bug: Pages numbered correctly in books/core

books/core/64.html

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-<h1>22 GAME RULES</h1>
-<p>Since turns do not belong to specific characters, you may switch the order of your actions from round to round. For instance, a sorceress who took the last 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.</p>
+<h2>SPACE AND DISTANCES</h2>
+<p>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.</p>
+<p>There are a few important things to say about this:</p>
 
-<h2>DYNAMIC TURN ORDER</h2>
-<p>Much like any game that limits the amount of “moves” a character can perform before their opponents get a chance to act, Fabula Ultima rewards you for being clever in how resources are used.</p>
 <ul>
-    <li>If you are the Game Master, don't stage conflicts where one side is vastly outnumbered: they will quickly be overwhelmed.</li>
-    <li>Some powerful creatures have the ability to take several turns during each round — these are known as elites and champions (see page 295). These creatures still follow the normal rules for alternating turns, but take the place of multiple normal foes.</li>
+    <li>
+        <h3>ACTIONS AND DESCRIPTIONS</h3>
+        <p>Keep distances and movements abstract in your descriptions. If you want to rush past the golems and snatch a cursed grimoire from the wizard's hands, for instance, you can roll for that right away — it doesn't matter whether you were ten, twenty, or fifty steps away, all that matters is who, or what, is going to try and stop you.</p>
+    </li>
+    <li>
+        <h3>ATTACKS</h3>
+        <p>The big difference between melee and ranged attacks isn't in the distance they can cover, but in the various Skills they interact with and the ability (or inability) to target flying enemies and similarly elusive creatures.</p>
+        <p>When the martial artist in your group performs an attack that targets foes who are in wildly different locations, you shouldn't question the feasibility of it — if anything, the cool part is describing what the attack looks like!</p>
+        <p>If you're thinking that fragile characters are made even more vulnerable by this approach, you are partially right; but that's where the Guard action (page 70) and the Protect and Provoke Skills (pages 197 and 195) really shine — the ability to take a blow for your comrades becomes critical to victory in battle.</p>
+    </li>
+    <li>
+        <h3>SPLIT SCENES</h3>
+        <p>If the conflict scene involves locations that are far away from each other — say, if you are distracting the Pirate Queen with your conversational skills while your allies silently board her ship — you must first choose which characters will act in each location; then, proceed with the conflict scene and "cut" between the different locations as prompted by the initiative order.</p>
+        <p>Normally, characters in different locations will not be able to affect or interact with each other, but sometimes the two conflict scenes will merge into one as the characters eventually regroup.</p>
+    </li>
 </ul>
 
-<h2>THE ACTION ECONOMY</h2>
-<p>If you are the Game Master, it can be hard to remember which adversaries still need to take their turn. An excellent solution is to have enemies take their 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.</p>
-
-<h2>OPTIONAL: ENEMY INITIATIVE</h2>
-<cite>Philip Forlenza (Order #)</cite>
+<p class="citation">Philip Forlenza (Order #)</p>