- 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 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. -
-| ITEM | -IP COST | -EFFECT | -
|---|---|---|
| Potions | -Elixir 3 | -One creature recovers 50 Mind Points. | -
| - | Remedy 3 | -One creature recovers 50 Hit Points. | -
| - | Tonic 2 | -One creature recovers from a single status effect. | -
| Utility | -- Elemental Shard 2 One creature suffers 10 damage of a type of your - choice (air, bolt, earth, fire, or ice). - | -|
| Magic | -Tent 4 Allows the entire group to rest in the wilderness. | -|
+ 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 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. +
+| ITEM | +IP COST | +EFFECT | +
|---|---|---|
| Potions | +Elixir 3 | +One creature recovers 50 Mind Points. | +
| + | Remedy 3 | +One creature recovers 50 Hit Points. | +
| + | Tonic 2 | +One creature recovers from a single status effect. | +
| Utility | ++ Elemental Shard 2 One creature suffers 10 damage of a type of your + choice (air, bolt, earth, fire, or ice). + | +|
| Magic | +Tent 4 Allows the entire group to rest in the wilderness. | +|
+
Note: While tools and similar gear might allow you to perform an otherwise impossible operation, they never grant any mechanical benefit.
diff --git a/books/core/106.html b/books/core/106.html index fe8aafd..ed10a9f 100644 --- a/books/core/106.html +++ b/books/core/106.html @@ -1,52 +1,61 @@ -- 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. -
-- 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:
-- 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. -
-- The Game Master decides the location of each danger and discovery; if you - need, mark its position on your map sheet. -
-+ 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. +
++ 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: +
++ 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. +
++ The Game Master decides the location of each danger and discovery; if + you need, mark its position on your map sheet. +
+| Area | -Threat Level | -Travel Roll | -
|---|---|---|
| Within villages, cities and guarded areas | -Minimal | -d6 | -
| Prairies, patrolled roads, countrysides | -Low | -d8 | -
| Forests, hills, rivers | -Medium | -d10 | -
| Vast forests, mountains, open sea, swamps | -High | -d12 | -
| Deserts, frozen wastes, jungles, volcanoes | -Very High | -d20 | -
- 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.
-- 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! -
+| Area | +Threat Level | +Travel Roll | +
|---|---|---|
| Within villages, cities and guarded areas | +Minimal | +d6 | +
| Prairies, patrolled roads, countrysides | +Low | +d8 | +
| Forests, hills, rivers | +Medium | +d10 | +
| Vast forests, mountains, open sea, swamps | +High | +d12 | +
| Deserts, frozen wastes, jungles, volcanoes | +Very High | +d20 | +
+ 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. +
++ 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! +
+- Characters should generally be able to overcome a danger through a series of - Checks or a conflict scene. -
-If you need to determine damage dealt by a danger, use the table below:
-| Level | -Minor Damage | -Heavy Damage | -Massive Damage | -
|---|---|---|---|
| 5+ | -10 | -30 | -40 | -
| 20+ | -20 | -40 | -60 | -
| 40+ | -30 | -50 | -80 | -
- Status effects are another good consequence for dangers: for instance, the - polluted swamp mentioned above might inflict poisoned. -
-- 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. -
-UPDATING THE WORLD MAP
++ Characters should generally be able to overcome a danger through a series of + Checks or a conflict scene. +
+If you need to determine damage dealt by a danger, use the table below:
+| Level | +Minor Damage | +Heavy Damage | +Massive Damage | +
|---|---|---|---|
| 5+ | +10 | +30 | +40 | +
| 20+ | +20 | +40 | +60 | +
| 40+ | +30 | +50 | +80 | +
+ Status effects are another good consequence for dangers: for instance, the + polluted swamp mentioned above might inflict poisoned. +
++ 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. +
+DISCOVERIES
-- Discoveries don’t happen that often, so the Game Master should make sure each - and every one of them is unique and useful. -
-- 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. -
-vanished during a flight over the Whisperwoods.
++ Discoveries don’t happen that often, so the Game Master should make sure + each and every one of them is unique and useful. +
++ 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. ++
- 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. -
-- 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 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. +
++ 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. +
+- 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 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. -
++ 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 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. +
+- 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. -
-- 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. -
-- 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. -
-- 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
++ 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. +
++ 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. +
++ 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. +
++ 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. +
+- 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). -
-- 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.
-- 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.
-- 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. -
-- 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.
++ 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). +
++ 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.
++ 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.
++ 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. +
++ 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.
+- 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. -
-- Each spell description uses the format below and contains a variety of - information: -
-- 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. -
-+ 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. +
++ Each spell description uses the format below and contains a variety of + information: +
+| Name | +Cost | +Targets | +Duration | +
|---|---|---|---|
| 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. + | +|||
To cast a spell, you must fulfill the following prerequisites:
-If all of the above are true, you may cast the spell.
-- 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. -
-To cast a spell, you must fulfill the following prerequisites:
+If all of the above are true, you may cast the spell.
++ Non-offensive spells are automatically successful and require no Check. + Fumbles and critical successes on Magic Checks generate opportunities as + normal. +
+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!
Clocks like these are "time trackers" and normally can't be directly diff --git a/books/core/97.html b/books/core/97.html index be96237..3c389e8 100644 --- a/books/core/97.html +++ b/books/core/97.html @@ -1,12 +1,74 @@ -
+ 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: +
+ +| Effect | +Fabula Point Cost | +Description | +
|---|---|---|
| Alter the Story | +1 | +Alter an existing element or add a new element. | +
| Invoke Bond | +1 | +Add Bond strength to a Check (see page 47). | +
| Invoke Trait | +1 | +Reroll dice during a Check (see page 46). | +
| Use Skill | +varies | +Use 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! +
diff --git a/books/core/98.html b/books/core/98.html index 3c8acbe..41975a4 100644 --- a/books/core/98.html +++ b/books/core/98.html @@ -1,4 +1,4 @@ -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.
-- 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. -
++ 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. +
+- 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. -
-- 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.
++ 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.
+