daily amount of progress, or if they want to work on multiple Projects at the same time, they may want to hire helpers.

+ - +

The sticky core found inside Elemental Slimes can be used to produce several forms of energy.

-

To determine the amount of damage or healing granted by an invention, use the values corresponding to the current level of its inventor on the table below.

+

The rules for Projects are very flexible, but they are designed to allow characters to create something unique and never seen before, not to craft items that can normally be found or purchased, such as equipment — they should be used to provide innovative solutions to problems and obstacles.

+ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
LevelMinor AmountHeavy AmountMassive Amount
5+103040
20+204060
40+305080
- -

Philip Forlenza (Order #)

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HOW TO USE PROJECTS

+

Philip Forlenza (Order #)

+
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SAMPLE PROJECTS

+

INVENTION POTENCY AREA USE

+
-

USING MATERIALS TO PAY FOR PROJECTS

-

If you happen to gather precious materials during your adventures, you may use them to pay for the costs of a Project. The Game Master has final say on which materials and ingredients can help you cover the cost of a Project.

-

If the Game Master requests a given ingredient or material because of the invention's potency (as described under step 3 of the flowchart on page 134), said ingredient or material cannot also be used to pay for the Project's costs.

+

The "Discovery"

+

Major Large Permanent

+

Total Project Cost: 6000 zenit; Progress Required: 60; Flaw: None.

+

A large airship that can transport up to fifty people. It provides no additional firepower or protection — armaments, barriers, and so on would all be considered separate Projects and can be subsequently added to the airship's base chassis.

+
-

HIRING HELPERS

-

If an inventor wants to increase the daily amount of progress, or if they want to work on multiple Projects at the same time, they may want to hire helpers.

+
+

Gatling Golem

+

Major Individual Permanent

+

Total Project Cost: 1500 zenit; Progress Required: 15; Flaw: Yes.

+

A semi-intelligent floating weapon. This golem will act after the inventor's turn during conflict scenes, dealing minor physical damage to a single target. However, it is extremely loud and highly experimental: enemies may spend an opportunity to disable it until the end of the scene.

+
+ +
+

Mag Boots

+

Medium Individual Permanent

+

Total Project Cost: 1000 zenit; Progress Required: 10; Flaw: None.

+

A pair of magnetic boots that allows the wearer to safely attach themselves to metallic surfaces, possibly walking on walls or even ceilings.

+
+ +
+

Magitech Suit

+

See below See below See below

+

Total Project Cost: 1750 zenit; Progress Required: 17; Flaw: Yes.

+

An advanced four-legged armor fueled by magitech energy.

+

Given the complexity and power of this invention, the Game Master splits it into two separate Projects: the armor itself and then its heat cannon, both with medium potency, individual area, and permanent use.

+

The inventor added a flaw to one of the Projects (Vulnerability to bolt damage) in order to partially reduce the cost.

+
-

The sticky core found inside Elemental Slimes can be used to produce several forms of energy.

- -

The rules for Projects are very flexible, but they are designed to allow characters to create something unique and never seen before, not to craft items that can normally be found or purchased, such as equipment — they should be used to provide innovative solutions to problems and obstacles.

- - -

HOW TO USE PROJECTS

-

Philip Forlenza (Order #)

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SAMPLE PROJECTS

-

INVENTION POTENCY AREA USE

+

GAME RULES

-
-

The "Discovery"

-

Major Large Permanent

-

Total Project Cost: 6000 zenit; Progress Required: 60; Flaw: None.

-

A large airship that can transport up to fifty people. It provides no additional firepower or protection — armaments, barriers, and so on would all be considered separate Projects and can be subsequently added to the airship's base chassis.

-
+
-
-

Gatling Golem

-

Major Individual Permanent

-

Total Project Cost: 1500 zenit; Progress Required: 15; Flaw: Yes.

-

A semi-intelligent floating weapon. This golem will act after the inventor's turn during conflict scenes, dealing minor physical damage to a single target. However, it is extremely loud and highly experimental: enemies may spend an opportunity to disable it until the end of the scene.

-
+
+

Negator Spike

+

Type: Major Small Consumable

+

Stats: Total Project Cost: 600 zenit; Progress Required: 6; Flaw: Yes.

+

When activated and driven into the ground, this large rune-inscribed spike will prevent all creatures on the scene (friends and foes alike, which is an important flaw) from casting spells or performing Rituals. This effect lasts until the end of the scene or until the negator itself is destroyed (probably a six-sections Clock).

+
-
-

Mag Boots

-

Medium Individual Permanent

-

Total Project Cost: 1000 zenit; Progress Required: 10; Flaw: None.

-

A pair of magnetic boots that allows the wearer to safely attach themselves to metallic surfaces, possibly walking on walls or even ceilings.

-
+
+

Puredust

+

Type: Medium Small Consumable

+

Stats: Total Project Cost: 400 zenit; Progress Required: 4; Flaw: None.

+

This magically blessed dust grants the user and all nearby allies Resistance to dark and poison damage until the end of the scene.

+
-
-

Magitech Suit

-

See below See below See below

-

Total Project Cost: 1750 zenit; Progress Required: 17; Flaw: Yes.

-

An advanced four-legged armor fueled by magitech energy.

-
    -
  • The pilot has Resistance to fire damage and physical damage.
    • -
  • The pilot can use the Attack action to unleash a searing heat ray causing minor fire damage. It is a ranged attack and requires a 【DEX + INS】 Accuracy Check.
    • -
  • The pilot also suffers Vulnerability to bolt damage.
    • -
-

Given the complexity and power of this invention, the Game Master splits it into two separate Projects: the armor itself and then its heat cannon, both with medium potency, individual area, and permanent use.

-

The inventor added a flaw to one of the Projects (Vulnerability to bolt damage) in order to partially reduce the cost.

-
+
+

Pyro Oil

+

Type: Medium Large Consumable

+

Stats: Total Project Cost: 600 zenit; Progress Required: 6; Flaw: None.

+

A single vial of hyper-concentrated fire elemental essence. When shattered, it unleashes a vortex of flames and deals minor fire damage to every creature in a vast area. Flammable items of small size might also be set on fire.

+
-
-

Philip Forlenza (Order #)

-
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+

Sleep Gas

+

Type: Major Small Consumable

+

Stats: Total Project Cost: 800 zenit; Progress Required: 8; Flaw: None.

+

An alchemical vial containing enough gas to fill a room, putting everyone to sleep for a few hours — they will still awaken if harmed, slapped or shaken vigorously enough, but they will sleep through loud noises.

+
+ +
+

Underwater Helm

+

Type: Medium Individual Permanent

+

Stats: Total Project Cost: 1000 zenit; Progress Required: 10; Flaw: None.

+

A magical mask that allows the wearer to breathe underwater.

+
+ +
+ +
+

Philip Forlenza (Order #)

+
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Challenging Battles

-

Combat in Fabula Ultima is reminiscent of the console games that inspired it — each character will have a few tricks up their sleeve, and only by properly combining clever tactics and coordinating with your allies will you emerge victorious... especially when fighting against bosses!

+

THE EIGHT PILLARS

+

The world in which your adventures will take place is not predetermined: its cities, kingdoms, deities, and cultures are something your group will create (take a look at World Creation on page 148). This fantastic land will grow organically as you explore and travel across it, adding new details and unraveling ancient mysteries!

+

What ties all Fabula Ultima worlds together are The Eight Pillars.

-

Your World

-

Fabula Ultima has no default or "canonical" world, and that's on purpose! Your group will collaboratively create a custom world in which your tales will take place.

-

That said, the world and characters you create must adhere to eight core principles, known as the Eight Pillars — which you can find on the next page!

-

On the other hand, if you're not familiar with the classic tropes 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..."

-

— Philip Forlenza (Order #)

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ANCIENT RUINS AND HARSH LANDS

+

The world is an ancient and dangerous place: cities and villages are separated by vast plains, scorching deserts, frozen peaks and impenetrable forests. The land is dotted with crumbling fortresses and shrines devoted to deities whose names have been lost to time. Past civilizations and ages of darkness have left behind a world of powerful artifacts and cryptic legends, as well as magical (and often dangerous) places.

+ +

A WORLD IN PERIL

+

Villages, castles, and city-states are among the few areas that aren’t literally crawling with monsters, brigands, and hostile creatures. Far more dangerous still are Villains, powerful antagonists casting their shadow over the entire land. Cruel sorcerers, evil gods seeking reincarnation, power-hungry emperors, perhaps even alien entities: there’s a single, unspeakable terror behind the dangers of the world, and our heroes are bound to cross its path sooner or later.

+ +

CLASHING COMMUNITIES

+

The world may be in danger, but its inhabitants are still divided by ancient grudges: religious schisms, memories of war crimes, and the conflict between magic and science are among the most common causes of enmity. Reuniting these communities will be key to defeating the great evils of the world; the protagonists should help them overcome their hostilities and see their differences as blessings instead of obstacles.

+ +

EVERYTHING HAS A SOUL

+

All matter that forms the world, including its creatures, the earth, sky, sun, and stars are part of a vast flow of spiritual energy. The origin, nature, and function of this energy may vary depending on the world you create, but its presence is undeniable and anyone possessing the ability to manipulate it (be it through magic or science) is a force to be reckoned with.

+ +

Philip Forlenza (Order #)

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GAME RULES

- -
- -
-

Negator Spike

-

Type: Major Small Consumable

-

Stats: Total Project Cost: 600 zenit; Progress Required: 6; Flaw: Yes.

-

When activated and driven into the ground, this large rune-inscribed spike will prevent all creatures on the scene (friends and foes alike, which is an important flaw) from casting spells or performing Rituals. This effect lasts until the end of the scene or until the negator itself is destroyed (probably a six-sections Clock).

-
- -
-

Puredust

-

Type: Medium Small Consumable

-

Stats: Total Project Cost: 400 zenit; Progress Required: 4; Flaw: None.

-

This magically blessed dust grants the user and all nearby allies Resistance to dark and poison damage until the end of the scene.

-
- -
-

Pyro Oil

-

Type: Medium Large Consumable

-

Stats: Total Project Cost: 600 zenit; Progress Required: 6; Flaw: None.

-

A single vial of hyper-concentrated fire elemental essence. When shattered, it unleashes a vortex of flames and deals minor fire damage to every creature in a vast area. Flammable items of small size might also be set on fire.

-
- -
-

Sleep Gas

-

Type: Major Small Consumable

-

Stats: Total Project Cost: 800 zenit; Progress Required: 8; Flaw: None.

-

An alchemical vial containing enough gas to fill a room, putting everyone to sleep for a few hours — they will still awaken if harmed, slapped or shaken vigorously enough, but they will sleep through loud noises.

-
- -
-

Underwater Helm

-

Type: Medium Individual Permanent

-

Stats: Total Project Cost: 1000 zenit; Progress Required: 10; Flaw: None.

-

A magical mask that allows the wearer to breathe underwater.

-
- -
- -
-

Philip Forlenza (Order #)

-
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GROUP DYNAMICS

+

A SAFE PLAY ENVIRONMENT

+

In line with the JRPG genre that inspiration has been drawn from, Fabula Ultima’s tones are heroic and optimistic, despite the occasional presence of tragic or darker scenes — especially when Villains are involved. The general expectation is that scenes will not be particularly gritty or morbidly described, even when death is involved — but since you never know what might hurt the sensibility of the people playing, here is a list of tools and “good practices”.

+ +

These tools are especially useful if you’re playing with people you’ve never met before, but keep them in mind even when you’re with old-time friends. Every single person has something that makes them uncomfortable, sometimes to an unbearable degree — overly detailed descriptions of violence, portrayals of unhealthy relationships, or even something you believe is commonplace but somehow left a scar on them.

+

When playing the game, one of your duties is to create a safe environment — don’t insist on asking why something made someone uncomfortable: instead, ask them how they’d prefer this type of scene or situation to be handled from now on.

+

Philip Forlenza (Order #)

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GROUP DYNAMICS

-

A SAFE PLAY ENVIRONMENT

-

In line with the JRPG genre that inspiration has been drawn from, Fabula Ultima’s tones are heroic and optimistic, despite the occasional presence of tragic or darker scenes — especially when Villains are involved. The general expectation is that scenes will not be particularly gritty or morbidly described, even when death is involved — but since you never know what might hurt the sensibility of the people playing, here is a list of tools and “good practices”.

+

22 GAME RULES

+

PLAYER CHARACTER AGAINST PLAYER CHARACTER

+

While the protagonists of Fabula Ultima are heroes, this doesn’t mean there won’t be disagreements or hostilities between them. Situations might arise in which two or more Player Characters are at odds: you can resolve these through mutual agreement or by using the rules as normal.

+

When handling such a situation, make sure to remember the following:

-

These tools are especially useful if you’re playing with people you’ve never met before, but keep them in mind even when you’re with old-time friends. Every single person has something that makes them uncomfortable, sometimes to an unbearable degree — overly detailed descriptions of violence, portrayals of unhealthy relationships, or even something you believe is commonplace but somehow left a scar on them.

-

When playing the game, one of your duties is to create a safe environment — don’t insist on asking why something made someone uncomfortable: instead, ask them how they’d prefer this type of scene or situation to be handled from now on.

-

Philip Forlenza (Order #)

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  • Take some time to think about what’s happening. When the goals or actions of two or more Player Characters are at odds, don’t be too hasty about rolling dice. Just “pause” the game and let the involved Players find an agreement on how to resolve the situation.
    • +
  • Keep in mind that these rules have been written to solve conflicts between characters: the corresponding Players are still responsible for an enjoyable game experience and should cooperate with each other. If a disagreement arises between Players, there’s not much this game can do: solve the issue through dialogue and go back to playing the game once you’re on the same page again.
    • +
  • Establish what is at stake and determine a resolution method. With the help of your Game Master, Players should establish what their characters want to accomplish (sometimes this will be enough to realize your goals aren’t in conflict). Then, you should choose a method to resolve the contrast: Opposed Checks generally work well for this.
    • +
  • Do not roll dice until you’re sure everyone understands what will happen. If you are struggling to find an agreement, consider setting the issue aside and coming back to it once you’ve reached a compromise. Perhaps the characters bicker and argue, but a more urgent threat demands their attention.
    • +
  • Apply the results. Once the dice hit the table, apply the outcome for what it is: don’t try to fudge the results or avoid the consequences of your actions. In this case, it is probably best for the Game Master to impartially describe what happens to everyone involved.
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    22 GAME RULES

    -

    PLAYER CHARACTER AGAINST PLAYER CHARACTER

    -

    While the protagonists of Fabula Ultima are heroes, this doesn’t mean there won’t be disagreements or hostilities between them. Situations might arise in which two or more Player Characters are at odds: you can resolve these through mutual agreement or by using the rules as normal.

    -

    When handling such a situation, make sure to remember the following:

    +

    Secrets

    +

    It is not uncommon for a Player Character to hide secrets from their companions, be it their past misdeeds or their burning love for an antagonist.

    +

    While it's perfectly fine for characters to have secrets, Players should instead keep things transparent and work together to get the most out of the situation.

    +

    By telling your group "My character looks like they want to be friends with you, but she actually hates you because of what happened in Galatea" you are empowering everyone at the table, including yourself: now that this facet of your hero is known, it will be possible to build upon it and create drama.

    +

    Never forget that this game relies on a collaborative storytelling effort: disclosing your character's secrets means giving your fellow Players a chance to make things interesting — do not think of it as "letting your guard down".

    + +

    Leaving the Group

    +

    There might come a moment when you feel like your character has been fully explored; they have faced their fears, achieved their goals, and found who or what they were looking for, with the campaign not yet reaching its end.

    +

    When this happens, you are free to announce that your character will be leaving the group — you should do so between sessions and also come up with a replacement character. Then, at the beginning of the following session, describe your character's epilogue and agree on how and why your new character joins the group.

    \ No newline at end of file +
  • If you want to temporarily retire a character but retain the ability to bring them back later on during the campaign, you should discuss it with the rest of your group.
    • +
  • Whenever a new character (or a previously retired character) joins the group, they should have the same level and XP as the character they are replacing. If the character is a returning character, the Player should briefly describe what they did while away from the rest of the group.
    • +
  • Regardless of how many Player Characters are owned by a Player, that Player may only control a single PC at once. The Game Master has final say on when you can "switch characters"—generally between sessions or after resting in town.
    • + +

    Needless to say, you can only switch to a different character if that character is somewhere nearby or has the means to reach the rest of the group.

    + +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/143.html b/books/core/143.html index 8a3fbeb..115a0c1 100644 --- a/books/core/143.html +++ b/books/core/143.html @@ -1,19 +1,27 @@ -

    Secrets

    -

    It is not uncommon for a Player Character to hide secrets from their companions, be it their past misdeeds or their burning love for an antagonist.

    -

    While it's perfectly fine for characters to have secrets, Players should instead keep things transparent and work together to get the most out of the situation.

    -

    By telling your group "My character looks like they want to be friends with you, but she actually hates you because of what happened in Galatea" you are empowering everyone at the table, including yourself: now that this facet of your hero is known, it will be possible to build upon it and create drama.

    -

    Never forget that this game relies on a collaborative storytelling effort: disclosing your character's secrets means giving your fellow Players a chance to make things interesting — do not think of it as "letting your guard down".

    +

    ABSENT PLAYERS

    +

    We all have busy lives, and sometimes this means one or more people will be unable to take part in a session.

    +

    When this happens, the simplest option is often to reschedule the session for a different date. Just pick another day to meet — in the meantime, you can play another game with whoever is present!

    +

    On the other hand, if you are determined to run a session even if one or more participants are absent — and you should do this only if whoever's missing is okay with it — each absent Player chooses one of the following for their character:

    -

    Leaving the Group

    -

    There might come a moment when you feel like your character has been fully explored; they have faced their fears, achieved their goals, and found who or what they were looking for, with the campaign not yet reaching its end.

    -

    When this happens, you are free to announce that your character will be leaving the group — you should do so between sessions and also come up with a replacement character. Then, at the beginning of the following session, describe your character's epilogue and agree on how and why your new character joins the group.

    -

    Needless to say, you can only switch to a different character if that character is somewhere nearby or has the means to reach the rest of the group.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Regardless of which option you choose for your character, the following apply:

    + + + +

    As soon as you take part in a session again, you will be able to gain and spend Fabula Points as normal.

    + +

    The nature of this world is not one of absolutes.

    + + \ No newline at end of file diff --git a/books/core/144.html b/books/core/144.html index 115a0c1..c7a84eb 100644 --- a/books/core/144.html +++ b/books/core/144.html @@ -1,27 +1,6 @@ -

    ABSENT PLAYERS

    -

    We all have busy lives, and sometimes this means one or more people will be unable to take part in a session.

    -

    When this happens, the simplest option is often to reschedule the session for a different date. Just pick another day to meet — in the meantime, you can play another game with whoever is present!

    -

    On the other hand, if you are determined to run a session even if one or more participants are absent — and you should do this only if whoever's missing is okay with it — each absent Player chooses one of the following for their character:

    - - - -

    Regardless of which option you choose for your character, the following apply:

    - - - -

    As soon as you take part in a session again, you will be able to gain and spend Fabula Points as normal.

    - -

    The nature of this world is not one of absolutes.

    - - \ No newline at end of file +

    144

    +

    W

    +

    W

    +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/145.html b/books/core/145.html index c7a84eb..1f6566d 100644 --- a/books/core/145.html +++ b/books/core/145.html @@ -1,6 +1,18 @@ -

    144

    -

    W

    -

    W

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    CHAPTER

    +

    This chapter contains the rules for starting your Fabula Ultima game. Within the following pages you will discover how to create your game world, give your group a core theme, build your very own characters, and finally, begin play with a prologue.

    + +

    SESSION ZERO

    +

    While reading this chapter on your own is an excellent idea, the steps require everyone in your group to be present. This meeting, also known as session zero, is meant to establish the basics of the setting in which your adventures will take place, along with the themes you want to explore and the heroes you will portray.

    + +

    Needless to say, there will be many occasions to leave your mark on the world you will create; however, think of this moment as the root of your play experience, from which everything else will grow, evolve, and blossom.

    + +

    WAIT, I’VE CHANGED MY MIND!

    +

    The sections of this chapter are presented in a specific order, but you are free to go back to any step and revise the choices whenever you feel the need. For instance, when creating your character, you might come up with an idea for a cool location and mark it on the world map. Or you could end up with a band of heroes that suits a different type of group from the one you had previously selected.

    +

    You are building the foundations of your campaign... take your time!

    + +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/146.html b/books/core/146.html index 1f6566d..de4bf89 100644 --- a/books/core/146.html +++ b/books/core/146.html @@ -1,18 +1,26 @@ -

    CHAPTER

    -

    This chapter contains the rules for starting your Fabula Ultima game. Within the following pages you will discover how to create your game world, give your group a core theme, build your very own characters, and finally, begin play with a prologue.

    +

    Now that you've gathered together, there are a few things to discuss before you begin creating your world and characters. For each topic, read the questions and discuss your choices as a group.

    -

    SESSION ZERO

    -

    While reading this chapter on your own is an excellent idea, the steps require everyone in your group to be present. This meeting, also known as session zero, is meant to establish the basics of the setting in which your adventures will take place, along with the themes you want to explore and the heroes you will portray.

    +

    COMMITMENT AND EXPECTATIONS

    +

    The first thing you should discuss is the amount of time and effort everyone will be able to dedicate to the game. This will help set expectations and avoid issues later on during play.

    -

    Needless to say, there will be many occasions to leave your mark on the world you will create; however, think of this moment as the root of your play experience, from which everything else will grow, evolve, and blossom.

    +

    See page 143 for suggestions.

    -

    WAIT, I’VE CHANGED MY MIND!

    -

    The sections of this chapter are presented in a specific order, but you are free to go back to any step and revise the choices whenever you feel the need. For instance, when creating your character, you might come up with an idea for a cool location and mark it on the world map. Or you could end up with a band of heroes that suits a different type of group from the one you had previously selected.

    -

    You are building the foundations of your campaign... take your time!

    +

    TONE AND THEMES

    +

    This is a game with a relatively broad scope: depending on the kind of world and characters you create, the campaign's tone and themes can vary quite a bit. Because this is a shared storytelling experience, you need to be on the same page or at least lay a solid foundation — you can always discuss changes later.

    + +

    See page 141 for suggestions.

    +

    BEFORE YOU START

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/147.html b/books/core/147.html index de4bf89..8dc58a7 100644 --- a/books/core/147.html +++ b/books/core/147.html @@ -1,26 +1,22 @@ -

    Now that you've gathered together, there are a few things to discuss before you begin creating your world and characters. For each topic, read the questions and discuss your choices as a group.

    - -

    COMMITMENT AND EXPECTATIONS

    -

    The first thing you should discuss is the amount of time and effort everyone will be able to dedicate to the game. This will help set expectations and avoid issues later on during play.

    +

    RULES AND CHALLENGE

    +

    Much like tone and themes, this game allows you to customize its rules and play it with a varying degree of mechanical challenge and optimization.

    -

    See page 143 for suggestions.

    -

    TONE AND THEMES

    -

    This is a game with a relatively broad scope: depending on the kind of world and characters you create, the campaign's tone and themes can vary quite a bit. Because this is a shared storytelling experience, you need to be on the same page or at least lay a solid foundation — you can always discuss changes later.

    +

    SAFETY

    +

    Roleplaying games tend to get us emotionally and personally involved. It's their beauty, but it also leaves us vulnerable. Make sure to discuss whatever descriptions, situations, scenes, and story elements might make you uncomfortable. Everyone should indicate any lines and veils (page 140) that they want to apply during sessions; it can be a good idea to handle this anonymously to preserve the privacy of the participants.

    +

    In particular, you should make sure to discuss:

    -

    See page 141 for suggestions.

    -

    BEFORE YOU START

    +

    As you play the game, you will probably reconsider some of your previous decisions. When this happens, talk about it with the group and find a new agreement.

    +

    Remember: you win roleplaying games by creating a memorable story and having a great time together!

    +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/148.html b/books/core/148.html index 8dc58a7..8e0b369 100644 --- a/books/core/148.html +++ b/books/core/148.html @@ -1,22 +1,22 @@ -

    RULES AND CHALLENGE

    -

    Much like tone and themes, this game allows you to customize its rules and play it with a varying degree of mechanical challenge and optimization.

    +

    WORLD CREATION

    +

    Your first step is the shared creation of the game world (also known as a “setting”) in which your characters’ adventures will take place. This process involves both the Game Master and the Players and provides everyone with a strong foundation for heroes, antagonists, creatures, and events.

    + +

    You will need the world sheet and the map sheet.

    + +

    The flowchart on the next page describes the world creation process. If you want, give your setting a name: even something as simple as Earth, Gaia or The Planet will work fine... we do the same in our real world, after all!

    + +

    As explained on page 14, all Fabula Ultima worlds share some core elements — the Eight Pillars. When creating your setting, keep those elements in mind! Pay special attention to the following:

    + -

    SAFETY

    -

    Roleplaying games tend to get us emotionally and personally involved. It's their beauty, but it also leaves us vulnerable. Make sure to discuss whatever descriptions, situations, scenes, and story elements might make you uncomfortable. Everyone should indicate any lines and veils (page 140) that they want to apply during sessions; it can be a good idea to handle this anonymously to preserve the privacy of the participants.

    -

    In particular, you should make sure to discuss:

    - +

    The flowchart presents the world creation steps in a more intuitive order, but you’re always free to go back and make adjustments when needed.

    -

    As you play the game, you will probably reconsider some of your previous decisions. When this happens, talk about it with the group and find a new agreement.

    -

    Remember: you win roleplaying games by creating a memorable story and having a great time together!

    +

    The most important part is that everyone can share ideas freely. Whenever a step states that “each person should contribute an element”, that doesn’t mean they must come up with it entirely on their own: as with any other aspect of this game, dialogue and communication are key to a good experience!

    Philip Forlenza (Order #)

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    WORLD CREATION

    -

    Your first step is the shared creation of the game world (also known as a “setting”) in which your characters’ adventures will take place. This process involves both the Game Master and the Players and provides everyone with a strong foundation for heroes, antagonists, creatures, and events.

    +

    World Building Prompts

    -

    You will need the world sheet and the map sheet.

    +
      +
    1. +

      Create the major kingdoms and nations of your world, mark their borders on the map and discuss their relations: mutual trust, strained alliances, or open conflict?

      +

      Each person at the table should contribute at least one kingdom or nation during this step, providing some details about their customs, beliefs, industry, denizens, and creatures.

      +
      2. +
    2. +

      Choose a shape for your world: is it round, flat, or are the regions floating amidst the clouds? Could it be donut-shaped, in typical JRPG fashion?

      +

      You might even decide that the shape of your world is yet to be discovered!

      +
      3. +
    3. +

      Grab a map sheet that fits your concept (or draw a custom map; just make sure to leave plenty of blank space for settlements and locations). Your world can span more than one sheet, of course — but let’s keep things simple for now. Remember to establish the length of a travel day on the map (see page 106).

      +
      4. +
    4. +

      What is the role of magic and technology in your setting? Are you living in an age of industrial development, or is it more Renaissance-like?

      +
        +
      • Is magic seen as a form of science, or mostly as a great mystery?
        • +
      +
      5. +
    5. +

      Discuss the major historical events that shaped your world into what it is. Each person at the table should contribute at least one important event that dramatically altered the history of your setting.

      +
      6. +
    6. +

      What are the great enigmas and mysteries of the world? The questions left unanswered, and the truths that are now indistinguishable from legend?

      +

      Each person at the table should contribute at least one mystery of the world that they want to explore over the course of the group’s adventures.

      +
      7. +
    7. +

      What terrible threats cast a shadow over your world? Environmental disasters, furious deities, power-hungry empires, or perhaps even clouds of corrupting miasma that are enveloping and consuming the land?

      +

      Each person at the table should contribute a threat, preferably something that is endangering the future of entire nations. The Game Master will base a majority of their villains and antagonists on these worldwide threats.

      +
      8. +
    -

    The flowchart on the next page describes the world creation process. If you want, give your setting a name: even something as simple as Earth, Gaia or The Planet will work fine... we do the same in our real world, after all!

    - -

    As explained on page 14, all Fabula Ultima worlds share some core elements — the Eight Pillars. When creating your setting, keep those elements in mind! Pay special attention to the following:

    - - - -

    The flowchart presents the world creation steps in a more intuitive order, but you’re always free to go back and make adjustments when needed.

    - -

    The most important part is that everyone can share ideas freely. Whenever a step states that “each person should contribute an element”, that doesn’t mean they must come up with it entirely on their own: as with any other aspect of this game, dialogue and communication are key to a good experience!

    - -

    Philip Forlenza (Order #)

    \ No newline at end of file + \ No newline at end of file diff --git a/books/core/15.html b/books/core/15.html index e04282c..aaa0e45 100644 --- a/books/core/15.html +++ b/books/core/15.html @@ -1,19 +1,19 @@ -

    THE EIGHT PILLARS

    -

    The world in which your adventures will take place is not predetermined: its cities, kingdoms, deities, and cultures are something your group will create (take a look at World Creation on page 148). This fantastic land will grow organically as you explore and travel across it, adding new details and unraveling ancient mysteries!

    -

    What ties all Fabula Ultima worlds together are The Eight Pillars.

    +

    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 nature of matter, the other with the souls that dwell within it — two sides of the same coin.

    +

    Miraculous machinery might be hidden beneath the ruins of an ancient civilization, and even the most powerful wizards will often make use of vehicles and airships.

    +

    Many of these worlds also feature an unusual discipline that combines magic and technology into magitech: metal soldiers animated by the souls of the fallen, bombs that can unleash elemental mayhem, and flying machines fueled by wind spirits are only a few examples of what can be created by this hybrid craft.

    -

    ANCIENT RUINS AND HARSH LANDS

    -

    The world is an ancient and dangerous place: cities and villages are separated by vast plains, scorching deserts, frozen peaks and impenetrable forests. The land is dotted with crumbling fortresses and shrines devoted to deities whose names have been lost to time. Past civilizations and ages of darkness have left behind a world of powerful artifacts and cryptic legends, as well as magical (and often dangerous) places.

    +

    HEROES OF MANY SIZES AND SHAPES

    +

    Fabula Ultima’s protagonists are full-fledged heroes, extraordinary individuals that possess unique abilities and whose actions will shape the fate of the world. While some may not be noble paladins or virtuous paragons of justice, even the thieves and dark knights among them have a fundamentally good nature and can be trusted to do the right thing when the situation gets desperate.

    +

    In line with the video game genre Fabula Ultima draws inspiration from, our heroes do not follow any rule of realism: be they children with incredible magical powers or elderly warriors able to single-handedly challenge an entire army, all that matters is their strength of spirit.

    -

    A WORLD IN PERIL

    -

    Villages, castles, and city-states are among the few areas that aren’t literally crawling with monsters, brigands, and hostile creatures. Far more dangerous still are Villains, powerful antagonists casting their shadow over the entire land. Cruel sorcerers, evil gods seeking reincarnation, power-hungry emperors, perhaps even alien entities: there’s a single, unspeakable terror behind the dangers of the world, and our heroes are bound to cross its path sooner or later.

    +

    IT'S ALL ABOUT THE HEROES

    +

    Any relevant event in a game of Fabula Ultima is tied to the heroes, either directly or indirectly. Dramatic plot twists shall happen when the protagonists are present on the scene, and the great powers (and evils) of the world shall pay them special attention.

    +

    Following the same logic, the heroes’ determination will allow them to achieve the impossible, such as defeating an empire or sealing away a powerful deity.

    -

    CLASHING COMMUNITIES

    -

    The world may be in danger, but its inhabitants are still divided by ancient grudges: religious schisms, memories of war crimes, and the conflict between magic and science are among the most common causes of enmity. Reuniting these communities will be key to defeating the great evils of the world; the protagonists should help them overcome their hostilities and see their differences as blessings instead of obstacles.

    - -

    EVERYTHING HAS A SOUL

    -

    All matter that forms the world, including its creatures, the earth, sky, sun, and stars are part of a vast flow of spiritual energy. The origin, nature, and function of this energy may vary depending on the world you create, but its presence is undeniable and anyone possessing the ability to manipulate it (be it through magic or science) is a force to be reckoned with.

    +

    MYSTERY, DISCOVERY, AND GROWTH

    +

    This game is built upon discovery: of ancient mysteries and forgotten powers, yes, but most of all, of the heroes themselves, of their feelings, and of what they are willing to do in order to fight against darkness. Fabula Ultima’s protagonists are complex and sometimes tragic figures, and their journey will change them forever.

    Philip Forlenza (Order #)

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    World Building Prompts

    +

    World Creation Tables

    +

    Feel free to use the tables on these pages whenever you're running short on ideas during world creation.

    -
      -
    1. -

      Create the major kingdoms and nations of your world, mark their borders on the map and discuss their relations: mutual trust, strained alliances, or open conflict?

      -

      Each person at the table should contribute at least one kingdom or nation during this step, providing some details about their customs, beliefs, industry, denizens, and creatures.

      -
      2. -
    2. -

      Choose a shape for your world: is it round, flat, or are the regions floating amidst the clouds? Could it be donut-shaped, in typical JRPG fashion?

      -

      You might even decide that the shape of your world is yet to be discovered!

      -
      3. -
    3. -

      Grab a map sheet that fits your concept (or draw a custom map; just make sure to leave plenty of blank space for settlements and locations). Your world can span more than one sheet, of course — but let’s keep things simple for now. Remember to establish the length of a travel day on the map (see page 106).

      -
      4. -
    4. -

      What is the role of magic and technology in your setting? Are you living in an age of industrial development, or is it more Renaissance-like?

      -
        -
      • Is magic seen as a form of science, or mostly as a great mystery?
        • -
      -
      5. -
    5. -

      Discuss the major historical events that shaped your world into what it is. Each person at the table should contribute at least one important event that dramatically altered the history of your setting.

      -
      6. -
    6. -

      What are the great enigmas and mysteries of the world? The questions left unanswered, and the truths that are now indistinguishable from legend?

      -

      Each person at the table should contribute at least one mystery of the world that they want to explore over the course of the group’s adventures.

      -
      7. -
    7. -

      What terrible threats cast a shadow over your world? Environmental disasters, furious deities, power-hungry empires, or perhaps even clouds of corrupting miasma that are enveloping and consuming the land?

      -

      Each person at the table should contribute a threat, preferably something that is endangering the future of entire nations. The Game Master will base a majority of their villains and antagonists on these worldwide threats.

      -
      8. -
    +

    Magic and Technology (roll a d20 or choose)

    +

    Below are 20 potential concepts for magic and technology that can influence your setting:

    + +

    All these options can be applied to the entire world or to a specific nation or region. For instance, steam engines might be a common sight in one continent and reviled as heresy by a neighbouring country, or magic might be an ancient art in one region and a recent discovery somewhere else.

    - \ No newline at end of file +

    Kingdoms and Nations (roll a d8 or choose)

    +

    Use these concepts to define the political structure of your setting:

    + + +

    Philip Forlenza (Order #)

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    World Creation Tables

    -

    Feel free to use the tables on these pages whenever you're running short on ideas during world creation.

    - -

    Magic and Technology (roll a d20 or choose)

    -

    Below are 20 potential concepts for magic and technology that can influence your setting:

    - + +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/251.html b/books/core/251.html index bf73b16..3d2423e 100644 --- a/books/core/251.html +++ b/books/core/251.html @@ -1,23 +1,22 @@ -

    FURY

    -

    Anger and passion are the core elements of a Fury. Build scenes in which acting upon instinct can be detrimental, and always show the consequences of violence or recklessness. There’s a reason Furies are seen as ticking bombs by most people around them, and some might feel unsafe when a Fury is present.

    +

    GAME MASTER GUIDE

    + +

    CHAPTER ORATOR

    +

    Orators are assumed to draw attention. Maybe they look good, maybe they’re naturally charismatic, or maybe there’s some other reason — you should ask the Player.

    -

    GUARDIAN

    +

    CHAPTER ROGUE

    +

    Whatever ideals spur a Rogue into action can often be twisted and manipulated. It is dreadfully easy for a rebel to turn into an oppressor, and the heroes of the past were often treated like criminals during their own time.

    +

    Remember that items acquired this way are in addition to normal game rewards (page 264). Because of this, the group will inevitably gain access to more options and wealth than normal — but that’s part of what makes a Rogue special. Don’t be afraid to give the Player Characters some new toys!

    -

    LOREMASTER

    - - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    "Goddess of Law? How fitting! As a thief, I'll defend my right to disobey until the very end!"

    +

    — Philip Forlenza (Order #)

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    GAME MASTER GUIDE

    +

    Character Builds & Concepts

    -

    CHAPTER ORATOR

    -

    Orators are assumed to draw attention. Maybe they look good, maybe they’re naturally charismatic, or maybe there’s some other reason — you should ask the Player.

    - +
    +

    Sharpshooter

    +

    As one of the more combat-oriented Classes in the game, a Sharpshooter is relatively straightforward: they do one thing, and they do it well. When designing battles for your group, create situations in which their abilities can shine - flying enemies, in particular, are the bane of melee combatants.

    + +
    -

    CHAPTER ROGUE

    -

    Whatever ideals spur a Rogue into action can often be twisted and manipulated. It is dreadfully easy for a rebel to turn into an oppressor, and the heroes of the past were often treated like criminals during their own time.

    - -

    Remember that items acquired this way are in addition to normal game rewards (page 264). Because of this, the group will inevitably gain access to more options and wealth than normal — but that’s part of what makes a Rogue special. Don’t be afraid to give the Player Characters some new toys!

    +
    +

    Spiritist

    + +
    -

    "Goddess of Law? How fitting! As a thief, I'll defend my right to disobey until the very end!"

    -

    — Philip Forlenza (Order #)

    \ No newline at end of file +

    Philip Forlenza (Order #)

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    Character Builds & Concepts

    +

    TINKERER

    +

    Technology can be powerful and terrifying. Build situations related to the dangers of ruthless and unethical progress and challenge the Tinkerer to prove why their view of science is different.

    + -
    -

    Sharpshooter

    -

    As one of the more combat-oriented Classes in the game, a Sharpshooter is relatively straightforward: they do one thing, and they do it well. When designing battles for your group, create situations in which their abilities can shine - flying enemies, in particular, are the bane of melee combatants.

    - -
    +

    WAYFARER

    + -
    -

    Spiritist

    - -
    +

    WEAPONMASTER

    +

    In times of war, capable warriors are an asset. In times of peace, they are a threat. The feats of a Weaponmaster will surely earn them respect... and attract trouble.

    +

    Philip Forlenza (Order #)

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    TINKERER

    -

    Technology can be powerful and terrifying. Build situations related to the dangers of ruthless and unethical progress and challenge the Tinkerer to prove why their view of science is different.

    +

    THE ART OF VILLAINS

    + +

    If the Player Characters represent a heroic and positive force in the world, Villains are the opposite. Being the Game Master, it is your responsibility to create, introduce, and portray these characters.

    + +

    You already know about what differentiates a Villain from a typical Non-Player Character in terms of rules: that is to say, the access to Ultima Points. This section, on the other hand, contains advice on what you should focus on when creating and portraying an antagonist within the story.

    + +

    So, let’s get to it: what makes a good Villain?

    + +

    GOALS

    + +

    This is the most important aspect of any antagonist: they want to accomplish something. Be it reshaping the world, exacting revenge upon those who made them suffer, or conquering a neighboring region, Villains must have goals.

    + +

    Goals are extremely useful for you as a Game Master: when you don’t know how a Villain would act or react to a given situation, look at their goals and you will most likely find an answer.

    + -

    WAYFARER

    - +

    Remember that Villains can also escalate: perhaps a young wizard (minor Villain) suddenly realizes he must steal magical energy from an entire country to revive a loved one, thus becoming a major Villain. Then, when the attempt fails — likely due to the Player Characters’ intervention — the desperate wizard seeks a way to merge with the deities of time and space, erasing reality and creating a timeline that never was... a fitting and tragic goal for a supreme Villain.

    -

    WEAPONMASTER

    -

    In times of war, capable warriors are an asset. In times of peace, they are a threat. The feats of a Weaponmaster will surely earn them respect... and attract trouble.

    - +

    Having some Villains turn into allies throughout the campaign is just as important: this encourages Players to seek dialogue with their adversaries and to consider both sides of a situation, instead of simply assuming that everyone is either good or evil.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    — Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/255.html b/books/core/255.html index bbac708..06c9907 100644 --- a/books/core/255.html +++ b/books/core/255.html @@ -1,27 +1,19 @@ -

    THE ART OF VILLAINS

    - -

    If the Player Characters represent a heroic and positive force in the world, Villains are the opposite. Being the Game Master, it is your responsibility to create, introduce, and portray these characters.

    - -

    You already know about what differentiates a Villain from a typical Non-Player Character in terms of rules: that is to say, the access to Ultima Points. This section, on the other hand, contains advice on what you should focus on when creating and portraying an antagonist within the story.

    - -

    So, let’s get to it: what makes a good Villain?

    - -

    GOALS

    - -

    This is the most important aspect of any antagonist: they want to accomplish something. Be it reshaping the world, exacting revenge upon those who made them suffer, or conquering a neighboring region, Villains must have goals.

    - -

    Goals are extremely useful for you as a Game Master: when you don’t know how a Villain would act or react to a given situation, look at their goals and you will most likely find an answer.

    - +

    GAME MASTER

    +

    PRESSURE

    +

    Your Villains should actively work towards their goals. If the Player Characters spend an extended amount of time resting or taking care of issues that are not related to an antagonist’s plans, then that antagonist will not sit idly and wait for the heroes to do something: they will get closer to their objective.

    +

    When a Villain’s plans advance, you must always clearly communicate it to the Players — perhaps with an appropriate Game Master scene, or through rumors and conversations the heroes have with NPCs in the game world. Don’t just surprise them with a casual “Oh yeah, did I mention this guy you didn’t know about has successfully rewritten reality?”

    +

    If you plan on having multiple Villains in your campaign at the same time — or if you play at very irregular intervals and it's hard to remember everything — consider using Clocks to track the progress of each Villain’s goals.

    +

    The more complex or dramatic objectives will require larger Clocks:

    - -

    Remember that Villains can also escalate: perhaps a young wizard (minor Villain) suddenly realizes he must steal magical energy from an entire country to revive a loved one, thus becoming a major Villain. Then, when the attempt fails — likely due to the Player Characters’ intervention — the desperate wizard seeks a way to merge with the deities of time and space, erasing reality and creating a timeline that never was... a fitting and tragic goal for a supreme Villain.

    - -

    Having some Villains turn into allies throughout the campaign is just as important: this encourages Players to seek dialogue with their adversaries and to consider both sides of a situation, instead of simply assuming that everyone is either good or evil.

    - -

    — Philip Forlenza (Order #)

    \ No newline at end of file +

    If the Player Characters manage to foil the Villain’s plans, the current Clock will reset to 0 or possibly be replaced with an entirely different one, representing how the antagonist is now seeking to achieve the same end through a different method.

    +
    +

    AN UNEXPECTED SIDE

    +

    Never create one-dimensional antagonists. Villains should have a deeper layer, a tragic or at least unexpected side to them: perhaps they genuinely think they are doing the world a favor, they have their own reasons for forsaking everyone else, or they feel trapped in a path of ruin and are simply waiting for someone to stop them. Maybe an antagonist is so honorable that they will fully heal the heroes before a battle!

    +

    This doesn’t mean the PCs should necessarily sympathize with all Villains — a few will be beyond redemption. But even then, dark emotions must come from somewhere... and upon discovering those tragic roots, Player Characters will see that antagonist under a different light, and perhaps even find a way to help them realize that what they're doing is harmful.

    +

    Philip Forlenza

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    GAME MASTER

    -

    PRESSURE

    -

    Your Villains should actively work towards their goals. If the Player Characters spend an extended amount of time resting or taking care of issues that are not related to an antagonist’s plans, then that antagonist will not sit idly and wait for the heroes to do something: they will get closer to their objective.

    -

    When a Villain’s plans advance, you must always clearly communicate it to the Players — perhaps with an appropriate Game Master scene, or through rumors and conversations the heroes have with NPCs in the game world. Don’t just surprise them with a casual “Oh yeah, did I mention this guy you didn’t know about has successfully rewritten reality?”

    -

    If you plan on having multiple Villains in your campaign at the same time — or if you play at very irregular intervals and it's hard to remember everything — consider using Clocks to track the progress of each Villain’s goals.

    -

    The more complex or dramatic objectives will require larger Clocks:

    +

    THE DARK MIRROR

    +

    If you think about the most memorable villains in movies, comics, and games, you will soon find that many of them share a peculiar quality: in one or more ways, they are polar opposite to the hero(es) of the tale.

    + -

    If the Player Characters manage to foil the Villain’s plans, the current Clock will reset to 0 or possibly be replaced with an entirely different one, representing how the antagonist is now seeking to achieve the same end through a different method.

    -
    -

    AN UNEXPECTED SIDE

    -

    Never create one-dimensional antagonists. Villains should have a deeper layer, a tragic or at least unexpected side to them: perhaps they genuinely think they are doing the world a favor, they have their own reasons for forsaking everyone else, or they feel trapped in a path of ruin and are simply waiting for someone to stop them. Maybe an antagonist is so honorable that they will fully heal the heroes before a battle!

    -

    This doesn’t mean the PCs should necessarily sympathize with all Villains — a few will be beyond redemption. But even then, dark emotions must come from somewhere... and upon discovering those tragic roots, Player Characters will see that antagonist under a different light, and perhaps even find a way to help them realize that what they're doing is harmful.

    -

    Philip Forlenza

    \ No newline at end of file + +

    When you create a Villain, try to think about at least one aspect of their character that makes them the dark reflection of one or more Player Characters.

    +

    As you introduce that antagonist and whenever they are part of a scene, focus on portraying that they are a negation of what the heroes stand for, or as a grim warning to what they might become if they ever lose their way.

    + +

    STYLE AND MANNERISM

    +

    Spend a few minutes thinking about how a Villain speaks, acts, moves and dresses. Are they dashing and refined, or do they care little for appearances? Do they wear a specific uniform? Do all of their henchmen emulate them?

    +

    Please note that “mannerism” has nothing to do with acting Skills or the ability to do different voices — it means that each Villain should behave in a peculiar and recognizable way, and you should describe that. Then again, if you’re good at coming up with unique accents and your group enjoys it — and provided those accents do not mirror harmful stereotypes — then feel free to take advantage of that Skill!

    + +

    Philip Forlenza (Order #)

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    THE DARK MIRROR

    -

    If you think about the most memorable villains in movies, comics, and games, you will soon find that many of them share a peculiar quality: in one or more ways, they are polar opposite to the hero(es) of the tale.

    - +

    CHAPTER CONFLICT ABILITIES

    +

    When you create an antagonist, consider how they will behave during conflicts.

    +

    Powerful antagonists might also be protected by a “plot armor” that prevents Player Characters from fighting them unless they have a specific item, spell, or other assets at their disposal. Generally you don’t want to overdo this — one or two such “tricks” over the course of the entire campaign are more than enough.

    -

    When you create a Villain, try to think about at least one aspect of their character that makes them the dark reflection of one or more Player Characters.

    -

    As you introduce that antagonist and whenever they are part of a scene, focus on portraying that they are a negation of what the heroes stand for, or as a grim warning to what they might become if they ever lose their way.

    +

    AND FINALLY, A DRAMATIC ENTRANCE

    +

    A Villain’s entrance should be an intense moment that sets the tone for their role in the story. Think of it as a video game cutscene: you get a few seconds to show your audience what this Villain looks like and hint at the kind of forces and weapons at their disposal — soldiers, forgotten technology, powerful magic, or a healthy dose of supernatural strength.

    +

    During your preparation stage before a session, it may be helpful to focus on the reveals key moments — you have to condense everything important in a couple of sentences. It should be something like this:

    +

    Approaching with heavy footfalls, the figure rests a hand on a sword the likes of which you’ve never seen... a delicate gesture, but her grip is steady.

    +

    “It appears we are here for the same reason,” she says. “Unfortunately, I cannot let you have that which I need. Stand back, and no one shall be injured.”

    +

    With a few words, you have communicated that this is likely a proud and honorable adversary who is also very determined. That sword of hers? That’s bad news!

    -

    STYLE AND MANNERISM

    -

    Spend a few minutes thinking about how a Villain speaks, acts, moves and dresses. Are they dashing and refined, or do they care little for appearances? Do they wear a specific uniform? Do all of their henchmen emulate them?

    -

    Please note that “mannerism” has nothing to do with acting Skills or the ability to do different voices — it means that each Villain should behave in a peculiar and recognizable way, and you should describe that. Then again, if you’re good at coming up with unique accents and your group enjoys it — and provided those accents do not mirror harmful stereotypes — then feel free to take advantage of that Skill!

    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    "When you chose to fight not to protect your people, but to prove them wrong... that is what made you a villain."

    +— Philip Forlenza (Order #) \ No newline at end of file diff --git a/books/core/258.html b/books/core/258.html index eab2b27..87ddc46 100644 --- a/books/core/258.html +++ b/books/core/258.html @@ -1,20 +1,23 @@ -

    CHAPTER CONFLICT ABILITIES

    -

    When you create an antagonist, consider how they will behave during conflicts.

    +

    Dungeons

    +

    Page 110 provides guidelines on how to manage dungeon exploration while playing — but what about preparing those dungeons? How much information will you need? Should you have a map of the location ready?

    +

    To make sure this is clear from the beginning: dungeons aren't necessarily a thing in Fabula Ultima, and you might run an entire campaign without the Player Characters ever entering one.

    + +

    A dungeon generally covers one or more of the following functions:

    -

    Powerful antagonists might also be protected by a “plot armor” that prevents Player Characters from fighting them unless they have a specific item, spell, or other assets at their disposal. Generally you don’t want to overdo this — one or two such “tricks” over the course of the entire campaign are more than enough.

    +

    If a dungeon isn't doing any of these, you probably shouldn't have it in your game: "dungeons for the sake of dungeons" is never a good idea.

    -

    AND FINALLY, A DRAMATIC ENTRANCE

    -

    A Villain’s entrance should be an intense moment that sets the tone for their role in the story. Think of it as a video game cutscene: you get a few seconds to show your audience what this Villain looks like and hint at the kind of forces and weapons at their disposal — soldiers, forgotten technology, powerful magic, or a healthy dose of supernatural strength.

    -

    During your preparation stage before a session, it may be helpful to focus on the reveals key moments — you have to condense everything important in a couple of sentences. It should be something like this:

    -

    Approaching with heavy footfalls, the figure rests a hand on a sword the likes of which you’ve never seen... a delicate gesture, but her grip is steady.

    -

    “It appears we are here for the same reason,” she says. “Unfortunately, I cannot let you have that which I need. Stand back, and no one shall be injured.”

    -

    With a few words, you have communicated that this is likely a proud and honorable adversary who is also very determined. That sword of hers? That’s bad news!

    - -

    "When you chose to fight not to protect your people, but to prove them wrong... that is what made you a villain."

    -— Philip Forlenza (Order #) \ No newline at end of file +

    Prepared and Improvised

    +

    The first distinction we should make is between prepared dungeons (the ones you thought about before the session started) and improvised dungeons (the ones that were introduced as part of the current session).

    +

    While prepared dungeons can be more complex, the ones you have to improvise on the spot will necessarily be simpler — but simple doesn't mean boring.

    + +

    Note that this distinction has nothing to do with the importance of the dungeon: a key strategic location might be unexpectedly introduced halfway through a session, and you might know about a minor ruin along the road with no plot relevance weeks before you play through its exploration. Don't worry, we'll deal with this too.

    +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/259.html b/books/core/259.html index 87ddc46..f440f5f 100644 --- a/books/core/259.html +++ b/books/core/259.html @@ -1,23 +1,27 @@ -

    Dungeons

    -

    Page 110 provides guidelines on how to manage dungeon exploration while playing — but what about preparing those dungeons? How much information will you need? Should you have a map of the location ready?

    -

    To make sure this is clear from the beginning: dungeons aren't necessarily a thing in Fabula Ultima, and you might run an entire campaign without the Player Characters ever entering one.

    +

    IS THIS DUNGEON IMPORTANT?

    +

    Some locations in your game will naturally be more important than others. The evil sorcerer's tower in which he hides the Crystal of Balance? That's certainly more important than the sewers connecting the capital to the countryside, and yet both might be turned into dungeons.

    -

    A dungeon generally covers one or more of the following functions:

    -

    If a dungeon isn't doing any of these, you probably shouldn't have it in your game: "dungeons for the sake of dungeons" is never a good idea.

    -

    Prepared and Improvised

    -

    The first distinction we should make is between prepared dungeons (the ones you thought about before the session started) and improvised dungeons (the ones that were introduced as part of the current session).

    -

    While prepared dungeons can be more complex, the ones you have to improvise on the spot will necessarily be simpler — but simple doesn't mean boring.

    +

    Still, if you feel like this location deserves more attention, you can pause or end the session and explain that you need some time to prepare.

    + -

    Note that this distinction has nothing to do with the importance of the dungeon: a key strategic location might be unexpectedly introduced halfway through a session, and you might know about a minor ruin along the road with no plot relevance weeks before you play through its exploration. Don't worry, we'll deal with this too.

    + +

    As you might have noticed already, the core elements of a dungeon are:

    + + +

    This is true regardless of the chosen exploration style; the difference lies simply in the level of detail and complexity.

    +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/26.html b/books/core/26.html index 00c9f43..54c33fa 100644 --- a/books/core/26.html +++ b/books/core/26.html @@ -1,21 +1,21 @@ -

    INTRODUCTION

    -

    CREATE YOUR HEROIC CHARACTER

    -

    Keeping the unique characteristics of your group and world in mind, create the Player Character (PC) you will control during gameplay. Discuss each character’s role within your group, as well as any Bonds and relationships!

    +

    THE GAME MASTER

    +

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

    -

    COOPERATE WITH EVERYONE ELSE

    -

    When playing the game, pay attention to what everybody else is saying and remember to leave room for everyone to shine: each hero should get their time in the spotlight. Do your best to cooperate with the other Players and make sure your table environment is enjoyable and welcoming. Be curious and enthusiastic, suggest goals for the group, and support each other!

    +

    READ THIS BOOK

    +

    Make sure to read the Introduction — hey, you’re already doing that! — learn the Game Rules and familiarize yourself with the World Creation, Group Creation, and Character Creation processes in the Press Start chapter. You should also pay special attention to the Game Master chapter and learn how to consult the Bestiary.

    -

    CONTRIBUTE TO THE ONGOING STORY

    -

    Bring your energy and ideas to the table, creating a story by cooperating with everyone else. If you want your character’s emotions and flaws to be a living part of this shared tale, act accordingly: in Fabula Ultima, all participants are equally responsible for the quality of the game experience.

    -

    See your character as the tool with which you will shape part of the ongoing narrative.

    +

    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 the size of your setting — you will likely only need one at the beginning, and then print some more as the heroes explore the world. You will also need one or more sets of polyhedral dice (d6, d8, d10, d12, and d20).

    -

    PLAY AS A HERO

    -

    The protagonists of Fabula Ultima are heroes and adventurers, larger-than-life characters with unique abilities and an epic — sometimes tragic — destiny. When you play the game, keep this premise in mind: act heroically, don’t back down from challenges, and try to make the world a better place. Sometimes, it will make sense for your character to do something you wouldn't: this is part of the beauty of roleplaying games — allow your character to lead you on this journey of discovery!

    +

    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 matter with everyone else. Only change those elements if the entire group has agreed on how to do so.

    -

    PLAY TO CHANGE AND EVOLVE

    -

    Your character should be far from an immutable entity: while their past may be complex and tragic, the way they will change and grow during play is far more important.

    -

    Character evolution lies at the core of adventure: embrace it!

    +

    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 time to ask lots of questions: what are the core themes of each protagonist? What experiences tie them together? Do they have a common enemy? Take note of everything — all of this will come back to help you create engaging situations during gameplay.

    + +

    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, dangerous monsters, and powerful antagonists. Stay true to the Eight Pillars and make sure you build on each Player Character’s personal themes and motivations. Whenever you think a Player Character might know about a place or event, ask the corresponding Player for creative input.

    Philip Forlenza (Order #)

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    IS THIS DUNGEON IMPORTANT?

    -

    Some locations in your game will naturally be more important than others. The evil sorcerer's tower in which he hides the Crystal of Balance? That's certainly more important than the sewers connecting the capital to the countryside, and yet both might be turned into dungeons.

    +

    Preparing a Dungeon

    - +

    If you have time to prepare a dungeon and know that the Player Characters will explore it, the following process generally works well:

    -

    Still, if you feel like this location deserves more attention, you can pause or end the session and explain that you need some time to prepare.

    +
      +
    1. Think about the general look and mood of the dungeon: Is it a spooky ruin, a lavish castle, or perhaps a network of ancient tunnels?
      2. +
    2. Sketch a rough map of the dungeon: This doesn't need to be pretty, but does need to be functional. You're the only person that will use it, so make sure your notes are clear (especially if you plan on using the dungeon weeks or even months from now). If you're short on ideas, the internet is filled with awesome dungeon designs — there's nothing wrong with drawing inspiration from them.
      3. +
    3. Place rewards (see page 264) in your dungeon: These may be magic items, currency, or even Inventory Points. Try to avoid placing most of the rewards in the same room (you should encourage exploration).
      4. +
    4. Place obstacles and threats (traps, puzzles, hostile creatures) in your dungeon, preferably so that they guard or prevent access to rewards. +
        +
      • When you prepare an obstacle or threat, do not determine in advance how the Player Characters might approach it. That's for them to decide.
        • +
      • Avoid swarming the heroes with a large number of weak enemies; instead, focus on two or three challenging encounters (see page 292 for more).
        • +
      • If the reward is an item, the creature guarding it might use it in battle.
        • +
      +
      5. +
    5. Think about one or two Danger Clocks appropriate for your dungeon, their size and what will happen if they are filled — will the heroes be ambushed? Is there a magical surveillance system? Will the tunnels be flooded by lava?
      6. +
    6. Determine the focal point of your dungeon (an antagonist, a precious artifact, a vital piece of information) and choose its location. Most of the time you will want to place this element far away from the entrance, but you might also make it relatively easy to reach (in this case, the rest of the dungeon will feature "optional content").
      7. +
    - - -

    As you might have noticed already, the core elements of a dungeon are:

    - - -

    This is true regardless of the chosen exploration style; the difference lies simply in the level of detail and complexity.

    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/261.html b/books/core/261.html index e697625..1fbadb9 100644 --- a/books/core/261.html +++ b/books/core/261.html @@ -1,22 +1,22 @@ -

    Preparing a Dungeon

    +

    THE DUNGEON ARCHIVE

    +

    If you and your group are particularly fond of detailed dungeon exploration, and if your schedule allows for it, you might want to prepare your own dungeon archive.

    +

    This is straightforward: whenever you have some time, jot down a few notes about potential dungeons — a notebook is fine, but you might also choose to keep them on your device or inside the cloud storage. Then, whenever you need to "improvise" a dungeon, you can instead grab one from your archive. You'll probably need to make a few adjustments on the fly, but it's easier than having to come up with everything on the spot.

    +

    When preparing dungeons for your archive, keep the following in mind:

    + +

    You can of course draw your own dungeon layouts: an activity some find very relaxing, but one that can prove quite time-consuming as well. Be mindful about how you spend your effort!

    + +

    The biggest risk when relying on the dungeon archive is to "shoehorn" a dungeon you prepared into a location, or to refrain from an otherwise cool and unique improvised design just because it feels safer to use a prepared dungeon instead.

    +

    As the Game Master, it is your responsibility to find a balance between prepared and improvised dungeons — both have their pros and cons.

    -

    If you have time to prepare a dungeon and know that the Player Characters will explore it, the following process generally works well:

    - -
      -
    1. Think about the general look and mood of the dungeon: Is it a spooky ruin, a lavish castle, or perhaps a network of ancient tunnels?
      2. -
    2. Sketch a rough map of the dungeon: This doesn't need to be pretty, but does need to be functional. You're the only person that will use it, so make sure your notes are clear (especially if you plan on using the dungeon weeks or even months from now). If you're short on ideas, the internet is filled with awesome dungeon designs — there's nothing wrong with drawing inspiration from them.
      3. -
    3. Place rewards (see page 264) in your dungeon: These may be magic items, currency, or even Inventory Points. Try to avoid placing most of the rewards in the same room (you should encourage exploration).
      4. -
    4. Place obstacles and threats (traps, puzzles, hostile creatures) in your dungeon, preferably so that they guard or prevent access to rewards. -
        -
      • When you prepare an obstacle or threat, do not determine in advance how the Player Characters might approach it. That's for them to decide.
        • -
      • Avoid swarming the heroes with a large number of weak enemies; instead, focus on two or three challenging encounters (see page 292 for more).
        • -
      • If the reward is an item, the creature guarding it might use it in battle.
        • -
      -
      5. -
    5. Think about one or two Danger Clocks appropriate for your dungeon, their size and what will happen if they are filled — will the heroes be ambushed? Is there a magical surveillance system? Will the tunnels be flooded by lava?
      6. -
    6. Determine the focal point of your dungeon (an antagonist, a precious artifact, a vital piece of information) and choose its location. Most of the time you will want to place this element far away from the entrance, but you might also make it relatively easy to reach (in this case, the rest of the dungeon will feature "optional content").
      7. -
    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    DUNGEON GENERATION TABLES

    +

    If you're in need of inspiration when creating a dungeon (whether improvising or preparing it in advance), you may roll d20s or choose options from the tables on the following pages!

    +

    Example Entry

    +

    A millenary presence ensures the dead buried within the Necropolis of Basitrale rest undisturbed.

    +

    Philip Forlenza (Order #)

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    THE DUNGEON ARCHIVE

    -

    If you and your group are particularly fond of detailed dungeon exploration, and if your schedule allows for it, you might want to prepare your own dungeon archive.

    -

    This is straightforward: whenever you have some time, jot down a few notes about potential dungeons — a notebook is fine, but you might also choose to keep them on your device or inside the cloud storage. Then, whenever you need to "improvise" a dungeon, you can instead grab one from your archive. You'll probably need to make a few adjustments on the fly, but it's easier than having to come up with everything on the spot.

    -

    When preparing dungeons for your archive, keep the following in mind:

    - -

    You can of course draw your own dungeon layouts: an activity some find very relaxing, but one that can prove quite time-consuming as well. Be mindful about how you spend your effort!

    - -

    The biggest risk when relying on the dungeon archive is to "shoehorn" a dungeon you prepared into a location, or to refrain from an otherwise cool and unique improvised design just because it feels safer to use a prepared dungeon instead.

    -

    As the Game Master, it is your responsibility to find a balance between prepared and improvised dungeons — both have their pros and cons.

    +

    Dungeon Concept Ideas

    +
    +

    Dungeon Concepts

    + +
    -

    DUNGEON GENERATION TABLES

    -

    If you're in need of inspiration when creating a dungeon (whether improvising or preparing it in advance), you may roll d20s or choose options from the tables on the following pages!

    -

    Example Entry

    -

    A millenary presence ensures the dead buried within the Necropolis of Basitrale rest undisturbed.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +
    +

    Focal Element

    + +
    + +

    Philip Forlenza (Order #)

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    Dungeon Concept Ideas

    +

    44 GAME MASTER

    -

    Dungeon Concepts

    +

    Population

    -

    Focal Element

    +

    Quirks

    diff --git a/books/core/264.html b/books/core/264.html index 56bc6c9..c4602cd 100644 --- a/books/core/264.html +++ b/books/core/264.html @@ -1,56 +1,67 @@ -

    44 GAME MASTER

    -
    -

    Population

    - -
    +

    Rewards

    +

    Few things can make Players excited as finding treasures and rewards: whether retrieved from the depths of a perilous labyrinth or gifted by a grateful sovereign, these allow our heroes to develop new strategies, purchase expensive equipment, or even work on personal projects and inventions.

    -
    -

    Quirks

    - -
    +

    Handling Out Rewards

    +

    There are a few guidelines to follow when you reward Player Characters, regardless of how they obtained it. Strictly speaking, you have to worry about two things:

    + + + +

    You can then use the table below to "build" an appropriate reward. The table indicates the average value you should be working with (in zenit), but you can go a bit higher or lower for particularly rich rewards or minor findings; the table also indicates the suggested maximum value of any single item found at a given level range.

    +

    You will find more information about rare items on the next pages.

    + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
    Highest PC LevelMaximum Item ValueAverage Reward
    2 PCs3 PCs4+ PCs
    5+500 z500 z750 z
    10+1000 z800 z1200 z
    20+1500 z1000 z1500 z
    30+2000 z1600 z2400 z
    40+any 2000 z
    + +

    Example: The average reward for a group of five level 26 characters is 2000 zenit, and no single item should have a value higher than 1500 zenit.

    + +

    It is generally better to split the reward budget into a variety of weapons, accessories, shields, armors, and valuables; avoid spending all of it on a single powerful item or handing the heroes a huge pile of coins.

    Philip Forlenza (Order #)

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    Rewards

    -

    Few things can make Players excited as finding treasures and rewards: whether retrieved from the depths of a perilous labyrinth or gifted by a grateful sovereign, these allow our heroes to develop new strategies, purchase expensive equipment, or even work on personal projects and inventions.

    - -

    Handling Out Rewards

    -

    There are a few guidelines to follow when you reward Player Characters, regardless of how they obtained it. Strictly speaking, you have to worry about two things:

    - +

    REWARD FREQUENCY

    +

    On average, the chart is based on the idea that a group will receive approximately one reward per session (as in, every four or five hours of play). This is not a hard rule and more of a guideline: there will be some sessions in which characters do not receive rewards in the form of fancy items, but instead develop connections or retrieve a powerful artifact. That table is there to help you, not to constrain you.

    +

    CREATING INTERESTING REWARDS

    +

    Here are a few things you will want to keep in mind when creating rewards:

    - -

    You can then use the table below to "build" an appropriate reward. The table indicates the average value you should be working with (in zenit), but you can go a bit higher or lower for particularly rich rewards or minor findings; the table also indicates the suggested maximum value of any single item found at a given level range.

    -

    You will find more information about rare items on the next pages.

    - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
    Highest PC LevelMaximum Item ValueAverage Reward
    2 PCs3 PCs4+ PCs
    5+500 z500 z750 z
    10+1000 z800 z1200 z
    20+1500 z1000 z1500 z
    30+2000 z1600 z2400 z
    40+any 2000 z
    - -

    Example: The average reward for a group of five level 26 characters is 2000 zenit, and no single item should have a value higher than 1500 zenit.

    - -

    It is generally better to split the reward budget into a variety of weapons, accessories, shields, armors, and valuables; avoid spending all of it on a single powerful item or handing the heroes a huge pile of coins.

    - +

    Adopting this method will surely make your sessions feel more “videogamey”, but it's a matter of taste. Discuss this choice with the rest of your group.

    +

    ROGUES AND SOUL STEAL

    +

    Player Characters who put levels in the Rogue Class will likely acquire the Soul Steal Skill, which allows them to extract items from powerful enemies. Items obtained this way are in addition to normal rewards.

    Philip Forlenza (Order #)

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    REWARD FREQUENCY

    -

    On average, the chart is based on the idea that a group will receive approximately one reward per session (as in, every four or five hours of play). This is not a hard rule and more of a guideline: there will be some sessions in which characters do not receive rewards in the form of fancy items, but instead develop connections or retrieve a powerful artifact. That table is there to help you, not to constrain you.

    -

    CREATING INTERESTING REWARDS

    -

    Here are a few things you will want to keep in mind when creating rewards:

    +

    DESIGNING RARE ITEMS

    +

    Over the course of the game, you will often need to come up with a rare item—perhaps it’s part of a reward, a lost treasure, an arcane weapon extracted from the soul of a demon or monster, or even a peculiar object sold by a merchant. In such instances, you may:

    + -

    Adopting this method will surely make your sessions feel more “videogamey”, but it's a matter of taste. Discuss this choice with the rest of your group.

    -

    ROGUES AND SOUL STEAL

    -

    Player Characters who put levels in the Rogue Class will likely acquire the Soul Steal Skill, which allows them to extract items from powerful enemies. Items obtained this way are in addition to normal rewards.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file + +

    Rare items can and should tell their own story!

    + +

    BE CAREFUL WITH BONUSES

    +

    Items that grant a bonus to a specific type of Check, as well as items that grant an increase to Defense or Magic Defense, are especially powerful: that is because Fabula Ultima features a relatively "flat" math progression when it comes to Checks. Even an innocuous-looking +1 bonus can make a huge difference; because of this, avoid granting characters too many rare items whose special abilities enhance Accuracy Checks, Magic Checks, Defense or Magic Defense.

    +

    In general, a character should not be given the opportunity to equip more than two such items at any given time. Feel free to give out more, but make sure these are mutually exclusive options: should you equip the Crested Helm that gives a +1 bonus to Accuracy Checks, or the Pointy Yellow Hat that gives a +1 bonus to Magic Checks?

    + +

    AVOID COPYING EXISTING SPELLS OR SKILLS

    +

    When you create a Quality for a rare item, try to avoid copying the effects of a Skill or spell that is unique to a specific Class. Instead, look at which Skills the Player Characters have acquired and give them items that synergize well with those, or that provide useful (if pricey) alternatives when those same Skills would otherwise be ineffective.

    + +

    Philip Forlenza (Order #)

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    DESIGNING RARE ITEMS

    -

    Over the course of the game, you will often need to come up with a rare item—perhaps it’s part of a reward, a lost treasure, an arcane weapon extracted from the soul of a demon or monster, or even a peculiar object sold by a merchant. In such instances, you may:

    +

    CHAPTER

    +

    44GAME MASTER

    +

    WHAT TO DO IF YOU MESSED UP

    +

    If you realize an item is much stronger than you had anticipated, do not worry. Resist the temptation to take the item away from the group; you should also avoid simply making the item useless by creating situations in which it never makes a difference. Instead, talk with the Players and explain what you did wrong, then adjust the effects of the item together.

    +

    With this optional rule, Player Characters may pay a blacksmith or artisan to add a Quality to armor, shields, or weapons that doesn't have one, or to replace an item's Quality with a different one (remember, an item can only have one Quality).

    +

    The Player selects a Quality from the default list for that item type as long as the cost modifier associated with that ability is +1000 zenit or lower. Then, the character must spend an amount of zenit equal to twice the cost modifier associated with the chosen ability: once this is done, the process generally takes one day per item. Multiple characters may of course pool their money together to purchase the more expensive abilities.

    +

    Example: T o replace a weapon's current Quality with Multi (page 269), you must spend 2000 zenit. To replace it with Resistance, you must spend 1400 zenit.

    +

    The default list of weapon abilities can be found on page 269, while the default list of armor and shield abilities can be found on page 280.

    +

    If a Player Character acquires the Upgrade Heroic Skill (page 237), they will gain access to this optional rule by default.

    - - -

    Rare items can and should tell their own story!

    - -

    BE CAREFUL WITH BONUSES

    -

    Items that grant a bonus to a specific type of Check, as well as items that grant an increase to Defense or Magic Defense, are especially powerful: that is because Fabula Ultima features a relatively "flat" math progression when it comes to Checks. Even an innocuous-looking +1 bonus can make a huge difference; because of this, avoid granting characters too many rare items whose special abilities enhance Accuracy Checks, Magic Checks, Defense or Magic Defense.

    -

    In general, a character should not be given the opportunity to equip more than two such items at any given time. Feel free to give out more, but make sure these are mutually exclusive options: should you equip the Crested Helm that gives a +1 bonus to Accuracy Checks, or the Pointy Yellow Hat that gives a +1 bonus to Magic Checks?

    - -

    AVOID COPYING EXISTING SPELLS OR SKILLS

    -

    When you create a Quality for a rare item, try to avoid copying the effects of a Skill or spell that is unique to a specific Class. Instead, look at which Skills the Player Characters have acquired and give them items that synergize well with those, or that provide useful (if pricey) alternatives when those same Skills would otherwise be ineffective.

    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    OPTIONAL: BUYING QUALITIES

    +

    Philip Forlenza (Order #)

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    CHAPTER

    -

    44GAME MASTER

    -

    WHAT TO DO IF YOU MESSED UP

    -

    If you realize an item is much stronger than you had anticipated, do not worry. Resist the temptation to take the item away from the group; you should also avoid simply making the item useless by creating situations in which it never makes a difference. Instead, talk with the Players and explain what you did wrong, then adjust the effects of the item together.

    -

    With this optional rule, Player Characters may pay a blacksmith or artisan to add a Quality to armor, shields, or weapons that doesn't have one, or to replace an item's Quality with a different one (remember, an item can only have one Quality).

    -

    The Player selects a Quality from the default list for that item type as long as the cost modifier associated with that ability is +1000 zenit or lower. Then, the character must spend an amount of zenit equal to twice the cost modifier associated with the chosen ability: once this is done, the process generally takes one day per item. Multiple characters may of course pool their money together to purchase the more expensive abilities.

    -

    Example: T o replace a weapon's current Quality with Multi (page 269), you must spend 2000 zenit. To replace it with Resistance, you must spend 1400 zenit.

    -

    The default list of weapon abilities can be found on page 269, while the default list of armor and shield abilities can be found on page 280.

    -

    If a Player Character acquires the Upgrade Heroic Skill (page 237), they will gain access to this optional rule by default.

    +

    DESIGNING RARE WEAPONS

    +

    Weapons are the most complex rare items to design — but this also makes them one of the more unique and satisfying rewards to give!

    -

    OPTIONAL: BUYING QUALITIES

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +
      +
    1. Choose an existing basic weapon from the list on pages 130 and 131. Ignore the unarmed strike, improvised (melee), and improvised (ranged) weapons.
      2. +
    2. By default, weapons deal physical damage. If you want your weapon to deal damage of another type (air, bolt, dark, earth, fire, ice, light, poison), increase its cost by 100 zenit.
      3. +
    3. Finally, you may give the weapon a single Quality chosen from the list on the right or use the sample abilities as a guideline to come up with a custom effect. This increases the final cost of the item by a variable amount.
      4. +
    + +

    Applying Changes

    +

    You may apply any of the following changes:

    + + +

    Note: If a weapon has a final damage modifier of +10 or higher, that weapon automatically becomes a martial weapon (E).

    + +

    Philip Forlenza (Order #)

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    DESIGNING RARE WEAPONS

    -

    Weapons are the most complex rare items to design — but this also makes them one of the more unique and satisfying rewards to give!

    +

    44GAME MASTER

    +

    QUALITY COST EFFECT

    -
      -
    1. Choose an existing basic weapon from the list on pages 130 and 131. Ignore the unarmed strike, improvised (melee), and improvised (ranged) weapons.
      2. -
    2. By default, weapons deal physical damage. If you want your weapon to deal damage of another type (air, bolt, dark, earth, fire, ice, light, poison), increase its cost by 100 zenit.
      3. -
    3. Finally, you may give the weapon a single Quality chosen from the list on the right or use the sample abilities as a guideline to come up with a custom effect. This increases the final cost of the item by a variable amount.
      4. -
    +
    +

    Defensive Qualities

    + +
    -

    Applying Changes

    -

    You may apply any of the following changes:

    - +
    +

    Offensive Qualities

    + +
    -

    Note: If a weapon has a final damage modifier of +10 or higher, that weapon automatically becomes a martial weapon (E).

    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    The Elves at Smolderheart Peak are rumored to craft weapons capable of banishing demons.

    +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/27.html b/books/core/27.html index 54c33fa..707cde6 100644 --- a/books/core/27.html +++ b/books/core/27.html @@ -1,21 +1,20 @@ -

    THE GAME MASTER

    -

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

    +

    BREATHE LIFE INTO YOUR VILLAINS

    +

    Pay great attention when portraying the main antagonists of the game, and make sure you stay true to their goals and motivations. Just as Fabula Ultima’s protagonists are larger-than-life heroes, their adversaries are powerful and formidable individuals, who often conceal terrible secrets. Do your best to always portray their looming threat and keep the pressure high!

    -

    READ THIS BOOK

    -

    Make sure to read the Introduction — hey, you’re already doing that! — learn the Game Rules and familiarize yourself with the World Creation, Group Creation, and Character Creation processes in the Press Start chapter. You should also pay special attention to the Game Master chapter and learn how to consult the Bestiary.

    +

    COOPERATE WITH EVERYONE ELSE

    +

    When playing the game, pay attention to what everybody else is saying and encourage everyone to play an active role: each participant should get their time in the spotlight. Do your best to cooperate with everyone else and make sure the play environment is enjoyable and welcoming.

    -

    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 the size of your setting — you will likely only need one at the beginning, and then print some more as the heroes explore the world. You will also need one or more sets of polyhedral dice (d6, d8, d10, d12, and d20).

    +

    PLAY TO FIND OUT WHAT HAPPENS

    +

    Never force the Players’ hand, and make sure not to “push” them towards a specific event: let their actions and objectives guide you instead. Resist the temptation to create a predetermined plot — let the heroes’ choices and actions tell you what aspects of the story the Players really care about.

    +

    If you're used to other RPGs in which the Game Master controls the evolution of the story and prepares scenes ahead of time, let go of that when playing this game — here, you must only weave situations around what the Players decide to do and add details to the world as required by the circumstances. The game gives them plenty of tools to influence and shape the story, up to and including the ability to alter plot elements you had previously introduced. Embrace this creative flow!

    -

    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 matter with everyone else. Only change those elements if the entire group has agreed on how to do so.

    +

    ASK QUESTIONS, BUILD ON THE ANSWERS

    +

    Move the action forward by asking questions to everyone else. For example: What will you do now? Where can you find this information? How do you feel about what happened? Are you willing to risk your life for this? What will you tell your mother?

    +

    Ask plenty of questions, then build on the Players’ answers.

    -

    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 time to ask lots of questions: what are the core themes of each protagonist? What experiences tie them together? Do they have a common enemy? Take note of everything — all of this will come back to help you create engaging situations during gameplay.

    +

    LOOK FOR INSPIRATION

    +

    Stories, ideas, pictures, characters, music, and maps: make sure to take advantage of all possible sources of inspiration.

    -

    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, dangerous monsters, and powerful antagonists. Stay true to the Eight Pillars and make sure you build on each Player Character’s personal themes and motivations. Whenever you think a Player Character might know about a place or event, ask the corresponding Player for creative input.

    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Philip Forlenza (Order #)

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    44GAME MASTER

    -

    QUALITY COST EFFECT

    +

    SAMPLE RARE ARCANE WEAPONS

    -
    -

    Defensive Qualities

    - -
    +

    WEAPON COST ACCURACY DAMAGE

    -
    -

    Offensive Qualities

    - -
    +

    Blessed Mace

    + +

    Encyclopedia: 600 z 【INS + INS】 【HR + 6】 physical. Two-handed w Melee w You are immune to dazed.

    + +

    Ars Goetia

    + + +

    Ferula

    + + +

    Tyrant's Scepter

    + + +

    Cultes des Ghoules

    + + +

    Caduceus

    + + +

    Necronomicon

    + + +

    Yellow Book

    + + +

    Rafflesia Staff

    + -

    The Elves at Smolderheart Peak are rumored to craft weapons capable of banishing demons.

    Philip Forlenza (Order #)

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    SAMPLE RARE ARCANE WEAPONS

    +

    SAMPLE RARE BOW WEAPONS

    WEAPON COST ACCURACY DAMAGE

    -

    Blessed Mace

    - -

    Encyclopedia: 600 z 【INS + INS】 【HR + 6】 physical. Two-handed w Melee w You are immune to dazed.

    +
    +

    Hand Crossbow

    +

    Stats: 150 z 【DEX + INS】 【HR + 4】 physical

    +

    One-handed w Ranged w No Quality.

    +
    -

    Ars Goetia

    - +
    +

    Composite Bow

    +

    Stats: 250 z 【DEX + MIG】 +1 【HR + 8】 physical

    +

    Two-handed w Ranged w No Quality.

    +
    -

    Ferula

    - +
    +

    Siegebreaker

    +

    Stats: E 750 z 【DEX + INS】 【HR + 12】 physical

    +

    Two-handed w Ranged w Damage dealt by this weapon ignores Resistances.

    +
    -

    Tyrant's Scepter

    - +
    +

    Yoichi

    +

    Stats: 900 z 【DEX + DEX】 +1 【HR + 8】 air

    +

    Two-handed w Ranged w You are immune to shaken.

    +
    -

    Cultes des Ghoules

    - +
    +

    Thundering Bow

    +

    Stats: 1000 z 【DEX + DEX】 【HR + 8】 bolt

    +

    Two-handed w Ranged w You have Resistance to bolt damage.

    +
    -

    Caduceus

    - +
    +

    Looting Bow

    +

    Stats: 1250 z 【DEX + INS】 【HR + 8】 fire

    +

    Two-handed w Ranged w When you reduce a creature to 0 Hit Points with this weapon, you may immediately recover 2 Inventory Points.

    +
    -

    Necronomicon

    - +
    +

    Gatling Crossbow

    +

    Stats: E 1350 【DEX + INS】 【HR + 12】 physical

    +

    Two-handed w Ranged w Attacks with this weapon have multi (2).

    +
    -

    Yellow Book

    - +
    +

    Dragontrap Bow

    +

    Stats: E 1500 z 【DEX + DEX】 【HR + 12】 earth

    +

    Two-handed w Ranged w When you hit a flying target with this weapon, you may force that target to land immediately.

    +
    -

    Rafflesia Staff

    - +
    +

    Frozen Envy

    +

    Stats: E 1500 z 【DEX + DEX】 【HR + 12】 ice

    +

    Two-handed w Ranged w When you hit one or more creatures with this weapon, if you have at least one Bond of inferiority, you may recover 5 MP .

    +
    + +
    +

    Gorgon Eye

    +

    Stats: E 2000 z 【DEX + DEX】 【HR + 12】 poison

    +

    Two-handed w Ranged w Each target hit by this weapon suffers slow.

    +
    + +
    +

    Artemis

    +

    Stats: E 2100 z 【DEX + DEX】 +1 【HR + 12】 light

    +

    Two-handed w Ranged w You have Immunity to dark damage.

    +
    + +

    Philip Forlenza (Order #)

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    SAMPLE RARE BOW WEAPONS

    - +

    Weapon Rarity/Category Title (Inferred)

    +

    Wearable / Equipment List

    WEAPON COST ACCURACY DAMAGE

    -
    -

    Hand Crossbow

    -

    Stats: 150 z 【DEX + INS】 【HR + 4】 physical

    -

    One-handed w Ranged w No Quality.

    -
    + +
    +

    Nekode

    +

    Level/Stats: 250 z 【DEX + MIG】 +1 【HR + 6】 physical

    +

    Type: One-handed w Melee w No Quality.

    +

    Description: Hellfist

    +
    -
    -

    Composite Bow

    -

    Stats: 250 z 【DEX + MIG】 +1 【HR + 8】 physical

    -

    Two-handed w Ranged w No Quality.

    -
    + +
    +

    Hellfist

    +

    Level/Stats: 350 z 【DEX + MIG】 【HR + 6】 dark

    +

    Type: One-handed w Melee w Attacks with this weapon target Magic Defense.

    +

    Description: Frozen Grasp

    +
    -
    -

    Siegebreaker

    -

    Stats: E 750 z 【DEX + INS】 【HR + 12】 physical

    -

    Two-handed w Ranged w Damage dealt by this weapon ignores Resistances.

    -
    + +
    +

    Frozen Grasp

    +

    Level/Stats: 750 z 【DEX + MIG】 【HR + 6】 ice

    +

    Type: One-handed w Melee w You are immune to enraged.

    +

    Description: Bear Paw

    +
    -
    -

    Yoichi

    -

    Stats: 900 z 【DEX + DEX】 +1 【HR + 8】 air

    -

    Two-handed w Ranged w You are immune to shaken.

    -
    + +
    +

    Bear Paw

    +

    Level/Stats: E 850 z 【DEX + MIG】 【HR + 10】 physical

    +

    Type: One-handed w Melee w You are immune to weak.

    +

    Description: Fuel Knuckle

    +
    -
    -

    Thundering Bow

    -

    Stats: 1000 z 【DEX + DEX】 【HR + 8】 bolt

    -

    Two-handed w Ranged w You have Resistance to bolt damage.

    -
    + +
    +

    Fuel Knuckle

    +

    Level/Stats: 950 z 【DEX + MIG】 【HR + 6】 fire

    +

    Type: One-handed w Melee w You have Resistance to fire damage.

    +

    Description: Silver Talon

    +
    -
    -

    Looting Bow

    -

    Stats: 1250 z 【DEX + INS】 【HR + 8】 fire

    -

    Two-handed w Ranged w When you reduce a creature to 0 Hit Points with this weapon, you may immediately recover 2 Inventory Points.

    -
    + +
    +

    Silver Talon

    +

    Level/Stats: 1100 z 【DEX + DEX】 【HR + 6】 light

    +

    Type: One-handed w Melee w You gain a +1 bonus to Magic Defense.

    +

    Description: Old Bandages

    +
    -
    -

    Gatling Crossbow

    -

    Stats: E 1350 【DEX + INS】 【HR + 12】 physical

    -

    Two-handed w Ranged w Attacks with this weapon have multi (2).

    -
    + +
    +

    Old Bandages

    +

    Level/Stats: 1250 z 【DEX + MIG】 +1 【HR + 6】 physical

    +

    Type: One-handed w Melee w You have Resistance to dark and poison damage.

    +

    Description: Storm Fist

    +
    -
    -

    Dragontrap Bow

    -

    Stats: E 1500 z 【DEX + DEX】 【HR + 12】 earth

    -

    Two-handed w Ranged w When you hit a flying target with this weapon, you may force that target to land immediately.

    -
    + +
    +

    Storm Fist

    +

    Level/Stats: 1300 z 【MIG + MIG】 【HR + 6】 bolt

    +

    Type: One-handed w Melee w Attacks with this weapon have multi (2).

    +

    Description: Lobster Claw

    +
    -
    -

    Frozen Envy

    -

    Stats: E 1500 z 【DEX + DEX】 【HR + 12】 ice

    -

    Two-handed w Ranged w When you hit one or more creatures with this weapon, if you have at least one Bond of inferiority, you may recover 5 MP .

    -
    + +
    +

    Lobster Claw

    +

    Level/Stats: E 1950 z 【DEX + MIG】 +1 【HR + 10】 physical

    +

    Type: One-handed w Melee w Each target hit by this weapon suffers slow.

    +

    Description: Dozer Glove

    +
    -
    -

    Gorgon Eye

    -

    Stats: E 2000 z 【DEX + DEX】 【HR + 12】 poison

    -

    Two-handed w Ranged w Each target hit by this weapon suffers slow.

    -
    + +
    +

    Dozer Glove

    +

    Level/Stats: E 2000 z 【MIG + MIG】 【HR + 10】 earth

    +

    Type: One-handed w Melee w Each target hit by this weapon suffers dazed.

    +

    Description: Venom Claw

    +
    -
    -

    Artemis

    -

    Stats: E 2100 z 【DEX + DEX】 +1 【HR + 12】 light

    -

    Two-handed w Ranged w You have Immunity to dark damage.

    -
    + +
    +

    Venom Claw

    +

    Level/Stats: 2250 z 【DEX + MIG】 +1 【HR + 6】 physical

    +

    Type: One-handed w Melee w Each target hit by this weapon suffers poisoned.

    +

    Description: God Hand

    +
    -
    - -

    Philip Forlenza (Order #)

    \ No newline at end of file + +
    +

    God Hand

    +

    Level/Stats: E 2550 z 【DEX + MIG】 +1 【HR + 10】 light

    +

    Type: One-handed w Melee w Damage dealt by this weapon ignores Immunities.

    +

    Description: Philip Forlenza (Order #)

    +
    \ No newline at end of file diff --git a/books/core/273.html b/books/core/273.html index 38200a3..78dd157 100644 --- a/books/core/273.html +++ b/books/core/273.html @@ -1,101 +1,74 @@ -

    Weapon Rarity/Category Title (Inferred)

    -

    Wearable / Equipment List

    -

    WEAPON COST ACCURACY DAMAGE

    +

    SAMPLE RARE DAGGER WEAPONS

    +

    Attributes Displayed: WEAPON | COST | ACCURACY | DAMAGE

    - -
    -

    Nekode

    -

    Level/Stats: 250 z 【DEX + MIG】 +1 【HR + 6】 physical

    -

    Type: One-handed w Melee w No Quality.

    -

    Description: Hellfist

    -
    +
    +

    Latrodectus

    +

    Cost & Stats: 250 z 【DEX + INS】 +1 【HR + 4】 poison

    +

    Description: One-handed w Melee w No Quality.

    +
    - -
    -

    Hellfist

    -

    Level/Stats: 350 z 【DEX + MIG】 【HR + 6】 dark

    -

    Type: One-handed w Melee w Attacks with this weapon target Magic Defense.

    -

    Description: Frozen Grasp

    -
    +
    +

    Heart Knife

    +

    Cost & Stats: 550 z 【DEX + WLP】 【HR + 4】 light

    +

    Description: One-handed w Melee w Deals 5 extra damage to demons.

    +
    - -
    -

    Frozen Grasp

    -

    Level/Stats: 750 z 【DEX + MIG】 【HR + 6】 ice

    -

    Type: One-handed w Melee w You are immune to enraged.

    -

    Description: Bear Paw

    -
    +
    +

    Atom Slicer

    +

    Cost & Stats: 600 z 【DEX + DEX】 +1 【HR + 4】 physical

    +

    Description: One-handed w Melee w Damage dealt by this weapon ignores Resistances.

    +
    - -
    -

    Bear Paw

    -

    Level/Stats: E 850 z 【DEX + MIG】 【HR + 10】 physical

    -

    Type: One-handed w Melee w You are immune to weak.

    -

    Description: Fuel Knuckle

    -
    +
    +

    Silent Edge

    +

    Cost & Stats: 700 z 【DEX + DEX】 【HR + 4】 air

    +

    Description: One-handed w Melee w You are immune to slow.

    +
    - -
    -

    Fuel Knuckle

    -

    Level/Stats: 950 z 【DEX + MIG】 【HR + 6】 fire

    -

    Type: One-handed w Melee w You have Resistance to fire damage.

    -

    Description: Silver Talon

    -
    +
    +

    Spell Sever

    +

    Cost & Stats: 850 z 【DEX + INS】 +1 【HR + 4】 dark

    +

    Description: One-handed w Melee w When you hit a creature with this weapon, if the attack had a single target, you may choose a single spell with a duration of Scene affecting the target and end its effects on that creature.

    +
    - -
    -

    Silver Talon

    -

    Level/Stats: 1100 z 【DEX + DEX】 【HR + 6】 light

    -

    Type: One-handed w Melee w You gain a +1 bonus to Magic Defense.

    -

    Description: Old Bandages

    -
    +
    +

    Assassin's Blade

    +

    Cost & Stats: 1000 z 【DEX + INS】 +1 【HR + 4】 physical

    +

    Description: One-handed w Melee w Deals 5 extra damage to targets who are in Crisis.

    +
    - -
    -

    Old Bandages

    -

    Level/Stats: 1250 z 【DEX + MIG】 +1 【HR + 6】 physical

    -

    Type: One-handed w Melee w You have Resistance to dark and poison damage.

    -

    Description: Storm Fist

    -
    +
    +

    Gourmet Cutter

    +

    Cost & Stats: 1350 z 【DEX + INS】 +1 【HR + 8】 physical

    +

    Description: One-handed w Melee w When you hit one or more creatures with this weapon, you may recover 5 Hit Points.

    +
    - -
    -

    Storm Fist

    -

    Level/Stats: 1300 z 【MIG + MIG】 【HR + 6】 bolt

    -

    Type: One-handed w Melee w Attacks with this weapon have multi (2).

    -

    Description: Lobster Claw

    -
    +
    +

    Barbed Knife

    +

    Cost & Stats: 1650 z 【DEX + INS】 +1 【HR + 4】 physical

    +

    Description: One-handed w Melee w Each target hit by this weapon suffers shaken.

    +
    - -
    -

    Lobster Claw

    -

    Level/Stats: E 1950 z 【DEX + MIG】 +1 【HR + 10】 physical

    -

    Type: One-handed w Melee w Each target hit by this weapon suffers slow.

    -

    Description: Dozer Glove

    -
    +
    +

    Cold Finger

    +

    Cost & Stats: 1950 z 【DEX + INS】 +1 【HR + 8】 ice

    +

    Description: One-handed w Melee w Each target hit by this weapon suffers weak.

    +
    - -
    -

    Dozer Glove

    -

    Level/Stats: E 2000 z 【MIG + MIG】 【HR + 10】 earth

    -

    Type: One-handed w Melee w Each target hit by this weapon suffers dazed.

    -

    Description: Venom Claw

    -
    +
    +

    Hornet

    +

    Cost & Stats: 2200 z 【DEX + DEX】 +1 【HR + 4】 physical

    +

    Description: One-handed w Melee w Attacks with this weapon have multi (3).

    +
    - -
    -

    Venom Claw

    -

    Level/Stats: 2250 z 【DEX + MIG】 +1 【HR + 6】 physical

    -

    Type: One-handed w Melee w Each target hit by this weapon suffers poisoned.

    -

    Description: God Hand

    -
    +
    +

    Frantic Nail

    +

    Cost & Stats: 2450 z 【INS + INS】 +1 【HR + 8】 fire

    +

    Description: One-handed w Melee w Each target hit by this weapon suffers enraged.

    +
    - -
    -

    God Hand

    -

    Level/Stats: E 2550 z 【DEX + MIG】 +1 【HR + 10】 light

    -

    Type: One-handed w Melee w Damage dealt by this weapon ignores Immunities.

    -

    Description: Philip Forlenza (Order #)

    -
    \ No newline at end of file + \ No newline at end of file diff --git a/books/core/274.html b/books/core/274.html index 78dd157..717158a 100644 --- a/books/core/274.html +++ b/books/core/274.html @@ -1,74 +1,97 @@ -

    SAMPLE RARE DAGGER WEAPONS

    -

    Attributes Displayed: WEAPON | COST | ACCURACY | DAMAGE

    +

    SAMPLE RARE FIREARM WEAPONS

    -
    -

    Latrodectus

    -

    Cost & Stats: 250 z 【DEX + INS】 +1 【HR + 4】 poison

    -

    Description: One-handed w Melee w No Quality.

    -
    +

    WEAPON | COST | ACCURACY | DAMAGE

    +
    +
    +

    Revolver E 300 z

    +

    [DEX + DEX] [HR + 8] physical

    + +
    -
    -

    Heart Knife

    -

    Cost & Stats: 550 z 【DEX + WLP】 【HR + 4】 light

    -

    Description: One-handed w Melee w Deals 5 extra damage to demons.

    -
    +
    +

    Istinggar E 350 z

    +

    [DEX + INS] +1 [HR + 12] physical

    + +
    -
    -

    Atom Slicer

    -

    Cost & Stats: 600 z 【DEX + DEX】 +1 【HR + 4】 physical

    -

    Description: One-handed w Melee w Damage dealt by this weapon ignores Resistances.

    -
    +
    +

    Spellshot E 400 z

    +

    [INS + INS] [HR + 8] physical

    + +
    -
    -

    Silent Edge

    -

    Cost & Stats: 700 z 【DEX + DEX】 【HR + 4】 air

    -

    Description: One-handed w Melee w You are immune to slow.

    -
    +
    +

    Diamond Pistol E 650 z

    +

    [DEX + INS] +1 [HR + 8] physical

    + +
    -
    -

    Spell Sever

    -

    Cost & Stats: 850 z 【DEX + INS】 +1 【HR + 4】 dark

    -

    Description: One-handed w Melee w When you hit a creature with this weapon, if the attack had a single target, you may choose a single spell with a duration of Scene affecting the target and end its effects on that creature.

    -
    +
    +

    Headhunter E 800 z

    +

    [DEX + INS] [HR + 8] physical

    + +
    -
    -

    Assassin's Blade

    -

    Cost & Stats: 1000 z 【DEX + INS】 +1 【HR + 4】 physical

    -

    Description: One-handed w Melee w Deals 5 extra damage to targets who are in Crisis.

    -
    +
    +

    Comet Gun E 950 z

    +

    [DEX + INS] +1 [HR + 8] dark

    + +
    -
    -

    Gourmet Cutter

    -

    Cost & Stats: 1350 z 【DEX + INS】 +1 【HR + 8】 physical

    -

    Description: One-handed w Melee w When you hit one or more creatures with this weapon, you may recover 5 Hit Points.

    -
    +
    +

    Bunker Cannon E 1050 z

    +

    [DEX + INS] [HR + 12] physical

    + +
    -
    -

    Barbed Knife

    -

    Cost & Stats: 1650 z 【DEX + INS】 +1 【HR + 4】 physical

    -

    Description: One-handed w Melee w Each target hit by this weapon suffers shaken.

    -
    +
    +

    Alchemusket E 1300 z

    +

    [DEX + INS] [HR + 8] poison

    + +
    -
    -

    Cold Finger

    -

    Cost & Stats: 1950 z 【DEX + INS】 +1 【HR + 8】 ice

    -

    Description: One-handed w Melee w Each target hit by this weapon suffers weak.

    -
    +
    +

    Calamity E 1550 z

    +

    [DEX + INS] [HR + 16] fire

    + +
    -
    -

    Hornet

    -

    Cost & Stats: 2200 z 【DEX + DEX】 +1 【HR + 4】 physical

    -

    Description: One-handed w Melee w Attacks with this weapon have multi (3).

    -
    +
    +

    Freezing Shot E 1850 z

    +

    [DEX + INS] [HR + 8] ice

    + +
    -
    -

    Frantic Nail

    -

    Cost & Stats: 2450 z 【INS + INS】 +1 【HR + 8】 fire

    -

    Description: One-handed w Melee w Each target hit by this weapon suffers enraged.

    -
    +
    +

    Quatermain E 2600 z

    +

    [DEX + INS] +1 [HR + 12] air

    + +
    - \ No newline at end of file + \ No newline at end of file diff --git a/books/core/275.html b/books/core/275.html index 717158a..dae6431 100644 --- a/books/core/275.html +++ b/books/core/275.html @@ -1,97 +1,75 @@ -

    SAMPLE RARE FIREARM WEAPONS

    +

    SAMPLE RARE FLAIL WEAPONS

    -

    WEAPON | COST | ACCURACY | DAMAGE

    -
    -
    -

    Revolver E 300 z

    -

    [DEX + DEX] [HR + 8] physical

    - -
    +
    +
    +

    Old Whip

    +

    Cost/Stats: 650 z | 【DEX + DEX】 【HR + 8】

    +

    Type: Two-handed, Melee, Deals 5 extra damage to beasts and monsters.

    +
    -
    -

    Istinggar E 350 z

    -

    [DEX + INS] +1 [HR + 12] physical

    -
      -
    • Two-handed w Ranged w No Quality.
      • -
    -
    +
    +

    Dusk Star

    +

    Cost/Stats: 750 z | 【DEX + DEX】 【HR + 4】

    +

    Type: One-handed, Melee. You are immune to shaken.

    +
    -
    -

    Spellshot E 400 z

    -

    [INS + INS] [HR + 8] physical

    -
      -
    • One-handed w Ranged w Attacks with this weapon target Magic Defense.
      • -
    -
    +
    +

    Witchbane

    +

    Cost/Stats: 800 z | 【DEX + DEX】 +1 【HR + 8】

    +

    Type: Two-handed, Melee. Damage dealt by this weapon reduces the target's Mind Points instead of their Hit Points. If the target's Mind Points reach 0, any excess damage is applied to their Hit Points as normal.

    +
    -
    -

    Diamond Pistol E 650 z

    -

    [DEX + INS] +1 [HR + 8] physical

    -
      -
    • One-handed w Ranged w Deals 5 extra damage to constructs.
      • -
    -
    +
    +

    Salamander

    +

    Cost/Stats: 1000 z | 【DEX + MIG】 【HR + 8】

    +

    Type: One-handed, Melee. You have Resistance to fire damage.

    +
    -
    -

    Headhunter E 800 z

    -

    [DEX + INS] [HR + 8] physical

    -
      -
    • One-handed w Ranged w Deals 5 extra damage to targets you have a Bond of hatred towards.
      • -
    -
    +
    +

    Nunchaku

    +

    Cost/Stats: 1100 z | 【DEX + MIG】 【HR + 8】

    +

    Type: One-handed, Melee. You gain a +1 bonus to Defense.

    +
    -
    -

    Comet Gun E 950 z

    -

    [DEX + INS] +1 [HR + 8] dark

    -
      -
    • One-handed w Ranged w You are immune to dazed.
      • -
    -
    +
    +

    Dominatrix

    +

    Cost/Stats: 1200 z | 【DEX + WLP】 【HR + 8】

    +

    Type: One-handed, Melee. You gain a +2 bonus to Accuracy Checks and Magic Checks against enraged targets.

    +
    -
    -

    Bunker Cannon E 1050 z

    -

    [DEX + INS] [HR + 12] physical

    -
      -
    • Two-handed w Ranged w You gain a +1 bonus to Defense.
      • -
    -
    +
    +

    Whipblade

    +

    Cost/Stats: 1400 z | 【DEX + MIG】 +1 【HR + 12】

    +

    Type: Two-handed, Melee. Attacks with this weapon have multi (2).

    +
    -
    -

    Alchemusket E 1300 z

    -

    [DEX + INS] [HR + 8] poison

    -
      -
    • Two-handed w Ranged w Potions you create with your Inventory Points deal 5 extra damage and restore 5 extra Hit Points.
      • -
    -
    +
    +

    Silk Wire

    +

    Cost/Stats: 1450 z | 【DEX + DEX】 【HR + 12】

    +

    Type: Two-handed, Melee. You have Resistance to physical damage.

    +
    -
    -

    Calamity E 1550 z

    -

    [DEX + INS] [HR + 16] fire

    -
      -
    • Two-handed w Ranged w Attacks with this weapon have multi (2).
      • -
    -
    +
    +

    Kusarigama

    +

    Cost/Stats: 1650 z | 【DEX + DEX】 【HR + 8】

    +

    Type: Two-handed, Melee. Each target hit by this weapon suffers slow.

    +
    -
    -

    Freezing Shot E 1850 z

    -

    [DEX + INS] [HR + 8] ice

    -
      -
    • One-handed w Ranged w Each target hit by this weapon suffers slow.
      • -
    -
    +
    +

    Jormungand

    +

    Cost/Stats: 2400 z | 【DEX + MIG】 【HR + 12】

    +

    Type: Two-handed, Melee. Attacks with this weapon have multi (3).

    +
    -
    -

    Quatermain E 2600 z

    -

    [DEX + INS] +1 [HR + 12] air

    -
      -
    • Two-handed w Ranged w Deals extra damage equal to the difference between your current and maximum Inventory Points.
      • -
    -
    +
    +

    Koi Whisker

    +

    Cost/Stats: 2800 z | 【DEX + WLP】 【HR + 12】

    +

    Type: Two-handed, Melee. You have Immunity to dark and light damage.

    +
    +
    -
    +

    Philip Forlenza (Order #)

    -
    \ No newline at end of file + \ No newline at end of file diff --git a/books/core/276.html b/books/core/276.html index dae6431..420df33 100644 --- a/books/core/276.html +++ b/books/core/276.html @@ -1,75 +1,124 @@ -

    SAMPLE RARE FLAIL WEAPONS

    +
    +

    Equipment Catalog

    +
    -
    -
    -

    Old Whip

    -

    Cost/Stats: 650 z | 【DEX + DEX】 【HR + 8】

    -

    Type: Two-handed, Melee, Deals 5 extra damage to beasts and monsters.

    -
    +
    +

    Sample Rare Heavy Weapons

    + +

    Attributes: WEAPON | COST | ACCURACY | DAMAGE

    -
    -

    Dusk Star

    -

    Cost/Stats: 750 z | 【DEX + DEX】 【HR + 4】

    -

    Type: One-handed, Melee. You are immune to shaken.

    -
    + +
    +

    Bardiche E 350 z

    +

    Stats: 【MIG + MIG】 【HR + 14】 physical

    +
      +
    • Two-handed w Melee w No Quality.
      • +
    +
    -
    -

    Witchbane

    -

    Cost/Stats: 800 z | 【DEX + DEX】 +1 【HR + 8】

    -

    Type: Two-handed, Melee. Damage dealt by this weapon reduces the target's Mind Points instead of their Hit Points. If the target's Mind Points reach 0, any excess damage is applied to their Hit Points as normal.

    -
    + +
    +

    Artisan's Mallet E 450 z

    +

    Stats: 【INS + MIG】 【HR + 6】 physical

    +
      +
    • One-handed w Melee w Deals 5 extra damage to constructs.
      • +
    +
    -
    -

    Salamander

    -

    Cost/Stats: 1000 z | 【DEX + MIG】 【HR + 8】

    -

    Type: One-handed, Melee. You have Resistance to fire damage.

    -
    + +
    +

    Beowulf E 550 z

    +

    Stats: 【MIG + MIG】 【HR + 10】 physical

    +
      +
    • One-handed w Melee w Deals 5 extra damage to monsters.
      • +
    +
    -
    -

    Nunchaku

    -

    Cost/Stats: 1100 z | 【DEX + MIG】 【HR + 8】

    -

    Type: One-handed, Melee. You gain a +1 bonus to Defense.

    -
    + +
    +

    Belly of the Beast E 650 z

    +

    Stats: 【MIG + MIG】 【HR + 14】 poison

    +
      +
    • Two-handed w Melee w Deals 5 extra damage to humanoids.
      • +
    +
    -
    -

    Dominatrix

    -

    Cost/Stats: 1200 z | 【DEX + WLP】 【HR + 8】

    -

    Type: One-handed, Melee. You gain a +2 bonus to Accuracy Checks and Magic Checks against enraged targets.

    -
    + +
    +

    Forest Hatchet E 750 z

    +

    Stats: 【MIG + MIG】 【HR + 10】 physical

    +
      +
    • One-handed w Melee w Deals 5 extra damage to beasts and plants.
      • +
    +
    -
    -

    Whipblade

    -

    Cost/Stats: 1400 z | 【DEX + MIG】 +1 【HR + 12】

    -

    Type: Two-handed, Melee. Attacks with this weapon have multi (2).

    -
    + +
    +

    Adamanthammer E 1050 z

    +

    Stats: 【MIG + MIG】 【HR + 14】 physical

    +
      +
    • Two-handed w Melee w You gain a +1 bonus to Defense.
      • +
    +
    -
    -

    Silk Wire

    -

    Cost/Stats: 1450 z | 【DEX + DEX】 【HR + 12】

    -

    Type: Two-handed, Melee. You have Resistance to physical damage.

    -
    + +
    +

    Aura Hammer E 1350 z

    +

    Stats: 【MIG + MIG】 【HR + 14】 light

    +
      +
    • Two-handed w Melee w Attacks with this weapon have multi (2).
      • +
    +
    -
    -

    Kusarigama

    -

    Cost/Stats: 1650 z | 【DEX + DEX】 【HR + 8】

    -

    Type: Two-handed, Melee. Each target hit by this weapon suffers slow.

    -
    + +
    +

    Gravity Mace E 1850 z

    +

    Stats: 【MIG + MIG】 【HR + 14】 earth

    +
      +
    • Two-handed w Melee w Each target hit by this weapon suffers slow.
      • +
    +
    -
    -

    Jormungand

    -

    Cost/Stats: 2400 z | 【DEX + MIG】 【HR + 12】

    -

    Type: Two-handed, Melee. Attacks with this weapon have multi (3).

    -
    + +
    +

    Mjolnir E 1850 z

    +

    Stats: 【MIG + MIG】 【HR + 10】 bolt

    +
      +
    • One-handed w Melee w Each target hit by this weapon suffers dazed.
      • +
    +
    + + +
    +

    Wyrmwing E 2050 z

    +

    Stats: 【MIG + MIG】 【HR + 18】 fire

    +
      +
    • Two-handed w Melee w You have Immunity to fire damage.
      • +
    +
    + + +
    +

    Soul of Pillage E 2550 z

    +

    Stats: 【MIG + MIG】 【HR + 18】 dark

    +
      +
    • Two-handed w Melee w Each target hit by this weapon suffers enraged.
      • +
    +
    + + +
    +

    Winter Kolossus E 2550 z

    +

    Stats: 【MIG + MIG】 【HR + 18】 ice

    +
      +
    • Two-handed w Melee w You gain a +1 bonus to Defense and Magic Defense.
      • +
    +
    -
    -

    Koi Whisker

    -

    Cost/Stats: 2800 z | 【DEX + WLP】 【HR + 12】

    -

    Type: Two-handed, Melee. You have Immunity to dark and light damage.

    -
    -

    Philip Forlenza (Order #)

    +

    Philip Forlenza (Order #)

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    -

    Equipment Catalog

    -
    +

    44GAME MASTER

    +

    277

    +

    CHAPTER SAMPLE RARE SPEAR WEAPONS

    -
    -

    Sample Rare Heavy Weapons

    - -

    Attributes: WEAPON | COST | ACCURACY | DAMAGE

    +
    + +

    Dragontongue

    +

    Stats: E 500 z 【DEX + MIG】 +1 【HR + 12】 fire

    +
      +
    • Type: Two-handed, Melee
      • +
    • Effect: Attacks with this weapon target Magic Defense.
      • +
    - -
    -

    Bardiche E 350 z

    -

    Stats: 【MIG + MIG】 【HR + 14】 physical

    -
      -
    • Two-handed w Melee w No Quality.
      • -
    -
    + +

    Rocinante

    +

    Stats: E 500 z 【DEX + MIG】 【HR + 8】 physical

    +
      +
    • Type: One-handed, Melee
      • +
    • Effect: Deals 1 extra damage per status effect you have.
      • +
    - -
    -

    Artisan's Mallet E 450 z

    -

    Stats: 【INS + MIG】 【HR + 6】 physical

    -
      -
    • One-handed w Melee w Deals 5 extra damage to constructs.
      • -
    -
    + +

    Serpent Spear

    +

    Stats: E 800 z 【DEX + MIG】 【HR + 16】 physical

    +
      +
    • Type: Two-handed, Melee
      • +
    • Effect: Damage dealt by this weapon ignores Resistances.
      • +
    - -
    -

    Beowulf E 550 z

    -

    Stats: 【MIG + MIG】 【HR + 10】 physical

    -
      -
    • One-handed w Melee w Deals 5 extra damage to monsters.
      • -
    -
    + +

    Halberd

    +

    Stats: E 1000 z 【DEX + MIG】 【HR + 12】 physical

    +
      +
    • Type: Two-handed, Melee
      • +
    • Effect: You gain a +1 bonus to Defense.
      • +
    - -
    -

    Belly of the Beast E 650 z

    -

    Stats: 【MIG + MIG】 【HR + 14】 poison

    -
      -
    • Two-handed w Melee w Deals 5 extra damage to humanoids.
      • -
    -
    + +

    Narwhalhorn

    +

    Stats: E 1200 z 【DEX + MIG】 【HR + 12】 ice

    +
      +
    • Type: One-handed, Melee
      • +
    • Effect: You have Resistance to ice damage.
      • +
    - -
    -

    Forest Hatchet E 750 z

    -

    Stats: 【MIG + MIG】 【HR + 10】 physical

    -
      -
    • One-handed w Melee w Deals 5 extra damage to beasts and plants.
      • -
    -
    + +

    Brave Glaive

    +

    Stats: E 1300 z 【MIG + WLP】 【HR + 12】 earth

    +
      +
    • Type: Two-handed, Melee
      • +
    • Effect: As long as you have at least three Bonds of loyalty or affection, you gain a +1 bonus to Defense and Magic Defense.
      • +
    - -
    -

    Adamanthammer E 1050 z

    -

    Stats: 【MIG + MIG】 【HR + 14】 physical

    -
      -
    • Two-handed w Melee w You gain a +1 bonus to Defense.
      • -
    -
    + +

    Morrigan

    +

    Stats: E 1400 z 【DEX + MIG】 +1 【HR + 12】 dark

    +
      +
    • Type: Two-handed, Melee
      • +
    • Effect: When you hit one or more creatures with this weapon, you may recover 10 Mind Points.
      • +
    - -
    -

    Aura Hammer E 1350 z

    -

    Stats: 【MIG + MIG】 【HR + 14】 light

    -
      -
    • Two-handed w Melee w Attacks with this weapon have multi (2).
      • -
    -
    + +

    Gae Bolg

    +

    Stats: E 1800 z 【DEX + MIG】 +1 【HR + 12】 physical

    +
      +
    • Type: Two-handed, Melee
      • +
    • Effect: If you roll a critical success on an Accuracy Check with this weapon, you may spend that opportunity to deal 10 extra damage.
      • +
    - -
    -

    Gravity Mace E 1850 z

    -

    Stats: 【MIG + MIG】 【HR + 14】 earth

    -
      -
    • Two-handed w Melee w Each target hit by this weapon suffers slow.
      • -
    -
    + +

    Longinus

    +

    Stats: E 2000 z 【DEX + MIG】 +1 【HR + 16】 physical

    +
      +
    • Type: Two-handed, Melee
      • +
    • Effect: Each target hit by this weapon suffers weak.
      • +
    - -
    -

    Mjolnir E 1850 z

    -

    Stats: 【MIG + MIG】 【HR + 10】 bolt

    -
      -
    • One-handed w Melee w Each target hit by this weapon suffers dazed.
      • -
    -
    + +

    Nine-teeth Rake

    +

    Stats: E 2500 z 【DEX + MIG】 【HR + 16】 poison

    +
      +
    • Type: Two-handed, Melee
      • +
    • Effect: You Absorb poison damage.
      • +
    - -
    -

    Wyrmwing E 2050 z

    -

    Stats: 【MIG + MIG】 【HR + 18】 fire

    -
      -
    • Two-handed w Melee w You have Immunity to fire damage.
      • -
    -
    + +

    Gungnir

    +

    Stats: E 3000 z 【DEX + MIG】 【HR + 16】 light

    +
      +
    • Type: Two-handed, Melee
      • +
    • Effect: You have Immunity to fire and ice damage.
      • +
    +
    - -
    -

    Soul of Pillage E 2550 z

    -

    Stats: 【MIG + MIG】 【HR + 18】 dark

    -
      -
    • Two-handed w Melee w Each target hit by this weapon suffers enraged.
      • -
    -
    - - -
    -

    Winter Kolossus E 2550 z

    -

    Stats: 【MIG + MIG】 【HR + 18】 ice

    -
      -
    • Two-handed w Melee w You gain a +1 bonus to Defense and Magic Defense.
      • -
    -
    - -
    - -
    -

    Philip Forlenza (Order #)

    -
    \ No newline at end of file +

    Philip Forlenza (Order #)

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    44GAME MASTER

    -

    277

    -

    CHAPTER SAMPLE RARE SPEAR WEAPONS

    +

    WEAPON INDEX

    -
    - -

    Dragontongue

    -

    Stats: E 500 z 【DEX + MIG】 +1 【HR + 12】 fire

    -
      -
    • Type: Two-handed, Melee
      • -
    • Effect: Attacks with this weapon target Magic Defense.
      • -
    +
    +

    Weapon Stats Summary

    + +

    Category: WEAPONS

    +

    Stats Overview: COST | ACCURACY | DAMAGE

    - -

    Rocinante

    -

    Stats: E 500 z 【DEX + MIG】 【HR + 8】 physical

    -
      -
    • Type: One-handed, Melee
      • -
    • Effect: Deals 1 extra damage per status effect you have.
      • -
    +
    +

    Zweihänder

    +

    Stats: E 400 z 【DEX + MIG】 +1 【HR + 14】 physical

    +

    Type: Two-handed w Melee w No Quality.

    +
    - -

    Serpent Spear

    -

    Stats: E 800 z 【DEX + MIG】 【HR + 16】 physical

    -
      -
    • Type: Two-handed, Melee
      • -
    • Effect: Damage dealt by this weapon ignores Resistances.
      • -
    +
    +

    Falling Rain

    +

    Stats: E 450 z 【DEX + DEX】 +1 【HR + 10】 ice

    +

    Type: Two-handed w Melee w Attacks with this weapon target Magic Defense.

    +
    - -

    Halberd

    -

    Stats: E 1000 z 【DEX + MIG】 【HR + 12】 physical

    -
      -
    • Type: Two-handed, Melee
      • -
    • Effect: You gain a +1 bonus to Defense.
      • -
    +
    +

    Flamberge

    +

    Stats: E 500 z 【DEX + MIG】 +1 【HR + 10】 fire

    +

    Type: One-handed w Melee w No Quality.

    +
    - -

    Narwhalhorn

    -

    Stats: E 1200 z 【DEX + MIG】 【HR + 12】 ice

    -
      -
    • Type: One-handed, Melee
      • -
    • Effect: You have Resistance to ice damage.
      • -
    +
    +

    Elegant Edge

    +

    Stats: E 700 z 【DEX + INS】 +1 【HR + 6】 physical

    +

    Type: One-handed w Melee w You are immune to enraged.

    +
    - -

    Brave Glaive

    -

    Stats: E 1300 z 【MIG + WLP】 【HR + 12】 earth

    -
      -
    • Type: Two-handed, Melee
      • -
    • Effect: As long as you have at least three Bonds of loyalty or affection, you gain a +1 bonus to Defense and Magic Defense.
      • -
    +
    +

    Joyeuse

    +

    Stats: E 900 z 【MIG + WLP】 +1 【HR + 10】 physical

    +

    Type: One-handed w Melee w You are immune to shaken.

    +
    - -

    Morrigan

    -

    Stats: E 1400 z 【DEX + MIG】 +1 【HR + 12】 dark

    -
      -
    • Type: Two-handed, Melee
      • -
    • Effect: When you hit one or more creatures with this weapon, you may recover 10 Mind Points.
      • -
    +
    +

    Deathblade

    +

    Stats: E 1000 z 【DEX + MIG】 +1 【HR + 6】 dark

    +

    Type: One-handed w Melee w Deals 5 extra damage if you are in Crisis.

    +
    - -

    Gae Bolg

    -

    Stats: E 1800 z 【DEX + MIG】 +1 【HR + 12】 physical

    -
      -
    • Type: Two-handed, Melee
      • -
    • Effect: If you roll a critical success on an Accuracy Check with this weapon, you may spend that opportunity to deal 10 extra damage.
      • -
    +
    +

    Gunsword

    +

    Stats: E 1000 z 【DEX + MIG】 +1 【HR + 10】 physical

    +

    Type: Two-handed w Melee w This weapon can target flying creatures.

    +
    - -

    Longinus

    -

    Stats: E 2000 z 【DEX + MIG】 +1 【HR + 16】 physical

    -
      -
    • Type: Two-handed, Melee
      • -
    • Effect: Each target hit by this weapon suffers weak.
      • -
    +
    +

    Main Gauche

    +

    Stats: E 1000 z 【DEX + MIG】 +1 【HR + 6】 physical

    +

    Type: One-handed w Melee w You gain a +1 bonus to Defense.

    +
    - -

    Nine-teeth Rake

    -

    Stats: E 2500 z 【DEX + MIG】 【HR + 16】 poison

    -
      -
    • Type: Two-handed, Melee
      • -
    • Effect: You Absorb poison damage.
      • -
    +
    +

    The Rikizo

    +

    Stats: E 1200 z 【DEX + INS】 +1 【HR + 10】 physical

    +

    Type: Two-handed w Melee w Deals 2 extra damage for each Class you have mastered.

    +
    - -

    Gungnir

    -

    Stats: E 3000 z 【DEX + MIG】 【HR + 16】 light

    -
      -
    • Type: Two-handed, Melee
      • -
    • Effect: You have Immunity to fire and ice damage.
      • -
    -
    +
    +

    Flesh Eater

    +

    Stats: E 1300 z 【MIG + MIG】 【HR + 10】 poison

    +

    Type: One-handed w Melee w Deals 5 extra damage to weak targets.

    +
    -

    Philip Forlenza (Order #)

    \ No newline at end of file +
    +

    Kusanagi

    +

    Stats: E 1500 z 【DEX + MIG】 +1 【HR + 14】 air

    +

    Type: Two-handed w Melee w Attacks with this weapon have multi (2).

    +
    + +
    +

    Excalibur

    +

    Stats: E 2300 z 【MIG + WLP】 +1 【HR + 10】 light

    +

    Type: Two-handed w Melee w You are immune to all status effects.

    +
    +
    + + \ No newline at end of file diff --git a/books/core/279.html b/books/core/279.html index 22356a5..46f7b28 100644 --- a/books/core/279.html +++ b/books/core/279.html @@ -1,86 +1,74 @@ -

    WEAPON INDEX

    +

    44GAME MASTER

    +

    279

    +

    CHAPTER SAMPLE RARE THROWN WEAPONS

    -
    -

    Weapon Stats Summary

    - -

    Category: WEAPONS

    -

    Stats Overview: COST | ACCURACY | DAMAGE

    +

    WEAPON | COST | ACCURACY | DAMAGE

    -
    -

    Zweihänder

    -

    Stats: E 400 z 【DEX + MIG】 +1 【HR + 14】 physical

    -

    Type: Two-handed w Melee w No Quality.

    -
    + -
    -

    Falling Rain

    -

    Stats: E 450 z 【DEX + DEX】 +1 【HR + 10】 ice

    -

    Type: Two-handed w Melee w Attacks with this weapon target Magic Defense.

    -
    +
    -
    -

    Flamberge

    -

    Stats: E 500 z 【DEX + MIG】 +1 【HR + 10】 fire

    -

    Type: One-handed w Melee w No Quality.

    -
    - -
    -

    Elegant Edge

    -

    Stats: E 700 z 【DEX + INS】 +1 【HR + 6】 physical

    -

    Type: One-handed w Melee w You are immune to enraged.

    -
    - -
    -

    Joyeuse

    -

    Stats: E 900 z 【MIG + WLP】 +1 【HR + 10】 physical

    -

    Type: One-handed w Melee w You are immune to shaken.

    -
    - -
    -

    Deathblade

    -

    Stats: E 1000 z 【DEX + MIG】 +1 【HR + 6】 dark

    -

    Type: One-handed w Melee w Deals 5 extra damage if you are in Crisis.

    -
    - -
    -

    Gunsword

    -

    Stats: E 1000 z 【DEX + MIG】 +1 【HR + 10】 physical

    -

    Type: Two-handed w Melee w This weapon can target flying creatures.

    -
    - -
    -

    Main Gauche

    -

    Stats: E 1000 z 【DEX + MIG】 +1 【HR + 6】 physical

    -

    Type: One-handed w Melee w You gain a +1 bonus to Defense.

    -
    - -
    -

    The Rikizo

    -

    Stats: E 1200 z 【DEX + INS】 +1 【HR + 10】 physical

    -

    Type: Two-handed w Melee w Deals 2 extra damage for each Class you have mastered.

    -
    - -
    -

    Flesh Eater

    -

    Stats: E 1300 z 【MIG + MIG】 【HR + 10】 poison

    -

    Type: One-handed w Melee w Deals 5 extra damage to weak targets.

    -
    - -
    -

    Kusanagi

    -

    Stats: E 1500 z 【DEX + MIG】 +1 【HR + 14】 air

    -

    Type: Two-handed w Melee w Attacks with this weapon have multi (2).

    -
    - -
    -

    Excalibur

    -

    Stats: E 2300 z 【MIG + WLP】 +1 【HR + 10】 light

    -

    Type: Two-handed w Melee w You are immune to all status effects.

    -
    -
    - - \ No newline at end of file +

    Philip Forlenza (Order #)

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    BREATHE LIFE INTO YOUR VILLAINS

    -

    Pay great attention when portraying the main antagonists of the game, and make sure you stay true to their goals and motivations. Just as Fabula Ultima’s protagonists are larger-than-life heroes, their adversaries are powerful and formidable individuals, who often conceal terrible secrets. Do your best to always portray their looming threat and keep the pressure high!

    - -

    COOPERATE WITH EVERYONE ELSE

    -

    When playing the game, pay attention to what everybody else is saying and encourage everyone to play an active role: each participant should get their time in the spotlight. Do your best to cooperate with everyone else and make sure the play environment is enjoyable and welcoming.

    - -

    PLAY TO FIND OUT WHAT HAPPENS

    -

    Never force the Players’ hand, and make sure not to “push” them towards a specific event: let their actions and objectives guide you instead. Resist the temptation to create a predetermined plot — let the heroes’ choices and actions tell you what aspects of the story the Players really care about.

    -

    If you're used to other RPGs in which the Game Master controls the evolution of the story and prepares scenes ahead of time, let go of that when playing this game — here, you must only weave situations around what the Players decide to do and add details to the world as required by the circumstances. The game gives them plenty of tools to influence and shape the story, up to and including the ability to alter plot elements you had previously introduced. Embrace this creative flow!

    - -

    ASK QUESTIONS, BUILD ON THE ANSWERS

    -

    Move the action forward by asking questions to everyone else. For example: What will you do now? Where can you find this information? How do you feel about what happened? Are you willing to risk your life for this? What will you tell your mother?

    -

    Ask plenty of questions, then build on the Players’ answers.

    - -

    LOOK FOR INSPIRATION

    -

    Stories, ideas, pictures, characters, music, and maps: make sure to take advantage of all possible sources of inspiration.

    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    28

    +

    W W

    +

    Philip Forlenza (Order #)

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    44GAME MASTER

    -

    279

    -

    CHAPTER SAMPLE RARE THROWN WEAPONS

    - -

    WEAPON | COST | ACCURACY | DAMAGE

    +

    DESIGNING RARE ARMORS AND SHIELDS

    +

    Creating a rare armor or shield is much simpler. Pick one of the items from the lists on pages 132 to 133 and add a single Quality to it, which will increase its price by a variable amount, as shown by the table below.

    +

    Once again, feel free to come up with new and unique special abilities for rare armors and shields, using these as a reference.

    +

    QUALITY

    +

    Defensive Qualities

    -
    +

    Enhancement Qualities

    +

    Philip Forlenza (Order #)

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    DESIGNING RARE ARMORS AND SHIELDS

    -

    Creating a rare armor or shield is much simpler. Pick one of the items from the lists on pages 132 to 133 and add a single Quality to it, which will increase its price by a variable amount, as shown by the table below.

    -

    Once again, feel free to come up with new and unique special abilities for rare armors and shields, using these as a reference.

    +

    44GAME MASTER

    +

    Chapter CHAPTER

    +

    SAMPLE RARE ARMORS

    -

    QUALITY

    -

    Defensive Qualities

    - +
    -

    Enhancement Qualities

    - +
    +

    Slimy Jacket

    +

    Cost: 600 z

    +
      +
    • DEX die +1
      • +
    • INS die +1
      • +
    • M. DEFENSE -1
      • +
    +

    You are immune to poisoned.

    +
    -

    Philip Forlenza (Order #)

    \ No newline at end of file +
    +

    Fox Garb

    +

    Cost: 650 z

    +
      +
    • DEX die +1
      • +
    • INS die +1
      • +
    • M. DEFENSE -
      • +
    +

    You are immune to slow.

    +
    + +
    +

    Shadow Tunic

    +

    Cost: 650 z

    +
      +
    • DEX die +1
      • +
    • INS die +1
      • +
    • M. DEFENSE +4
      • +
    +

    You gain a +4 bonus to your Initiative modifier (already included).

    +
    + +
    +

    Desperado Coat

    +

    Cost: 750 z

    +
      +
    • DEX die +1
      • +
    • INS die +1
      • +
    • M. DEFENSE -1
      • +
    +

    When you use the Barrage Skill (see Sharpshooter Class, page 205), the MP cost is halved.

    +
    + +
    +

    Butler Uniform

    +

    Cost: 800 z

    +
      +
    • DEX die +1
      • +
    • INS die +2
      • +
    • M. DEFENSE -2
      • +
    +

    When a potion or magisphere created with your Inventory Points restores Hit Points, it restores 5 extra Hit Points.

    +
    + +
    +

    Maid Uniform

    +

    Cost: 800 z

    +
      +
    • DEX die +1
      • +
    • INS die +2
      • +
    • M. DEFENSE -2
      • +
    +

    When a potion or magisphere created with your Inventory Points restores Mind Points, it restores 5 extra Mind Points.

    +
    + +
    +

    Bandit Jacket

    +

    Cost: 900 z

    +
      +
    • DEX die +1
      • +
    • INS die +1
      • +
    • M. DEFENSE -1
      • +
    +

    You gain a +1 bonus to Accuracy Checks with daggers.

    +
    + +
    +

    Crystal Plate

    +

    Cost: 900 z

    +
      +
    • E
      • +
    • DEX die 1
      • +
    • INS die -3
      • +
    +

    You have Resistance to dark damage.

    +
    + +
    +

    Valkyrie Wings

    +

    Cost: 900 z

    +
      +
    • E
      • +
    • DEX die 1
      • +
    • INS die +1
      • +
    • M. DEFENSE -3
      • +
    +

    When you cast the Soaring Strike spell (see Elementalist Class, page 189), the MP cost is halved.

    +
    + +
    +

    Armor of Heroes

    +

    Cost: 1000 z

    +
      +
    • E
      • +
    • DEX die 1
      • +
    • INS die -4
      • +
    +

    Critical successes rolled on Accuracy Checks and Magic Checks for attacks and offensive (rr) spells that include you among their targets do not generate opportunities.

    +
    + +
    +
    + \ No newline at end of file diff --git a/books/core/282.html b/books/core/282.html index a503b19..eefc8b9 100644 --- a/books/core/282.html +++ b/books/core/282.html @@ -1,124 +1,93 @@ -

    44GAME MASTER

    -

    Chapter CHAPTER

    -

    SAMPLE RARE ARMORS

    - -
    - -
    -

    Slimy Jacket

    -

    Cost: 600 z

    -
      -
    • DEX die +1
      • -
    • INS die +1
      • -
    • M. DEFENSE -1
      • -
    -

    You are immune to poisoned.

    -
    - -
    -

    Fox Garb

    -

    Cost: 650 z

    -
      -
    • DEX die +1
      • -
    • INS die +1
      • -
    • M. DEFENSE -
      • -
    -

    You are immune to slow.

    -
    - -
    -

    Shadow Tunic

    -

    Cost: 650 z

    -
      -
    • DEX die +1
      • -
    • INS die +1
      • -
    • M. DEFENSE +4
      • -
    -

    You gain a +4 bonus to your Initiative modifier (already included).

    -
    - -
    -

    Desperado Coat

    -

    Cost: 750 z

    -
      -
    • DEX die +1
      • -
    • INS die +1
      • -
    • M. DEFENSE -1
      • -
    -

    When you use the Barrage Skill (see Sharpshooter Class, page 205), the MP cost is halved.

    -
    - -
    -

    Butler Uniform

    -

    Cost: 800 z

    -
      -
    • DEX die +1
      • -
    • INS die +2
      • -
    • M. DEFENSE -2
      • -
    -

    When a potion or magisphere created with your Inventory Points restores Hit Points, it restores 5 extra Hit Points.

    -
    - -
    -

    Maid Uniform

    -

    Cost: 800 z

    -
      -
    • DEX die +1
      • -
    • INS die +2
      • -
    • M. DEFENSE -2
      • -
    -

    When a potion or magisphere created with your Inventory Points restores Mind Points, it restores 5 extra Mind Points.

    -
    - -
    -

    Bandit Jacket

    -

    Cost: 900 z

    -
      -
    • DEX die +1
      • -
    • INS die +1
      • -
    • M. DEFENSE -1
      • -
    -

    You gain a +1 bonus to Accuracy Checks with daggers.

    -
    - -
    -

    Crystal Plate

    -

    Cost: 900 z

    -
      -
    • E
      • -
    • DEX die 1
      • -
    • INS die -3
      • -
    -

    You have Resistance to dark damage.

    -
    - -
    -

    Valkyrie Wings

    -

    Cost: 900 z

    -
      -
    • E
      • -
    • DEX die 1
      • -
    • INS die +1
      • -
    • M. DEFENSE -3
      • -
    -

    When you cast the Soaring Strike spell (see Elementalist Class, page 189), the MP cost is halved.

    -
    - -
    -

    Armor of Heroes

    -

    Cost: 1000 z

    -
      -
    • E
      • -
    • DEX die 1
      • -
    • INS die -4
      • -
    -

    Critical successes rolled on Accuracy Checks and Magic Checks for attacks and offensive (rr) spells that include you among their targets do not generate opportunities.

    -
    +

    Item Equipment Listings

    +

    Page 282 | ITEM COST DEFENSE M. DEFENSE INITIATIVE

    + +
    +

    Black Belt

    +

    1000 z DEX die INS die -

    +

    Your attacks with brawling weapons deal 5 extra damage.

    -
    -
    + + +
    +

    Meditation Robe

    +

    1000 z DEX die +1 INS die +2 -2

    +

    Whenever you recover Mind Points, you recover 5 extra Mind Points.

    +
    + + +
    +

    Archmage Robe

    +

    1200 z DEX die +1 INS die +2 -2

    +

    You gain a +1 bonus to your Magic Checks.

    +
    + + +
    +

    Automaton Suit

    +

    E 1250 z 11 INS die +1 -3

    +

    You have Immunity to earth and poison damage, but Vulnerability to bolt damage.

    +
    + + +
    +

    Adamantorso

    +

    E 1300 z 12 INS die -4

    +

    You have Resistance to physical damage.

    +
    + + +
    +

    Ardent Yoroi

    +

    E 1300 z 12 INS die -4

    +

    You gain a +1 bonus to your Accuracy Checks.

    +
    + + +
    +

    Demongrin

    +

    E 1500 z 12 INS die -4

    +

    After a creature hits you with a melee attack, you deal 5 fire damage to that creature (after the attack has been resolved).

    +
    + + +
    +

    Bio Plate

    +

    E 1700 z 11 INS die -3

    +

    You have Immunity to poison damage.

    +
    + + +
    +

    White Tunic

    +

    1700 z DEX die +1 INS die +2 -2

    +

    Spells you cast whose effects restore Hit Points will restore 5 extra Hit Points.

    +
    + + +
    +

    Granny Vest

    +

    2000 z DEX die INS die +2 -1

    +

    As long as you have this armor equipped, you treat your Willpower as if it were one die size higher (up to a maximum of d12).

    +
    + + +
    +

    Black Tunic

    +

    2200 z DEX die +1 INS die +2 -2

    +

    Spells you cast deal 5 extra damage.

    +
    + + +
    +

    Red Tunic

    +

    2500 z DEX die INS die +2 -1

    +

    You are treated as having an arcane weapon equipped for the sake of Skills that require it.

    +
    + + +

    Philip Forlenza (Order #)

    -
    \ No newline at end of file +
    \ No newline at end of file diff --git a/books/core/283.html b/books/core/283.html index eefc8b9..98cdee4 100644 --- a/books/core/283.html +++ b/books/core/283.html @@ -1,93 +1,106 @@ -

    Item Equipment Listings

    -

    Page 282 | ITEM COST DEFENSE M. DEFENSE INITIATIVE

    +

    CHAPTER SAMPLE RARE SHIELDS

    +

    Available Shields

    - -
    -

    Black Belt

    -

    1000 z DEX die INS die -

    -

    Your attacks with brawling weapons deal 5 extra damage.

    -
    + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
    ITEMCOSTDEFENSEM. DEFENSEINITIATIVE
    Aegis, Fulgur800 z +2--You have Resistance to bolt damage.
    Aegis, Gelum800 z +2--You have Resistance to ice damage.
    Aegis, Gorgonis800 z +2--You have Resistance to poison damage.
    Aegis, Ignis800 z +2--You have Resistance to fire damage.
    Aegis, Lux800 z +2--You have Resistance to light damage.
    Aegis, Terra800 z +2--You have Resistance to earth damage.
    Aegis, Umbra800 z +2--You have Resistance to dark damage.
    Aegis, Ventus800 z +2--You have Resistance to air damage.
    DemonshieldE 950 z +2+2+2After a creature deals damage to you, if you are in Crisis, you may have that creature suffer shaken.
    Shield of SpringE 1150 z +2+2+2Whenever you recover Hit Points, you recover 5 extra Hit Points.
    Seraph ShieldE 2050 z +2+2+2As long as you are in Crisis, you are immune to all status effects.
    AdamantowerE 2500 z +3+3+3You gain a +1 bonus to Defense and Magic Defense (already included).
    - -
    -

    Meditation Robe

    -

    1000 z DEX die +1 INS die +2 -2

    -

    Whenever you recover Mind Points, you recover 5 extra Mind Points.

    -
    - - -
    -

    Archmage Robe

    -

    1200 z DEX die +1 INS die +2 -2

    -

    You gain a +1 bonus to your Magic Checks.

    -
    - - -
    -

    Automaton Suit

    -

    E 1250 z 11 INS die +1 -3

    -

    You have Immunity to earth and poison damage, but Vulnerability to bolt damage.

    -
    - - -
    -

    Adamantorso

    -

    E 1300 z 12 INS die -4

    -

    You have Resistance to physical damage.

    -
    - - -
    -

    Ardent Yoroi

    -

    E 1300 z 12 INS die -4

    -

    You gain a +1 bonus to your Accuracy Checks.

    -
    - - -
    -

    Demongrin

    -

    E 1500 z 12 INS die -4

    -

    After a creature hits you with a melee attack, you deal 5 fire damage to that creature (after the attack has been resolved).

    -
    - - -
    -

    Bio Plate

    -

    E 1700 z 11 INS die -3

    -

    You have Immunity to poison damage.

    -
    - - -
    -

    White Tunic

    -

    1700 z DEX die +1 INS die +2 -2

    -

    Spells you cast whose effects restore Hit Points will restore 5 extra Hit Points.

    -
    - - -
    -

    Granny Vest

    -

    2000 z DEX die INS die +2 -1

    -

    As long as you have this armor equipped, you treat your Willpower as if it were one die size higher (up to a maximum of d12).

    -
    - - -
    -

    Black Tunic

    -

    2200 z DEX die +1 INS die +2 -2

    -

    Spells you cast deal 5 extra damage.

    -
    - - -
    -

    Red Tunic

    -

    2500 z DEX die INS die +2 -1

    -

    You are treated as having an arcane weapon equipped for the sake of Skills that require it.

    -
    - - -
    +

    Philip Forlenza (Order #)

    -
    \ No newline at end of file + \ No newline at end of file diff --git a/books/core/284.html b/books/core/284.html index 98cdee4..0cc21d9 100644 --- a/books/core/284.html +++ b/books/core/284.html @@ -1,106 +1,28 @@ -

    CHAPTER SAMPLE RARE SHIELDS

    -

    Available Shields

    +

    DESIGNING ACCESSORIES

    +

    When you create an accessory, simply decide on which ability it will grant — you can pick from the list below or come up with one that seems appropriate.

    +

    The price of the item is determined by its Quality. When creating accessories, experiment with a variety of custom effects that reflect the item's nature and origin. You will see that many of the sample accessories in the following pages have unique abilities that are not present on the table below — that is because the best accessories are the ones that give slightly quirky benefits or encourage unconventional strategies.

    - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
    ITEMCOSTDEFENSEM. DEFENSEINITIATIVE
    Aegis, Fulgur800 z +2--You have Resistance to bolt damage.
    Aegis, Gelum800 z +2--You have Resistance to ice damage.
    Aegis, Gorgonis800 z +2--You have Resistance to poison damage.
    Aegis, Ignis800 z +2--You have Resistance to fire damage.
    Aegis, Lux800 z +2--You have Resistance to light damage.
    Aegis, Terra800 z +2--You have Resistance to earth damage.
    Aegis, Umbra800 z +2--You have Resistance to dark damage.
    Aegis, Ventus800 z +2--You have Resistance to air damage.
    DemonshieldE 950 z +2+2+2After a creature deals damage to you, if you are in Crisis, you may have that creature suffer shaken.
    Shield of SpringE 1150 z +2+2+2Whenever you recover Hit Points, you recover 5 extra Hit Points.
    Seraph ShieldE 2050 z +2+2+2As long as you are in Crisis, you are immune to all status effects.
    AdamantowerE 2500 z +3+3+3You gain a +1 bonus to Defense and Magic Defense (already included).
    +

    QUALITY COST EFFECT

    -
    -

    Philip Forlenza (Order #)

    -
    \ No newline at end of file +

    Defensive Qualities

    + + +

    Enhancement Qualities

    + + +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/285.html b/books/core/285.html index 0cc21d9..de5af07 100644 --- a/books/core/285.html +++ b/books/core/285.html @@ -1,28 +1,43 @@ -

    DESIGNING ACCESSORIES

    -

    When you create an accessory, simply decide on which ability it will grant — you can pick from the list below or come up with one that seems appropriate.

    -

    The price of the item is determined by its Quality. When creating accessories, experiment with a variety of custom effects that reflect the item's nature and origin. You will see that many of the sample accessories in the following pages have unique abilities that are not present on the table below — that is because the best accessories are the ones that give slightly quirky benefits or encourage unconventional strategies.

    +
    +

    CHAPTER

    +
    -

    QUALITY COST EFFECT

    +
    +

    Enhancement Qualities (continued)

    +
    +
    Accuracy Up 1000 z
    +
    You gain a +1 bonus to your Accuracy Checks.
    +
    Magic Up 1000 z
    +
    You gain a +1 bonus to your Magic Checks.
    +
    Vitality Up 1000 z
    +
    Whenever you recover Hit Points, you recover 5 extra Hit Points.
    +
    Healing Up 1500 z
    +
    Spells you cast whose effect restores Hit Points will restore 5 extra Hit Points.
    +
    Spell Up 2000 z
    +
    Spells you cast deal 5 extra damage.
    +
    Weapon Up 2000 z
    +
    Your attacks with (choose one: melee, ranged) weapons deal 5 extra damage.
    +
    +
    -

    Defensive Qualities

    - - -

    Enhancement Qualities

    - +
    +

    SAMPLE ACCESSORIES

    +
    +
    Explorer's Belt 500 z
    +
    You gain a +4 bonus to your Initiative modifier.
    +
    Gloves, Elegant 500 z
    +
    You are immune to dazed.
    +
    Gloves, Rough 500 z
    +
    You are immune to weak.
    +
    Gloves, Silky 500 z
    +
    You are immune to slow.
    +
    Gloves, Warm 500 z
    +
    You are immune to shaken.
    +
    Rookie's Boots 600 z
    +
    When you roll a fumble, if you have less than 10 Experience Points, you may immediately gain 1 Experience Point.
    +
    +

    Philip Forlenza (Order #)

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    ACCESSORY COST

    -

    CHAPTER

    +

    Han'nya Mask

    +

    700 z

    +

    All damage you deal to shaken creatures ignores Resistances.

    -

    Enhancement Qualities (continued)

    -
    -
    Accuracy Up 1000 z
    -
    You gain a +1 bonus to your Accuracy Checks.
    -
    Magic Up 1000 z
    -
    You gain a +1 bonus to your Magic Checks.
    -
    Vitality Up 1000 z
    -
    Whenever you recover Hit Points, you recover 5 extra Hit Points.
    -
    Healing Up 1500 z
    -
    Spells you cast whose effect restores Hit Points will restore 5 extra Hit Points.
    -
    Spell Up 2000 z
    -
    Spells you cast deal 5 extra damage.
    -
    Weapon Up 2000 z
    -
    Your attacks with (choose one: melee, ranged) weapons deal 5 extra damage.
    -
    +

    Pendant, Amber

    +

    700 z

    +

    You have Resistance to earth damage.

    -

    SAMPLE ACCESSORIES

    -
    -
    Explorer's Belt 500 z
    -
    You gain a +4 bonus to your Initiative modifier.
    -
    Gloves, Elegant 500 z
    -
    You are immune to dazed.
    -
    Gloves, Rough 500 z
    -
    You are immune to weak.
    -
    Gloves, Silky 500 z
    -
    You are immune to slow.
    -
    Gloves, Warm 500 z
    -
    You are immune to shaken.
    -
    Rookie's Boots 600 z
    -
    When you roll a fumble, if you have less than 10 Experience Points, you may immediately gain 1 Experience Point.
    -
    +

    Pendant, Amethyst

    +

    700 z

    +

    You have Resistance to dark damage.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +
    +

    Pendant, Diamond

    +

    700 z

    +

    You have Resistance to light damage.

    +
    + +
    +

    Pendant, Emerald

    +

    700 z

    +

    You have Resistance to poison damage.

    +
    + +
    +

    Pendant, Opal

    +

    700 z

    +

    You have Resistance to air damage.

    +
    + +
    +

    Pendant, Ruby

    +

    700 z

    +

    You have Resistance to fire damage.

    +
    + +
    +

    Pendant, Sapphire

    +

    700 z

    +

    You have Resistance to ice damage.

    +
    + +
    +

    Pendant, Topaz

    +

    700 z

    +

    You have Resistance to bolt damage.

    +
    + +
    +

    Ring of Sorcery

    +

    800 z

    +

    You gain a +1 bonus to Magic Defense.

    +
    + +
    +

    Wanderer's Boots

    +

    900 z

    +

    When your group makes a discovery while traveling, you may immediately gain 1 Fabula Point.

    +
    + +
    +

    Crested Helm

    +

    1000 z

    +

    You gain a +1 bonus to your Accuracy Checks.

    +
    + +
    +

    Philip Forlenza (Order #)

    +
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    GAME MASTER

    +

    CHAPTER CHAPTER

    +

    ACCESSORY COST

    -
    -

    Han'nya Mask

    -

    700 z

    -

    All damage you deal to shaken creatures ignores Resistances.

    -
    -
    -

    Pendant, Amber

    -

    700 z

    -

    You have Resistance to earth damage.

    -
    + -
    -

    Pendant, Amethyst

    -

    700 z

    -

    You have Resistance to dark damage.

    -
    - -
    -

    Pendant, Diamond

    -

    700 z

    -

    You have Resistance to light damage.

    -
    - -
    -

    Pendant, Emerald

    -

    700 z

    -

    You have Resistance to poison damage.

    -
    - -
    -

    Pendant, Opal

    -

    700 z

    -

    You have Resistance to air damage.

    -
    - -
    -

    Pendant, Ruby

    -

    700 z

    -

    You have Resistance to fire damage.

    -
    - -
    -

    Pendant, Sapphire

    -

    700 z

    -

    You have Resistance to ice damage.

    -
    - -
    -

    Pendant, Topaz

    -

    700 z

    -

    You have Resistance to bolt damage.

    -
    - -
    -

    Ring of Sorcery

    -

    800 z

    -

    You gain a +1 bonus to Magic Defense.

    -
    - -
    -

    Wanderer's Boots

    -

    900 z

    -

    When your group makes a discovery while traveling, you may immediately gain 1 Fabula Point.

    -
    - -
    -

    Crested Helm

    -

    1000 z

    -

    You gain a +1 bonus to your Accuracy Checks.

    -
    - -
    +

    Philip Forlenza (Order #)

    -
    \ No newline at end of file + \ No newline at end of file diff --git a/books/core/288.html b/books/core/288.html index 07e1f4d..295960e 100644 --- a/books/core/288.html +++ b/books/core/288.html @@ -1,57 +1,14 @@ -

    GAME MASTER

    -

    CHAPTER CHAPTER

    +

    ARTIFACTS

    +

    While rare items allow you to customize your character, artifacts are the objects your entire campaign will revolve around. They don’t just grant you a bonus to Checks, improved damage or a way to ignore status effects: no, artifacts are so powerful that they draw the attention of the major factions in your world.

    +

    Artifacts cannot be sold or purchased, except for truly ludicrous prices — and even then, there aren’t many who are willing to part with such powerful objects.

    -

    ACCESSORY COST

    +

    ARTIFACTS IN YOUR GAME

    +

    There are no rules for designing an artifact: its fantastic effects should go way beyond those of typical spells and magical items, and are only limited by what you as the Game Master think would be appropriate. Needless to say, you can’t have a new artifact pop up every other session — each story arc should feature one or two at most.

    +

    Make sure your artifacts are important elements of the ongoing story at the table, and not just “super powerful magical toys”.

    - - - \ No newline at end of file +

    ASTROSCOPE

    +

    A large globe filled with stars and swirling clouds.

    +

    Anyone who rests their hand atop this powerful artifact and gazes upon the swirling energy within can manipulate the cycle of day and night within a range of 1 travel day; they may also modify weather conditions in the same area (wind, blizzards, snow, clouds, and so on). This functions identically to an Entropism (for day and night) or Elementalism (for weather conditions) Ritual, but this artifact does not consume Mind Points and the user does not need to have mastered any of the magical disciplines in question.

    +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/289.html b/books/core/289.html index 295960e..7b45623 100644 --- a/books/core/289.html +++ b/books/core/289.html @@ -1,14 +1,29 @@ -

    ARTIFACTS

    -

    While rare items allow you to customize your character, artifacts are the objects your entire campaign will revolve around. They don’t just grant you a bonus to Checks, improved damage or a way to ignore status effects: no, artifacts are so powerful that they draw the attention of the major factions in your world.

    -

    Artifacts cannot be sold or purchased, except for truly ludicrous prices — and even then, there aren’t many who are willing to part with such powerful objects.

    +

    Artifact Descriptions

    +
    +

    BLACK BLOOD

    +

    A large vial filled with an oily and sticky black substance.

    +

    It is said this liquid was gathered from a tainted spring in the depths of the earth. Those who drink it gain a peculiar ability: when killed, their spirit will not return to the stream of souls that permeates the world. Instead, they will retain their conscience and remain bound to the land of the living.

    +

    Why anyone would choose such a fate remains a mystery, however...

    +
    -

    ARTIFACTS IN YOUR GAME

    -

    There are no rules for designing an artifact: its fantastic effects should go way beyond those of typical spells and magical items, and are only limited by what you as the Game Master think would be appropriate. Needless to say, you can’t have a new artifact pop up every other session — each story arc should feature one or two at most.

    -

    Make sure your artifacts are important elements of the ongoing story at the table, and not just “super powerful magical toys”.

    +
    +

    DEAD MAN'S ZENIT

    +

    It resembles an ancient gold coin, save for the skull on its back. Easily lost or misplaced, this unassuming gold coin appears worn by age. Many who see the shining skull on its flip side would laugh it out as a coinsmith's prank, but old sailors would urge them to let the thing sink to the bottom of the ocean: an old legend tells of an indestructible golden coin whose bearer may command an army of ghostly pirates in exchange for their own soul.

    +
    -

    ASTROSCOPE

    -

    A large globe filled with stars and swirling clouds.

    -

    Anyone who rests their hand atop this powerful artifact and gazes upon the swirling energy within can manipulate the cycle of day and night within a range of 1 travel day; they may also modify weather conditions in the same area (wind, blizzards, snow, clouds, and so on). This functions identically to an Entropism (for day and night) or Elementalism (for weather conditions) Ritual, but this artifact does not consume Mind Points and the user does not need to have mastered any of the magical disciplines in question.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +
    +

    FINAL FEATHER

    +

    This beautiful feather shines with the colors of the rainbow. Countless scholars have debated the nature and origin of this forearm-sized feather but were unable to find an answer. Only two things are certain: it's the last of its kind, and several legends suggest it can be crushed into a light powder that can resurrect a recently fallen creature.

    +

    Up until now, no one has gathered the courage to put that legend to the test, especially because it would mean destroying the feather.

    +
    + +
    +

    HELM OF THOUGHTS

    +

    Fashioned from the skull of an unknown beast, this helm is surprisingly light. Whoever wears this artifact can effortlessly sense the surface thoughts and emotions of surrounding people. By focusing their attention and using an action, the wearer can read the thoughts of a specific living creature. While using the dreadful power of this artifact, the target only feels a faint tingling sensation at the base of their skull, unaware that their mind is being read.

    +
    + + \ No newline at end of file diff --git a/books/core/29.html b/books/core/29.html index 482d630..2b1cb46 100644 --- a/books/core/29.html +++ b/books/core/29.html @@ -1,5 +1,13 @@ -

    28

    -

    W W

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    GAME RULES

    +

    This chapter contains the core rules required to play Fabula Ultima.

    +

    This is probably the most important chapter in the book and one that should be read with great attention, regardless of if you are the Game Master or a Player.

    +

    Throughout this chapter the game’s mechanics are presented in the way that felt most intuitive; however, sometimes you will have to jump between pages in order to get the full picture of how things work. It won’t happen too often, promise!

    + +

    USEFUL ADVICE AND CHANGING THE RULES

    +

    Along the way, you will find that a large part of this chapter contains advice on how to make the most out of this game's rules and mechanics. You will also find that sometimes the very same situation can be resolved through different methods — there’s some overlap between rules.

    +

    This is by design. Given the broad scope of the game and the many possible scenarios, the rules must be flexible — but this also means you will have to learn how and when to use them. That is why plenty of advice has been included wherever possible: because this book is meant to be understood in the easiest way possible so that the goals and intentions behind each rule are clear.

    +

    As you grow more familiar with the rules, you will probably want to change or tweak some of them, and that’s perfectly fine. Nothing in this book was written to be set in stone, but to be a functional game, whose components interact with each other and work together to bring an epic, heroic and fantastic tale to your gaming table. Because of this, make sure to think carefully about the changes you make: they might influence a greater number of elements than what you had anticipated. To make life easier, the book includes a variety of optional rules that can be used to safely customize your play experience.

    +

    Needless to say, whenever you want to change something, make sure to discuss it with your game group: you shouldn’t change anything unless everyone agrees.

    +

    Philip Forlenza (Order #)

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    Artifact Descriptions

    -
    -

    BLACK BLOOD

    -

    A large vial filled with an oily and sticky black substance.

    -

    It is said this liquid was gathered from a tainted spring in the depths of the earth. Those who drink it gain a peculiar ability: when killed, their spirit will not return to the stream of souls that permeates the world. Instead, they will retain their conscience and remain bound to the land of the living.

    -

    Why anyone would choose such a fate remains a mystery, however...

    -
    +

    W ROD OF RISING EARTH

    +

    A forearm-sized staff made of brass-like metal.

    +

    This powerful artifact comes from an era of lost technology. Its core body is made of a nigh-indestructible and extremely light metal known as orichalcum, encasing a gem formed by crystalized earth spirits. When placed in the center of a structure known as "an orichalcum ring", whose nature and construction is yet unknown, the rod may lift entire landmasses from the ground and cause them to float and move.

    -
    -

    DEAD MAN'S ZENIT

    -

    It resembles an ancient gold coin, save for the skull on its back. Easily lost or misplaced, this unassuming gold coin appears worn by age. Many who see the shining skull on its flip side would laugh it out as a coinsmith's prank, but old sailors would urge them to let the thing sink to the bottom of the ocean: an old legend tells of an indestructible golden coin whose bearer may command an army of ghostly pirates in exchange for their own soul.

    -
    +

    SOULREND

    +

    The hyper-sharp edge glows with ominous light...

    +

    Resembling the lower portion of a shattered greatsword, this artifact is almost useless in an actual fight: its true power lies somewhere else. If the correct sequence of stances and movements are performed, the wielder may isolate a single consciousness present in the stream of souls and sever it from the flow. This is a Ritualism effect of extreme potency, made easier if the soul in question belongs to someone who recently passed, if they were of especially strong character, or if the wielder of Soulrend had a deep personal bond with them.

    +

    Depending on the outcome of the Check, the soul might only be temporarily severed or even become unable to return to the spiritual stream, doomed to gradually vanish into oblivion or trapped in eternal torment.

    -
    -

    FINAL FEATHER

    -

    This beautiful feather shines with the colors of the rainbow. Countless scholars have debated the nature and origin of this forearm-sized feather but were unable to find an answer. Only two things are certain: it's the last of its kind, and several legends suggest it can be crushed into a light powder that can resurrect a recently fallen creature.

    -

    Up until now, no one has gathered the courage to put that legend to the test, especially because it would mean destroying the feather.

    -
    - -
    -

    HELM OF THOUGHTS

    -

    Fashioned from the skull of an unknown beast, this helm is surprisingly light. Whoever wears this artifact can effortlessly sense the surface thoughts and emotions of surrounding people. By focusing their attention and using an action, the wearer can read the thoughts of a specific living creature. While using the dreadful power of this artifact, the target only feels a faint tingling sensation at the base of their skull, unaware that their mind is being read.

    -
    +

    TOME OF THE GATE

    +

    A hefty grimoire. Sometimes, the crimson eye on its cover seems to move...

    +

    The pages of this ancient-looking book are filled with unreadable gibberish and unsettling pictures, portraying nightmarish creatures in their adoration of the sky.

    +

    If bathed in the light of a full moon, the ink begins to glow a reddish hue and rises from the pages, twisting into a network of writhing tendrils that tear at reality. This artifact opens a path to the cosmos, which will close at daybreak.

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    W ROD OF RISING EARTH

    -

    A forearm-sized staff made of brass-like metal.

    -

    This powerful artifact comes from an era of lost technology. Its core body is made of a nigh-indestructible and extremely light metal known as orichalcum, encasing a gem formed by crystalized earth spirits. When placed in the center of a structure known as "an orichalcum ring", whose nature and construction is yet unknown, the rod may lift entire landmasses from the ground and cause them to float and move.

    +

    VOICE SHARD

    +

    A fist-sized shard of glassy crystal. It is said that whoever holds this crystal fragment can hear voices whose wisdom leads to power, wealth and prosperity. Some believe the voices belong to a pantheon of forgotten deities; others claim they are the voices of wise and generous people that lived in a past age (or will exist in the future!). However, the voices can only be heard by the person who grips this artifact... which means others will have to trust their sincerity.

    -

    SOULREND

    -

    The hyper-sharp edge glows with ominous light...

    -

    Resembling the lower portion of a shattered greatsword, this artifact is almost useless in an actual fight: its true power lies somewhere else. If the correct sequence of stances and movements are performed, the wielder may isolate a single consciousness present in the stream of souls and sever it from the flow. This is a Ritualism effect of extreme potency, made easier if the soul in question belongs to someone who recently passed, if they were of especially strong character, or if the wielder of Soulrend had a deep personal bond with them.

    -

    Depending on the outcome of the Check, the soul might only be temporarily severed or even become unable to return to the spiritual stream, doomed to gradually vanish into oblivion or trapped in eternal torment.

    +

    WAND OF THE WILDS

    +

    A tiny, finger-long wooden wand, decorated with emerald leaves. Too tiny and fragile to be used as a weapon, this precious artifact allows people to turn into animals. The wielder can use an action to change a willing creature (including themselves) into a small beast — such as a cat, fish, bird, pup, or squirrel. Anything carried by the person becomes part of the animal form; while transformed they cannot speak, fight or use magic. The wand itself, however, can never become part of a transformed character’s equipment... if you turn yourself into an animal with it, you’ll have to carry the artifact in your mouth, beak, or talons!

    +

    Anyone wielding or carrying the wand can use an action to reverse a creature's transformation — if the artifact is lost or stolen, the transformation can only be reversed by a powerful spellcaster (Chimerism discipline, extreme potency).

    -

    TOME OF THE GATE

    -

    A hefty grimoire. Sometimes, the crimson eye on its cover seems to move...

    -

    The pages of this ancient-looking book are filled with unreadable gibberish and unsettling pictures, portraying nightmarish creatures in their adoration of the sky.

    -

    If bathed in the light of a full moon, the ink begins to glow a reddish hue and rises from the pages, twisting into a network of writhing tendrils that tear at reality. This artifact opens a path to the cosmos, which will close at daybreak.

    +

    WINDSCALE

    +

    This translucent gold scale is about as wide as a human hand. It is unclear which creature shed this beautiful scale — but whatever it was, it must have been a true marvel of nature. Whoever dons this artifact gains the ability to fly and levitate at will as long as the scale remains in contact with their skin. Some say that prolonged contact with this artifact may permanently alter the bearer's physiology, gradually turning them into... who knows what.

    - \ No newline at end of file +

    Philip Forlenza (Order #)

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    VOICE SHARD

    -

    A fist-sized shard of glassy crystal. It is said that whoever holds this crystal fragment can hear voices whose wisdom leads to power, wealth and prosperity. Some believe the voices belong to a pantheon of forgotten deities; others claim they are the voices of wise and generous people that lived in a past age (or will exist in the future!). However, the voices can only be heard by the person who grips this artifact... which means others will have to trust their sincerity.

    +

    DESIGNING BATTLES

    +

    As the Game Master, your role is to create battles that challenge the Player Characters and enrich the story. The following pages will provide you with a variety of tools and guidelines that will help with the mechanical side — but first, there are a few important points you should try to remember.

    -

    WAND OF THE WILDS

    -

    A tiny, finger-long wooden wand, decorated with emerald leaves. Too tiny and fragile to be used as a weapon, this precious artifact allows people to turn into animals. The wielder can use an action to change a willing creature (including themselves) into a small beast — such as a cat, fish, bird, pup, or squirrel. Anything carried by the person becomes part of the animal form; while transformed they cannot speak, fight or use magic. The wand itself, however, can never become part of a transformed character’s equipment... if you turn yourself into an animal with it, you’ll have to carry the artifact in your mouth, beak, or talons!

    -

    Anyone wielding or carrying the wand can use an action to reverse a creature's transformation — if the artifact is lost or stolen, the transformation can only be reversed by a powerful spellcaster (Chimerism discipline, extreme potency).

    + -

    WINDSCALE

    -

    This translucent gold scale is about as wide as a human hand. It is unclear which creature shed this beautiful scale — but whatever it was, it must have been a true marvel of nature. Whoever dons this artifact gains the ability to fly and levitate at will as long as the scale remains in contact with their skin. Some say that prolonged contact with this artifact may permanently alter the bearer's physiology, gradually turning them into... who knows what.

    +

    More importantly, respect the Players' expectations and what you discussed during session zero (see page 147), and design battles in accordance with what you agreed upon in terms of challenge and complexity.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file + + +

    And there’s always the Bestiary, of course!

    + +
    Philip Forlenza (Order #)
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    DESIGNING BATTLES

    -

    As the Game Master, your role is to create battles that challenge the Player Characters and enrich the story. The following pages will provide you with a variety of tools and guidelines that will help with the mechanical side — but first, there are a few important points you should try to remember.

    - +

    HOW MANY BATTLES?

    +

    In Fabula Ultima, battles will often take a heavy toll on the characters' resources. On average, a group of Player Characters can face any one of the following before needing to rest or recharge Inventory Points:

    +

    See the next page for easy, normal, and hard battles.

    -

    More importantly, respect the Players' expectations and what you discussed during session zero (see page 147), and design battles in accordance with what you agreed upon in terms of challenge and complexity.

    +

    PARTY LEVEL AND ENEMY LEVELS

    +

    When designing a battle, you should start by considering which Player Characters are present on the scene and calculating their Party Level.

    +

    The Party Level is equal to the highest character level among the Player Characters that will take part in the battle. For instance, a group that includes two level 10 PCs and one level 12 PC will have a Party Level of 12.

    +

    Enemy Level Guidelines

    +

    If an enemy's level is... Then that enemy...

    +

    The creature profiles in the Bestiary (page 319) are organized in five-level increments, which should give a good range of enemies for your battles.

    -

    And there’s always the Bestiary, of course!

    - -
    Philip Forlenza (Order #)
    \ No newline at end of file +

    Philip Forlenza (Order #)

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    HOW MANY BATTLES?

    -

    In Fabula Ultima, battles will often take a heavy toll on the characters' resources. On average, a group of Player Characters can face any one of the following before needing to rest or recharge Inventory Points:

    - -

    See the next page for easy, normal, and hard battles.

    - -

    PARTY LEVEL AND ENEMY LEVELS

    -

    When designing a battle, you should start by considering which Player Characters are present on the scene and calculating their Party Level.

    -

    The Party Level is equal to the highest character level among the Player Characters that will take part in the battle. For instance, a group that includes two level 10 PCs and one level 12 PC will have a Party Level of 12.

    - -

    Enemy Level Guidelines

    -

    If an enemy's level is... Then that enemy...

    - -

    The creature profiles in the Bestiary (page 319) are organized in five-level increments, which should give a good range of enemies for your battles.

    +

    CREATURE RANKS

    +

    Adversaries in Fabula Ultima may be soldiers, elites, or champions.

    +

    SOLDIERS

    +

    A soldier-rank foe is roughly on par with a Player Character of its level. Creatures in the Bestiary are all soldiers — for instance, a level 15 Cactroll (page 348) would approximately be as strong as a level 15 Player Character.

    +

    Creatures designed following the rules found on page 302 are also soldiers.

    +

    The basic assumption is that, when putting together a battle, you should involve a number of enemy soldiers based on the following guidelines:

    +
    +
    Challenge
    +
    Number of Soldiers
    +
    Easy Battle
    Equal to the number of Player Characters minus one.
    +
    Normal Battle
    Equal to the number of Player Characters.
    +
    Hard Battle
    Equal to the number of Player Characters plus one.
    +
    +

    If the PCs are accompanied by helpful NPCs who get their own full turn during the conflict, each of these allies should be counted as an additional Player Character.

    +

    To spice things up, soldiers can be strengthened into elites and champions.

    Philip Forlenza (Order #)

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    CREATURE RANKS

    -

    Adversaries in Fabula Ultima may be soldiers, elites, or champions.

    +

    44GAME MASTER

    +

    CHAPTER

    +

    CREATING AN ELITE

    +

    Elite creatures count as two soldiers of the same level.

    +

    If you want to turn a soldier into an elite, do the following:

    + -

    SOLDIERS

    -

    A soldier-rank foe is roughly on par with a Player Character of its level. Creatures in the Bestiary are all soldiers — for instance, a level 15 Cactroll (page 348) would approximately be as strong as a level 15 Player Character.

    -

    Creatures designed following the rules found on page 302 are also soldiers.

    -

    The basic assumption is that, when putting together a battle, you should involve a number of enemy soldiers based on the following guidelines:

    -
    -
    Challenge
    -
    Number of Soldiers
    -
    Easy Battle
    Equal to the number of Player Characters minus one.
    -
    Normal Battle
    Equal to the number of Player Characters.
    -
    Hard Battle
    Equal to the number of Player Characters plus one.
    -
    -

    If the PCs are accompanied by helpful NPCs who get their own full turn during the conflict, each of these allies should be counted as an additional Player Character.

    -

    To spice things up, soldiers can be strengthened into elites and champions.

    +

    CREATING A CHAMPION

    +

    Champion creatures can replace any number of soldiers of the same level.

    +

    If you want to turn a soldier into a champion, do the following:

    + + +

    Remember that while elites and champions can perform more than one turn per round, they must still do so while alternating with the Player Characters — that is, they will not perform back-to-back turns if at least one Player Character has yet to act during the round.

    + +

    Story Snippet

    +

    The Petrified Woods are the Great Behemoth's hunting grounds.

    +

    And yet, some who encountered it were strangely spared.

    Philip Forlenza (Order #)

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    44GAME MASTER

    -

    CHAPTER

    -

    CREATING AN ELITE

    -

    Elite creatures count as two soldiers of the same level.

    -

    If you want to turn a soldier into an elite, do the following:

    +

    LEVELS AND RANKS

    +

    Use levels and ranks as "sliders" to adjust the challenge posed by a battle.

    +

    Example: When designing a battle involving three level 10 Player Characters, two level 10 soldiers would make for an extremely easy encounter, while a level 20 champion replacing four soldiers would be feasible but particularly challenging. Anything between those two extremes would be fair game — with a battle against three level 15 soldiers being the most “average” option.

    +

    IDEAL LENGTH

    +

    In Fabula Ultima, a conflict should ideally last three to four rounds. Keep this in mind when you design your battles.

    +

    If you want to think in terms of damage, this means that on average, a successful enemy attack should do damage equal to one third of an average Player Character's Hit Points. Similarly, a PC's average attack should do damage equal to one third of an average soldier-rank enemy's Hit Points.

    +

    DAMAGE TYPES

    +

    When designing a battle, consider what types of damage the group has access to:

    - -

    CREATING A CHAMPION

    -

    Champion creatures can replace any number of soldiers of the same level.

    -

    If you want to turn a soldier into a champion, do the following:

    - - -

    Remember that while elites and champions can perform more than one turn per round, they must still do so while alternating with the Player Characters — that is, they will not perform back-to-back turns if at least one Player Character has yet to act during the round.

    - -

    Story Snippet

    -

    The Petrified Woods are the Great Behemoth's hunting grounds.

    -

    And yet, some who encountered it were strangely spared.

    +

    Make it so that Player Characters cannot simply apply the same highest-damage option over and over during battles — that can get boring fast.

    Philip Forlenza (Order #)

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    LEVELS AND RANKS

    -

    Use levels and ranks as "sliders" to adjust the challenge posed by a battle.

    -

    Example: When designing a battle involving three level 10 Player Characters, two level 10 soldiers would make for an extremely easy encounter, while a level 20 champion replacing four soldiers would be feasible but particularly challenging. Anything between those two extremes would be fair game — with a battle against three level 15 soldiers being the most “average” option.

    -

    IDEAL LENGTH

    -

    In Fabula Ultima, a conflict should ideally last three to four rounds. Keep this in mind when you design your battles.

    -

    If you want to think in terms of damage, this means that on average, a successful enemy attack should do damage equal to one third of an average Player Character's Hit Points. Similarly, a PC's average attack should do damage equal to one third of an average soldier-rank enemy's Hit Points.

    -

    DAMAGE TYPES

    -

    When designing a battle, consider what types of damage the group has access to:

    +

    GAME MASTER

    +

    CHAPTER INFORMATION AND HINTS

    + +

    Even if the heroes face a powerful foe, it is incredibly important for the battle to be transparent. It is your job as GM to communicate the following clearly:

    -

    Make it so that Player Characters cannot simply apply the same highest-damage option over and over during battles — that can get boring fast.

    +

    Always allow the group to make informed tactical choices.

    + +

    RANDOM TARGETING

    +

    This is the default method of choosing targets in Fabula Ultima, and it frees you from the responsibility of picking targets for enemy attacks. Simply assign a number to each member of the Player Character's side, and determine the targets of attacks, spells and Skills by rolling dice.

    + +

    SWARMS

    +

    If the Player Characters find themselves battling a great number of identical creatures and you want them to feel powerful, treat all those creatures as a single swarm.

    +

    Examples of swarms may be a horde of drooling zombies, a cloud of deadly insects, or even an entire unit of trained magitech gunners.

    +

    If you want to turn a creature into a swarm, just do it — mechanically the creature will be the same, it is simply “described” as a multitude of smaller beings within the narrative of the scene.

    + +

    Philip Forlenza (Order #)

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    GAME MASTER

    -

    CHAPTER INFORMATION AND HINTS

    +

    OBSTACLES AND GIMMICKS

    +

    You may add extra complexity to your battles by including:

    -

    Even if the heroes face a powerful foe, it is incredibly important for the battle to be transparent. It is your job as GM to communicate the following clearly:

    -

    Always allow the group to make informed tactical choices.

    -

    RANDOM TARGETING

    -

    This is the default method of choosing targets in Fabula Ultima, and it frees you from the responsibility of picking targets for enemy attacks. Simply assign a number to each member of the Player Character's side, and determine the targets of attacks, spells and Skills by rolling dice.

    - -

    SWARMS

    -

    If the Player Characters find themselves battling a great number of identical creatures and you want them to feel powerful, treat all those creatures as a single swarm.

    -

    Examples of swarms may be a horde of drooling zombies, a cloud of deadly insects, or even an entire unit of trained magitech gunners.

    -

    If you want to turn a creature into a swarm, just do it — mechanically the creature will be the same, it is simply “described” as a multitude of smaller beings within the narrative of the scene.

    - -
    +

    Regardless of which options you choose, you should design battles to challenge the heroes' ability to work as a team: don't shut down any of their Skills completely, but rather push them towards experimenting with what their characters can do in ways that are different from the strategies they previously adopted.

    Philip Forlenza (Order #)

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    W

    -
    -

    CREDITS

    - - - +

    AUTHOR'S FOREWORD

    +

    When I started working on this game back in 2017, one thing was already clear: in a time when tabletop roleplaying games seemed dominated by dark fantasy titles and gruesome, gritty tales of opportunistic characters steeped in nihilism, I felt the need for a refreshing alternative.

    +

    I wanted a game of magical worlds and optimistic stories, steeped in the wondrous aesthetics of the Japanese console RPGs that had left me speechless as a kid. There was an element of nostalgia, sure, but it was accompanied by a conscious need to write a game based on cooperation, hope, and mutual trust; both in the stories it was meant to tell and in its very ruleset.

    +

    For its working title I went with "Fabula Ultima" — a Latin phrase that could be translated as "Last Fable" or "Ultimate Story". Needless to say, this was a tongue-in-cheek homage to what is probably the most notorious JRPG saga in existence, and also my first encounter with the genre (Final Fantasy X, back in 2001).

    +

    During the spring of 2018, my health condition unfortunately plummeted, and the name "Fabula Ultima" took on a bit of an ominous ring. Luckily enough, this ended up being nothing too serious — but that title had accompanied me during those harsh months, so I decided to keep it for the final release. After all, the whole point of the game was to tell tales of heroes who achieve their goals by overcoming suffering and defeats, in the hopes of a better future.

    +

    Working on Fabula Ultima was neither easy nor quick, but dozens of people have given me the strength I needed over the years: some by supporting me via Patreon, others simply sharing the game and playing with me. Testing and experimenting, again and again, in a process of constant rebuild and transformation that ultimately resulted in the book you are reading today; speaking of which, my collaboration with Need Games was crucial. While the release was announced during 2020, our conversations about the game date back to 2018: Nicola has followed the project since its beginning, and sometimes I really think he's enamoured with it more than I am!

    +

    Anyway, I've definitely written too much already: now it's time for the game to speak on its own. All I ask of you is to let yourselves be swept into a heroic adventure rife with hope, adversities, rebellion and emotions — and to do so by trusting those who play with you, and being passionate about their ideas.

    +

    To fight for what you believe in, because this is your story.

    - -
    -

    Publisher: Nicola Degobbis

    -

    Line Editor: Nicola Degobbis

    -

    Chief of Operations: Marco Munari

    -

    Producer: Matteo Pedroni

    -

    Project Management: Marco Munari, Matteo Pedroni

    -

    Editing: Courteney Penney

    -

    Sensitivity Reading: Marta Palvarini

    -

    Graphic Design: Emanuele Galletto, Erica Viotto, Marco Munari

    -
    -
    - - -
    -

    Metadata and Copyright

    -

    ISBN: 979-12-80692-45-0

    -

    Printed in Europe. First Printing September 2022.

    - - -
    -

    Fabula Ultima © 2022 Need Games and Rooster Games. Any unauthorized reproduction of copyrighted material is prohibited. This is a product of fiction. Any reference to people and events existing in the past or future is pure coincidence and not intended. All rights reserved.

    -
    - - -

    www.fabulaultima.com

    -

    Philip Forlenza (Order #)

    -
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    GAME RULES

    -

    This chapter contains the core rules required to play Fabula Ultima.

    -

    This is probably the most important chapter in the book and one that should be read with great attention, regardless of if you are the Game Master or a Player.

    -

    Throughout this chapter the game’s mechanics are presented in the way that felt most intuitive; however, sometimes you will have to jump between pages in order to get the full picture of how things work. It won’t happen too often, promise!

    +

    SCENES

    -

    USEFUL ADVICE AND CHANGING THE RULES

    -

    Along the way, you will find that a large part of this chapter contains advice on how to make the most out of this game's rules and mechanics. You will also find that sometimes the very same situation can be resolved through different methods — there’s some overlap between rules.

    -

    This is by design. Given the broad scope of the game and the many possible scenarios, the rules must be flexible — but this also means you will have to learn how and when to use them. That is why plenty of advice has been included wherever possible: because this book is meant to be understood in the easiest way possible so that the goals and intentions behind each rule are clear.

    -

    As you grow more familiar with the rules, you will probably want to change or tweak some of them, and that’s perfectly fine. Nothing in this book was written to be set in stone, but to be a functional game, whose components interact with each other and work together to bring an epic, heroic and fantastic tale to your gaming table. Because of this, make sure to think carefully about the changes you make: they might influence a greater number of elements than what you had anticipated. To make life easier, the book includes a variety of optional rules that can be used to safely customize your play experience.

    -

    Needless to say, whenever you want to change something, make sure to discuss it with your game group: you shouldn’t change anything unless everyone agrees.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    In order to play the game, you must first understand the concept of scenes.

    + +

    A scene is a segment of gameplay with a beginning and an end, focused around a specific character, obstacle, or conflict.

    + +

    Scenes are an easy way to split the game into manageable “time sections” and also act as a “stage”: characters who are not part of the current scene may not perform any kind of action to affect the story. It is the Game Master’s responsibility to declare the beginning and end of each scene, but the Players can ask the Game Master to set up specific scenes as well.

    + +

    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.

    + +

    Playing the Scene

    +

    Player Characters interact with what is present on the scene, and their actions and decisions push the story forward. The GM describes how the environment and Non-Player Characters react, and adds details to the scene as needed. Characters may also enter and/or leave the scene, provided the GM agrees.

    +

    Additionally, there will be times when the outcome of a character’s action needs to be determined by rolling dice (see Checks, on page 38).

    + +

    Once a scene has ended, another one will begin.

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    SCENES

    +

    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 ended.

    +

    That said, some rules and effects rely heavily on the scene structure: many spells, for instance, last "until the end of the scene". Pay attention to these!

    -

    In order to play the game, you must first understand the concept of scenes.

    +

    CONFLICT SCENES

    +

    When the heroes’ goals clash with those of another faction, things can get heated and the Game Master may declare the beginning of a conflict scene — be it a battle, a breakneck chase, or a tense audience with a king. During a conflict, the camera “zooms in” and the characters’ actions are tracked in greater detail.

    +

    You can find more about conflicts starting on page 58, but you should read the rules for Checks first — they’re on page 38.

    -

    A scene is a segment of gameplay with a beginning and an end, focused around a specific character, obstacle, or conflict.

    +

    INTERLUDE SCENES

    +

    There will be moments in the game where the story moves at a slower pace — a trek across the plains, the long descent down a cavern, a night of rest in town, or even a month spent waiting for an ally to recover. Instead of a moment-by-moment scene, we can describe these situations as a sequence of short frames that shows our heroes as they perform a variety of activities.

    +

    During an interlude scene (or "interlude"), each Player describes the general task their character performs, whether it's searching the village for someone or staying on the lookout for dangers in a dungeon. However, if a Player wants to have a detailed interaction with someone or something, you should switch back to a standard scene.

    +

    Interlude scenes are especially useful when characters want to pursue long-term objectives, such as Projects (see page 134), or to describe journeys (page 106).

    -

    Scenes are an easy way to split the game into manageable “time sections” and also act as a “stage”: characters who are not part of the current scene may not perform any kind of action to affect the story. It is the Game Master’s responsibility to declare the beginning and end of each scene, but the Players can ask the Game Master to set up specific scenes as well.

    +

    GAME MASTER SCENES

    +

    If the Game Master wants, they may play a scene in which no Player Character is present, and in which the Players are simply spectators, separate from their characters.

    +

    These Game Master scenes can be used to foreshadow an event, introduce a future threat or show a Villain in action: they work just like cut scenes in a video game, or pre-title scenes in many movies and TV show episodes.

    +

    Game Master scenes are an excellent way to add depth to antagonists and provide a sense of narrative tension.

    -

    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.

    - -

    Playing the Scene

    -

    Player Characters interact with what is present on the scene, and their actions and decisions push the story forward. The GM describes how the environment and Non-Player Characters react, and adds details to the scene as needed. Characters may also enter and/or leave the scene, provided the GM agrees.

    -

    Additionally, there will be times when the outcome of a character’s action needs to be determined by rolling dice (see Checks, on page 38).

    - -

    Once a scene has ended, another one will begin.

    \ No newline at end of file +

    Philip Forlenza (Order #)

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    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 ended.

    -

    That said, some rules and effects rely heavily on the scene structure: many spells, for instance, last "until the end of the scene". Pay attention to these!

    +

    Sessions and Campaigns

    +

    Now that you know how scenes work, let’s talk about sessions and campaigns.

    -

    CONFLICT SCENES

    -

    When the heroes’ goals clash with those of another faction, things can get heated and the Game Master may declare the beginning of a conflict scene — be it a battle, a breakneck chase, or a tense audience with a king. During a conflict, the camera “zooms in” and the characters’ actions are tracked in greater detail.

    -

    You can find more about conflicts starting on page 58, but you should read the rules for Checks first — they’re on page 38.

    +

    SESSIONS

    +

    When combined, multiple scenes form a session.

    +

    Simply put, a session starts when you sit down to play and ends once you decide to stop playing, usually because you have run out of time or think it is appropriate to “pause the story” — perhaps once you've reached a suitably dramatic cliffhanger!

    +

    A typical session of Fabula Ultima will last approximately four hours. The more people in your group, the longer each session tends to be.

    +

    The contents of a game session generally end up being close to what you would see in a single episode of a show: the protagonists explore a specific location or situation and alter it in some way; this, in turn, influences a larger overarching narrative — that of the campaign.

    -

    INTERLUDE SCENES

    -

    There will be moments in the game where the story moves at a slower pace — a trek across the plains, the long descent down a cavern, a night of rest in town, or even a month spent waiting for an ally to recover. Instead of a moment-by-moment scene, we can describe these situations as a sequence of short frames that shows our heroes as they perform a variety of activities.

    -

    During an interlude scene (or "interlude"), each Player describes the general task their character performs, whether it's searching the village for someone or staying on the lookout for dangers in a dungeon. However, if a Player wants to have a detailed interaction with someone or something, you should switch back to a standard scene.

    -

    Interlude scenes are especially useful when characters want to pursue long-term objectives, such as Projects (see page 134), or to describe journeys (page 106).

    - -

    GAME MASTER SCENES

    -

    If the Game Master wants, they may play a scene in which no Player Character is present, and in which the Players are simply spectators, separate from their characters.

    -

    These Game Master scenes can be used to foreshadow an event, introduce a future threat or show a Villain in action: they work just like cut scenes in a video game, or pre-title scenes in many movies and TV show episodes.

    -

    Game Master scenes are an excellent way to add depth to antagonists and provide a sense of narrative tension.

    +

    CAMPAIGNS

    +

    Just as multiple scenes form a session, multiple sessions form a campaign: this term indicates your group’s overarching story, the heroic tale you are all contributing to.

    +

    There is no set duration for a campaign: some people play a game for a couple of weeks, others commit to it for years. When you sit down to play Fabula Ultima for the first time, discuss how long you want to play — this will help you plan a schedule.

    +

    That being said, Fabula Ultima is designed to shine over the course of approximately twenty to fifty game sessions. If you want to speed things up, there are rules for faster advancement on page 230!

    Philip Forlenza (Order #)

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    Sessions and Campaigns

    -

    Now that you know how scenes work, let’s talk about sessions and campaigns.

    +

    IMPORTANT RULES

    -

    SESSIONS

    -

    When combined, multiple scenes form a session.

    -

    Simply put, a session starts when you sit down to play and ends once you decide to stop playing, usually because you have run out of time or think it is appropriate to “pause the story” — perhaps once you've reached a suitably dramatic cliffhanger!

    -

    A typical session of Fabula Ultima will last approximately four hours. The more people in your group, the longer each session tends to be.

    -

    The contents of a game session generally end up being close to what you would see in a single episode of a show: the protagonists explore a specific location or situation and alter it in some way; this, in turn, influences a larger overarching narrative — that of the campaign.

    +
    +

    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.

    +
    -

    CAMPAIGNS

    -

    Just as multiple scenes form a session, multiple sessions form a campaign: this term indicates your group’s overarching story, the heroic tale you are all contributing to.

    -

    There is no set duration for a campaign: some people play a game for a couple of weeks, others commit to it for years. When you sit down to play Fabula Ultima for the first time, discuss how long you want to play — this will help you plan a schedule.

    -

    That being said, Fabula Ultima is designed to shine over the course of approximately twenty to fifty game sessions. If you want to speed things up, there are rules for faster advancement on page 230!

    +
    +

    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.

    +
    -

    Philip Forlenza (Order #)

    \ No newline at end of file +
    +

    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.

    +
    + +
    +

    SPECIFIC BEATS GENERAL

    +

    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 Skill Dual Shieldbearer (page 197) allows you to do so!

    +
    + +
    +

    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 act first.

    + +
    + +

    Philip Forlenza (Order #)

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    IMPORTANT RULES

    +

    ANATOMY OF A CHARACTER

    +

    In Fabula Ultima, all information pertaining to your character is tracked on a character sheet. In order to better understand the rest of this chapter, it is important that you familiarize yourself with the terms described below.

    -
    -

    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.

    -
    +

    TRAITS

    +

    Each character has a total of three different Traits:

    + -
    -

    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.

    -
    +

    While playing, you will be able to invoke your character's Traits to improve your odds when rolling dice.

    -
    -

    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.

    -
    - -
    -

    SPECIFIC BEATS GENERAL

    -

    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 Skill Dual Shieldbearer (page 197) allows you to do so!

    -
    - -
    -

    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 act first.

    - -
    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Philip Forlenza (Order #)

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    ANATOMY OF A CHARACTER

    -

    In Fabula Ultima, all information pertaining to your character is tracked on a character sheet. In order to better understand the rest of this chapter, it is important that you familiarize yourself with the terms described below.

    - -

    TRAITS

    -

    Each character has a total of three different Traits:

    +

    BONDS

    +

    Heroes need connections to grow stronger — and Bonds represent exactly that.

    +

    A Bond can be tied to one to three emotions, each belonging to one of three different pairings, as shown on the character sheet:

    +

    For each emotion in a Bond, the strength of that Bond is increased by one (up to a strength of 3 if you have an emotion in each pairing).

    +

    Example: If you have a Bond of inferiority and loyalty towards the Sapphire Princess, the strength of that Bond is 2. If you later begin to also feel affection towards her, its strength becomes 3.

    +

    Just like Traits, Bonds can be invoked to improve your die rolls, and they can also boost your ability to help your companions.

    +

    A character may have up to six Bonds at the same time. More information on Bonds can be found on page 56.

    -

    While playing, you will be able to invoke your character's Traits to improve your odds when rolling dice.

    +

    FABULA POINTS

    +

    A powerful currency in the game that will come and go is Fabula Points. They can be earned by facing adversities, and spent to invoke Traits and Bonds, as well as fuel a variety of special effects. Players can also spend Fabula Points to introduce new elements into the story and shape the world around their characters!

    + +

    CHARACTER LEVEL

    +

    Your character's level is an abstract indication of their power. Characters generally begin their adventures at level 5 and can climb up to level 50.

    +

    On average, you should gain enough Experience Points to reach a new level at the end of every other session. The details of this system can be found on page 226.

    Philip Forlenza (Order #)

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    BONDS

    -

    Heroes need connections to grow stronger — and Bonds represent exactly that.

    -

    A Bond can be tied to one to three emotions, each belonging to one of three different pairings, as shown on the character sheet:

    +

    Classes and Skills

    +

    Whenever your character gains a level, that level will be put in one of the fifteen Classes available in this book: either to develop an already obtained Class or start a new one. Each Class grants a variety of Skills and abilities, and you choose which ones you want to invest in — even if you and another hero share some Class choices, your characters will end up being very different in how they are built and played.

    +

    Some Class Skills can be taken multiple times, becoming stronger or more flexible whenever you do so. When the same Skill is taken multiple times, its Skill Level — abbreviated as 【SL】 — will also increase. For instance, if you take the Guardian's Fortress Skill twice (see page 197), its 【SL】 will be equal to 2.

    +

    If you want to take a look at the various Classes and their Skills, you can find them starting on page 176.

    + +

    Attributes

    +

    A character's Attributes are an abstract representation of their training and aptitudes in four different fields:

    -

    For each emotion in a Bond, the strength of that Bond is increased by one (up to a strength of 3 if you have an emotion in each pairing).

    -

    Example: If you have a Bond of inferiority and loyalty towards the Sapphire Princess, the strength of that Bond is 2. If you later begin to also feel affection towards her, its strength becomes 3.

    -

    Just like Traits, Bonds can be invoked to improve your die rolls, and they can also boost your ability to help your companions.

    -

    A character may have up to six Bonds at the same time. More information on Bonds can be found on page 56.

    - -

    FABULA POINTS

    -

    A powerful currency in the game that will come and go is Fabula Points. They can be earned by facing adversities, and spent to invoke Traits and Bonds, as well as fuel a variety of special effects. Players can also spend Fabula Points to introduce new elements into the story and shape the world around their characters!

    - -

    CHARACTER LEVEL

    -

    Your character's level is an abstract indication of their power. Characters generally begin their adventures at level 5 and can climb up to level 50.

    -

    On average, you should gain enough Experience Points to reach a new level at the end of every other session. The details of this system can be found on page 226.

    - +

    Each Attribute is represented by a die size, ranging from a six-sided die (d6) up to a powerful twelve-sided die (d12). Some effects will temporarily alter your Attribute die sizes: this is known as the current Attribute die size, while your default size is called the base Attribute die size.

    Philip Forlenza (Order #)

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    Classes and Skills

    -

    Whenever your character gains a level, that level will be put in one of the fifteen Classes available in this book: either to develop an already obtained Class or start a new one. Each Class grants a variety of Skills and abilities, and you choose which ones you want to invest in — even if you and another hero share some Class choices, your characters will end up being very different in how they are built and played.

    -

    Some Class Skills can be taken multiple times, becoming stronger or more flexible whenever you do so. When the same Skill is taken multiple times, its Skill Level — abbreviated as 【SL】 — will also increase. For instance, if you take the Guardian's Fortress Skill twice (see page 197), its 【SL】 will be equal to 2.

    -

    If you want to take a look at the various Classes and their Skills, you can find them starting on page 176.

    - -

    Attributes

    -

    A character's Attributes are an abstract representation of their training and aptitudes in four different fields:

    +

    CHAPTER HIT POINTS, MIND POINTS, AND INVENTORY POINTS

    +

    These pools of points represent three different "resources" available to a character:

    -

    Each Attribute is represented by a die size, ranging from a six-sided die (d6) up to a powerful twelve-sided die (d12). Some effects will temporarily alter your Attribute die sizes: this is known as the current Attribute die size, while your default size is called the base Attribute die size.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file + +

    DEFENSE AND MAGIC DEFENSE

    +

    These two parameters are mostly used during conflicts:

    + + +

    INITIATIVE MODIFIER

    +

    This number indicates the character's ability to act quickly in a conflict scene.

    + +

    EQUIPMENT AND BACKPACK

    +

    A character can equip a variety of items: weapons, shields, armor, and even powerful magical accessories. Everything that cannot be equipped — such as a second suit of armor or a different shield — will be stored in your backpack.

    +

    Consumables and single-use items such as potions and elixirs, on the other hand, are represented by your Inventory Points.

    + +

    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.

    + + \ No newline at end of file diff --git a/books/core/38.html b/books/core/38.html index c66273d..4010caa 100644 --- a/books/core/38.html +++ b/books/core/38.html @@ -1,30 +1,21 @@ -

    CHAPTER HIT POINTS, MIND POINTS, AND INVENTORY POINTS

    -

    These pools of points represent three different "resources" available to a character:

    +

    CHECKS

    + +

    The word “Check” indicates a die roll based on a character’s core Attributes: Dexterity, Insight, Might, and Willpower.

    + +

    In general, characters must perform Checks:

    +

    Note that only the Game Master can ask for a Check; Players may never do so.

    -

    DEFENSE AND MAGIC DEFENSE

    -

    These two parameters are mostly used during conflicts:

    - +

    A Check is presented as a formula indicating which dice you have to roll and add up together. Checks always require you to roll exactly two dice.

    -

    INITIATIVE MODIFIER

    -

    This number indicates the character's ability to act quickly in a conflict scene.

    +

    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.

    -

    EQUIPMENT AND BACKPACK

    -

    A character can equip a variety of items: weapons, shields, armor, and even powerful magical accessories. Everything that cannot be equipped — such as a second suit of armor or a different shield — will be stored in your backpack.

    -

    Consumables and single-use items such as potions and elixirs, on the other hand, are represented by your Inventory Points.

    +

    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.

    -

    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.

    - - \ No newline at end of file +

    Philip Forlenza (Order #)

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    CHECKS

    +

    22 GAME RULES

    +

    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 guidelines can be of help:

    -

    The word “Check” indicates a die roll based on a character’s core Attributes: Dexterity, Insight, Might, and Willpower.

    - -

    In general, characters must perform Checks:

    -

    Note that only the Game Master can ask for a Check; Players may never do so.

    -

    A Check is presented as a formula indicating which dice you have to roll and add up together. Checks always require you to roll exactly two dice.

    - -

    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.

    - -

    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.

    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    WHEN TO PERFORM CHECKS

    +

    Philip Forlenza (Order #)

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    AUTHOR'S FOREWORD

    -

    When I started working on this game back in 2017, one thing was already clear: in a time when tabletop roleplaying games seemed dominated by dark fantasy titles and gruesome, gritty tales of opportunistic characters steeped in nihilism, I felt the need for a refreshing alternative.

    -

    I wanted a game of magical worlds and optimistic stories, steeped in the wondrous aesthetics of the Japanese console RPGs that had left me speechless as a kid. There was an element of nostalgia, sure, but it was accompanied by a conscious need to write a game based on cooperation, hope, and mutual trust; both in the stories it was meant to tell and in its very ruleset.

    -

    For its working title I went with "Fabula Ultima" — a Latin phrase that could be translated as "Last Fable" or "Ultimate Story". Needless to say, this was a tongue-in-cheek homage to what is probably the most notorious JRPG saga in existence, and also my first encounter with the genre (Final Fantasy X, back in 2001).

    -

    During the spring of 2018, my health condition unfortunately plummeted, and the name "Fabula Ultima" took on a bit of an ominous ring. Luckily enough, this ended up being nothing too serious — but that title had accompanied me during those harsh months, so I decided to keep it for the final release. After all, the whole point of the game was to tell tales of heroes who achieve their goals by overcoming suffering and defeats, in the hopes of a better future.

    -

    Working on Fabula Ultima was neither easy nor quick, but dozens of people have given me the strength I needed over the years: some by supporting me via Patreon, others simply sharing the game and playing with me. Testing and experimenting, again and again, in a process of constant rebuild and transformation that ultimately resulted in the book you are reading today; speaking of which, my collaboration with Need Games was crucial. While the release was announced during 2020, our conversations about the game date back to 2018: Nicola has followed the project since its beginning, and sometimes I really think he's enamoured with it more than I am!

    -

    Anyway, I've definitely written too much already: now it's time for the game to speak on its own. All I ask of you is to let yourselves be swept into a heroic adventure rife with hope, adversities, rebellion and emotions — and to do so by trusting those who play with you, and being passionate about their ideas.

    -

    To fight for what you believe in, because this is your story.

    +

    W ORIGIN AND INSPIRATIONS

    - \ No newline at end of file +

    Fabula Ultima is partially based on the tabletop roleplaying game Ryuutama, written by Atsuhiro Okada and published in English by Kotodama Heavy Industries.

    +

    This game was written and produced under advisement of, with permission from, and with the complete final approval of, both Kotodama Heavy Industries and Atsuhiro Okada. Please visit http://www.kotohi.com for more information about Ryuutama.

    +

    Among the countless sources of inspiration for this game I want to mention:

    + + + +

    SPECIAL ACKNOWLEDGMENTS

    + +

    My heartfelt thanks go to Davide Baravalle, Andrea Bergamelli, Gianluca Candiago, Gaia Cardinali, Francesco Castelli, Alberto Ceirano, Lorenzo Costamagna, Cryo, Nicola DeGobbis, Deshter, ExtantLily, Daniele Galliano, Alex Grisafi, Andy Kitkowski, Chiara Listo, Andrea Lucca, Chris MacLean, Luca Maiorani, Marco Munari, Enrico Orlandi, Alberto Orlandini, Marta Palvarini, Andrea Parducci, Domenico Politi, Claudio Pustorino, Alec Rezanka, Matt Sanchez, Aaron der Schaedel, Claudio Serena, Justin "Gyromitre" Solatges, Sara "Kurolily" Stefanizzi, Marco Tarasconi, Alena Tincher, Triex, Erica Viotto, and Giuseppe Vitale; to Lorenzo Magalotti, Moryo, Sascha Naderer e Catthy Trinh for gifting shape and color to Fabula Ultima;

    +

    to Lara "Phenrir Mailoki" Arlotta, Michele "Sabaku no Maiku" Poggi and Marcus "epicnamebro" Sanders for the excellent JRPG-themed content they tirelessly create;

    +

    to my parents; and to all those who made this impossible project possible through their support on Patreon!

    + +

    PLAYTESTERS

    + + \ No newline at end of file diff --git a/books/core/40.html b/books/core/40.html index 9cbbdb9..e1f20a8 100644 --- a/books/core/40.html +++ b/books/core/40.html @@ -1,16 +1,28 @@ -

    22 GAME RULES

    -

    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 guidelines can be of help:

    +

    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 instance, the modifier is “+2”. If the modifier is added, it is a bonus; if it is subtracted, it is a penalty.
    + +
    Result
    +
    The final number generated by the Check, after applying any modifiers.
    -

    WHEN TO PERFORM CHECKS

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +
    Difficulty Level (DL)
    +
    Abbreviated as DL. If the Result of the Check is greater than or equal to this number, then the action is successful. The Difficulty Level for a Check will either be set by the rules or chosen by the GM.
    + +
    High Roll (HR)
    +
    Abbreviated as HR. It indicates the higher of the two dice rolled in a Check and will be used to calculate various effects (typically weapon and spell damage). For instance, if you roll d8 + d10 for a Check and the dice show a 6 and a 9, the HR for the Check will be 9.
    +
    + +

    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. Another way to put this is that you will score a critical success on a double 6, double 7, double 8, double 9, double 10, double 11, or double 12. If you roll a critical success, your Check is automatically successful and you get to apply the effects of an opportunity (see next page).

    + +

    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).

    + +
    +

    Philip Forlenza (Order #)

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    CHECK TERMINOLOGY

    -

    The following terms are key to understanding how Checks work:

    +

    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 scene. The Game Master has final say on whether an opportunity is 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 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!

    +

    OPPORTUNITIES

    -
    Modifier
    -
    Any numerical value that is added to or subtracted from a Check. 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.
    - -
    Result
    -
    The final number generated by the Check, after applying any modifiers.
    +
    Advantage
    +
    The next Check performed by you or an ally will receive a +4 bonus.
    -
    Difficulty Level (DL)
    -
    Abbreviated as DL. If the Result of the Check is greater than or equal to this number, then the action is successful. The Difficulty Level for a Check will either be set by the rules or chosen by the GM.
    +
    Affliction
    +
    A creature suffers dazed, shaken, slow or weak (see page 94).
    -
    High Roll (HR)
    -
    Abbreviated as HR. It indicates the higher of the two dice rolled in a Check and will be used to calculate various effects (typically weapon and spell damage). For instance, if you roll d8 + d10 for a Check and the dice show a 6 and a 9, the HR for the Check will be 9.
    +
    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.
    -

    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. Another way to put this is that you will score a critical success on a double 6, double 7, double 8, double 9, double 10, double 11, or double 12. If you roll a critical success, your Check is automatically successful and you get to apply the effects of an opportunity (see next page).

    - -

    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).

    - -
    -

    Philip Forlenza (Order #)

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    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 scene. The Game Master has final say on whether an opportunity is 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 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!

    +

    Performing an Attribute Check

    +

    In its most basic form, a Check is known as an Attribute Check and works as follows:

    -

    OPPORTUNITIES

    -
    -
    Advantage
    -
    The next Check performed by you or an ally will receive a +4 bonus.
    +
      +
    1. The character rolls the appropriate dice, adding them together and applying any relevant modifiers coming from Skills, spells, equipment, or other effects.
      2. +
    2. The character performing the Check states which goal they want to accomplish; the Game Master may also want to further clarify what can be achieved by succeeding at the Check. Sometimes, the goal will be the successful application of a Skill.
      3. +
    3. The Game Master declares the Difficulty Level (DL) for the Check, using the table on the next page as a reference. Sometimes, the Difficulty Level will be indicated by a specific rule. The Game Master must also inform the Player about what the consequences of a failure will be, making sure everyone understands what is at stake.
      4. +
    4. The Player controlling the character describes their approach to the situation, which is to say, how they intend to pursue their goal. Based on that approach, the Game Master chooses which Attributes must be rolled, such as {DEX + MIG} or {WLP + WLP}. Sometimes, the appropriate Attributes will be indicated by a specific rule.
      5. +
    5. If the character rolled a fumble or a critical success, apply the corresponding effects (including the automatic failure or success). Otherwise...
      6. +
    6. ...if the Result of the Check is greater than or equal to the Difficulty Level, the character succeeds. If it is lower, the character fails.
      7. +
    7. Finally, the outcome of the Check changes the current situation: either the character achieved their goal, or things took a turn for the worse.
      8. +
    -
    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.
    -
    - - \ No newline at end of file +

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

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    Performing an Attribute Check

    -

    In its most basic form, a Check is known as an Attribute Check and works as follows:

    +

    22 GAME RULES

    +

    DIFFICULTY LEVELS

    -
      -
    1. The character rolls the appropriate dice, adding them together and applying any relevant modifiers coming from Skills, spells, equipment, or other effects.
      2. -
    2. The character performing the Check states which goal they want to accomplish; the Game Master may also want to further clarify what can be achieved by succeeding at the Check. Sometimes, the goal will be the successful application of a Skill.
      3. -
    3. The Game Master declares the Difficulty Level (DL) for the Check, using the table on the next page as a reference. Sometimes, the Difficulty Level will be indicated by a specific rule. The Game Master must also inform the Player about what the consequences of a failure will be, making sure everyone understands what is at stake.
      4. -
    4. The Player controlling the character describes their approach to the situation, which is to say, how they intend to pursue their goal. Based on that approach, the Game Master chooses which Attributes must be rolled, such as {DEX + MIG} or {WLP + WLP}. Sometimes, the appropriate Attributes will be indicated by a specific rule.
      5. -
    5. If the character rolled a fumble or a critical success, apply the corresponding effects (including the automatic failure or success). Otherwise...
      6. -
    6. ...if the Result of the Check is greater than or equal to the Difficulty Level, the character succeeds. If it is lower, the character fails.
      7. -
    7. Finally, the outcome of the Check changes the current situation: either the character achieved their goal, or things took a turn for the worse.
      8. -
    +

    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:

    -

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

    \ No newline at end of file + + +

    In summary, Difficulty is an abstraction of how the current situation is opposing or hindering the character. The true question you should ask yourself when determining the Difficulty Level for a check, as indicated by the table below, is “Who is likely to accomplish this?”

    + +

    DETERMINING THE DIFFICULTY LEVEL FOR A CHECK

    + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
    DLAction DifficultyWho is likely to accomplish this?
    7EasyAnyone with a bit of training or natural talent.
    10NormalA competent person, or a very talented one.
    13HardAn expert or a prodigy.
    16Very HardSomeone who is among the very best in that field.
    + +

    GO WITH TEN

    + +

    If you are the Game Master and find yourself stumped when choosing an appropriate Difficulty Level for a Check, use 10: it is neither too low nor too high, and it's easy to remember.

    + +

    Philip Forlenza (Order #)

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    22 GAME RULES

    -

    DIFFICULTY LEVELS

    - -

    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:

    - - - -

    In summary, Difficulty is an abstraction of how the current situation is opposing or hindering the character. The true question you should ask yourself when determining the Difficulty Level for a check, as indicated by the table below, is “Who is likely to accomplish this?”

    - -

    DETERMINING THE DIFFICULTY LEVEL FOR A CHECK

    - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
    DLAction DifficultyWho is likely to accomplish this?
    7EasyAnyone with a bit of training or natural talent.
    10NormalA competent person, or a very talented one.
    13HardAn expert or a prodigy.
    16Very HardSomeone who is among the very best in that field.
    - -

    GO WITH TEN

    - -

    If you are the Game Master and find yourself stumped when choosing an appropriate Difficulty Level for a Check, use 10: it is neither too low nor too high, and it's easy to remember.

    - +

    W CHECKS IN PLAY

    +

    Now that you know the mechanical process behind a Check, let's take a look at how it will work in play.

    +

    Our heroes have been allowed before the High Master of Relde, a village whose aid would prove invaluable in the struggle against Empress Almara's forces. Since Relde's people are well-versed in philosophy and magic, everyone agrees this negotiation should be handled by Brigid, the group's scholar.

    +

    Brigid's Player, Emil, describes her goal and approach: "Brigid doesn't like to beat around the bush, so... I'll simply stand before the High Master and explain that Almara's army is getting closer by the day. If the people of Relde forbid them from crossing the mountain pass, the army will be forced to take a longer route and we'll have more time to prepare for the battle and evacuate the locals."

    +

    The Game Master nods. "Okay. Is there anything else you think you can use to your advantage? This won't be easy, you're asking him to endanger his own people."

    +

    "I... not really. But I'll add this: if he refuses, we still plan on fighting the Empire, tooth and nail. Which means his village and the pass will probably become a base of operations for the Imperial forces, sooner or later."

    +

    "I see. I was thinking Insight + Willpower for the Check, but you are almost threatening him... so Willpower + Willpower seems better."

    +

    "Oh, I'm great at Willpower! So... thanks, I guess?"

    +

    "Yours is a bit of a risky play. If the Check fails, you'll probably be kicked out of Relde. Still, Reldeans are keepers to many secrets and wouldn't want them to fall into Imperial hands... because of that, the Difficulty Level is just 10."

    +

    Brigid has a Willpower of d10, so she rolls 2d10 and adds them 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 the Result of their Check; however, taking a step back and asking for input can make for great roleplay moments.

    +

    "That doesn't look good," the Game Master raises their eyebrows. "How about you tell me where you messed up?"

    +

    "You know what? I think the problem is there's some bad blood between Relde's 'faculty' and my own. The High Master probably doesn't like that I'm implying his people wouldn't stand a chance against the empire..."

    +

    "Oh, I like that a lot! But he doesn't. You're quickly escorted outside the village."

    Philip Forlenza (Order #)

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    W CHECKS IN PLAY

    -

    Now that you know the mechanical process behind a Check, let's take a look at how it will work in play.

    -

    Our heroes have been allowed before the High Master of Relde, a village whose aid would prove invaluable in the struggle against Empress Almara's forces. Since Relde's people are well-versed in philosophy and magic, everyone agrees this negotiation should be handled by Brigid, the group's scholar.

    -

    Brigid's Player, Emil, describes her goal and approach: "Brigid doesn't like to beat around the bush, so... I'll simply stand before the High Master and explain that Almara's army is getting closer by the day. If the people of Relde forbid them from crossing the mountain pass, the army will be forced to take a longer route and we'll have more time to prepare for the battle and evacuate the locals."

    -

    The Game Master nods. "Okay. Is there anything else you think you can use to your advantage? This won't be easy, you're asking him to endanger his own people."

    -

    "I... not really. But I'll add this: if he refuses, we still plan on fighting the Empire, tooth and nail. Which means his village and the pass will probably become a base of operations for the Imperial forces, sooner or later."

    -

    "I see. I was thinking Insight + Willpower for the Check, but you are almost threatening him... so Willpower + Willpower seems better."

    -

    "Oh, I'm great at Willpower! So... thanks, I guess?"

    -

    "Yours is a bit of a risky play. If the Check fails, you'll probably be kicked out of Relde. Still, Reldeans are keepers to many secrets and wouldn't want them to fall into Imperial hands... because of that, the Difficulty Level is just 10."

    -

    Brigid has a Willpower of d10, so she rolls 2d10 and adds them 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 the Result of their Check; however, taking a step back and asking for input can make for great roleplay moments.

    -

    "That doesn't look good," the Game Master raises their eyebrows. "How about you tell me where you messed up?"

    -

    "You know what? I think the problem is there's some bad blood between Relde's 'faculty' and my own. The High Master probably doesn't like that I'm implying his people wouldn't stand a chance against the empire..."

    -

    "Oh, I like that a lot! But he doesn't. You're quickly escorted outside the village."

    +

    SUCCESS AND FAILURE

    +

    Keep the following in mind when you describe the impact of a Check:

    + +

    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

    Philip Forlenza (Order #)

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    SUCCESS AND FAILURE

    -

    Keep the following in mind when you describe the impact of a Check:

    - -

    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.

    +

    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.

    +

    For instance, a character might have Shadow Knight as their Identity, Gaonia Empire as their Origin, and Guilt as their Theme.

    -

    OPTIONAL: SUCCESS AT A COST

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    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 them again, replacing the old roll with the new one. They may do so any number of times as part of the same invocation, but each new reroll (of one or both 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 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 perform a 【DEX + MIG】 Check with a Difficulty Level of 13: given that Ricard only has a d6 in both Attributes, the situation is pretty desperate.

    +

    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 still use my Theme!”

    +

    “Tell me more!” Nadia inquires.

    +

    “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!”

    +

    “Okay! Makes sense. I imagine you're only going to reroll that 3, right?”

    +

    “Yeah, I'm hoping for a critical success here... oh wow! I just rolled another 6!!!”

    +

    "Which means you succeed automatically...! Care to describe the scene for us?"

    +

    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!... 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 again, you as a Player have final say on how and when you spend your Fabula Points.

    + + \ No newline at end of file diff --git a/books/core/47.html b/books/core/47.html index 46c92bc..af7e379 100644 --- a/books/core/47.html +++ b/books/core/47.html @@ -1,26 +1,36 @@ -

    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.

    -

    For instance, a character might have Shadow Knight as their Identity, Gaonia Empire as their Origin, and Guilt as their Theme.

    +

    INVOKING A BOND TO IMPROVE YOUR CHECK

    -

    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 them again, replacing the old roll with the new one. They may do so any number of times as part of the same invocation, but each new reroll (of one or both dice) will cost another Fabula Point.

    -

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

    +

    Just like how a character's Traits can be used to reroll dice, Bonds — which is to say, the feelings they harbor towards others — allows them to increase the Result of Checks.

    -

    Example

    -

    Scenario: 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 perform a 【DEX + MIG】 Check with a Difficulty Level of 13: given that Ricard only has a d6 in both Attributes, the situation is pretty desperate.

    -

    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 still use my Theme!”

    -

    “Tell me more!” Nadia inquires.

    -

    “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!”

    -

    “Okay! Makes sense. I imagine you're only going to reroll that 3, right?”

    -

    “Yeah, I'm hoping for a critical success here... oh wow! I just rolled another 6!!!”

    -

    "Which means you succeed automatically...! Care to describe the scene for us?"

    -

    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!... Uhm, I mean, airships do have a landing gear, right?”

    +

    After performing a Check, a Player Character may spend 1 Fabula Point and invoke one of their Bonds to add the strength of that Bond to the Result. For more information about Bonds and their strength, see page 56.

    -

    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 again, you as a Player have final say on how and when you spend your Fabula Points.

    +

    This can only be done once per Check.

    - \ No newline at end of file +

    Back to the previous example: Let's say Ricard invokes his Theme to reroll, but the dice come up a 6 and a 5; unfortunately, this isn't enough. Mark has 1 Fabula Point left: he could spend it to reroll the 5 and hope for a critical success, but there's a safer alternative: he decides to invoke his Bond with Sorcerer Antigles himself. This is a Bond of inferiority (because Antigles is a stronger mage) and hatred (because he devastated Ricard's village when he stole the Dragonstone).

    + +

    "I think I simply cannot allow him to take anyone else away from me. It won't be like the last time... I will be there and I will stop him, no matter the cost."

    + +

    Nadia nods. "That's a strength 2 Bond, which means you get to 13 and succeed!"

    + +

    A Bond should only be invoked when it makes sense — just like Traits, you shouldn't invoke them if it feels forced.

    + +

    "Scared, Princess? I'm glad. Only when properly scared can we show some good measure of courage!"

    + +

    Optional Rule: Invoking to Fail

    + +

    If you use this optional rule, Players may invoke their character's Bonds and Traits to intentionally fail Checks and earn Fabula Points.

    + + + +

    Restrictions:

    + + +

    OPTIONAL: INVOKING TO FAIL

    +

    Philip Forlenza (Order #)

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    INVOKING A BOND TO IMPROVE YOUR CHECK

    +

    ACCURACY CHECKS

    +

    This type of Check works like a normal Attribute Check, but it is performed 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.

    +

    When performing an Accuracy Check, the High Roll (HR) will be used to determine how much damage you deal.

    +

    You can find more about attacks on page 68 and weapons on page 128.

    -

    Just like how a character's Traits can be used to reroll dice, Bonds — which is to say, the feelings they harbor towards others — allows them to increase the Result of Checks.

    +

    MAGIC CHECKS

    +

    This type of Check works just like a normal Attribute Check too, but it is used when a character wants to cast an offensive spell or perform a Ritual. The Attributes will depend on the kind of magic used by the character.

    +

    When performing a Magic Check, the High Roll (HR) will sometimes be used to determine the effectiveness of the spell cast.

    +

    You can find more about magic starting on page 112.

    -

    After performing a Check, a Player Character may spend 1 Fabula Point and invoke one of their Bonds to add the strength of that Bond to the Result. For more information about Bonds and their strength, see page 56.

    +

    OPPOSED CHECKS

    +

    This special kind of Attribute Check is the fastest way to determine the outcome of a competition between characters, such as a race, a chase or a debate.

    +

    Each character taking part in the Opposed Check performs the same Attribute Check, with no Difficulty Level: whoever gets the highest Result is the winner. In the case of a draw, the characters that rolled the same Result simply repeat the Check until one of them emerges victorious.

    +

    During Opposed Checks, fumbles are the lowest possible Result and critical successes are the highest possible Result. They generate opportunities as normal; if two or more characters roll a fumble or a critical success, these count as a draw and the Checks should be repeated.

    -

    This can only be done once per Check.

    +

    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 dice hit the table: Montblanc gets 8 and 8, while the dragon rolls 9 and 12. Despite the dragon rolling a total of 21, Montblanc’s 16 is a critical success: against all odds, the brave knight manages to escape the monster’s deadly claws!

    -

    Back to the previous example: Let's say Ricard invokes his Theme to reroll, but the dice come up a 6 and a 5; unfortunately, this isn't enough. Mark has 1 Fabula Point left: he could spend it to reroll the 5 and hope for a critical success, but there's a safer alternative: he decides to invoke his Bond with Sorcerer Antigles himself. This is a Bond of inferiority (because Antigles is a stronger mage) and hatred (because he devastated Ricard's village when he stole the Dragonstone).

    - -

    "I think I simply cannot allow him to take anyone else away from me. It won't be like the last time... I will be there and I will stop him, no matter the cost."

    - -

    Nadia nods. "That's a strength 2 Bond, which means you get to 13 and succeed!"

    - -

    A Bond should only be invoked when it makes sense — just like Traits, you shouldn't invoke them if it feels forced.

    - -

    "Scared, Princess? I'm glad. Only when properly scared can we show some good measure of courage!"

    - -

    Optional Rule: Invoking to Fail

    - -

    If you use this optional rule, Players may invoke their character's Bonds and Traits to intentionally fail Checks and earn Fabula Points.

    - - - -

    Restrictions:

    - - -

    OPTIONAL: INVOKING TO FAIL

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Philip Forlenza (Order #)

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    ACCURACY CHECKS

    -

    This type of Check works like a normal Attribute Check, but it is performed 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.

    -

    When performing an Accuracy Check, the High Roll (HR) will be used to determine how much damage you deal.

    -

    You can find more about attacks on page 68 and weapons on page 128.

    +

    OPEN CHECKS

    -

    MAGIC CHECKS

    -

    This type of Check works just like a normal Attribute Check too, but it is used when a character wants to cast an offensive spell or perform a Ritual. The Attributes will depend on the kind of magic used by the character.

    -

    When performing a Magic Check, the High Roll (HR) will sometimes be used to determine the effectiveness of the spell cast.

    -

    You can find more about magic starting on page 112.

    +

    This particular kind of Attribute Check has no Difficulty Level: instead, the Result tells us how well the character performed. These Checks are often used when researching information, examining an area or recalling important lore.

    -

    OPPOSED CHECKS

    -

    This special kind of Attribute Check is the fastest way to determine the outcome of a competition between characters, such as a race, a chase or a debate.

    -

    Each character taking part in the Opposed Check performs the same Attribute Check, with no Difficulty Level: whoever gets the highest Result is the winner. In the case of a draw, the characters that rolled the same Result simply repeat the Check until one of them emerges victorious.

    -

    During Opposed Checks, fumbles are the lowest possible Result and critical successes are the highest possible Result. They generate opportunities as normal; if two or more characters roll a fumble or a critical success, these count as a draw and the Checks should be repeated.

    +

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

    + -

    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 dice hit the table: Montblanc gets 8 and 8, while the dragon rolls 9 and 12. Despite the dragon rolling a total of 21, Montblanc’s 16 is a critical success: against all odds, the brave knight manages to escape the monster’s deadly claws!

    +

    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.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    SITUATIONAL MODIFIERS

    +

    If a character performs a Check while in a strongly advantageous or disadvantageous position, the Game Master may impose a +2 bonus or -2 penalty to the Result. For example: Princess Camilla is attempting to persuade the Bandit Queen Remora to stop raiding the nearby village of Karsa; however, Remora's lieutenant T oris is arguing against her. This is an Opposed Check, but Camilla also offers Remora a single favor on behalf of her family.

    +

    Because of this, the Game Master grants Camilla a +2 bonus to her Check.

    + +

    Most of the time you will not need to use situational modifiers — adjusting the Difficulty Level will be more than enough. However, they can prove useful when said Difficulty is established by the rules (such as with an Accuracy Check) or during Opposed Checks (as shown by the example above).

    + +

    If you are the Game Master, use situational modifiers to reward approaches that take advantage of the opposition's Traits, personality and objectives.

    + +

    Philip Forlenza (Order #)

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    W ORIGIN AND INSPIRATIONS

    - -

    Fabula Ultima is partially based on the tabletop roleplaying game Ryuutama, written by Atsuhiro Okada and published in English by Kotodama Heavy Industries.

    -

    This game was written and produced under advisement of, with permission from, and with the complete final approval of, both Kotodama Heavy Industries and Atsuhiro Okada. Please visit http://www.kotohi.com for more information about Ryuutama.

    -

    Among the countless sources of inspiration for this game I want to mention:

    - - - -

    SPECIAL ACKNOWLEDGMENTS

    - -

    My heartfelt thanks go to Davide Baravalle, Andrea Bergamelli, Gianluca Candiago, Gaia Cardinali, Francesco Castelli, Alberto Ceirano, Lorenzo Costamagna, Cryo, Nicola DeGobbis, Deshter, ExtantLily, Daniele Galliano, Alex Grisafi, Andy Kitkowski, Chiara Listo, Andrea Lucca, Chris MacLean, Luca Maiorani, Marco Munari, Enrico Orlandi, Alberto Orlandini, Marta Palvarini, Andrea Parducci, Domenico Politi, Claudio Pustorino, Alec Rezanka, Matt Sanchez, Aaron der Schaedel, Claudio Serena, Justin "Gyromitre" Solatges, Sara "Kurolily" Stefanizzi, Marco Tarasconi, Alena Tincher, Triex, Erica Viotto, and Giuseppe Vitale; to Lorenzo Magalotti, Moryo, Sascha Naderer e Catthy Trinh for gifting shape and color to Fabula Ultima;

    -

    to Lara "Phenrir Mailoki" Arlotta, Michele "Sabaku no Maiku" Poggi and Marcus "epicnamebro" Sanders for the excellent JRPG-themed content they tirelessly create;

    -

    to my parents; and to all those who made this impossible project possible through their support on Patreon!

    - -

    PLAYTESTERS

    - - - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    PUBLISHER'S FOREWORD

    +

    I grew up with JRPGs, I learned a lot and I shared powerful emotions and incredible adventures: they're my greatest passion, second only to my love for tabletop RPGs.

    +

    I felt hatred for Kefka and his laughter; I screamed and cried during "that scene" with the kind Aerith and the brilliant Sephiroth; I felt the smell of gasoline and clanging of metal as I piloted Fei Fong Wong's mech and the Monado gripped in my hands with each of Shulk's strikes; I jumped through time together with Crono, Marie, Lucca and Robo; I was among the Stars of Destiny in Tir's Liberation Army; I smelled the gunpowder from Squall's gunblade; I was moved by Vivi's existential crisis and I fell in love with Tifa.

    +

    My whole generation fell in love with Tifa.

    +

    Whenever I finished a JRPG, I felt an emptiness inside. I wanted the plot to continue, I wanted the protagonists I loved and villains I hated to stay with me: every single time, I wished again and again for a tabletop RPG that would allow me to keep those stories and emotions alive.

    +

    I tried many systems; I hacked and pasted together rules from different games, reskinned like there was no tomorrow, created house rules, but it never worked.

    +

    I wanted an accurate way to play the JRPGs I loved, to create and experience new stories in the style of my favourite genre with the people at my table, but I could not find anything that truly satisfied me.

    +

    Now, when I finish a JRPG and feel that familiar emptiness, I can simply schedule a session of Fabula Ultima and fill it whenever I want.

    +

    I am very happy that Fabula Ultima is the first roleplaying game entirely produced by Need Games. I still remember when Emanuele told me how they wished to write a tabletop RPG based on JRPGs: I said "I know we're small today, but I'd love for this Fabula Ultima to be our first original game!".

    +

    And so it was.

    +

    To quote the greatest villain in the history of JRPGs (yes, of course I mean Kefka Palazzo): "Son of a submariner!!!" You're still reading the foreword! Come on! Go ahead, an airship awaits you to set sail for endless adventures...

    +

    Nicola Degobbis

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    OPEN CHECKS

    - -

    This particular kind of Attribute Check has no Difficulty Level: instead, the Result tells us how well the character performed. These Checks are often used when researching information, examining an area or recalling important lore.

    - -

    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.

    - -

    SITUATIONAL MODIFIERS

    -

    If a character performs a Check while in a strongly advantageous or disadvantageous position, the Game Master may impose a +2 bonus or -2 penalty to the Result. For example: Princess Camilla is attempting to persuade the Bandit Queen Remora to stop raiding the nearby village of Karsa; however, Remora's lieutenant T oris is arguing against her. This is an Opposed Check, but Camilla also offers Remora a single favor on behalf of her family.

    -

    Because of this, the Game Master grants Camilla a +2 bonus to her Check.

    - -

    Most of the time you will not need to use situational modifiers — adjusting the Difficulty Level will be more than enough. However, they can prove useful when said Difficulty is established by the rules (such as with an Accuracy Check) or during Opposed Checks (as shown by the example above).

    - -

    If you are the Game Master, use situational modifiers to reward approaches that take advantage of the opposition's Traits, personality and objectives.

    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    GROUP CHECKS

    +

    Characters can choose to cooperate in order to increase their chance of success within specific situations.

    +

    Group Checks are performed as follows:

    +
      +
    1. The characters nominate a leader: this is the character who will perform the final Check and determine the action’s outcome. Everyone else acts as a supporting character.
      2. +
    2. Each supporting character performs a Support Check identical to the one the leader will perform, but with a fixed Difficulty Level of 10. Fumbles and critical successes rolled during Support Checks generate no opportunities, but still count as automatic failures and successes.
      3. +
    3. Each supporting character that successfully performed their Check will grant a +1 bonus to the leader's Check.
      4. +
    4. 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.
      5. +
    5. 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.
      6. +
    +

    Group Checks are extremely useful when two or more characters are performing the same operation together; the Game Master always has final say on whether a Group Check is possible or should be performed.

    +

    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.

    +

    Philip Forlenza (Order #)

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    GROUP CHECKS

    -

    Characters can choose to cooperate in order to increase their chance of success within specific situations.

    -

    Group Checks are performed as follows:

    -
      -
    1. The characters nominate a leader: this is the character who will perform the final Check and determine the action’s outcome. Everyone else acts as a supporting character.
      2. -
    2. Each supporting character performs a Support Check identical to the one the leader will perform, but with a fixed Difficulty Level of 10. Fumbles and critical successes rolled during Support Checks generate no opportunities, but still count as automatic failures and successes.
      3. -
    3. Each supporting character that successfully performed their Check will grant a +1 bonus to the leader's Check.
      4. -
    4. 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.
      5. -
    5. 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.
      6. -
    -

    Group Checks are extremely useful when two or more characters are performing the same operation together; the Game Master always has final say on whether a Group Check is possible or should be performed.

    -

    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.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    22GAME RULES

    +

    CHAPTER CHAPTER

    + +

    FREQUENTLY USED CHECKS

    +

    The table below contains a list of circumstances that might require a Check and the typical Attributes that would be involved.

    + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
    SituationSuggested Check
    Moving silently, hiding and acting unnoticed.【DEX + DEX】
    Avoiding a trap or finding a way to flee a collapsing building.【DEX + INS】
    Anticipating someone’s movements and catching them by surprise.【DEX + INS】
    Completing a work of craftsmanship or repairing something.【DEX + INS】
    Moving gracefully to earn someone’s attention.【DEX + WLP】
    Examining or investigating someone or something.【INS + INS】
    Remembering useful information about something.【INS + INS】
    Getting information from someone during a conversation.【INS + WLP】
    Persuading someone through authority or diplomacy.【INS + WLP】
    Hard work, such as lifting a portcullis or pushing a statue.【MIG + MIG】
    Resisting intense pain or fatigue.【MIG + WLP】
    Intimidating someone with your strength.【MIG + WLP】
    + +

    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

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    22GAME RULES

    -

    CHAPTER CHAPTER

    +

    CLOCKS

    +

    Also called timers, counters, trackers, or countdowns: Clocks are a useful tool for tracking an evolving situation, an approaching danger, or the characters' progress with a certain task.

    +

    Clocks are designed to handle complex activities that cannot be resolved with a single Check and are a great tool for Game Masters to manage pacing within a scene.

    +

    A Clock is a circle split into a number of sections, each of them representing a step towards an objective being completed or an event taking place:

    -

    FREQUENTLY USED CHECKS

    -

    The table below contains a list of circumstances that might require a Check and the typical Attributes that would be involved.

    + - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
    SituationSuggested Check
    Moving silently, hiding and acting unnoticed.【DEX + DEX】
    Avoiding a trap or finding a way to flee a collapsing building.【DEX + INS】
    Anticipating someone’s movements and catching them by surprise.【DEX + INS】
    Completing a work of craftsmanship or repairing something.【DEX + INS】
    Moving gracefully to earn someone’s attention.【DEX + WLP】
    Examining or investigating someone or something.【INS + INS】
    Remembering useful information about something.【INS + INS】
    Getting information from someone during a conversation.【INS + WLP】
    Persuading someone through authority or diplomacy.【INS + WLP】
    Hard work, such as lifting a portcullis or pushing a statue.【MIG + MIG】
    Resisting intense pain or fatigue.【MIG + WLP】
    Intimidating someone with your strength.【MIG + WLP】
    +

    A Clock normally features four to twelve sections, depending on its complexity. Clocks are generally created and managed by the Game Master, but 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 above: characters could accomplish that by striking the pillars, pulverizing them with magic, or even throwing an enemy against them!

    -

    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

    -Philip Forlenza (Order #) \ No newline at end of file +

    Philip Forlenza (Order #)

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    CLOCKS

    -

    Also called timers, counters, trackers, or countdowns: Clocks are a useful tool for tracking an evolving situation, an approaching danger, or the characters' progress with a certain task.

    -

    Clocks are designed to handle complex activities that cannot be resolved with a single Check and are a great tool for Game Masters to manage pacing within a scene.

    -

    A Clock is a circle split into a number of sections, each of them representing a step towards an objective being completed or an event taking place:

    - +

    22GAME RULES

    +

    CHAPTER ADVANCING A CLOCK

    +

    In general, Clocks advance through Checks:

    - -

    A Clock normally features four to twelve sections, depending on its complexity. Clocks are generally created and managed by the Game Master, but 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 above: characters could accomplish that by striking the pillars, pulverizing them with magic, or even throwing an enemy against them!

    - +

    Vice versa, Clocks that represent a threat gradually fill as characters fail Checks, especially if they fail them by a wide margin:

    + +

    Example: While sneaking her way through the monster-infested corridors of an ancient castle, Valea rolls a 6 on a Check with Difficulty 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.

    +

    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.

    +

    CLOCKS AND THE STORY

    Philip Forlenza (Order #)

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    22GAME RULES

    -

    CHAPTER ADVANCING A CLOCK

    -

    In general, Clocks advance through Checks:

    - -

    Vice versa, Clocks that represent a threat gradually fill as characters fail Checks, especially if they fail them by a wide margin:

    - -

    Example: While sneaking her way through the monster-infested corridors of an ancient castle, Valea rolls a 6 on a Check with Difficulty 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.

    -

    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.

    -

    CLOCKS AND THE STORY

    +

    A THRESHOLD FOR FAILURE

    +

    If you use a Clock to represent a complex series of operations to achieve a goal, you must also establish when that goal will be irredeemably lost: does it take a single failed Check, or is there a parallel "failure" Clock that fills whenever a character rolls poorly? The Game Master determines this on a case-by-case basis, but must make sure to inform the Players as they approach the challenge.

    + +

    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 0 — the method is identical to that of filling a Clock. When a Clock reaches 0, the Game Master may have the threat removed or simply keep it lurking in the shadows.

    + +

    Example: As the heroes fight the powerful sorceress Chrona, her ritual to open a rift to the Demon Realm draws to its conclusion. The Player Characters must balance their actions between defeating the sorceress and slowing down the progress of the ritual, a ten-sections Clock that would end the scene in an automatic defeat.

    +

    Philip Forlenza (Order #)

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    A THRESHOLD FOR FAILURE

    -

    If you use a Clock to represent a complex series of operations to achieve a goal, you must also establish when that goal will be irredeemably lost: does it take a single failed Check, or is there a parallel "failure" Clock that fills whenever a character rolls poorly? The Game Master determines this on a case-by-case basis, but must make sure to inform the Players as they approach the challenge.

    +

    GAME RULES

    -

    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 0 — the method is identical to that of filling a Clock. When a Clock reaches 0, the Game Master may have the threat removed or simply keep it lurking in the shadows.

    +
    +

    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.

    +
    -

    Example: As the heroes fight the powerful sorceress Chrona, her ritual to open a rift to the Demon Realm draws to its conclusion. The Player Characters must balance their actions between defeating the sorceress and slowing down the progress of the ritual, a ten-sections Clock that would end the scene in an automatic defeat.

    +
    +

    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.

    +
    -

    Philip Forlenza (Order #)

    \ No newline at end of file +
    +

    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.

    +
    + + \ No newline at end of file diff --git a/books/core/56.html b/books/core/56.html index 0574820..d429a2b 100644 --- a/books/core/56.html +++ b/books/core/56.html @@ -1,27 +1,32 @@ -

    GAME RULES

    +

    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 Checks (page 50), but some Class Skills and even equipment effects will also benefit from Bonds.

    -
    -

    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.

    -
    +

    EMOTIONS AND STRENGTH

    +

    Each Bond may feature up to three emotions from the following six:

    -
    -

    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.

    -
    +

    The six emotions are combined into three pairings, and the same Bond may only be connected to one emotion from each pairing:

    + - \ No newline at end of file +

    For each emotion in a Bond, the strength of that Bond is increased by one (up to a strength of 3 if you have an emotion in each pairing).

    +

    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.

    + +

    BONDS

    +
    +

    Philip Forlenza

    +

    (Order #)

    +
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    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 Checks (page 50), but some Class Skills and even equipment effects will also benefit from Bonds.

    +
    +

    GAME RULES

    -

    EMOTIONS AND STRENGTH

    -

    Each Bond may feature up to three emotions from the following six:

    +

    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.

    -

    The six emotions are combined into three pairings, and the same Bond may only be connected to one emotion from each pairing:

    - +

    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.

    -

    For each emotion in a Bond, the strength of that Bond is increased by one (up to a strength of 3 if you have an emotion in each pairing).

    -

    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.

    +

    BONDS ARE STRONGER THAN DEATH

    + -

    BONDS

    -
    -

    Philip Forlenza

    -

    (Order #)

    -
    \ No newline at end of file +

    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

    +

    Philip Forlenza (Order #)

    +
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    -

    GAME RULES

    +

    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.

    +

    A conflict is a series of back-and-forth exchanges at a rapid pace. You have no doubt encountered something like this in movies and TV series: time slows down and the camera zooms in on every single action.

    -

    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.

    +

    What might make for good conflicts:

    + -

    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.

    +

    USING CONFLICTS

    +

    As with any other scene, the Game Master is responsible for declaring the beginning and end of conflicts. The ability to properly time conflicts is something that can only be developed by playing the game. Draw inspiration from how videogames, movies, and comics handle pacing — consuming a variety of different media can really help keep things fresh!

    +

    Something you should never forget is that you are not bound to use conflict rules for every battle, chase or debate — instead, you should save them for truly dramatic situations. Checks and Clocks will often be more than enough to resolve a scene, without the added complexity of conflict rules.

    +

    In general, aim for about one conflict scene every two hours of play.

    -

    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.

    +

    THE STRUCTURE OF A CONFLICT

    +

    The flowchart on the right illustrates all the main steps of a conflict scene. Each step will be explained in greater detail over the course of this section.

    -

    BONDS ARE STRONGER THAN DEATH

    - - -

    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

    -

    Philip Forlenza (Order #)

    -
    \ No newline at end of file +

    Philip Forlenza (Order #)

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    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.

    -

    A conflict is a series of back-and-forth exchanges at a rapid pace. You have no doubt encountered something like this in movies and TV series: time slows down and the camera zooms in on every single action.

    +

    GAME RULES

    +

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

    -

    What might make for good conflicts:

    +

    Determine which characters will actively take part in the conflict

    -

    USING CONFLICTS

    -

    As with any other scene, the Game Master is responsible for declaring the beginning and end of conflicts. The ability to properly time conflicts is something that can only be developed by playing the game. Draw inspiration from how videogames, movies, and comics handle pacing — consuming a variety of different media can really help keep things fresh!

    -

    Something you should never forget is that you are not bound to use conflict rules for every battle, chase or debate — instead, you should save them for truly dramatic situations. Checks and Clocks will often be more than enough to resolve a scene, without the added complexity of conflict rules.

    -

    In general, aim for about one conflict scene every two hours of play.

    +
      +
    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.
      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.

      +
        +
      • Each turn allows for a single action.
        • +
      • You cannot choose to "pass" a turn.
        • +
      • If one side outnumbers the other, keep alternating turns as long as possible, then let the side with the numerical advantage take the remaining turns towards the end of the round.
        • +
      +
      4. +
    4. 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.
      5. +
    -

    THE STRUCTURE OF A CONFLICT

    -

    The flowchart on the right illustrates all the main steps of a conflict scene. Each step will be explained in greater detail over the course of this section.

    +

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

    -

    Philip Forlenza (Order #)

    \ No newline at end of file + + +

    Philip Forlenza (Order #)

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    PUBLISHER'S FOREWORD

    -

    I grew up with JRPGs, I learned a lot and I shared powerful emotions and incredible adventures: they're my greatest passion, second only to my love for tabletop RPGs.

    -

    I felt hatred for Kefka and his laughter; I screamed and cried during "that scene" with the kind Aerith and the brilliant Sephiroth; I felt the smell of gasoline and clanging of metal as I piloted Fei Fong Wong's mech and the Monado gripped in my hands with each of Shulk's strikes; I jumped through time together with Crono, Marie, Lucca and Robo; I was among the Stars of Destiny in Tir's Liberation Army; I smelled the gunpowder from Squall's gunblade; I was moved by Vivi's existential crisis and I fell in love with Tifa.

    -

    My whole generation fell in love with Tifa.

    -

    Whenever I finished a JRPG, I felt an emptiness inside. I wanted the plot to continue, I wanted the protagonists I loved and villains I hated to stay with me: every single time, I wished again and again for a tabletop RPG that would allow me to keep those stories and emotions alive.

    -

    I tried many systems; I hacked and pasted together rules from different games, reskinned like there was no tomorrow, created house rules, but it never worked.

    -

    I wanted an accurate way to play the JRPGs I loved, to create and experience new stories in the style of my favourite genre with the people at my table, but I could not find anything that truly satisfied me.

    -

    Now, when I finish a JRPG and feel that familiar emptiness, I can simply schedule a session of Fabula Ultima and fill it whenever I want.

    -

    I am very happy that Fabula Ultima is the first roleplaying game entirely produced by Need Games. I still remember when Emanuele told me how they wished to write a tabletop RPG based on JRPGs: I said "I know we're small today, but I'd love for this Fabula Ultima to be our first original game!".

    -

    And so it was.

    -

    To quote the greatest villain in the history of JRPGs (yes, of course I mean Kefka Palazzo): "Son of a submariner!!!" You're still reading the foreword! Come on! Go ahead, an airship awaits you to set sail for endless adventures...

    -

    Nicola Degobbis

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Index / Table of Contents

    + + + +

    1. Introduction

    + + +

    2. Game Rules

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    GAME RULES

    -

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

    +

    DETERMINE PARTICIPANTS

    +

    First, discuss which characters present on the scene will take on an active role during the conflict, and which ones will fade into the background. Player Characters are all generally expected to take part in the conflict, as are any important antagonists — but there might be times in which some prefer to stay away from the spotlight.

    +

    Example: The scholar Calliope has offered to help a young bandit by the name of Randolph — she will act as his defendant in the upcoming trial.

    +

    The Game Master decides to run the trial as a conflict scene: the participants will be Calliope and Randolph as well as the prosecutor, a man known as Orbek. Interestingly enough, only one other Player decides to have their character take an active role: Montblanc the knight will lend his reputation to help Randolph, while the thief Valea will avoid being seen on the scene — her presence could undermine Calliope's credibility, and she already did her part acquiring important evidence.

    +

    Everyone else — the bystanders, the guards, and even the judge herself — will not be active participants. While the Game Master still describes their reactions and behavior, those characters will not get to pursue their objectives or influence the conflict.

    +

    New participants may also enter a conflict while it is already underway: characters who wish to do so can join the scene at the end of a round (after step 5).

    -

    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.
      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.

      -
        -
      • Each turn allows for a single action.
        • -
      • You cannot choose to "pass" a turn.
        • -
      • If one side outnumbers the other, keep alternating turns as long as possible, then let the side with the numerical advantage take the remaining turns towards the end of the round.
        • -
      -
      4. -
    4. 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.
      5. -
    - -

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

    - - +

    DISCUSS GOALS

    +

    Each character involved in the conflict will have their reasons: perhaps you want to steal a precious artifact, persuade the Queen of your good intentions, or avoid becoming a monster's mid-afternoon snack. Your antagonists will have goals of their own too, ranging from escaping unharmed to putting an end to your ceaseless meddling.

    +

    During this step, each participant should make clear what their general goal in the conflict will be, at least initially.

    +

    The Game Master is free to keep some of the antagonists' goals a secret — 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!

    +

    Philip Forlenza (Order #)

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    DETERMINE PARTICIPANTS

    -

    First, discuss which characters present on the scene will take on an active role during the conflict, and which ones will fade into the background. Player Characters are all generally expected to take part in the conflict, as are any important antagonists — but there might be times in which some prefer to stay away from the spotlight.

    -

    Example: The scholar Calliope has offered to help a young bandit by the name of Randolph — she will act as his defendant in the upcoming trial.

    -

    The Game Master decides to run the trial as a conflict scene: the participants will be Calliope and Randolph as well as the prosecutor, a man known as Orbek. Interestingly enough, only one other Player decides to have their character take an active role: Montblanc the knight will lend his reputation to help Randolph, while the thief Valea will avoid being seen on the scene — her presence could undermine Calliope's credibility, and she already did her part acquiring important evidence.

    -

    Everyone else — the bystanders, the guards, and even the judge herself — will not be active participants. While the Game Master still describes their reactions and behavior, those characters will not get to pursue their objectives or influence the conflict.

    -

    New participants may also enter a conflict while it is already underway: characters who wish to do so can join the scene at the end of a round (after step 5).

    +

    22 GAME RULES

    +

    CHAPTER INITIATIVE

    -

    DISCUSS GOALS

    -

    Each character involved in the conflict will have their reasons: perhaps you want to steal a precious artifact, persuade the Queen of your good intentions, or avoid becoming a monster's mid-afternoon snack. Your antagonists will have goals of their own too, ranging from escaping unharmed to putting an end to your ceaseless meddling.

    -

    During this step, each participant should make clear what their general goal in the conflict will be, at least initially.

    -

    The Game Master is free to keep some of the antagonists' goals a secret — 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!

    +

    A character's Initiative modifier indicates how likely they are to give their side an edge when a conflict begins.

    + + + +

    If the leader succeeds, this means the heroes seized initiative for this conflict and the first participant to act during each round will be someone from the Player Characters' side; if they fail, it means they have lost the initiative for this conflict and the first participant to act during each round will be one of their foes.

    +

    See the next page for an explanation of rounds and turns.

    + +

    Example:

    +

    The warrior monk Silida and the mage Ricard are exploring the ruins of an old waterway when they come across a bronze golem (page 330) barring their way!

    +

    The Game Master calls for an Initiative Group Check, and Ricard is happy to have Silida be the leader. She only rolls a 6, but Ricard's Check is a 12 (even taking into account the -2 penalty caused by the armor he is wearing). Silida's total is now 7, which is enough to reach the golem's initiative score!

    +

    The Player Characters have seized the initiative, which means the 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.

    -

    Philip Forlenza (Order #)

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    22 GAME RULES

    -

    CHAPTER INITIATIVE

    +

    ROUNDS AND TURNS

    +

    Conflict scenes take place as a series of consecutive rounds.

    -

    A character's Initiative modifier indicates how likely they are to give their side an edge when a conflict begins.

    +

    During each round, the participants will alternate taking turns, starting with one participant from the side who has the initiative.

    + +

    Back to the previous example: Since the Player Characters seized the initiative, one of them (Ricard or Silida) will be the first to take their turn during each round. Then, the golem will take its turn; after the golem, the remaining Player Character will finally be able to act. Then, a new round will begin.

    + +

    Each turn allows for a single action — that said, some powerful effects might grant characters the ability to perform multiple actions during the same turn.

    + +

    You can find more about actions starting on page 66.

    -

    If the leader succeeds, this means the heroes seized initiative for this conflict and the first participant to act during each round will be someone from the Player Characters' side; if they fail, it means they have lost the initiative for this conflict and the first participant to act during each round will be one of their foes.

    -

    See the next page for an explanation of rounds and turns.

    +

    Example: In a conflict with two PCs and three NPCs where the heroes have seized the initiative, each round will be as follows:

    -

    Example:

    -

    The warrior monk Silida and the mage Ricard are exploring the ruins of an old waterway when they come across a bronze golem (page 330) barring their way!

    -

    The Game Master calls for an Initiative Group Check, and Ricard is happy to have Silida be the leader. She only rolls a 6, but Ricard's Check is a 12 (even taking into account the -2 penalty caused by the armor he is wearing). Silida's total is now 7, which is enough to reach the golem's initiative score!

    -

    The Player Characters have seized the initiative, which means the first turn of each round will belong to either Silida or Ricard.

    +

    PC Turn — Z — NPC Turn — Z — PC Turn — Z — NPC Turn — Z — NPC Turn

    -

    Note:

    -

    Note that even if a new participant joins an ongoing conflict scene, they will simply adapt to the existing initiative.

    +

    The round ends once every participant has performed the turn (or turns, in the case of some exceptionally powerful creatures) at their disposal.

    + +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/63.html b/books/core/63.html index 3bcdf34..8951d56 100644 --- a/books/core/63.html +++ b/books/core/63.html @@ -1,30 +1,17 @@ -

    ROUNDS AND TURNS

    -

    Conflict scenes take place as a series of consecutive rounds.

    - -

    During each round, the participants will alternate taking turns, starting with one participant from the side who has the initiative.

    - -

    Back to the previous example: Since the Player Characters seized the initiative, one of them (Ricard or Silida) will be the first to take their turn during each round. Then, the golem will take its turn; after the golem, the remaining Player Character will finally be able to act. Then, a new round will begin.

    - -

    Each turn allows for a single action — that said, some powerful effects might grant characters the ability to perform multiple actions during the same turn.

    - -

    You can find more about actions starting on page 66.

    +

    22 GAME RULES

    +

    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 turn during a round and found an enemy to be Vulnerable to her ice magic can go first and finish them off quickly! This is a fundamental aspect of Fabula Ultima's conflict gameplay, and groups that learn to coordinate their actions will perform much better than those in which everyone is focusing on an individual strategy.

    +

    DYNAMIC TURN ORDER

    +

    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 being clever in how resources are used.

    -

    Example: In a conflict with two PCs and three NPCs where the heroes have seized the initiative, each round will be as follows:

    +

    THE ACTION ECONOMY

    +

    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 turns in descending initiative order, from fastest to slowest — simply write that down and apply it to each round. This will make enemies slightly more predictable, but also allows you to focus on more important aspects of the conflict.

    -

    PC Turn — Z — NPC Turn — Z — PC Turn — Z — NPC Turn — Z — NPC Turn

    - -

    The round ends once every participant has performed the turn (or turns, in the case of some exceptionally powerful creatures) at their disposal.

    - - - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    OPTIONAL: ENEMY INITIATIVE

    +Philip Forlenza (Order #) \ No newline at end of file diff --git a/books/core/64.html b/books/core/64.html index 8951d56..d8fb843 100644 --- a/books/core/64.html +++ b/books/core/64.html @@ -1,17 +1,25 @@ -

    22 GAME RULES

    -

    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 turn during a round and found an enemy to be Vulnerable to her ice magic can go first and finish them off quickly! This is a fundamental aspect of Fabula Ultima's conflict gameplay, and groups that learn to coordinate their actions will perform much better than those in which everyone is focusing on an individual strategy.

    +

    SPACE AND DISTANCES

    +

    In true console JRPG fashion, and in line with this game's cinematic approach, conflict scenes assume characters to be able to reach each other quite easily.

    +

    There are a few important things to say about this:

    -

    DYNAMIC TURN ORDER

    -

    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 being clever in how resources are used.

    -

    THE ACTION ECONOMY

    -

    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 turns in descending initiative order, from fastest to slowest — simply write that down and apply it to each round. This will make enemies slightly more predictable, but also allows you to focus on more important aspects of the conflict.

    - -

    OPTIONAL: ENEMY INITIATIVE

    -Philip Forlenza (Order #) \ No newline at end of file +

    Philip Forlenza (Order #)

    \ No newline at end of file diff --git a/books/core/65.html b/books/core/65.html index d8fb843..3915b81 100644 --- a/books/core/65.html +++ b/books/core/65.html @@ -1,25 +1,13 @@ -

    SPACE AND DISTANCES

    -

    In true console JRPG fashion, and in line with this game's cinematic approach, conflict scenes assume characters to be able to reach each other quite easily.

    -

    There are a few important things to say about this:

    - - - -

    Philip Forlenza (Order #)

    \ No newline at end of file +
    +

    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:

    + +

    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.

    +

    Philip Forlenza (Order #)

    +
    \ No newline at end of file diff --git a/books/core/66.html b/books/core/66.html index 3915b81..601450e 100644 --- a/books/core/66.html +++ b/books/core/66.html @@ -1,13 +1,24 @@ -
    -

    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:

    - -

    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.

    -

    Philip Forlenza (Order #)

    -
    \ No newline at end of file +

    ACTIONS

    +

    The chart on the right summarizes the various actions available during a conflict; these are explained in detail over the course of this section.

    +

    There's something important that should always be kept in mind when performing an action: that action isn't just a simple gesture, it's the main focus of your turn and a precise tactical choice. When you Attack, you perform a full offensive maneuver; when you Study, you focus your attention and try to obtain critical information, and so on.

    +

    MINOR ACTIVITIES

    +

    There are a lot of minor gestures and operations that can be performed on your turn, alongside your main action; the Game Master has final say on what you can accomplish, but you'll generally be able to squeeze in at least one of the following:

    + +

    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:

    + +

    All of these may be performed before, after, and sometimes during the main action of your turn — again, the Game Master is responsible for adjudicating what is feasible during a single turn. Be generous whenever possible.

    +

    If what you're doing requires a Check, then it's probably your main action for the turn.

    +

    Everything a character does to inject style and uniqueness in their actions will virtually take no time — complex blade choreographies, magical chants, the mixing of alchemical ingredients before throwing a potion and any similarly flavorful descriptions should be encouraged, not penalized!

    +

    Philip Forlenza (Order #)

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    ACTIONS

    -

    The chart on the right summarizes the various actions available during a conflict; these are explained in detail over the course of this section.

    -

    There's something important that should always be kept in mind when performing an action: that action isn't just a simple gesture, it's the main focus of your turn and a precise tactical choice. When you Attack, you perform a full offensive maneuver; when you Study, you focus your attention and try to obtain critical information, and so on.

    -

    MINOR ACTIVITIES

    -

    There are a lot of minor gestures and operations that can be performed on your turn, alongside your main action; the Game Master has final say on what you can accomplish, but you'll generally be able to squeeze in at least one of the following:

    - -

    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:

    - -

    All of these may be performed before, after, and sometimes during the main action of your turn — again, the Game Master is responsible for adjudicating what is feasible during a single turn. Be generous whenever possible.

    -

    If what you're doing requires a Check, then it's probably your main action for the turn.

    -

    Everything a character does to inject style and uniqueness in their actions will virtually take no time — complex blade choreographies, magical chants, the mixing of alchemical ingredients before throwing a potion and any similarly flavorful descriptions should be encouraged, not penalized!

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    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.

    +
    +
    + + \ No newline at end of file diff --git a/books/core/68.html b/books/core/68.html index 4f807bf..1044274 100644 --- a/books/core/68.html +++ b/books/core/68.html @@ -1,85 +1,31 @@ -

    22GAME RULES

    -
    -

    Action Description

    +

    ATTACK

    +

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

    - -
    -

    Attack

    -

    You perform a melee or ranged attack.

    -
    +

    Choose a Target for Your Attack

    + - -
    -

    Equipment

    -

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

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

    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.

    - -
    -

    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.
      • -
    -
    +

    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.

    - -
    -

    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.

    -
    -
    - - \ No newline at end of file +

    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):

    + \ No newline at end of file diff --git a/books/core/69.html b/books/core/69.html index 1044274..7eac88e 100644 --- a/books/core/69.html +++ b/books/core/69.html @@ -1,31 +1,24 @@ -

    ATTACK

    -

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

    +

    22 GAME RULES

    +

    Example: Our heroes are fighting a group of skeletons. Montblanc the knight charges towards the nearest undead and swings his powerful waraxe. The Accuracy Check requires a roll of 【MIG + MIG】, which in Montblanc's case means rolling two d10s: the knight gets a 6 and a 9, for a total of 15 — more than enough to hit the enemy’s Defense score of 11. The waraxe deals damage equal to 【HR + 14】; since the highest of the two dice was a 9, the total is 23 damage.

    -

    Choose a Target for Your Attack

    +

    FREE ATTACKS

    +

    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 action.

    +

    A few Skills and effects might even let you perform a free attack with weapons that aren't part of your equipped items!

    + +

    MULTI

    +

    When you perform an attack with the multi property, you may select as many different targets as the specific weapon or effect allows — multi (2) lets you target up to two different creatures, for instance. You perform a single Accuracy Check and compare it to the Defense of every target, determining which of them were hit.

    +

    Finally, apply the normal damage calculation to each target.

    -

    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.

    +

    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 you are attacking with both.

    +

    You perform the two attacks in any order you prefer and they may both be aimed at the same target or different targets, but the following penalties apply:

    -

    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):

    - \ No newline at end of file +

    You cannot use two-weapon fighting when performing a free attack.

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    Index / Table of Contents

    + \ No newline at end of file diff --git a/books/core/70.html b/books/core/70.html index 7eac88e..e76f7c1 100644 --- a/books/core/70.html +++ b/books/core/70.html @@ -1,24 +1,21 @@ -

    22 GAME RULES

    -

    Example: Our heroes are fighting a group of skeletons. Montblanc the knight charges towards the nearest undead and swings his powerful waraxe. The Accuracy Check requires a roll of 【MIG + MIG】, which in Montblanc's case means rolling two d10s: the knight gets a 6 and a 9, for a total of 15 — more than enough to hit the enemy’s Defense score of 11. The waraxe deals damage equal to 【HR + 14】; since the highest of the two dice was a 9, the total is 23 damage.

    +

    d 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 equip them. The only thing you can't equip or put away is armor — there's simply not enough time for that during a single action. Still, the Game Master might allow you to remove or equip a suit of armor if you spend several turns on it.

    +

    Remember, equipped items are always at the ready: you don't need to perform this action to start a battle with your equipped weapon drawn, for instance.

    +

    For more information on equipping items, see page 122.

    -

    FREE ATTACKS

    -

    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 action.

    -

    A few Skills and effects might even let you perform a free attack with weapons that aren't part of your equipped items!

    - -

    MULTI

    -

    When you perform an attack with the multi property, you may select as many different targets as the specific weapon or effect allows — multi (2) lets you target up to two different creatures, for instance. You perform a single Accuracy Check and compare it to the Defense of every target, determining which of them were hit.

    +

    d GUARD

    +

    When using this action, you focus your attention on defending your teammates and thwarting enemy tactics.

    +

    You gain all of the following benefits until the start of your next turn:

    -

    Finally, apply the normal damage calculation to each target.

    - -

    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 you are attacking with both.

    -

    You perform the two attacks in any order you prefer and they may both be aimed at the same target or different targets, but the following penalties apply:

    +

    Limitations:

    -

    You cannot use two-weapon fighting when performing a free attack.

    \ No newline at end of file +

    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 action can only be performed once per turn and its benefits never stack.

    +

    Philip Forlenza (Order #)

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    d 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 equip them. The only thing you can't equip or put away is armor — there's simply not enough time for that during a single action. Still, the Game Master might allow you to remove or equip a suit of armor if you spend several turns on it.

    -

    Remember, equipped items are always at the ready: you don't need to perform this action to start a battle with your equipped weapon drawn, for instance.

    -

    For more information on equipping items, see page 122.

    +

    22 GAME RULES

    -

    d GUARD

    -

    When using this action, you focus your attention on defending your teammates and thwarting enemy tactics.

    -

    You gain all of the following benefits until the start of your next turn:

    +

    Hinder

    +

    You force an opponent into a disadvantageous position. This may represent a variety of actions: a feint, a diversion, or even a stinging remark.

    +

    Once you have described your approach, you perform a Check against your target, with a fixed Difficulty Level of 10 — the Game Master will determine the relevant Attributes based on your description.

    +

    Example: Princess Camilla has challenged the Death Knight Brandon to a duel. She circles the imposing warrior and attempts to put the light of the sun behind her, hoping to dazzle him — the Game Master calls for a DEX + INS Check.

    -

    Limitations:

    +

    For more information on status effects, see page 94.

    +

    Back to the example above: Camilla gets a critical success and decides to inflict slow on the Death Knight. She also generated an opportunity — which she immediately spends to send Brandon's sword flying from his hand.

    + +

    Inventory

    +

    You produce an item from your inventory and immediately use that item as part of the same action: you might give a potion to one of your allies or slip them a refreshing balm during a tense negotiation, for instance.

    -

    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 action can only be performed once per turn and its benefits never stack.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    The rules for Inventory Points are explained on page 104.

    +

    Note that you can perform this action even if you have items equipped in both hands.

    + + \ No newline at end of file diff --git a/books/core/72.html b/books/core/72.html index 0237626..5156e4c 100644 --- a/books/core/72.html +++ b/books/core/72.html @@ -1,24 +1,28 @@ -

    22 GAME RULES

    +

    Objective

    +

    You use this action when you want to make progress towards one of your goals within the conflict — either one you had established at the start of the scene, or one you just realized you want to achieve. You might make an attempt at negotiation, sneak past a group of guards, begin work on a magical Ritual, grab a target and try to immobilize them, pull a lever to activate a mechanism, and so on.

    -

    Hinder

    -

    You force an opponent into a disadvantageous position. This may represent a variety of actions: a feint, a diversion, or even a stinging remark.

    -

    Once you have described your approach, you perform a Check against your target, with a fixed Difficulty Level of 10 — the Game Master will determine the relevant Attributes based on your description.

    -

    Example: Princess Camilla has challenged the Death Knight Brandon to a duel. She circles the imposing warrior and attempts to put the light of the sun behind her, hoping to dazzle him — the Game Master calls for a DEX + INS Check.

    +

    O W Describe what you want to accomplish and how you intend to approach it.

    +

    Needless to say, you can only pursue a goal if you have a reasonable way to achieve it — the Game Master has final say on which actions can be performed, but should do their best to allow a variety of different approaches.

    + +

    1

    +

    If your goal is simple enough—such as leaping past a chasm or climbing a rope—you will likely accomplish it with a single successful Check.

    + +

    O W Since Objective gets you closer to what you want to achieve within the conflict, it will always require a Check.

    -

    For more information on status effects, see page 94.

    -

    Back to the example above: Camilla gets a critical success and decides to inflict slow on the Death Knight. She also generated an opportunity — which she immediately spends to send Brandon's sword flying from his hand.

    -

    Inventory

    -

    You produce an item from your inventory and immediately use that item as part of the same action: you might give a potion to one of your allies or slip them a refreshing balm during a tense negotiation, for instance.

    +

    2

    +

    O W If your Check is successful, you alter the Clock in your favor — which, based on the Clock in question, means filling or erasing a certain number of sections, as previously explained on page 53:

    -

    The rules for Inventory Points are explained on page 104.

    -

    Note that you can perform this action even if you have items equipped in both hands.

    - \ No newline at end of file +

    3

    +

    Most of the time, your goal will be complex enough to involve the use of a Clock — especially if achieving it brings you closer to winning the conflict.

    +
    +

    Philip Forlenza (Order #)

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    Objective

    -

    You use this action when you want to make progress towards one of your goals within the conflict — either one you had established at the start of the scene, or one you just realized you want to achieve. You might make an attempt at negotiation, sneak past a group of guards, begin work on a magical Ritual, grab a target and try to immobilize them, pull a lever to activate a mechanism, and so on.

    +

    GOAL CLOCKS IN A CONFLICT SCENE

    -

    O W Describe what you want to accomplish and how you intend to approach it.

    -

    Needless to say, you can only pursue a goal if you have a reasonable way to achieve it — the Game Master has final say on which actions can be performed, but should do their best to allow a variety of different approaches.

    +

    Example: In the depths of a magitech laboratory, the warrior monk Silida is busy keeping a rampaging stone golem away from her allies — the mage Ricard and the arcane fencer Nethis.

    -

    1

    -

    If your goal is simple enough—such as leaping past a chasm or climbing a rope—you will likely accomplish it with a single successful Check.

    +

    Seeing how Silida is having trouble withstanding the golem's powerful attacks, Nethis decides to work on a new goal for this conflict: there are a variety of magical crystals surrounding them, and she wants to channel their power into the golem and overload its core, shutting down most of its functions.

    -

    O W Since Objective gets you closer to what you want to achieve within the conflict, it will always require a Check.

    - +

    Since Nethis can wield magic, the Game Master is okay with the plan and establishes a six-section Clock: once completed, the golem's core will be properly fried — the Game Master says she will handle this by permanently decreasing all of the golem's Attribute dice by one size.

    -

    2

    -

    O W If your Check is successful, you alter the Clock in your favor — which, based on the Clock in question, means filling or erasing a certain number of sections, as previously explained on page 53:

    - +

    When you use Objective to intervene on a Clock, it is extremely important to describe what your character does — the Game Master has final say on which actions can influence the Clock.

    -

    3

    -

    Most of the time, your goal will be complex enough to involve the use of a Clock — especially if achieving it brings you closer to winning the conflict.

    -
    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Back to the previous example: The kind of effect Nethis wants to accomplish is definitely magical — but does this mean Silida, being unable to cast spells, cannot influence the Clock?

    + +

    Absolutely not!

    + +

    For instance, she might use Objective and strike at the golem's frontal plate, which houses its core, to expose it and increase the flow of magical energy. Maybe she won't fill as many sections (the Golem is pretty good at opposing physical Checks, and this isn't exactly an optimal strategy), but it will still help.

    + +

    GOAL CLOCKS IN A CONFLICT SCENE

    + +

    As the Game Master, you are responsible for assigning Clocks to goals and determining how many sections they should have — use the table below as a guideline.

    + +

    For detailed examples of conflict goals and Clocks, see page 78.

    + + + + + + + + + + + + + + + + + + + + + + + + + + +
    SectionsObjectiveOnce filled...
    4MinorProvides a minor or temporary advantage.
    6 to 8MajorProvides a decisive and permanent advantage.
    10 to 12ResolutiveAllows you to win the conflict.
    + +

    Philip Forlenza (Order #)

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    GOAL CLOCKS IN A CONFLICT SCENE

    +

    SPELL

    +

    You use this action to cast a spell you have learned.

    +

    For more information on magic and spells, see page 114.

    -

    Example: In the depths of a magitech laboratory, the warrior monk Silida is busy keeping a rampaging stone golem away from her allies — the mage Ricard and the arcane fencer Nethis.

    +

    STUDY

    +

    This is a useful action when you want to know more about who or what you're dealing with. First of all, tell the Game Master what you want to know about the subject of your actions — be it an item, a person, a creature or even a location.

    +

    You will then perform an Open Check — generally 【INS + INS】, but there might be times in which different Attributes make sense, such as 【INS + WLP】 to lure an adversary into talking too much. The Game Master chooses the Attributes based on the approach; the Result will determine what kind of information you gain access to.

    -

    Seeing how Silida is having trouble withstanding the golem's powerful attacks, Nethis decides to work on a new goal for this conflict: there are a variety of magical crystals surrounding them, and she wants to channel their power into the golem and overload its core, shutting down most of its functions.

    +

    Result Information Equates to...

    + -

    Since Nethis can wield magic, the Game Master is okay with the plan and establishes a six-section Clock: once completed, the golem's core will be properly fried — the Game Master says she will handle this by permanently decreasing all of the golem's Attribute dice by one size.

    +

    Once you have studied someone or something in this way, you cannot ask the same question again. That said, you are free to investigate other aspects of the same subject.

    -

    When you use Objective to intervene on a Clock, it is extremely important to describe what your character does — the Game Master has final say on which actions can influence the Clock.

    +

    Example:

    +

    During an audience with Duchess Ylemin, the thief Valea wants to know more about the noblewoman's desires — surely she has a price. Valea gets a 14 on her Check, discovering that the Duchess has a passion for antique jewelry, as revealed by the rings she wears. While looking at her right hand, Valea notices a portion of paler skin — could she have lost one of her treasures?

    -

    Back to the previous example: The kind of effect Nethis wants to accomplish is definitely magical — but does this mean Silida, being unable to cast spells, cannot influence the Clock?

    - -

    Absolutely not!

    - -

    For instance, she might use Objective and strike at the golem's frontal plate, which houses its core, to expose it and increase the flow of magical energy. Maybe she won't fill as many sections (the Golem is pretty good at opposing physical Checks, and this isn't exactly an optimal strategy), but it will still help.

    - -

    GOAL CLOCKS IN A CONFLICT SCENE

    - -

    As the Game Master, you are responsible for assigning Clocks to goals and determining how many sections they should have — use the table below as a guideline.

    - -

    For detailed examples of conflict goals and Clocks, see page 78.

    - - - - - - - - - - - - - - - - - - - - - - - - - - -
    SectionsObjectiveOnce filled...
    4MinorProvides a minor or temporary advantage.
    6 to 8MajorProvides a decisive and permanent advantage.
    10 to 12ResolutiveAllows you to win the conflict.
    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    If you want to use this action to study an NPC's profile and statistics, see page 319.

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    SPELL

    -

    You use this action to cast a spell you have learned.

    -

    For more information on magic and spells, see page 114.

    +

    22GAME RULES

    -

    STUDY

    -

    This is a useful action when you want to know more about who or what you're dealing with. First of all, tell the Game Master what you want to know about the subject of your actions — be it an item, a person, a creature or even a location.

    -

    You will then perform an Open Check — generally 【INS + INS】, but there might be times in which different Attributes make sense, such as 【INS + WLP】 to lure an adversary into talking too much. The Game Master chooses the Attributes based on the approach; the Result will determine what kind of information you gain access to.

    +

    SKILL

    +

    Some skills and effects require you to "use an action" to activate them; in these cases, the Skill action must be performed. If you ever decide to use one such Skill outside a conflict, it will generally require five to ten seconds.

    -

    Result Information Equates to...

    +

    OTHER

    +

    In addition to the ones listed above, characters might attempt all sorts of creative actions within a turn, provided these aren't particularly complex or time-consuming operations. The details and resolution of these unique actions must be negotiated between the Player and the Game Master; most of the time, the simple act of clearly stating what you want to accomplish and how you want to do it will lead you to realize that an existing action is already the best fit for it.

    +

    Conflicts generally represent fast-paced scenes in which characters have limited ability to speak and discuss a complex plan or course of action, but this shouldn’t apply to the Players who are controlling those same characters.

    + +

    Always keep the following in mind:

    -

    Once you have studied someone or something in this way, you cannot ask the same question again. That said, you are free to investigate other aspects of the same subject.

    +

    Ultimately, the choice of exactly how much dialogue and strategizing is allowed during conflicts and similar situations rest on the shoulders of the entire group: a “sweet spot” needs to be collectively found.

    -

    Example:

    -

    During an audience with Duchess Ylemin, the thief Valea wants to know more about the noblewoman's desires — surely she has a price. Valea gets a 14 on her Check, discovering that the Duchess has a passion for antique jewelry, as revealed by the rings she wears. While looking at her right hand, Valea notices a portion of paler skin — could she have lost one of her treasures?

    - -

    If you want to use this action to study an NPC's profile and statistics, see page 319.

    \ No newline at end of file +

    DIALOGUE AND TACTICS

    +

    Philip Forlenza (Order #)

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    22GAME RULES

    +

    TEAMWORK

    +

    When a character performs a Check during a conflict scene, any other character that is able to help them and hasn’t already taken a turn during the current round may choose to lend the active character a hand.

    -

    SKILL

    -

    Some skills and effects require you to "use an action" to activate them; in these cases, the Skill action must be performed. If you ever decide to use one such Skill outside a conflict, it will generally require five to ten seconds.

    - -

    OTHER

    -

    In addition to the ones listed above, characters might attempt all sorts of creative actions within a turn, provided these aren't particularly complex or time-consuming operations. The details and resolution of these unique actions must be negotiated between the Player and the Game Master; most of the time, the simple act of clearly stating what you want to accomplish and how you want to do it will lead you to realize that an existing action is already the best fit for it.

    -

    Conflicts generally represent fast-paced scenes in which characters have limited ability to speak and discuss a complex plan or course of action, but this shouldn’t apply to the Players who are controlling those same characters.

    - -

    Always keep the following in mind:

    +

    If anyone does, the Check turns into a Group Check (see page 50), but with a few key differences:

    -

    Ultimately, the choice of exactly how much dialogue and strategizing is allowed during conflicts and similar situations rest on the shoulders of the entire group: a “sweet spot” needs to be collectively found.

    +

    Choose wisely.

    -

    DIALOGUE AND TACTICS

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Note that this option can apply to any kind of Check, including Accuracy Checks, Magic Checks, and Opposed Checks! This is a great way to represent characters working together to overcome a powerful opponent — when you can't strike a flying target with your sword, you might clear the path for your archer or help them anticipate the enemy's movements!

    + +

    Philip Forlenza (Order #)

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    TEAMWORK

    -

    When a character performs a Check during a conflict scene, any other character that is able to help them and hasn’t already taken a turn during the current round may choose to lend the active character a hand.

    +

    ENDING A CONFLICT

    +

    As with any scene in the game, the Game Master has the right to declare the ending of a conflict. This generally happens when one side has prevailed, when everyone is no longer able to oppose them, or when the participants negotiate some sort of truce.

    -

    If anyone does, the Check turns into a Group Check (see page 50), but with a few key differences:

    -

    Choose wisely.

    +

    In the end, remember that conflicts should only be used for high-stake moments and aren't the default resolution method for every tense situation.

    -

    Note that this option can apply to any kind of Check, including Accuracy Checks, Magic Checks, and Opposed Checks! This is a great way to represent characters working together to overcome a powerful opponent — when you can't strike a flying target with your sword, you might clear the path for your archer or help them anticipate the enemy's movements!

    +

    TURN-RELATED EFFECTS

    +

    Effects that concern themselves with "the start of a character's turn" or "the end of a character's turn" follow a set of specific rules:

    -

    Philip Forlenza (Order #)

    \ No newline at end of file + + +

    If such an effect is somehow used outside a conflict scene (this doesn't happen often, but it's still a possibility), it will last for a few seconds – enough to influence the outcome of a single Check, generally.

    + +

    Philip Forlenza (Order #)

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    ENDING A CONFLICT

    -

    As with any scene in the game, the Game Master has the right to declare the ending of a conflict. This generally happens when one side has prevailed, when everyone is no longer able to oppose them, or when the participants negotiate some sort of truce.

    +

    SAMPLE GOAL CLOCKS

    +

    While the explanation for the Objective action on page 72 should give a pretty good idea of how it should be used, below are examples of creative strategies that can be used during conflicts.

    + +

    Adjudicating Checks

    +

    When adjudicating whether the active character is performing an Attribute Check against a set Difficulty Level or an Opposed Check against another character that is present on the scene, remember that there is no limit to how many times a character may oppose an Objective action within the same round.

    + +

    A single defender with high Attributes can still prove challenging even when severely outnumbered.

    + +

    d BRING IT DOWN

    +

    While fighting against a winged dragon, the heroes decide to work together to keep it permanently on the ground and within reach of melee weapons. This is a major goal since it will make the battle much easier but will not end it by itself. The Clock should probably have 6 sections. Possible actions would be:

    -

    In the end, remember that conflicts should only be used for high-stake moments and aren't the default resolution method for every tense situation.

    - -

    TURN-RELATED EFFECTS

    -

    Effects that concern themselves with "the start of a character's turn" or "the end of a character's turn" follow a set of specific rules:

    - - - -

    If such an effect is somehow used outside a conflict scene (this doesn't happen often, but it's still a possibility), it will last for a few seconds – enough to influence the outcome of a single Check, generally.

    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Most of these Checks will be performed against the dragon's own Checks, but the Game Master might also decide that the second approach must be made against the dragon's Defense score.

    +

    — Philip Forlenza (Order #)

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    SAMPLE GOAL CLOCKS

    -

    While the explanation for the Objective action on page 72 should give a pretty good idea of how it should be used, below are examples of creative strategies that can be used during conflicts.

    - -

    Adjudicating Checks

    -

    When adjudicating whether the active character is performing an Attribute Check against a set Difficulty Level or an Opposed Check against another character that is present on the scene, remember that there is no limit to how many times a character may oppose an Objective action within the same round.

    - -

    A single defender with high Attributes can still prove challenging even when severely outnumbered.

    - -

    d BRING IT DOWN

    -

    While fighting against a winged dragon, the heroes decide to work together to keep it permanently on the ground and within reach of melee weapons. This is a major goal since it will make the battle much easier but will not end it by itself. The Clock should probably have 6 sections. Possible actions would be:

    +

    CHAPTER CATCH THE THIEF

    +

    Heading towards their rooms in Caralon Castle, the heroes spot a suspicious figure at the end of a corridor — and in their hands is the powerful artifact known as the Skyglass, the most precious treasure of Caralon's royal bloodline! The group immediately jumps into action, and a chase scene begins!

    +

    The Player Characters want to reach and stop the thief, which is a resolutive goal; the Game Master sets this Clock at 10 sections. Possible actions would be...

    -

    Most of these Checks will be performed against the dragon's own Checks, but the Game Master might also decide that the second approach must be made against the dragon's Defense score.

    -

    — Philip Forlenza (Order #)

    \ No newline at end of file +

    These Checks will be performed against the thief; once the Clock reaches 10, the group will have cornered the mysterious figure — but this might lead to a battle!

    +

    Similarly, the thief has a Clock of their own: thanks to a significant head start on the heroes, the thief's Clock has 8 sections only. If the thief manages to fill this Clock, they will flee the scene with the Skyglass!

    +

    Philip Forlenza (Order #)

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    Philip Forlenza

    +
    +

    + Order Number: # +

    +
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    CHAPTER CATCH THE THIEF

    -

    Heading towards their rooms in Caralon Castle, the heroes spot a suspicious figure at the end of a corridor — and in their hands is the powerful artifact known as the Skyglass, the most precious treasure of Caralon's royal bloodline! The group immediately jumps into action, and a chase scene begins!

    -

    The Player Characters want to reach and stop the thief, which is a resolutive goal; the Game Master sets this Clock at 10 sections. Possible actions would be...

    +

    CONVINCE THE QUEEN

    +

    The heroes need to persuade the Queen of Armorica that attacking the Imperial forces tomorrow would be a suicidal maneuver. For some reason, the Queen's advisor is stubbornly pushing for an immediate strike.

    + +

    This is a resolutive goal and, given the importance of the scene, the Clock should have 12 sections. Possible actions would be...

    -

    These Checks will be performed against the thief; once the Clock reaches 10, the group will have cornered the mysterious figure — but this might lead to a battle!

    -

    Similarly, the thief has a Clock of their own: thanks to a significant head start on the heroes, the thief's Clock has 8 sections only. If the thief manages to fill this Clock, they will flee the scene with the Skyglass!

    +

    The majority of these Checks will be performed against the advisor, but the third approach might also be made against the difficulty of "the room".

    + +

    The advisor also has a Clock of his own which, once completed, will have the heroes banished! This Clock has 12 sections — the same size as the heroes'.

    +

    Philip Forlenza (Order #)

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    CONVINCE THE QUEEN

    -

    The heroes need to persuade the Queen of Armorica that attacking the Imperial forces tomorrow would be a suicidal maneuver. For some reason, the Queen's advisor is stubbornly pushing for an immediate strike.

    - -

    This is a resolutive goal and, given the importance of the scene, the Clock should have 12 sections. Possible actions would be...

    +

    22 GAME RULES

    +

    KEEP THEM OUT

    +

    While facing off against a powerful necromancer, the heroes are swarmed by hordes of zombies, making the battle much more dangerous. If only they could get a couple of rounds without new undead arriving on the scene!

    +

    This is a minor goal and the Clock has 4 sections. Possible actions would be...

    +

    Most of the above Checks will be performed against the zombies, but the necromancer might oppose the second approach with some magic of his own.

    -

    The majority of these Checks will be performed against the advisor, but the third approach might also be made against the difficulty of "the room".

    - -

    The advisor also has a Clock of his own which, once completed, will have the heroes banished! This Clock has 12 sections — the same size as the heroes'.

    - +

    STOP THE RITUAL

    +

    This time, the heroes aren't pursuing a goal of their own — instead, they are trying to stop a powerful witch from reaching the conclusion of a dangerous Ritual, and all this while fighting against the witch's summoned beasts.

    +

    This is a resolutive goal for the witch, and the Clock has 10 sections. This time, the Player Characters' goal is to prevent the Clock from filling while they battle the witch. Possible actions would be...

    + +

    Most of these Checks will be made directly against the witch, although the third approach might instead be made against the minion; the witch herself is so powerful that her Clock automatically fills by 1 section at the end of each round — and she can also choose to Objective on her turn to speed things up.

    Philip Forlenza (Order #)

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    22 GAME RULES

    +
    +

    AMBUSHES AND SURPRISE ROUNDS

    +

    Normally, initiative already takes care of which characters in a conflict are more aware of their surroundings and can promptly react to danger; however, if one side gets the jump on their foes, the Game Master may opt to give those characters a free round of actions before anyone else can act.

    +

    This is known as a surprise round.

    + +

    See next page for the mechanics governing Superiority Points.

    +
    -

    KEEP THEM OUT

    -

    While facing off against a powerful necromancer, the heroes are swarmed by hordes of zombies, making the battle much more dangerous. If only they could get a couple of rounds without new undead arriving on the scene!

    -

    This is a minor goal and the Clock has 4 sections. Possible actions would be...

    - -

    Most of the above Checks will be performed against the zombies, but the necromancer might oppose the second approach with some magic of his own.

    +
    +

    PLAYERS OUTSIDE THE CONFLICT

    +

    If one or more Players are controlling no characters during a conflict scene, they can still influence its outcome: once per conflict round after any character performs a Check, a Player whose character is not present on the scene can choose a single die rolled in that Check and force it to be rerolled. Multiple Players can even work together to have the same die be rerolled more than once.

    +

    The goal of this rule is to keep Players involved even when their characters are absent from the conflict scene or have been defeated.

    +

    If you use this optional rule, describe how your character is "fighting in spirit" alongside their ally and helping them overcome the challenge!

    +
    -

    STOP THE RITUAL

    -

    This time, the heroes aren't pursuing a goal of their own — instead, they are trying to stop a powerful witch from reaching the conclusion of a dangerous Ritual, and all this while fighting against the witch's summoned beasts.

    -

    This is a resolutive goal for the witch, and the Clock has 10 sections. This time, the Player Characters' goal is to prevent the Clock from filling while they battle the witch. Possible actions would be...

    - -

    Most of these Checks will be made directly against the witch, although the third approach might instead be made against the minion; the witch herself is so powerful that her Clock automatically fills by 1 section at the end of each round — and she can also choose to Objective on her turn to speed things up.

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +
    +

    OPTIONAL CONFLICT RULES

    +

    Below you can find a few options for customizing conflict scenes in your game. Any number of these can be adopted, as long as the entire group agrees on them; you also have the option to use them only during specific conflicts that you think would benefit from an additional tactical layer.

    +

    Philip Forlenza (Order #)

    +
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    -

    AMBUSHES AND SURPRISE ROUNDS

    -

    Normally, initiative already takes care of which characters in a conflict are more aware of their surroundings and can promptly react to danger; however, if one side gets the jump on their foes, the Game Master may opt to give those characters a free round of actions before anyone else can act.

    -

    This is known as a surprise round.

    - -

    See next page for the mechanics governing Superiority Points.

    -
    +

    BATTLE SUPERIORITY

    +

    This optional rule adds another layer of strategy to battles and rewards the clever use of elemental attacks and Affinities.

    +

    If you use this rule, all participants in the conflict gain access to a special resource: Superiority Points. These points are shared by the entire team, which means any Superiority Points you gain may be spent by you or your allies.

    -
    -

    PLAYERS OUTSIDE THE CONFLICT

    -

    If one or more Players are controlling no characters during a conflict scene, they can still influence its outcome: once per conflict round after any character performs a Check, a Player whose character is not present on the scene can choose a single die rolled in that Check and force it to be rerolled. Multiple Players can even work together to have the same die be rerolled more than once.

    -

    The goal of this rule is to keep Players involved even when their characters are absent from the conflict scene or have been defeated.

    -

    If you use this optional rule, describe how your character is "fighting in spirit" alongside their ally and helping them overcome the challenge!

    -
    +

    Gaining Superiority Points

    +

    Characters can gain Superiority Points in four different ways:

    + -
    -

    OPTIONAL CONFLICT RULES

    -

    Below you can find a few options for customizing conflict scenes in your game. Any number of these can be adopted, as long as the entire group agrees on them; you also have the option to use them only during specific conflicts that you think would benefit from an additional tactical layer.

    -

    Philip Forlenza (Order #)

    -
    \ No newline at end of file +

    A character may spend one Superiority Point to perform an additional action on their turn, making this optional rule a dangerous addition!

    + +

    Important Governing Rules

    +

    However, there are three important rules governing Superiority Points:

    + + +

    Note: This rule is more advantageous to the Player Characters than their enemies since Player Characters usually do not have damage Vulnerabilities.

    + +

    You might want to employ a tracker such as the one shown below, and move a coin or token back and forth to remember how many points are available to each team:

    +
    0 +1 +2 +3 +4 +5
    +

    A visual aid showing point tracking: 5 +5 +4 +3 +2 +1

    + + \ No newline at end of file diff --git a/books/core/84.html b/books/core/84.html index f9ed2c5..857c925 100644 --- a/books/core/84.html +++ b/books/core/84.html @@ -1,32 +1,18 @@ -

    BATTLE SUPERIORITY

    -

    This optional rule adds another layer of strategy to battles and rewards the clever use of elemental attacks and Affinities.

    -

    If you use this rule, all participants in the conflict gain access to a special resource: Superiority Points. These points are shared by the entire team, which means any Superiority Points you gain may be spent by you or your allies.

    +

    Hit Points and Mind Points

    +

    In Fabula Ultima, a character’s general well-being is represented by two parameters: Hit Points and Mind Points. If you are familiar with video games, you will no doubt have encountered similar terms — but in this game, they work a bit differently than what you might be used to.

    -

    Gaining Superiority Points

    -

    Characters can gain Superiority Points in four different ways:

    +

    HIT POINTS

    +

    Abbreviated as HP, this number indicates a character’s vital energy, fighting spirit, and general body health, as well as their ability to take a beating and withstand physical pain and fatigue. You should not see Hit Points as a measure of a character's physical integrity, however — losing them does not directly translate into wounds or severe physical harm.

    +

    One could describe Hit Points as a “shield” that protects characters from suffering that final blow that would knock them out of a fight. Bruises, cuts, and burns are all ways to portray this in the game fiction — the moment HP gets to 0, however, is when we see the antagonist's blade find an opening and tear through the hero's armor.

    + +

    HP States

    -

    A character may spend one Superiority Point to perform an additional action on their turn, making this optional rule a dangerous addition!

    - -

    Important Governing Rules

    -

    However, there are three important rules governing Superiority Points:

    - - -

    Note: This rule is more advantageous to the Player Characters than their enemies since Player Characters usually do not have damage Vulnerabilities.

    - -

    You might want to employ a tracker such as the one shown below, and move a coin or token back and forth to remember how many points are available to each team:

    -
    0 +1 +2 +3 +4 +5
    -

    A visual aid showing point tracking: 5 +5 +4 +3 +2 +1

    - - \ No newline at end of file +

    HIT POINTS AND MIND POINTS

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    Hit Points and Mind Points

    -

    In Fabula Ultima, a character’s general well-being is represented by two parameters: Hit Points and Mind Points. If you are familiar with video games, you will no doubt have encountered similar terms — but in this game, they work a bit differently than what you might be used to.

    +

    MIND POINTS

    +

    Abbreviated as MP, this number measures a character’s inner force, magical potential, and ability to focus. In the game, Mind Points are often spent to fuel magic or to perform heroic feats that verge on the superhuman.

    -

    HIT POINTS

    -

    Abbreviated as HP, this number indicates a character’s vital energy, fighting spirit, and general body health, as well as their ability to take a beating and withstand physical pain and fatigue. You should not see Hit Points as a measure of a character's physical integrity, however — losing them does not directly translate into wounds or severe physical harm.

    -

    One could describe Hit Points as a “shield” that protects characters from suffering that final blow that would knock them out of a fight. Bruises, cuts, and burns are all ways to portray this in the game fiction — the moment HP gets to 0, however, is when we see the antagonist's blade find an opening and tear through the hero's armor.

    - -

    HP States

    -

    HIT POINTS AND MIND POINTS

    \ No newline at end of file +

    Philip Forlenza (Order #)

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    MIND POINTS

    -

    Abbreviated as MP, this number measures a character’s inner force, magical potential, and ability to focus. In the game, Mind Points are often spent to fuel magic or to perform heroic feats that verge on the superhuman.

    +

    +

    When a character’s Hit Points fall to 0, the dangers and harm they endured have become unbearable. Will they break? Will they run?

    +

    Depending on their role within the story, defeated characters will have different options available to them.

    +

    NON-PLAYER CHARACTERS

    +

    When a Non-Player Character’s Hit Points reach 0, that character loses all will to fight. Whoever defeated them gets the right to determine their fate: they may be:

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Example: Yezma lands her final blow against a magically tainted boar, reducing its Hit Points to 0. Now that the creature is defeated, Yezma must decide its fate — she knows, however, that the great beast had turned aggressive only because of the arcane corruption plaguing its mind and body. Because of this, Yezma decides to spare the creature and simply scare it off, in the hope of finding a way to restore its mind later on.

    + +

    This being said, some creatures might simply be destroyed when reduced to 0 Hit Points — constructs such as golems and robots will cease to function, elemental beings will vanish or dissipate, and undead often crumble to dust.

    + +

    0 HIT POINTS

    +

    Philip Forlenza (Order #)

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    -

    When a character’s Hit Points fall to 0, the dangers and harm they endured have become unbearable. Will they break? Will they run?

    -

    Depending on their role within the story, defeated characters will have different options available to them.

    +

    CHAPTER VILLAINS

    +

    Some Non-Player Characters are a bit more important than others — these are Villains, the main antagonists in the story. You will find more information about them starting on page 100, but what you need to know right now is that they enjoy several privileges when compared to normal NPCs.

    +

    When reduced to 0 Hit Points, a Villain must choose one of two options: escaping or surrendering.

    -

    NON-PLAYER CHARACTERS

    -

    When a Non-Player Character’s Hit Points reach 0, that character loses all will to fight. Whoever defeated them gets the right to determine their fate: they may be:

    - +

    Escaping

    +

    Villains have a pool of special points, mirroring the Player Characters' Fabula Points: these are called Ultima Points (see page 101). When reduced to 0 Hit Points, a Villain may spend 1 Ultima Point and safely disappear from the scene; the Game Master describes how this happens.

    +

    Example: Held at gunpoint by the sky pirate Morgan, Commander Duna grins and leaps from the airship's deck, plummeting towards the ocean below. But when Morgan leans over the railing to see where the armored warrior fell, he's clinging to a large winged salamander. "You win this battle, pirate!" he shouts, before the powerful beast carries him away towards the capital.

    +

    If a Villain has no Ultima Points left, they may still escape by escalating into a more dangerous version of themselves (see page 102).

    -

    Example: Yezma lands her final blow against a magically tainted boar, reducing its Hit Points to 0. Now that the creature is defeated, Yezma must decide its fate — she knows, however, that the great beast had turned aggressive only because of the arcane corruption plaguing its mind and body. Because of this, Yezma decides to spare the creature and simply scare it off, in the hope of finding a way to restore its mind later on.

    +

    Surrendering

    +

    The Villain surrenders and is treated as any other Non-Player Character; their fate rests in the hands of those who defeated them. In general, a Villain will only choose this option if it's the only choice they have left; if the Player Characters show mercy to a Villain, they might even earn a new ally — this would also be a spectacular way to introduce a new Player Character in the group.

    -

    This being said, some creatures might simply be destroyed when reduced to 0 Hit Points — constructs such as golems and robots will cease to function, elemental beings will vanish or dissipate, and undead often crumble to dust.

    - -

    0 HIT POINTS

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Philip Forlenza (Order #)

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    CHAPTER VILLAINS

    -

    Some Non-Player Characters are a bit more important than others — these are Villains, the main antagonists in the story. You will find more information about them starting on page 100, but what you need to know right now is that they enjoy several privileges when compared to normal NPCs.

    -

    When reduced to 0 Hit Points, a Villain must choose one of two options: escaping or surrendering.

    +

    PLAYER CHARACTERS

    +

    Like Villains, Player Characters follow their own special rules. When reduced to 0 Hit Points, a Player Character must either Sacrifice themselves or Surrender.

    -

    Escaping

    -

    Villains have a pool of special points, mirroring the Player Characters' Fabula Points: these are called Ultima Points (see page 101). When reduced to 0 Hit Points, a Villain may spend 1 Ultima Point and safely disappear from the scene; the Game Master describes how this happens.

    -

    Example: Held at gunpoint by the sky pirate Morgan, Commander Duna grins and leaps from the airship's deck, plummeting towards the ocean below. But when Morgan leans over the railing to see where the armored warrior fell, he's clinging to a large winged salamander. "You win this battle, pirate!" he shouts, before the powerful beast carries him away towards the capital.

    -

    If a Villain has no Ultima Points left, they may still escape by escalating into a more dangerous version of themselves (see page 102).

    +

    SACRIFICE

    +

    When reduced to 0 Hit Points, a Player Character may give their life in order to accomplish a seemingly impossible deed, such as putting an end to a centuries-old curse, temporarily taking away a demigod's powers, or single-handedly holding off a small army to make sure their allies can flee.

    +

    You may only sacrifice yourself if at least two of the following are true:

    + +

    The details of the sacrifice are negotiated between you and the Game Master — you should narrate your heroic demise together. There is no fixed limit on what a sacrifice may accomplish: you can and should go overboard with this, especially as you will permanently lose your character.

    +

    It is important to note that Player Characters who sacrifice themselves have accepted their death and normally cannot be brought back to life (see below), because they peacefully became one with the stream of souls. It isn't a bad way to go.

    +

    In the cosmology of Fabula Ultima, the spirits of the deceased generally return to the stream of souls that permeates the world — but some might be trapped by evil sorcery, transported to other dimensions, or even possess a will strong enough to retain their identity after death.

    +

    The mechanics of the game do not give you the option of bringing characters back to life for two main reasons: firstly, the death of a Player Character should be meaningful; and secondly, the mystery of the afterlife should be something you explore and shape together as part of your story.

    -

    Surrendering

    -

    The Villain surrenders and is treated as any other Non-Player Character; their fate rests in the hands of those who defeated them. In general, a Villain will only choose this option if it's the only choice they have left; if the Player Characters show mercy to a Villain, they might even earn a new ally — this would also be a spectacular way to introduce a new Player Character in the group.

    - -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    RESURRECTION

    +

    Philip Forlenza (Order #)

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    PLAYER CHARACTERS

    -

    Like Villains, Player Characters follow their own special rules. When reduced to 0 Hit Points, a Player Character must either Sacrifice themselves or Surrender.

    +

    GAME RULES

    +

    Chapter [Title implied by context]

    +

    Surrendering

    -

    SACRIFICE

    -

    When reduced to 0 Hit Points, a Player Character may give their life in order to accomplish a seemingly impossible deed, such as putting an end to a centuries-old curse, temporarily taking away a demigod's powers, or single-handedly holding off a small army to make sure their allies can flee.

    -

    You may only sacrifice yourself if at least two of the following are true:

    +

    Characters who surrender fall unconscious and become unable to act for the remainder of the scene, even if their Hit Points are restored above 0. The Game Master cannot kill a character who surrenders but may impose a narrative consequence chosen from the list below or a consequence that makes sense within the scene. If multiple characters surrender — or worse of all, if the entire group gets wiped out! — the Game Master may impose separate consequences or a single major consequence. They may also decide to bring the consequences of your surrender into play later on!

    + +

    Example: As the last hero bites the dust, Commander Kelta grins. "I'd love to get rid of you once and for all, but I have a busy day. You will never make it to the village in time! The Skyglass will shortly be in the Empress' hands."

    + +

    While surrendering will never kill your character, the Game Master can still impose heavy consequences. Given the general mood of Fabula Ultima, however, permanent or crippling injuries should be avoided.

    + +

    Mechanics

    -

    The details of the sacrifice are negotiated between you and the Game Master — you should narrate your heroic demise together. There is no fixed limit on what a sacrifice may accomplish: you can and should go overboard with this, especially as you will permanently lose your character.

    -

    It is important to note that Player Characters who sacrifice themselves have accepted their death and normally cannot be brought back to life (see below), because they peacefully became one with the stream of souls. It isn't a bad way to go.

    -

    In the cosmology of Fabula Ultima, the spirits of the deceased generally return to the stream of souls that permeates the world — but some might be trapped by evil sorcery, transported to other dimensions, or even possess a will strong enough to retain their identity after death.

    -

    The mechanics of the game do not give you the option of bringing characters back to life for two main reasons: firstly, the death of a Player Character should be meaningful; and secondly, the mystery of the afterlife should be something you explore and shape together as part of your story.

    -

    RESURRECTION

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    Sample Consequences of Surrendering

    +
    +
    Darkness
    +
    You must change your Theme to one of the following: Anger, Doubt, Guilt, or Vengeance — your choice.
    + +
    Despair
    +
    The enemy gets to make a decisive move, or the heroes lose the faith and approval of an important person or group.
    + +
    Loss
    +
    Something incredibly precious, such as a magical artifact, a loved person, or an ancient and important heirloom, is taken from you.
    + +
    Resentment
    +
    You are forced to erase one of your Bonds and replace it with a Bond towards a character chosen by the Game Master. This new Bond must be of hatred, inferiority, or mistrust — your choice.
    + +
    Separated
    +
    You are no longer with your allies. You might be captured, dragged away, lost, or stranded in some unknown location.
    +
    + +
    "At the time, I could not disobey. No... I chose not to.
    But today, I shall no longer allow you to do as you please!"
    — Philip Forlenza (Order #)
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    Philip Forlenza

    -
    -

    - Order Number: # -

    -
    \ No newline at end of file +

    INTRODUCTION

    +

    Welcome to Fabula Ultima! What you hold in your hands is the core rulebook for a tabletop roleplaying game inspired by some of the most beloved JRPG videogames, such as Bravely Default, Bravely Second, Granblue Fantasy, Ni No Kuni, Octopath Traveler, and the legendary Final Fantasy series.

    +

    The JRPG acronym stands for Japanese (or Japanese-style) Roleplaying Game, a videogame genre that saw its origin in Japan but is currently spread all over the world, counting hundreds of titles. JRPG videogames share some major elements: they tell fantastic stories in which extraordinary individuals confront the darkness that threatens their world, growing and learning to trust each other: only by struggling together and casting aside their suspicions and differences will they save what they hold dear. This may read like a reasonably common premise, but what makes JRPGs unique is that the worlds in which they are set — often wondrous and bizarre! — are built around the protagonists and act as a reflection of the doubts, hopes and feelings driving their actions: the process of discovering the setting goes hand in hand with understanding who is accompanying us in our journeys.

    + +

    Philip Forlenza (Order #)

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    GAME RULES

    -

    Chapter [Title implied by context]

    -

    Surrendering

    +

    The Heroic Life

    +

    The heroic life can take a heavy toll on Player Characters; they often need to rest and recover their energy. Depending on the location, characters have access to different options for resting.

    -

    Characters who surrender fall unconscious and become unable to act for the remainder of the scene, even if their Hit Points are restored above 0. The Game Master cannot kill a character who surrenders but may impose a narrative consequence chosen from the list below or a consequence that makes sense within the scene. If multiple characters surrender — or worse of all, if the entire group gets wiped out! — the Game Master may impose separate consequences or a single major consequence. They may also decide to bring the consequences of your surrender into play later on!

    - -

    Example: As the last hero bites the dust, Commander Kelta grins. "I'd love to get rid of you once and for all, but I have a busy day. You will never make it to the village in time! The Skyglass will shortly be in the Empress' hands."

    - -

    While surrendering will never kill your character, the Game Master can still impose heavy consequences. Given the general mood of Fabula Ultima, however, permanent or crippling injuries should be avoided.

    - -

    Mechanics

    +

    RESTING IN THE WILDERNESS

    +

    When far away from the safety of cities and villages, traveling on the road or exploring a ruin, characters must have access to one of the following in order to rest:

    -

    Sample Consequences of Surrendering

    -
    -
    Darkness
    -
    You must change your Theme to one of the following: Anger, Doubt, Guilt, or Vengeance — your choice.
    +

    RESTING INSIDE SETTLEMENTS

    +

    While in a village, town, or city, characters must have access to one of the following in order to rest:

    + -
    Despair
    -
    The enemy gets to make a decisive move, or the heroes lose the faith and approval of an important person or group.
    +

    The Effects of Resting

    +

    When a Player Character rests, they enjoy the following benefits:

    + +

    Generally, resting requires four to six hours of inactivity. See Rests and Pacing on the right for more information on the consequences of resting.

    -
    Loss
    -
    Something incredibly precious, such as a magical artifact, a loved person, or an ancient and important heirloom, is taken from you.
    - -
    Resentment
    -
    You are forced to erase one of your Bonds and replace it with a Bond towards a character chosen by the Game Master. This new Bond must be of hatred, inferiority, or mistrust — your choice.
    - -
    Separated
    -
    You are no longer with your allies. You might be captured, dragged away, lost, or stranded in some unknown location.
    -
    - -
    "At the time, I could not disobey. No... I chose not to.
    But today, I shall no longer allow you to do as you please!"
    — Philip Forlenza (Order #)
    \ No newline at end of file +

    Resting

    +

    Philip Forlenza (Order #)

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    The Heroic Life

    -

    The heroic life can take a heavy toll on Player Characters; they often need to rest and recover their energy. Depending on the location, characters have access to different options for resting.

    +

    22GAME RULES

    -

    RESTING IN THE WILDERNESS

    -

    When far away from the safety of cities and villages, traveling on the road or exploring a ruin, characters must have access to one of the following in order to rest:

    +

    CHAPTER: BONDS AND RESTING SCENES

    +

    When the heroes rest, there is a chance for calmer, more intimate roleplaying — this is known as a resting scene. During this type of scene, Players can spend some time roleplaying conversations and describing what their characters do while sitting near the campfire or relaxing around town.

    + +

    At the end of a resting scene, each PC may do one of the following:

    -

    RESTING INSIDE SETTLEMENTS

    -

    While in a village, town, or city, characters must have access to one of the following in order to rest:

    - +

    When you add new Bonds or change their emotions, describe how and why your character's view of others has shifted.

    -

    The Effects of Resting

    -

    When a Player Character rests, they enjoy the following benefits:

    - -

    Generally, resting requires four to six hours of inactivity. See Rests and Pacing on the right for more information on the consequences of resting.

    +

    NON-PLAYER CHARACTER RECOVERY

    +

    These rules only apply to Player Characters; the Game Master always has full control over Non-Player Character recovery times. In general, whenever an NPC appears on a scene they are assumed to be at their full Hit Points and Mind Points, and with no status effects.

    -

    Resting

    -

    Philip Forlenza (Order #)

    \ No newline at end of file +

    While the rules for rests are very generous, spending too much time wrapped in the warm blankets of an inn will allow whatever danger is approaching to make the first move undisturbed.

    + +

    Inactivity should never be without consequence. The Game Master may use Clocks to keep the Players on their toes and foreshadow incoming threats, filling a section at the end of each rest.

    + +

    RESTS AND PACING

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    22GAME RULES

    +

    Damage Types

    +

    In Fabula Ultima, damage generally falls into one of the following types:

    -

    CHAPTER: BONDS AND RESTING SCENES

    -

    When the heroes rest, there is a chance for calmer, more intimate roleplaying — this is known as a resting scene. During this type of scene, Players can spend some time roleplaying conversations and describing what their characters do while sitting near the campfire or relaxing around town.

    +
    +
    Physical
    The most common damage, caused by weapons and impacts.
    +
    Air
    Caused by supernatural winds and sky monsters.
    +
    Bolt
    Caused by lightning and electricity.
    +
    Dark
    Caused by undead and life-destroying magic.
    +
    Earth
    Caused by supernatural tremors and earth spirits.
    +
    Fire
    Caused by flames, magma or intense heat.
    +
    Ice
    Caused by very low temperatures and frost magic.
    +
    Light
    Caused by pure and untainted spiritual energy.
    +
    Poison
    Caused by poison, infections and pollution.
    +
    -

    At the end of a resting scene, each PC may do one of the following:

    +

    Damage Affinities

    +

    Some creatures have a particular Affinity towards certain damage types, often due to their Species — for instance, undead creatures are Vulnerable to light damage.

    + +

    Vulnerability

    -

    When you add new Bonds or change their emotions, describe how and why your character's view of others has shifted.

    +

    Resistance

    + -

    NON-PLAYER CHARACTER RECOVERY

    -

    These rules only apply to Player Characters; the Game Master always has full control over Non-Player Character recovery times. In general, whenever an NPC appears on a scene they are assumed to be at their full Hit Points and Mind Points, and with no status effects.

    +

    Immunity

    + -

    While the rules for rests are very generous, spending too much time wrapped in the warm blankets of an inn will allow whatever danger is approaching to make the first move undisturbed.

    +

    Absorption

    + -

    Inactivity should never be without consequence. The Game Master may use Clocks to keep the Players on their toes and foreshadow incoming threats, filling a section at the end of each rest.

    +

    Some game effects may cause you to gain a variety of Affinities: if a character is both Vulnerable and Resistant to a specific type of damage, they are treated as having no Affinity towards it. Immunity, on the other hand, always supersedes both Resistance and Vulnerability: finally, Absorption supersedes all other Affinities.

    -

    RESTS AND PACING

    -Philip Forlenza (Order #) \ No newline at end of file +

    Damage

    +

    Philip Forlenza (Order #)

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    Damage Types

    -

    In Fabula Ultima, damage generally falls into one of the following types:

    +

    EXTRA DAMAGE

    -
    -
    Physical
    The most common damage, caused by weapons and impacts.
    -
    Air
    Caused by supernatural winds and sky monsters.
    -
    Bolt
    Caused by lightning and electricity.
    -
    Dark
    Caused by undead and life-destroying magic.
    -
    Earth
    Caused by supernatural tremors and earth spirits.
    -
    Fire
    Caused by flames, magma or intense heat.
    -
    Ice
    Caused by very low temperatures and frost magic.
    -
    Light
    Caused by pure and untainted spiritual energy.
    -
    Poison
    Caused by poison, infections and pollution.
    -
    +

    Some game effects let you deal "extra damage". These effects do not apply to attacks or spells that deal no damage, only to those which already deal damage.

    -

    Damage Affinities

    -

    Some creatures have a particular Affinity towards certain damage types, often due to their Species — for instance, undead creatures are Vulnerable to light damage.

    +

    CHANGING DAMAGE TYPES

    +

    There are a variety of game effects that change the type of damage dealt by a spell or weapon. When this happens, the most recent effect “overwrites” any previous changes — and when such an effect ends, damage will return to its previous type.

    +

    Example: By default, a sword deals physical damage. If the spell Soul Weapon (page 209) is cast on that sword, it will deal light damage until the end of the scene. But if a Cyclone infusion (page 214) is applied to an attack, that attack will deal air damage — subsequent attacks will return to dealing light damage.

    -

    Vulnerability

    - +

    IMPROVISING DAMAGE

    +

    Damage is generally dealt by weapons, spells, or special abilities, but there can be other situations in which characters might be harmed, such as falling from a bridge or being buried under a pile of debris. The Game Master should use the table below to determine the amount of damage suffered in similar occasions. The damage type will vary depending on the circumstances, of course.

    -

    Resistance

    - + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
    LevelMinor DamageHeavy DamageMassive Damage
    5+103040
    20+204060
    40+305080
    -

    Immunity

    - +

    Sources of damage such as traps and hazards cannot kill a Player Character unless they choose to sacrifice themselves; this should be portrayed as a sudden stroke of luck or as a consequence of the character’s heroic resolve.

    +

    Example: Montblanc falls into a river of lava and is reduced to 0 Hit Points. He surrenders and manages to land on a floating rock, but passes out because of the heat. The current drags him away, separating him from the group.

    -

    Absorption

    - - -

    Some game effects may cause you to gain a variety of Affinities: if a character is both Vulnerable and Resistant to a specific type of damage, they are treated as having no Affinity towards it. Immunity, on the other hand, always supersedes both Resistance and Vulnerability: finally, Absorption supersedes all other Affinities.

    - -

    Damage

    Philip Forlenza (Order #)

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    EXTRA DAMAGE

    +

    Characters — be they PCs or NPCs — can suffer status effects during play. These will often be a consequence of attacks and spells.

    -

    Some game effects let you deal "extra damage". These effects do not apply to attacks or spells that deal no damage, only to those which already deal damage.

    +

    Status Effect Description

    + -

    CHANGING DAMAGE TYPES

    -

    There are a variety of game effects that change the type of damage dealt by a spell or weapon. When this happens, the most recent effect “overwrites” any previous changes — and when such an effect ends, damage will return to its previous type.

    -

    Example: By default, a sword deals physical damage. If the spell Soul Weapon (page 209) is cast on that sword, it will deal light damage until the end of the scene. But if a Cyclone infusion (page 214) is applied to an attack, that attack will deal air damage — subsequent attacks will return to dealing light damage.

    +

    CUMULATIVE STATUS EFFECTS

    +

    Different status effects that influence the same Attribute will stack — for instance, being both dazed and enraged reduces your Insight die size by two.

    +

    That said, your Attributes cannot be reduced below a d6 size.

    +

    If a character is suffering from a status effect and receives that same status effect again, nothing happens.

    -

    IMPROVISING DAMAGE

    -

    Damage is generally dealt by weapons, spells, or special abilities, but there can be other situations in which characters might be harmed, such as falling from a bridge or being buried under a pile of debris. The Game Master should use the table below to determine the amount of damage suffered in similar occasions. The damage type will vary depending on the circumstances, of course.

    +

    RECOVERING FROM STATUS EFFECTS

    +

    Status effects can be healed through resting or via specific spells, Skills, or items.

    - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
    LevelMinor DamageHeavy DamageMassive Damage
    5+103040
    20+204060
    40+305080
    - -

    Sources of damage such as traps and hazards cannot kill a Player Character unless they choose to sacrifice themselves; this should be portrayed as a sudden stroke of luck or as a consequence of the character’s heroic resolve.

    -

    Example: Montblanc falls into a river of lava and is reduced to 0 Hit Points. He surrenders and manages to land on a floating rock, but passes out because of the heat. The current drags him away, separating him from the group.

    +

    STATUS EFFECT IMMUNITY

    +

    If a character is immune to a given status effect, they cannot suffer it — if they become immune to that status effect while they have it, then they immediately recover from that status effect.

    +

    Status Effects

    Philip Forlenza (Order #)

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    Characters — be they PCs or NPCs — can suffer status effects during play. These will often be a consequence of attacks and spells.

    +
    +

    The six status effects are an abstract representation of a character’s diminished abilities. Poisoned can represent being drunk or sick, shaken might be caused by fear or hallucinations, slow can come from ice magic as well as especially sticky ooze, and so on.

    -

    Status Effect Description

    - +

    Many other afflictions could be treated as their own status effect, such as being asleep or petrified: however, these are not status effects and behave in a different way. Instead of reducing a character’s game statistics, they affect the way that character can act within the game world. Petrified creatures, for instance, will be unable to act.

    -

    CUMULATIVE STATUS EFFECTS

    -

    Different status effects that influence the same Attribute will stack — for instance, being both dazed and enraged reduces your Insight die size by two.

    -

    That said, your Attributes cannot be reduced below a d6 size.

    -

    If a character is suffering from a status effect and receives that same status effect again, nothing happens.

    +

    When dealing with similar effects, rely on logic and on what makes sense given the circumstances. Unless established by the game rules, it is the Game Master’s job to decide which events translate to status effects and which are handled as narrative elements.

    -

    RECOVERING FROM STATUS EFFECTS

    -

    Status effects can be healed through resting or via specific spells, Skills, or items.

    - -

    STATUS EFFECT IMMUNITY

    -

    If a character is immune to a given status effect, they cannot suffer it — if they become immune to that status effect while they have it, then they immediately recover from that status effect.

    - -

    Status Effects

    -

    Philip Forlenza (Order #)

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    STATUS EFFECT... OR MAYBE NOT?

    +

    Philip Forlenza (Order #)

    +
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    -

    The six status effects are an abstract representation of a character’s diminished abilities. Poisoned can represent being drunk or sick, shaken might be caused by fear or hallucinations, slow can come from ice magic as well as especially sticky ooze, and so on.

    +

    W

    +

    Fabula Points

    +

    Fabula Points represent the Player Characters’ ability to influence destiny and stem directly from their heroic nature and the hardships they face.

    -

    Many other afflictions could be treated as their own status effect, such as being asleep or petrified: however, these are not status effects and behave in a different way. Instead of reducing a character’s game statistics, they affect the way that character can act within the game world. Petrified creatures, for instance, will be unable to act.

    +

    FABULA POINTS AT CHARACTER CREATION

    +

    Each newly created character automatically receives 3 Fabula Points; any other Fabula Points must be gained during play.

    -

    When dealing with similar effects, rely on logic and on what makes sense given the circumstances. Unless established by the game rules, it is the Game Master’s job to decide which events translate to status effects and which are handled as narrative elements.

    +

    GAINING FABULA POINTS

    +

    There are four main ways a Player Character can gain Fabula Points, plus a fifth optional method:

    + +

    There is no upper limit to a character’s Fabula Points. In short, you are free to hoard them in preparation for an “important occasion” — however, spending Fabula Points is one of the main ways you will gain Experience Points and increase your level in the game (see page 226).

    +

    Thus, saving them up will slow down the growth of the entire group.

    -

    STATUS EFFECT... OR MAYBE NOT?

    -

    Philip Forlenza (Order #)

    -
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    + +

    FABULA POINTS

    +

    Philip Forlenza (Order #)

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    W

    -

    Fabula Points

    -

    Fabula Points represent the Player Characters’ ability to influence destiny and stem directly from their heroic nature and the hardships they face.

    +

    SPENDING FABULA POINTS

    -

    FABULA POINTS AT CHARACTER CREATION

    -

    Each newly created character automatically receives 3 Fabula Points; any other Fabula Points must be gained during play.

    - -

    GAINING FABULA POINTS

    -

    There are four main ways a Player Character can gain Fabula Points, plus a fifth optional method:

    +

    Your character's Fabula Points can be spent in a variety of ways — you have already encountered some of them during the previous pages, but there are two more:

    -

    There is no upper limit to a character’s Fabula Points. In short, you are free to hoard them in preparation for an “important occasion” — however, spending Fabula Points is one of the main ways you will gain Experience Points and increase your level in the game (see page 226).

    -

    Thus, saving them up will slow down the growth of the entire group.

    + +

    Taking these into account, the complete list of Fabula Point uses looks like this:

    + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
    EffectCostDescription
    Alter the Story1Alter an existing element or add a new element.
    Invoke Bond1Add Bond strength to a Check (see page 47).
    Invoke Trait1Reroll dice during a Check (see page 46).
    Use SkillvariesUse a Skill that requires Fabula Points.
    + +

    Fabula Points act as the core engine of the game, and they work as both a mechanical and a narrative currency. The more hardships and defeats you face, the more Fabula Points you earn; and the more you spend them to overcome obstacles and challenges, the faster your character grows.

    + +

    In a way, Fabula Points represent the cycle of fate surrounding the protagonists of the story: they gather resolve from defeat, channel that resolve through the Traits and Bonds that make them who they are, and grow stronger for that... only to be faced with even greater adversities.

    + +

    Is this truly a neverending cycle, or is it a spiral that can lead to new hope for your world? Only by playing the game will you be able to reach an answer!

    -

    FABULA POINTS

    +

    FABULA POINTS

    Philip Forlenza (Order #)

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    SPENDING FABULA POINTS

    +

    ALTERING THE STORY

    +

    As a Player, you can spend 1 Fabula Point to make a statement about the story. You get to shape part of the world, its people, and its creatures, to fill in the "grey areas" and generate an opportunity for action, tweak a detail in your favor... or even introduce a convenient plot twist!

    -

    Your character's Fabula Points can be spent in a variety of ways — you have already encountered some of them during the previous pages, but there are two more:

    -

    Taking these into account, the complete list of Fabula Point uses looks like this:

    +

    As with any freeform tool, this option is very powerful and may be used in a variety of ways and "intensities" — some Players will just add a useful item on the scene, others will come up with entire new locations and place them on the world map.

    - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
    EffectCostDescription
    Alter the Story1Alter an existing element or add a new element.
    Invoke Bond1Add Bond strength to a Check (see page 47).
    Invoke Trait1Reroll dice during a Check (see page 46).
    Use SkillvariesUse a Skill that requires Fabula Points.
    +

    When you sit down to play, discuss what you feel comfortable with — but do your best to embrace the adventurous (and sometimes over-the-top) nature of this rule.

    -

    Fabula Points act as the core engine of the game, and they work as both a mechanical and a narrative currency. The more hardships and defeats you face, the more Fabula Points you earn; and the more you spend them to overcome obstacles and challenges, the faster your character grows.

    +

    Example 1

    +

    After defeating the Mirror Golem in the depths of the forest ruins, the heroes recover a strange ivory disc bearing mysterious inscriptions. No one among them knows how to read this ancient language; a Player decides to spend 1 Fabula Point to state his character knows of an elderly scholar living in the countryside nearby, who might be able to help.

    +

    Since this statement does not contradict anything previously stated by the Game Master or by another Player, it becomes automatically true — the Player marks the position of the scholar's tower on the map.

    -

    In a way, Fabula Points represent the cycle of fate surrounding the protagonists of the story: they gather resolve from defeat, channel that resolve through the Traits and Bonds that make them who they are, and grow stronger for that... only to be faced with even greater adversities.

    - -

    Is this truly a neverending cycle, or is it a spiral that can lead to new hope for your world? Only by playing the game will you be able to reach an answer!

    - -
    - -

    FABULA POINTS

    Philip Forlenza (Order #)

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    ALTERING THE STORY

    -

    As a Player, you can spend 1 Fabula Point to make a statement about the story. You get to shape part of the world, its people, and its creatures, to fill in the "grey areas" and generate an opportunity for action, tweak a detail in your favor... or even introduce a convenient plot twist!

    +

    Example 2: Our heroes are searching for a massive dragon across the rocky hills surrounding Ildefort.

    +

    They finally track the monster down to a large cavern. At that point, a Player declares she wants to spend 1 Fabula Point to state that the creature is asleep — this will make it easier to get the drop on them.

    +

    The dragon is a creature introduced by the Game Master, which means the Player needs permission in order to make a statement about them. The GM is okay with this, but points out that this is no "magical sleep" and that the group will have to make Checks in order to avoid waking up the dragon.

    - +

    Example 3: Seven years ago, the warrior-sorceress Daige deserted the imperial army.

    +

    Now Daige finds herself back in the imperial capital, leading an infiltration team determined to steal the Soul Crystal from the Empress' clutches.

    +

    While gathering information in the streets, Daige and her comrade Valincor realize they are being followed by a city guard: the Player controlling Daige, Hannah, spends 1 Fabula Point and reveals that their pursuer is actually a member of her former unit, Ramis. He was never a fan of imperial cruelties but remained in the army to feed his family. Since the city guard was a character introduced by the Game Master, Hannah needs permission — this is a huge change to the scene, but the GM is intrigued and agrees to it.

    +

    From now on, the Game Master will still control Ramis — but the heroes have gained a new and useful contact within the capital. However, Ramis still has a weakness: what will he do if his family is threatened?

    +

    There is more than one side to each story.

    -

    As with any freeform tool, this option is very powerful and may be used in a variety of ways and "intensities" — some Players will just add a useful item on the scene, others will come up with entire new locations and place them on the world map.

    - -

    When you sit down to play, discuss what you feel comfortable with — but do your best to embrace the adventurous (and sometimes over-the-top) nature of this rule.

    - -

    Example 1

    -

    After defeating the Mirror Golem in the depths of the forest ruins, the heroes recover a strange ivory disc bearing mysterious inscriptions. No one among them knows how to read this ancient language; a Player decides to spend 1 Fabula Point to state his character knows of an elderly scholar living in the countryside nearby, who might be able to help.

    -

    Since this statement does not contradict anything previously stated by the Game Master or by another Player, it becomes automatically true — the Player marks the position of the scholar's tower on the map.

    - -

    Philip Forlenza (Order #)

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