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<h2>INVENTORY POINTS</h2>
<div>
<h1>INVENTORY POINTS</h1>
<p>
Player Characters have an abstract reserve of useful gear and consumable
items, represented by Inventory Points (IP).
</p>
<p>
A character can normally carry a maximum of 6 Inventory Points; however, some
Classes and special Skills will increase this limit.
</p>
<h3>SPENDING INVENTORY POINTS</h3>
<p>
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.
</p>
<p>
Once created, the item must be used immediately and is destroyed in the
process; you cannot create it and then "save it for later".
</p>
<p>
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!
</p>
<p>
The Tinkerer Class (<a href="/books/core/#page-210">page 210</a>) can use
Inventory Points in a variety of ways.
</p>
<table>
<thead>
<tr>
<th>ITEM</th>
<th>IP COST</th>
<th>EFFECT</th>
</tr>
</thead>
<tbody>
<tr>
<td><strong>Potions</strong></td>
<td>Elixir 3</td>
<td>One creature recovers 50 Mind Points.</td>
</tr>
<tr>
<td></td>
<td>Remedy 3</td>
<td>One creature recovers 50 Hit Points.</td>
</tr>
<tr>
<td></td>
<td>Tonic 2</td>
<td>One creature recovers from a single status effect.</td>
</tr>
<tr>
<td colspan="2"><strong>Utility</strong></td>
<td>
Elemental Shard 2 One creature suffers 10 damage of a type of your
choice (air, bolt, earth, fire, or ice).
</td>
</tr>
<tr>
<td colspan="2"><strong>Magic</strong></td>
<td>Tent 4 Allows the entire group to rest in the wilderness.</td>
</tr>
</tbody>
</table>
<p>
Player Characters have an abstract reserve of useful gear and consumable
items, represented by Inventory Points (IP).
</p>
<p>
A character can normally carry a maximum of 6 Inventory Points; however,
some Classes and special Skills will increase this limit.
</p>
</div>
<div>
<h2>SPENDING INVENTORY POINTS</h2>
<p>
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.
</p>
<p>
Once created, the item must be used immediately and is destroyed in the
process; you cannot create it and then "save it for later".
</p>
<p>
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!
</p>
<p>
The Tinkerer Class (<a href="/books/core/#page-210">page 210</a>) can use
Inventory Points in a variety of ways.
</p>
<table>
<thead>
<tr>
<th>ITEM</th>
<th>IP COST</th>
<th>EFFECT</th>
</tr>
</thead>
<tbody>
<tr>
<td><strong>Potions</strong></td>
<td>Elixir 3</td>
<td>One creature recovers 50 Mind Points.</td>
</tr>
<tr>
<td></td>
<td>Remedy 3</td>
<td>One creature recovers 50 Hit Points.</td>
</tr>
<tr>
<td></td>
<td>Tonic 2</td>
<td>One creature recovers from a single status effect.</td>
</tr>
<tr>
<td colspan="2"><strong>Utility</strong></td>
<td>
Elemental Shard 2 One creature suffers 10 damage of a type of your
choice (air, bolt, earth, fire, or ice).
</td>
</tr>
<tr>
<td colspan="2"><strong>Magic</strong></td>
<td>Tent 4 Allows the entire group to rest in the wilderness.</td>
</tr>
</tbody>
</table>
</div>

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For instance, an item that costs 2 IP to create should sell for 10 zenit at
most.
</p>
<p>
<p class="note">
<strong>Note:</strong> While tools and similar gear might allow you to perform
an otherwise impossible operation, they never grant any mechanical benefit.
</p>

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<p>
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 <a href="/books/core/#page-148">page 148</a>); 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.
</p>
<h2>TRAVELING ACROSS THE WORLD MAP</h2>
<p>
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.
</p>
<p>For each travel day required by the journey, perform the following steps:</p>
<h3>JOURNEYS AND TRA VELS</h3>
<p>
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.
</p>
<p>
The Game Master always has final say on how many travel days a journey will
take.
</p>
<ul>
<li>
<strong>W:</strong> The Game Master determines the threat level of the areas
traversed by the group (see next page). If more than a single threat level
is present, only apply the highest.
</li>
<li>
<strong>1W:</strong> Unless stopped by an encountered danger, the characters
proceed to the next travel day (go back to step 1) or reach their
destination.
</li>
<li>
<strong>3O:</strong> Perform a travel roll by rolling the die appropriate to
the chosen threat level.
<ul>
<li>On a 6 or higher, the group encounters a danger!</li>
<li>On a 1, the group makes an unexpected discovery!</li>
</ul>
<p>
The Game Master decides the location of each danger and discovery; if you
need, mark its position on your map sheet.
</p>
</li>
</ul>
<div>
<p>
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 <a href="/books/core/#page-148">page 148</a>); 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.
</p>
</div>
<div>
<h2>TRAVELING ACROSS THE WORLD MAP</h2>
<p>
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.
</p>
<p>
For each travel day required by the journey, perform the following steps:
</p>
</div>
<div>
<h3>JOURNEYS AND TRAVELS</h3>
<p>
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.
</p>
<p>
The Game Master always has final say on how many travel days a journey will
take.
</p>
<ul>
<li>
<strong>W:</strong> The Game Master determines the threat level of the
areas traversed by the group (see next page). If more than a single threat
level is present, only apply the highest.
</li>
<li>
<strong>1W:</strong> Unless stopped by an encountered danger, the
characters proceed to the next travel day (go back to step 1) or reach
their destination.
</li>
<li>
<strong>3O:</strong> Perform a travel roll by rolling the die appropriate
to the chosen threat level.
<ul>
<li>On a 6 or higher, the group encounters a danger!</li>
<li>On a 1, the group makes an unexpected discovery!</li>
</ul>
<p>
The Game Master decides the location of each danger and discovery; if
you need, mark its position on your map sheet.
</p>
</li>
</ul>
</div>

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<h2>Sample Areas Threat Level Travel Roll</h2>
<table>
<thead>
<tr>
<th>Area</th>
<th>Threat Level</th>
<th>Travel Roll</th>
</tr>
</thead>
<tbody>
<tr>
<td>Within villages, cities and guarded areas</td>
<td>Minimal</td>
<td>d6</td>
</tr>
<tr>
<td>Prairies, patrolled roads, countrysides</td>
<td>Low</td>
<td>d8</td>
</tr>
<tr>
<td>Forests, hills, rivers</td>
<td>Medium</td>
<td>d10</td>
</tr>
<tr>
<td>Vast forests, mountains, open sea, swamps</td>
<td>High</td>
<td>d12</td>
</tr>
<tr>
<td>Deserts, frozen wastes, jungles, volcanoes</td>
<td>Very High</td>
<td>d20</td>
</tr>
</tbody>
</table>
<p>
Needless to say, a frequently patrolled area under enemy control will count as
a <strong>High</strong> or <strong>Very High</strong> danger, just like a
prairie overrun by hostile monsters.
</p>
<p>The Game Master has final say on the threat level for a given travel day.</p>
<h3>Example</h3>
<p>
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.
</p>
<p>
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.
</p>
<p>
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 <strong>High</strong> (d12). The
die comes up a 7: a danger!
</p>
<p>
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.
</p>
<p>
Before moving on to the next travel day, the heroes choose to use a Magic Tent
and rest, regaining their energies.
</p>
<p>
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!
</p>
<div>
<h2>Sample Areas Threat Level Travel Roll</h2>
<table>
<thead>
<tr>
<th>Area</th>
<th>Threat Level</th>
<th>Travel Roll</th>
</tr>
</thead>
<tbody>
<tr>
<td>Within villages, cities and guarded areas</td>
<td>Minimal</td>
<td>d6</td>
</tr>
<tr>
<td>Prairies, patrolled roads, countrysides</td>
<td>Low</td>
<td>d8</td>
</tr>
<tr>
<td>Forests, hills, rivers</td>
<td>Medium</td>
<td>d10</td>
</tr>
<tr>
<td>Vast forests, mountains, open sea, swamps</td>
<td>High</td>
<td>d12</td>
</tr>
<tr>
<td>Deserts, frozen wastes, jungles, volcanoes</td>
<td>Very High</td>
<td>d20</td>
</tr>
</tbody>
</table>
<p>
Needless to say, a frequently patrolled area under enemy control will count
as a <strong>High</strong> or <strong>Very High</strong> danger, just like a
prairie overrun by hostile monsters.
</p>
<p>
The Game Master has final say on the threat level for a given travel day.
</p>
<div class="example">
<strong>Example:</strong>&nbsp;
<p>
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.
</p>
<p>
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.
</p>
<p>
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
<strong>High</strong> (d12). The die comes up a 7: a danger!
</p>
<p>
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.
</p>
<p>
Before moving on to the next travel day, the heroes choose to use a Magic
Tent and rest, regaining their energies.
</p>
<p>
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!
</p>
</div>
</div>

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<h1>DANGERS</h1>
<p>
Characters should generally be able to overcome a danger through a series of
Checks or a conflict scene.
</p>
<h2>Examples of Dangers</h2>
<ul>
<li>
An area plagued by extreme weather conditions, such as sandstorms or bitter
cold.
</li>
<li>A polluted swamp filled with toxic miasma and ravenous undead.</li>
<li>A ferocious and territorial monster, or a group of hostile creatures.</li>
<li>A sudden, unfortunate encounter with a rival or antagonist.</li>
<li>The risk of losing an important item.</li>
</ul>
<p>If you need to determine damage dealt by a danger, use the table below:</p>
<table>
<thead>
<tr>
<th>Level</th>
<th>Minor Damage</th>
<th>Heavy Damage</th>
<th>Massive Damage</th>
</tr>
</thead>
<tbody>
<tr>
<td>5+</td>
<td>10</td>
<td>30</td>
<td>40</td>
</tr>
<tr>
<td>20+</td>
<td>20</td>
<td>40</td>
<td>60</td>
</tr>
<tr>
<td>40+</td>
<td>30</td>
<td>50</td>
<td>80</td>
</tr>
</tbody>
</table>
<p>
Status effects are another good consequence for dangers: for instance, the
polluted swamp mentioned above might inflict <em>poisoned</em>.
</p>
<h2>World Map Management</h2>
<p>
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.
</p>
<p>
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
<a href="/books/core/#page-98">page 98</a>.
</p>
<h3>Attribution</h3>
<p>UPDATING THE WORLD MAP</p>
<div>
<h2>DANGERS</h2>
<p>
Characters should generally be able to overcome a danger through a series of
Checks or a conflict scene.
</p>
<h2>Examples of Dangers</h2>
<ul>
<li>
An area plagued by extreme weather conditions, such as sandstorms or
bitter cold.
</li>
<li>A polluted swamp filled with toxic miasma and ravenous undead.</li>
<li>
A ferocious and territorial monster, or a group of hostile creatures.
</li>
<li>A sudden, unfortunate encounter with a rival or antagonist.</li>
<li>The risk of losing an important item.</li>
</ul>
<p>If you need to determine damage dealt by a danger, use the table below:</p>
<table>
<thead>
<tr>
<th>Level</th>
<th>Minor Damage</th>
<th>Heavy Damage</th>
<th>Massive Damage</th>
</tr>
</thead>
<tbody>
<tr>
<td>5+</td>
<td>10</td>
<td>30</td>
<td>40</td>
</tr>
<tr>
<td>20+</td>
<td>20</td>
<td>40</td>
<td>60</td>
</tr>
<tr>
<td>40+</td>
<td>30</td>
<td>50</td>
<td>80</td>
</tr>
</tbody>
</table>
<p>
Status effects are another good consequence for dangers: for instance, the
polluted swamp mentioned above might inflict <em>poisoned</em>.
</p>
</div>
<div>
<h3>UPDATING THE WORLD MAP</h3>
<p>
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.
</p>
<p>
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
<a href="/books/core/#page-98">page 98</a>.
</p>
</div>

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<p><strong>DISCOVERIES</strong></p>
<p>
Discoveries don’t happen that often, so the Game Master should make sure each
and every one of them is unique and useful.
</p>
<ul>
<li>
The entrance to an ancient ruin: is it guarded? What treasures are hidden
here?
</li>
<li>A merchant caravan or a group of helpful creatures.</li>
<li>A secluded village or safe haven unknown to most.</li>
<li>A precious item or piece of information.</li>
</ul>
<p>
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.
</p>
<h2>The first airship pilot, Oona Sabine,</h2>
<p>vanished during a flight over the Whisperwoods.</p>
<div>
<h2>DISCOVERIES</h2>
<p>
Discoveries don’t happen that often, so the Game Master should make sure
each and every one of them is unique and useful.
</p>
<ul>
<li>
The entrance to an ancient ruin: is it guarded? What treasures are hidden
here?
</li>
<li>A merchant caravan or a group of helpful creatures.</li>
<li>A secluded village or safe haven unknown to most.</li>
<li>A precious item or piece of information.</li>
</ul>
<p>
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.
</p>
</div>
<hr />
<div>
<blockquote>
The first airship pilot, Oona Sabine, vanished during a flight over the
Whisperwoods.
</blockquote>
</div>

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<p>
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.
</p>
<p>
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.
</p>
<p>
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.
</p>
<h2>EXPLORING DUNGEONS</h2>
<p>
Depending on the size and importance of the dungeon in question, the Game
Master may adopt any of the following methods:
</p>
<ul>
<li>
<strong>Dungeon scenes.</strong> The exploration is run as a succession of
key moments rather than an inch-by-inch search of the dungeon. This works
best when the layout of the dungeon is mostly irrelevant and all that
matters is what lies in its depths. This approach is identical to default
gameplay: the heroes discuss their actions and describe what they do, the
Game Master describes what goes on around them, and Checks and conflicts
take place as normal.
</li>
<li>
<strong>Detailed exploration.</strong> The entire dungeon can be explored in
its every nook and cranny. This approach can be quite time-consuming and
should only be used if the structure and details of the place tell an
important story. For this method to work, the GM should carefully prepare
the layout of the dungeon beforehand — reserve it for locations that you're
sure the PCs will explore.
</li>
<li>
<strong>Interlude.</strong> The exploration is narrated as an interlude
scene, with maybe a single Group Check establishing whether the Player
Characters encounter any obstacles or dangers before they reach the depths
of the dungeon. Use this approach if you are short on time and if the
dungeon isn't particularly important — the typical occasion would be a minor
location discovered while traveling.
</li>
</ul>
<p>
Additional advice on how the Game Master should prepare material for dungeons
can be found starting on <a href="/books/core/#page-258">page 258</a>.
</p>
<hr />
<p>DUNGEONS</p>
<h1>DUNGEONS</h1>
<div>
<p>
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.
</p>
<p class="note">
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.
</p>
<p>
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.
</p>
</div>
<div>
<h2>EXPLORING DUNGEONS</h2>
<p>
Depending on the size and importance of the dungeon in question, the Game
Master may adopt any of the following methods:
</p>
<ul>
<li>
<strong>Dungeon scenes.</strong> The exploration is run as a succession of
key moments rather than an inch-by-inch search of the dungeon. This works
best when the layout of the dungeon is mostly irrelevant and all that
matters is what lies in its depths. This approach is identical to default
gameplay: the heroes discuss their actions and describe what they do, the
Game Master describes what goes on around them, and Checks and conflicts
take place as normal.
</li>
<li>
<strong>Detailed exploration.</strong> The entire dungeon can be explored
in its every nook and cranny. This approach can be quite time-consuming
and should only be used if the structure and details of the place tell an
important story. For this method to work, the GM should carefully prepare
the layout of the dungeon beforehand — reserve it for locations that
you're sure the PCs will explore.
</li>
<li>
<strong>Interlude.</strong> The exploration is narrated as an interlude
scene, with maybe a single Group Check establishing whether the Player
Characters encounter any obstacles or dangers before they reach the depths
of the dungeon. Use this approach if you are short on time and if the
dungeon isn't particularly important — the typical occasion would be a
minor location discovered while traveling.
</li>
</ul>
<p>
Additional advice on how the Game Master should prepare material for
dungeons can be found starting on
<a href="/books/core/#page-258">page 258</a>.
</p>
</div>

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<h1>DANGER CLOCKS</h1>
<p>
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:
</p>
<ul>
<li>
<strong>Eight sections</strong> for a threat that isn't immediately obvious
and will only come true with time — something like "crumbling temple" or
"magitech system failure".
</li>
<li>
<strong>Six sections</strong> for a threat that is quite obvious and likely
to happen after a while — such as "wandering monsters" or "poisonous fog".
</li>
<li>
<strong>Four sections</strong> for a threat that is urgent and very likely
to happen — something like "surrounded" or "high alert" in a dungeon
brimming with hostile creatures.
</li>
</ul>
<p>
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.
</p>
<p>
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.
</p>
<p>
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.
</p>
<div>
<h2>DANGER CLOCKS</h2>
<p>
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:
</p>
<ul>
<li>
<strong>Eight sections</strong> for a threat that isn't immediately
obvious and will only come true with time — something like "crumbling
temple" or "magitech system failure".
</li>
<li>
<strong>Six sections</strong> for a threat that is quite obvious and
likely to happen after a while — such as "wandering monsters" or
"poisonous fog".
</li>
<li>
<strong>Four sections</strong> for a threat that is urgent and very likely
to happen — something like "surrounded" or "high alert" in a dungeon
brimming with hostile creatures.
</li>
</ul>
<p>
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.
</p>
<p>
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.
</p>
<p>
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.
</p>
</div>

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<p>
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.
</p>
<h2>SPELLS AND RITUALS</h2>
<p>
Magic in Fabula Ultima falls within one of two categories: spells or Rituals.
</p>
<ul>
<li>
<strong>Spells</strong> represent codified magic formulas developed to
protect warriors and travelers: their applications are primarily offensive
or defensive. They can be learned easily and only require a brief gesture to
cast, but lack flexibility.
</li>
<li>
<strong>Rituals</strong>, on the other hand, are complex magical effects
designed to overcome a specific obstacle: whenever a Ritual is performed, it
will always be started from scratch and take several minutes to complete.
</li>
</ul>
<p>
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.
</p>
<p>
The mechanics governing spells and Rituals can be found in the next pages.
</p>
<h2>MAGIC DISCIPLINES</h2>
<p>
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.
</p>
<h3>ARCANISM</h3>
<p>
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.
</p>
<p>
Arcanism is a peculiar discipline that does not feature spells, but instead
follows its own unique mechanics (see the Arcanist Class on
<a href="/books/core/#page-176">page 176</a>). Arcanism Rituals are also
possible through the Arcane Rituals Skill.
</p>
<p>MAGIC</p>
<h1>MAGIC</h1>
<div>
<p>
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.
</p>
</div>
<div>
<h2>SPELLS AND RITUALS</h2>
<p>
Magic in Fabula Ultima falls within one of two categories: spells or
Rituals.
</p>
<ul>
<li>
<strong>Spells</strong> represent codified magic formulas developed to
protect warriors and travelers: their applications are primarily offensive
or defensive. They can be learned easily and only require a brief gesture
to cast, but lack flexibility.
</li>
<li>
<strong>Rituals</strong>, on the other hand, are complex magical effects
designed to overcome a specific obstacle: whenever a Ritual is performed,
it will always be started from scratch and take several minutes to
complete.
</li>
</ul>
<p>
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.
</p>
<p>
The mechanics governing spells and Rituals can be found in the next pages.
</p>
</div>
<div>
<h2>MAGIC DISCIPLINES</h2>
<p>
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.
</p>
<div>
<h3>ARCANISM</h3>
<p>
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.
</p>
<p>
Arcanism is a peculiar discipline that does not feature spells, but
instead follows its own unique mechanics (see the Arcanist Class on
<a href="/books/core/#page-176">page 176</a>). Arcanism Rituals are also
possible through the Arcane Rituals Skill.
</p>
</div>
</div>

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<h2>Chimerism</h2>
<p>
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.
</p>
<p>
Chimerism features both spells and Rituals. However, Chimerist spells must be
learned from creatures (see the Spell Mimic Skill on
<a href="/books/core/#page-183">page 183</a>).
</p>
<h2>Elementalism</h2>
<p>
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.
</p>
<p>Elementalism features both spells and Rituals.</p>
<h2>Entropism</h2>
<p>
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.
</p>
<p>Entropism features both spells and Rituals.</p>
<h2>Ritualism</h2>
<p>
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.
</p>
<p>
From a certain point of view, magitech could be considered a combination of
Ritualism and technology.
</p>
<h2>Spiritism</h2>
<p>
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.
</p>
<p>Spiritism features both spells and Rituals.</p>
<div>
<h3>Chimerism</h3>
<p>
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.
</p>
<p>
Chimerism features both spells and Rituals. However, Chimerist spells must
be learned from creatures (see the Spell Mimic Skill on
<a href="/books/core/#page-183">page 183</a>).
</p>
</div>
<div>
<h3>Elementalism</h3>
<p>
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.
</p>
<p>Elementalism features both spells and Rituals.</p>
</div>
<div>
<h3>Entropism</h3>
<p>
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.
</p>
<p>Entropism features both spells and Rituals.</p>
</div>
<div>
<h3>Ritualism</h3>
<p>
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.
</p>
<p>
From a certain point of view, magitech could be considered a combination of
Ritualism and technology.
</p>
</div>
<div>
<h3>Spiritism</h3>
<p>
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.
</p>
<p>Spiritism features both spells and Rituals.</p>
</div>

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<p>
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.
</p>
<h2>Spell Format</h2>
<p>
Each spell description uses the format below and contains a variety of
information:
</p>
<h3>Example Spell Metadata</h3>
<p>
<strong>Ignis</strong> <span>rr</span> 10 × T | Up to three creatures |
Instantaneous
</p>
<p>
You unleash a searing barrage against your foes, conjuring flames out of thin
air. Each target hit by this spell suffers
<strong class="mechanical-effect">【HR + 15】</strong> fire damage.
</p>
<p>
<strong>Opportunity:</strong> Each target hit by this spell suffers shaken.
</p>
<h3>Spell Components</h3>
<ul>
<li>
<strong>The Name and Type:</strong> The name of the spell, and whether it is
an offensive spell (rr). <br /><em
>See <a href="/books/core/#page-116">page 116</a> for more information on
offensive spells.</em
>
</li>
<li>
<strong>Mind Point Cost:</strong> The cost of the spell in Mind Points. To
cast a spell, you must have enough MP to pay its cost; additionally, some
spells allow you to spend more MP to increase the number of targets or
strengthen the effect. For instance, a spell with a cost of 10 × T will cost
you 10 Mind Points per target; the final amount of Mind Points required to
cast a spell is known as the total MP cost.
</li>
<li>
<strong>Targets:</strong> The targets that can be affected by the spell.
Most spells can target a certain number of creatures, but others may affect
different targets (such as weapons).
</li>
<li>
<strong>Target Specification:</strong> A target of "Self" means the caster
will use the spell on themselves, while a target of "Special" indicates that
the spell functions in a unique way described in its text, usually affecting
a variety of creatures or elements present on the scene.
</li>
<li>
<strong>Duration:</strong> The duration of the spell. Either
"Instantaneous", meaning that the spell takes effect immediately and then
dissipates, or "Scene", meaning that the spell creates an ongoing effect
lasting until the end of the scene it was cast in.
</li>
<li>
<strong>Effect Description:</strong> The effect of the spell, often preceded
by a flavorful description. This description has no mechanical relevance,
but can help you understand the concept behind the spell and customize its
appearance in order to fit your character.
</li>
<li>
<strong>Opportunity Effect:</strong> Spells that require a Magic Check often
feature an opportunity effect. If you roll a critical success on your Magic
Check, you may spend the corresponding opportunity to trigger this effect.
</li>
</ul>
<h2>Spells</h2>
<div>
<h2>Spells</h2>
<p>
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.
</p>
</div>
<div>
<h2>Spell Format</h2>
<p>
Each spell description uses the format below and contains a variety of
information:
</p>
<div>
<h3>Example Spell Metadata</h3>
<table>
<thead>
<tr>
<th>Name</th>
<th>Cost</th>
<th>Targets</th>
<th>Duration</th>
</tr>
</thead>
<tbody>
<tr>
<td>Ignis (rr)</td>
<td>10 × T</td>
<td>Up to three creatures</td>
<td>Instantaneous</td>
</tr>
<tr>
<td colspan="4">
You unleash a searing barrage against your foes, conjuring flames
out of thin air. Each target hit by this spell suffers
<span>【HR + 15】</span> fire damage.
<strong>Opportunity:</strong> Each target hit by this spell suffers
shaken.
</td>
</tr>
</tbody>
</table>
</div>
<div>
<h3>Spell Components</h3>
<ul>
<li>
<strong>The Name and Type:</strong> The name of the spell, and whether
it is an offensive spell (rr).
<em>
See <a href="/books/core/#page-116">page 116</a> for more information
on offensive spells.
</em>
</li>
<li>
<strong>Mind Point Cost:</strong> The cost of the spell in Mind Points.
To cast a spell, you must have enough MP to pay its cost; additionally,
some spells allow you to spend more MP to increase the number of targets
or strengthen the effect. For instance, a spell with a cost of 10 × T
will cost you 10 Mind Points per target; the final amount of Mind Points
required to cast a spell is known as the total MP cost.
</li>
<li>
<strong>Targets:</strong> The targets that can be affected by the spell.
Most spells can target a certain number of creatures, but others may
affect different targets (such as weapons).
</li>
<li>
<strong>Target Specification:</strong> A target of "Self" means the
caster will use the spell on themselves, while a target of "Special"
indicates that the spell functions in a unique way described in its
text, usually affecting a variety of creatures or elements present on
the scene.
</li>
<li>
<strong>Duration:</strong> The duration of the spell. Either
"Instantaneous", meaning that the spell takes effect immediately and
then dissipates, or "Scene", meaning that the spell creates an ongoing
effect lasting until the end of the scene it was cast in.
</li>
<li>
<strong>Effect Description:</strong> The effect of the spell, often
preceded by a flavorful description. This description has no mechanical
relevance, but can help you understand the concept behind the spell and
customize its appearance in order to fit your character.
</li>
<li>
<strong>Opportunity Effect:</strong> Spells that require a Magic Check
often feature an opportunity effect. If you roll a critical success on
your Magic Check, you may spend the corresponding opportunity to trigger
this effect.
</li>
</ul>
</div>
</div>

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<h2>Casting a Spell</h2>
<p>To cast a spell, you must fulfill the following prerequisites:</p>
<ul>
<li>
You must be free to move your body. You can be holding items in your hands,
as long as you can move your arms.
</li>
<li>You must be able to speak and pronounce the invocation.</li>
<li>
You must have enough Mind Points to pay for the spell’s total MP cost,
including any additional MP used to enhance its effect.
</li>
<li>
Unless you are casting a spell with a target of <strong>Self</strong> or
<strong>Special</strong>, you must be able to see your targets.
</li>
</ul>
<p>If all of the above are true, you may cast the spell.</p>
<ol>
<li>
Declare which spell you want to cast among those your character has learned,
and what its effect will be.
</li>
<li>If required, choose the targets for your spell.</li>
<li>
Perform the magical gestures and pronounce the formula — remember that any
nearby creatures will see and hear you.
</li>
</ol>
<h3>Magic Checks</h3>
<p>
If the spell is an offensive spell, you must also perform a Magic Check.
Elementalism, Entropism, and Spiritism Checks rely on
<strong>【INS + WLP 】</strong>, while Chimerism may choose between
<strong>【INS + WLP】</strong> or <strong>【MIG + WLP】</strong>.
</p>
<p>
Non-offensive spells are automatically successful and require no Check.
Fumbles and critical successes on Magic Checks generate opportunities as
normal.
</p>
<ol start="4">
<li>Spend the required amount of Mind Points.</li>
</ol>
<ol start="5">
<li>Apply the effects of the spell.</li>
</ol>
<div>
<h2>Casting a Spell</h2>
<p>To cast a spell, you must fulfill the following prerequisites:</p>
<ul>
<li>
You must be free to move your body. You can be holding items in your
hands, as long as you can move your arms.
</li>
<li>You must be able to speak and pronounce the invocation.</li>
<li>
You must have enough Mind Points to pay for the spell’s total MP cost,
including any additional MP used to enhance its effect.
</li>
<li>
Unless you are casting a spell with a target of <strong>Self</strong> or
<strong>Special</strong>, you must be able to see your targets.
</li>
</ul>
<p>If all of the above are true, you may cast the spell.</p>
<ol>
<li>
Declare which spell you want to cast among those your character has
learned, and what its effect will be.
</li>
<li>If required, choose the targets for your spell.</li>
<li>
Perform the magical gestures and pronounce the formula — remember that any
nearby creatures will see and hear you.
</li>
<li>Spend the required amount of Mind Points.</li>
<li>
If the spell is an offensive (rr) spell, you must also perform a Magic
Check. Elementalism, Entropism, and Spiritism Checks rely on
<span>【INS + WLP 】</span>, while Chimerism may choose between
<span>【INS + WLP】</span> or <span>【MIG + WLP】</span>.
<p>
Non-offensive spells are automatically successful and require no Check.
Fumbles and critical successes on Magic Checks generate opportunities as
normal.
</p>
</li>
<li>Apply the effects of the spell.</li>
</ol>
</div>

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<p class="example">
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!
the region, the heroes have no time to lose! The Game Master draws a huge
Clock on the world map — four sections only!
</p>
<p>
Clocks like these are "time trackers" and normally can't be directly

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<td>
Add Bond strength to a Check (see <a href="/books/core/#page-47">page 47</a>).
</td>
<td>
Add Bond strength to a Check (see <a href="/books/core/#page-47">page 47</a>).
</td>
<td>
Reroll dice during a Check (see <a href="/books/core/#page-46">page 46</a>).
</td>
<td>
Reroll dice during a Check (see <a href="/books/core/#page-46">page 46</a>).
</td>
<h2>SPENDING FABULA POINTS</h2>
<p>
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:
</p>
<ul>
<li>
Altering the current situation to your advantage in some way, by modifying
or adding elements (see next page).
</li>
<li>
Some powerful character abilities require you to spend Fabula Points in
order to activate them.
</li>
</ul>
<p>
Taking these into account, the complete list of Fabula Point uses looks like
this:
</p>
<table>
<thead>
<tr>
<th>Effect</th>
<th>Fabula Point Cost</th>
<th>Description</th>
</tr>
</thead>
<tbody>
<tr>
<td>Alter the Story</td>
<td>1</td>
<td>Alter an existing element or add a new element.</td>
</tr>
<tr>
<td>Invoke Bond</td>
<td>1</td>
<td>Add Bond strength to a Check (see page 47).</td>
</tr>
<tr>
<td>Invoke Trait</td>
<td>1</td>
<td>Reroll dice during a Check (see page 46).</td>
</tr>
<tr>
<td>Use Skill</td>
<td>varies</td>
<td>Use a Skill that requires Fabula Points.</td>
</tr>
</tbody>
</table>
<h3>FABULA POINTS</h3>
<p>
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.
</p>
<p>
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.
</p>
<p>
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!
</p>

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<h1>ALTERING THE STORY</h1>
<h2>ALTERING THE STORY</h2>
<p>
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
@@ -44,16 +44,18 @@
your best to embrace the adventurous (and sometimes over-the-top) nature of
this rule.
</p>
<h2>Example 1</h2>
<p>
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.
</p>
<p>
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.
</p>
<div class="example">
<p>
<strong>Example 1:</strong>&nbsp;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.
</p>
<p>
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.
</p>
</div>

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<h2>
Example 2: Our heroes are searching for a massive dragon across the rocky
hills surrounding Ildefort.
</h2>
<p>
They finally track the monster down to a large cavern. At that point, a
<strong>Player</strong> 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.
</p>
<p>
The dragon is a creature introduced by the <strong>Game Master</strong>, which
means the <strong>Player</strong> needs permission in order to make a
statement about them. The <strong>GM</strong> 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.
</p>
<h2>
Example 3: Seven years ago, the warrior-sorceress Daige deserted the imperial
army.
</h2>
<p>
Now Daige finds herself back in the imperial capital, leading an infiltration
team determined to steal the Soul Crystal from the Empress' clutches.
</p>
<p>
While gathering information in the streets, Daige and her comrade Valincor
realize they are being followed by a city guard: the
<strong>Player</strong> 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
<strong>Game Master</strong>, Hannah needs permission — this is a huge change
to the scene, but the GM is intrigued and agrees to it.
</p>
<p>
From now on, the <strong>Game Master</strong> 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?
</p>
<p>There is more than one side to each story.</p>
<div class="example">
<p>
<strong>Example 2:</strong>&nbsp; Our heroes are searching for a massive
dragon across the rocky hills surrounding Ildefort.
</p>
<p>
They finally track the monster down to a large cavern. At that point, a
<strong>Player</strong> 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.
</p>
<p>
The dragon is a creature introduced by the <strong>Game Master</strong>,
which means the <strong>Player</strong> needs permission in order to make a
statement about them. The <strong>GM</strong> 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.
</p>
</div>
<div class="example">
<p>
<strong>Example 3:</strong>&nbsp; Seven years ago, the warrior-sorceress
Daige deserted the imperial army.
</p>
<p>
Now Daige finds herself back in the imperial capital, leading an
infiltration team determined to steal the Soul Crystal from the Empress'
clutches.
</p>
<p>
While gathering information in the streets, Daige and her comrade Valincor
realize they are being followed by a city guard: the
<strong>Player</strong> 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
<strong>Game Master</strong>, Hannah needs permission — this is a huge
change to the scene, but the GM is intrigued and agrees to it.
</p>
<p>
From now on, the <strong>Game Master</strong> 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?
</p>
<p>There is more than one side to each story.</p>
</div>