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<h2>INVENTORY POINTS</h2> <div>
<h1>INVENTORY POINTS</h1>
<p> <p>
Player Characters have an abstract reserve of useful gear and consumable Player Characters have an abstract reserve of useful gear and consumable
items, represented by Inventory Points (IP). items, represented by Inventory Points (IP).
</p> </p>
<p> <p>
A character can normally carry a maximum of 6 Inventory Points; however, some A character can normally carry a maximum of 6 Inventory Points; however,
Classes and special Skills will increase this limit. some Classes and special Skills will increase this limit.
</p> </p>
</div>
<h3>SPENDING INVENTORY POINTS</h3> <div>
<p> <h2>SPENDING INVENTORY POINTS</h2>
Whenever you need a consumable item from the list below, you may spend an <p>
appropriate amount of Inventory Points to produce it from your bag and apply Whenever you need a consumable item from the list below, you may spend an
its effect — all Inventory Points spent this way must come from the same appropriate amount of Inventory Points to produce it from your bag and apply
character. its effect — all Inventory Points spent this way must come from the same
</p> character.
<p> </p>
Once created, the item must be used immediately and is destroyed in the <p>
process; you cannot create it and then "save it for later". Once created, the item must be used immediately and is destroyed in the
</p> 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; <p>
this information is also present on your group sheet for easier reference. The The table below lists the default inventory objects available in the game;
sheet also features blank spaces where you can write custom inventory items this information is also present on your group sheet for easier reference.
that are unique to your world! The sheet also features blank spaces where you can write custom inventory
</p> items that are unique to your world!
<p> </p>
The Tinkerer Class (<a href="/books/core/#page-210">page 210</a>) can use <p>
Inventory Points in a variety of ways. The Tinkerer Class (<a href="/books/core/#page-210">page 210</a>) can use
</p> Inventory Points in a variety of ways.
<table> </p>
<thead> <table>
<tr> <thead>
<th>ITEM</th> <tr>
<th>IP COST</th> <th>ITEM</th>
<th>EFFECT</th> <th>IP COST</th>
</tr> <th>EFFECT</th>
</thead> </tr>
<tbody> </thead>
<tr> <tbody>
<td><strong>Potions</strong></td> <tr>
<td>Elixir 3</td> <td><strong>Potions</strong></td>
<td>One creature recovers 50 Mind Points.</td> <td>Elixir 3</td>
</tr> <td>One creature recovers 50 Mind Points.</td>
<tr> </tr>
<td></td> <tr>
<td>Remedy 3</td> <td></td>
<td>One creature recovers 50 Hit Points.</td> <td>Remedy 3</td>
</tr> <td>One creature recovers 50 Hit Points.</td>
<tr> </tr>
<td></td> <tr>
<td>Tonic 2</td> <td></td>
<td>One creature recovers from a single status effect.</td> <td>Tonic 2</td>
</tr> <td>One creature recovers from a single status effect.</td>
<tr> </tr>
<td colspan="2"><strong>Utility</strong></td> <tr>
<td> <td colspan="2"><strong>Utility</strong></td>
Elemental Shard 2 One creature suffers 10 damage of a type of your <td>
choice (air, bolt, earth, fire, or ice). Elemental Shard 2 One creature suffers 10 damage of a type of your
</td> choice (air, bolt, earth, fire, or ice).
</tr> </td>
<tr> </tr>
<td colspan="2"><strong>Magic</strong></td> <tr>
<td>Tent 4 Allows the entire group to rest in the wilderness.</td> <td colspan="2"><strong>Magic</strong></td>
</tr> <td>Tent 4 Allows the entire group to rest in the wilderness.</td>
</tbody> </tr>
</table> </tbody>
</table>
</div>

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

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<p> <div>
While conflicts may be the most memorable moments of a game session, the <p>
exploration of the game world is another major aspect of Fabula Ultima. At the While conflicts may be the most memorable moments of a game session, the
beginning of the game, your group will create the world together (see World exploration of the game world is another major aspect of Fabula Ultima. At
Creation, on <a href="/books/core/#page-148">page 148</a>); however, this does the beginning of the game, your group will create the world together (see
not mean you know everything about it. While you may be familiar with the main World Creation, on <a href="/books/core/#page-148">page 148</a>); however,
regions and cities, there are plenty of discoveries — and dangers! — awaiting this does not mean you know everything about it. While you may be familiar
our heroes. with the main regions and cities, there are plenty of discoveries — and
</p> dangers! — awaiting our heroes.
<h2>TRAVELING ACROSS THE WORLD MAP</h2> </p>
<p> </div>
When a group embarks on a journey, the Game Master makes use of the map sheet <div>
to track their movements. The basic unit of this system is the travel day: it <h2>TRAVELING ACROSS THE WORLD MAP</h2>
is the average distance covered during a single day on the map (assuming the <p>
characters are traveling on foot). The length of one travel day when using When a group embarks on a journey, the Game Master makes use of the map
your map sheet must be established by the group during World Creation. sheet to track their movements. The basic unit of this system is the travel
</p> day: it is the average distance covered during a single day on the map
<p>For each travel day required by the journey, perform the following steps:</p> (assuming the characters are traveling on foot). The length of one travel
<h3>JOURNEYS AND TRA VELS</h3> day when using your map sheet must be established by the group during World
<p> Creation.
For the sake of simplicity, travel days should always be rounded up to the </p>
next whole number — a journey taking two and a half days is rounded up to <p>
three days, for instance. For each travel day required by the journey, perform the following steps:
</p> </p>
<p> </div>
The Game Master always has final say on how many travel days a journey will <div>
take. <h3>JOURNEYS AND TRAVELS</h3>
</p> <p>
<ul> For the sake of simplicity, travel days should always be rounded up to the
<li> next whole number — a journey taking two and a half days is rounded up to
<strong>W:</strong> The Game Master determines the threat level of the areas three days, for instance.
traversed by the group (see next page). If more than a single threat level </p>
is present, only apply the highest. <p>
</li> The Game Master always has final say on how many travel days a journey will
<li> take.
<strong>1W:</strong> Unless stopped by an encountered danger, the characters </p>
proceed to the next travel day (go back to step 1) or reach their <ul>
destination. <li>
</li> <strong>W:</strong> The Game Master determines the threat level of the
<li> areas traversed by the group (see next page). If more than a single threat
<strong>3O:</strong> Perform a travel roll by rolling the die appropriate to level is present, only apply the highest.
the chosen threat level. </li>
<ul> <li>
<li>On a 6 or higher, the group encounters a danger!</li> <strong>1W:</strong> Unless stopped by an encountered danger, the
<li>On a 1, the group makes an unexpected discovery!</li> characters proceed to the next travel day (go back to step 1) or reach
</ul> their destination.
<p> </li>
The Game Master decides the location of each danger and discovery; if you <li>
need, mark its position on your map sheet. <strong>3O:</strong> Perform a travel roll by rolling the die appropriate
</p> to the chosen threat level.
</li> <ul>
</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> <div>
<table> <h2>Sample Areas Threat Level Travel Roll</h2>
<thead> <table>
<tr> <thead>
<th>Area</th> <tr>
<th>Threat Level</th> <th>Area</th>
<th>Travel Roll</th> <th>Threat Level</th>
</tr> <th>Travel Roll</th>
</thead> </tr>
<tbody> </thead>
<tr> <tbody>
<td>Within villages, cities and guarded areas</td> <tr>
<td>Minimal</td> <td>Within villages, cities and guarded areas</td>
<td>d6</td> <td>Minimal</td>
</tr> <td>d6</td>
<tr> </tr>
<td>Prairies, patrolled roads, countrysides</td> <tr>
<td>Low</td> <td>Prairies, patrolled roads, countrysides</td>
<td>d8</td> <td>Low</td>
</tr> <td>d8</td>
<tr> </tr>
<td>Forests, hills, rivers</td> <tr>
<td>Medium</td> <td>Forests, hills, rivers</td>
<td>d10</td> <td>Medium</td>
</tr> <td>d10</td>
<tr> </tr>
<td>Vast forests, mountains, open sea, swamps</td> <tr>
<td>High</td> <td>Vast forests, mountains, open sea, swamps</td>
<td>d12</td> <td>High</td>
</tr> <td>d12</td>
<tr> </tr>
<td>Deserts, frozen wastes, jungles, volcanoes</td> <tr>
<td>Very High</td> <td>Deserts, frozen wastes, jungles, volcanoes</td>
<td>d20</td> <td>Very High</td>
</tr> <td>d20</td>
</tbody> </tr>
</table> </tbody>
<p> </table>
Needless to say, a frequently patrolled area under enemy control will count as <p>
a <strong>High</strong> or <strong>Very High</strong> danger, just like a Needless to say, a frequently patrolled area under enemy control will count
prairie overrun by hostile monsters. as a <strong>High</strong> or <strong>Very High</strong> danger, just like a
</p> prairie overrun by hostile monsters.
<p>The Game Master has final say on the threat level for a given travel day.</p> </p>
<h3>Example</h3> <p>
<p> 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 </p>
they must search for an old mining tunnel that supposedly leads to the lair of <div class="example">
a wise water serpent. <strong>Example:</strong>&nbsp;
</p> <p>
<p> A group of heroes are leaving the village of Relde for the Kanka Hills,
Liz (the Game Master) takes a look at the map and determines that the where they must search for an old mining tunnel that supposedly leads to
characters will need one travel day to reach the hills, and another travel day the lair of a wise water serpent.
to explore the surrounding area in order to find the tunnel entrance. </p>
</p> <p>
<p> Liz (the Game Master) takes a look at the map and determines that the
For the first travel day, the group will cross prairies (d8) and hills (d10). characters will need one travel day to reach the hills, and another travel
Since only the highest die has to be taken into account, Liz should roll a day to explore the surrounding area in order to find the tunnel entrance.
d10. However, there is talk of a gang of bandits roaming the prairie: she </p>
decides this should raise the threat level to <strong>High</strong> (d12). The <p>
die comes up a 7: a danger! For the first travel day, the group will cross prairies (d8) and hills
</p> (d10). Since only the highest die has to be taken into account, Liz should
<p> roll a d10. However, there is talk of a gang of bandits roaming the
Liz has the group encounter a band of four brigands, accompanied by a Grey prairie: she decides this should raise the threat level to
Howler (a wolf-like creature). Following a quick conflict, the Player <strong>High</strong> (d12). The die comes up a 7: a danger!
Characters manage to fend off the attackers. </p>
</p> <p>
<p> Liz has the group encounter a band of four brigands, accompanied by a Grey
Before moving on to the next travel day, the heroes choose to use a Magic Tent Howler (a wolf-like creature). Following a quick conflict, the Player
and rest, regaining their energies. Characters manage to fend off the attackers.
</p> </p>
<p> <p>
Finally, Liz rolls for the second travel day, spent exploring the hills in Before moving on to the next travel day, the heroes choose to use a Magic
search of the fabled mine: this time, the die rolled is only a d10... and she Tent and rest, regaining their energies.
rolls a 1! After giving it some thought, Liz describes the PCs finding an </p>
entrance to the ancient tunnels... but they are not alone! They meet a <p>
traveling merchant by the name of Lily, who wishes to be escorted through the Finally, Liz rolls for the second travel day, spent exploring the hills in
mine: she seeks an audience with the serpent herself, and will reward them search of the fabled mine: this time, the die rolled is only a d10... and
with goods or information for it! she rolls a 1! After giving it some thought, Liz describes the PCs finding
</p> 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> <div>
<p> <h2>DANGERS</h2>
Characters should generally be able to overcome a danger through a series of <p>
Checks or a conflict scene. Characters should generally be able to overcome a danger through a series of
</p> Checks or a conflict scene.
<h2>Examples of Dangers</h2> </p>
<ul> <h2>Examples of Dangers</h2>
<li> <ul>
An area plagued by extreme weather conditions, such as sandstorms or bitter <li>
cold. An area plagued by extreme weather conditions, such as sandstorms or
</li> bitter cold.
<li>A polluted swamp filled with toxic miasma and ravenous undead.</li> </li>
<li>A ferocious and territorial monster, or a group of hostile creatures.</li> <li>A polluted swamp filled with toxic miasma and ravenous undead.</li>
<li>A sudden, unfortunate encounter with a rival or antagonist.</li> <li>
<li>The risk of losing an important item.</li> A ferocious and territorial monster, or a group of hostile creatures.
</ul> </li>
<p>If you need to determine damage dealt by a danger, use the table below:</p> <li>A sudden, unfortunate encounter with a rival or antagonist.</li>
<table> <li>The risk of losing an important item.</li>
<thead> </ul>
<tr> <p>If you need to determine damage dealt by a danger, use the table below:</p>
<th>Level</th> <table>
<th>Minor Damage</th> <thead>
<th>Heavy Damage</th> <tr>
<th>Massive Damage</th> <th>Level</th>
</tr> <th>Minor Damage</th>
</thead> <th>Heavy Damage</th>
<tbody> <th>Massive Damage</th>
<tr> </tr>
<td>5+</td> </thead>
<td>10</td> <tbody>
<td>30</td> <tr>
<td>40</td> <td>5+</td>
</tr> <td>10</td>
<tr> <td>30</td>
<td>20+</td> <td>40</td>
<td>20</td> </tr>
<td>40</td> <tr>
<td>60</td> <td>20+</td>
</tr> <td>20</td>
<tr> <td>40</td>
<td>40+</td> <td>60</td>
<td>30</td> </tr>
<td>50</td> <tr>
<td>80</td> <td>40+</td>
</tr> <td>30</td>
</tbody> <td>50</td>
</table> <td>80</td>
<p> </tr>
Status effects are another good consequence for dangers: for instance, the </tbody>
polluted swamp mentioned above might inflict <em>poisoned</em>. </table>
</p> <p>
<h2>World Map Management</h2> Status effects are another good consequence for dangers: for instance, the
<p> polluted swamp mentioned above might inflict <em>poisoned</em>.
While playing, the Game Master is free to add new landmarks, settlements and </p>
similar features to the map sheet whenever they feel appropriate. This usually </div>
happens when the group encounters a new point of interest or dangerous area, <div>
or when they learn about it from someone. <h3>UPDATING THE WORLD MAP</h3>
</p> <p>
<p> While playing, the Game Master is free to add new landmarks, settlements and
Players can also add new features and locations to the map by spending a similar features to the map sheet whenever they feel appropriate. This
Fabula Point to add a new story element, as explained on usually happens when the group encounters a new point of interest or
<a href="/books/core/#page-98">page 98</a>. dangerous area, or when they learn about it from someone.
</p> </p>
<h3>Attribution</h3> <p>
<p>UPDATING THE WORLD MAP</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> <div>
<p> <h2>DISCOVERIES</h2>
Discoveries don’t happen that often, so the Game Master should make sure each <p>
and every one of them is unique and useful. Discoveries don’t happen that often, so the Game Master should make sure
</p> each and every one of them is unique and useful.
<ul> </p>
<li> <ul>
The entrance to an ancient ruin: is it guarded? What treasures are hidden <li>
here? The entrance to an ancient ruin: is it guarded? What treasures are hidden
</li> here?
<li>A merchant caravan or a group of helpful creatures.</li> </li>
<li>A secluded village or safe haven unknown to most.</li> <li>A merchant caravan or a group of helpful creatures.</li>
<li>A precious item or piece of information.</li> <li>A secluded village or safe haven unknown to most.</li>
</ul> <li>A precious item or piece of information.</li>
<p> </ul>
Remember that a discovery is always a good thing: even if it’s a dangerous <p>
location, the reward it conceals should more than make up for it. Remember that a discovery is always a good thing: even if it’s a dangerous
</p> location, the reward it conceals should more than make up for it.
<h2>The first airship pilot, Oona Sabine,</h2> </p>
<p>vanished during a flight over the Whisperwoods.</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> <h1>DUNGEONS</h1>
The concept of a “dungeon” is a common trope in any type of RPG, tabletop and <div>
digital alike. Generally, a dungeon is frequently — but not always! — a <p>
labyrinthine environment, inhabited by hostile creatures... and often The concept of a “dungeon” is a common trope in any type of RPG, tabletop
concealing valuable treasures and powerful magical items, or acting as an evil and digital alike. Generally, a dungeon is frequently — but not always! — a
antagonist's lair. labyrinthine environment, inhabited by hostile creatures... and often
</p> concealing valuable treasures and powerful magical items, or acting as an
<p> evil antagonist's lair.
In Fabula Ultima, the term “dungeon” is used to indicate a somewhat complex </p>
location that is worthy of being explored. It could be an abandoned mill <p class="note">
turned into a brigand hideout, a witch’s castle, or a network of waterways In Fabula Ultima, the term “dungeon” is used to indicate a somewhat complex
guarded by ancient golems. location that is worthy of being explored. It could be an abandoned mill
</p> turned into a brigand hideout, a witch’s castle, or a network of waterways
<p> guarded by ancient golems.
Most of the time, the dungeon itself won’t be that important: why the heroes </p>
are there and what can be found within it is what really matters. Other times, <p>
a dungeon can be a powerful way to tell a story about those who inhabited it — Most of the time, the dungeon itself won’t be that important: why the heroes
and maybe hint at some obscure truths or provide an answer to some of the game are there and what can be found within it is what really matters. Other
world's mysteries. times, a dungeon can be a powerful way to tell a story about those who
</p> inhabited it — and maybe hint at some obscure truths or provide an answer to
<h2>EXPLORING DUNGEONS</h2> some of the game world's mysteries.
<p> </p>
Depending on the size and importance of the dungeon in question, the Game </div>
Master may adopt any of the following methods: <div>
</p> <h2>EXPLORING DUNGEONS</h2>
<ul> <p>
<li> Depending on the size and importance of the dungeon in question, the Game
<strong>Dungeon scenes.</strong> The exploration is run as a succession of Master may adopt any of the following methods:
key moments rather than an inch-by-inch search of the dungeon. This works </p>
best when the layout of the dungeon is mostly irrelevant and all that <ul>
matters is what lies in its depths. This approach is identical to default <li>
gameplay: the heroes discuss their actions and describe what they do, the <strong>Dungeon scenes.</strong> The exploration is run as a succession of
Game Master describes what goes on around them, and Checks and conflicts key moments rather than an inch-by-inch search of the dungeon. This works
take place as normal. best when the layout of the dungeon is mostly irrelevant and all that
</li> matters is what lies in its depths. This approach is identical to default
<li> gameplay: the heroes discuss their actions and describe what they do, the
<strong>Detailed exploration.</strong> The entire dungeon can be explored in Game Master describes what goes on around them, and Checks and conflicts
its every nook and cranny. This approach can be quite time-consuming and take place as normal.
should only be used if the structure and details of the place tell an </li>
important story. For this method to work, the GM should carefully prepare <li>
the layout of the dungeon beforehand — reserve it for locations that you're <strong>Detailed exploration.</strong> The entire dungeon can be explored
sure the PCs will explore. in its every nook and cranny. This approach can be quite time-consuming
</li> and should only be used if the structure and details of the place tell an
<li> important story. For this method to work, the GM should carefully prepare
<strong>Interlude.</strong> The exploration is narrated as an interlude the layout of the dungeon beforehand — reserve it for locations that
scene, with maybe a single Group Check establishing whether the Player you're sure the PCs will explore.
Characters encounter any obstacles or dangers before they reach the depths </li>
of the dungeon. Use this approach if you are short on time and if the <li>
dungeon isn't particularly important — the typical occasion would be a minor <strong>Interlude.</strong> The exploration is narrated as an interlude
location discovered while traveling. scene, with maybe a single Group Check establishing whether the Player
</li> Characters encounter any obstacles or dangers before they reach the depths
</ul> of the dungeon. Use this approach if you are short on time and if the
<p> dungeon isn't particularly important — the typical occasion would be a
Additional advice on how the Game Master should prepare material for dungeons minor location discovered while traveling.
can be found starting on <a href="/books/core/#page-258">page 258</a>. </li>
</p> </ul>
<hr /> <p>
<p>DUNGEONS</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> <div>
<p> <h2>DANGER CLOCKS</h2>
The Game Master can use Clocks to keep track of incoming threats in the <p>
dungeon. These Danger Clocks should feature a number of section based on the The Game Master can use Clocks to keep track of incoming threats in the
urgency of the threat they represent: dungeon. These Danger Clocks should feature a number of section based on the
</p> urgency of the threat they represent:
<ul> </p>
<li> <ul>
<strong>Eight sections</strong> for a threat that isn't immediately obvious <li>
and will only come true with time — something like "crumbling temple" or <strong>Eight sections</strong> for a threat that isn't immediately
"magitech system failure". obvious and will only come true with time — something like "crumbling
</li> temple" or "magitech system failure".
<li> </li>
<strong>Six sections</strong> for a threat that is quite obvious and likely <li>
to happen after a while — such as "wandering monsters" or "poisonous fog". <strong>Six sections</strong> for a threat that is quite obvious and
</li> likely to happen after a while — such as "wandering monsters" or
<li> "poisonous fog".
<strong>Four sections</strong> for a threat that is urgent and very likely </li>
to happen — something like "surrounded" or "high alert" in a dungeon <li>
brimming with hostile creatures. <strong>Four sections</strong> for a threat that is urgent and very likely
</li> to happen — something like "surrounded" or "high alert" in a dungeon
</ul> brimming with hostile creatures.
<p> </li>
The Game Master may fill a Danger Clock as a consequence of failed Checks, as </ul>
well as when an event would make the threat more likely, such as when the PCs <p>
spend time searching a room, make noise, rest inside the dungeon or draw The Game Master may fill a Danger Clock as a consequence of failed Checks,
unwanted attention. as well as when an event would make the threat more likely, such as when the
</p> PCs spend time searching a room, make noise, rest inside the dungeon or draw
<p> unwanted attention.
Different Danger Clocks will be triggered by different actions and events, of </p>
course — casting a spell might fill an "arcane overload" Clock, while <p>
searching a room is unlikely to affect it. Different Danger Clocks will be triggered by different actions and events,
</p> of course — casting a spell might fill an "arcane overload" Clock, while
<p> searching a room is unlikely to affect it.
As the Clock fills, the Game Master should foreshadow the incoming danger: </p>
once it is completely filled, that threat will become active in full, and the <p>
heroes will be forced to deal with it one way or another. As the Clock fills, the Game Master should foreshadow the incoming danger:
</p> 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>
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<p> <h1>MAGIC</h1>
The worlds of Fabula Ultima are innately magical, bound together on an atomic <div>
level by a stream of eternal souls. Because of this, many creatures can wield <p>
magic, manipulating soul energy to create supernatural effects. The worlds of Fabula Ultima are innately magical, bound together on an
</p> atomic level by a stream of eternal souls. Because of this, many creatures
<h2>SPELLS AND RITUALS</h2> can wield magic, manipulating soul energy to create supernatural effects.
<p> </p>
Magic in Fabula Ultima falls within one of two categories: spells or Rituals. </div>
</p> <div>
<ul> <h2>SPELLS AND RITUALS</h2>
<li> <p>
<strong>Spells</strong> represent codified magic formulas developed to Magic in Fabula Ultima falls within one of two categories: spells or
protect warriors and travelers: their applications are primarily offensive Rituals.
or defensive. They can be learned easily and only require a brief gesture to </p>
cast, but lack flexibility. <ul>
</li> <li>
<li> <strong>Spells</strong> represent codified magic formulas developed to
<strong>Rituals</strong>, on the other hand, are complex magical effects protect warriors and travelers: their applications are primarily offensive
designed to overcome a specific obstacle: whenever a Ritual is performed, it or defensive. They can be learned easily and only require a brief gesture
will always be started from scratch and take several minutes to complete. to cast, but lack flexibility.
</li> </li>
</ul> <li>
<p> <strong>Rituals</strong>, on the other hand, are complex magical effects
While powerful and extremely flexible, Rituals consume large amounts of Mind designed to overcome a specific obstacle: whenever a Ritual is performed,
Points and require difficult Magic Checks; additionally, failing a Ritual will it will always be started from scratch and take several minutes to
cause the magic to spiral out of control. While these downsides can be complete.
mitigated through time, effort, and complex procedures, the truth remains that </li>
Ritual magic is a powerful resource... but one that should be used sparingly. </ul>
</p> <p>
<p> While powerful and extremely flexible, Rituals consume large amounts of Mind
The mechanics governing spells and Rituals can be found in the next pages. Points and require difficult Magic Checks; additionally, failing a Ritual
</p> will cause the magic to spiral out of control. While these downsides can be
<h2>MAGIC DISCIPLINES</h2> mitigated through time, effort, and complex procedures, the truth remains
<p> that Ritual magic is a powerful resource... but one that should be used
This book features a total of six disciplines: Arcanism, Chimerism, sparingly.
Elementalism, Entropism, Ritualism, and Spiritism. Five of these correspond to </p>
a specific Class: Arcanist, Chimerist, Elementalist, Entropist, and Spiritist, <p>
whilst Ritualism is available to all of these Classes, except for Arcanists. The mechanics governing spells and Rituals can be found in the next pages.
</p> </p>
<h3>ARCANISM</h3> </div>
<p> <div>
Arcanists can project a large portion of their soul outside their bodies, <h2>MAGIC DISCIPLINES</h2>
forcing it to resonate with the power left behind by ancient divine entities <p>
known as Arcana, and manifest a fragment of their power. To access an This book features a total of six disciplines: Arcanism, Chimerism,
Arcanum’s power, one must first earn their favor: this often involves Elementalism, Entropism, Ritualism, and Spiritism. Five of these correspond
completing some sort of trial, quest, or mission. to a specific Class: Arcanist, Chimerist, Elementalist, Entropist, and
</p> Spiritist, whilst Ritualism is available to all of these Classes, except for
<p> Arcanists.
Arcanism is a peculiar discipline that does not feature spells, but instead </p>
follows its own unique mechanics (see the Arcanist Class on <div>
<a href="/books/core/#page-176">page 176</a>). Arcanism Rituals are also <h3>ARCANISM</h3>
possible through the Arcane Rituals Skill. <p>
</p> Arcanists can project a large portion of their soul outside their bodies,
<p>MAGIC</p> 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>
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<h2>Chimerism</h2> <div>
<p> <h3>Chimerism</h3>
Chimerists gain their powers from the souls of beasts and monsters; they <p>
search for creatures able to cast spells and attempt to mimic the same Chimerists gain their powers from the souls of beasts and monsters; they
effects. search for creatures able to cast spells and attempt to mimic the same
</p> effects.
<p> </p>
Chimerism features both spells and Rituals. However, Chimerist spells must be <p>
learned from creatures (see the Spell Mimic Skill on Chimerism features both spells and Rituals. However, Chimerist spells must
<a href="/books/core/#page-183">page 183</a>). be learned from creatures (see the Spell Mimic Skill on
</p> <a href="/books/core/#page-183">page 183</a>).
<h2>Elementalism</h2> </p>
<p> </div>
Elementalists can control the stream of souls that binds the four core <div>
elements of creation: air, earth, fire, and water. They can also influence any <h3>Elementalism</h3>
of their combinations and manifestations, such as magma, blizzards, deserts, <p>
or clouds. Elementalists can control the stream of souls that binds the four core
</p> elements of creation: air, earth, fire, and water. They can also influence
<p>Elementalism features both spells and Rituals.</p> any of their combinations and manifestations, such as magma, blizzards,
<h2>Entropism</h2> deserts, or clouds.
<p> </p>
Entropists go beyond the stream of souls found in the world and reach for the <p>Elementalism features both spells and Rituals.</p>
vast expanse of nothingness between stars. Their chaotic magic defies logic, </div>
twisting time and space and dissipating souls, matter, and magical energy. <div>
</p> <h3>Entropism</h3>
<p>Entropism features both spells and Rituals.</p> <p>
<h2>Ritualism</h2> Entropists go beyond the stream of souls found in the world and reach for
<p> the vast expanse of nothingness between stars. Their chaotic magic defies
Contrary to most other magical disciplines, Ritualism features no spells and logic, twisting time and space and dissipating souls, matter, and magical
can only be used in Ritual form. It is a catch-all term for Rituals performed energy.
to manipulate, sense, bind or unleash magical energy present within a </p>
location, item, mechanism, or relic. <p>Entropism features both spells and Rituals.</p>
</p> </div>
<p> <div>
From a certain point of view, magitech could be considered a combination of <h3>Ritualism</h3>
Ritualism and technology. <p>
</p> Contrary to most other magical disciplines, Ritualism features no spells and
<h2>Spiritism</h2> can only be used in Ritual form. It is a catch-all term for Rituals
<p> performed to manipulate, sense, bind or unleash magical energy present
Spiritists can manipulate the raw energy found within the souls of living within a location, item, mechanism, or relic.
creatures, influencing their emotions and manipulating their vital force: a </p>
power both miraculous and frightening. <p>
</p> From a certain point of view, magitech could be considered a combination of
<p>Spiritism features both spells and Rituals.</p> 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> <div>
Spells can belong to any of the following disciplines: Chimerism, <h2>Spells</h2>
Elementalism, Entropism, and Spiritism. The remaining two disciplines, <p>
Arcanism and Ritualism, do not feature any spells. Spells can belong to any of the following disciplines: Chimerism,
</p> Elementalism, Entropism, and Spiritism. The remaining two disciplines,
<h2>Spell Format</h2> Arcanism and Ritualism, do not feature any spells.
<p> </p>
Each spell description uses the format below and contains a variety of </div>
information: <div>
</p> <h2>Spell Format</h2>
<h3>Example Spell Metadata</h3> <p>
<p> Each spell description uses the format below and contains a variety of
<strong>Ignis</strong> <span>rr</span> 10 × T | Up to three creatures | information:
Instantaneous </p>
</p> <div>
<p> <h3>Example Spell Metadata</h3>
You unleash a searing barrage against your foes, conjuring flames out of thin <table>
air. Each target hit by this spell suffers <thead>
<strong class="mechanical-effect">【HR + 15】</strong> fire damage. <tr>
</p> <th>Name</th>
<p> <th>Cost</th>
<strong>Opportunity:</strong> Each target hit by this spell suffers shaken. <th>Targets</th>
</p> <th>Duration</th>
<h3>Spell Components</h3> </tr>
<ul> </thead>
<li> <tbody>
<strong>The Name and Type:</strong> The name of the spell, and whether it is <tr>
an offensive spell (rr). <br /><em <td>Ignis (rr)</td>
>See <a href="/books/core/#page-116">page 116</a> for more information on <td>10 × T</td>
offensive spells.</em <td>Up to three creatures</td>
> <td>Instantaneous</td>
</li> </tr>
<li> <tr>
<strong>Mind Point Cost:</strong> The cost of the spell in Mind Points. To <td colspan="4">
cast a spell, you must have enough MP to pay its cost; additionally, some You unleash a searing barrage against your foes, conjuring flames
spells allow you to spend more MP to increase the number of targets or out of thin air. Each target hit by this spell suffers
strengthen the effect. For instance, a spell with a cost of 10 × T will cost <span>【HR + 15】</span> fire damage.
you 10 Mind Points per target; the final amount of Mind Points required to <strong>Opportunity:</strong> Each target hit by this spell suffers
cast a spell is known as the total MP cost. shaken.
</li> </td>
<li> </tr>
<strong>Targets:</strong> The targets that can be affected by the spell. </tbody>
Most spells can target a certain number of creatures, but others may affect </table>
different targets (such as weapons). </div>
</li> <div>
<li> <h3>Spell Components</h3>
<strong>Target Specification:</strong> A target of "Self" means the caster <ul>
will use the spell on themselves, while a target of "Special" indicates that <li>
the spell functions in a unique way described in its text, usually affecting <strong>The Name and Type:</strong> The name of the spell, and whether
a variety of creatures or elements present on the scene. it is an offensive spell (rr).
</li> <em>
<li> See <a href="/books/core/#page-116">page 116</a> for more information
<strong>Duration:</strong> The duration of the spell. Either on offensive spells.
"Instantaneous", meaning that the spell takes effect immediately and then </em>
dissipates, or "Scene", meaning that the spell creates an ongoing effect </li>
lasting until the end of the scene it was cast in. <li>
</li> <strong>Mind Point Cost:</strong> The cost of the spell in Mind Points.
<li> To cast a spell, you must have enough MP to pay its cost; additionally,
<strong>Effect Description:</strong> The effect of the spell, often preceded some spells allow you to spend more MP to increase the number of targets
by a flavorful description. This description has no mechanical relevance, or strengthen the effect. For instance, a spell with a cost of 10 × T
but can help you understand the concept behind the spell and customize its will cost you 10 Mind Points per target; the final amount of Mind Points
appearance in order to fit your character. required to cast a spell is known as the total MP cost.
</li> </li>
<li> <li>
<strong>Opportunity Effect:</strong> Spells that require a Magic Check often <strong>Targets:</strong> The targets that can be affected by the spell.
feature an opportunity effect. If you roll a critical success on your Magic Most spells can target a certain number of creatures, but others may
Check, you may spend the corresponding opportunity to trigger this effect. affect different targets (such as weapons).
</li> </li>
</ul> <li>
<h2>Spells</h2> <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>
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<h2>Casting a Spell</h2> <div>
<p>To cast a spell, you must fulfill the following prerequisites:</p> <h2>Casting a Spell</h2>
<ul> <p>To cast a spell, you must fulfill the following prerequisites:</p>
<li> <ul>
You must be free to move your body. You can be holding items in your hands, <li>
as long as you can move your arms. You must be free to move your body. You can be holding items in your
</li> hands, as long as you can move your arms.
<li>You must be able to speak and pronounce the invocation.</li> </li>
<li> <li>You must be able to speak and pronounce the invocation.</li>
You must have enough Mind Points to pay for the spell’s total MP cost, <li>
including any additional MP used to enhance its effect. You must have enough Mind Points to pay for the spell’s total MP cost,
</li> 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 <li>
<strong>Special</strong>, you must be able to see your targets. Unless you are casting a spell with a target of <strong>Self</strong> or
</li> <strong>Special</strong>, you must be able to see your targets.
</ul> </li>
<p>If all of the above are true, you may cast the spell.</p> </ul>
<ol> <p>If all of the above are true, you may cast the spell.</p>
<li> <ol>
Declare which spell you want to cast among those your character has learned, <li>
and what its effect will be. Declare which spell you want to cast among those your character has
</li> learned, and what its effect will be.
<li>If required, choose the targets for your spell.</li> </li>
<li> <li>If required, choose the targets for your spell.</li>
Perform the magical gestures and pronounce the formula — remember that any <li>
nearby creatures will see and hear you. Perform the magical gestures and pronounce the formula — remember that any
</li> nearby creatures will see and hear you.
</ol> </li>
<h3>Magic Checks</h3> <li>Spend the required amount of Mind Points.</li>
<p> <li>
If the spell is an offensive spell, you must also perform a Magic Check. If the spell is an offensive (rr) spell, you must also perform a Magic
Elementalism, Entropism, and Spiritism Checks rely on Check. Elementalism, Entropism, and Spiritism Checks rely on
<strong>【INS + WLP 】</strong>, while Chimerism may choose between <span>【INS + WLP 】</span>, while Chimerism may choose between
<strong>【INS + WLP】</strong> or <strong>【MIG + WLP】</strong>. <span>【INS + WLP】</span> or <span>【MIG + WLP】</span>.
</p> <p>
<p> Non-offensive spells are automatically successful and require no Check.
Non-offensive spells are automatically successful and require no Check. Fumbles and critical successes on Magic Checks generate opportunities as
Fumbles and critical successes on Magic Checks generate opportunities as normal.
normal. </p>
</p> </li>
<ol start="4"> <li>Apply the effects of the spell.</li>
<li>Spend the required amount of Mind Points.</li> </ol>
</ol> </div>
<ol start="5">
<li>Apply the effects of the spell.</li>
</ol>

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<p class="example"> <p class="example">
Example: The Obliterator Airship Babel will be operative within four days. If 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 they want to neutralize its soul core and prevent the Emperor from conquering
the region, the heroes have no time to lose! the region, the heroes have no time to lose! The Game Master draws a huge
The Game Master draws a huge Clock on the world map — four sections only! Clock on the world map — four sections only!
</p> </p>
<p> <p>
Clocks like these are "time trackers" and normally can't be directly Clocks like these are "time trackers" and normally can't be directly

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<td> <h2>SPENDING FABULA POINTS</h2>
Add Bond strength to a Check (see <a href="/books/core/#page-47">page 47</a>).
</td> <p>
<td> Your character's Fabula Points can be spent in a variety of ways — you have
Add Bond strength to a Check (see <a href="/books/core/#page-47">page 47</a>). already encountered some of them during the previous pages, but there are two
</td> more:
<td> </p>
Reroll dice during a Check (see <a href="/books/core/#page-46">page 46</a>). <ul>
</td> <li>
<td> Altering the current situation to your advantage in some way, by modifying
Reroll dice during a Check (see <a href="/books/core/#page-46">page 46</a>). or adding elements (see next page).
</td> </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> <p>
As a Player, you can spend 1 Fabula Point to make a statement about 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 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 your best to embrace the adventurous (and sometimes over-the-top) nature of
this rule. this rule.
</p> </p>
<h2>Example 1</h2> <div class="example">
<p> <p>
After defeating the Mirror Golem in the depths of the forest ruins, the heroes <strong>Example 1:</strong>&nbsp;After defeating the Mirror Golem in the
recover a strange ivory disc bearing mysterious inscriptions. No one among depths of the forest ruins, the heroes recover a strange ivory disc bearing
them knows how to read this ancient language; a Player decides to spend 1 mysterious inscriptions. No one among them knows how to read this ancient
Fabula Point to state his character knows of an elderly scholar living in the language; a Player decides to spend 1 Fabula Point to state his character
countryside nearby, who might be able to help. knows of an elderly scholar living in the countryside nearby, who might be
</p> able to help.
<p> </p>
Since this statement does not contradict anything previously stated by the <p>
Game Master or by another Player, it becomes automatically true — the Player Since this statement does not contradict anything previously stated by the
marks the position of the scholar's tower on the map. Game Master or by another Player, it becomes automatically true — the Player
</p> marks the position of the scholar's tower on the map.
</p>
</div>

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<h2> <div class="example">
Example 2: Our heroes are searching for a massive dragon across the rocky <p>
hills surrounding Ildefort. <strong>Example 2:</strong>&nbsp; Our heroes are searching for a massive
</h2> dragon across the rocky hills surrounding Ildefort.
<p> </p>
They finally track the monster down to a large cavern. At that point, a <p>
<strong>Player</strong> declares she wants to spend 1 Fabula Point to state They finally track the monster down to a large cavern. At that point, a
that the creature is asleep — this will make it easier to get the drop on <strong>Player</strong> declares she wants to spend 1 Fabula Point to state
them. that the creature is asleep — this will make it easier to get the drop on
</p> them.
<p> </p>
The dragon is a creature introduced by the <strong>Game Master</strong>, which <p>
means the <strong>Player</strong> needs permission in order to make a The dragon is a creature introduced by the <strong>Game Master</strong>,
statement about them. The <strong>GM</strong> is okay with this, but points which means the <strong>Player</strong> needs permission in order to make a
out that this is no "magical sleep" and that the group will have to make statement about them. The <strong>GM</strong> is okay with this, but points
Checks in order to avoid waking up the dragon. out that this is no "magical sleep" and that the group will have to make
</p> Checks in order to avoid waking up the dragon.
<h2> </p>
Example 3: Seven years ago, the warrior-sorceress Daige deserted the imperial </div>
army. <div class="example">
</h2> <p>
<p> <strong>Example 3:</strong>&nbsp; Seven years ago, the warrior-sorceress
Now Daige finds herself back in the imperial capital, leading an infiltration Daige deserted the imperial army.
team determined to steal the Soul Crystal from the Empress' clutches. </p>
</p> <p>
<p> Now Daige finds herself back in the imperial capital, leading an
While gathering information in the streets, Daige and her comrade Valincor infiltration team determined to steal the Soul Crystal from the Empress'
realize they are being followed by a city guard: the clutches.
<strong>Player</strong> controlling Daige, Hannah, spends 1 Fabula Point and </p>
reveals that their pursuer is actually a member of her former unit, Ramis. He <p>
was never a fan of imperial cruelties but remained in the army to feed his While gathering information in the streets, Daige and her comrade Valincor
family. Since the city guard was a character introduced by the realize they are being followed by a city guard: the
<strong>Game Master</strong>, Hannah needs permission — this is a huge change <strong>Player</strong> controlling Daige, Hannah, spends 1 Fabula Point and
to the scene, but the GM is intrigued and agrees to it. reveals that their pursuer is actually a member of her former unit, Ramis.
</p> He was never a fan of imperial cruelties but remained in the army to feed
<p> his family. Since the city guard was a character introduced by the
From now on, the <strong>Game Master</strong> will still control Ramis — but <strong>Game Master</strong>, Hannah needs permission — this is a huge
the heroes have gained a new and useful contact within the capital. However, change to the scene, but the GM is intrigued and agrees to it.
Ramis still has a weakness: what will he do if his family is threatened? </p>
</p> <p>
<p>There is more than one side to each story.</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>