TEXT: They came from other cosms — other realities — raiders joined together to steal the 
  Earthʼs living energy … to consume its possibilities. The Possibility Raiders brought with 
  them their own realities, turning portions of our planet  
  into someplace else.
  Led by the Gaunt Man — self-proclaimed Torg of the cosmverse — the High Lords each 
  claimed a piece of the Earth for themselves. Baruk Kaah, Pharaoh Mobius, Lord Utho-
  rion, Pope Jean-Malraux I, Kanawa-sama, and the Gaunt Man; each has established his 
  primitive, pulp, dark fantasy, cyberpapacy, high tech, or horror realms on our world, 
  setting the conquest in motion. 
  But the invasion did not go as the Gaunt Man planned. His millennia of  
  preparation did not take into account the Storm Knights — men and women who weath-
  ered the raging reality storms that transformed the planet, retaining their own realities 
  when everything around them changed. Through their actions, these heroes neutralized 
  the Gaunt Man and helped bring the Inﬁniverse into being. By reﬂecting the cosmverse 
  over and over, all possibilities became real in an inﬁnite instant. If Earth was destroyed 
  in one cosmverse, there was a chance that it would survive in another. The conquest had 
  been delayed … for now.
  Now, throughout the Inﬁniverse, on a million-million Earths, the remaining High Lords 
  battle to control the awesome possibility energy of Earth — to become the Torg. And if 
  the Storm Knights cannot stop them, then every Earth will die …
  Later today, early tomorrow, sometime next week,
   the world began to end.
  The Near Now …
  
  C O N T E N T S
  Chapter 1: Drama Deck Basics 
  3
  Chapter 2: Using the Drama Deck 
  7
  Chapter 3: Bonus 
  16
  Notes (page for notes) 
  18
  Drama Deck Cards 
  19
  Drama Deck Bonus Cards 
  36
  Drama Deck Blank Cards 
  37
  Drama Deck Backs 
  38
  Roleplaying the Possibility Wars
  Drama Deck and Rules
  TM
  Angar Uthorion, Aysle, Baruk Kaah, Core Earth, Cosm, Cosmverse, Cyberpapacy, Darkness Device, Dr. Mobius, the Gaunt Man, Gospog, Heart of Coyote, High Lord, Inﬁniverse, 
  Kanawa, the Living Land, Maelstrom, Maelstrom Bridge, Nile Empire, Orrorsh, Pella Ardinay, Possibility Raiders, Possibility Storm, Possibility Wars, Ravagon, Stormers, 
  Storm Knights, Torg, the Torg logo, West End Games, and WEG are trademarks of Purgatory Publishing, Inc. ™ and © 2004 Purgatory Publishing, Inc. All Rights Reserved.
  Note to Our Readers
  If you received a copy of this ﬁle from a friend and would 
  like to support the publishing efforts of West End Games, 
  send US$5.00 via PayPal (https://www.paypal.com/) to 
  paypal@westendgames.com.
  This PDF requires some version of the Torg First Edition 
  rules to play. For more information about Torg and other 
  West End Games products, please visit our Web site, www.
  westendgames.com.
  The Original Torg Design Team
  Greg Gorden
  Mythos and Game Design
  Douglas Kaufman, Bill Slavicsek
   Mythos and System Development
  Christopher Kubasik, 
  Ray Winninger, Paul Murphy
   Additional Mythos and System Work
  Jonatha Ariadne Caspian, Michael Stern
   Additional World Book Material
  Jonatha Ariadne Caspian, Michael Stern, Richard Hawran, 
  Daniel Scott Palter, Denise Palter,  C.J. Tramontana, 
  Martin Wixted
   Concepts and Testing
  Dr. Michael A. Fortner, Dr. George Exner
   Technical Assistance
  Daniel Horne
   Original Cover Illustration
  Tom Tomita
   Original Logo Design
  Eric Aldrich, Paul Balsamo, Jeff Brown, Laura Brown, 
  Tim Brown, Gary Corbin, Troy Faraone, Dr. Michael Fort-
  ner, Mike Landsdaal, Letha Owens, Barbara Schlichting, 
  John White
   Playtesting and Advice
  Torg Drama Deck Rules and Cards
  Nikola Vrtis
   Graphic Design
  WEG 20503
  Published by
  www.westendgames.com
  Second Printing: January 1992
  PDF Published: May 2005
  
  Torg uses drama cards to mimic the ebb and ﬂow of action in 
  an adventure story. The gamemaster deals a hand of four cards to 
  each player, but does not deal himself a hand. The rest of the cards 
  are placed into the drama deck. When cards are discarded they are 
  placed face up in the discard pile to the side of the drama deck. 
  When cards are ﬂipped by the gamemaster they are placed in front 
  of the deck in the action stack. 
  Some gamemasters may not want to run Torg with the cards. 
  While we strongly urge that they do so, they will tell you at the 
  beginning of the game if they are not.
  During normal scenes, when the player characters are searching 
  a room, discussing among themselves, etc., time passes at about 
  the same rate in the game as it does during real life. At these times, 
  cards may be played at any time during the scene (see “Your Hand,” 
  below, for more details).
  During a scene  that involves a chase, combat, or other conﬂict 
  (for more details see Chapter Six in the Gamemaster Section), ac-
  tion is divided into rounds.
  During a scene with rounds, only one card may be played each 
  round (see next page). Each round, the gamemaster ﬂips a card from 
  the drama deck and places it on the action stack. Even if the action 
  is not combat and is not proceeding in 10-second increments, the 
  gamemaster might still ﬂip cards to mark the beats and to regulate 
  the amount of action each character performs in a given part of the 
  scene. The cards affect the ﬂow of the action by giving the initiative to 
  one side or another, and by introducing additional dramatic elements. 
  The cards have text which explains many of their functions.
  Standard Versus  
  Dramatic Scene
  The gamemaster sets the tone of a scene depending upon how 
  important the scene is to the story. Ordinary scenes are called standard 
  scenes. In a standard scene, the player characters have the edge; the 
  pace is quick and the action fast. In a dramatic scene, your party is 
  faced with a tough situation, or a conﬂict central to the story. The 
  cards are stacked against you — only clever play, good cards, or 
  luck will save the day. The pace is slower and more intense, as there 
  is more at stake and the odds are greater.
  Initiative and Advantage
  The card on top of the action stack determines which side of 
  a conﬂict has initiative and what advantages or disadvantages, if 
  any, the sides have. The deck assumes there are two sides to any 
  conﬂict: the hero side, consisting of player characters and their al-
  lies, and the villain side, which is composed of all of the characters 
  opposed to the heroes. If the action includes true neutrals, those 
  who are simply caught in the way, they are lumped with the heroes 
  for card purposes.
  The faction listed on the left half of the encounter line has the 
  initiative. An “H” stands for hero and “V” stands for villain. Any 
  other advantages, disadvantages, or instructions are listed next to 
  the appropriate faction.
  A faction can have one of the following advantages: ﬂurry, 
  inspiration, or up. A faction can have one of the following disad-
  vantages: break, confused, fatigue, stymied or setback. The game-
  master will explain what these effects mean when they appear on 
  the encounter lines. A “—” means that no advantage or disadvantage 
  is in effect.
  Chapter 1: 
  Drama
  Deck
  Basics
  “The drama of life! If only we 
  could do without it!”
  — Father Christopher Bryce
  
  Drama Deck Basics • 4
  The dramatic text above the conﬂict line (“Theyʼre on the run!”) 
  is included for ﬂavor, and has no effect on play.
  Your Hand
  The four cards dealt into your hand are separate from the rest 
  of the drama deck. Ignore the part of each card with the orange 
  border; you are interested only in the half with the gray border, 
  which gives you advantages over your opponents by increasing 
  a skill value or bonus, or by allowing you to “break the rules” in 
  some speciﬁc way.
  During parts of scenes that are not progressing by rounds, you 
  may play cards directly from your hand, at any time during the scene. 
  But when the action begins to go in rounds (when the gamemaster 
  starts ﬂipping cards onto the action stack), you can only play cards 
  from  your “card pool.”
  Card Pools
  When a scene is progressing by rounds, you build a card pool 
  by setting cards face up, aside from your hand. In a round, you 
  may add one card to your pool if your character takes an action that 
  would help move the scene along (whether he succeeds or not). If 
  your character is taking an action that does not directly contribute 
  to the events in the scene, the gamemaster might not allow you to 
  put a card into your pool that round.
  During rounds, you may not play a card for its advantage 
  directly from your hand, only from your pool. At any time during 
  a round, you may spend the cards in your pool in any combination 
  you wish, from one card in your pool to all the cards in your pool. 
  The only restriction is that you may not play cards, ask the game-
  master what effect youʼve had so far, and then play more cards. 
  You must play all the cards you intend to play before ﬁnding out 
  what effect youʼve had.
  Example: Quin veered sideways as the giantʼs club smashed 
  down behind him. The shock was enough to tumble him off his feet. 
  He let loose a burst from the Uzi, but the bullets had little effect on 
  the behemoth. As the giant raised his club for another blow, Quin 
  aimed carefully. He had only one more chance.
  After three rounds of combat, Paul has built up a pool of three 
  cards. Quin ﬁres in the next round, getting a damage total of 17. Paul 
  ﬁgures this is not enough to really hurt the giant, and announces that 
  he will expend his entire pool on this shot. After playing all three 
  cards, his damage total increases to 26.
  The club whistled down, but Quinʼs ﬁnal burst caught the crea-
  ture square in the head, bringing the giant crashing to the ground, 
  bellowing in agony.
  Approved Actions
  On the top card of the action stack is a line labeled “Act:” which 
  stands for approved actions. The line lists two actions, or “any” 
  which means any of the following seven actions are approved: At-
  tack, Defend, Trick, Test, Taunt, Intimidate, or Maneuver. If your 
  character succeeds at an approved action, you draw a card 
  from the drama deck; you can then add a card from your hand to 
  the characterʼs pool as usual. An attack is considered successful 
  if you hit, even if you do not damage your opponent. A defense is 
  successful as long as you are attacked and not hit. Your gamemaster 
  may disallow certain actions in certain cases.
  You can play a card into your pool if you fail at an approved 
  action or even if you take an unapproved action, but you canʼt draw 
  a new card from the deck. Taking approved actions is the only way 
  you can build the really large pools that are necessary to affect 
  impressive opponents. Otherwise you will run out of cards.
  Example: “Your mother was a human!” the Crab cried to the 
  lizard-man. “Youʼre a pitiful excuse for a warrior!” He danced 
  backward as two thrown spears suddenly appeared quivering in 
  the ground.
  In the ﬁrst round, the “Act:” line shows Trick/Taunt. Chris elects 
  to have the Crab try a taunt, and he succeeds! Chris draws a card 
  from the drama deck and adds it to his hand. He then plays one card 
  from his hand to his pool. If Chris had attacked instead, he could 
  still have added a card to his pool, but he would not have been able 
  to draw a new one ﬁrst.
  Playing for the Critical Moment
  Once per act a player may play as many cards from her hand 
  as she wishes directly into her card pool; these cards must be used 
  to affect one characterʻs action for that round only. This is called 
  the characterʼs critical moment in an act.
  Example: The Carredonʼs gurgling roar dispersed the fog long 
  enough for Crowﬁre to see where it had ﬂung Quin, who lay uncon-
  scious at the base of a boulder. The Carredonʼs head turned toward 
  Crowﬁre with the grating creak of heavily armored hide. The young 
  warrior had to do something or they would all die.
  Crowﬁre already has two cards in her pool. The pool is worth 
  +3 to Crowﬁreʼs attack. Doubting that is enough to do any harm 
  to the massive beast, Winter, Crowﬁreʼs player, declares this to be 
  Crowﬁreʼs critical moment. She plays her remaining three cards 
  on her shot. Thinking frantically, Winter declares that Crowﬁre 
  is shooting for one of the beastʼs nostrils. The music swells in the 
  background.
   Winter spends two cards on the hit, for a +6 bonus. She spends 
  another on the effect total, for a +3. She rolls a 14, which is good, 
  but not good enough. Winter plays her “second chance” card and 
  rerolls, getting a 10 followed by a 17, for a 27 and a total of +15 
  to hit and +12 damage.
   The Carredon bellowed, rearing back on its hind legs in shock 
  and pain. Crowﬁre pulled Quin to his feet.
  “Hurry. If we make it into the deep fog it will have trouble ﬁnd-
  ing us now that tracking by smell is so painful.”
  Losing Cards
  Enemy action can actually remove cards from your pool through 
  tricks, tests, and taunts used by the villains. If a villain successfully 
  uses one of these skills on your character, the gamemaster may remove 
  This booklet reprints Playerʼs Chapter Three and Game-
  masterʼs Chapter Four from the second printing of the First 
  Edition of the Torg rulebook along with the cards from the 
  second printing of the deck. No attempt has been made to 
  correct errors, and there might be some references to ma-
  terial that does not appear here. This booklet is provided 
  as a convenience for those who canʼt ﬁnd this game tool 
  anywhere else.
   
  eaderʼs Note
  R  
  
  Chapter 1  • 5
  some of the cards from your pool. Part of the tension of the card play 
  is in knowing how long to wait before expending your pool.
  Trading Cards
  You may trade cards in your pool with cards in another playerʼs 
  pool (if the scene is not in rounds, you may trade cards in your hand 
  with cards in another playerʼs hand). The other player must agree 
  to the trade. You may trade at any time. You may trade more than 
  one card, but for each card you trade to a player you must receive a 
  card from that player. You may not just give or receive cards. This 
  limit helps assure that all the characters in a story take part in the 
  story, rather than feeding cards to a single player.
  When you are trading cards, try to imagine what your character 
  might be doing in the story which would explain the card trade. 
  This adds to the story and the fun of the game.
  Example: Quin lay exhausted, recovering from his injuries 
  while the Yellow Crab prepared camp. Crowﬁre attempted to hunt 
  for some food for the evening.
  Winter rolls a 1. Crowﬁreʼs survival total is 0 — no food tonight. 
  She has no cards that could help. Chris offers to trade a “second 
  chance” card, but he must think of an action he can take that will 
  make the trade make sense in the context of the story. When he 
  does so, the trade is made.
  “Hunting was bad,” said Crowﬁre as she sat by the campﬁre.
  “I have heard that in the Living Land, if you think like the fog, 
  animals cannot sense your approach,” offered the Yellow Crab.
  Crowﬁre blinked and rose from the ﬁre. Two hours later she 
  returned carrying a dead Crosktreckt.
  Replenishing Your Hand
   At the end of each scene, pick up the cards from your pool (but 
  see “Special Cards,” below) and put them back in your hand; then 
  reduce your hand down to four cards by discarding the extras. After 
  that (or if you have fewer than four cards to begin with), you may 
  discard one card you no longer wish to hold in your hand. Now draw 
  to ﬁll your hand to four cards. Knowing which cards to discard and 
  when to discard them is an important skill in Torg. 
  Card Descriptions
  Special Cards
  There are three types of cards that are specially tinted with only 
  gamemaster colors; these cards do not count against your hand total 
  of four at the end of a scene. Once played, they remain on the table 
  (they are considered to be ”in your pool“ even if the scene is not 
  in rounds)  until they are used, or until the end of the adventure. 
  These three types of cards are subplot cards, connection cards, and 
  alertness cards.
  Subplots
  A subplot is a story within a story. In Torg, a subplot card adds 
  an additional wrinkle to the story as told by the players and the 
  gamemaster. A subplot card assigns your character a role to play 
  or a motivation which helps guide your characterʼs actions. When 
  you put a subplot card into your pool, you might suggest to the 
  gamemaster how this subplot applies to your character. Subplots 
  are gamemaster-tinted cards, so they do not count against your hand 
  total when replenishing your hand, and they are not picked up once 
  placed in your pool. If you would rather not play a subplot, you 
  may discard the subplot instead of putting it in your pool; you gain 
  one Possibility for doing so.
  The gamemaster can disallow any subplot card that he feels does 
  not ﬁt in the story. If the gamemaster disallows a subplot, discard 
  the card and gain one Possibility. Once you accept a subplot, you 
  cannot later discard it for a Possibility. If you and the gamemaster 
  accept a subplot, put the subplot in your pool, where it stays until 
  the end of the adventure. As a bonus for accepting a subplot, you 
  receive one extra Possibility at the end of each act.
  If someone plays the “campaign” subplot card, that player may 
  choose a subplot which he wishes to make a ﬁxture for the campaign. 
  If the player who has the subplot agrees, and the gamemaster agrees, 
  the subplot continues over several adventures.
  Alertness
  Alertness lets your character notice an item or clue you otherwise 
  would have missed. You must place it into your pool normally, but 
  once there, the gamemaster keeps track; when there is a clue to be 
  found, and all characters have missed their chance to notice it, the 
  gamemaster discards your alertness card and gives you the clue.
  Alertness is a gamemaster-tinted card, and so does not count 
  against your total of four cards when replenishing your hand; it 
  remains in your pool until it is used.
  Connection
  Connection lets your character know someone in the area who 
  can help you. This does not mean that you wonʼt have to expend 
  considerable effort ﬁnding the person, but you can be sure there is 
  someone available.
  A connection must be placed into your pool normally, but once 
  there it acts like an alertness: the gamemaster keeps track of when 
  it is activated (which may not be exactly when you wanted). It 
  does not count against your hand limit, and remains in your pool 
  until used.
  Example: “Face it soldier, weʼre lost,” said the Crab. Quin 
  scanned the fog of the Living Land in hopes of recognizing a dis-
  tinctive landmark. 
  “Look, Quin,” the Crab continued. “The way I see it we can 
  either walk around until we bump into something that eats us, or 
  we can sit here until something ﬁnds us and eats us. I, for one ...” 
  The Yellow Crab ﬁnished his sentence by sitting down. Quin ignored 
  his companion and began examining nearby trees for blaze marks 
  or other signs of habitation.
  Paul plays a connection card from his hand, leaving it face up on 
  the table. He looks imploringly at the gamemaster, who nods. Nothing 
  happens at that moment, but now Paul knows there is someone in 
  the area who can help them — if he can only ﬁnd who it is.
  The actual printed cards had yellow or orange strips to 
  indicate the gamemasterʼs side, and light gray strips to indicate 
  the playersʼ side. The cards included in this PDF have dark 
  gray strips to indicate the gamemasterʼs side and light gray 
  strips to indicate the playesʼ side.
   
  ard Colors
  C  
  
  Drama Deck Basics  • 6
  “Come on, let's keep moving,” growled Quin.
  Cards That Increase Value and Bonus
  Many of the cards in the deck are action, coup de grace, pres-
  ence, adrenalin, or willpower. These cards allow you to add to a 
  bonus or attribute value. If a card increases one of your characterʼs 
  values, the increase lasts from the time you play the card from your 
  pool, until the end of the round, or until the gamemaster ﬂips the 
  next card on the action stack.
  Action
  The action card allows you to increase your bonus number for 
  any action by three. It cannot be used passively, since it increases 
  your bonus and not the underlying value.
  Adrenalin, Willpower, and Presence
  Three cards, adrenalin, willpower and presence, add directly to the 
  attribute value. While they can be used for one of several attributes, 
  each card can only add to one attribute value at a time  (you must 
  say which value is increased when you play the card).
  Coup de Grace
  The coup de grace card increases only the effect value of your 
  action; if you fail on the ﬁrst total, the coup de grace is no help.
  Possibility Cards (Hero and Drama)
  Two types of cards, hero and drama, can be used as additional 
  Possibilities; these cards are actually better than Possibilities since 
  you can expend a Possibility normally, and then play the card for yet 
  another roll. You can also use these cards as Possibilities to negate 
  damage, in excess of the one  normally allowed.
  The drama card can be played as a hero card or, if saved until 
  the end of the adventure, can be redeemed for three extra Pos-
  sibilities.
  Other Cards
  These cards may all be played from your pool normally, but each 
  has other restrictions, as listed.
  Escape
  Escape allows your entire party to escape an encounter. There 
  is only one escape card in the deck. In order to use the escape 
  card, it must be the ﬁrst card played into your pool when a scene 
  of rounds begins. The gamemaster will then have time to arrange 
  the necessary circumstances.
  Haste
  A haste card gives you an extra action during a round. It may be 
  played any time, even in the middle of the villainsʼ actions.
  Glory
  Glory cards can only be played in rare circumstances. During 
  dramatic situations, should your characterʼs ﬁnal die roll be 60+ 
  on any action, you may play this card. The reward for the adventure 
  is increased by three Possibilities for all players. Glory cards also 
  help you in the ﬁght against the High Lords by making it easier 
  for you retake conquered territory. If such a situation arises, your 
  gamemaster will explain.
  Master Plan
  A master plan card lets you take a card that has just been dis-
  carded, in exchange for the master plan, which is placed on the 
  discard pile. You must play the master plan immediately after the 
  card you want has been discarded. The card taken goes in your pool 
  if the master plan was in your pool.
  Monologue
  The monologue card allows you to stop all hostile action while 
  your character make a dramatic speech. (If the conﬂict in question 
  is openly violent, the odds of anyone listening to reason are small.) 
  The effect of the card lasts a round or more. There is only one 
  monologue card in the deck. Your gamemaster may require you to 
  actually perform the monologue in order for this card to work.
  Opponent Fails
  You play an opponent fails card immediately after the game-
  master tells you that the opponent has successfully acted upon 
  you. The card “rewrites the script” so the action fails. This is the 
  ultimate defensive card.
  Second Chance
  Second chance lets you immediately retry an action after you 
  have failed the ﬁrst time. Play the card immediately after the ﬁrst 
  failure; the ﬁrst die roll is ignored.
  Seize Initiative
  Seize initiative allows you to either keep the card currently on 
  the action stack on the stack for one more round, or to ﬂip again 
  for this round if you donʼt like the one just ﬂipped. Seize initiative 
  may be played at the beginning of a round, just before the card ﬂip 
  (if you wish to keep the current card) or just after (if you wish to 
  ﬂip a new card).
  Supporter
  The supporter card lets you add three to another playerʼs total, 
  after she has rolled for her action but before the gamemaster has 
  announced the result.
  Rally
  The rally card lets all players discard as many cards as they wish 
  and immediately draw to reﬁll their hands to four cards (ignoring, 
  for this purpose, all cards currently on the table). There is only one 
  rally card.
  Leadership
  Leadership lets you play up to two cards from your hand or 
  pool into other playersʼ hands or pools; then you may discard any 
  or all of your remaining cards and immediately reﬁll your hand to 
  four cards (ignoring, for this purpose, all your cards currently on 
  the table).
  Idea
  The idea card simulates those brainstorms ﬁctional characters 
  always have. Whenever you are stumped as to what your character 
  should do next, the idea card can get you a hint from the game-
  master.
  
  Chapter 2: 
  Drama
  Deck
  Rules
  The drama deck is a pack of cards that help the gamemaster and 
  players create an exciting story by introducing dramatic surprise 
  and storytelling elements into an adventure.
   Getting Cards into Play
  At the beginning of a Torg session, shufﬂe the deck of drama 
  cards and deal four to each player. Leave the deck face down in 
  front of you.
  During the course of the game, cards come into play in one of 
  two ways: “randomly” from the drama deck, and “played” from 
  a hand.
  Random use occurs at the beginning of each round in which dice 
  are rolled to resolve a conﬂict. In this case, the conﬂict line and the 
  dramatic skill resolution box are the important parts of the card.
  When a player takes a card from her hand or pool and “activates” 
  it, it is a played use of a card. In this case, the play results area is 
  the important part of the card.
  Adventure Text
  The line above the conﬂict line contains some pithy saying or 
  dramatic quotation. These are for ﬂavor purposes and have no real 
  affect on play. You can use them to give you ideas about what is 
  happening this round — the villains are hard-pressed (“Theyʼre on 
  the run!”), etc.
  The Conﬂict Lines
  A movie that keeps us guessing as to whatʼs going to happen 
  next is a movie that engages us.  Indiana Jones in Raiders of the 
  Lost Ark dispatches six Nazis from a truck without raising a sweat, 
  so weʼre caught off guard when a determined sergeant tosses him 
  through the windshield. Weʼre on the edge of our seats because we 
  donʼt know whatʼs going to happen next. Suddenly the battle has 
  turned against the hero.
  The drama deck simulates that surprise by determining how the 
  villains and heroes in a conﬂict are doing each round. Sometimes 
  the villains will have an advantage, sometimes the heroes will. The 
  deck helps you set conﬂict up like a movie sword ﬁght — ﬁrst Robin 
  Hood drives the Sheriff of Nottingham across the courtyard, then 
  the sheriff knocks a candle stand down on top of Robin. Up and 
  down, back and forth they go, swords ﬂashing, until one of them 
  makes the last, desperate thrust. But nobody knows who has the 
  advantage that round until a card is ﬂipped over.
  This ﬂow is determined by the conﬂict lines at the top of each 
  card. The conﬂict lines are geared toward combat, but they can set the 
  pace for any situation in which one side is working against another. 
  Such situations include chases, or verbal interaction in a tense situ-
  ation. There may be times when you, as gamemaster, would rather 
  have the players think and roleplay their way out of a situation, in 
  which case you would forgo the cards and/or the dice. 
  If you are using cards for a conﬂict, ﬂip the top card from the 
  drama deck at the beginning of each round, and place it on top of 
  the action stack. The conﬂict lines on the card affect the roundʼs 
  outcome — conﬂict lines on any other card in play have no effect.  
  When the encounter that generated the conﬂict is over, the cards 
  from the action stack are placed in the discard pile.
  Conﬂict lines are divided into two separate categories: standard 
  and dramatic. The standard is marked with an S and the dramatic 
  with a D. The lines from the standard encounter are read when the 
  
  Using the Drama Deck • 8
  pace of the story should zip along — for example, when the heroes 
  take out some shocktroopers in order to steal their uniforms. The 
  dramatic lines are read for really big moments — blowing up Death 
  Stars, storming castles and so forth. As gamemaster you decide when 
  an encounter is standard and when it is dramatic. The big ﬁnish 
  to an adventure is a dramatic encounter. There may be a dramatic 
  encounter (but no more than one) in each act.
  On the standard conﬂict line, the heroes have all the advantages, 
  and the villains are loaded with penalties. The dramatic conﬂict lines 
  are heavily weighted in favor of the villains. Because of this, players 
  should be encouraged to spend the adventure gathering cards that 
  give them an advantage in climactic situations.
  Conﬂict Line Advantages
  The advantages a side can have from a conﬂict line include 
  ﬂurry, inspiration, and up.
  Flurry
  Flurry gives every character on the affected side two rounds of 
  action before their opponents can respond. Let all characters on the 
  side with the ﬂurry act once, then let each one act a second time.
  Inspiration
  Inspiration removes the effects of shock and KO damage on the 
  affected characters as though they had received successful ﬁrst aid. 
  In addition, at the moment hero inspiration goes into effect, each 
  player may draw one card and add it to her hand.
  Inspiration only reduces current damage; any damage taken 
  later in the ﬁght is applied normally. Inspiration may be played 
  more than once in a ﬁght.
  Up
  Up gives each character in the affected faction an additional 
  roll. Add the additional roll to the ﬁrst roll normally (you may 
  roll again if a 10 or 20 comes up, etc.). A character may also use 
  a Possibility for a third roll, if he wishes. An up result may not be 
  countered by a Possibility.
  Example:  Quin is involved in a ﬁreﬁght with a group of acolytes 
  from the Cyberpapacy. The action card this round says “H  Up.”
  Paul (Quin's player) rolls a 13; the up result allows him another 
  roll — a 4. Quinʼs die roll is now a 17. Paul spends a Possibility 
  and rolls again, getting a 14. Quinʼs ﬁnal die roll is 31.
  Up cancels the effects of a stymie, detailed below. If the two are 
  ever in effect at the same time (see Chapter Five for how this can 
  happen), neither result applies.
  Conﬂict Line Disadvantages
  The negative results on the conﬂict line are break, confused, 
  fatigued, setback and stymied.
  Break
  A break result only affects characters on the villain side. During 
  a break round, characters on the villain side who have previously 
  taken damage will ﬂee the battle (or concede the conﬂict) if they fail 
  to harm the opposition by the end of the round. This ﬂight/surrender 
  takes place at the end of the broken villainʼs round.
  Confused
  Confused results only affect the heroes. In a confused round, no 
  player may activate a card from his pool, although they may gain 
  new cards and play cards into their pools normally (see below).
  Fatigued
  Fatigued causes each character in the affected faction to take 
  two points of shock damage. We use the word fatigue because it is 
  a common result of conﬂict, but the shock points can also be from 
  causes such as fear, stress, or the delayed effects of wounds.
  Setback
  Setback can trigger a speciﬁc event which the gamemaster has 
  planned. If the gamemaster has no setback event planned, this result 
  prevents the affected faction from taking action this round that would 
  harm an opponent. See below for more details about setback.
  Stymied
  Each member of a faction that is stymied loses one chance to 
  roll the die again for an action; as soon as one condition occurs that 
  would allow an additional roll, the stymie result is negated for that 
  character, and that additional roll is lost. Cards that add to values 
  or bonus numbers may still be played.
  Stymie cancels the effects of an up, detailed above. If the two 
  are ever in effect at the same time (see Chapter Five for how this 
  can happen), neither result applies.
  Example: Crowﬁre and Quin are suffering from an “H  Stymie” 
  result. Winter rolls a 20, but gets no additional roll. She now elects 
  to spend a Possibility and rolls again as usual. Paul rolls a 12 and 
  wants to get an additional roll; he spends his one allowed Possibility 
  to cancel the stymie, then plays a hero card for an extra roll.
  Using Conﬂict Lines in the Story
  The penalties and bonuses that appear for the villains and heroes 
  each round can be used to inspire you to a more varied description 
  of the conﬂictʼs resolution. For example, although the card says “V 
  Flurry,” you can, if you wish, describe a speciﬁc way the villain 
  is letting loose his physical force.  Does he suddenly go mad from 
  watching the heroes destroy his meticulously built machine, and 
  launch himself into combat without regard for his own life? Does 
  he suddenly put on a dazzling display of swordsmanship? Let your 
  imagination run wild.
  Remember, if you donʼt want to add color to the round you 
  donʼt have to. The game mechanic advantage of the villain ﬂurry 
  (two actions for the villain that round) makes what is happening 
  quite clear.
  Setbacks
  A setback on the conﬂict line is a good tool for the prepared 
  gamemaster, a chance to make the life of your player characters 
  even more difﬁcult in a tense situation. We suggest you plan pos-
  sible setbacks for encounters when you design your adventure, but 
  if you feel comfortable with winging it, go ahead. Setbacks include 
  sudden and unexpected turns of events, disastrous coincidences, and 
  failures of people or items outside the charactersʼ control.
  
  Chapter 2  • 9
  Example: The gamemaster sets up an encounter along a narrow 
  path leading up the side of a mountain. The heroes will be following 
  Dr. Mobiusʼ trail into an ambush set by a group of the High Lordʼs 
  henchmen. The gamemaster notes that if the setback conﬂict line 
  is drawn, a character from the side receiving the penalty loses his 
  footing and slips off the trail. While the character can grab onto a 
  scrub bush growing out of the side of the mountain, he will hang 
  nearly helpless, thousands of feet above certain doom, out of combat 
  and in desperate need of aid.
  The number of possible hero setbacks is quite large. Here are a 
  few general suggestions for how to use them:
  • Any gamemaster characters allied with the heroes lose their 
  nerve for some reason until the heroes coax them back.
  • The heroesʼ opposition gets reinforcements.
  • Equipment or abilities foreign to the cosm fail for that 
  round.
  • The gamemaster characters come up with a new fact/astound-
  ing-but-believable lie to confound the players.
  • The environment causes problems — a rope begins to fray, 
  steam-pipes burst, a smashed lantern starts a ﬁre, a bystander wan-
  ders into the line of ﬁre, the accidental ﬂicking of a switch begins 
  a bombʼs countdown — it could even be something as big as an 
  earthquake, as long as it ﬁts the situation and makes things tough 
  for the heroes.
  Example: Quin waited nervously as the majordomo announced 
  him to the Duke of London. Who would have thought that having 
  tea could be such a harrowing experience? But it would be their 
  ﬁrst meeting, and if Quin wanted those knights to help him storm 
  the troll stronghold, it was vital he make a good impression.
  Paul decides Quin had better try to charm the Duke before at-
  tempting to persuade him. The gamemaster decides that this is a 
  situation worthy of the drama deck and ﬂips over the ﬁrst card into 
  the action stack. He announces that itʼs a standard conﬂict. The card 
  gives Quin the initiative.
  He makes his charm roll and is successful enough to make an-
  other roll if he so desires. Paul wants to make sure the Duke really 
  likes Quin, so he says heʼs going to try to charm the Duke even 
  further. The gamemaster ﬂips over the next card. A hero setback 
  comes up!
  The tea was so hot that Quin nearly lost his grip on the cup when 
  he picked it up. In order to avoid spilling the tea all over himself 
  like an uncultured fool, he gritted his teeth and gently put the cup 
  down. Had the Duke deliberately made the tea this hot, as some 
  sort of test? Quin smiled up into the impassive face.
  The gamemaster declares that the effort distracts Quin enough 
  that he cannot charm the Duke any further.
  After you have some experience, you will ﬁnd dozens of plot 
  complications which can be introduced through a setback card. An 
  effective technique is to set up a setback which could happen in any 
  of several encounters, and give hints to the players that this might 
  happen. If the heroesʼ underground complex is near a fault line, have 
  tremors ripple through the tunnels now and again — then let the 
  quake rip after a setback card is ﬂipped onto the action stack.
  Special Villain Actions
  Taunt, test of wills, trick and intimidate are possible villain in-
  structions, on the dramatic conﬂict line only. Use the table below 
  to refresh your memory when one of these results occurs.
  While these options have effects which are explained in Chapter 
  Six of this book, they have an additional effect when they appear on 
  the conﬂict line: if the villains successfully use the appropriate skill 
  when that option appears on the conﬂict line, the gamemaster takes 
  one card of her choice from the card pool of the affected character. 
  If the villain gets a superior success, two cards are taken from the 
  pool; on a spectacular success three cards are taken. 
  The villain does not have to use the listed skill when the op-
  portunity presents itself; she may attack or perform whatever ac-
  tion the gamemaster believes makes the most sense for that villain 
  at that time. Keep in mind that, for instance, a mummy would be 
  unlikely to use taunt, shocktroopers rarely trick, gospog might try 
  to intimidate, but they wonʼt be very good at it, etc.
  Approved Actions
  The “Act” line below the conﬂict line lists which of the possible 
  actions are “approved actions” for the round. Success at an approved 
  action gains the player a card from the drama deck; he may then 
  play into his pool normally.
  The approved action line is meant to encourage players to use 
  tactics other than hacking away at their opponents; however, it is 
  important that you allow such actions only in appropriate circum-
  stances.
  As a rule of thumb, a villain may not be tested, maneuvered 
  against or intimidated if the player character cannot see the villain. 
  Test and intimidation often involve eye contact, though it can be a 
  physical or verbal contest in speciﬁc circumstances. Maneuver is 
  meant to reﬂect quick movements that cause the opponent to react, 
  tiring him out.
  Use your judgment, but be aware that just because an act appears 
  on the “approved” line does not mean it is always appropriate to the 
  situation. For more about the effects of trick, test, and taunt, etc.,  
  in combat, see Gamemaster Chapter Six.
  Dramatic Skill Resolution
  The only time two uses from a single card affect the game at 
  the same time is when a card is placed on the action stack during 
  a conﬂict, and dramatic skill resolution is also in effect. Use both 
  the upper and middle parts of the card in this case.
  In most situations, you will want to resolve a skill use in a 
  single roll; most of the skills are set up with that assumption. But 
  there are times when it is desirable for the sake of drama to stretch 
  out the skill resolution, to introduce tension that is not possible in 
  a single roll.
  For example, disarming a bomb falls under the province of the 
  science skill, and could be done in a single roll. This misses the 
  point, though, of disarming a bomb in a story; if that bomb were an 
  Villain Instruction 
  Attribute
  Taunt  
   
  Charisma
  Test of Wills  
  Mind
  Trick  
   
  Perception
  Intimidation 
   
  Spirit
  Maneuver 
   
  Dexterity
   
  illain Action Chart
  V  
  
  Using the Drama Deck • 10
  important element in a movie, a considerable amount of screen time 
  could be devoted to defusing it. For this reason, at such moments 
  we prefer to use dramatic skill resolution.
  A dramatic skill resolution breaks down the use of a single skill 
  into four steps, labeled A through D. As gamemaster you decide, 
  preferably in advance, what each step represents when performing 
  the task. You can assign more than one letter to the same portion of 
  the task. You also need to deﬁne what the difﬁculty of the skill use 
  is. Each step of a dramatic skill resolution has that difﬁculty.
  Example: The Yellow Crab has been pushed outside of a troop 
  transport ﬂying at 7,000 feet, and must climb back in to help his 
  friend Quin. The gamemaster declares that steps A and B both involve 
  climbing back onto the wing while avoiding the propellor, step C is 
  traversing the length of the wing to the jump door, and D is getting 
  back in the plane. This is a dramatic skill check of acrobatics. The 
  gamemaster sets the difﬁculty of each check at 10.
  Example: When defusing a bomb, step A is disconnecting mo-
  tion sensors that would set the bomb off prematurely, B is locating 
  the timing device in the maze of wires, C is locating the explosive 
  primers, and D is cutting the wires between the timer and the prim-
  ers. This is a dramatic skill check of science. The gamemaster sets 
  the difﬁculty of each check at 12.
  In a round, a character may only attempt the steps that are listed 
  on the top card of the action stack. To succeed at a dramatic skill 
  resolution, a character must succeed at steps A,B, C and D in that 
  order. Succeeding at each step requires a skill check. 
  Example: The Yellow Crab has succeeded in crawling onto the 
  wing in the face of howling winds (steps A and B) and now must 
  traverse the length of the wing (step C). The gamemaster ﬂips a card 
  with “AB” in the skill box. The poor Crab can make no progress this 
  round, unless he makes a “last ditch effort” (see this page).
  If the card shows more than one step for which the character is 
  eligible, he may try to do them all at once using the One on Many 
  Multi-Action Chart (see Gamemaster Chapter Two). Ignore the 
  Toughness Increase column in this case.
  Example: Quin is beginning to defuse the bomb, and the game-
  master declares dramatic skill resolution; he sets the difﬁculty of 
  each step at 11.
  The ﬁrst card on the action stack lists ABD, and Paul gambles, 
  announcing that he will try steps A and B with one roll. He cannot 
  attempt C or D because C is not on the card (but see “last ditch 
  effort”).
  The multi-action chart shows that the difﬁculty increase for 
  one action is +2, and two actions is +4; Quin needs a total of 15 or 
  higher on his science roll in order to do both A and B. If he gets a 
  13 or higher, he accomplishes A but not B.
  Bad Things Can Happen
  Not only can a dramatic action take time, but things can make a 
  characterʼs life harder along the way. These include possible setback, 
  complication, and critical problem. Each of these effects occurs 
  when listed, if the character fails his skill roll for that round. If he 
  succeeds, he does not gain a step, but there is no penalty.
  Possible Setback
  Failing when a possible setback appears causes the character to 
  lose a step. If he had been on step C, something causes the character 
  to slip back to step B; step C must be repeated.
  Complication
  A complication makes life more difﬁcult. Failing the skill check 
  during a complication round adds 1 to the difﬁculty of all further 
  skill checks for this action.
  Example: The Crab is defusing a bomb, and has accomplished 
  steps A and B. The next round, the card says “Complication.”
  The difﬁculty of the check is 11, and Crab gets a total of 10! The 
  gamemaster rules that Crabʼs sweaty ﬁngers could not hold onto 
  his pliers, which have now fallen into the innards of the bomb. The 
  difﬁculty of further checks (for steps C and D) are increased by 1, 
  to 12, to account for the complication — the loss of the tool.
  Critical Problem
  Failing the skill check during a critical problem round is real 
  trouble; now the character must use another skill to accomplish the 
  task, or attack the problem from a new angle (which would mean 
  starting over from step A). The player is responsible for ﬁguring out 
  the new skill or course of action; if it does not sound convincing, 
  he must try a different tack next round.
  Skill Use as an Approved Action
  Whenever the character does not have the opportunity to gain 
  a skill step, making his skill roll counts as an approved action. If 
  the skill total exceeds the difﬁculty number, the player may draw a 
  card and play a card to his pool as though he had succeeded at an 
  approved action. This represents the fact that even when temporar-
  ily stymied, the heroes of ﬁction are usually still working toward 
  the ﬁnal goal. 
  If a character succeeds at getting a skill step, he may of course 
  play a card into his pool, but it is not an approved action and he 
  may not draw another. This may seem perverse, but the intent is to 
  keep the tension high — success is its own reward, and failure leads 
  to eventual success in a dramatic skill resolution.
  Last Ditch Effort
  It is always possible that time will run out before the last step has 
  been accomplished; if a character is on step C when the timer reaches 
  0, for instance, he needs a way to take a ﬁnal try at the problem.
  During any round of a dramatic skill resolution, the player may 
  declare a last ditch effort to resolve the skill use; any unﬁnished 
  steps are resolved all at once with the usual multi-action penalty. 
  The difﬁculty number is additionally increased by 4, to account for 
  the desperate circumstances of the last ditch effort. If the last ditch 
  effort fails, and there is still time remaining, treat it as a failure 
  during a critical problem.
  Example: The Yellow Crab is trapped in a chamber with a bomb 
  which he must defuse. The Crab has science at 14, and has success-
  fully completed the ﬁrst two steps, but he still has to root about in 
  the bombʼs interior to locate the primers, and cut the wires. With 
  one round left before detonation, the card ﬂip reveals an AB, neither 
  of which the Crab needs. Time for a last ditch effort.
  The difﬁculty is 12 (the base difﬁculty for this bomb) +4 (the 
  multi-action penalty for two actions) +4 (the additional penalty for 
  last ditch effort). The crab needs a total of 20 to succeed.
  
  Chapter 2  • 11
  Other Characters
  If you deem it appropriate, other characters may aid the lead 
  character during a dramatic skill resolution. To do this, use the 
  coordination rules in Gamemaster Chapter Two, page 47.
  Working the Timing Out
  Timing dramatic skill resolution can be tricky. If disaster is 
  looming on the horizon (as it almost always is), how much time 
  should your player characters have, in order to have a chance at 
  accomplishing their goal? Use the following as a guideline.
  To have a good chance of having the sequence A,B,C, and D 
  appear in order requires 14 cards to be ﬂipped if the character is 
  going do the steps one at a time, or about 10 cards if the character is 
  skilled enough to attempt two when the opportunity presents itself. 
  If your characters have high skill levels (larger than the difﬁculty 
  number), good cards, and no other pressing business, ﬁve ﬂips is 
  ﬁne; otherwise we recommend giving them seven to 10 ﬂips before 
  disaster strikes.
  Play Results
  Play results are found, upside down, at the bottom of the cards. 
  While the cards are described in brief in Player Chapter Two, they 
  are discussed in more detail below.
  Play results have no effect when turned up by the gamemaster 
  onto the action stack. They can only take effect from a characterʼs 
  hand (during non-round interaction) or card pool (during “combat” 
  rounds). A card in a pool does not have to take effect until the player 
  wishes to use it (but see subplots, alertness, and connection below). 
  Ignore the conﬂict line and dramatic skill box on cards played into 
  or from a hand or pool.
  When a card from a hand or pool is played, it is placed in the 
  discard pile.
  Here are more detailed descriptions of the cards.
  Action
  The action card adds a +3 bonus to all actions taken by the 
  character this round, including ﬂurries and haste actions.
  Alertness
  Alertness is a special card, marked in gamemaster colors, so 
  you will be reminded of its presence. The card assures that a hero 
  searching or examining an area will ﬁnd or notice something (in-
  formation, an item, an ambush) as long as it is there to be found, 
  whether he makes his ﬁnd roll or not. After a player puts the card 
  in his pool, you activate the card whenever the character misses 
  something of importance.
  Example: If the Yellow Crab were having an especially bad day 
  when he arrived at the scene of a murder, he might have missed 
  his ﬁnd roll to discover the Sumerian dagger stashed in the garbage 
  can beside the desk. 
  Chris, frantic to ﬁnd a lead of some kind, drops the alertness 
  card on the table. Because there is something to ﬁnd in the room, 
  the gamemaster takes the card, puts it in the discard pile and men-
  tions that the Crab spots a glint of gold in the garbage can — a 
  rather peculiar sight.
  If there had been nothing to ﬁnd, the card would have remained 
  out until the Crab missed a ﬁnd roll, at which point the card would 
  be taken and a clue given.
  Attribute Value: Adrenalin,  
  Willpower, Presence
  There are three types of attribute value cards, each of which 
  increases any one of the appropriate attribute values by 3. Adrenalin 
  increases the physical attributes Dexterity, Strength or Toughness, 
  willpower increases the attributes Perception or Mind, and presence 
  increases Charisma or Spirit. The player chooses which value to 
  increase with each card. One card may not affect more than one 
  attribute.
  The effect of attribute cards lasts an entire round — if the 
  character has a haste or a ﬂurry, the beneﬁt lasts for all actions 
  taken that round. The beneﬁt does not extend to values which are 
  not generated by the characterʻs attribute. For instance the damage 
  value of a gun could not be increased by an adrenalin card. The 
  damage value of a bow could be.
  Connection
  A connection is another special gamemaster-tinted card. It lets 
  a player character know people in the area who might offer him 
  help. This ability reﬂects the fact that characters have a “past” that 
  reaches back beyond the point where the player began using the 
  character in stories. Thus, if Quin passes through a small town in 
  Austria, he may know someone there who can hide him for a few 
  days even if Austria has never been a setting of the current campaign. 
  It is assumed that he met the person a 
  long time ago, before the Possibility 
  Wars began. It is up to you to decide 
  who the contact (or contacts) is, and 
  how helpful she will be. The players 
  are free, and encouraged, to provide 
  suggestions; you are equally free to 
  override any you consider damaging 
  to the story.
  Try to provide the player char-
  acters with a connection as soon 
  as makes sense for the story. If the 
  heroes are trapped in a tomb and the 
  connection card is played, you may 
  not have the opportunity to introduce 
  a friendly gamemaster character at 
  that time; simply do so as soon as 
  you can.
  C  
  The playersʼ card pools obviously 
  help the players, but they help the game-
  master at least as much. The Torg scale 
  is very severe — a ﬁve point difference 
  between opponents is usually an easy 
  victory for the character with superior 
  values. Card pools allow the players to 
  trade time for success, and to overcome 
  large differences in attribute values. You 
  can therefore use nastier opponents, 
  against whom your player characters 
  would otherwise have little chance. 
   
  ard Pools
  The cards also help build a natural 
  ﬂow of action for an encounter. The 
  player characters are often at a disad-
  vantage at the beginning of a dramatic 
  encounter, just battling to survive. But as 
  the encounter wears on, the players have 
  more and better options, until they can 
  ﬁnally overwhelm the bad guys. In an 
  encounter where the heroes have the edge 
  anyway, the cards help speed play.
  
  Coup de Grace
  This result increases all effect totals by 3. Coup de grace al-
  ways increases the second total if an action has two totals; it never 
  increases the ﬁrst total, and has no effect if the ﬁrst total does not 
  exceed its difﬁculty number.
  Drama
  The drama card, like a hero card, may be spent as a Possibility. 
  This Possibility may be spent in addition to the Possibility a character 
  may normally spend. Villains may negate a drama card used for an 
  extra roll by spending a Possibility themselves.
  If the adventure is completed and a player still holds a drama 
  card, that player receives three Possibilities for his character. Thus 
  the character is rewarded for surviving the adventure while taking 
  the more difﬁcult path of not using the Possibility during play.
  Escape
  When this card is played, the heroes can avoid an encounter. The 
  card must be the ﬁrst card played into a playerʼs pool when rounds 
  begin. The card may then be played at any time during the scene.
  Example: Quin steered the boat down the Nile at breakneck 
  speed, Dr. Mobiusʼs thugs in hot pursuit; suddenly there was a 
  raucous sputter, and the motor on his boat conked out!
  Paul had placed the escape card as his ﬁrst pool card, just in 
  case. Now he plays it to avoid being captured by the bad guys. 
  The gamemaster might declare that Quin was able to ﬁx the motor 
  without effort, making it even better than before.
  Quin opened the engine casing, glared at the parts, then whacked 
  them with a ball-peen hammer. The motor roared to life, leaving the 
  henchmen behind in a spray of water.
  The restriction on having to play the escape card ﬁrst is meant 
  to help you. If you see an escape card on the table, then you know 
  that the Storm Knights must be able to get away from this encounter, 
  should they choose to play the card. Thus, you can start to think of 
  a way in which the party can escape. The escape does not have to 
  be easy, or even immediate. The players may get off easily, or they 
  may barely get away — they might even get captured for awhile! 
  But, before anything bad can happen, they do escape.
  Glory
  Glory cards can only be played in rare circumstances. If a character 
  rolls a 60 or more on an action that has a major impact on a dramatic 
  scene, his player may play this card. The award for all characters 
  in the adventure is increased by 3 Possibilities. Playing a glory card 
  also helps the Storm Knights spread tales of their deeds in such a 
  way as to inspire the listener. This makes it easier for the heroes to 
  infuse Ords with possibility energy. See the rulebook (Gamemaster 
  Chapter Nine in the original rulebook) for details.
  Haste
  The haste card grants the character an additional action. The 
  action is taken immediately after the player plays the card. A player 
  may play a haste card out of turn, during another playerʼs turn, or 
  during the villainʼs turn, as well as during her turn in a round. 
  Hero
  The hero card can be played to gain an extra Possibility for 
  any action. The Possibility from the card can be used in addition 
  to Possibilities that a character can normally spend. Villains may 
  negate a hero card used for an additional roll, just as they can a 
  regular Possibility.
  Idea
  Idea lets players get some help when stuck on a puzzle or mystery 
  within an adventure. When the card is played the player poses a 
  speciﬁc problem dealing with the adventure and you give an answer. 
  This reﬂects the fact that the character has deeper know-ledge of 
  the worldʼs workings than the player has, and simulates ﬁctional 
  characters who “get the right idea” at the right time.  
  You might simply give the answer to the problem, or you might 
  give a list of solutions that the characters have to pursue.
  Example: Yellow Crab is at the scene of a murder. On the table 
  before him is the murder weapon, an ancient dagger of Sumerian 
  origin. Earlier in the game, at a formal ball, the Yellow Crab met 
  Mr. Hadish Noʼdab, a gamemaster character who collects ancient 
  Sumerian art. The player controlling the Yellow Crab, however, has 
  forgotten all about Mr. Noʼdab and is completely stuck as to which 
  direction to go with the clue. In desperation he plays an idea.
  The gamemaster reminds the Crabʼs player of the meeting with 
  the art dealer, and suggests that the Cairo Museum of Art (which 
  the player didnʼt even know existed, but the Crab certainly did) 
  might be a possible lead.
  Leadership
  A leadership card allows the player to play up to two cards 
  from her hand or pool directly into another playerʼs hand or pool, 
  and then to immediately discard and/or reﬁll her hand to four 
  cards (disregarding cards in the pool). You should ask the player 
  to explain what her character is doing that provides leadership for 
  the other character(s).
  Master Plan
  This card lets a player pick up any card that has just been discarded, 
  in exchange for the master plan card, which is placed on the discard 
  pile. The card may be played any time, but only the top card of the 
  discard pile may be taken, not the top card of the action stack.
  Monologue
  This card allows a character to stop all hostile action while she 
  makes a dramatic speech (this counts as her action for the round). If 
  the conﬂict in question is openly violent, the odds of anyone listening 
  to reason are small, but the card will still have the effect of cancelling 
  all other actions for the round. The effect of the card lasts a round 
  or more. There is only one monologue card in the deck.
  Opponent Fails
  This card negates any one successful action taken against the 
  playerʼs character. If a villain shoots at this character and hits, the 
  player can use the card to make the shot miss, or hit a button, or be 
  deﬂected by some other stroke of luck. 
  It is important to note that the card in no way safeguards a character 
  from his own failure; thatʼs what all those bonus cards are for. 
  Example: Dr. Mobiusʼs manservant Guringa pushes Quin into 
  a volcano. Paul may play a an opponent fails to avoid having Quin 
  pushed into the volcano. If Quin does fall into the volcano, the card 
  Using the Drama Deck • 12
  
  will not help Quin grab the ledge on the way down. Other cards, 
  such as hero or drama, are necessary for that.
  An opponent fails card may be played after a successful action, 
  before the next roll of the game is made. 
  Second Chance
  This lets a character immediately retry an action after he has 
  failed the ﬁrst time; all consequences of the failure are ignored. 
  You must enforce the “immediately” — the second chance must 
  be taken before another player rolls or any other cards are played 
  into the pool.
  Seize Initiative
  This card allows the players to either keep the card currently on 
  the action stack for one more round (if it is beneﬁcial to them), or 
  ﬂip another card up for this round (if the one you just ﬂipped is bad 
  for them). Once you ﬂip the next card, seize initiative may only be 
  used to ﬂip again, not to go back to the previous card.
  Supporter
  This card lets a player add 3 to another characterʼs total. This card 
  may be played after the other character rolls the die but before you 
  announce the ﬁnal result. The supporting characterʼs player should 
  explain how his support can beneﬁt the acting character.
  Rally
  The rally card lets all Storm Knight players replenish their hands 
  in the middle of a conﬂict. Regardless of how many cards they have 
  on the table, each player may ﬁll his hand to four cards.
  This can be especially important during a dramatic conﬂict, 
  when the cards are weighted against the heroes and theyʼve run 
  out of cards giving them an advantage. Unless you know that the 
  players are going to have a comparatively easy time of it, you 
  should resist the temptation to steal this card away with a success-
  ful taunt, test, etc.
  Subplot Cards
  The subplot cards are different from the other cards in the drama 
  deck. Once in play they stay in the pool for the rest of the adventure. 
  Despite the game mechanics, they are most important as tools to 
  jump-start your imagination and that of the players. They are marked 
  in gamemaster colors to remind you that they are in play.
  Although every adventure has a major story that every character 
  is involved with, it is possible that there will be several smaller story 
  lines involving only speciﬁc characters. The large objective is called 
  the adventureʼs plot. The smaller story lines are called subplots.
  For example, if the characters have been hired to ﬁnd and remove 
  a stelae that the Edeinos have planted near Philadelphia, the plot 
  is how they deal with the difﬁculties encountered along the way. 
  While working their way through the story, the characters may meet 
  someone with whom one of the player characters becomes romanti-
  cally involved. This romance, a subplot, may hinder or help the task 
  of removing the stelae, but it never overshadows the main plot.
  The subplot cards give players a chance to introduce elements 
  that will broaden the role of their characters in the story. By making 
  the subplots into cards that each player has the option to play or 
  not, no player is forced to participate in a subplot that he does not 
  want. The player decides for himself what entanglements he wishes 
  to take for his character.
  Before an adventure begins, you should outline to yourself which 
  of the subplots are easily incorporated into the  adventure you have 
  created. (The subplots of published adventures will already be out-
  lined). When a player plays a subplot into his pool, he may either 
  claim it or immediately discard it and gain one Possibility. 
  If a player plays a subplot and wants to keep it, and if you have 
  a subplot prepared for that card (or if, during the course of the ad-
  venture you have seen how to work it in to the story) the playerʼs 
  character takes on that subplot. If the subplot simply will not work 
  in that in the adventure, the player is awarded the Possibility and 
  the card must be discarded. 
  The player must keep in mind that he does not necessarily know 
  how the subplot will affect him or whom it will involve. Thus, when 
  Paul plays a romance card after Quin meets a jungle princess of the 
  Nile Empire, it does not mean he will become involved romanti-
  cally with the princess — the gamemaster might have a romance 
  prepared with one of the princessʼs slaves. All that is required is 
  that once you approve a subplot card, you work in elements dealing 
  with that subplot.
  A subplot card is left face up in the playerʼs pool for the rest of 
  the adventure, but does not count against his limit of four cards for 
  his hand. Subplot cards may not be traded. A player may only have 
  one subplot per adventure.
  A character who has a subplot face up gains an additional Pos-
  sibility at the end of each act, to reward the player for taking on 
  the exciting, but sometimes detrimental, effects of the subplot. If 
  a player takes on a subplot and then consistently ignores the story 
  elements of that subplot, you should reduce the award his character 
  receives at the end of the adventure.
  Types of Subplots
  Martyr
  The martyr card is the only subplot card with an additional rules 
  mechanic. A character whose player has this card out may, at any 
  time, sacriﬁce his life and automatically produce a victorious 
  condition in the face of disaster. Suppose that the Yellow Crab 
  and Quin arrive just a moment too late to prevent Professor Samson 
  from ﬁring his Disintegration Cannon at New Delhi. Chris has the 
  martyr card, and he declares that the Crab races for the cannonʼs 
  power system and ﬂings himself into it as the cannon charges up 
  its deadly ray. In a storm of sparks the machinery is destroyed and 
  the Crab killed. The city of New Delhi, however, is saved without 
  a single roll having been made.
  The martyr card hangs a peculiar shadow over the character 
  whose player took the subplot, for everyone knows that the char-
  acter is so noble in intent that his own life is less important than 
  the defeat of evil.
  It is important to remember that a character with the martyr 
  card does not have to sacriﬁce himself at a climactic moment. It is 
  simply an option when all else fails. However, the character does 
  have his Possibility award reduced at the end of the adventure if he 
  does not martyr himself.
  Mistaken Identity
  With this subplot the character is thought to be someone else 
  by one or more gamemaster characters, or else believes another 
  character to be someone she isnʼt. The former is usually more fun 
  to play. The mistake may be because of physical similarity or misin-
  formation (“It will be the ﬁrst man who walks through the door and 
  Chapter 2  • 13
  
  says ʻgood-morning! Fine day, eh?ʼ”) The subplot may be comic (a 
  primitive tribe in the Nile Empire thinking the player character is a 
  god returned from heaven), or frightening (an assassin cult is after 
  the character because they believe he killed their leader).
  Nemesis
  There is, somewhere in the adventure, someone against whom 
  the character has a grudge, or who has a grudge against the char-
  acter. The conﬂict may stretch back to their childhood, or may start 
  when the player character bests the gamemaster character during 
  their ﬁrst meeting. You should make sure that the nemesis and the 
  player character have a few scenes alone together, including (and 
  most importantly) a ﬁnal showdown. The showdown does not have 
  to culminate in a huge, knockdown battle, but there should be a 
  satisfying resolution. The nemesis might not settle for less than 
  the heroʼs death, though the player character might want to merely 
  imprison the villain. The villain might seem to be killed (falling out 
  of a zeppelin or into a snake pit) only to reappear later (see “The 
  Campaign Card”on page 68), but he should be out of the heroʼs hair 
  for several adventures.
  Personal Stake
  When the personal stake subplot is played, the character becomes 
  emotionally tied to the major plot at hand. The woman his group 
  has been hired to rescue may turn out to be someone he loves, or 
  a long-lost relative. The villain may turn out to be the man who 
  killed the characterʼs family or scarred him for life. The city the 
  Disintegrator Cannon is aimed at might be the characterʼs home 
  town. Whatever it is, it gives the character a bit more oomph when 
  facing challenges encountered during the adventure.
  Romance
  The player character becomes romantically involved with a 
  gamemaster character. The romance may be one sided, with the game-
  master character in love with the player character or a love-struck 
  player character scorned by a gamemaster character. They may be 
  in love with each other, but separated by social standing or jealous 
  spouses. Remember that a complicated romance is more dramatic 
  than a romance with no problems, because a perfect romance isnʼt 
  very interesting to anyone but the two people involved.
  There are two romance cards in the deck. If both are in play it 
  might mean that both player characters are involved with the same 
  gamemaster character (causing some tension), or that there are two 
  romantic interests available.
  Suspicion
  This subplot casts a pall of guilt over a character. The character 
  might be suspected of a murder in the past, a recent theft, or simply 
  be  regarded as somebody worth watching with a careful eye. The 
  suspicion may be well-founded or it might only be the result of 
  rumor. The people who suspect the character might even be other 
  player characters.
  True Identity
  This subplot is the opposite of mistaken identity. The character 
  actually is somebody who matters to one or more gamemaster 
  characters, but nobody knows it, or else the player character knows 
  the true identity of someone important. The character with the true 
  identity may be completely unaware of his true identity, or may be 
  hiding behind a false identity.
  Examples of true identities are the heir to the throne who was 
  spirited away at birth, the son (or daughter) of the villain the heroes 
  are pursuing, the man who was prophesied generations ago to kill 
  the beast in the mountains, and the master villain masquerading 
  with a double identity.
  The Campaign Card
  In most cases a subplot lasts from when it is played to the end 
  of the adventure. For example, a nemesis is established for a player 
  character at some point in the story, and by the storyʼs end the 
  nemesis is defeated by that character.
  The player of a character with a subplot may want to retain the 
  subplot for his character. To do this he, or another player, plays the 
  campaign card while the subplot card is active (face up in the playerʼs 
  pool). A player must agree to have his subplot become a campaign 
  element, even if another player lays down the campaign card. The 
  gamemaster must also approve the subplot as a campaign.
   Thus, if Chris lays down the campaign card, and Paul and the 
  gamemaster agree, Quinʼs affair with the jungle princessʼs servant 
  continues through adventures to come. She may not be involved in 
  all adventures (heʼs a busy fellow, trotting all over the globe and 
  such), but when she is involved in an adventure, Quin automatically 
  starts with a romance subplot noted on his character template. She 
  may be in trouble, she may be being courted by somebody else, 
  but the gamemaster will have her there, waiting with a subplot. 
  This, of course, gives Quin extra Possibilities at the end of each 
  act. Heʼll need them.
  A campaign card is used only in campaign games, which are a 
  string of related adventures using the same heroes. Campaign games 
  are played on a regular basis; if you are not running a campaign, then 
  the campaign card has no effect. The campaign card, if discarded or 
  disapproved, is worth one Possibility, as any other subplot.
  The Circumstances of Subplots
  Depending on circumstances, several of the subplots could be 
  quite similar. If the true love of a character is kidnapped by the vil-
  lain, it might be a romance with a twist, or a personal stake, or the 
  nemesis pulling another stunt. If a hero is thought to have stolen the 
  Queenʼs jewels, is it suspicion or mistaken identity?
  There are two reasons for leaving a degree of overlap between 
  the subplots. The ﬁrst is that the subplots are more ﬂexible this way. 
  If there is a theft involved in the adventure and you want one of 
  the characters to be suspected of the crime, there are two subplots 
  by which this suspicion may be introduced (suspicion or mistaken 
  identity). However, the circumstances may vary between the two 
  subplots. Is the hero mistaken for Reginald Davenport, international 
  jewel thief, the man whom the police suspect stole the jewels? Or does 
  the detective investigating the case suspect the hero on a hunch? In 
  one case there is an actual, well-known individual who is involved 
  in the subplot, and in the other the hero has to clear his name.
  In other words, it makes a great deal of difference if the villain 
  who kidnaps a woman is a nemesis or if the woman kidnapped is 
  the heroʼs romance. Not only would an encounter between the hero 
  and the villain be played very differently, but the motivation for the 
  two subplots would differ greatly as well. In one case the hero would 
  want to prevent the ﬁend from ever performing evil actions again, 
  and in the other he would want to rescue his true love at all costs.
  Keeping the Hands Secret
  Each player keeps his hand a secret from you and the other 
  Using the Drama Deck • 14
  
  players — just as in any card game. This way he has the chance to 
  surprise the group with what he plays; it also means that each player 
  is in full control of his own cards. If a player doesnʼt want to be the 
  martyr he doesnʼt have to. If he wants to save drama cards, theyʼre 
  his to save. Players may reveal their cards whenever they want to 
  — but to speed up game play, encourage them to reveal only when 
  playing cards into their pool.
  Replenishing Hands
  At the end of a scene all players must pick up all cards from 
  their pools (except subplots, alertness, and connection). Multiple 
  cards must be discarded if the hand is greater than four cards; one 
  card may be discarded if the hand is at four or fewer cards. Once 
  all discards are made, a player can rebuild her hand back up to 
  four cards.
  When the ﬁnal encounter of the adventure is over, hands are not 
  reﬁlled to four cards. This is to prevent drama cards from being drawn 
  at the last minute, giving the player Possibility points which she did 
  not earn. Cards are not saved from adventure to adventure, though 
  they are saved from act to act, even if you quit for the night (you 
  can write their type or ID number on the character template).
  Trading Cards
  The players may trade cards in their pools between themselves 
  any time during play. You must enforce the one-for-one exchange 
  of cards, or else play balance can be seriously affected. As trading 
  cards is one of the playersʼ tactical advantages in the game, donʼt 
  inhibit trading as long as the game doesnʼt slow down. If action is 
  taking place in non-rounds, players may trade between their hands, 
  but once rounds begin trades may only be made between pools.
  When to Use the Deck (and 
  When Not to)
  Because the drama deck serves so many functions, it is im-
  portant to understand when cards come in to play and when they 
  donʼt. Basically, the cards come into play when you want them 
  to come into play.
  Using conﬂict lines and dramatic skill resolution is always at 
  your discretion. They are tools to help you enjoy the ﬂow of the 
  action. In most conﬂicts (ﬁghts, chases, interaction where a hero is 
  trying to get somebody to do something which the subject would 
  rather not do) you will turn over a card. At that point the game 
  time-scale switches to rounds, the conﬂict lines set the rhythm, 
  and card pools begin.
  But letʼs say the characters have just met a band of rufﬁans. The 
  players donʼt know that these gamemaster characters are bad guys, 
  and simply want to buy some food from them. You donʼt want to tip 
  the players off that something could go wrong (youʼve decided that 
  the rufﬁans had a bad day and just want to be left alone, so how the 
  characters behave in the encounter will determine what the rufﬁans 
  do) so you donʼt ﬂip a card over when the bargaining session begins. 
  This means youʼre “roleplaying it out.”
  Roleplaying it out means that you and the characters simply talk 
  to each other as if you were the characters in a story. You are like 
  actors making up a script on the spot. No dice need be rolled because 
  if you know what the gamemaster characters want, you should be 
  able to judge their reaction to the player characters.
  If the characters do something that you think would upset the 
  thugs enough to get them into a ﬁght, ﬂip a card and have the bad 
  guys draw their weapons. Or, if the villains are intrigued by the 
  heroesʼ offer but want something more substantial, make the bar-
  gaining tighter by ﬂipping a card to control the ﬂow. This might 
  confuse the players (theyʼre just trying to buy some food after all), 
  but would put them on edge, making the bargaining all the more 
  interesting.
  Remember, it is up to you to decide when to use the conﬂict lines. 
  When you do, it means that an open conﬂict has begun (though not 
  necessarily a violent one).
  Using Part Of The Cards
  It is possible to play using only portions of the cards. You may 
  wish to use conﬂict lines, at ﬁrst, only to determine initiative. Later, 
  you can add in the positive and negative results. You may decide not 
  to use player cards until your players become more familiar with 
  the system. You may decide not to use dramatic skill resolution at 
  all. The choice is yours.
  Be warned that without the cards the player characters will be 
  doing far less spectacular deeds, and the teamwork possible with 
  card play is lost.
  Chapter 2  • 15
  Although itʼs hard to fathom — thereʼs more than enough 
  to do in Torg with the Earth being invaded — every once 
  in a while some heroes will see ﬁt to ﬁght each other. Since 
  both sides are heroes, the conﬂict line advantage or penalty 
  applies to both of them. Characters act in order of Dexterity 
  (ties decided by a die roll). They play cards into their pools 
  and use them as they ordinarily would.
   
  ombat Between Two Player 
   
  Characters
  C  
  
  Chapter 3: 
  Bonus
  Cards
  This booklet includes ﬁve bonus cards that appeared in the 
  Inﬁniverse newsletters. Here are the rules for those cards.
  157: Survival
  In the Living Land this card counts as a +3 bonus modiﬁer and 
  a second chance card simultaneously; the character gets the bonus, 
  and if she fails, may immediately re-attempt the action, again with 
  the bonus. In other realms, the card is only the +3 bonus modiﬁer.
  Survival may be played whenever the character performs an 
  action to avoid imminent danger, or to overcome a threat posed by 
  the environment. A character who had been poisoned may use the 
  card to help overcome the effects of poison. A character leaping 
  across a ravine may play the card to make it to the other side. The 
  card may be used to defuse a bomb at the last second, or to resist the 
  effects of decompression of a space suit. The card may not be used 
  to attack another character. A friendly gamemaster may choose to 
  let the card be played to aid a desperate interaction, but he is under 
  no compulsion to do so.
  A Life Rage that appears on the conﬂict line counts as an up for 
  any character whose reality is the Living Land. Characters from, 
  or transformed to, the Living Land are ﬁlled with rage inspired by 
  Lanala. The rage is directed against those who use dead tools. This 
  righteous rage gives the characters an up for the duration of the scene, 
  or until all characters (of which the Lanala worshipper is aware) 
  stop using dead things as tools, preferably dropping or otherwise 
  breaking contact with the tool. If the tool operates automatically 
  without character action, life rage often results in the character at-
  tempting to destroy the tool until it stops operating.
  158: Hero Fails
  This card may be used by the player who draws it, or it may 
  be traded to another player. The card is then set out facing the 
  gamemaster. 
  With the Hero Fails card, the gamemaster has the right to negate 
  any successful action by that character at any point in the adventure 
  (similar to an Opponent Fails, but enacted upon the character). 
  Once an action has been negated, the gamemaster removes the card 
  from play. At the end of the adventure, the character receives three 
  additional possibilities. 
  In addition to negating the action, the gamemaster should also 
  introduce a setback that affects all of the characters.
  This card shows how the best plans and most intelligent play 
  sometimes fail miserably, creating more danger for everyone involved 
  (in the true spirit of the Nile Empire).
  Danger
  A Danger that appears on the conﬂict line indicates a new danger 
  which is in effect for only the round. The danger may be a support 
  beam that falls scant inches from the characters, an unexpected 
  explosion or a stray sword swing that topples a stack of crates.
  The Danger result adds a +3 difﬁculty modiﬁer to all Dexterity 
  and Strength actions for that round. Danger affects both sides of the 
  conﬂict. Due to the Law of Drama, all characters whose reality is 
  the Nile Empire suffer a +5 difﬁculty modiﬁer instead of +3.
  For the Actions conﬂict line, any Storm Knight who succeeds 
  at a multiaction receives a card.
  
  159: Research
  This card may be used by the player who draws it, or it may be 
  traded to another player if she wishes to use it. The card is then set 
  out facing the gamemaster.
  The Research card is similar to the Alertness and Idea cards 
  only, because it is a Subplot, it has a greater range of effect. When 
  the characters are attempting to solve a mystery or overcome a 
  dilemma, the Research card allows them to discover clues they 
  otherwise would have missed (or, in some cases, have already 
  missed). It allows them to have leaps of insight or merely to “get 
  lucky” when solving a problem.
  The gamemaster should be inventive when working the Research 
  into the adventure; in Orrorsh, this card can be used to prod characterʼs 
  towards ﬁnding a monsterʼs true death (sometimes accidentally) or 
  towards completing an important occult ritual. In other realms, major 
  mysteries can be made simpler by the playing of this card.
  Once the Research has been used, it is removed from play.
  Flee
  When Flee appears on the conﬂict line, it indicates a worsening 
  of fortune — something has gone wrong … or gotten worse. The 
  heroes are forced, for this round only, to attempt to break off the 
  combat. A +3 is given to all maneuvers or other actions that the 
  gamemaster feels are honest attempts by the players to Flee, and no 
  other actions are allowed (unless the hero is being forced to perform 
  some other action not of his or the partyʼs choosing).
  Because of the Power of Fear that permeates their existence, 
  Orrorshan characters are allowed a +5 bonus instead of +3.
  160: The Quest
  The heroic quest is an integral part of most fantasy genre ﬁc-
  tion. This subplot card is designed to allow a player to attain such 
  a quest for his character.
  The Quest subplot must be played within the realm of Aysle. 
  Once it is played, the gamemaster has the option of having someone 
  (whether it be Pella Ardinay, Tolwyn Tancred, or simply an aver-
  age mage) ask the character to undertake a quest on his/her behalf. 
  There should be some reward offered for successful completion 
  of this mission.
  The object of the quest may lie in another realm, and if used as a 
  campaign subplot, may take many months of game time to retrieve. 
  Along the way, the questing Knight should have his courage and 
  mettle tested, as did those of yore.
  The card may also be turned in for a Possibility if the player 
  so chooses.
  Dual Setback
  A dual setback that appears on the conﬂict line indicates some-
  thing has occurred in this round which affects both the heroes and 
  the villains. It may be a sudden cataclysm, like an earthquake in 
  the Living Land, or the unexpected appearance of a third force on 
  the scene, like a rampaging dragon in Aysle.
  How the players and the gamemaster deal with the cause of the 
  dual setback following the appearance of this card is up to them. It 
  may be that the villains and heroes will have to team up to defeat this 
  menace to both of them, or it may be that one side or the other will 
  attempt to escape in the confusion engendered by the incident.
  Attack/Defend are approved actions on this card.
  161: Net Gain
  This card may be used by the player who draws it or it may be 
  traded to another player. The card is then set out facing the game-
  master.
  With the Net Gain card, a character in the GodNet or the Grid 
  may receive a +3 bonus to a use of the net ﬁnd, net manipulation, 
  net stealth or net tracking skill.
  The card cannot be used to provide a bonus to similar skills used 
  outside of the Net. Net Gain cannot be used to improve net attack 
  or net defense totals.
  One Net Gain has been used, it is removed from play.
  Breakdown
  Breakdown is similar to a setback, save for the fact that it af-
  fects only characters ﬁtted with cyberware. The appearance of 
  breakdown on the conﬂict line automatically results in a cyber-
  psychosis check.
  Such a check inspired by a breakdown result adds a +2 bonus to 
  the cyber total generated by the gamemaster to determine whether 
  cyberpsychosis exists or not. Breakdown thus makes it more difﬁcult 
  to resist cyberpsychosis.
  
  Notes
  Use this page to record any 
  changes or additions you or 
  your gamemaster have made to 
  the rules.
  
  S:   H — 
  V  Fatigue
  D:  H  Inspiration  V —
  Act: Any
  Skill A B
  S:  H  Up             V —
  D:  V —            H  Inspiration
  Act: Any
  Skill A B C
  S:  V —            H  Up
  D:   V —            H  Inspiration
  Act: Any
  Skill A B D
  S:  H  Flurry      V —  
  D:  V —            H  Inspiration   
  Act: Any
  Skill A B
  S:  V —            H  Up
  D:  V —            H  Inspiration  
  Act: Any
  Skill A B
  S: 
  H  Flurry 
   V —  
  D:  H  Inspiration 
   V —
  Act: Any
  Skill A B
  S:  H  Up  
   V — 
  D:  H  Inspiration 
   V —
  Act: Any
  Skill A B
  S: 
  V —  
   H  Flurry
  D:    V — 
   H  Fatigue
  Act: MANEUVER/TRICK
  Skill A B
  S:  H  Flurry  
  V —  
  D:   V —  
  H  Fatigue
  Act: MANEUVER/TRICK
  Skill A B
   
    2
  Theyʼre on the run!
    3
  Theyʼre on the run!
    1
  Theyʼre on the run!
    3
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or
   Toughness or a related skill.
    2
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
    1
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or
   Toughness or a related skill.
    4
  Theyʼre on the run!
    5
  Theyʼre on the run!
    6
  Theyʼre on the run!
    6
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or
   Toughness or a related skill.
    5
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or
   Toughness or a related skill.
    4
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
    7
  Theyʼre on the run!
    9
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
    8
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
    7
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
    8
  You try to outﬂank!
    9
  You try to outﬂank!
  
  S: 
  H  Flurry  
   V —   
  D:   H  Fatigue 
   V —  
  Act: MANEUVER/TRICK
  Critical  Problem
   
  S:  V —   
  H  Up    
  D:   V  Up  
  H —  
  Act: TAUNT/INTIMIDATION
  Skill A  D
   
  S: 
   H  Flurry  
  V —  
  D:  H  Fatigue  
  V —
  Act: MANEUVER/TRICK
  Skill A B
  S:  H  Flurry  
  V —  
  D:    V —  
  H  Fatigue
  Act: MANEUVER/TRICK
  Skill  A B
  S:   V —  
  H  Flurry
  D:  V —  
  H  Fatigue
  Act: MANEUVER/TRICK
  Skill  A B D
  S:  H  Flurry 
   V —  
  D:    V —  
  H  Fatigue
  Act: MANEUVER/TRICK
  Complication
  S:   V —   
  H  Flurry
  D:  V —  
  H  Fatigue  
  Act: MANEUVER/TRICK
  Possible  Setback
  S:  H  Up  
  V —  
  D:  H —  
  V  Up
  Act: TAUNT/INTIMIDATION
  Skill B D
   
  S:  H  Up  
  V — 
  D:  V  Up  
  H —
  Act: TAUNT/INTIMIDATION
  Skill B C
   18
  Willpower
  Add +3 to the value of 
  Perception or Mind or a related 
  skill.
   17
  Willpower
  Add +3 to the value of 
  Perception or Mind or a related 
  skill.
   16
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
   17
  You spot a weakness!
   18
  You spot a weakness!
   16
  You spot a weakness!
   15
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
   14
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
   13
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
   13
  You try to outﬂank!
   14
  You try to outﬂank!
   15
  You try to outﬂank!
   12
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
   11
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
   10
  Adrenalin
  Add +3 to the value of Dexterity, 
  Strength or 
  Toughness or a related skill.
   10
  You try to outﬂank!
   11
  You try to outﬂank!
   12
  You try to outﬂank!
  
  S:  H  Up  
  V —  
  D:   H —   
  V  Up
  Act: TAUNT/INTIMIDATION
  Skill A C
  S: 
   H  Up  
  V —  
  D:  V  Up  
  H —
  Act: TAUNT/INTIMIDATION
  Skill A  B
  S:  V — 
   H  Up 
  D:  V  Up   
   H —  
  Act: TAUNT/INTIMIDATION
  Skill A B C 
  S:  H — 
  V  Flurry 
  D:  V  Flurry 
  H —
  Act: DEFEND/TRICK
  Possible  Setback
  S: 
   V  Flurry 
  H — 
  D:   V  Flurry 
  H —
  Act: DEFEND/TRICK
  Skill B D
  S:  H  Up 
  V — 
  D:  H —  
  V — 
  Act: TAUNT/INTIMIDATION
  Skill A B D
  S:  H  Up              V — 
  D:  V —              H — 
  Act: TAUNT/INTIMIDATION
  Skill A B C D
  S:  V  Up 
  H — 
  D:  V —  
  H  Fatigue 
  Act: DEFEND/TRICK
  Critical  Problem
  S:  H — 
  V  Up 
  D:  H  Fatigue  
  V — 
  Act: DEFEND/TRICK
  Complication
   22
  You spot a weakness!
   23
  You spot a weakness!
   24
  Youʼre thrown back!
   24
  Willpower
  Add +3 to the value of 
  Perception or Mind or a related 
  skill.
   23
  Willpower
  Add +3 to the value of 
  Perception or Mind or a related 
  skill.
   22
  Willpower
  Add +3 to the value of 
  Perception or Mind or a related 
  skill.
   20
  You spot a weakness!
   21
  You spot a weakness!
   21
  Willpower
  Add +3 to the value of 
  Perception or Mind or a related 
  skill.
   20
  Willpower
  Add +3 to the value of 
  Perception or Mind or a related 
  skill.
   19
  Willpower
  Add +3 to the value of 
  Perception or Mind or a related 
  skill.
   25
  Youʼre thrown back!
   26
  Youʼre thrown back!
   27
  Youʼre thrown back!
   27
  Willpower
  Add +3 to the value of 
  Perception or Mind or a related 
  skill.
   26
  Willpower
  Add +3 to the value of 
  Perception or Mind or a related 
  skill.
   25
  Willpower
  Add +3 to the value of 
  Perception or Mind or a related 
  skill.
   19
  You spot a weakness!
  
  S:   H —  
  V  Stymied 
  D:  H  Fatigue 
  V —   
  Act:  MANEUVER/TEST
  Skill A B C D
  S:   H —  
  V  Stymied  
  D:   V —   
  H  Fatigue
  Act: MANEUVER/TEST
  Critical  Problem
  S:  V — 
  H  Fatigue
  D:  V — 
  H  Setback
  Act: DEFEND/TRICK
  Skill A C
  S:  H  Fatigue 
  V —   
  D:  H  Setback   
  V —  
  Act: DEFEND/TRICK
  Skill A B 
  S:  H — 
  V  Flurry
  D:  H  Setback 
  V  Flurry
  Act: DEFEND/TRICK
  Skill B C
  S:  H — 
  V  Flurry
  D:  V —  
  H  Setback 
  Act: DEFEND/TRICK
  Skill A D 
  S:  H —  
  V  Stymied 
  D:  V —  
  H —
  Act: MANEUVER/TEST
  Skill A B C
  S:  V  Stymied 
  H —   
  D:  V —   
  H —
  Act: MANEUVER/TEST
  Skill A B D
  S:  V  Stymied 
  H — 
  D:   V —  
  H —
  Act:  MANEUVER/TEST
  Complication
   28
  Youʼre thrownback!
   29
  Youʼre thrown back!
   30
  Youʼre thrown back!
   30
  Willpower
   Add +3 to the value of  
  Perception or Mind or a related 
  skill.
   29
  Willpower
   Add +3 to the value of  
  Perception or Mind or a related 
  skill.
   28
  Willpower
   Add +3 to the value of  
  Perception or Mind or a related 
  skill.
   35
  You seek an advantage!
   31
  Youʼre thrown back!
   32
  You seek an advantage!
   33
  You seek an advantage!
   32
  Willpower
   Add +3 to the value of  
  Perception or Mind or a related 
  skill.
   31
  Willpower
   Add +3 to the value of  
  Perception or Mind or a related 
  skill.
   34
  You seek an advantage!
   36
  You seek an advantage!
   36
  Action
  +3 to the bonus of any action.
   35
  Alertness
  You notice an otherwise unseen 
  item, character, or clue. Set this 
  card out, facing the GM. Until 
  used.
   33
  Alertness
  You notice an otherwise unseen 
  item, character, or clue. Set this 
  card out, facing the GM. Until 
  used.
   34
  Alertness
  You notice an otherwise unseen 
  item, character, or clue.  Set this 
  card out, facing the GM. Until 
  used.
  
  S:   H —  
  V  Stymied
  D:  H  Fatigue 
  V —  
  Act: MANEUVER/TEST
  Posible  Setback
  S:   H — 
  V  Stymied   
  D:   V —   
  H  Fatigue
  Act: MANEUVER/TEST
  Skill B D
  S:  V  Stymied 
  H — 
  D:  V —  
  H  Fatigue 
  Act: MANEUVER/TEST
  Skill B C
  S:  H  Flurry  
  V —  
  D:  H  Fatigue 
  V  —  
  Act: ATTACK/TAUNT
  Skill A D
  S: 
   H  Flurry 
  V  — 
  D:  V —  
  H  Fatigue 
  Act: ATTACK/TAUNT
  Skill A C
  S:   V —  
  H  Flurry
  D:   V —   
  H —
  Act: ATTACK/TAUNT
  Skill A B C D
  S:  V —  
  H  Flurry
  D:  V —  
  H —
  Act: ATTACK/TAUNT
  Skill A B 
  S:  H  Flurry 
  V —   
  D:  H — 
  V 
  Act: ATTACK/TAUNT
  Skill A B C
  S:  H  Flurry 
  V —   
  D:  V —  
  H —
  Act: ATTACK/TAUNT
  Skill A B D
   38
  You seek an advantage!
   39
  You seek an advantage!
   38
  Action
  +3 to the bonus of any action. 
   37
  Action
  +3 to the bonus of any action. 
   40
  Haste
  You gain a bonus action at any 
  time during the round.
   41
  Haste
  You gain a bonus action at any 
  time during the round.
   42
  Haste
  You gain a bonus action at any 
  time during the round.
   43
  Haste
  You gain a bonus action at any 
  time during the round.
   44
  Haste
  You gain a bonus action at any 
  time during the round.
   43
  They hesitate!
   44
  They hesitate!
   37
  You seek an advantage!
   39
  Action
  +3 to the bonus of any action. 
   40
  They hesitate!
   41
  They hesitate!
   42
  They hesitate!
   45
  They hesitate!
   45
  Haste
  You gain a bonus action at any 
  time during the round.
  
  S:  H  Flurry 
  V —   
  D:  H —  
  V — 
  Act: ATTACK/TAUNT
  Critical  Problem
  S:   H  Flurry  
  V — 
  D:  V — 
  H —  
  Act: ATTACK/TAUNT
  Complication
  S:   V — 
  H  Up   
  D:   V —   
  H  Flurry
  Act: TEST/INTIMIDATION
  Possible   Setback
  S: 
  H — 
  V  Fatigue 
  D:  H  Flurry 
  V —   
  Act: TEST/INTIMIDATION
  Skill B D
  S:  H —  
  V  Fatigue  
  D:  V — 
  H  Flurry
  Act: TEST/INTIMIDATION
  Skill B C
  S:  V  Fatigue 
  H — 
  D:  V —  
  H  Flurry 
  Act: TEST/INTIMIDATION
  Skill A D
  S:  H —  
  V  Fatigue
  D:  H  Flurry 
  V —  
  Act: TEST/INTIMIDATION
  Skill A C 
  S: 
  H —  
  V  Fatigue  
  D:  V —  
  H  Flurry 
  Act: TEST/INTIMIDATION
  Skill A B 
  S:  V  Fatigue 
  H —   D:  
  V —  
  H  Flurry 
  Act: TEST/INTIMIDATION
  Skill A B C
   46
  They hesitate!
   47
  They hesitate!
   48
  Closer to victory!
   48
  Haste
  You gain a bonus action at any 
  time during the round.
   46
  Haste
  You gain a bonus action at any 
  time during the round.
   47
  Haste
  You gain a bonus action at any 
  time during the round.
   49
  Closer to victory!
   50
  Closer to victory!
   51
  Closer to victory!
  51
  Master Plan
  You may pick up any card just 
  discarded in exchange for this 
  one.
   50
  Master Plan
  You may pick up any card just 
  discarded in exchange for this 
  one.
   49
  Haste
  You gain a bonus action at any 
  time during the round.
   54
  Closer to victory!
   53
  Closer to victory!
   52
  Closer to victory!
   54
  Master Plan
  You may pick up any card just 
  discarded in exchange for this 
  one.
   53
  Master plan
  You may pick up any card just 
  discarded in exchange for this 
  one.
   52
  Master Plan
  You may pick up any card just 
  discarded in exchange for this 
  one.
  
  S:   H —  
  V  Fatigue 
  D:   H Flurry  
  V —
  Act: TEST/INTIMIDATION
  Skill A B D
   
  S:  H —             V  Fatigue
  D:  V —             H —
  Act: TEST/TRICK
  Skill A B C D
  S:  V  Fatigue     H — 
  D:  V —             H —
  Act: TEST/TRICK
  Critical Problem
  S:  H —             V  Fatigue   
  D:   H —              V Inspiration
  Act: TEST/TRICK
  Complication
  S:  H —                  V  Fatigue  
  D:  V  Inspiration     H —
  Act: TEST/TRICK
  Possible  Setback
  S:  V  Fatigue         H —  
  D:  V  Inspiration   H —
  Act: TEST/TRICK
  Skill B D
   
  S:  H —           V  Fatigue 
  D:  H —           V  Inspiration
  Act: MANEUVER/TRICK
  Skill B C
  S:  H —               V  Fatigue
  D:  V  Inspiration  H — 
  Act: MANEUVER/TRICK
  Skill A D 
  S:  V  Fatigue      H —  
     
  D:  V  Up              H —
  Act: MANEUVER/TRICK
  Skill A C
   56
  They regroup!
   57
  They regroup!
   55
  Closer to victory!
   57
  Action
  +3 to the bonus of any action.
   56
  Action
  +3 to the bonus of any action.
   55
  Master Plan
  You may pick up any card just 
  discarded in exchange for this 
  one.
   58
  They regroup!
   60
  They regroup!
   59
  They regroup!
   60
  Seize Initiative
  You may either keep the current 
  card on the action stack for 
  another round, or ﬂip a new one 
  for this round.
   59
  Action
  +3 to the bonus of any action.
   58
  Action
  +3 to the bonus of any action.
   61
  They regroup!
   62
  They regroup!
   63
  They regroup!
   63
  Seize Initiative
  You may either keep the current 
  card on the action stack for 
  another round, or ﬂip a new one 
  for this round.
   62
  Seize Initiative
  You may either keep the current 
  card on the action stack for 
  another round, or ﬂip a new one 
  for this round.
   61
  Seize Initiative
  You may either keep the current 
  card on the action stack for 
  another round, or ﬂip a new one 
  for this round.
  
  S:  H  Fatigue 
  V —   
  D:  H —  
  V  Up  
  Act:  DEFEND/TAUNT
  Skill A B 
  S:   H  Fatigue 
  V —    
  D:   V  Up 
  H —
  Act: DEFEND/TAUNT
  Skill A B C
  S:  V —  
  H  Fatigue
  D:  V  Up 
  H 
  Act: DEFEND/TAUNT 
  Skill A B D
  S:  H  Fatigue  
  V — 
  D:  H — 
  V  Up  
  Act: DEFEND/TAUNT
  Skill A B C D
  S:   H  Fatigue 
  V — 
  D:    V  Up 
  H 
  Act: DEFEND/TAUNT
  Critical  Problem
  S:  V — 
  H  Fatigue  
  D:  V  Up 
  H 
  Act: DEFEND/TAUNT
  Complication
  S:  H  Fatigue 
  V —  
  D:  H — 
  V  Up  
  Act: DEFEND/TAUNT
  Possible  Setback
  S:  V —           H —
  D:  V —           H  Inspiration
  Act: MANEUVER/TEST
  Skill B C
   66
  They strike!
   65
  They strike!
   64
  They strike!
   66
  Hero
  May be played as an
   additional Possibility.
   64
  Hero
  May be played as an 
  additional Possibility.
   65
  Hero
  May be played as an 
  additional Possibility.
   67
  They strike!
   68
  They strike!
   69
  They strike!
   69
  Hero
  May be played as an
   additional Possibility.
   68
  Hero
  May be played as an 
  additional Possibility.
   67
  Hero
  May be played as an 
  additional Possibility.
   70
  They strike!
   71
  They strike!
   72
  Comeback!
  S:  H  Fatigue 
  V —  
  D:  V  Up  
  H 
  Act: DEFEND/TAUNT
  Skill B D
   71
  Hero
  May be played as an 
  additional Possibility.
   70
  Hero
  May be played as an 
  additional Possibility.
   72
  Hero
  May be played as an
   additional Possibility.
  
  S:  H —  
  V —    
  D:  H  Inspiration 
  V —
  Act: MANEUVER/TEST
  Skill A B C
  S:  H — 
  V —   
  D:  H  Inspiration 
  V —
  Act:  MANEUVER/TEST
  Skill A B D 
  S:  H —  
  V  Breaks
  D:  V  Up 
  H  Flurry
  Act: MANEUVER/INTIMID.
  Skill A C
  S:  V  Fatigue 
  H — 
  D:  V  Up  
  H  Flurry  
  Act: MANEUVER/INTIMID.
  Skill A B
  S:  V —  
  H —   
  D:  V — 
  H  Fatigue
  Act: MANEUVER/TEST
  Skill A B C D
  S:  H — 
  V —
  D:  H  Setback 
  V  Flurry
  Act: MANEUVER/TEST 
  Complication
  S:  H —  
  V — 
  D:  V — 
  H — 
  Act: MANEUVER/TEST 
  Skill B D
  S:  V —                 H  Setback 
  D:  V —                 H  Fatigue
  Act: MANEUVER/TEST
  Skill B C
  S:  H  Setback 
  V — 
  D: H — 
  V  Flurry
  Act: MANEUVER/TEST
  Skill A D
   74
  Comeback!
   73
  Hero
  May be played as an 
  dditional Possibility.
   74
  Opponent Fails
  This card negates an opponentʼs 
  successful action upon you.
   73
  Comeback!
   75
  The going gets tough!
   75
  Opponent Fails
  This card negates an opponentʼs 
  successful action upon you.
   76
  The going gets tough!
   77
  The going gets tough!
   78
  The going gets tough!
   78
  Rally
  All players may discard and 
  immediately reﬁll their hands.
   77
  Opponent Fails
  This card negates an opponentʼs 
  successful action upon you.
   76
  Opponent Fails
  This card negates an opponentʼs 
  successful action upon you.
   79
  The going gets tough!
   80
  You take it to them!
   81
  You take it to them!
   79
  Second Chance
  You may immediately re-attempt 
  any action at which you have 
  just failed.
   80
  Alertness
  You notice an otherwise unseen 
  item, character, or clue.  Set this 
  card out facing the GM. Until 
  used.
   81
  Connection
  You know someone in the area 
  who can aid you. Until used.
  
  S:  H —  
  V  Fatigue
  D:  H  Flurry 
  V  Up
  Act: MANEUVER/INTIMID.
  Skill A B C
  S:  H  Flurry 
  V —    
  D: V  Up 
  H  Flurry
  Act: MANEUVER/INTIMID.
  Skill A B D
  S: 
  V — 
  H  Flurry
  D:  V Up 
  H  Flurry 
  Act: MANEUVER/INTIMID.
  Skill A B C D 
  S:  H —                 V  Breaks  
  D:  H  Flurry 
  V  Up
  Act: MANEUVER/INTIMID.
  Skill A D
  S:  H  Flurry 
  V —
  D:  V  Up 
  H  Flurry
  Act: MANEUVER/INTIMID.
  Skill A C
  S:  V —  
  H  Flurry
  D:  V  Up 
  H  Flurry
  Act: MANEUVER/INTIMID.
  Skill A B
  S:  H —            V —
  D:  H —            V  Inspiration
  Act: DEFEND/TAUNT
  Skill A B C
  S: 
  H —                 V —  
  D:  V  Inspiration    H —
  Act: DEFEND/TAUNT
  Skill A B D
  S:  V —                  H —
  D:  V  Inspiration     H —
  Act: DEFEND/TAUNT
  Skill A B C D
   86
  You take it to them!
   82
  You take it to them!
   83
  You take it to them!
   84
  You take it to them!
   85
  You take it to them!
   87
  You take it to them!
   87
  Second Chance
  You may immediately
   re-attempt any action at which 
  you have just failed.
   86
  Idea
  Used to gain clues indicating the 
  next course of action you should 
  take.
   85
  Idea
  Used to gain clues indicating the 
  next course of action you should 
  take.
   88
  You give up ground!
   89
  You give up ground!
   90
  You give up ground!
   90
  Second Chance
  You may immediately
   re-attempt any action at which 
  you have just failed.
   89
  Idea
  Used to gain clues indicating the 
  next course of action you should 
  take.
   88
  Idea
  Used to gain clues indicating the 
  next course of action you should 
  take.
   84
  Connection
  You know someone in the area 
  who can aid you. 
   83
  Connection
  You know someone in the area 
  who can aid you. 
   82
  Connection
  You know someone in the area 
  who can aid you. 
  
  S:  V —             H  Fatigue
  D:  V  Flurry        H  Confused 
  Act: DEFEND/TEST 
  Skill A B
  S:  H  Fatigue 
  V —
  D:  H  Confused 
  V  Flurry 
  Act: DEFEND/TEST 
  Critical  Problem
  S:  H  Fatigue       V —
  D:  V  Flurry         H  Confused 
  Act: DEFEND/TEST
  Possible  Setback
  S:  V —              H  Fatigue 
  D:  V  Flurry         H  Confused
  Act: DEFEND/TEST
  Complication
  S:  V —                 H —    
  D:  V  Inspiration    H —
  Act: DEFEND/TAUNT
  Skill B C
  S:  H —                  V —
  D:  V  Inspiration     H —
  Act: DEFEND/TAUNT
  Skill B D
  S:  H —                 V — 
  D:  V  Up         
  H —
  Act: DEFEND/TAUNT
  Skill A C
  S:  H —  
  V — 
  D:  H —           V  Inspiration
  Act: DEFEND/TAUNT
  Complication
  S:  H —           V — 
   
  D:  H —           V  Inspiration
  Act: DEFEND/TAUNT
  Skill B C
   92
  Glory
  Played after a roll of 60+. This 
  card increases the 
  adventure award by three 
  Possibilities.
    91
  You give up ground!
   92
  You give up ground!
   93
  You give up ground!
   93
  Glory
  Played after a roll of 60+. This 
  card increases the 
  adventure award by three 
  Possibilities.
   91
  Glory
  Played after a roll of 60+. This 
  card increases the 
  adventure award by three 
  Possibilities.
   94
  You give up ground!
   95
  You give up ground!
   96
  Youʼre driven back!
   96
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a 
  related skill.
   95
  Monologue
  All hostile actions cease while 
  you make a dramatic speech.
   94
  Glory
  Played after a roll of 60+. This 
  card increases the 
  adventure award by three 
  Possibilities.
   97
  Youʼre driven back!
   98
  Youʼre driven back!
   99
  Youʼre driven back!
   99
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a
   related skill.
   98
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a 
  related skill.
   97
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a 
  related skill.
  
  S:  H  Fatigue      V — 
     
  D:  V  Flurry        H  Confused
  Act: DEFEND/TEST
  Skill A C
  S: 
  H  Inspiration 
  V —  
  D:  V  Flurry 
  H — 
  Act: ATTACK/DEFEND
  Skill A B
  S:  V  Fatigue  
  H —   
  D:  V  Flurry 
  H —
  Act: ATTACK/DEFEND
  Skill A B C
  S:  H — 
  V  Stymied
  D:  H — 
  V  Flurry 
  Act: ATTACK/DEFEND
  Skill A B C D
  S:  H — 
    V  Breaks
  D:  V  Flurry 
    H — 
  Act: ATTACK/DEFEND 
  Skill B D
  S:  V —           H  Inspiration
  D:  H —           V  Flurry 
  Act: ATTACK/DEFEND
  Skill B C
  S:  H  Fatigue 
  V —
  D:  H  Confused 
  V  Flurry
  Act: DEFEND/TEST
  Skill B D
  S:  H  Fatigue     V — 
  D:  V —            H  Confused
  Act: DEFEND/TEST
  Skill B C
  S:  V —            H  Fatigue
  D:  V —            H  Confused
  Act: DEFEND/TEST
  Skill A D
  103
  Youʼre driven back!
  100
  Youʼre driven back!
  102
  Youʼre driven back!
  101
  Youʼre driven back!
  102
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a
   related skill.
  101
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a
   related skill.
  100
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a
   related skill.
  104
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a
   related skill.
  103
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a
   related skill.
  104
  Do you risk an opening?
  105
  Do you risk an opening?
  105
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a 
  related skill.
  106
  Do you risk an opening?
  107
  Do you risk an opening?
  108
  Do you risk an opening?
  108
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a
   related skill.
  107
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a
   related skill.
  106
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a
   related skill.
  
  S: 
  H — 
  V  Stymied
  D:  H —  
  V  Flurry
  Act: ATTACK/DEFEND 
  Skill AD
  S:  H — 
  V  Stymied
  D: V  Flurry 
  H —  
  Act: ATTACK/DEFEND 
  Skill A C
  S:  V  Stymied 
  H — 
  D:  V  Flurry 
  H — 
  Act: ATTACK/DEFEND 
  Skill A B
  S:  H — 
  V  Fatigue
  D:  H  Setback 
  V  Trick/
                                           Taunt
  Act: INTIMIDATION/TRICK
  Skill A B C
  S:  H — 
  V  Fatigue   
  D:  H  Stymied 
  V Trick/
                                          Taunt
  Act: INTIMIDATION/TRICK
  Skill B D
               Taunt 
  Act: INTIMIDATION/TRICK
  Skill B C
  S:  H — 
  V  Fatigue
  D:  V  Trick/ 
  H  Stymied
  S:  H —                V  Fatigue   
  D:  V  Trick/           H —
               Taunt
  Act: INTIMIDATION/TRICK
  Skill A B D
  S:  V  Fatigue         H —  
  D:  V  Trick/           H —
               Taunt 
  Act: INTIMIDATION/TRICK
  Skill A B C D
  S:  V  Fatigue 
  H —  
  D:  V  Trick/           H —
          
             Intimidation 
   
  Act: INTIMIDATION/TRICK
  Skill A D
  113
  ʻʻI have you now!ʼʼ
  117
  Coup De Grace
  This card allows you to add +3 
  to your effect value.
  116
  Coup De Grace
  This card allows you to add +3 
  to your effect value.
  115
  Coup De Grace
  This card allows you to add +3 
  to your effect value.
  109
  Do you risk an opening?
  110
  Do you risk an opening?
  111
  Do you risk an opening?
  111
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a 
  related skill.
  110
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a 
  related skill.
  109
  Presence
  Add +3 to the value of 
  Charisma, Spirit, or a
   related skill.
  112
  ʻʻI have you now!ʼʼ
  114
  ʻʻI have you now!ʼʼ
  114
  Coup De Grace
  This card allows you to add +3 
  to your effect value.
  113
  Coup De Grace
  This card allows you to add +3 
  to your effect value.
  117
  ʻʻI have you now!ʼʼ
  116
  ʻʻI have you now!ʼʼ
  115
  ʻʻI have you now!ʼʼ
  112
  Campaign
  If a player and the GM both 
  agree, this card makes a subplot 
  permanent.
  
                                           Test
  Act: MANEUVER/TEST
  Skill A B D
                                           Test
  Act: MANEUVER/TEST
  Skill B C
                                   Intimidation
  Act: INTIMIDATION/TRICK
  Skill A C
             Intimidation 
   
  Act: MANEUVER/TAUNT
  Skill A B
  S: 
  V — 
  H —
  D:  V  Trick/Test 
  H —
  Act: MANEUVER/TEST 
  Skill A B C
  S: 
  H — 
  V —
  D:  V  Trick/Test 
  H —
  Act: MANEUVER/TEST
  Skill A B C D
  S:  V —                 H —    
  D:  V Trick/Test     H —
  Act: MANEUVER/TEST
  Skill B D
             Intimidation 
   
  Act: MANEUVER/TAUNT
  Skill A D
             Intimidation 
   
  Act: MANEUVER/TAUNT
  Skill A C
  119
  ʻʻI have you now!ʼʼ
  120
  “The battle is mine!”
  118
  ʻʻI have you now!ʼʼ
  119
  Second Chance
  You may immediately re-attempt 
  any action at which you have 
  just failed.
  118
  Second Chance
  You may immediately re-attempt 
  any action at which you have 
  just failed.
  121
  “The battle is mine!”
  123
  “The battle is mine!”
  122
  “The battle is mine!”
  S:  H — 
  V — 
  D:  H  Stymied 
  V  Trick/
  124
  “The battle is mine!”
  125
  “The battle is mine!”
  126
  “The battle is mine!”
  S:  H — 
  V —  
  D:  H  Stymied 
  V  Trick/
  S:  H — 
  V  Fatigue
  D:  H  Stymied 
  V  Trick/           
                                                         
                               
  S:  V  Fatigue 
  H —  
  D:  V  Trick/           H —
          
  S:  H — 
  V —  
  D:  V  Trick/           H —
          
  S:  H — 
  V —  
  D:  V  Trick/           H —
          
  121
  Romance
  Subplot. May be turned in 
  for Possibility, or gain one 
  Possibility per Act 
  for subplot
  122
  Martyr
  Subplot. You may defeat any 
  opponent at the cost of your own 
  life.
  123
  Mistaken Identity
  Subplot. May be turned in 
  for Possibility, or gain one 
  Possibility per Act for sublot
  126
  Nemesis
  Subplot. May be turned in 
  for Possibility, or gain one 
  Possibility per Act for subplot.
  120
  Romance
  Subplot. May be turned in 
  for Possibility, or gain one 
  Possibility per Act 
  for subplot.
  125
  Personal Stake
  Subplot. May be turned in 
  for Possibility, or gain one 
  Possibility per Act
  for subplot.
  124
  True Identity
  Subplot. May be turned in 
  for Possibility, or gain one 
  Possibility per Act 
  for subplot. 
  
                                   Intimidation
  Act:  TAUNT/TEST 
  Skill A B
                                          Taunt
  Act:  TAUNT/TEST 
  Skill A B C D
                                           Taunt
  Act:  TAUNT/TEST
  Skill A D
          Intimidation 
  Act:  TAUNT/TEST
  Skill A B C
          Intimidation 
  Act:  TAUNT/TEST
  Skill A B D
   
      Taunt
  Act: TAUNT/TEST 
  Skill B C
   
      Taunt
  Act  TAUNT/TEST 
  Skill B D
              Intimidation
  Act: MANEUVER/TAUNT
  Skill A C
              Intimidation
  Act: MANEUVER/TAUNT
  Skill A B
  127
  “I shall triumph!”
  128
  “I shall triumph!”
  129
  “I shall triumph!”
  S:  H —             V —
  D:  H  Setback      V  Taunt/
  129
  Drama
  May be used as a Hero 
  card or turned in after the 
  adventure is over for three
   Possibilities.
  128
  Drama
  May be used as a Hero 
  card or turned in after the 
  adventure is over for three
   Possibilities.
  130
  “I shall triumph!”
  131
  “I shall triumph!”
  132
  “I shall triumph!”
  S:  H — 
  V —
  D:  H  Stymied 
  V  Test/
  132
  Drama
  May be used as a Hero 
  card or turned in after the 
  adventure is over for three
   Possibilities.
  131
  Drama
  May be used as a Hero 
  card or turned in after the 
  adventure is over for three
   Possibilities.
  130
  Drama
  May be used as a Hero 
  card or turned in after the 
  adventure is over for three
   Possibilities.
  134
  That old chestnut?
  135
  That old chestnut?
  133
  “I shall triumph!”
  S: 
  H  — 
  V —
  D: H  Stymied  
  V  Test/
  133
  Drama
  May be used as a Hero 
  card or turned in after the 
  adventure is over for three
   Possibilities.
  134
  Drama
  May be used as a Hero 
  card or turned in after the 
  adventure is over for three
   Possibilities.
  135
  Drama
  May be used as a Hero 
  card or turned in after the 
  adventure is over for three
   Possibilities.
  S:  H — 
  V —
  D:  V  Taunt/ 
  H —
  S:  V — 
  H —
  D:  V  Taunt/ 
  H —
  S:  V —                 H —
  D:  V  Test/             H —
  S:  H —                 V —
  D:  V  Test/             H —
  S:  H — 
  V  Setback  
  D:  V  Test/ 
  H —
  S:  V  Setback 
  H — 
  D:  V  Test/ 
  H — 
  127
  Suspicion
  Subplot. May be turned in 
  for Possibility, or gain one 
  Possibility per Act 
  for subplot.
  
                                   Intimidation
  Act: TRICK/INTIMIDATION
  Skill B D
  S:  H —            V  Breaks
  D:  H —            V  Inspiration
  Act: TRICK/INTIMIDATION
  Skill A C
  S:  H — 
  V  Breaks   
  D:  V  Inspiration 
  H —
  Act: TRICK/INTIMIDATION
  Skill A B
  S: 
  V  Breaks 
  H —
  D:  V  Inspiration 
  H — 
  Act: TRICK/INTIMIDATION
  Skill A B C
  S:  V  Stymied 
  H —
  D:  V  Inspiration 
  H —
  Act: TRICK/INTIMIDATION
  Skill A D
                                           Taunt
  Act: MANEUVER/TAUNT
  Skill A B C
              Intimidation 
   
  Act: MANEUVER/TAUNT
  Skill A B D
              Intimidation
  Act: MANEUVER/TAUNT
  Skill A B C D
              Intimidation 
   
  Act: TRICK/INTIMIDATION
  Skill B C
  136
  That old chestnut?
  137
  That old chestnut?
  138
  That old chestnut?
  138
  Drama
  May be used as a Hero card or 
  turned in after the 
  adventure is over for
   three Possibilities.
  137
  Drama
  May be used as a Hero card or 
  turned in after the 
  adventure is over for
   three Possibilities.
  136
  Drama
  May be used as a Hero card or 
  turned in after the 
  adventure is over for
   three Possibilities.
  139
  That old chestnut?
  140
  That old chestnut?
  141
  “Iʼm not through yet!”
  S:  H — 
  V  Flurry 
  D:  H  Stymied 
  V  Taunt/
  141
  Leadership
  You may play two cards into 
  other charactersʼ card pools 
  from your hand and/or discard, 
  immediately reﬁlling your hand.
  140
  Drama
  May be used as a Hero card or 
  turned in after the 
  adventure is over for
   three Possibilities.
  139
  Drama
  May be used as a Hero card or 
  turned in after the 
  adventure is over for
   three Possibilities.
  142
  “Iʼm not through yet!”
  143
  “Iʼm not through yet!”
  144
  “Iʼm not through yet!”
  144
  Leadership
  You may play two cards into 
  other charactersʼ card pools 
  from your hand and/or discard, 
  immediately reﬁlling your hand.
  143
  Leadership
  You may play two cards into 
  other charactersʼ card pools 
  from your hand and/or discard, 
  immediately reﬁlling your hand.
  142
  Leadership
  You may play two cards into 
  other charactersʼ card pools 
  from your hand and/or discard, 
  immediately reﬁlling your hand.
  S:  H — 
  V —
  D:  H  Setbackd 
  V  Test/
  S:  H — 
  V  Flurry
  D:  V  Test/ 
  H —
  S:  V  Flurry 
  H —
  D:  V  Test/ 
  H —
  S:  H — 
  V  Flurry
  D:  V  Taunt/ 
  H —
  
  S:  H —            V  Breaks 
  D:  H —            V Inspiration
  Act: TRICK/INTIMIDATION
  Skill A B D
  S: H — 
  V  Breaks
  D: V  Inspiration 
  H —
  Act: TRICK/INTIMIDATION
  Skill A B C D
  S: V  Breaks  
  H —  
  D: V  Setback 
  H —  
  Act: TRICK/INTIMIDATION
  Skill B D
  S:  H — 
  V  Breaks
  D:  H — 
  V  Setback
  Act: TRICK/INTIMID0ATION
  Skill B C
  S:  H — 
  V — 
  D:  V — 
  H —
  Act: MANEUVER/TRICK 
  Skill A D
  S:  V — 
  H —
  D:  V — 
  H —  
  Act: MANEUVER/TRICK 
  Skill A C
  S:   H — 
  V —
  D:   H — 
  V —
  Act: INTIMIDATION/TRICK
  Skill A B
  S:  H — 
  V —
  D:  V — 
  H —
  Act: INTIMIDATION/TRICK
  Skill A B C
  S:  V — 
  H — 
  D:  V — 
  H —
  Act: INTIMIDATION/TRICK
  Skill A B D
  146
  “Torg!”
  147
  “Oh no!”
  145
  “Iʼm not through yet!”
  147
  Supporter
  +3 to any other characterʻs 
  bonus for any  action.
  146
  Supporter
  +3 to any other cahracterʻs 
  bonus for any action.
  145
  Leadership
  You may play two cards into 
  other charactersʼ card pools 
  from your hand and/or discard, 
  immediately reﬁlling your hand.
  148
  “Oh no !”
  149
  You warily engage.
  150
  You warily engage.
  150
  Supporter
  +3 to any other characterʻs 
  bonus for any  action.
  149
  Supporter
  +3 to any other characterʻs 
  bonus for any  action.
  148
  Supporter
  +3 to any other characterʻs 
  bonus for any  action.
  151
  You warily engage.
  152
  You warily engage.
  153
  You warily engage.
  153
  Supporter
  +3 to any other characterʻs 
  bonus for any  action.
  152
  Supporter
  +3 to any other characterʻs 
  bonus for any  action.
  151
  Supporter
  +3 to any other characterʻs 
  bonus for any  action.
  
  S:   H — 
  V —
  D:   H — 
  V — 
  Act: INTIMIDATION/TRICK
  Skill A B C D
  S:  H — 
  V — 
  D:  V — 
  H — 
  Act: INTIMIDATION/TRICK
  Skill A D
  S:  V — 
  H —
  D:  V — 
  H —
  Act: INTIMIDATION/TRICK
  Skill A C
  S:  V — 
  H Life Rage
  D:  H — 
  V Life Rage
  Act: ATTACK/ MANEUVER
  Skill A B D
  S:  V Test 
  H Flee
  D:  H — 
  V Breaks
  Act: MANEUVER/TRICK
  Skill A B C D
  S:  V — 
  H Setback
  D:  H Breakdown 
  V —
  Act: MANEUVER/TRICK 
  Skill A B
  S:  H Danger 
  V —
  D: V Trick/test 
  H   Danger
  Act: ANY MULTI-ACTION
  Complication
  S: 
  H Setback 
  V Setback
  D:  V Up 
  H Fatigued
  Act: ATTACK/DEFEND
  Critical Problem
  S:  
  D:  
  Act: 
  161
  Feel the tension
  161
  Net Gain
  +3 bonus to net ﬁnd, 
  net  stealth, netmanipulation
  or net tracking 
  while in the GodNet
  or Grid.
  160
  The Quest
  Subplot. Character is offered a 
  chance to embark on a quest, or 
  may turn this in for a Possibility.
  160
  When suddenly …
  ___
  ___
  159
  Research
  The gamemaster supplies 
  needed, but unexpected, clues 
  to a mystery when this card has 
  been played down.
  158
  Hero Fails
  If played, the gamemaster may 
  negate one of your characterʼs 
  successful actions. If played, gain 
  three possibilities at the end of the 
  adventure. Set this card out facing 
  the GM.
  157
  Survival
  +3 bonus to any action which 
  avoids danger or overcomes 
  environment; plus second 
  chance if played in Living Land.
  157
  The will of Lanala!
  154
  Supporter
  +3 to any other characterʻs 
  bonus for any  action.
  155
  Supporter
  +3 to any other characterʻs 
  bonus for any  action.
  156
  Escape!
  You and your party may escape 
  an encounter. Must be ﬁrst card 
  played into pool.
  154
  You warily engage.
  155
  You warily engage.
  156
  You warily engage.
  159
  Run Away!
  158
  The pace quickens!
  
  ___
  S:  
  D:  
  Act: 
  Complication
  ___
  ___
  ___
  ___
  ___
  ___
  ___
  ___
  S:  
  D:  
  Act: 
  Possible Setback
  S:  
  D:  
  Act: 
  Critical Problem
  S:  
  D:  
  Act: 
  Skill C D
  S:  
  D:  
  Act: 
  Skill B C
  S:  
  D:  
  Act: 
  Skill A C
  S:  
  D: 
  Act: 
  Skill A B
  ___
  S:  
  D:  
  Act: 
  Skill A B C
  ___
  S:  
  D:  
  Act: 
  Skill A B C D
  ___
  ___
  ___
  ___
  ___
  ___
  ___
  
  The Possibility Wars   
  TM
   © 2004 Purgatory Publishing Inc. All Rights Reserved.
  TM
  The Possibility Wars   
  TM
   © 2004 Purgatory Publishing Inc. All Rights Reserved.
  TM
  The Possibility Wars   
  TM
   © 2004 Purgatory Publishing Inc. All Rights Reserved.
  TM
  The Possibility Wars   
  TM
   © 2004 Purgatory Publishing Inc. All Rights Reserved.
  TM
  The Possibility Wars   
  TM
   © 2004 Purgatory Publishing Inc. All Rights Reserved.
  TM
  The Possibility Wars   
  TM
   © 2004 Purgatory Publishing Inc. All Rights Reserved.
  TM
  The Possibility Wars   
  TM
   © 2004 Purgatory Publishing Inc. All Rights Reserved.
  TM
  The Possibility Wars   
  TM
   © 2004 Purgatory Publishing Inc. All Rights Reserved.
  TM
  The Possibility Wars   
  TM
   © 2004 Purgatory Publishing Inc. All Rights Reserved.
  TM
  
SOURCE: textdata/thevault/Torg/Torg Drama Deck & Rules Revised.pdf