TEXT: Solo Role Playing
  Nicolette Tanksley (Order #13726995)
  
  Libre Solo Role Playing 1st edition was created using Scribus and LibreOffice for graphics logo and
  layout. This work is ©2017 all rights reserved. Reproduction of the "Player Tools" section (Action Sheet,
  Mission Sheet, PC Sheet, NPC Sheet, Summary Rules Tables), and of other parts of the book, is
  expressly permitted for personal use.
  Credits:
  Author & logo ­ Brian Washburn
  Art & Illustrations ­ Doug Chapel, www.dsquared.org.
  Silhouettes on Conflicts Flowchart sourced from Wikimedia Commons/openclipart.org
  Special thanks to Drew Shannon, Thomas Gray, Scott Trudeau and Marc Washburn for all
  your help and insights.
  Additional thanks to Chris Ploof, Gene Demaitre, Jason Roberts, Dave Hayden, Bruce Kwartler,
  Beruk Ambatchew, Rich Gentile, Brian Soulliard, Matt Lougee, Dan Lescohier,
  Scott & Jennifer Howland, Josh & Sara Crocker, John Vaghini, Steve Miner,
  Ken Gaw, Bill Flynn, Devon Kurtz.
  Fonts ­ Liberation Serif/Liberation Sans/Liberation Sans Narrow, Jellee via the SIL Open Font License; Yellow Magician via
  the Creative Commons Attribution Share Alike License; Ballpointprint under the GNU General Public License.
  This work uses fictitious names, characters, places and incidents. Any resemblance to actual events,
  locales or persons is entirely coincidental.
  FOREWORD
  A tabletop solo role playing game? There is precedent. Some examples include branching path adventure
  books, random dungeon generators and improvised storytelling rules. As a game, Libre draws elements
  from each: It's storytelling, but with structure. It relies on random tables, but the player directs the story.
  Use the Libre Solo Role Playing rules to guide a protagonist through challenges and setbacks. Brace for
  tension that builds and breaks, changing the story in unexpected ways.
  Libre Solo Role Playing was designed to meet a list of requirements. The book’s storytelling game master
  engine is separable from its role playing game mechanics. Players can bring their own settings and rule
  sets, using the game master engine to tell stories with their own rulesets. It also had to work as a self­
  contained game, using the game’s own RPG rules that interlock storytelling and game play. Once learned,
  it had to be easy to use and the rules consistent. All the key tables and charts had to fit on one page, player
  story notes had to fit on one page, it needed a one­page character sheet, and easily managed NPCs and
  foes. The underlying system had to handle story telling for both single heroes and adventuring parties, for
  just about any setting.
  I hope this game will inspire you to tell interesting stories, and that will delight (and sometimes frustrate)
  with its surprising twists and turns. Along the way, may all your successes be meaningful.
  ­brian washburn, 2017
  Nicolette Tanksley (Order #13726995)
  
  Table of Contents
  when not to roll..............................................30
  examples when not to roll
  consequences of failed social skill checks....30
  exposing the unknown.................................. 31
  structured questions for persons...................32
  structured questions example
  structured questions for foes.........................33
  5) ASKING FOR TROUBLE............................35
  asking for trouble examples
  exposing the unknown: detecting trouble......36
  unintended consequences............................36
  trouble from structured questions
  persons, trouble and persons in trouble........37
  trouble from unexpected events....................37
  allies in play and for trouble
  trouble weak sauce.......................................38
  why "will someone take out Arthur"?
  6) ALLIES AND RIVALS..................................39
  the player character's group
  recruitment....................................................40
  recruit a new ally: examples
  allies and traits..............................................41
  allies and skill checks....................................41
  allies and plot stress
  experience and rewards................................42
  more on shared consequences
  posthumous rewards
  dismissal....................................................... 43
  rivals..............................................................43
  rival on the scene
  7) ENCOUNTER SCENES.............................. 45
  advantage of place and scenery...................45
  first detection.................................................45
  generate a foe group
  encounter scene detection in practice
  encounter scene to obstacle scene.............. 47
  encounter to obstacle example
  obstacle to encounter scene... and back ...... 48
  obstacle to encounter example
  conflicts, plot stress and success..................49
  structured questions for foes.........................49
  interrogate a foe
  8) YES­NO IN PRACTICE...............................50
  rule of three: third guess is the charm...........50
  avoid double jeopardy...................................50
  fewer yes­no questions
  parsing compound questions........................51
  structured and unstructured questions..........52
  Libre GM Engine
  1) GM ENGINE OVERVIEW..............................6
  how gameplay works.......................................6
  about these sidebars
  dice rolling conventions
  story elements
  2) SCENES........................................................ 9
  cutscenes........................................................7
  generating a mission
  encounter scenes..........................................11
  teams vs. groups
  encounter budgeting example
  obstacle scenes............................................ 12
  sample obstacle scene mix
  setting up a scene.........................................13
  example consequence types
  side goal missions
  examples of persons and foes
  scene interpretation and window dressing....16
  scene interpretation example
  window dressing example
  plot stress......................................................18
  plot stress in action
  wrapping up a story.......................................19
  final cutscene example
  what is a positive outcome?
  3) YES­NO QUESTIONS.................................21
  sample yes­no questions
  yes­no questions to confirm assertions.........22
  qualities and yes­no questions
  reconciling window dressing
  yes­no questions to add window dressing.... 23
  sample window dressing adds
  probability shift: magic of scene qualities......23
  mixing yes­no, skill checks
  yes­no questions and skill checks.................24
  yes­no question/skill check mix in action
  4) SKILL CHECKS.......................................... 26
  assessing difficulty........................................26
  skill check rules in the GM engine
  third party rules and difficulty
  skill checks: magic of scene qualities........... 27
  third party rules and scene qualities
  scene qualities and the Libre RPG ruleset
  shifting skill checks....................................... 29
  more on consequences
  Nicolette Tanksley (Order #13726995)
  
  Table of Contents (II)
  GAMEPLAY IN PRACTICE .........................52
  what happens first? what happens next?
  avoid the impossible..................................... 52
  closing scenes and throwing in the towel......53
  cutscene coda
  chaining questions
  follow­up scenes........................................... 54
  retrench a scene opening............................. 54
  re­trench a scene opening, part 1
  foes enter a closing scene............................ 55
  swapping main missions...............................55
  re­trench a scene opening, part 2
  opening cutscene starts with a foe................56
  Libre RPG Rules
  9) RPG CHARACTERS...................................57
  character disadvantages
  what pluses and minuses mean
  skills.............................................................. 58
  are player characters terrible?
  building Arthur Falcone
  untrained skills.............................................. 60
  where are skill definitions?
  closely related skills
  regular equipment.........................................61
  starting gear examples
  premium gear................................................62
  examples of premium gear requests
  10) RPG SKILL CHECKS............................... 63
  allies, foes and skill checks
  culture/occupation modifiers
  opposed skill checks.....................................64
  skill check: a complex example
  assisted skill checks......................................65
  scene quality bonus and penalty
  11) RPG CONFLICTS..................................... 67
  setting level: gritty, pulpy, heroic
  COMBAT ACTIONS..................................... 67
  melee and ranged combat............................ 67
  non­combatants in melee
  off the charts
  simple melee example
  ranged combat only...................................... 69
  no melee skills
  consequences in combat
  fighting defensively
  advance, retreat, disengage......................... 70
  melee example with allies
  ambush and surprise round.......................... 71
  foes with multiple hits
  damage and recovery................................... 72
  role of armor
  role of weapons
  an ambush example
  bringing a bow to a knife fight
  three­sided combat
  12) RPG POWERS..........................................75
  building a mage
  power trappings............................................ 76
  setting up trappings
  activation trappings
  powers and consequences........................... 77
  power manipulation
  foes, allies and powers
  non­combat powers in combat
  powers for skills and combat
  13) RPG EXPERIENCE...................................79
  teams in conflict
  breaking up teams and minions
  experience and progression..........................80
  rewards and wounded or dead allies
  experience award example
  ally, ally group and rival experience..............82
  promoting a team/minion member
  Extras
  14) SITUATIONAL RULES..............................83
  rules for building monster encounters...........83
  monster threat example
  monster special abilities
  rules for flexible use of powers..................... 84
  example power manipulation
  unconventional powers use
  manipulation consequences
  explosives and heavy weapons
  rules for traveling on journeys.......................86
  a sample journey and portents
  rules for scene portents................................ 88
  journey and portents in space
  multiple protagonists
  rules for rewards........................................... 91
  reaping rewards simply
  reaping rewards by rolling
  Nicolette Tanksley (Order #13726995)
  
  Table of Contents (III)
  Sample Settings
  ARTANES: BRONZE AGE CITY­STATE........ 94
  Aeland...................................................... 95
  Surrounding cultures: Karkhedon................95
  Surrounding cultures: Ras Jadal................. 95
  Surrounding cultures: Siron........................ 96
  Surrounding cultures: Kos.......................... 96
  Surrounding cultures: Non­humans.............96
  Adventuring Careers in Aelos......................97
  Artanes Fantasy Equipment.......................... 98
  Encounters: Cultures & Occupations...........99
  Encounters: All Others............................. 100
  MILL CITY: MODERN DAY NOIR........... 101
  Communities and Culture.........................101
  Crime and Punishment.............................102
  Adventuring Careers in Mill City................ 102
  Mill City Modern Day Gear.......................... 103
  Encounters: Cultures & Occupations.........104
  Encounters: All Others............................. 105
  Sample Mission
  THE STOLEN PRIEST.................................. 105
  Appendices
  GENERAL
  Appendix 1: Unexpected Events............... 118
  Appendix 2: Types of Foes....................... 120
  Appendix 3: Culture & Occupation.............122
  Appendix 4: Types of Missions..................123
  Appendix 5: Obstacle Structures...............125
  Appendix 6: Scene Quality Influences....... 127
  Appendix 7: Structured Questions.............128
  Appendix 8: Personality Traits...................129
  ACTION SHEET
  Appendix A: Person Qualities....................131
  Appendix B: Wilderness Qualities..............132
  Appendix C: Civilized Qualities................. 133
  Appendix D: Item Qualities....................... 134
  Appendix E: Civilized Places.....................135
  Appendix F: Wilderness Places.................135
  Appendix G: Window Dressing..................135
  Appendix H: Foes.................................... 136
  Appendix I: Culture/Occupation................ 136
  Appendix J: Foes in Encounter Scenes..... 136
  Appendix K: Scene Setup Instruction.........137
  Appendix L: Plot Stress Instruction............137
  Appendix N: Rationales............................138
  Appendix O: Unexpected Events...............138
  Appendix P: Event Person/Foe Focus....... 138
  Appendix Q: Yes­No Question Chart......... 139
  RPG
  Appendix R: Foe Group Conflict Ratings....139
  Appendix S: Player Character Skill Tree.... 140
  SITUATIONAL & OPTIONAL
  Appendix T: Recovery and Experience...... 141
  Appendix U: Monster Conflict Ratings....... 142
  Appendix V: Flexible Power Modifiers........142
  Appendix W: Set Treasure Rewards..........143
  Appendix X: Random Treasure Rewards... 143
  Appendix Y: Journeys and Portents...........144
  References
  GM Engine Setup Summary..................... 145
  RPG Skill Check Rules............................ 146
  RPG Character Creation Rules.................147
  Index...........................................................148
  Player Tools
  PC Sheet................................................154
  NPC Sheet..............................................155
  Action Sheet............................................156
  Mission Sheet......................................... 157
  Summary Rules.......................................... 159
  Nicolette Tanksley (Order #13726995)
  
  1) GM ENGINE OVERVIEW
  The first eight chapters of this book introduce the rules
  needed to run Libre Solo Role Playing’s game master
  (GM) engine. These rules work together with the role
  playing game (RPG) rules covered in chapters 9 through
  14. Some sample game settings are also included. Libre
  Solo Role Playing's GM engine can be used separately
  from the RPG rules, and should be compatible with most
  third­party RPGs.
  Libre Solo Role Playing's GM engine generates plots,
  protagonist conflicts and storytelling action. When it is
  used with a third­party RPG, lighter rulesets work better,
  making for faster and more streamlined play. It can
  support crunchy third­party RPG rules. Just keep in mind
  that it’s tough for one person to handle both sides of big
  conflicts with a complicated third­party RGP ruleset.
  This book uses jargon like “player’s character”, “scene
  quality” and “window dressing”. Experienced gamers
  will recognize some of these terms. This chapter will
  define common jargon it uses in later sidebars.
  Besides this guide, to play the game you’ll need pencil,
  eraser and scrap paper to take notes; two 10­sided dice
  for rolling sums, multipliers and percentiles; a 20­sided
  die; copies of the mission sheet and action sheet for the
  GM engine; character sheet and ally/foe sheets for the
  included RPG rules, or your choice of third­party RPG;
  and a solid block of uninterrupted time in a quiet place to
  concentrate.
  how gameplay works
  The Libre GM engine handles solo gameplay. A solo
  game lets the player tell an interesting story with
  challenges, twists, setbacks and surprises for the
  protagonist, called the player’s character. Besides telling
  a good story, the player tries to ‘win’ by achieving
  enough meaningful successes in scenes to wrap up the
  story with a positive outcome. At the start of a session,
  the player sets the number of meaningful successes
  needed to resolve the story’s mission, usually two or three
  meaningful successes for a shorter game.
  DICE ROLLING CONVENTIONS
  Libre Solo Role Playing uses some common conventions
  to let the player know what dice to roll, and how to roll
  them for various situations. Here they are in one place:
  (d20): roll one 20­sided die.
  (2d10): roll two 10­sided dice and add the
  results together.
  (d100): roll two 10­sided dice, one representing
  10s and one representing 1s, for a range of 1 to 100.
  (four d10): make four 10­sided dice rolls
  individually, keeping them in the order rolled.
  (d10xd10): Roll two 10­sided dice and multiply
  the results together.
  ABOUT THESE SIDEBARS
  The layout of Libre Solo Role Playing uses a main text
  plus a collection of sidebars.
  Most of the sidebars give examples for how the
  rules are applied in actual play. In some cases, they define
  terms or elaborate on concepts. Personally I've found this
  layout, which mixes rules with examples and notes on the
  same page, a good way to digest a game book. I hope
  you'll find it just as helpful.
  6
  JUMP­STARTING THE GAME
  If you'd rather walk through how gameplay works and
  learn by doing, start with the summary rules at the end of
  the book (p.159­164). These flowcharts at the end of the
  book walk through the key parts of gameplay: how to
  open scenes and resolve scenes (chapters 2 & 10); ask
  yes­no questions (chapter 3); make skill checks (chapter
  4); and use the game's included RPG rules for conflicts
  (chapter 11) and for powers (chapter 12).
  1) GM Engine Overview
  how gameplay works
  Nicolette Tanksley (Order #13726995)
  
  1.overview
  To get from here to there, the player first selects the
  preferred RPG ruleset and setting, then builds a player’s
  character for that setting. This book’s included role­
  playing game ruleset, and the included sample settings
  later in this book, are one way to get started fast, using
  the included GM engine and RPG rules together. Chapter
  9 deals with the basics of character creation.
  Plot action happens in scenes. The simplest of these is the
  cutscene. The focus of a cutscene is on dialog, using
  people in the scene to reveal information and insights.
  Any new adventure story in Libre Solo Role Playing
  usually starts with a cutscene to brief the player’s
  character and define a mission. The mission is the player
  character’s goal that drives the story forward.
  The player can also use a cutscene at any point in the
  story, provided the player’s character can get a break in
  the action to meet with someone and have a conversation.
  Cutscenes can may offer up new information; may recruit
  allies for a mission; or may supply other resources. In
  every case, the cutscene is a way to reveal information
  that helps guide the story’s direction.
  Besides cutscenes, the player sets up scenes that have
  conflicts and challenges to address the mission. To move
  the plot forward, the player needs to have the player’s
  character meet some steep challenges. If all the goals of a
  scene are met, that scene qualifies as a meaningful
  success and the plot moves forward. If they aren’t met,
  the player’s character may face additional challenges, for
  example setbacks that force a follow­up scene. If the
  player can rack up enough scenes with meaningful
  successes, the player’s character resolves the mission and
  the player can wrap up the story with a positive outcome.
  Not all stories end well. Sometimes the player’s character
  ends up so far off track from the starting mission that the
  player decides to accept defeat, and resolves the mission
  in a way that the player’s character has to deal with
  failure and its ultimate consequences.
  Each scene has some descriptive keywords: places,
  environment scene qualities, persons, items or potential
  foes. The player can select some of these elements in the
  STORY ELEMENTS
  Libre Solo Role Playing relies on common keywords and
  jargon. Some of it should be familiar to people that have
  played other role playing games, some of it will be new.
  Here are short definitions of some common terms.
  The player is you, gentle reader. Your goal is
  not just to win by racking up meaningful successes, but to
  tell an exciting story about your protagonist who faces,
  and hopefully prevails against daunting challenges.
  The player's character is the protagonist who is
  the main focus of the story. In a fantasy tale it could be a
  mighty warrior; in a far future story it could be a clever
  mercenary trader; in a present­day alternate reality story,
  it may be an ordinary person thrown into unusual
  circumstances (like a zombie apocalypse). Many of the
  examples in this book use intrepid private investigator
  Arthur Falcone as the player's character. The player's
  character is described through a record sheet of vital
  statistics. Arthur’s character sheet, for example, includes
  information such as appearance, attributes, skills,
  personal flaws, important possessions, and a brief
  background sketch that outlines some key people in
  Arthur’s life.
  The setting is the background about the player
  character's environment. That includes the society,
  people, natural/civilized world and possible threats.
  Arthur Falcone's setting is modern­day noir: Our world as
  we know it but grittier, with widespread crime and
  corruption lurking beneath society's surface.
  We will look in on Arthur in the middle of a
  mission. Arthur was retained to conduct an investigation
  into a suspicious death of millionaire heiress Greta
  Havik, and he is at her ostentatious mansion. More about
  that mission later.
  The player set up a scene in the story: Arthur
  arriving at the palatial Havik manse, to question the help
  and look for potential clues. The player set it up as an
  obstacle scene, which means the private investigator will
  face a series of skill challenges. Arthur Falcone’s goal for
  the scene is to try and find out more information about
  the case. The player noted three different skill challenges
  in advance that he expects Arthur to face in the scene if
  all goes well: Intimidate to interrogate the staff, (cont'd)
  7
  Nicolette Tanksley (Order #13726995)
  
  overview.1
  scene, such as the place where the action happens, and/or
  a key person the player’s character meets. Or the player
  can choose to roll randomly for a place and key person.
  Other factors, such as scene qualities or types of foes, are
  outside the player’s control and are rolled randomly. The
  player’s character can interact with key elements in a
  scene, using them tactically to make skill checks and
  improve the chances of success. That way, the player tries
  to meet goals in each scene that qualify it as a meaningful
  success.
  There are two types of scenes that the player can use to
  try and achieve meaningful success, each with its own
  goals. Obstacle scenes are about meeting challenges
  through skill checks. The player character’s group faces
  these skill checks and either succeeds or fails at tasks,
  moving the action of the scene forward. Encounter scenes
  succeed or fail through direct conflict: That often means
  physical combat, which has a prominent role in many
  RPGs. Whether the player chooses skill checks or
  conflict, Libre Solo Role Playing's GM engine provides
  structure for the player to find out more about the details
  about the world around the player’s character; and the
  consequences of, or reactions, to the player character
  group’s actions.
  In the background, a plot stress counter slowly ratchets
  up tension. Plot stress adds 1 tick each time the player
  asks a yes­no question, or anytime the player’s character
  is involved in an action that calls for a skill check. The
  player also tests plot stress whenever rolling to answer a
  yes­no question, and when starting or ending any scene.
  Whenever the player tests plot stress and the roll result is
  lower than the current plot stress level, it triggers an
  unexpected event. An unexpected event can be good or
  bad for the player’s character and allies. The
  unpredictable timing and potential for stirring up trouble
  makes unexpected events dangerous.
  That’s all there is to the basics of running a game with
  Libre Solo Role Playing. The upcoming chapters provide
  details on these pieces of the game's GM engine. k
  empathy to detect possible duplicity among the help, and
  deceive as Arthur tries to fool suspects into believing he
  knows more than he is letting on. If (when) the scene
  goes off the rails, some of those advance plans will
  probably change or become irrelevant.
  The place is the Havik family mansion. More
  specifically, the player set the scene for gathering and
  interrogating the help in the grand foyer of the house.
  There are several persons in the scene,
  generated in two ways. The player added the house
  cooking and cleaning staff (the player hasn't named any
  of them) and Wesley (the butler) as window dressing.
  That means those people are part of the player's free­form
  exposition that described the scene before putting it in
  motion. The player also rolled randomly to generate a
  person of interest for the scene. That person, the player
  interpreted, is a handsome itinerant houseguest that the
  player named Slobodan Dragovic. Despite the ominous
  name, Slobodan isn't necessarily guilty or the other help
  innocent. That will be determined by the investigation.
  Three randomly rolled scene qualities include
  pelting rain outside, a high balcony overlooking the
  mansion foyer, and an atmosphere of anxiety and fear
  from the gathered group. The player will draw on these in
  the scene where it makes sense, to modify yes­no
  questions and skill checks. More about these tools later.
  Besides people and qualities, the scene also has
  more window dressing from the player's open­ended
  exposition before the scene started. These include floor­
  to­ceiling windows draped by velvet curtains; a marble
  floor covered in luxurious rugs; plush couches and costly
  furniture; a winged grand staircase connecting the first
  and second stories; and the grand scale of the room itself.
  Finally, the player included items for the scene,
  again mostly window dressing. In this case, the player
  also randomly rolled an item of interest: ceremonial
  Pacific Island shell armor displayed in the foyer as art.
  The player aims to achieve a meaningful
  success in the scene. For an obstacle scene, that means
  passing at least three different, moderately difficult skill
  checks; and asking for trouble through yes­no questions
  at least three times. The player will need several scenes
  with meaningful successes before resolving the story as a
  win for Arthur. More about meaningful successes later.
  8
  Nicolette Tanksley (Order #13726995)
  
  2) SCENES
  Libre Solo Role Playing’s GM engine uses three types of
  scenes: cutscenes, obstacle scenes and encounter scenes.
  The setup of each type of scene is similar, but they play
  out very differently. Each type of scene has a different
  structure and player goals.
  cutscenes
  A cutscene is a short scene where the player’s goal is to
  have a dialog and get insights. Use cutscenes when
  starting or ending a mission, to have the player’s
  character learn information (usually) without introducing
  dangerous conflicts and complications, to ask for
  additional resources, or to try and recruit allies.
  All new stories start with a cutscene. The goal of this
  kickoff cutscene is to assign a mission to the player’s
  character, to pad that mission with supporting
  information, and optionally for the player to try and
  acquire resources that may help the player’s character
  succeed. The GM engine uses structured questions for
  persons, a template for getting information and making
  requests. Structured questions for persons are in chapter 4
  and summarized in appendix 7 (p.128). For quick
  reference they are also printed on the mission sheet.
  For any starting cutscene, always ask and answer the first
  structured question (“does this person have a need?”)
  without rolling a yes­no question or making a skill check:
  To kick off the story, the answer is always yes! The
  player’s character always starts with a mission, which is a
  goal that drives the story forward. The player can
  optionally make other requests through structured
  questions for persons, to try and gain more information,
  equipment, allies, or ask about rewards. It’s up to the
  player to decide when, but for some questions the
  player’s character will need to make a skill check to
  succeed. That could be to get more information, convince
  the contact to supply an ally and/or extra equipment, or
  arrange (or increase) payment. Chapters 3 and 4 discuss
  how to mix yes­no questions with skill checks for the
  player’s character to ask for, and get, resources.
  To set a story goal, roll for a mission (d20) on the action
  sheet. Based on the character’s background and the
  GENERATING A MISSION
  The player came up with Arthur Falcone's mission to look
  into the suspicious death of Greta Havik after rolling
  randomly for a mission (d20), and coming up with the
  result investigate. Appendix 4 has suggestions on how to
  focus a mission with follow­up rolls of person(s), place(s)
  and/or item(s).
  In this case, the player decided that investigate
  implied a person (d100): The player rolled randomly for a
  person in the action table to focus the mission. The result
  of the (d100) roll was "aunt/uncle". The player could
  have decided that the "aunt/uncle" result was one of
  Arthur Falcone's relatives, or the relatives of the person
  (patron) assigning the mission, or possibly even related to
  someone else who might be relevant to the story.
  The player chose to narrate that the person was
  an aunt of the patron. Arthur already decided his patron,
  Peter Havik­Stand, would be assigning the mission to
  Arthur in the starting cutscene. Peter, a wealthy but short­
  tempered (impulsive) local businessman, comes directly
  from Arthur Falcone's player character backstory. More
  about Peter later, but it seemed fitting for the patron to
  bring his family issues to Arthur.
  How did Greta Havik become a millionairess,
  and how did the storyline point toward a murder
  mystery? The player used some free association that these
  window dressing elements (wealth and a murder) made
  sense for the setting, then verified them through yes­no
  questions. They were the player's judgment calls, (cont'd)
  9
  JUMP­STARTING THE GAME
  There's a lot to know about how different types of scenes
  work in Libre Solo Role Playing. If you'd rather start
  directly with gameplay, look up the summary rules at the
  end of the book (p.159­164) for flowcharts with
  instructions how to open scenes and resolve scenes. The
  summary rules are chock full of page references, so you
  can look up rules details as you walk through gameplay.
  2) Scenes cutscenes
  Nicolette Tanksley (Order #13726995)
  
  scenes.2
  setting, a mission keyword might be enough information
  for the player to come up with an adventure idea. In that
  case, fill in the blanks with your inspiration and hit the
  ground running! If the mission needs more focus, the
  player can choose to roll from one or more of the tables
  on the action sheet to generate a wilderness or civilized
  place (d20), a person (d100), an encounter (d20) and/or
  an item (d100). There are no right or wrong tables to
  choose if clarifying a mission objective. There are some
  obvious pairings, such as rolling a wilderness place for
  missions that explore or patrol; rolling an item or person
  for missions that find and recover; rolling a person for
  missions that negotiate; or rolling a foe when the mission
  is to attack or defend. Appendix 4 (p.123) has guidelines
  about the nature of different types of missions.
  What’s the purpose behind a particular mission? Maybe
  the reason is obvious, or the player decides it’s not
  important. But if the player wants to know, it’s possible to
  get an answer (possibly after a successful social skill
  check to get the information out of the contact) by rolling
  a rationale (d20) on the action sheet or in appendix N
  (p.138). The player will need to interpret the focus of the
  rationale, again using place, person, encounter and/or
  item(s). If there are several possible answers and the
  player prefers a random result instead of choosing, one or
  more yes­no questions can sort out these details.
  Structured questions for persons are a guide through
  common waypoints in a dialog, but are only a guideline.
  There’s always the option to veer out of the structure. The
  player can take a dialog practically anywhere through a
  combination of yes­no questions and social skill checks.
  Cutscenes are supposed to be about gathering information
  through dialog. They don’t always turn out that way. The
  contact in the cutscene might be a foe; or through rolling
  an unlucky unexpected event, a foe might turn up while
  the cutscene is playing out. Chapter 8 has a section on
  yes­no question best practices that advises how to handle
  this, under opening cutscene starts with a foe (p.56).
  Whether a cutscene starts or ends with a bang, its only
  purpose is to gather information and resources. The
  player doesn’t have to risk throwing in the towel, but also
  cannot ever get meaningful success from a cutscene.
  based on storytelling in a modern­day noir setting with
  themes of civilized society, corruption and crime.
  If the adventure was taking place in a
  swashbuckling setting, those themes would be different.
  The yes­no questions to set the mission might have
  assumed the aunt was abducted; or the player might have
  paired the investigation around an item (d100) rather than
  a person (d100). The player's random roll could have the
  player's character tasked to hunt down missing "religious
  texts" instead, for example. That would be a different
  story, but also an intriguing possibility for high
  adventure.
  10
  STRUCTURED QUESTIONS DIALOG
  Structured questions are a template, they aren't meant to
  be conventional dialog. The aim for structured questions
  is to isolate key points in a conversation when the
  player's character asks for something that's important in
  game terms, a request that might be granted or get shot
  down. The player's character might ask a friend to borrow
  the keys to the car; requests an employer to give a cash
  advance for the job; or try to get a colleague to spill the
  beans on secret internal project documents. When the
  player's character pushes for something important in
  game terms, structured questions define useful requests
  and possible rewards. At that point, pick up the dice and
  see what happens.
  It's up to the player to decide how the natural
  conversation in a scene flows with small talk, pleasantries
  and nuance. The player doesn't need to make up dialog
  details, but it's helpful for the player to think through this
  extra flavor of how the player's character behaves and
  interacts with others for the sake of the story. In game
  terms, details like wording in a conversations aren't
  directly involved in moving the story forward.
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  2.scenes
  encounter scenes
  An encounter scene plays out a conflict with hostile foes.
  To achieve a meaningful success in an encounter scene,
  the player character’s group must engage and win the
  conflict. Often in RPGs that means combat, though it
  could be some other type of extended high­stakes contest.
  Whether violence or some other form, an encounter scene
  uses up the player character group’s resources, and failure
  means a major setback. In many settings it can mean
  player character injury, capture or even death.
  Appendix H, I and J (p.136) and the action sheet have
  charts related to encounter scene foe groups, with
  instructions for setting up a group of foes and guidelines
  for how to start the scene, up to the point that the conflict
  starts. Here’s how it works:
  When you decide to play an encounter scene, start by
  generating an enemy point budget. Roll a d10 and a
  second d10, and multiply the results together (d10xd10).
  This is the point budget. Next, start rolling on the foes
  (d20) table, listed in appendix H (p.136) and on the action
  sheet. With each foe roll, subtract the point value of
  generated foe(s) from the point budget, until the budget
  reaches zero or less. For each roll of teams or minions,
  roll d10 to find out how many there are: Subtract the
  number of members times their individual point value
  from the point budget. For example, a player who rolls 6
  weak minions (at 2 points apiece), subtracts 6x2, or 12
  points from the budget. Animals/mounts, vehicles/mounts
  and captives results may have d10, or just 1, or a set
  number at the player’s discretion, depending what makes
  sense for the size and composition of the foe group. Some
  of the rolled results are followed by a “℅” symbol. These
  civilized foes have a culture and occupation. Roll on the
  table listed in appendix I (p.136) or on the action sheet
  and flesh out these foes’ loyalties, skills and/or powers.
  After the enemy point budget is spent, the player rolls one
  rationale (d20) for the entire foe group. The result is the
  group’s demeanor, at least up until the point they become
  aware of the player character group’s presence. Any
  sentient foe group gets a rationale; only mindless foes
  (e.g., zombies or an automaton) don’t have a rationale.
  ENCOUNTER BUDGETING EXAMPLE
  A player in a classic fantasy setting is generating an
  encounter scene. The player rolls (d10xd10), gets '0' (10)
  and '3', and multiplies the results together for a 30­point
  encounter budget.
  The player rolls for the first foe (d20), and the
  result is '15' ­ a powerful entity that costs 10 points
  (details to be determined). There are 20 points left in the
  encounter budget.
  For the next foe roll, the result is a '1' ­ an
  average quality team with a "℅" (culture and occupation)
  designation. The player rolls two d10s for culture (result:
  'exotic') and occupation (result: 'generalist'). There is a
  race of evil dwarves in this stock fantasy world, and the
  player decides they are suitably exotic and make sense
  for the encounter. The player rolls d10 for the size of the
  team and gets a '7'. At 2 points apiece, the team of
  dwarves cost 14 points total. There are 6 points left in the
  encounter budget.
  The third foe result is a '5' ­ add leader, also
  with a "℅" (culture and occupation) designation. That
  costs 10 points and takes the encounter budget below '0',
  so it is the last foe. Given the evil dwarf theme, the player
  decides the leader should also be a dwarf, so doesn't roll
  culture but does roll a d10 for occupation (result: 'officer',
  which is fitting).
  Looking at the totality of the encounter, the
  player decides, in line with the evil dwarf theme, the
  powerful entity is a rock elemental serving the corrupt
  dwarven faction's leader. The opposing force is all set up,
  and it's dangerously powerful if the player was
  considering a direct conflict!
  TEAMS VS. GROUPS
  What is the difference between a team and a group?
  A group refers to the entire assembly of player's
  character and allies, or the entire collection of foes.
  Each team represents d10 lower­power beings
  (allies or foes) that share the same background and skills,
  and in game terms, operate as one unit. Examples include
  cultists, street thugs or conscripts. A team is a collective
  stat block of members that always acts in unison.
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  scenes.2
  obstacle scenes
  For an obstacle scene, the player thinks up a series of
  challenges for the player character’s group in the scene.
  The player puts together a preliminary plan for three
  different, moderately difficult skill checks that the player
  character’s group needs to succeed. The player then starts
  the scene and tries to move the character to the scene’s
  goal. For suggestions of skill checks in a scene based on
  the player character’s mission, see appendix 5 (p.126).
  When a skill check goes right, the plot moves forward
  with the outcome the player expected. As the player
  moves the player character’s group through the scene, it’s
  pretty likely that skill checks will go wrong. Whenever
  the player character’s group fails a skill check, there is
  always a consequence. A consequence might mean a
  follow­up skill check to avoid an immediate threat; it
  might be a complication that makes a repeat attempt
  impossible, or at least difficult and dangerous; or the
  intended outcome may still happen, but at a steep price
  (e.g., equipment gets broken or lost, or the effort
  consumes large amounts of resources); or the intended
  outcome may happen but create a new, bigger problem.
  The consequences of failed skill checks may sidetrack or
  even derail a scene. That’s intentional. The goal is for the
  player to try and improvise, finding ways for the player
  character’s group to recover (whether successful or not)
  from setbacks and new threats.
  One of the two criteria to achieve a meaningful success in
  an obstacle scene, is for the player’s character to succeed
  at three different, moderately difficult skill checks. Those
  three successes don’t have to be the same skill checks
  that the player planned at the start of the scene ­ the
  player only set up those skill challenges in advance to
  give the scene a starting structure, direction and goal.
  Things rarely go as planned. More often, when the player
  character’s group fails skill checks, things start to go very
  wrong. When that happens, the challenges set up in
  advance are a guide for how far off track from the goal
  the player is, and can give ideas how the player might
  recover from setbacks and get the story back on track.
  SAMPLE OBSTACLE SCENE MIX
  The scene is Havik mansion: The player has rolled three
  scene qualities, and considered rolling or choosing place,
  person of interest and item, and set up window dressing.
  The player also wrote down three skill checks for Arthur
  Falcone to use in the scene. In this case, all three are social
  skills: intimidate (to wrest information about the suspicious
  death out of a person in the scene); empathy (to detect that
  a person in the scene is lying or holding back); and deceive
  (to convince the staff as a whole that he knows more than
  he is letting on). The scene will require mixing skill checks
  with yes­no questions. More guidance about mixing skill
  checks with yes­no questions is in chapters 3 and 4.
  It's possible Arthur Falcone could breeze through
  each of these skill checks, tested at moderate difficulty.
  That fills one of the player's criteria for meaningful success
  in the scene. The other criteria is asking for trouble three
  times. More about asking for trouble later.
  What happens if Arthur bungles the intimidate
  skill check? That calls for a consequence. The player might
  decide a failure to intimidate Wesley the butler means that
  Wesley will threaten publicly to go to the police and
  complain about Arthur. If it comes to that, the player might
  let Arthur try to save the situation with a negotiate or
  deceive skill check. If that skill check succeeds, Arthur
  may recover and move to the next challenge. If Arthur fails
  the second check, the consequences should get worse. The
  player might decide with a second failure that Wesley
  publicly denounces Arthur, ruining any chance of using
  other social skill checks on the help staff for the rest of the
  scene. At that point, the player will need to re­trench plans
  for Arthur. Maybe the player will try to have Arthur
  intimidate all the help instead, but every additional failure
  should be bigger and worse for the investigator.
  It's possible, even after multiple skill check
  failures, for the player to find a route to success for three
  different, moderately difficult skill checks. But successive
  skill check failures tend to spin a scene out of control. At
  some point it becomes easier for the player to throw in the
  towel on the scene, to try and close it without achieving
  meaningful success, which often means having to deal with
  outstanding consequences through a follow­up scene.
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  2.scenes
  If enough skill checks go badly, the whole scene might
  derail enough to take the story in a downward spiral. The
  player can decide to throw in the towel on the current
  scene, aim to close the scene cleanly without a
  meaningful success, and then either set up a a fresh new
  scene, or else create an immediate follow­up scene to
  deal with unresolved trouble, consequences or other
  issues. Those unexpected twists and setbacks are great
  story fodder. It keeps the direction of the plot
  unpredictable, interesting and challenging.
  Succeeding at three different, moderately difficult skill
  challenges is one of two criteria to achieve meaningful
  success in an obstacle scene. The other criteria is that the
  player “asks for trouble” against the player character’s
  group at least three times in the scene. The player asks for
  trouble by using yes­no questions. These pointed yes­no
  questions create problems for the player’s character if the
  answer comes up yes. For more information on yes­no
  questions and asking for trouble, see chapters 3 and 5.
  Once a player makes three different successful,
  moderately difficult skill checks; and asks for trouble
  three times (whether or not trouble happens); the scene
  achieves a meaningful success. It doesn’t matter whether
  the scene played out like the player expected. It still puts
  the player one step closer to resolving the mission with
  some sort of overall positive outcome.
  setting up a scene
  Whether it’s a cutscene, obstacle scene or encounter
  scene, the setup is the same. The player first decides if the
  scene happens in a civilized (populated) place or in a
  wilderness (unpopulated) area. Choose or roll a place
  (d20), and roll three scene qualities (d100). Optionally
  add a key person (d100) or a foe (d20), and/or a key item
  (d100). All of these tables are on the action sheet, and are
  also listed in appendix A­F (p.131­135).
  Scene qualities help inform about key story elements that
  are present in a scene. They are important to the player
  because they provide special bonuses (or penalties) to
  skill checks, and can shift the probability of yes­no
  questions. For this reason, scene qualities are “magical”.
  More about the scene qualities is in chapters 3 and 4.
  EXAMPLE CONSEQUENCE TYPES
  Here are some examples how a player might match
  different styles of consequences with failed skill checks.
  Require a follow­up skill check to avoid an
  immediate threat (including injury): Arthur Falcone's
  botched attempt to interrogate Wesley the butler leads to
  the angered servant dialing the police to file a complaint.
  The player's character attempts a follow­up skill check
  (e.g., negotiate, deceive, or another intimidate) to de­
  escalate the situation. If that fails, too, the butler shouts
  for help. Falcone will get roughed up (taking a level of
  damage) as he is escorted to the front door and physically
  thrown out.
  A complication makes a repeat attempt
  impossible, or difficult and dangerous: Alternatively,
  Arthur's botched follow­up negotiate attempt to try and
  calm Wesley means the butler in a rage gives Arthur a
  public dressing­down, denouncing the investigator in
  front of all the help on the scene. All of Havik mansion's
  staff is now turned against the investigator for at least the
  current set of scenes, which ruins any further chances by
  Arthur to try social influence skills.
  The intended outcome may still happen, but at
  a steep price: Arthur's being denounced by Wesley the
  butler cut off the investigator from using social skills to
  influence the help staff. But Arthur manages to get the
  cook to speak with him in private by slipping her $200 to
  talk later. By paying a steep cost in money or resources,
  the player moved the plot forward in the direction as if
  the skill check succeeded, though in terms of meaningful
  success, it still is a (costly) failure.
  The intended outcome might create a new
  problem: Later, Arthur tries to sneak back to Wesley the
  butler's quarters, planning to use a set of lockpicks on the
  door. The player fails the skill check to have Arthur pick
  the lock. The player can narrate that the investigator takes
  enough time and makes enough noise in the process that
  Wesley, who it turns out was inside his quarters all along,
  suddenly opens the door from the other side. Wesley
  catches Arthur, lockpicks in hand, in a very compromised
  position.
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  setting up a scene
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  scenes.2
  In a civilized place, the player can either choose, or else
  roll randomly, for a person of interest (d100) or foe (d20)
  and/or item of interest (d100). The player usually
  shouldn’t choose or roll for persons or items in a
  wilderness scene, unless there is a special reason in the
  story why a key person or item is out in the middle of the
  wilds. It’s possible, for example, for the player to narrate
  a scene setup where the player’s character arranged to
  meet a patron, ally or other contact out in the wilderness.
  Wilderness or civilized, it is always an option to roll up a
  single random foe (d20) for an obstacle scene, or to make
  an encounter scene with an entire encounter budget of
  rolled foes.
  It’s fine for the player to mix rolled and chosen results.
  For example, a player rolling for scene qualities may end
  up with two or more places, several foe results or
  rationales. Or the player might have chosen one place for
  the scene, but rolled a second place as a random scene
  quality. Just mesh them together in a way that makes
  sense. For example, a mix of two places like “temple”
  and “port” could mean the scene happens in an airport
  chapel, or at a subway stop by a cathedral. If the rolls just
  can’t be mixed, have the newest roll pre­empt the player’s
  choice or any prior roll, or use what makes sense.
  The player might roll 81­100 under civilized scene
  qualities (marked as “R:”, meaning rationale). This
  section under scene qualities table doubles up to roll foe
  rationales (d20). If the player rolls a rationale as a scene
  quality, the result reflects the social atmosphere of people
  who are window dressing in the scene (it also guides the
  player to include window dressing people in the scene
  who exhibit the behavior). If the player doesn’t roll a
  rationale for a scene quality, any window dressing people
  on the scene behave in whatever way the player wants;
  their behavior is part of window dressing.
  Instead of rationales, individual persons (d100) including
  patrons, allies and rivals get a trait (d20). Traits are
  summarized on the action sheet; appendix 8 (p.130) has
  guidelines for the dominant outlook or behavior of
  different traits. Any person of interest, whether they are
  recurring characters or only around for a scene, should
  have a random generated trait that guides their behavior.
  SIDE GOAL MISSIONS
  Structured questions for persons let the player's character
  ask any person of interest if they have a need, and what
  that need is. In other words, every patron, ally or other
  person of interest in a cutscene, obstacle scene or
  encounter scene could be a potential source for an
  additional mission. All it can take (if it's reasonable for
  the person of interest to have a possible mission) is
  making some successful social skill checks, and asking
  some structured yes­no questions.
  What happens if the player already has a
  starting mission, and then through structured questions
  for persons, picks up an additional mission? It's up to the
  player how to treat that new goal in relation to the
  existing main mission. A new mission can modify or
  replace the current main mission. It might be an
  additional task that may relate directly or indirectly to the
  main mission; or it could be a totally separate opportunity
  that has nothing to do with the main mission. Unless the
  player decides the new mission somehow replaces the
  existing main mission, any new task the player's character
  takes on is a side goal.
  A side goal mission is easy to resolve: At some
  point in the story, the player sets up a dedicated scene
  specifically to address the side mission. Resolving it
  takes just one meaningful success. If the side goal
  mission is at all related to the main mission, any
  meaningful success that resolves the side goal also counts
  toward the number of meaningful successes needed to
  resolve the main mission.
  The side goal can have a reward of its own
  (such as valuables, an item, or information). If rewards
  are important to the story, generating valuables is
  covered in Chapter 14 and appendix W and X (p.143).
  There is no penalty for the player's character not
  achieving a side goal, unless the player decides
  otherwise.
  Side goal missions are an optional rule. If the
  player feels that side goals distract from the game's focus,
  just don't use them.
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  2.scenes
  EXAMPLES OF PERSONS AND FOES
  Continuing with the example of Arthur Falcone, private
  investigator: Arthur is the player's character, and has a
  full character sheet write­up.
  Arthur's recurring patron is Peter Havik­Stand.
  Peter is Greta Havik’s impulsive (his trait) nephew, a
  successful businessman who retained Arthur to
  investigate Greta's suspicious death. The player doesn't
  have a character record sheet on Peter because the patron
  only assigns missions, and is not an active ally.
  Arthur does have an ally, Toni Graham, the
  unflappable (her trait) personal assistant mentioned in his
  character background. The player has a short­form
  character record sheet on Toni.
  Arthur also has a rival, heroic (her trait) local
  police detective Emily Chan, also from Arthur’s character
  background. Emily has not yet appeared in the story. The
  player does have a separate, brief character record sheet
  for Emily; as a rival she may appear in any scene.
  In the obstacle scene at the mansion, there is
  lazy (his trait) Slobodan Dragovic. Slobodan is a person
  of interest, who was randomly rolled at the start of the
  scene, and could be a conversation focus for Arthur for
  the scene. If the scene comes to skill contests or blows,
  Slobodan might merit a stat block.
  Wesley the butler and the rest of the staff were
  generated as window dressing and don't have traits. As a
  group, the rest of the staff may share a rationale ­­ rolled
  as a random scene quality or written as window dressing.
  The player could assign someone who was window
  dressing in a past scene into a future scene as a person of
  interest. At that point, the person will need a trait and
  maybe a stat block if there is a skill contest or conflict.
  But in the scene where they are window dressing, those
  persons shouldn't be doing anything too significant.
  Let's say during the scene, foes unexpectedly
  burst in. At first glance, they seem opportunistic robbers
  who assumed the estate might be ripe for ransacking. The
  team of thugs is armed. The player has a basic stat block
  shared by the team.
  The thugs should have a rationale, though it's
  pretty much irrelevant once they engage in a conflict with
  the player's character.
  Any randomly rolled person on the scene, and/or
  randomly rolled item on the scene, is a special story
  element in that scene. They are useful levers the player
  can use to interact with and help influence the storyline. A
  person of interest (d100) is someone with whom the
  player’s character can have a dialog (using structured
  questions for persons discussed earlier in this chapter).
  An item of interest (d100) may play some key role in the
  scene if the player’s character chooses to interact with it.
  It may have to do with the mission, or have special
  significance to persons in that scene. Maybe the item is
  on display, or it can be bought or borrowed. Items of
  interest shouldn’t be lying around for a player’s character
  to take, at least not without a possible consequence. On
  the other hand, if the player does want the player’s
  character to steal the item, that could be part of the
  planned skill challenges for an obstacle scene: One with
  potentially a major consequence for getting caught.
  Foes can unexpectedly be in a scene. The player might
  roll up a random person of interest (d100), but get a result
  of 81­100 under persons ­ a random foe. That individual
  or standalone team/minions then gets a rationale (d20).
  It’s also possible for the player to want to roll up a foe
  (d20) for a scene, but through a ‘non­combat’ result end
  up with an ordinary person of interest (d100) instead.
  Some foe results (such as vehicles/mounts or
  animals/mounts) are probably not hostile by themselves.
  What if the player rolls a random person for a cutscene
  and ends up with a foe result? This isn’t a problem: An
  enemy turning up instead of the protagonist’s expected
  contact is a common story trope. Information about
  handling this situation is in chapter 8 on yes­no best
  practices: opening cutscene starts with a foe (p.56).
  Rolling a random foe might seem like extra trouble in an
  obstacle scene, but a foe can be handy to have around.
  The player can plan skill challenges for the scene such as
  having the player’s character try to sneak around them,
  pickpocket them, eavesdrop on them, negotiate with
  them, deceive or otherwise try to manipulate them. If a
  fight or conflict does break out, provided it is at least a
  moderately difficult challenge, the player’s character side
  besting a foe counts as one successful skill check for an
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  scenes.2
  SCENE INTERPRETATION EXAMPLE
  The player is setting up a new scene, and decides that
  investigator Arthur Falcone's scene goal is to arrange a
  meeting with a local crime family, to get a client out of
  trouble. The player sets it up as an obstacle scene: Arthur
  wants to make peace, not start a fight.
  The player could have set the place or key
  person at the scene, but decides to roll instead. The place
  (d20) is "cellar/basement". The random scene qualities
  (d100) are "crowded", "breezy", and "P: hate/anger". For
  a person (d100), he rolls "army/marine soldier".
  A crowded basement full of angry people?
  After considering it, the player asks a yes­no question: Is
  the place a drug den? The player thinks "basement" and
  "crowded" scene qualities suggest it, and shifts likelihood
  one category above 50/50 moderate, to likely. The player
  rolls, and the answer is no.
  The player now resorts to the second thing that
  comes to mind, again increasing the likelihood from
  50/50 moderate to likely, as it aligns with scene qualities:
  Is it a dive bar? The player rolls, and the answer again is
  no. So the player invokes "the rule of three" (see rule of
  three: third guess is the charm, chapter 8). The player
  rules without rolling again that the place is an illegal
  gambling establishment and moves on with the story.
  WINDOW DRESSING EXAMPLE
  Once the player set the scene as a gambling den, the
  player can tie together the elements, and add whatever
  else makes sense as window dressing through free­form
  exposition. The player makes a mental picture of the
  place and jots some notes. There are cramped poker
  tables, the foul mood of a crowd that’s losing money.
  Stale cigarette smoke is blown around the room by noisy
  ventilation ducts in the low­ceilinged basement. The
  "soldier" is a clean­cut but dangerous­looking bouncer at
  the basement door. A few cocktail waitresses make their
  rounds without much enthusiasm, from a cramped bar
  serving watery drinks out of cheap plasticware.
  The player closes the exposition. Once the
  scene starts, anything that wasn’t included in the
  description (e.g., presence of a roulette wheel, or security
  cameras, or a rear emergency exit) needs to be added
  through yes­no questions, if it's important to the story.
  obstacle scene. A foe also can be handy to help the player
  ask for trouble. To sum up, foes don’t just exist to fight.
  They can be ripe fodder to help drive skill checks in a
  scene and help move it forward.
  Depending on the setting and play style, foes won’t
  immediately and always fight to the death. Foes are by
  definition hostile, but they might not want to fight at all.
  Instead of capturing, hurting or killing, their goal in a
  conflict might be to intimidate, or humiliate, interrogate
  or just observe the player character’s group. Foes who are
  confronted by a superior force might choose to negotiate
  or flee. Clever foes may try to be discreet and bide their
  time, waiting for an opportunity to make their move. A
  foe might not have the opportunity to attack in the current
  scene, but might be brought back by a randomly rolled
  unexpected event in a follow­up scene.
  scene interpretation and window dressing
  After generating all the elements that go into a scene ­ a
  place, three scene qualities, and possibly a person, item,
  and/or foe ­ the player needs to use logic and creative
  interpretation to pull together what the scene should look
  like. Don’t take keywords for persons, scene qualities and
  items too literally. Consider the underlying concept,
  abstract it, and interpret it in a way that makes sense for
  the scene. For example, “blowing winds” on a space
  station could be an overactive ventilation duct. “Rainfall
  patter” could be the sound of sands shifting in a desert
  breeze, or television white noise in a living room, or the
  gentle rustle of a wheat field ready for harvest, or a
  bubbling garden fountain. “Aunt/uncle” can represent any
  well­disposed, older person who is familiar to the
  player’s character, or to an ally or another person of
  interest in the scene. A “former love” or “childhood
  friend” might be someone who reminds the player’s
  character of the same.
  To set the scene, pull the story elements together in a way
  that makes sense. If there are many possible
  interpretations, the player can use a yes­no question or
  two to decide which to use. Take the most likely and
  assign a possibility (usually “likely” if the scene qualities
  16
  scene interpretation and window dressing
  Nicolette Tanksley (Order #13726995)
  
  2.scenes
  PLOT STRESS IN ACTION
  Let’s go back to the start of Arthur Falcone’s mission.
  The player set an initial cutscene where impulsive
  businessman Peter Havik­Stand assigned him a mission
  to investigate the suspicious death of wealthy
  millionairess Greta Havik. Plot stress started at 0 before
  the scene was set up. After setting up scene qualities and
  the patron, and adding window dressing by exposition,
  the player adds the standard 5 points to plot stress for
  opening a scene. The player also asked two yes­no
  questions to clear up details about the scene before
  starting it. Each yes­no question added 1 plot stress, so
  the scene opens with 7 plot stress.
  To open the scene, the player tests plot stress
  (d100). The player rolled 43, higher than current plot
  stress of 7, so the player starts the cutscene as is.
  The player is using structured questions for
  persons to guide the conversation in the cutscene. There
  is no need to roll a yes­no question about whether Peter
  has a mission for Arthur in a starting cutscene: The
  answer is automatically yes. The player rolls up the
  mission (d20) and gets the result “investigate”. The
  player decides to roll a random person (d100) to be
  investigated, and the result is “aunt/uncle”. These rolls
  are not yes­no questions or skill checks, so plot stress is
  still 7. The player arbitrarily decides to run with “aunt”:
  There's no roll, and that decision by the player does not
  affect plot stress.
  To narrow the focus of the investigation, the
  player asks the following yes­no questions: “Is the
  investigation regarding a crime?” The player sets the
  chance at likely since this is a modern noir setting, and
  the rolled result is yes. For a follow­up question the
  player asks: “Is the aunt the perpetrator?” The player sets
  the likelihood at 50/50 moderate, and the rolled result is
  no. The player concludes if the aunt was not the
  perpetrator, she was the victim. The player has another
  follow­up yes­no question: “was it a crime of passion?”
  The player sets the likelihood at 50/50 moderate and the
  rolled result is answer is no. The player concludes that
  the crime was about wealth, not passion. At this point, the
  player likes the feel of a murder mystery, but decides to
  call the death suspicious for now. None of the (cont'd)
  line up behind the player’s idea for the scene, or “50/50
  moderate" if not). If the yes­no question comes back yes,
  go with the primary concept; if no, go with the alternative
  concept. If the second most likely idea also comes back
  no, the third most­likely explanation is always right. This
  is known as the rule of three: Keep moving forward
  rather than get bogged down with yes­no questions.
  When establishing the scene, consider time of day or
  season of year if that’s relevant. The player can choose to
  roll optional setup window dressing (up to four d10s) on
  the action sheet, to round out basic details about whether
  the scene is broadly warmer/colder, drier/wetter,
  flatter/hillier, or (in a civilized area) has more/fewer
  people than the player expected for the scene.
  After pulling together a scene that makes sense, the
  player uses free­form exposition to tie the story elements
  together. Anything narrated into the description that isn’t
  a keyword (a place, scene quality, person, item or foe) is
  called window dressing. Window dressing doesn’t have
  the magic power of scene qualities: It doesn’t influence
  skill checks or shift the likelihood of yes­no rolls.
  Window dressing does let the player’s character use skills
  in the scene that might otherwise be off limits. For
  example, scene qualities might not mention a body of
  water, but the player could describe a lake in the scene as
  window dressing. Because the player narrated the lake
  into the scene before the action started, the player can
  draw on the lake during the scene, letting the character
  make skill checks for swimming, boating or watersports.
  Or a conflict could happen on or in the water. Window
  dressing can include items, crowds or background people
  that aren’t individually interesting to the story, and any
  kind of environmental factors that make sense.
  After the scene starts, the player can only add more
  window dressing after confirming its existence with a
  yes­no question. For example, a player narrated a scene at
  a farmhouse, but later wants the farmhouse to have a
  trellis for the player’s character to climb to a second­story
  window. The trellis wasn’t part of the window dressing
  before the scene started, so the player needs to ask a yes­
  no question to add that detail, which now would be
  important to the story, retroactively.
  17
  Nicolette Tanksley (Order #13726995)
  
  scenes.2
  three yes­no questions roll results were below 8, 9 or 10,
  respectively, so there have been no triggers for
  unexpected events. Plot stress is now 10.
  The player decides to ask two more structured
  questions. The first is about payment. The player decides
  Peter will pay Arthur his usual retainer, so asks the yes­no
  question "does the person offer extra valuables for
  completing the mission?" The player decides the question
  requires a 50/50 moderate negotiating skill check for
  success, considers the consequences of failure (Peter
  would shut down and end dialog). If the player rolls and
  succeeds with the skill check, it lets the player follow up
  with a yes­no question to see if Peter has the funds to
  afford giving Arthur a financial bonus. The player
  assesses the roll for this yes­no question is very likely to
  succeed, rolls, and the result is yes. Plot stress is now 12 ­
  one from the skill check and one from the yes­no
  question ­ and the roll results triggered no unexpected
  events. Skill checks do not test plot stress, and the player
  rolled higher than 12 for the yes­no question.
  The player decides to press Falcone’s luck and
  asks whether Peter would provide an ally, an assistant to
  the investigation. The player decides that requires another
  50/50 moderate skill check using negotiate; the result is
  no, which fails. With failure comes a consequence: Peter
  is offended (as mentioned earlier in this chapter, Peter's
  trait is that he's impulsive). The player narrates that the
  patron shuts down and won’t provide any additional help
  or information. Since the roll failed, the yes­no question
  about whether Peter will supply an ally, never gets asked.
  The skill check increased plot stress to 13.
  The player now tries to close the scene. To shut
  it down without an unexpected event requires a plot stress
  roll (d100). As long as the roll is 14 or higher, the scene
  shuts down as expected. If the roll is 13 or below, it will
  trigger an unexpected event that is applied in the scene.
  That would cut the level of plot stress in half, rounded
  down to 6. The player would need to deal with the
  unexpected event before the scene can be closed.
  Whatever the result, the total plot stress at the
  end of the scene carries over to the next scene.
  plot stress
  Plot stress is key to the GM engine. Each time the player
  starts a new scene, plot stress increases by 5 points. Every
  time the player asks a yes­no question, or the player’s
  character performs or is involved in a skill check (in
  combat, each round the player’s character acts counts as a
  skill check), plot stress increases by 1 point.
  The player makes a test against plot stress (d100) before
  opening any scene, before closing any scene, and every
  time the player rolls a yes­no question (d100). Whenever
  the player’s character participates in a skill check it also
  increases plot stress, but doesn’t test it. If the stress test
  result is equal to or lower than the current level of plot
  stress, it triggers an unexpected event (d20).
  For example, if current plot stress is 21, the player asks a
  yes­no question and rolls a “13” result, that roll both
  answers the yes­no question and triggers an unexpected
  event. Triggering an unexpected event cuts plot stress in
  half, rounding down. In this example, plot stress would
  drop from 21 to 10. If the roll hadn’t triggered an
  unexpected event, rolling the yes­no question would have
  increased plot stress from 21 to 22. Triggered unexpected
  events should happen immediately or in the same scene.
  If it does not happen in the same scene, it forces a follow­
  up scene (p.53­54). A list of unexpected events is on the
  action sheet and in appendix O and P (p.138). More about
  each type of unexpected event is in appendix 1 (p.118).
  Sometimes an unexpected event (d20) roll result doesn’t
  make logical sense. In that case, just cut plot stress in half
  and disregard the event: nothing happens. Other times, an
  unexpected event will trigger when the player tests plot
  stress to close the scene: When that happens, the player
  needs to keep the scene open and resolve the fallout of
  the event first. It’s possible for an attempt to close out a
  scene to start a whole new round of yes­no questions and
  skill checks, ramping up plot stress again, triggering more
  unexpected events. Once outstanding unexpected event(s)
  are resolved, the player can close out the scene. Plot
  stress carries over from one scene to the next. Closing a
  scene with high plot stress makes it likelier an unexpected
  event will happen early in the next scene.
  18
  plot stress
  Nicolette Tanksley (Order #13726995)
  
  2.scenes
  FINAL CUTSCENE EXAMPLE
  Back to Arthur Flacone's mansion obstacle scene. In the
  end, the player managed to secure a second meaningful
  success for Arthur Falcone by passing three different,
  moderately difficult skill checks and asking for trouble
  three times in the scene. With that second meaningful
  success, the player now can wrap up this short story with
  a positive outcome. The mansion obstacle scene included
  Arthur accusing one of the persons on the scene of
  millionaire heiress Greta Havik's murder. The player had
  Arthur start a punch­up in the scene. In that skill
  challenge Arthur got his clock cleaned.
  For the aftermath, the player decides to set up a
  closing cutscene between Peter Havik­Stand, who
  initially assigned the mission, and our investigator. After
  setting up the scene and rolling against plot stress for
  unexpected events, the scene opens. The player has the
  opportunity to use structured questions for persons with
  Arthur's patron to wrap up loose ends in the story, mixing
  skill checks and yes­no questions. The player might ask
  yes­no questions of Peter about whether the police found
  enough evidence to charge and convict the suspect. A no
  result suggests the suspect somehow got off, and walked
  free. The player could ask a yes­no question about this, or
  also about anyone else complicit being apprehended, if
  the player feels it's important to help wrap up the story.
  The player might have Arthur try to make a negotiate
  skill check with Peter, if successful followed up by a yes­
  no question, to see whether his patron is willing to put in
  a little something extra in that paycheck to help pay
  Arthur's hospital bills.
  The player can use the closing cutscene to add
  up final rewards and expenses for the player character's
  side. As part of that, the player should also figure
  distribution of rewards, valuables and experience to any
  allies that took part in the story. Chapter 6 covers how to
  distribute treasure and experience, and how to handle
  advancement for individual and team/minion allies.
  Besides wrapping up loose ends, the closing
  cutscene is a final opportunity for unexpected events ­­
  helpful or harmful ­­ triggered by plot stress to come into
  play, a possible final surprise plot twist.
  wrapping up a story
  At the start of a session, the player sets the length of the
  story by deciding how many meaningful successes are
  needed to resolve the story with a positive outcome. Two
  meaningful successes is a good starting point: That is
  challenging enough to tell an interesting short story with
  a few twists. Requiring three or four meaningful
  successes makes for longer, more involved stories. A
  story that needs more successes probably best involves a
  journey or quest, described in chapter 14’s optional rules.
  Not every story ends with a positive outcome for the
  player’s character. The player can decide at any time not
  just to throw in the towel for a scene but to quit the whole
  mission and accept defeat for the player’s character. That
  can happen when the player’s character suffers too many
  setbacks, and the player runs out of ideas for viable new
  scenes. Or the player’s character may become badly hurt
  in a scene and the story can’t go on without downtime to
  recuperate. It’s possible the player’s character dies. Short
  of that, the player can hold out hope that no matter how
  bad the scene setbacks get, the character might succeed in
  a follow­up scene with a daring turnaround of fortunes.
  It’s not mandatory, but it is good practice for the player to
  wrap up any mission with a brief final cutscene. The final
  cutscene lets the player focus on the rewards to the
  player’s character for success, or on the ultimate
  consequences of failure for the mission. It’s also an
  opportunity for closing dialog that wraps up loose ends
  through yes­no questions, maybe helped along with a
  skill check or two. Sometimes plot stress can turn up one
  or more unexpected events in that final cutscene, which
  might become a final surprise plot twist.
  Whatever way the player decides to end a story, it’s a
  good idea to save the details of the storyline and any
  persons involved. Past adventures can be rich fodder to
  bring back recurring friends and allies, face down old
  rivals, or call in favors with known patrons and contacts
  that have evolved their relationships with the player’s
  character. In this way, stories can build on each other and
  become richer and more meaningful over time. k
  19
  wrapping up a story
  Nicolette Tanksley (Order #13726995)
  
  scenes.2
  20
  WHAT IS A POSITIVE OUTCOME?
  The player can wrap up a mission with a positive
  outcome after racking up the number of meaningful
  successes set up before the story began.
  After playing out a series of scenes, the plot
  could be in a very different place from anything the
  player expected at the beginning. Narrating a positive
  outcome doesn't have anything to do with reaching the
  outcome the player might've thought at the start of the
  story. A positive outcome just means two things: First, the
  player can narrate generally good things that happen to
  the player's character in the aftermath. Second, the
  character gets full experience and gets paid, if there were
  rewards or valuables for completing the mission.
  If the player quit the mission, that means no
  experience or other rewards for completing the mission.
  The player's character might get some experience and
  rewards from individual scenes with meaningful success,
  from completing side goals, and from incidental
  valuables and rewards found along the way. But the
  player must also narrate the ultimate consequences of the
  mission failure, which might get wrapped up with
  consequences from individual scenes where the player
  threw in the towel.
  For example, if Arthur Falcone finished his
  investigation mission successfully, the murderer may
  have gotten away, but Arthur made enough progress for
  Peter Havik­Stand to be satisfied. The investigator gets
  paid, and the relationship between the investigator and
  his patron remain strong.
  If the player quit the mission, the narration
  might be that Peter is livid. Arthur stepped in it, and
  Peter's reputation in turn is damaged by Arthur's brash
  actions. The criminal got away, and Arthur's punch­up is
  ending in a lawsuit.
  Even when the player quits a mission, there are
  usually still some small side benefits. Arthur may have
  new contacts for future stories for example, and damage
  to Arthur's relationship with Peter Havik­Stand can
  recover. Still, failure to accomplish the mission should
  mean a painful story ending for the player's character.
  «Achieving a positive
  outcome doesn't mean
  the story is resolved in a
  way that the player
  might've originally
  expected...»
  Nicolette Tanksley (Order #13726995)
  
  3) YES-NO QUESTIONS
  When the player’s character moves through the scene, the
  player will have questions about the environment around
  the player character’s group. The scene’s keyword
  elements (place, scene qualities, person, foes, and/or
  item), and the window dressing set up before the start of
  the scene, are sure things. Other question can come up
  about things happening and further details about a scene.
  The player can resolve these by asking yes­no questions.
  The player uses yes­no questions to answer anything
  unknown that becomes important for the player to know
  about the scene. Is there a bridge across the chasm? Is
  there an airplane in the hangar? Is the door guarded?
  Does the witness speak French? The player takes a best
  guess at the probability based on what’s known about the
  scene and setting, and picks up the dice. If the roll result
  is yes, the player can fill in details based on what makes
  the most sense for the story. Add some free­form
  interpretation, and yes might mean the chasm is spanned
  by a rickety planked rope bridge; there are some small
  propeller planes and helicopters in the hangar; the door is
  guarded by video surveillance; or the witness took some
  French language classes in college.
  Use yes­no questions when there are two or more
  possible answers, each of which takes the story in a
  different direction. Based on the logic of what has come
  before and makes sense in the story, the player judges
  which choice is most likely to be true, and guesses at the
  probability: nearly certain (95% yes), very likely (80%
  yes), likely (65% yes), 50/50 moderate, unlikely (35%
  yes), very unlikely (20% yes) or nigh impossible (5%
  yes). The player then rolls d100 to see whether the
  answer is yes (true), or no (false). The yes­no question
  table is on the action sheet and in appendix Q (p.139).
  Every time the player asks a yes­no question, it increases
  plot stress by 1. Every yes­no question roll result at the
  same time tests current plot stress. If the d100 roll result
  for a yes­no question is equal or less than the current
  level of plot stress, it triggers an unexpected event (d20),
  and plot stress is cut in half, rounding down. Unexpected
  events are listed on the action sheet and in appendix O
  and P (p.138). There is more information about each type
  of unexpected event in appendix 1 (p.118).
  SAMPLE YES­NO QUESTIONS
  Here are some sample yes­no questions and the player's
  assessment of likelihood for the answer to be yes.
  "Does Slobodan Dragovic appear to be polite
  and cooperative?" Unknown. 50/50 moderate.
  "Does Slobodan have an alibi for the evening
  of Greta's death?" Seems likely. 65% yes.
  "Does Wesley the butler seem visibly unsettled
  by the line of questioning?" This started at unknown,
  50/50 moderate. It shifted up to likely, 65% yes, because
  of the scene quality influence of "anxiety/fear". The
  player should have to make a successful empathy skill
  check for the player's character first, before asking this
  question.
  "Does Wesley the butler agree to let Arthur rifle
  through his personal quarters?" This is an example that
  isn't a yes­no question. Instead, this is a contest that
  requires a successful social skill check by the player's
  character to get Wesley to comply. see chapter 4 for more
  about skill checks.
  "Have the rugs been cleaned by the help since
  Greta Havik's death?" With such a large working staff in
  the mansion, seems likely. But is the question significant
  or even relevant? If the answer is not important to
  moving the plot forward, just decide rather than roll.
  "Are the rugs currently wet?" Given the scene
  quality of "rain" outside, seems likely. Since "rain" is a
  scene quality, it then shifts that 1 more category to very
  likely. See qualities and yes­no questions sidebar on the
  next page. Note that this example as well as the previous
  one are yes­no questions that create window dressing.
  The former might refine "rugs" window dressing into
  "clean rugs"; the latter would alter the "rugs" window
  dressing into "wet rugs."
  21
  JUMP­STARTING THE GAME
  If you'd rather start directly with how yes­no questions
  work in actual gameplay, look up the summary rules at
  the end of the book (p.159­164) for flowcharts with
  instructions how to ask yes­no questions. The summary
  rules include page references so you can look up rules
  details as you walk through gameplay.
  3) Yes­No Questions
  Nicolette Tanksley (Order #13726995)
  
  yes-no questions.3
  yes­no questions to confirm assertions
  The trick in asking yes­no questions is to start by thinking
  about the nature of the scene, and the story. Based on the
  setting, what has gone on before and what is happening
  now, what is the most likely answer? Whether or when to
  ask a yes­no question is subjective. It depends on what’s
  important about the story to the player, and on things that
  might potentially affect the player character’s group.
  Here are some guidelines for asking yes­no questions:
  First, does the outcome of the yes­no question roll affect
  the story? If not, don’t roll. Make an arbitrary decision
  and move on. Just like how role­playing games don’t fret
  over how characters lace their boots, there’s no sense
  (usually) in asking if a gallery room's paintings are by
  Paul Gauguin, or if a grocer has persimmons for sale. If
  it’s not important, make a call and move on.
  Second, does the question open up at least two possible,
  branching answers? There’s no need to ask a yes­no
  question if there isn’t an obvious alternative. For
  example, the player might start a scene with the player’s
  character looking for a crime gang’s hangout, but then
  ask: “Did my character find the crime gang’s hideout at
  this location?” A no result only makes sense if the player
  has something else in mind that could happen in that
  scene instead: No could mean a trap and ambush; or the
  scene introduces a new crime faction into the
  investigation; or maybe the bust is a crime gang branch
  but not its headquarters. Whatever the answer, the player
  should think about what yes means and what no means
  before picking up the dice. If there is only one right
  answer to move the plot forward, that’s the answer.
  Third, does the question make sense in the context of the
  story? If something isn’t reasonably likely to happen
  based on what’s come before, then there is no point in
  rolling: The answer is no. Players can’t use yes­no
  questions to have their characters find cash or equipment
  just lying around, or to have total strangers volunteer to
  do favors for the player character’s group. Obtaining cash
  and gear or gaining trust should take skill, work and
  perseverance.
  QUALITIES AND YES­NO QUESTIONS
  Here are examples of how scene qualities can influence
  yes­no questions. Each scene quality may shift the
  likelihood of a yes­no question by 1 category in either
  direction, based on whether it aligns or contradicts with
  the question.
  "Is the help cooperative when Arthur says he is
  investigating Greta Havik's death?" 50/50 moderate,
  raised to likely for the scene quality of "anxiety/fear".
  "Did Wesley the butler track wet footprints into
  the room?" Normally there would be no reason to ask.
  But it is raining. The player still assesses it as unlikely,
  then shifts likelihood up to 50/50 moderate because
  "rain" is a scene quality, shifting likelihood 1 category.
  "Does Arthur hear anyone in other rooms of the
  mansion?" That would require a skill check with a
  penalty because of the scene quality of "rain": The sound
  interferes with the listening attempt. If the skill check is
  successful, the player probably should shift the yes­no
  question of exposing unknown visitors down 1 category,
  reasoning that the rainstorm is keeping travelers away.
  RECONCILING WINDOW DRESSING
  You might think this section about yes­no questions to
  create window dressing contradicts itself.
  On one hand, it says if the answer isn't
  important to the story, don't ask a yes­no question. Just
  make a call and move on.
  On the other hand, after a scene starts, the rules
  say window dressing can't ever be brought into a scene
  without asking a yes­no question to create it.
  Which is it? The player "makes the call"
  (doesn't ask a yes­no question) if scene qualities or
  window dressing already point to an answer, and the
  answer isn't too important. Think of it as embellishment,
  not new story elements.
  If the player wants something additional on the
  scene for reasons that are important to the story, and it's
  not already inferred by what's on the scene, that's adding
  window dressing. That requires the player to ask a yes­no
  question, assess the likelihood and make a roll.
  22
  yes­no questions to confirm assertions
  Nicolette Tanksley (Order #13726995)
  
  3.yes-no questions
  SAMPLE WINDOW DRESSING ADDS
  Here are some examples of how yes­no questions might
  introduce window dressing into a scene after it has started.
  "Is Slobodan Dragovic wearing a hat?" 50/50
  moderate. If there isn't a point to this question, don't even
  ask, make a call ­ he wears a beret ­ and move on.
  "Is there a kerosene lamp next to the curtains?"
  Seems foolish, so very unlikely, and definitely not lit.
  "The help that's gathered here: is there an
  electrician among them? A plumber?" Unknown,
  therefore 50/50 moderate.
  "Is there a bell­pull in the mansion's grand foyer
  for summoning the help?" Seems likely.
  "Is the floor wet and slippery?" This is a
  compound question (p.51). The scene quality of "rain"
  outside suggests 50/50 moderate, which the scene quality
  shifts to likely. The second element "and slippery" reduces
  likelihood by 1 shift, back to 50/50 moderate.
  "Is a gun hidden underneath the cushions of one
  of the sofas?" Unless there is reason to ask ­­ such as a
  missing gun ­­ nigh impossible: The question shouldn't
  even be asked.
  Even with setting information and guiding tropes, there
  are often situations where the player has no way to decide
  what the probability of a yes­no question should be. In
  those cases, set the odds at 50/50 moderate, and let the
  dice fall where they may.
  yes­no questions to add window dressing
  Yes­no questions often add window dressing ­­ persons,
  items and descriptions ­­ to a scene after it has already
  started. Before any scene starts, the player adds window
  dressing freely by narrating and jotting down notes about
  the setup. Window dressing can tie into those scene
  quality keywords. It might add nuances, and should never
  directly contradict any keywords (location, scene
  qualities, person, foes or item). Once a scene starts,
  whatever wasn’t written down as window dressing is not
  in the scene, unless it’s obviously inferred from what’s
  already there. For an example of something obviously
  inferred, a sailboat can have a tiller, ropes and anchor; a
  modern­day store will have items on shelves, shopping
  baskets/carts and checkout counters. If an element isn’t
  obvious to the scene, and it becomes important to know if
  it’s there after the scene has started, the player must ask a
  yes­no question to add the extra window dressing.
  Setting the probability for new window dressing is like
  asking any other yes­no question. The player looks at
  what’s already known about the scene, modifies the
  likelihood by any helpful scene qualities, avoids
  contradicting scene qualities, asks the yes­no question
  and rolls the dice. The player character’s group can fully
  interact both with scene qualities and window dressing,
  for example to make skill checks. But scene qualities are
  magic, and can shift the likelihood of yes­no answers;
  window dressing does not. More about that next.
  probability shift: the magic of scene qualities
  Scene qualities have a special role in scenes. These
  keywords are fundamental plot hook elements, and they
  can help or hinder the player’s rolls. In terms of yes­no
  questions, each scene quality that aligns, shifts the
  likelihood of yes/no questions up (meaning more likely)
  by 1 category. Each scene quality that opposes a yes­no
  MIXING YES­NO, SKILL CHECKS
  The following are examples of skill checks, followed by
  yes­no questions in case they are successful.
  "Does Slobodan appear to be telling the truth?"
  Requires an empathy social skill check: if successful,
  maybe 50/50 moderate.
  "Is Wesley carrying a concealed weapon?" A
  notice skill check, very unlikely to succeed; raised to a
  likely notice skill check if Wesley can be talked into
  being searched. If successful, it seems unlikely at best.
  "Does Arthur get Wesley to give his honest
  opinion of Slobodan in private?" Requires a skill check
  using savvy; if successful, it's possible to shift up to
  likely, if the player decides Wesley is influenced to
  cooperate by the scene quality of "anxiety/fear".
  "Can Arthur snatch Slobodan's wallet without
  him noticing?" This is a trick question. It's okay for the
  player to infer Slobodan has a wallet. Usually the player
  would assess the probability and make the skill check.
  But in this case it's a smart attribute skill check to
  determine whether Arthur can pull it off, followed up by
  a yes­no question to assess the likelihood of success.
  23
  yes­no questions to add window dressing
  probability shift: the magic of scene qualities
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  yes-no questions.3
  question shifts the likelihood down (meaning less likely)
  by 1 category. Scene qualities have a similar effect on
  skill checks. They provide a bonus to a skill check for
  each quality that aligns, and a penalty for each quality
  that conflicts. In the game's RPG rule terms, each scene
  quality shifts the difficulty up or down by one category.
  Scene qualities that don’t directly complement or
  contradict a yes­no question have no effect on probability.
  Appendix 6 (p.127) shows how different types of scene
  qualities might affect yes­no questions or skill checks.
  More about how skill checks work, including how they
  interact with scene qualities, is in chapter 4.
  Window dressing does not have the magic that scene
  qualities do for shifting probabilities. Window dressing
  can make a yes­no question or a skill check possible, and
  help set a base probability for success. But window
  dressing never provides an extra magic bonus/penalty to
  yes­no questions or skill checks.
  For example, if window dressing described a lake in a
  scene, the player could ask during the scene if the lake is
  stocked with fish. The player might assess the probability
  at 50/50 moderate. But if “lake” is a scene quality
  keyword, any question directly related to the lake
  (presence of fish, boats, swimmers) shifts by 1 category
  more likely. Another scene quality like “cold” might drop
  the probability of warm­weather activity like swimmers
  by 1 category. The player would already assess a low
  starting likelihood for swimmers because of the natural
  aspect of cold weather, and then have another shift
  penalty for the magic of the scene quality. A “stormy”
  scene quality could drop the likelihood of swimmers and
  boats. Again, the player first assesses the likelihood of
  those things present during stormy weather; then the
  “magic” of the scene quality shifts the probability 1
  additional category. If the story had the window dressing
  of “winter” in a cold climate, that doesn’t provide a
  magic shift, but the player might rule out swimmers or
  boating completely. On the other hand, window dressing
  of “winter” would let the player later ask a yes­no
  question about the lake being frozen, if it becomes
  important to the story, and if it wasn’t already specified as
  window dressing before the start of the scene.
  24
  Nicolette Tanksley (Order #13726995)
  
  3.yes-no questions
  YES­NO QUESTION/SKILL CHECK MIX
  IN ACTION
  Investigator Arthur Falcone is questioning Wesley the
  Butler in private, to try and get incriminating information
  out of him about Slobodan Dragovic. The player makes an
  intimidate skill check first. If the roll succeeds, Wesley
  breaks down in interrogation. The player can then ask one
  or more yes­no questions about whether/what the butler
  actually knows, if anything, about Slobodan Dragovic’s
  secrets. The player sets the probability for that yes­no
  question at 50/50 moderate, since it's unknown whether
  Wesley has anything useful on Slobodan. If the yes­no
  question result is yes, the player could roll and interpret a
  rationale (d20), as an insight about Slobodan’s behavior.
  The player might then use one or more yes­no questions to
  nail down what the rationale roll means.
  If the interrogation succeeded and the follow­up
  yes­no question result is no, Arthur Falcone finds out that
  Wesley didn't know anything useful about Slobodan. But if
  the original interrogation skill check failed, there's no
  chance to ask the yes­no question, and the skill check
  failure carries a consequence. Options might be for Wesley
  to clam up, or possibly threaten to contact the police and
  complain about Falcone. Getting the police involved in the
  scene might be a good option to help the player ask for
  trouble (covered chapter 5).
  When asking a question about something hidden
  or unknown, it's always skill check first, yes­no question(s)
  to follow up only if the skill check is successful. It's easy to
  mix up the order by accident. It seems more natural to ask
  the yes­no question first, and then make the skill check
  second to try and bring that information into play.
  If you play out of order, don't worry about it. To
  use the example above, if Arthur's intimidate skill check
  succeeds, roll up a rationale (d20) that Wesley reveals to
  explain Slobodan’s behavior, and use yes­no questions as
  needed to refine. A failed skill check, as before, carries a
  consequence. Just try to avoid asking the yes­no question:
  "does Wesley know anything?" first, have the answer come
  back "no", and then use that knowledge to ignore the
  butler.
  yes­no questions and skill checks
  Chapter 4 covers skill checks, and shows how to mix skill
  checks with yes­no questions. When it comes to mixing
  skill checks with yes­no questions.
  To sum up here, there are cases where the player can’t
  easily ask a yes­no question, because the answer is
  hidden or unknown. The player first has to create the
  circumstances that make rolling for a yes­no question
  possible. Examples include a structured questions dialog
  and gathering information; or searching for a secret door,
  compartment or traps. The player can’t know in advance
  if the person has valuable information, or if there is
  anything to be found by searching.
  The way to solve this chicken­and­egg situation is always
  to make any relevant detection or information gathering
  skill checks first. The player asks yes­no question(s) only
  after the relevant skill check succeeds.
  The reason to make the skill check first is because there is
  always a consequence if the skill check fails. The answer
  is never just: “the player’s character doesn’t find a secret
  door”. It might be as simple as: “the player’s character
  wastes time working on this task. It took long enough that
  (some bad thing) happens during that time”. If the skill
  check succeeds, then the player can assess the likelihood
  that there is important information to be revealed, or that
  there is something worth finding. Pick up the dice, ask
  whether something interesting was uncovered, assess the
  likelihood and roll the yes­no question.
  After detecting something that was previously unknown,
  the player often needs to roll one or more follow­up yes­
  no questions, starting with a broad outcome that is most
  likely, maybe honing in on the answer with a follow­on
  question. For example, what sort of important
  information might the interrogated prisoner most likely
  know? Or what item (either rolled randomly or selected)
  might be in the secret compartment? Or what place was
  the secret door intended to conceal? A successful yes­no
  question roll might generate a randomly rolled or chosen
  place, person, ally, foe, item or rationale, as appropriate
  to the original, successful detection skill check. k
  25
  yes­no questions and skill checks
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  4) SKILL CHECKS
  In every scene, the player’s character takes actions that
  move the plot forward. If that action is challenging and
  has a significant risk of failure the characters involved
  need to make a skill check to succeed. To set up a skill
  check, the player sets a difficulty for the challenge, based
  on what is known about the scene. If there are no clear
  guidelines to gauge how hard a skill challenge is, default
  to moderate difficulty. Moderate difficulty is: “An
  average character for the setting with some training and
  talent has a moderate chance of success.” In Libre Solo
  Role Playing’s RPG rules, that is a 50/50 moderate (0
  shifts) chance of success. One of the two criteria to
  achieve meaningful success in an obstacle scene is to
  succeed at three different skill challenges, each of at least
  moderate difficulty for the player character’s group.
  A successful skill check moves the plot forward in the
  trajectory the player intended. If the skill check fails,
  there are always consequences, and those involved in the
  failed skill check suffer a risk or setback. Each time a
  player makes a skill check that includes the player’s
  character, successful or not, increase plot stress by 1. A
  skill check does not test plot stress. That is, a skill check
  roll never triggers an unexpected event.
  assessing difficulty
  How hard is it to jump a 10­foot gap, or to convince a
  group of bandits to stand down, or to dig up a clue buried
  in research documents? It’s subjective, but the player
  does have two guidelines for assessing the difficulty of a
  skill check. First, look at the default power level of the
  setting. A superhero or pulp adventure story should allow
  daring feats that wouldn't be possible in a realistic, or
  grim and gritty story. Second, look at the abilities of the
  player’s character: A trained athlete and a child math
  prodigy will have some very different talents. If there is
  no obvious answer how hard a skill challenge should be
  based on the scene and setting, the default should be
  moderate difficulty.
  For a skill check to contribute to a meaningful success, it
  must be at least moderate difficulty measured against the
  skill of the player character’s group. There’s nothing
  wrong with skill checks that are easy, but they don’t
  26
  SKILL CHECK RULES IN THE GM
  ENGINE
  Why are skill check rules included in the Libre Solo Role
  Playing GM engine part of the game, when skill checks
  and conflict resolution can come from third­party RPG
  rulesets?
  This chapter is about how to think through and
  apply skill challenges with the GM engine using any
  ruleset. It addresses how to think up challenges, gauge
  and set difficulties; when to roll, and when and how to
  apply modifiers; what happens when skill checks succeed
  or fail; and how skill check mechanics should work
  together with the GM engine's tools like yes­no questions
  and plot stress.
  When it comes to making the actual skill
  checks, use your RPG ruleset of preference, whether
  that's the included RPG ruleset or a third­party system.
  JUMP­STARTING THE GAME
  If you'd rather start directly with how skill checks work
  in actual gameplay, look up the summary rules at the end
  of the book (p.159­164) for flowcharts with instructions
  how to use skill checks. The summary rules include page
  references so you can look up rules details as you walk
  through gameplay.
  4) Skill Checks
  assessing difficulty
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  4.skill checks
  count toward meaningful success in a scene. The player
  may need to crank up the difficulty of a skill challenge so
  that it counts towards meaningful success. A player can
  always decide to narrate harder skill checks that are up to
  the task of challenging the player character’s group.
  Here’s how it works in practice, with the child math
  prodigy as an example. Let’s say this player’s character is
  a crack expert at computers and security systems. If
  there’s no other information about the challenge,
  defeating a security system defaults to “moderately
  difficult for an average hero with some training.” For the
  child prodigy, a skill check to defeat a normal security
  system is a breeze. But if it’s not a challenge, it also
  doesn’t count toward meaningful success. To qualify a
  skill challenge around disabling security for meaningful
  success, the player will need to bump up the difficulty to
  match the child prodigy’s abilities. The player can narrate
  factors that help to turn the skill check into a moderate
  challenge for the prodigy, to make the skill check count.
  Now let’s say later in the scene, the same child math
  prodigy needs to climb over a chain link fence. Without
  any other information, that challenge also defaults to
  “moderately difficult for an average hero with some
  training”. Unfortunately the child prodigy plays to
  stereotypes and is untrained in athletic skills. With all the
  player character’s penalties, it turns out that a skill check
  to climb that wall is very unlikely to succeed. The player
  can’t ease up on the default moderate difficulty just
  because it’s a weakness to the player’s character. The
  odds are heavily stacked to failure. But in the off chance
  the skill check succeeds, it would count towards
  meaningful success. The player considers the
  consequences of failure, probably a bad fall. Instead of
  making such a risky skill check, the player starts
  brainstorming for alternatives.
  skill checks: the magic of scene qualities
  Relevant scene qualities can help or hinder skill checks.
  If a scene quality aligns with a skill check, it provides a
  bonus and makes the skill check easier to succeed.
  Appendix 6 (p.127) gives examples of different types of
  scene qualities, and how they might help or hinder skill
  27
  THIRD PARTY RULES & DIFFICULTY
  In Libre Solo Role Playing's RPG ruleset, it is easy to tell
  what a "moderate difficulty" skill check means. It is a
  50/50 moderate or less likely chance of success. But what
  does a "moderate difficulty" skill check look like in third­
  party RPG systems? The rule of thumb is that the
  character making the check should have about a 50%
  chance of success ­ slightly higher if the player is being
  generous.
  In a 20­sided dice RPG, that might mean a skill
  roll difficulty of about 12­15 for starting player
  characters, counting their ability and/or proficiency
  bonuses. That same 12­15 difficulty is not going to be a
  challenge to an experienced player's character: The player
  will need to raise the difficulty so that skill check rolls
  will contribute to meaningful success for the scene.
  RPGs that use percentile­based dice, for
  example, can work like this: For skill checks below 50%
  chance of success, the player just rolls regularly. If the
  skill check succeeds, it contributes to a meaningful
  success. If the player character's skill level is higher and
  the player wants the skill check to contribute to a (cont'd)
  meaningful success, then the challenge needs to be more
  difficult. A character skill of 60%­80% might need to
  accomplish a harder task, meaning a roll penalty of ­20%
  or 2/3 skill. A character skill of 80%­100% might need to
  accomplish a very hard task, meaning a roll penalty of
  ­40% or 1/2 skill.
  For a 2d6 system where players roll high to
  succeed, the target number for a roll to contribute to
  meaningful success might be 8.
  For a 3d6 system where players roll under their
  skill level to succeed, a skill below 11 or 12 would
  contribute to a meaningful success with an unmodified
  roll. Characters with a skill of 12 or higher need enough
  penalties for the roll to lower their effective skill to 10 to
  11 or so, if they want the skill check to qualify toward
  meaningful success for the scene.
  When it comes to handling special game rules
  for bonuses and re­rolls ­ brownie points, bennies, hero
  points, advantage, etc. ­ that's all fine, as long as it is kept
  contained to skill checks and conflicts of the RPG ruleset
  and isn't used to re­roll yes­no questions.
  skill checks: the magic of scene qualities
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  skill checks.4
  checks. If a scene quality runs counter to a skill check, it
  imposes a penalty, making it harder to succeed. The
  bonus or penalty from scene qualities is magical: it
  doesn’t count against the difficulty to qualify for a
  meaningful success.
  This ability for scene qualities to give bonuses or
  penalties, without counting against difficulty needed for
  meaningful success, makes them very valuable. For
  example, let’s say a player’s character is trying to hide
  from foes. It’s a moderate challenge for the player’s
  character, meaning a base chance of 50/50 moderate: That
  skill check happens to be hard enough for the player’s
  character to qualify towards meaningful success. If there
  is a scene quality of “shadowy”, the player can use that
  quality for a bonus shift, making the roll more likely to
  succeed. If there was a second complementary scene
  quality like “foggy”, that could provide a second bonus.
  The modifiers to the final skill roll could make a
  moderate challenge likely or even very likely to succeed.
  Thanks to the magic of scene qualities, that successful
  skill check still qualifies as a meaningful challenge, even
  if scene quality bonuses made success easy.
  Scene qualities cut both ways. If instead there are scene
  qualities such as “well­lit” or “wide open spaces”, those
  turn into penalties that make the skill check harder,
  maybe even nigh impossible. Even if the category shift
  makes the final roll unlikely to succeed, it doesn’t count
  toward meaningful success unless the original skill check
  (before applying the magic penalties from scene qualities)
  was at least a moderate skill challenge to the player’s
  character.
  Window dressing does not provide bonuses or penalties
  in the way scene qualities do. Window dressing can let
  the player character’s group make skill checks that it
  otherwise couldn’t. In some cases, the player can assess
  that window dressing makes a skill check easier or even
  unnecessary for a player’s character. But window
  dressing is never magical. That is, it doesn’t change the
  rule that skill checks must be at least moderately difficult
  to contribute to meaningful success in a scene.
  SCENE QUALITIES AND THE LIBRE
  RPG RULESET
  The example in the main text notes a base chance of
  success at 50/50 moderate. It shows how scene quality
  bonuses make the skill check likely or very likely to
  succeed, and how penalties make the skill check unlikely
  or even nigh impossible to succeed.
  For Libre Solo Role Playing's RPG rules paired
  with the GM engine, each complementary scene quality
  shifts the difficulty 1 category easier, and each conflicting
  scene quality shifts the difficulty 1 category harder, using
  the yes­no question table in appendix Q (p.139) and on
  the action sheet. The player uses the same probability
  table for both yes­no questions and skill checks: (cont'd)
  28
  THIRD PARTY RULES AND
  SCENE QUALITIES
  Scene qualities that align with an attempted skill check
  provide a magical bonus. A scene quality that runs
  counter to an attempted skill check makes for a penalty.
  There is going to be wide variation from one RPG system
  to the next, in terms of interpreting the right levels for
  bonuses and penalties for skill checks. A bonus or penalty
  in your RPG ruleset of choice should be about the
  equivalent of one category shift on the yes­no question
  chart: from roughly 50/50 to two­thirds chance of
  success, three quarters chance of success, and almost
  certain success; or to one­third chance of success, one­
  quarter chance of success, and almost certain failure.
  In a d100 system, each bonus or penalty might
  be +/­15%; in a d20 system, each bonus/penalty might be
  +/­3. For a 3d6 system, a +2 or ­2 to effective skill seems
  about right. In dice pool games, it may be a difference of
  a success or two, depending on the typical dice pool size
  for the game.
  Many rules­lite games have a standard
  bonus/penalty size to cover a range of factors (e.g.,
  generic +/­2). In these types of games, each scene quality
  can apply that game's standard bonus or penalty.
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  4.skill checks
  For example, a player’s character can’t use swimming
  skill if there isn’t something to swim in. A lake, river or
  pool as window dressing to a scene makes these skill
  checks possible. Or the player of the child math prodigy
  brought up earlier, faced by a chain link fence, might ask
  a yes­no question to add a hole in the fence as window
  dressing. That hole in the fence might swap a climbing
  skill check, with an agility­related skill check to squeeze
  through, giving the player’s character a better chance to
  succeed. If the skill check drops below a moderate
  challenge for the average heroic character for that setting,
  it no longer contributes toward meaningful success. So, if
  the player decides that squeezing through the fence hole
  is easy for an average heroic character, the skill check
  won’t count toward meaningful success even if it’s
  challenging for the player character’s child prodigy.
  Players are best off focusing their player character’s
  stories around skill challenges in categories where those
  characters are competent. In a category where the
  player’s character is weak, default skill challenges that
  are supposed to be moderately hard can end up being
  much harder, and unlikely to succeed. Which is as it
  should be: A player’s character with a background of car
  racing, for example, is supposed to play out scenes that
  lean on those strengths.
  shifting skill checks
  There’s often more than one way for the player
  character’s group to overcome an obstacle. The player
  should be creative in dealing with skill challenges, trying
  to play to the player character group’s strengths. A
  player’s character might not want to try and leap across a
  chasm if the consequence for failure risks a long fall to
  death, for example. Maybe there is mountaineering
  equipment on hand, with ropes and pitons to lower down
  one side of the rift and ascend the other. If there are no
  time constraints, the player has shifted the skill check to
  one where the character has a better chance of success, or
  at least less deadly consequence options for failure.
  When a skill check shifts from one type of challenge to
  another, the default should still be moderate difficulty for
  an average hero with some training. But shifting to a
  MORE ON CONSEQUENCES
  When a skill check is successful, the plot moves forward
  in the trajectory the player intended. If a skill check fails,
  there is always a consequence. Before picking up the dice
  to make a skill check, decide (or at least have an idea)
  what success looks like, and also what the consequences
  of failure might mean. There is nothing wrong with
  having several possible consequences in mind. There's
  always the option to follow up with one or more yes­no
  questions to choose among consequences if the skill
  check fails, though that does also drive up plot stress.
  For example, failing a mountaineering skill
  check can mean a fall. But it could also mean spending a
  long amount of time on the rock face and suffering
  exposure to the elements, or attracting unwanted attention
  while vulnerable on the mountainside. Or the player
  character's group might use up or break the climbing
  gear, making it impossible to use again that scene, and
  being expensive to replace. Whatever the odds, the player
  should always have at least one clear idea for a
  consequence of failure before picking up the dice to make
  any skill check.
  29
  nearly certain (95% chance of success), very likely (80%
  chance of success), likely (65% chance of success), 50/50
  moderate, unlikely (35% chance of success), very
  unlikely (20% chance of success) and nigh impossible
  (5% chance of success).
  Regardless of bonuses and penalties, the
  probabilities for success don't go above nearly certain or
  below nigh impossible. If the skill roll likelihood goes off
  the charts at either end of the scale, it caps at nearly
  certain and nigh impossible. At that point the player
  might want to review if it still makes sense to roll. The
  player could just declare the effort a success or failure
  without making a skill check and move on. That way the
  roll doesn't add to plot stress, and if the attempt is nigh
  impossible, it doesn't saddle the player character's group
  with the consequences of almost certain failure.
  shifting skill checks
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  skill checks.4
  different approach might let window dressing affect the
  skill check’s difficulty, or it might let the player draw on
  magic modifiers from scene qualities. The player might
  draw on the player character group’s equipment, or could
  add new window dressing to change the skill check’s
  difficulty. But again, only scene qualities are magical and
  can shift difficulty without disqualifying a challenge from
  contributing to meaningful success. If the player lets
  equipment or window dressing drop the skill check’s
  challenge below moderate difficulty, it no longer counts
  toward meaningful success.
  when not to roll
  Like with yes­no questions, think about what the skill
  check is going to accomplish before picking up the dice.
  Does the skill check merit a roll? What does success
  mean in terms of moving the plot forward? What are the
  consequences of failure? If there is no significant
  consequence for failure, don’t bother to make a skill
  check, just narrate success or failure and move on. No
  dice are rolled, plot stress doesn't increase, and there is no
  chance to contribute to meaningful success in the scene.
  Some examples include a character chopping down a tree
  or catching a train at the station. Normally, there is no
  consequence for ‘failing’ to chop down a tree (the
  player’s character gets tired, takes longer than expected,
  accidentally slips with the axe, or is hit by the falling
  tree? No. Just no.) There needs to be progress with
  success, and consequence for failure. If the player’s
  character is felling a tree to cross a chasm and escape a
  pursuing wolf­pack, that works: Taking longer than
  expected has an immediate and serious consequence. Or
  maybe the player’s character at the train station is chasing
  a fleeing suspect already on board. Pick up the dice and
  roll only after figuring out the consequences of failure.
  consequences of failed social skill checks
  It’s straightforward why most physical skill checks are
  important. The in­game consequences for failing social
  skill checks aren’t so obvious. Failure to sneak risks
  being seen; failure to climb may mean a fall. But what
  about a failure to gather information or negotiate a deal?
  EXAMPLES WHEN NOT TO ROLL
  Here are some sample skill checks where there's no point
  in rolling: Just make the call and move the story forward.
  Arthur Falcone is hurrying to catch a train
  while carrying a heavy suitcase. Do not make a skill
  check if missing the train means he takes the next one on
  the schedule: That is no consequence. But if the suitcase
  contained top­secret plans, and Falcone's failure to catch
  the train means he is cornered by goons who are after
  him, then make the check; there is a meaningful
  consequence for failure.
  Another example would be Falcone's pushing
  through a crowded area: Failure to traverse? That makes
  no sense. But if the investigator shadows a suspect and
  failure means losing the trail, there is a purpose: Make
  the skill check.
  A final example of not rolling is if Falcone
  were to try and break into a secure bank vault. The
  investigator has no safe­cracking skills and no tools. He
  has no realistic chance of success, and the player
  shouldn't roll. The player should have Arthur try another
  way, like recruiting an ally with special skills to assist.
  SOCIAL SKILL CONSEQUENCES
  Arthur Falcone is meeting a local contact at a diner in the
  hopes of digging up information. He fails the social skill
  check to get what he wants from his contact. Whatever
  happens, it's not "Arthur learns nothing."
  An example of failing forward with a
  complication: Maybe Falcone’s contact is suddenly
  uncommunicative. The player decides this calls for a
  follow­up notice or empathy skill check. A success can
  prompt a yes­no question, for example, to ask if a buddy
  of the local crime boss ­ or maybe Arthur's rival Emily
  Chan ­ just sat down in the opposite booth (this sort of
  question could also qualify as asking for trouble, covered
  in chapter 5). Whatever the reason, it can’t be good. If
  Falcone fails to make that second skill check, the matter
  should get more serious, fast. (cont'd)
  30
  when not to roll
  Nicolette Tanksley (Order #13726995)
  
  4.skill checks
  An example of failing forward that steps up the
  threat level: Maybe Falcone’s contact gets offended about
  the line of questioning, as it might hit too close to home.
  Falcone could then have a second chance with a social
  skill to smooth things over, but as a harder challenge. A
  success could turn things around, and his contact could
  still open up with the information Arthur wants. A second
  failure could mean Falcone’s contact storms off and
  informs the local crime boss all about the investigator. Or
  better (worse) since it's more immediate, the frazzled
  contact may draw a weapon; or may point to backup
  muscle or to a newspaper reporter backing up the contact
  from the other side of the room; or even worse, the
  contact is at that moment grotesquely executed by a
  drive­by shooter, leaving Arthur with a dead body in his
  booth, and potentially a big police issue and legal mess.
  An example of failing forward as a costly
  success (not to be confused with actual skill check
  success): Falcone’s contact is at first offended, but the
  investigator manages to defuse things by opening his
  wallet, handing over a stack of bills to the contact, and
  promising him a favor in the future. Despite the failure,
  Falcone gets the information he needed so that the plot
  moves forward, but he is also $200 poorer.
  If an idea for a consequence seems a stretch, or
  you have two or more more good ideas for consequences,
  yes­no questions can help choose which one to use.
  Estimate the likelihood that the most probable conjecture
  is true, pick up the dice and see whether it is confirmed.
  Use the rule of three (p.50) to keep the story flow
  moving.
  As the examples above show, there is no one
  correct or best way to fail forward, and any situation can
  have many different possible approaches to deal with
  failure. The key is when things go wrong, there are
  consequences, and the player should have in mind what
  those consequences might be before picking up the dice
  to make the skill check.
  As with any other type of skill check, the result for a
  failed social skill check is never just “no”. There is a
  consequence. Ideally the failure moves the action
  forward, but not in the direction or the way the player
  wanted. The failure might create a complication that
  forces a different skill check with higher stakes at risk.
  For example, failing to intimidate a bystander might have
  him phone the police, who might dispatch a car. That’s
  good, but it’s more immediate if the bystander calls out
  the player’s character, ruining any chances of social skill
  checks with others for the rest of the scene. Or the
  bystander might have some friends nearby who step in
  against the player’s character. A second option for failure
  in social situations is to create a complication that makes
  another attempt possible, but steps up the stakes, making
  success more difficult and failure more dangerous. A third
  option for social skill checks is to make failure squeeze
  by as success that comes at a steep price (it does not
  contribute toward meaningful success).
  There is no one correct or best way to assess what a
  consequence should be. The player should choose the
  consequence that makes the most sense for the skill
  check, creating a setback for the player’s character and/or
  dialing up the threat level. The player should always have
  an idea of possible consequences for failure before
  picking up the dice to make a skill check. If the skill
  check fails, the player can resort to yes­no questions for
  which consequence to use, or how to apply the details.
  exposing the unknown
  Chapter 3 on yes­no questions first brought up the idea of
  mixing skill checks with yes­no questions. Certain types
  of skill checks can reveal something formerly unknown.
  Detection and perception skills help find hidden things.
  Interrogation, intimidation, diplomacy and negotiation
  can reveal information. In a solo game, it’s a chicken­
  and­egg situation. How can a skill check find a hidden
  trap, a secret compartment or withheld information,
  things that the player can't know about?
  Here’s how it’s done. The player divides any question
  that reveals the unknown into two parts. The first part is
  the skill check to see if finding the thing (e.g., getting
  31
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  skill checks.4
  STRUCTURED QUESTIONS EXAMPLE
  Arthur Falcone started the investigation into millionaire
  heiress Greta Havik's untimely death by talking to his
  patron, Peter Havik­Stand. We've covered earlier how the
  cutscene worked in relation to plot stress. Now we'll look
  at it in terms of how the player used structured questions
  for persons to run the scene.
  Note again that structured questions for persons
  are a guideline and don't represent actual dialog. The
  player can use the results of structured questions to
  narrate the content and tone of the conversation between
  the player's character and other persons. An improvised
  dialog can help bring in new, creative ideas.
  For example, the conversation between Arthur
  and his patron Peter Havik­Stand starts with pleasantries:
  Arthur asks how Peter's family is doing, Peter inquires
  about how business has been for the investigator.
  Arthur eventually gets around to the subject of
  the meeting: "So you called because you'd like my help?
  You said it was something important." That's the
  structured question prompt of Peter's mission for Arthur.
  Since it's the first cutscene, this is not a yes/no question
  roll: The answer is automatically yes. If this hadn't been
  the first cutscene, the player might choose instead to start
  the conversation by having Arthur ask about getting more
  assistance: That could be a request for equipment, an ally,
  a contact, or information about possible places and foes.
  The player rolls on the mission (d20) table,
  with the result "investigate"; the player decides it's a
  person (d100) to investigate; the result is "aunt/uncle"
  and the player arbitrarily chooses "aunt". The player
  clarifies with a few follow­up questions. “Is the
  investigation regarding a crime?” ­ result: yes. “Is the
  aunt the perpetrator?” ­ result: no. “Was it a crime of
  passion?” ­ result: no. At that point the player decided,
  rather than rolled, that it was a crime related to wealth. It
  would take another yes­no question to see whether Peter
  knows this detail, but since the player didn't have Arthur
  ask, the player didn't make another roll. (cont'd)
  information, searching a place, researching an item) is
  successful. Remember that success moves the plot
  forward in the way the player expected, and failure comes
  with a consequence that deals a setback to those involved
  in the skill check.
  If the skill check succeeds, the second part is asking a
  yes­no question to see whether there was something
  hidden that is now revealed. Because it is a yes­no
  question, the answer can simply be no, without needing
  any further details or having any consequences. No can
  mean the player’s character (or ally) investigated the
  place, item or person to satisfaction, and found no hidden
  secrets or concealed information.
  If the skill check and the follow­up question returns yes,
  it does reveal something hidden. That might be a piece of
  information like a rationale, or an additional item or
  valuables, or maybe a hidden person or place. The player
  might have to ask more yes­no questions to refine what is
  found, which drives up plot stress. Depending on what
  the searcher is looking for, the final thing revealed might
  be a person or foe, a rationale, an item, a place, a mission,
  a trait or perhaps something else. It could be the actual
  thing the player’s character is searching for, or else
  information about that thing such as a person’s or item’s
  identity or location.
  Add it all up ­­ the skill check, the initial yes­no question
  that something is revealed, and any follow­up yes­no
  question(s) that narrow down just what was revealed ­­
  and the player will quickly find that trying to expose the
  unknown too often will ratchet up plot stress. That’s as it
  should be. The player should investigate tactically for
  hidden things, at points where the results have a good
  chance of success and help move the story forward.
  structured questions for persons
  The structured questions that a player’s character can ask
  persons of interest is on the mission sheet, and also in
  appendix 7 (p.128). It’s probably clear by now that
  structured questions are a form of exposing the unknown,
  mixing skill checks and yes­no questions. Structured
  questions are the game mechanics behind the dialog, not
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  4.skill checks
  The player interprets these yes­no question rolls
  as the conversation between Arthur and Peter turning
  darker. "My elderly aunt went missing a few weeks ago.
  They just found her body in a nearby lake," the wealthy
  businessman glowers. "I don't think the police are going
  to do anything about it, but I trust you will get to the
  bottom of this, and help me bring anyone responsible for
  this crime to justice?" Note how the player was free to
  embellish: A mention of a lake isn't a scene quality or
  window dressing, since it isn't in this scene. The player
  should take a note about this off­the­cuff thought. It
  might be handy to bring in as window dressing for a
  future scene.
  The player decides to skip any structured
  questions about a rationale, item or place. The player
  already planned for there to be an extravagant Havik
  mansion and estate, and decides to introduce these details
  in future scenes as they happen.
  For dialog, the player imagines that Arthur
  listens carefully, then asks: "This sounds like it could be
  involved and dangerous. I think I could use something
  extra for this case, and maybe an advance?" In structured
  question terms, the request is: "does the person offer extra
  valuables for completing the mission?"
  The player decides that calls for a negotiate
  skill check that succeeds, then asks the yes­no question
  about an extra reward, with the roll result yes.
  Peter hesitates for a moment, then says: "I
  understand, Mister Falcone. I'll increase your usual pay.
  But I expect regular status updates. You can imagine how
  important this is to me." Note again how the player
  improvised and embellished the dialog. Regular status
  updates seems like a reasonable request that the patron
  would ask, so the player runs with it and makes a note.
  Again in game terms, the statement doesn't affect
  anything in this scene. But it could always come into play
  in a future scene.
  And so the dialog goes. Structured questions
  help guide the conversation to those key pivotal points of
  questions and requests, where game mechanics ­ skill
  checks and yes­no questions ­ matter in the scene.
  the dialog itself. It represents the points in a conversation
  where the player’s character makes key requests from
  another person on the scene, which may require a skill
  check to succeed before the player can ask a yes­no
  question to see whether the request can be granted.
  Regular persons generally should not volunteer
  information or hand over resources to the player’s
  character or group freely. Unless there’s a good reason
  the person would help the player’s character (or the
  request is trivial), the player should require a social skill
  check to get any other person to divulge private
  information, or to help out. Depending on the player’s
  character and the nature of the dialog with the person of
  interest in the scene, some structured questions won’t be
  relevant or appropriate and shouldn’t be asked at all.
  As with other forms of exposing the unknown, trying to
  grill every person of interest in every scene for
  information will spike plot stress fast. The player selects
  a structured question, makes a social skill check, if
  successful asks a yes­no question whether the target
  person knows anything. If the answer is yes, the player
  might roll for a place, person, item, foe, rationale, etc.,
  then make additional yes­no rolls to narrow down the
  information. That’s why the player is best off using select
  structured questions, and asking them conservatively:
  Focus on questions that have a good chance of success,
  that might reveal the most meaningful information to help
  move the story forward.
  structured questions for foes
  Structured questions that the player’s character can ask
  foes are on the mission sheet, and also in appendix 7
  (p.128). Generally, foes are only going to engage in
  dialog after they have been defeated in a conflict, and/or
  have a good reason to cooperate. Even if they can be
  made to talk, foes never share useful information easily.
  The player’s character should need to make a separate,
  successful social skill check for each structured question
  asked. The consequence of failure means the foe stops
  cooperating completely at best, or might try to flee or
  becomes hostile. More information about structured
  questions for foes is in chapter 7 on encounter scenes. k
  33
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  Nicolette Tanksley (Order #13726995)
  
  5) ASKING FOR TROUBLE
  A player naturally wants the player’s character to
  succeed. Usually that would mean staying away from any
  yes­no questions that might bring up a problem or create
  a setback for the player character’s group if the roll result
  is yes. That’s where asking for trouble comes in.
  For example, imagine a player’s character is trying to
  duck out a back exit (window dressing established earlier
  in the scene) to escape a foe group. The player wants the
  character to get away, so the last thing the player would
  want to ask is a question like: “is the door locked?” or “is
  there a guard posted on the other side of the door?”
  To qualify any obstacle scene for meaningful success, the
  player needs to ask for trouble at least three times in the
  scene, in the form of yes­no questions that risk creating
  new problems or setbacks. The player wins meaningful
  success for an obstacle scene only after the player’s
  character is involved in three different, at least
  moderately difficult skill check successes; and after
  asking for trouble through yes­no questions with at least
  50/50 moderate likelihood of causing a problem or
  setback, three times (regardless of whether the roll result
  is yes or no).
  Just as with ordinary yes­no questions and skill checks,
  scene qualities have a magic influence on asking for
  trouble. Each quality that aligns with the yes­no question
  shifts the probability by 1 category more likely. Each
  quality that conflicts with the yes­no question shifts the
  probability by 1 category less likely. If the original yes­no
  question was at least 50/50 moderate before any magic
  shifts from scene qualities, the roll contributes toward
  meaningful success in the scene. In terms of plot stress,
  asking for trouble is like any other yes­no question. It
  tests current plot stress that can generate an unexpected
  event, and increases plot stress by 1.
  If there is a bright side to asking for trouble and having
  the roll result come back yes, it’s that when things go
  badly, it is an opportunity for the player character’s group
  to rally with skill checks to try and overcome the
  challenge. Asking for trouble and getting it can help the
  player guide an obstacle scene toward meaningful
  success.
  ASKING FOR TROUBLE EXAMPLES
  Here are some common questions related to asking for
  trouble. The player's assessment of likelihood for the
  answer to be yes is typically 50/50 moderate (i.e.,
  unknown), before applying any shifts from relevant
  window dressing and scene qualities. Asking for trouble
  creates a problem or deals a setback if the result is yes.
  If the player's character is trespassing or in
  hostile territory: Did someone see (or hear)? Does
  someone recognize the player's character (or an ally)?
  If the player's character is trying to move
  between locations in the scene: Is the way blocked? Is a
  portal locked, barred, alarmed? Is the way guarded?
  If the player's character successfully gathers
  information: Is the information incorrect? Has it been
  planted? Is it a red herring? (this question separates
  player knowledge from character knowledge, and the
  player's character should act upon the false information
  or bad lead. It could lead into a trap, for example).
  In conflicts: Is the weapon stuck? Does it jam?
  Does the foe have high ground? Cover? Reinforcements
  nearby? (these yes­no questions add window dressing
  that specifically aid the foe or rival).
  In hot pursuit: Does the bad guy have a ready
  getaway car? Did someone complicit with the bad guys
  steal, sabotage, slow down or disable the player
  character's vehicle or gear? (More yes­no questions that
  add window dressing aiding the rival or foe).
  With valuables and items: Is it just costume
  jewelry? Is it counterfeit? Is it damaged? Is it bugged,
  traceable or trapped?
  35
  JUMP­STARTING THE GAME
  Asking for trouble is a specialized form of yes­no
  question, and is covered in the summary rules about yes­
  no questions at the end of the book (p.159­164). These
  flowcharts include page references so you can look up
  rules details while walking through gameplay.
  5) Asking for Trouble
  Nicolette Tanksley (Order #13726995)
  
  asking for trouble.5
  TROUBLE FROM STRUCTURED
  QUESTIONS
  Here are some examples of how structured questions for
  persons can ask for trouble. These examples are not the
  strongest, because they're not in any context. If the yes­no
  question roll asking for trouble comes back yes, ideally,
  the problem or setback should happen immediately or later
  in the same scene. If that isn't possible, any trouble that
  doesn't get addressed in the current scene forces a follow­
  up scene to resolve the outstanding issues (see p.53­54).
  Yes­no questions that don't risk a knock­on effect, don't
  qualify as asking for trouble.
  Before starting a structured questions dialog.
  Does the person speak/understand the same language?
  Does the person mistrust the player's character or a group
  ally? Is someone else eavesdropping on the conversation?
  "What does the person need?" and "what is the
  reason behind that need?" Does the person try to deceive
  or misdirect? Is there an actual mission agenda that's
  different from the one assigned? Is there a different, secret
  rationale behind the assignment?"
  "Does the person supply premium equipment for
  the mission?" and "will the person provide/be an ally for
  the mission?" Is the supplied equipment incomplete,
  unreliable or flawed? Does the patron or ally expect
  something major in exchange for loaning the equipment?
  "Is there another person(s) to contact with more
  information" This is a case where it does not make sense
  to ask for trouble: If the information is false, or the other
  person is compromised or has a hidden agenda, that is a
  factor that can play out as asking for trouble by exposing
  the unknown. That way, the information can have an
  immediate effect at whatever time it gets revealed.
  Many of these examples point to subterfuge or
  possible double­crossing. The player might consider
  having the player's character make a skill check after
  asking for trouble to detect hidden subterfuge, via an
  empathy type of skill check. Keep in mind that whether
  asking for trouble or not, the proper order for exposing the
  unknown should be to make the skill check first, and only
  ask the yes­no question about uncovered information if the
  skill check succeeds.
  exposing the unknown: detecting trouble
  The concept of exposing the unknown was covered in
  chapter 4. To recap, the player first rolls a skill check
  (often some kind of detection or social skill) to see if
  something hidden might be revealed. A successful skill
  check lets the player next ask a yes­no question to see if
  something was there to be found, and if so, to ask
  additional yes­no questions to hone in on the details of
  that hidden or secret thing.
  Checks to expose the unknown can tie into asking for
  trouble. Secret things aren’t always valuables or helpful
  information. What about the terrible truth, the hidden
  trap, or the unexpected assault? The shock reveal is a
  classic horror trope. Consider the lone investigator out in
  the woods at night or in a dark alley, looking around with
  a dim flashlight, listening for phantom noises in the
  darkness. Whether or not the player wants to try for a
  successful detection skill check, this is a great time to go
  for it and follow up by asking for trouble. If the
  investigator made the listen skill check, asking for trouble
  may reveal the investigator is not alone. A follow­up yes­
  no question or two can gel what danger lurks in the dark.
  unintended consequences
  Chapter 4 stressed that whenever the player’s character
  fails a skill check, there are consequences. A successful
  skill check means the action succeeded, and the plot
  moves forward the way the player intended. The player
  can ask for trouble whenever the player’s character
  succeeds with a skill check, to see whether there is a
  detrimental side effect from the success. If asking for
  trouble’s roll result is yes, it creates a success with a
  setback: an unintended consequence. As always, the
  player should have the unintended consequence in mind
  before picking up the dice. That means looking at the
  bigger picture after a skill check succeeds to consider
  possible unexpected fallout.
  One common unintended consequence of a successful
  skill check can be drawing unwanted attention. Whatever
  that unwanted attention triggers, the consequence should
  happen immediately or later in the same seen, or else the
  outstanding trouble will force a follow­up scene.
  36
  exposing the unknown: detecting trouble
  unintended consequences
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  5.asking for trouble
  persons, trouble, and persons in trouble
  Persons in a scene, and especially the player character’s
  allies, are great fodder when it comes to asking for
  trouble. As mentioned earlier, every person (ally, rival,
  and others) get a trait (d20) when first introduced, which
  is the player’s guideline to that person’s behavior. A
  player can ask for trouble with allies based on drawbacks
  around their traits. An ally who is loud, boisterous or
  gregarious might blab when he or she should be quiet. A
  cautious or cowardly ally might hesitate or flee in the
  face of danger. Unflappable or heroic allies might seem
  like a good thing, but might take up causes and stand
  their ground when the player wants the player character’s
  group to flee, surrender or negotiate. Appendix 8 (p.129)
  outlines positive and negative qualities for each type of
  trait, which the player can use as a guideline with a
  scene’s window dressing modifiers, and of course also to
  ask for trouble.
  The player can ask for trouble through the actions of a
  player character’s ally or another person on the scene. For
  it to qualify toward meaningful success for the scene, the
  effect must have consequences that also affect the
  player’s character. For example, if an ally jumps in front
  of grave danger as a sacrifice to help the player’s
  character flee to safety, that’s not asking for trouble. It is
  asking for trouble if the player’s character is compelled to
  save that person, whether that means trying to drag the
  ally out of danger; or standing with the ally in solidarity
  against dangerous foes they might otherwise have
  escaped.
  trouble from unexpected events
  Unexpected events (d20) are triggered by a roll that’s
  below the current level of plot stress whenever it is
  tested: When opening or closing a scene, or whenever the
  player asks a yes­no question. There is a wide range of
  unpredictable effects that fall under unexpected events.
  People can enter or leave the scene; it can trigger positive
  or negative actions based on the traits of people on the
  scene; a foe may enter the scene; or scene qualities can
  intrude in a helpful or harmful way. The player may need
  to ask one or more clarifying yes­no questions around an
  ALLIES IN PLAY AND FOR TROUBLE
  Arthur Falcone and his ally, the unflappable (her trait) aide
  Toni Graham, broke into Havik mansion at night and are
  looking for clues in the basement. At the start of the
  obstacle scene, the player expected that the duo's three
  skill checks would be sneaking downstairs, lockpicking a
  door, and then noticing an important clue.
  That's not what happened. The player got Arthur
  and Toni downstairs successfully, but rolled abysmally for
  skill checks after that. Among the consequences, the
  player narrated success with a setback: Falcone's
  lockpicks jammed in the doorlock ­ snap!
  The player is still trying to resolve the scene
  with meaningful success, but Arthur still needs to succeed
  at some skill checks to move the obstacle scene forward.
  The player decides to ask for trouble: "Will someone take
  this opportunity to try and take out Arthur Falcone?" The
  player's yes­no question roll result is yes, and follow­up
  yes­no questions fill in the details: Someone has rigged
  the furnace and boiler to explode. But first the player
  narrates the obvious without rolling: The lights go out,
  because that's what happens to investigators sneaking
  around at night in basements. ("I think someone knows
  we're here," Toni whispers to Arthur in the darkness).
  Playing on Toni's unflappable trait, the player
  again asks for trouble with a yes­no question: "Does Toni
  go off on her own to look for the circuit breaker?" If that
  happens, the player could have Arthur try a social skill
  check to talk her out of it (but remember, to make this skill
  check the player also needs to come up with a real and
  immediate consequence for failure).
  There are plenty of other options: Arthur and
  Toni could make a smart attribute skill check to find their
  way back to the stairs in darkness; one or both could make
  a notice skill check to hear the furnace kicking into
  overdrive, warning of the danger; if they find their way to
  the basement exit, the player could again ask for trouble:
  did whoever rigged the boiler also lock the door? Arthur
  and Toni may need to break down the door to escape.
  Whenever Arthur is involved in a skill check
  (alone or assisted by Toni), it increases plot stress; success
  can count toward meaningful success for the scene. Toni
  can make skill checks alone, but those neither increase
  plot stress nor contribute toward meaningful success.
  37
  persons, trouble and persons in trouble
  trouble from unexpected events
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  asking for trouble.5
  unexpected event to refine what happened, and the effect
  on the scene. Any follow­up yes­no questions to clarify
  an unexpected event are like other yes­no questions: They
  test current plot stress, and add 1 plot stress. It’s possible
  to trigger a second unexpected event while asking yes­no
  questions for a first unexpected event.
  The player can also use those clarifying yes­no questions
  after rolling an unexpected event to ask for trouble. Just
  imagine the worst possible outcome for the rolled result,
  one that creates a setback or new threat for the player’s
  character, and ask it as a yes­no question.
  trouble weak sauce
  Look out for yes­no questions that look like they ask for
  trouble, but coddle the player’s character or even give a
  back­handed advantage. Asking for trouble doesn’t count
  if the yes­no question does not create a new problem or
  risk a near­immediate and serious setback that affects the
  player’s character.
  A player asking the yes­no question “are the guards
  awake?” before the player’s character tries to sneak past
  isn’t asking for trouble: Guards aren’t supposed to be
  sleeping! At best, the player’s question adds new window
  dressing. It might be legitimate to ask this yes­no
  question if the guards have a rationale like
  “tired/rest/sleep.” But even with that rationale, the yes­
  no question doesn’t ask for trouble, it’s trying to bypass
  trouble.
  For another example, if a player’s character is running
  away from a foe group, asking “do the foes pursue?” isn’t
  asking for trouble. If the foes are superior and can chase a
  fleeing player’s character, then that’s what they do. If
  there is a reason the foes might not pursue ­­ they are
  wounded, or have a rationale of “anxiety/fear,” or are
  slow or mindless ­­ then it can make sense to ask a yes­no
  question to see what happens next. But again, that
  question does not ask for trouble, because it does not
  introduce a setback or new threat. It would be another
  case of the player trying to bypass trouble instead of
  asking for it. k
  WHY "WILL SOMEONE TAKE OUT
  ARTHUR"?
  In the prior example of asking for trouble with an ally
  present, the player phrased the yes­no question as: "Will
  someone take this opportunity to try and take out Arthur
  Falcone?" The player ran with that premise.
  There are plenty of ways to ask for trouble. But
  there were specific reasons why the player chose to phrase
  the question this way.
  The player could have asked: "Do the lights go
  out?" while Arthur and Toni are in the basement. That
  looks like a setback, but it's not. By itself, it doesn't
  accomplish anything besides leaving our investigators in
  the dark. It's not really a threat and if Arthur or Toni have
  a flashlight, it's not even an inconvenience.
  The context here is that Arthur and Toni are
  investigating a murder. The pair has been snooping around
  the mansion, interrogating staff, and the murderer is still at
  large. That seems like a ripe situation for a would­be killer
  to strike again.
  The player could have asked: "Does the boiler
  explode?" instead of deciding that the rigged boiler is on
  the way to overheating. There are two problems with this
  version. The first is that is that boilers don't just blow up.
  Asking: "Is someone trying to kill Falcone by making the
  boiler explode?" is a compound question (p.51), which is
  possible but inelegant.
  The second reason why that question's phrasing
  is problematic, is that if the boiler blows up without
  warning, it's a terrible consequence and an abrupt end to
  the scene. About the only response the player character's
  group might have is to duck and cover for a better chance
  to survive the blast. The intent of asking for trouble is to
  create a serious new problem or setback, not instant death.
  In a different genre (let's say a superhero game,
  for example), explosions without warning happen, and
  that might be fine when asking for trouble. The player
  might follow up an explosion with a surprise assault on
  the heroes, where the player character's group must choose
  to defend themselves or escape. The intent of trouble is a
  setback or consequence that amps up the pressure and
  creates new challenges for the player character's group.
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  6) ALLIES AND RIVALS
  It’s a dangerous world out there, filled with skill checks
  that have serious consequences for failure, and with foes
  that stand (or shamble or crawl) in the way of a player
  character’s mission and goals. The player roots for the
  protagonist ­­ the player’s character ­­ who is the center
  of the story and the main force driving the action forward.
  But the player’s character doesn’t need to face the
  mission alone. Anyone who teams up with the player’s
  character, making up the player character’s group, are
  allies. Barring unexpected events, dismissal by the
  player’s character, or the fates of a dangerous world, once
  allies are on board they stay until the end of the mission.
  A player can find and recruit allies for the player’s
  character from several sources. One option is to ask the
  person who assigns the mission in a starting cutscene to
  assign, or possibly her­/himself be, an ally for that
  mission. The player can also set up cutscenes at any time
  during the mission and use structured questions with a
  person of interest to request them to supply, or be, an ally.
  If the player has one or more patrons ­­ a person or
  organization that the character belongs to, which is part
  of the player character’s background ­­ that’s an obvious
  source to ask for allies and other assistance. The player
  can build a cutscene to have the player’s character meet
  with a patron, who might be a person or representative of
  the player character’s organization, and use structured
  questions for persons to ask for aid.
  Another place to find and recruit allies is past friends and
  associates from the player character’s background. As
  with patrons, use a cutscene and structured questions for
  persons backed by social skill checks to have a dialog in
  the scene. The player can ask if the past friend or
  associate is available and willing to help with a particular
  mission. A third, remote possibility is that an ally just
  might appear in the middle of the mission through a
  randomly rolled unexpected event during a scene. It’s rare
  to run across a new or known ally in a scene, but it can
  happen.
  recruitment
  No matter how the player goes about it, recruiting a new
  ally should should always mean first making some sort of
  THE PLAYER CHARACTER'S GROUP
  The terms "player's character" and "player
  character's group" are used interchangeably in this book.
  The player's character is the center of attention in Libre
  Solo Role Playing. But the player can have one, two, or a
  whole coterie of allies that, plot­wise, play supporting
  roles in scenes. What do allies do, and why would the
  player want to use them? Libre Solo Role Playing's RPG
  ruleset has its own ways to use allies, but in any RPG
  game system, allies can help the player in these ways:
  They aid skill checks. A group helping each
  other can do more than the player's character alone.
  They can complement the player character's
  skills. For example, a scholar or naturalist ally can lead
  skill checks where the barbarian­style player's character
  would be hopelessly lost.
  They increase the chances to win conflicts.
  Encounter scenes aren't balanced against the size and skill
  of the player character's group. This is intentional. If the
  player wants to use encounter scenes regularly, recruit a
  larger group to make it more survivable.
  They absorb damage. In a worst­case scenario
  for a conflict, the player can decide to sacrifice allies to
  protect the player's character from harm. That might give
  the player character's group extra chances to overcome
  foes, or gives the player's character a chance to flee.
  They can cause trouble. Finally, allies can and
  do act on their own. The GM Engine assigns each
  individual ally and team/minions a trait, which guides
  behavior. Traits can help with skill checks but the player
  can also use traits as a source to ask for trouble. Asking
  for trouble is covered in chapter 5.
  What are the any downsides to recruiting allies?
  It takes time and effort to recruit. The cutscenes
  and dialogs used to recruit allies increase plot stress,
  which risks triggering more unexpected events.
  They earn an equal share of rewards. At the end
  of the mission, experience and valuables are divided
  among the group. A large group can cut deeply into the
  take for the player's character.
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  (usually social) skill check. If the social skill check to
  recruit the ally succeeds, the player then follows up with
  a yes­no question asking whether the ally is available to
  join the player’s character for the mission.
  Under structured questions for persons, the question “will
  the person provide (or be) an ally for the mission?” is like
  other types of skill checks exposing the unknown. As
  with any other yes­no question, assess how likely it is that
  the ally is available to join the mission; set the default
  odds at 50/50 moderate. The player might raise the yes­
  no question to likely if, for example, the ally is a close
  friend from the player character’s background. If the
  patron or ally might provide much more aid, you may use
  a chaining question to try and recruit many allies from
  one request (p.53). Depending on the type of mission and
  the relationship with the player’s character, the player
  might also decide that any negotiate skill check to recruit
  the ally is more or less likely to succeed, and that the
  follow­up yes­no question to check the ally’s availability
  and willingness to help could be more likely or unlikely.
  If the player described the ally as a person in the player
  character’s background, the player probably already has
  vital statistics for that ally. If the player’s character is
  making a general appeal to a contact for help, the player
  should roll randomly for the type of ally that shows up.
  Generate a random ally using the same table as random
  foes (d20), but the rolled result becomes part of the player
  character’s group. As with rolling up foes, a team or
  minions result is a force with d10 members. The player
  should roll or choose a culture and occupation for any
  ally result that is marked as “℅”.
  If the player successfully brings back a team or minions
  from a past story, the player has the option to bring back
  just the surviving members from the last story, or else to
  roll a fresh d10 for the current number of members in the
  team or minions available to the player’s character. If the
  player rolled a fresh d10 of members, they should be a
  mix of old comrades and new recruits that join the player
  character’s group for the mission.
  The player might have to interpret the foe (d20) roll to
  turn it into an ally result that makes sense. A result of
  RECRUIT A NEW ALLY: EXAMPLES
  Let's say Arthur Falcone works with his regular patron,
  Peter Havik­Stand, on a new mission. Arthur asks Peter to
  supply people to help in the mission, makes a successful
  social skill check, asks the yes­no question whether Peter
  can provide these resources and the roll result is yes.
  The player rolls on foes (d20) and gets the
  result of "vehicles/mounts". Arthur is in a modern­day
  setting and doesn't ride a horse, so the player might
  loosely interpret this as some travel resources that Arthur
  can call on during the mission: a rental car, boat, charter
  flight or plane tickets if he needs them.
  The player might have rolled "automaton":
  While in other settings it might be a combat robot or
  golem, the player might interpret the roll for this
  investigative setting as access to an extensive research
  database, and help from a data analyst to run searches.
  "Powerful entity" might be a representative of the precinct
  head of the police or a retired beat cop who can pull
  strings.
  If the roll result is some kind of minion, the
  player would swap that roll with an equivalent weak or
  average quality team. A brute or powerful entity could
  translate into an average or talented NPC.
  Any individual or team NPC result gets a culture
  and occupation roll: a majority/native culture might mean
  people from the same city, while others might be allies
  from out­of­town or foreigners. A fighter/warrior result
  might lean toward either streetfighters or ex­military;
  officers/special forces might be law enforcement of some
  kind; and so forth.
  In the modern­day setting, depending on the
  mission context, the player could for example interpret
  culture and occupation rolls of an ally that is "far­away"
  and "religious/inspirational" to be a missionary from
  South America; or new­age paranormal specialist from
  New Zealand; or a religious leader, or a civic special
  interest representative; or a fanatic whose cause aligns
  with that of the mission; or just a superstitious hired hand.
  Whatever the final result, be sure to generate a
  trait for each individual ally or ally team/minions, to get a
  direction for guiding behavior.
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  6.allies and rivals
  captives might mean a team of noncombatants, for
  example. Minion foes in a fantasy setting might mean
  goblins, redcaps or zombies. If those types of options
  wouldn’t be acceptable allies to the player’s character,
  substitute the roll with an equivalent team result, then
  either roll for culture and occupation or assign what
  makes sense. For example, if the player’s character makes
  an appeal to local mercenary band for help and they
  supply a weak quality team, the ally team’s occupation
  probably should be generalists or warriors (low­end sell­
  swords), and their culture should probably be local. The
  local mercenary band won’t supply a randomly rolled
  group of scholars from exotic far­off lands.
  allies and traits
  Each individual or team/minions ally gets a trait (d20),
  which guides behavior. Some traits might look more
  appealing than others. For example, a “heroic” ally seems
  better to have than a “treacherous” one. There are benefits
  and drawbacks to each trait, noted in chapter 5’s persons,
  trouble, and persons in trouble (p.37). Traits are listed on
  the action sheet, and more details about the benefits and
  drawbacks of each trait are in appendix 8 (p.129).
  A player can use ally traits as window dressing to help
  change the odds of skill checks, and also to ask yes­no
  questions about their behavior. Allies are a good source to
  ask for trouble. An ally’s personality traits can also come
  into play at other trigger points, for example when an
  unexpected event happens.
  allies and skill checks
  The player can always choose to let one or more allies
  take point and make a skill check without the player
  character’s involvement. That might be, for example, to
  compensate for the player character’s weaknesses in
  some skills. More cynically, the allies making the skill
  check can shield the player’s character from a dangerous
  outcome, for example the consequence of failure when
  defusing a bomb.
  Another possibility is for the player’s character and one
  or more allies to combine efforts for one skill check. One
  ALLIES AND PLOT STRESS
  To illustrate when to, and when not to increase plot stress
  for skill checks, and whether a skill check can contribute
  toward meaningful success in a scene:
  Arthur and Toni are trying sneak into deceased
  Greta Havik's boudoir to look for clues. The player
  decides to roll two sneak skill checks separately. Arthur's
  (the player character's) check increases plot stress, and
  may count toward meaningful success. Toni's (the ally's)
  check neither increases plot stress nor counts toward
  meaningful success. If Toni's skill check fails, it's up to the
  player to figure out what happens next, but there is a
  consequence for Toni. Probably she makes a noise heard
  by house help that comes to investigate. While the failed
  skill check only affects Toni directly, Arthur may also
  need to deal with the fallout of Toni's failed skill check.
  Arthur and Toni try to break down a door
  together: In this case Arthur is the primary and Toni is
  assisting. The check increases plot stress and can count
  toward meaningful success. The consequence of a failed
  skill check (e.g., attracting the wrong kind of attention, or
  suffering a minor injury that prevents the pair from re­
  trying this kind of physical attempt) would affect both
  Arthur and Toni.
  Later, Toni is conducting research on some pills
  they found in Greta Havik's boudoir, assisted by Arthur.
  Toni is the primary for this skill check and Arthur is
  assisting. Since the player's character is still involved, the
  check increases plot stress and may count toward
  meaningful success. The consequence of a failed skill
  check (e.g., getting entirely wrong information about the
  pills and/or someone possibly finding out about the
  search) will affect both Arthur and Toni.
  It's possible for some types of skill checks to be
  separate rolls or one group roll. For example, Arthur and
  Toni might search an area for clues individually; or they
  might work together for a single roll. It depends on the
  player's taste and the RPG ruleset. Whatever the player's
  decision, any failed roll carries a consequence for the
  player's character and/or allies that fail. The roll may only
  contribute toward meaningful success for the scene (and
  increases plot stress) when the player's character is
  involved in the roll.
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  character makes the skill check, the other(s) render
  assistance. Use common sense, or if the situation is tough
  to pin down, ask a yes­no question for when a skill check
  can only be made by one person; when two or more
  people can coordinate their efforts; when everyone in a
  group needs to make a skill check separately; and when
  to make one averaged skill check for the group, or to
  default to the character with the lowest skill. Libre Solo
  Role Playing’s RPG rules in chapter 10 have instructions
  on when and how to handle these different types of group
  collaborative actions.
  The player can choose who in the player character’s
  group will participate in a skill check, and who will sit
  out. If the player’s character participates, the skill check
  both increases plot stress and can qualify toward
  meaningful success in an obstacle scene. Note that the
  player’s character doesn’t have to lead the skill check,
  and doesn't even have to be competent enough at helping
  to lend a bonus. Just participating is enough to increase
  plot stress and qualify for meaningful success. If the skill
  check is only made by allies and the player’s character
  isn’t involved, then the result doesn’t increase plot stress,
  but it also never counts toward meaningful success.
  Consequences from a failed skill check directly affect
  everyone who participated. Anyone who didn’t
  participate, doesn’t bear the consequences directly. Often
  that point is moot, and the entire player character’s group
  needs to deal with consequences of failure regardless of
  who caused it.
  experience and rewards
  One of the downsides of recruiting allies to participate in
  a mission is having to split experience and wealth. Each
  ally gets an equal share of rewards that come the player
  character’s way during the mission. Treat teams and
  minions as one ally for dividing treasure and experience.
  If some valuables are hard to split into equal divisions,
  the player might make a social skill check as part of a
  final cutscene, where the player’s character proposes
  some other split. Like any other skill check, the player
  needs to have a consequence in mind before picking up
  the dice. A failed roll should mean that valuables are
  MORE ON SHARED CONSEQUENCES
  Here are a few more examples of consequences and how
  they would be shared among the player character's group.
  Arthur Falcone and his assistant Toni Graham
  separately try to sneak past the Havik mansion's servants
  into deceased Greta Havik's boudoir to look for clues. If
  either fails the skill check, only that character makes noise
  and is heard by the help, who comes to investigate. Arthur
  and Toni are together, so even if only one was heard by
  the help, both have to deal with the fallout.
  Later, Toni and Arthur team up to try and move
  a bookcase to see what's behind it. The player asks for
  trouble with a yes­no question that notes the bookcase is
  top­heavy. A failed skill check brings it crashing down as
  a consequence, the noise alerting everyone in the mansion.
  Based on the trouble, the player might also decide as part
  of the consequence that anyone who tried to move the
  bookcase might get pinned; only the characters who
  participated in the failed skill check take the risk of getting
  trapped and/or hurt.
  POSTHUMOUS REWARDS
  Do NPCs who died or left during the mission still get an
  equal share of treasure? Do NPCs who died, left or were
  dismissed during the mission get experience? Yes, they do.
  The details of how to handle these matters is up
  to the player, who should take the setting and the
  relationship between the player's character and any
  departed allies into account.
  The one sure thing is that the player cannot
  recruit allies, then dispose of them just before the end of
  the mission so that the player's character gets all the
  mission's experience, valuables and glory. Each individual
  NPC and each team/minion contingent gets a fair share.
  For the unfortunate deceased, assume the share is passed
  on to any next of kin.
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  6.allies and rivals
  divided in a way that isn’t as favorable to the player’s
  character. If the player is using Libre Solo Role Playing’s
  RPG ruleset, chapter 13 has rules for awarding, dividing
  up and using experience points; chapter 14 has optional
  rules for generating treasure and rewards.
  If the player plans to tell more stories using the same
  setting and characters in the future, check at the end of a
  mission for advancement of any allies. With minions and
  teams, the RPG ruleset lets the player ask a yes­no
  question at the end of a mission: “Did a member of this
  team/minions advance?” Set the odds based on how much
  action (in terms of skills and conflicts) the team or
  minions saw during the story, and make a roll. If the
  answer is yes, the player can promote one member of the
  team or minions to become an individual NPC, as a more
  powerful named ally; other surviving members remain
  part of the team or minions. Chapter 13 has more details
  on this approach: You may even want to use this rule with
  your third­party RPG of choice, to promote lowly
  minions into adventurers capable of standing alone!
  Once a member of a team or minions becomes an
  individual ally, the player will need to recruit that person
  separately from the team/minions. The player will need to
  make a separate social skill check and follow­up yes­no
  question to ask that standalone NPC to join the group.
  dismissal
  It’s possible to release an ally or a team/minions at the
  end of any scene. The player can optionally play the
  dismissal as its own cutscene, for example to gather
  additional information while letting the ally go.
  There are two restrictions for the player to release allies
  from the player character’s group. First, the individual or
  team/minions still gets an equal share of valuables the
  player’s character might have uncovered up to that scene,
  an equal share of the rewards for completing the mission
  if it succeeds, and a share of the experience. Second, the
  dismissal needs to happen away from immediate danger.
  Cutting loose an urban socialite in the middle of a deadly
  jungle wilderness isn’t an option. Once an ally has been
  dismissed from a particular mission, that contingent will
  RIVAL ON THE SCENE
  One great player benefit of a recurring rival is that rivals
  are good both to ask for trouble and for coming up with
  inventive skill checks for the player character's group in
  an obstacle scene. Another big benefit is that the rival, no
  matter how awful a villain, shouldn't want the player
  character dead outright (but may aid foes that do).
  One scene example we've drawn upon a few
  times across these chapters is Arthur Falcone's going into
  a gambling den to try and confront some crime bosses,
  which goes badly wrong. The player can't easily bring
  Falcone's rival police detective Emily Chan into the
  middle of the active scene. Emily's chance appearance
  mid­scene is too unlikely to ask as a yes­no question. An
  unexpected event might bring the police detective into the
  scene, but the chances of that happening are slim.
  The player closes out the scene with Arthur
  Falcone seized by crime family thugs, about to get a
  beating and maybe worse. But the player might open a
  follow­up scene choosing the rival police detective as the
  key person of interest. Maybe the crime bosses will reach
  an understanding and hand back the nosy private
  investigator over to Emily with a stern warning? Or
  maybe the scene plays out with the captured Falcone
  caught in the center of a police crime bust? By judging the
  likelihood of how Emily might appear on the scene, and
  asking a yes­no question or two, the player can firm up the
  follow­up scene. Either scenario gives the player lots to
  play with for the follow­up scene. If Arthur does get freed,
  he may be in more hot water with the police detective!
  A sample collection of skill challenges for such
  a follow­up obstacle scene might be: notice or empathy to
  catch details about the relationship between Emily and the
  crime bosses; negotiate or deceive Emily and/or the crime
  bosses, so everyone believes Arthur won't keep sticking
  his nose where it doesn't belong; and savvy to interact
  with one of Emily's officers, who may have more
  knowledge at this point about the case than Arthur does, to
  get him to open up about what's really going on. This final
  check, if successful, might disclose a new rationale (d20),
  or the player might use it to change the main mission or
  generate a side goal mission (d20).
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  allies and rivals.6
  not rejoin unless the player’s character goes back through
  recruitment all over again. Since experience and
  advancement is only done at the end of a mission, a
  dismissed ally doesn’t advance, despite taking a share of
  experience and treasure.
  rivals
  Recurring rivals are an optional rule. Like allies, rivals
  can come from the player character’s background. They
  represent a recurring opposing character, one who might
  appear at any time or place across scenes and missions to
  thwart the player character’s goals.
  One way to generate a new rival or have a recurring one
  appear on a scene, is through rolling an unexpected event
  (d20) that has a new person arrive on the scene, with the
  focus of “self or rival”, or “foe or rival” as a result.
  Another way for a rival to appear might be by the player
  asking for trouble in an obstacle scene, or selecting the
  rival as a person of interest at the start of a scene.
  Rivals have competing goals to the player’s character.
  That causes conflicts of interest, but shouldn’t escalate to
  deadly combat. Some possible types of rivals might be a
  professional who faces off against the player’s character
  in the same area of expertise; or a talented member of an
  organization that opposes the player character’s patron.
  Rivals are valuable to the player because, like foes, they
  can be a foil against which the player’s character can set
  up skill checks in obstacle scenes, and ask for trouble.
  Rivals as a rule aren’t out to kill the player’s character
  directly, but they might help less considerate foes. The
  player’s character similarly shouldn’t be trying to kill a
  recurring rival. Instead the player’s character might try to
  outwit or avoid the rival, or bring the rival to justice.
  There is a common story trope of rivals who set aside
  their differences with protagonists, to work together and
  achieve a common goal. In that spirit, it’s always possible
  for the person in the initial cutscene to be a rival; or for
  the player’s character sometimes to recruit a rival as an
  ally for a mission. Those scenarios will have no shortage
  of opportunities for the player to ask for trouble. k
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  7) ENCOUNTER SCENES
  Encounter scenes were first covered in chapter 2. These
  types of scenes involve the player’s character in direct
  conflict with a group of foes. The player character’s
  group must win this conflict, defeating the opposing foe
  group, for the player to achieve a meaningful success for
  the scene. In many role­playing games and settings,
  conflict means combat.
  Instructions for building a foe group is in appendix H, I
  and J (p.136) and on the action sheet, under “encounter
  scene foe groups.” The player generates a foe group by
  rolling a d10 twice, multiplying the results (d10xd10) for
  a total point budget. The player then rolls randomly or
  selects results that make sense from the foes table (and/or
  beasts and monsters), spending down the point budget
  until it reaches zero or less. The results may need creative
  interpretation. The player can switch foe roll results for
  others at the same point cost that work for the setting
  (e.g., mindless minions or automaton might not apply in a
  setting without magic or high­tech). Once the foe group is
  assembled, the player rolls a rationale (d20) for the
  overall demeanor of the group at the start of the scene.
  advantage of place and scenery
  Based on the foe group’s rationale, the place, scene
  qualities and the player’s overall idea for the scene, the
  player should use common sense in setting up a foe group
  in an encounter scene. Consider for example whether the
  foes are traveling or at rest. If they are at rest, they could
  be in a temporary shelter or permanent lair, or if in a
  civilized area, in a public or private place.
  The scene’s place should guide window dressing related
  to the foe group’s defensive stance. The foe group should
  take advantage of scene qualities and other window
  dressing. An obvious example would be a place such as
  “fortress” or “keep”. A defending foe group should be
  entrenched and well­defended there.
  first detection
  The upper hand in an encounter scene can hinge on which
  side detects the other first. When setting up a scene with
  foes, it’s up to the player to decide if each side knows the
  GENERATE A FOE GROUP
  A player using the GM engine with a science fiction
  setting is assembling an encounter scene: The player
  character's group is approaching the private chambers of
  a heinous intergalactic villain.
  The player starts by rolling d10xd10 to create a
  foe budget. The result is a 7 and 6, multiplied together for
  42 points.
  The player rolls for a first foe and gets "d100,
  Talented" costing 10 points. He rolls a person and gets
  "specialty academician". Knowledge is power. This
  should be a dangerous individual.
  Next the player rolls "d100, average" for 5
  points. He rolls a random d100 person and gets "royal
  family". This will be someone of authority in the setting,
  who the player decides is part of the villain's inner circle.
  The next roll is for captive(s) at 0 points. He
  rolls a d100 person and gets "rogue guild/smugglers".
  Nothing obvious fits the bill, so the player sets that aside
  for now as a person of interest to be determined.
  The next roll, "add leader" is worth 10 points.
  The occupation is "setting skill specialist" (and culture is
  "majority/native"). The player decides this is a psionicist.
  The final roll is "average quality minions"
  worth 3 points apiece. The player changes that to an
  equivalent average quality team, with a culture and
  occupation. For culture/occupation, the player rolls
  "generalist" and "affiliated/neighbor". The player decides
  these are members of the royal guard, rolls d10 for
  number and gets 6 members, costing 18 points.
  The total spend on foes is now 43 points, 1
  point over budget. The player stops here, and begins to
  stat up the collection of foes.
  Given the player's scene setup, the foe group
  should be prepared, entrenched in defensive positions.
  The player decides that, thanks to the specialty
  academician's knowledge, the foe group knew well in
  advance that the player character's group was coming.
  The player character's group is badly
  outmatched by the nine foes in the foe group, and the
  player starts looking into converting the planned
  encounter scene into an obstacle scene instead, to try and
  avoid a fight the player character's small group of allies
  probably cannot win.
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  encounter scenes.7
  other is there (the default); if one side is unaware of the
  other; or if each side is unaware of the other. As a rule, a
  group that is unaware (but reasonably vigilant) has up to
  three opportunities to detect the other. The player can set
  the detection probability based on how large, distracted
  and/or noisy each group is, the type of place, and any
  applicable scene qualities and window dressing. As in
  other cases, scene qualities have a magic effect for
  detection bonuses or penalties. If one side is not trying to
  be (or just plain not) stealthy, crank up the likelihood of
  detection, or else skip rolling and declare that one group
  is aware of the other.
  When conditions are ideal, the first possible detection roll
  will be at extreme range, the outer edge for missile
  weapons in the player’s setting. The second possible
  detection roll is at medium range, standard missile
  weapons range in a setting. An unaware group always
  makes a detection roll at close range, which is just before
  melee combat starts. In a bronze age setting, those three
  detection rolls might be bow range of around 100 yards
  (extreme), bow fire at 30 yards (medium) and thrown
  weapons/melee at 10 yards (close). In a modern setting,
  gun range might be about 300 yards, 60 yards and 10
  yards.
  These sample ranges are based on ideal conditions. If one
  side is being sneaky, the player can look at the place and
  scene qualities and decide to skip the extreme range roll,
  and sometimes even skip the medium range detection
  roll. Examples where detection at extreme range
  shouldn’t be rolled: Indoor or underground places,
  crowded public places, and areas with thick vegetation or
  poor lighting. If one side misses its opportunities to detect
  the other, the unaware group can be ambushed,
  unprepared for the (missile fire or melee) attack. Libre
  Solo Role Playing’s RPG rules cover how to handle
  surprise ambushes in chapter 11.
  Use common sense in figuring out foe group tactics.
  Mindless foes attack with no strategy or self­preservation.
  Smarter foes might not rush headlong into direct conflict.
  They might organize, entrench or retreat against a
  dangerous foe, try to parlay or even flee from superior
  forces. Some foe groups may enter conflict with a
  ENCOUNTER SCENE DETECTION IN
  PRACTICE
  Our intrepid investigator Arthur Falcone has gotten the
  address of some small­time local criminals who were
  seen lifting goods from the Havik estate the night that
  millionaire heiress Greta Havik disappeared. Arthur has
  found and paid some toughs to be his backup, and is
  ready to move on the house where the burglary suspects
  are holed up. While it might make a good obstacle scene,
  the player decides to set up an encounter scene. To
  achieve meaningful success, the player character's group
  needs to defeat the opposing foe group in a conflict.
  Since Arthur and his allies know the criminals
  are in the house, his side doesn't need to make any
  detection rolls: They know there are foes nearby. The
  player rolled up the foe group and their rationale:
  "celebrate/fest". Arthur and his ally team arrive in two
  cars that they park out of sight; they approach on foot.
  The player decides not to roll for the foes to detect
  Arthur's side at extreme range. It's a dense housing area
  with plenty of other vehicle and foot traffic.
  The second detection roll would be at medium
  range, but the player again rules Arthur's group doesn't
  stand out until they are adjacent to the property, at about
  20 yards. Arthur sneaks in on his own first and cases the
  place. He's not good at stealth, but between the scene
  qualities and the foe group's rationale (the player rules the
  burglars are chatting and drinking beer), the investigator
  is at low risk of being seen and makes the skill check.
  After seeing the coast is clear, Arthur signals
  his reinforcements, who pull around to the back door.
  Arthur tests the door, at which point the player asks the
  yes­no question: "is the door locked?" (This is asking for
  a break, not asking for trouble. In this setting and
  neighborhood, house doors should be locked).
  The player decides that once Arthur and his ally
  team tries to open the door and sneak in, the foe group
  gets its close range notice skill check. If the foe group
  makes its roll, the conflict starts without surprise at close
  (melee) range. If the foe group of burglars fails its close
  range notice skill check(s), they are surprised.
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  7.encounter scenes
  specific objective, such as capturing the player’s
  character for ransom or interrogation. Disciplined and
  trained foes may have group tactics for skirmishing, or
  form effective military formations. Animals and less
  disciplined foes flee from deadly threats if they can.
  encounter scene to obstacle scene
  Generating encounter scene foe groups is very dangerous.
  The player might end up with a foe group that threatens
  to overwhelm the player character’s group in a conflict.
  The player can avoid a potential slaughter and still try for
  meaningful success by converting the encounter scene
  into an obstacle scene.
  It’s easy to make the swap from one to the other: The
  player abandons direct conflict, and instead re­tools the
  scene with obstacle scene objectives. That means
  thinking up three at least moderately difficult skill checks
  for the player character’s group, and asking for trouble
  three times. But the scene itself doesn’t change and the
  foes don’t go away. The player will need to think through
  what skill checks work with, and better yet play off, the
  foe group’s presence on the scene. Examples might be
  trying to scout on the foes’ encampment while remaining
  undetected; trying to capture and interrogate a guard for
  information; trying to steal plans or supplies from the
  camp; or trying to sneak past the camp’s outlying scouts,
  guards and traps.
  Having a big foe group on the scene can make for major
  consequences when a skill check goes wrong. The player
  can get backed into a corner and be forced into direct
  conflict. The player’s character and/or allies might be
  captured, injured, possibly killed. If the player flips to an
  obstacle scene, and later in the scene defeats the foe
  group, that can only count as one successful skill check
  toward a meaningful success.
  If the player can’t resolve the scene in a way that gets the
  character disentangled from the foe group, the follow­up
  scene might be dire. The player’s character might have
  been taken prisoner, leaving the player to try and figure
  out the next scene as a daring means of escape!
  ENCOUNTER TO OBSTACLE
  EXAMPLE
  Earlier, we gave an example of a science fiction
  encounter budget that included a knowledge specialist, a
  person of authority, a psionicist and a team of 6
  competent guards. The player doesn't see much chance
  for the player character's group to defeat a force this size.
  Before even opening the scene, the player decides to
  swap this deadly encounter scene for an obstacle scene.
  As is usual for a foe group, the player rolled a
  dominant group rationale: "respect/grateful". It also made
  sense, given the knowledge specialist, to ask: "does the
  foe group know the player character's group is there?"
  That's not asking for trouble. The player already
  considered that the knowledge specialist should be in the
  know, so the player is asking for a break. The player sets
  the yes­no question at very likely to be yes.
  The player now jots down three skill checks the
  player character's group might try to make. The player
  decides that the player character's group first needs to
  notice it is being monitored and realize it has been found
  out. If that notice skill check roll fails, the player
  character's group will be in a bad place, as the foe group
  moves in for an ambush. The other skill checks the player
  jots down for the converted obstacle scene are to deceive
  the foe group by creating a distraction; perhaps running
  or hardy to escape the danger; and spaceship pilot to
  commandeer a small vehicle and attempt a getaway (the
  player narrated before the start of the scene through
  window dressing that the villain's hideout has hangars
  full of various types of spaceships).
  If any of these skill checks goes wrong, the
  player character's group could end up facing a superior
  force. If the player character's group gets hemmed in by
  foes, they might try a desparate and daring escape
  attempt, or else drop fighting or surrender. If the player
  throws in the towel while cornered and outnumbered, it
  will make for a difficult follow­up scene. The player
  might have the surviving members of the player
  character's group stripped of equipment and weapons,
  and start the next scene with the group separated and
  restrained.
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  encounter scenes.7
  obstacle scene to encounter scene... and back
  The player can also decide to swap an obstacle scene into
  an encounter scene. The player might switch the scene’s
  goal after missing too many skill checks, deciding it
  makes more sense to try for meaningful success in the
  scene by starting a conflict instead.
  To swap from an obstacle scene to an encounter scene,
  the player tosses out all successful skill checks and asking
  for trouble that happened so far in the scene. The player
  rolls d10xd10 to generate a foe budget and build a foe
  group, as described in appendix H, I and J (p.136) and on
  the action sheet. The player can subtract the point value
  of any foes already in the scene, but needs to find a
  logical way to introduce extra rolled foes into the scene
  for the conflict. The player can narrate how these
  reinforcements arrive in the scene, maybe helped along
  by one or more yes­no questions to clarify what happens.
  The player might also want to change over from an
  obstacle scene to an encounter scene ­­ then decide after
  rolling up the foe group that the conflict stakes are now
  too high, and want to change back to an obstacle scene.
  That’s possible. But once foe group is rolled up, it will
  arrive in the scene and there’s no turning back. To revert
  back to an obstacle scene, the player starts all skill checks
  and asking for trouble from scratch. The player needs
  three new, different successful skill checks and three new
  times asking for trouble to achieve meaningful success
  for the reverted obstacle scene. Once the player swaps
  back to an obstacle scene, even if the player character’s
  side somehow does defeat the foe group after all, that
  effort can only count as one successful skill check.
  Swapping scene types back and forth is punishing for the
  player. It’s probably easier for the player to throw in the
  towel, either to try and close the scene cleanly or else
  start a follow­up scene. The most straightforward option
  to close a scene that is out of control is for the player
  character’s group to flee the arriving foe group. If the
  player can’t resolve the scene as a clean escape, a follow­
  up scene might have to start with the player’s character
  cornered, captured or otherwise in a very bad place ­ once
  again, a chance to plot a daring means of escape!
  OBSTACLE TO ENCOUNTER
  EXAMPLE
  One of the starting chapters on scenes had examples of
  scene interpretation and window dressing. The player
  interpreted a scene with investigator Arthur Falcone in a
  crowded basement gambling den with poker tables, a foul
  mood among the gamblers, some cocktail waitresses, and
  a clean­cut, dangerous­looking bouncer at the entrance.
  The player had an initial plan in store for the
  scene, that Arthur would try to get into a back room
  where some crime bosses were holding a meeting. The
  player's planned skill checks were: Bluffing (deceive) to
  get into the gambling den; chat up a blackjack dealer
  (empathy) for information about the bosses; and sneaking
  through a door to the bosses' back room.
  That's not how it happened. After several failed
  skill checks, asking for trouble and an unexpected event
  or two, a bouncer is making a beeline through the crowd
  towards Arthur to throw the investigator out of the club.
  The player might use the bouncer as a foil for
  skill checks. If Arthur defeats the bouncer in a brawl (if it
  is at least a moderately difficult conflict) that secures one
  skill check towards meaningful success. But the player is
  nowhere near the three skill checks and three times
  asking for trouble to resolve the scene. So the player
  decides to switch over to an encounter scene. To get
  meaningful success, the player now just needs to generate
  a foe group and have Arthur defeat it.
  The player picks up the dice, rolls d10xd10 and
  gets 9 and 4, for a 36­point foe budget for the encounter.
  The player decides the soldier already on the scene is
  "d100, talented," a foe worth 10 points. That's a good
  start, but there are still 26 points left to fill.
  The player next rolls "average mindless
  minions," which he translates into an average team of
  generic thugs. For the d10 number of members, the
  player rolls 9: at 3 points apiece, that takes up 27 points,
  going 1 point over to fill the 36­point total budget.
  Only after Arthur starts swinging does he notice
  bruisers pouring out of the back door and from dark
  corners, sending the crowd into a panic. Tough luck. It
  looks like Arthur may end up meeting the crime bosses
  for the next scene, but not the way he planned.
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  7.encounter scenes
  conflicts, plot stress and success
  Whether it’s physical combat or some other conflict, each
  round where the player’s character takes an action that
  involves a skill check increases plot stress by 1. In a
  conflict, individual rolls don’t count towards meaningful
  success. But if the player judges that a foe or foe group
  was at least moderately difficult for the player character’s
  group to defeat, victory contributes one successful skill
  check toward meaningful success for an obstacle scene.
  structured questions for foes
  Just like there are structured questions for persons, there
  are also structured questions for foes, which are listed on
  the mission sheet and in appendix 7 (p.128). These are
  key questions that the player’s character can ask a foe.
  Even if they have been captured, subdued or otherwise
  neutralized, foes are never cooperative. Unless there are
  exceptional circumstances, asking any structured question
  for a foe requires some kind of social skill check to
  succeed. Like with other skill checks, any failed social
  skill check has a consequence. Foes typically shut down
  and stop cooperating, ending any questioning. Depending
  on the information the player wants out of the dialog with
  the foe, some structured questions won’t be relevant or
  appropriate and shouldn’t be asked.
  If the social skill check succeeds, the player character’s
  group can get an answer to one question from the foe (as
  with other dialogs, use the rules for exposing the
  unknown). This is one way the player character’s group
  might get additional valuables or items that might be
  relevant to the player character’s mission. The yes­no
  question might uncover the rationale that led the foe into
  conflict, or provide information about a person or another
  foe who is affiliated, or even a patron of the foe. A
  separate successful social skill check and yes­no question
  might pinpoint the place of that person or patron. The
  player can round out the rationale (d20), person (d100),
  foe (d20) and/or place (d20) through successful social
  skill checks and yes­no questions. Just as with structured
  questions for persons, the player can also break away
  from the structured questions guidelines to ask other yes­
  no questions that move the story forward. k
  INTERROGATE A FOE
  Arthur Falcone managed to escape the gambling den
  from a previous scene. After giving the pursuing thugs
  the slip, he even managed to single out a guard and
  ambush him in a dark alley outside the club, knocking
  him out.
  The player decides to close the existing scene
  and set up a follow­up cutscene to interrogate the
  captured thug. The interrogation didn't have to be its own
  cutscene, but the player liked the idea of taking a break
  from the action without having to worry about achieving
  meaningful success or throwing in the towel.
  The player sets up the cutscene in a nearby
  alley, with Arthur holding the guard (the person of
  interest he selected for this scene) by the shirtfront in the
  inky shadows. The player reviews the structured
  questions for foes, and decides to skip questions about
  valuables or items. The investigator isn't looking for
  either.
  The player does want Arthur to find out why
  the crime bosses are after his client (i.e., "what is the
  reason behind the hostilities?"). The investigator growls:
  "Ever heard of Peter Havik­Stand? Your people put out a
  hit on him. Why?" The player makes an intimidate skill
  check; if it's successful, the player can then ask a yes­no
  question about whether the thug has an answer. If the roll
  result is yes, the player generates a rationale (d20).
  If the intimidate skill check fails, the thug
  would just clam up, maybe even shout for help. If the
  skill check succeeds but the yes­no question comes up no,
  the thug might respond: "I have no idea what you're
  talking about. You're the one who started swinging in the
  club, remember?"
  But let's say the yes­no question comes up yes.
  The player rolls a rationale and comes up with
  "anxiety/fear". The player could ask yes­no questions to
  clarify, but runs with the first explanation that comes to
  mind: "it's not us," the thug sobs, "somebody higher up
  wants him taken out!" With another successful social skill
  check and successful yes­no question, Arthur might get
  the answer to: "the source person/encounter behind the
  hostilities".
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  structured questions for foes
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  FEWER YES­NO QUESTIONS
  Let's say a player's character in a modern day setting fails
  a skill check to pick a lock on a door. The failed skill
  check means a consequence.
  It's possible the player might not roll any yes­no
  questions, and decide (and narrate) that the character
  managed to unlock the door, moving the action forward ­
  but as the character pushes the door open, it trips a motion
  sensor, an alarm goes off and the area is alerted of the
  intruder's presence.
  The player might have other possibilities for
  consequences in mind. In that case, the player asks the
  yes­no question: “does an alarm go off?” If the answer is
  no, the player's alternative idea for a consequence might
  be that as before, the character gets the door unlocked, but
  the lockpick jams in the lock, destroying the equipment
  and leaving clear evidence of a break­in. Again, the player
  can stop here and decide that's what happens.
  But let's say the player is really up in the air and
  feels it's important to keep asking. Therefore the player
  rolls a second yes­no question: “does the lockpick get
  jammed inside the lock?” If that answer is also no, then
  the player must stop asking yes­no questions and run with
  whatever the third­likeliest option is. The player narrates
  that while the player's character was picking the lock,
  someone unexpectedly opens the door from the other side,
  leaving the player's character surprised and in a
  compromising position.
  All three options are fitting set­ups that move
  the action forward, prompting more skill checks and
  opportunities to ask for trouble. The player had in mind
  what the branches of yes and no meant before picking up
  the dice. It's okay if a rolled no result triggers a follow­up
  yes­no question.
  8) YES-NO IN PRACTICE
  It’s easy to fall down the rabbit hole of asking too many
  yes­no questions: don’t lean on yes­no questions for
  detailed explanations. Put together one or two likely
  answers to the question, ask the most likely, and interpret
  the rolled answer as much as possible based on what’s
  known about the game setting and the scene. If necessary,
  ask a follow­up yes­no question, but again try to generate
  and infer details instead of asking too many questions.
  There is no one right or wrong way to use yes­no
  questions. But since each question increases plot stress by
  1, it’s better to limit yes­no questions to situations that
  matter to the story, where each likely outcome makes a
  difference. Use fewer questions and make them count.
  rule of three: third guess is the charm
  It’s been said several times before: When asking a yes­no
  question or making a skill check, the player should
  already have in mind what the roll results for yes and no
  both mean. Avoid yes­no questions when there is only
  one good answer; don’t get caught grasping at straws if
  the roll result is no.
  If a yes­no question has just one logical and rational
  answer and no possible alternatives, that’s the answer.
  Don’t ask a yes­no question to confirm the assumption,
  just make it so. If the player can come up with two solid
  possibilities and the first yes­no question roll result
  comes back no, the alternative assumption is correct. If
  the first and second assumption both come back no, stop
  rolling and run with the third assumption.
  avoid double jeopardy
  Chapter 4 on skill checks stresses how important it is that
  success and failure both move the story forward. Failing
  forward means never just saying “no” when a skill check
  fails. If the player’s character fails a skill check, resolve
  the situation in a way that creates a setback or otherwise
  changes the circumstances and move on. Do not repeat
  variations of a skill check until it succeeds.
  The same holds true for yes­no questions. Once a yes­no
  question falls a particular way for a scene, let it ride for
  50
  8) Yes­No in Practice
  third guess is the charm
  avoid double jeopardy
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  8.best practices
  that scene. Don’t ask the same question in different ways,
  trying to get a different answer.
  parsing compound questions
  “Is there a bridge across the chasm that is guarded by
  goblins with treasure?” Assuming “chasm” was a pre­
  existing scene quality or window dressing, there are at
  least four separate yes­no questions here: Is there a
  bridge; if there is a bridge, are there goblins; if there are
  goblins, are they guarding the bridge; and if the goblins
  are there guarding the bridge, do they have treasure.
  The first advice is not to pack so much into a yes­no
  question: Ask what’s important, infer and narrate the rest.
  In the above example, the bridge is window dressing and
  the goblins are a foe. Both of those can be generated with
  yes­no questions, or each can be decided by the player. If
  there are goblins and a bridge, the player can infer that of
  course they are guards. Treasure may only be revealed
  after a search, which can fall under “rules for rewards” or
  “exposing the unknown.” In any case, try to pull apart
  compound questions and ask only what’s important in
  each yes­no question.
  While it’s usually not good form, it is possible to ask
  compound yes­no questions. The player still needs to
  parse the compound question into its components, and
  then assesses the likelihood for each individual part of the
  compound question being yes. The player starts with the
  probability of the least likely part of the question, and
  shifts the likelihood down 1 category (less likely) for
  each additional factor in the question. A rolled no result
  invalidates all parts of the question, and under the
  guidelines of avoiding double jeopardy, the player
  shouldn’t ask about any of those elements again for the
  rest of the scene.
  For the example of the bridge question above, maybe the
  player knows goblins are common in the setting, and they
  live in inhospitable places like chasms where they build
  all kinds of makeshift construction. The player sets each
  of these three parts at likely. But goblins are weak and
  don’t have much hope of holding onto treasure, so the
  player assesses that chance is just 50/50 moderate. The
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  best practices.8
  compound question’s likelihood starts at 50/50 moderate
  (for goblins to have treasure), then drops 1 shift less
  likely each for the bridge, the goblin presence, and
  whether the goblins are guards. Three shifts down from
  50/50 moderate means the yes­no question’s chance of
  being yes is nigh impossible. No would mean there are no
  goblins, no bridge, and obviously no guarding or treasure.
  The player should reconsider whether such a convoluted
  compound question makes sense to ask.
  structured and unstructured questions
  Structured questions are listed on the mission sheet and in
  appendix 7 (p.128). These are sample guidelines that
  players can use when their player’s character interacts
  with another person (including patrons and allies), or has
  leverage to question a foe. Structured questions are only
  guidelines to help focus the interaction’s outcome and
  move the story forward and it’s fine for the player to go
  off­script from structured questions. A player can
  improvise dialog as part of, or in addition to, structured
  questions. Consider if a social skill check is needed when
  the player’s character asks for information or favors, and
  have immediate consequences in mind if a social skill
  check fails.
  One point of structured questions is that the player should
  only ask some questions of some people, some of the
  time, based on what is appropriate for the scene. Many of
  the requests, particularly asking for favors or information,
  should only be asked of the right person under the right
  circumstances. Use common sense. Someone can’t hand
  out new mission objectives, or supply a jet fighter, just
  because they’re a person of interest in a scene. People
  don’t willingly hand over their wallet or car keys.
  GAMEPLAY IN PRACTICE
  avoid the impossible
  “Your mission is to capture a nuclear submarine from the
  Soviet army. Here’s a spoon and a bus ticket. Good luck.”
  It’s good to be ambitious. But when putting together a
  52
  WHAT HAPPENS FIRST? WHAT
  HAPPENS NEXT?
  All this discussion about gameplay might make
  sense in theory. But when it's time to start a story, the
  player might draw a blank, staring at a blank mission
  sheet and stumped about where to begin.
  For ideas, look back to the player character's
  concept and the setting. Is the setting about action and
  adventure, drama, mystery, horror, comedy or some
  combination? Come up with a rough idea for a starting
  cutscene, usually a place where the player's character
  would talk business with a patron or person of interest.
  Consider what the player's character does well, and pull
  the story toward those skills. Use the information around
  the cutscene ­ place, scene qualities, the patron or other
  person of interest, the assigned mission and the
  conversation (using structured questions for persons) with
  the patron/person in the scene ­ all are clues to help shape
  ideas for what should, or might, happen next.
  The mission and other information from a
  starting cutscene should build ideas and momentum for
  the player to decide what the next scene should be. Scene
  qualities will modify that idea but also provide new cues.
  The action and information in each scene should help
  guide what might happen next. The player should go big
  and bold with the plot: There's no achieving meaningful
  success without taking risks, accepting setbacks and
  consequences, and entering into conflicts.
  During a scene, focus on what's logical for
  what may happen: If in doubt, a yes­no question always
  helps. What's logical will depend on the genre: Only a
  horror story might have a terror from beyond time and
  space in the basement of an abandoned building.
  Consequences and asking for trouble should
  focus on similar logic: If the skill check fails, what could
  reasonably go wrong? If there's trouble, what's a
  reasonable danger, threat or setback that affects the player
  character's group?
  If in doubt, jump into story, assemble the scene
  elements, make a best guess on how they fit together, and
  narrate your way forward. Your story will get its legs and
  build momentum.
  structured and unstructured questions
  Gameplay in Practice
  avoid the impossible
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  8.best practices
  mission, consider what is possible or realistic for the
  player’s character to accomplish in a setting, even with
  the help of allies.
  closing scenes and throwing in the towel
  When in the scene is it best for the player to try and close
  it? Closing a scene should happen after the action winds
  down naturally. The player character’s group shouldn’t be
  in any active conflict, should be able to leave the area at
  will, and any outstanding trouble or consequences should
  be resolved.
  It’s easier for the player to figure out when a scene should
  end if it achieved a meaningful success. For an encounter
  scene, there will be a natural break after all the foes are
  defeated and the scene’s conflict ends. For an obstacle
  scene, it’s when the player character’s group succeeds
  with three different moderate skill challenges, the player
  asked for trouble three times, and any outstanding trouble
  and consequences are resolved.
  It’s harder to find a breakpoint to close a scene when the
  player character’s group is failing skill checks and facing
  trouble, or is losing in a conflict, and the player decides to
  throw in the towel for the scene. Before trying to close
  the scene, the player needs to end any active conflict.
  Losing, successfully surrendering, fleeing, or negotiating
  for both sides to stand down are some possibilities for
  resolving a conflict. Next, the player should try and
  address any outstanding trouble or consequences. Finally,
  the player might need to make skill checks and/or ask
  yes­no questions that ensure the player character’s group
  can leave the area at will.
  The player can throw in the towel anytime, as long as
  there is no active conflict in the scene. But if there are
  any unresolved trouble or consequences, or if the player
  character’s group cannot leave the area at will, it forces
  the next scene to be a follow­up scene to deal with
  unresolved issues. No time passes between a scene and its
  follow­up, and there is no chance for recovery or other
  skill checks. The player has to deal with unresolved
  issues as penalties and setbacks in the follow­up scene.
  CUTSCENE CODA
  Cutscenes are a break in the action. That
  doesn't seem valuable when the player's goal is to use
  scenes for achieving meaningful successes. On the other
  hand, not being forced either to achieve meaningful
  success or else throw in the towel in a scene, definitely
  helps.
  If the player fails to achieve meaningful
  success and throws in the towel on an encounter scene or
  obstacle scene, the player risks having to deal with the
  consequences of failure in a follow­up scene scene. By
  contrast, a cutscene lets the player gather new
  information and amass resources. Consequences for skill
  check failures in a cutscene are typically contained and
  are relatively painless. The player rarely should be forced
  into a follow­up scene based on something that goes
  wrong in a cutscene.
  53
  CHAINING QUESTIONS
  With structured questions regarding allies and
  items, the player can decide that one successful skill
  check opens the door to multiple follow­up yes­no
  question rolls to supply resources ­ not force one social
  skill check per resource. Handle this by asking the
  follow­up yes­no question after each roll: "is there
  another (ally/item)?" Set the likelihood of each additional
  resource one shift lower than the last.
  For example, if the patron is nearly certain to
  provide one ally, a second ally is a very likely yes­no
  question roll, a third ally a likely roll, a fourth ally a
  50/50 moderate roll and so forth. Keep rolling until the
  yes­no question roll result comes up no, meaning that's
  all the resource there is available.
  The player can also chain questions for armor,
  to provide ongoing (but reduced) protection as it is
  damaged; or to itemize loot from foes, setting odds for a
  first item roll, and dropping by one shift for every
  additional item roll. That can turn a generic treasure loot
  of 1,000 silver pieces into a collection of gear, supplies,
  information and coin worth 1,000 silvers total.
  closing scenes and throwing in the towel
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  best practices.8
  If the player’s character is incapacitated, shut down the
  scene immediately. This is the only case where the player
  doesn’t need to roll a stress test to close a scene. The next
  scene does not have to be a follow­up, but the player’s
  character wakes up wounded, and the scene setup is
  likely to be grim.
  follow­up scenes
  There will be cases where the player decides it makes
  sense (or is forced) to start the next scene in the same
  place or nearby, immediately following the last scene. If
  it is in the same place, the new scene carries forward the
  qualities of the old scene, and can also inherit the place,
  window dressing, holdover foes, and possibly also
  persons of interest, items, and other elements.
  If it is shortly afterwards and/or not in the same place
  (e.g., the previous scene was in a building, and the
  current scene takes place on the street outside the
  building), then roll new scene qualities and convert the
  last scene’s qualities into window dressing. The window
  dressing might also include persons, items and window
  dressing from the last scene that is still relevant. As for
  carrying over foes, in a pinch a yes­no question can
  resolve whether foes from the last scene are present in the
  new scene; if in doubt, assume they are in pursuit.
  If a new scene happens shortly after a previous scene, no
  time has gone by to allow for healing or other skill
  checks. A player’s character and allies who are hurt don’t
  have time to recover from the condition.
  retrench a scene opening
  It’s possible that a player envisions one type of scene to
  happen. For example, the player might assume the next
  scene starts in a dank cellar, where the player’s character
  is trying to rescue a captured fugitive. Then the player
  rolls scene qualities, and comes up with “crowded,”
  “streets/alleys” and “music” (see sidebars). What now?
  The scene is different from what the player expected.
  First, the player can always ask yes­no questions and use
  the answers to adjust the scene and fit the new
  RETRENCH A SCENE OPENING,
  PART 1
  Drawing from the example in the main text, the
  player just finished a scene where the player's character
  snuck through a house of cultists, who supposedly hold a
  fugitive in the cellar that the player's character is trying to
  rescue. The player intends to start in the cellar with an
  obstacle scene to free and escape with the fugitive. But
  the randomly rolled scene qualities don't line up with
  those plans. The roll results are "crowded",
  "streets/alleys" and "music". The setting context is
  modern and gritty.
  The player thinks through the factors, and
  decides that at the start of the next scene, the player's
  character spilled back outside the house to avoid
  detection. The player narrates that the house is at the edge
  of a crowded downtown shopping district, and that there
  are sidewalk sales that are causing the commotion. The
  scene starts outside the house, but the player's character
  could sneak back in, maybe finding some advantage from
  the scene qualities of nearby crowds and noise.
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  follow­up scenes
  retrench a scene opening
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  8.best practices
  circumstances. Use common sense and draw logical
  conclusions. The player has less room to retrench after
  throwing in the towel on the prior scene, and/or if the
  player left some trouble or consequences unresolved. In
  that case, the player needs to carry forward the
  consequences of failure from the prior scene, and account
  for other trouble or consequences from that scene.
  In some cases, scene qualities just might not apply, for
  example forests on a cruise ship in the open ocean or out
  in space. In these cases, interpret as loosely as possible,
  and drop scene qualities that just don’t fit at all. With a
  scene on a lonely scout ship out in deep space, for
  example, some scene qualities won’t work no matter how
  loosely they are interpreted.
  foes enter a closing scene
  There will be times when the player tries to close a scene,
  tests plot stress for closing and ends up rolling an
  unexpected event that generates a random foe. In some
  cases (for instance if the player is finishing up a long,
  hard­won encounter scene), dealing with another foe
  could snowball. The new foe means the player’s character
  might engage in yet another conflict, meaning more skill
  checks and yes­no questions that generate plot stress,
  which might trigger more unexpected events, which may
  roll another foe, and so forth. Meanwhile, the player
  might have already secured a meaningful success from
  the encounter scene, and has nothing to gain from the
  character engaging these new foes.
  The easy answer is that the player’s character doesn’t
  have to fight every foe that shows up in a scene. A simple
  skill check and yes­no question later, the player’s
  character might successfully be out the door and down
  the hall (or through the portal and down the dungeon
  corridor, or over the next sand dune) before the newly
  rolled foe has a chance to get bearings. A successful
  escape means that the player can go ahead and set up the
  next scene freely, not as a follow­up scene. The player
  might also decide to go ahead and close the scene
  unresolved. In that case the player must set up a follow­
  up scene with a consequence or setback from the choice
  to leave loose threads from the prior scene.
  RETRENCH A SCENE OPENING,
  PART 2
  Let's go back to the cellar fugitive­rescue effort
  and say it happened differently. For the prior scene, the
  player's character fled to the basement to avoid detection
  by cult leaders upstairs, the consequence of a failed sneak
  skill check. What's more, the player decided to throw in
  the towel on the last scene.
  That means the player starts the next scene as a
  follow­up dealing with the consequences of failure. The
  player also needs to account for the unresolved
  consequence of getting stuck (the player's character was
  not able to leave the area at will). The failed sneak skill
  check already had the consequence of making the cultists
  in the house suspicious about intruders, forcing the
  character to flee into the basement. That's a weak
  consequence: if the player doesn't think that's enough, the
  next scene should open potentially with the cultists hot on
  the player character's tail!
  The player needs to build a scene that accounts
  for the prior scene's consequences and scene qualities.
  Because the player's character fled into the cellar and
  couldn't leave the area, the player decides "crowded"
  could mean there are many cultists (let's say new recruits)
  down there. A looser alternative might be that it's not a
  crowd of people, but that the cellar is extremely cluttered.
  For "streets/alleys", the player decides that the
  cellar has a bulkhead leading out to a maze of alleys. For
  "music", the player decides the new recruits are playing
  meditative tunes; or if not, neighbors nearby are playing
  hip­hop music, loudly. The player has a few ideas of what
  the scene qualities could mean, and a yes­no question or
  two can help clarify the direction of the player's window
  dressing before opening the scene.
  Whatever the final decision, the player's
  character starts the scene in a difficult position. Is the
  sought­after fugitive even in the cellar? Is that person one
  of the new recruits? Meanwhile there are alert cultists
  above and brainwashed initiates in the cellar below. The
  player is left to weigh whether to try for an encounter
  scene free­for­all, or else to try to navigate the player's
  character through a difficult, delicate obstacle scene.
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  foes enter a closing scene
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  best practices.8
  swapping main missions
  If a player runs out of steam on a main mission, it’s easy
  enough to modify or change the mission. The player can
  run a cutscene where the player’s character circles back
  with the patron or person who assigned the mission. It’s
  then possible through structured questions to ask: “Does
  the person have a need?” and “what does the person
  need?” That lets the player roll randomly for a mission
  (d20), which can be a change to the prior main mission
  instead of a new side goal. The old objective didn’t go
  away, it changed in scope. The player interprets how the
  old mission and the new one fit together, keeps the
  current level of plot stress, and also holds on to any
  meaningful successes secured in the story so far.
  opening cutscene starts with a foe
  What happens when the player sets up a cutscene,
  particularly the opening cutscene where the player’s
  character is supposed to get a mission, and a random
  person of interest (d100) roll returns a foe? There are
  many ways to deal with this situation. Here are a few
  options.
  First, as mentioned before, foes don’t always fight the
  player character’s group on sight and to the death. With
  some yes­no questions, the player might turn the foe into
  an ‘enemy of my enemy’: A foe who reluctantly sought
  out the player’s character because of a mutual interest or
  threat. Another way to interpret the cutscene is that the
  foe wants to negotiate an exchange (e.g., a hostage or
  blackmail situation to get the player character’s group to
  perform the mission). Yet another possibility is that the
  opening scene is about the player’s character successfully
  eavesdropping on the foe, which reveals the mission. A
  fourth possibility is that the player’s character confronts
  and defeats the foe in the cutscene, and gets a mission
  using structured questions for foes, through the
  interrogation that follows. This is one case where the
  player’s character can ask the foe: “does the person have
  a need?” and the answer will always be yes without
  requiring a skill check, so that the player’s character gets
  a mission out of the cutscene. k
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  opening cutscene starts with a foe
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  9) RPG CHARACTERS
  Player characters in Libre Solo Role Playing’s RPG rules
  are meant to be simple, to handle the basics of conflicts
  and skill checks and get out of the way of the story. New
  character creation is summarized on p.147; a full list of
  skills is in appendix S (p.140).
  The player’s character has six attributes: strong, nimble,
  hardy, smart, willful and savvy. There are just three
  attribute levels: good (+1), average (0) and poor (­1). For
  a starting player’s character, the sum of attributes adds up
  to 0. The player’s character may have 0 for all attributes;
  or have one +1, one ­1 and four attributes at 0; or have
  two +1, two ­1 and two attributes at 0; or have three
  attributes at +1 and three attributes at ­1.
  Strong characters (+1) are good at lifting, pushing,
  carrying and breaking things. Weak characters (­1) are
  poor at these tasks.
  Nimble characters (+1) are good at balance, dodging and
  fine manipulation. Clumsy characters (­1) are poor at
  these tasks.
  Hardy characters (+1) better resist getting fatigued, tired
  or sick, and recover more easily from being hurt. Sickly
  characters (­1) become tired when they push themselves,
  and find it harder to recover from being injured.
  Smart characters (+1) know more, and they can study and
  learn topics more quickly. Dull characters (­1) don’t have
  as much education, less knowledge and less experience
  learning complex concepts.
  Willful characters (+1) are in control of their emotions
  and resist temptation. Weak­minded characters (­1) are
  driven by their desires and are easily manipulated.
  Savvy characters (+1) have good intuition for interacting
  with people and animals, which also extends to operating
  vehicles by “feel”. Unsociable characters (­1) have
  difficulty communicating effectively, or understanding
  and influencing others.
  The types of skill checks listed above are tied directly to
  the underlying attributes. For example, the player uses the
  CHARACTER DISADVANTAGES
  Players' characters might have physical, mental or social
  disadvantages as part of their background. Examples
  include a permanent disabling or debilitating injury; or
  low social class and poverty; or family relationships,
  cultural or religious obligations that can come into play;
  or phobias, or even delusions.
  These sorts of character flaws make a player's
  character more interesting. However, assigning
  disadvantages to a player's character does not provide any
  special bonuses. In gameplay, disadvantages might be
  hard on the player’s character. But these extra challenges
  can also help the player. They provide yet more ways to
  ask for trouble, and opportunities for the player's
  character to make skill checks. The player needs these to
  achieve meaningful success in obstacle scenes and move
  the story forward. For that reason, there is no penalty for
  assigning flaws to the player's character.
  WHAT PLUSES AND MINUSES MEAN
  The RPG rules use the yes­no questions (d100) table on
  the action sheet and in appendix Q (p.139) to make skill
  checks. Use the "shifts" column on the left­hand side for
  likelihood of success. Rolling a yes result means the skill
  check succeeds. A no result means the skill check fails.
  For example, a skill check at 0 has a 50/50
  moderate chance of success; a skill check at +2 is very
  likely to succeed (80% chance of yes); a skill check at ­1
  is unlikely to succeed (35% chance of yes).
  Whenever a player rolls a skill check that
  involves the player's character, the rolled result adds to
  plot stress, but it does not test plot stress. For example if
  plot stress is 17 and the player rolls 13 for a skill check,
  plot stress increases to 18 and the roll does not trigger an
  unexpected event. If the roll had been a yes­no question,
  that roll result would have generated an unexpected event
  and cut plot stress in half.
  A 50/50 moderate chance, at 0 shifts, is the bar
  for a player character's skill check to contribute toward
  meaningful success in an obstacle scene. That minimum
  bar doesn't include shifts from magic scene qualities that
  might help or hinder the attempt.
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  9) RPG Characters
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  RPG: characters.9
  ARE PLAYER CHARACTERS
  TERRIBLE?
  On its face, characters' untrained skills on average are
  unlikely to succeed. The best possible base untrained
  rating for a player's character is a measly +1. Even the
  most gifted player's character is only somewhat likely
  (65%) to succeed at an untrained task that has a base
  50/50 moderate difficulty.
  Compare that to allies, rivals and foes. As will
  be covered in chapter 10, these NPCs default to a conflict
  rating that is at base 0, possibly even +1 or +2. Conflict is
  used as a universal base skill, covering everything that
  person, team or minions might reasonably attempt. Unlike
  the player's character, NPCs have no untrained skill
  penalties.
  Is that totally unfair? Not really. Consider that
  the player gets to narrate the story, and should use that
  advantage to draw on the player character's skills, the
  scene's qualities, window dressing, special equipment and
  other advantages to succeed. The player should also
  recruit allies and draw on their strengths as part of the
  player character's group. These factors help the player
  character's group best rivals and foes, and power through
  obstacle scenes to achieve meaningful success.
  So it's correct that technically, the player's
  character starts at a disadvantage to NPCs for untrained
  skills. In practice, the player guides the story to work
  toward the player character's strengths, and can
  compensate for the player character's weaknesses through
  allies.
  As a player's character gains experience, the
  character also gains more skills, and can even become
  proficient in entire skill categories, making the player's
  character quite powerful. Untrained skills are areas where
  the player's character remains vulnerable to challenges
  from competent rivals and foes.
  strength attribute to make a skill check related to lifting,
  pushing, carrying or dragging heavy things. Nimble is
  used to balance or dodge. Hardy is used to resist fatigue
  or disease. Smart is used for general education and
  knowledge. Willful resists temptation or influence. Savvy
  is for getting favorable reactions from others. Attributes
  also affect base levels for trained and untrained skills.
  skills
  A starting player’s character gets six points to spend on
  trained skills. Skills are grouped below by type and by
  category. For one skill point, the character can choose a
  specific skill and boost it by +1 over its base. For three
  skill points, the character can choose an entire skill
  category, which boosts all the skills in that category by +1
  over its base. There are six types of skills, each of which
  defaults to the sum of two attributes:
  Device and ranged skills default to the sum of nimble
  plus hardy attributes.
  Animal and vehicle skills default to the sum of strong
  plus savvy attributes.
  Social skills default to the sum of savvy plus willful
  attributes.
  Physical and melee skills default to the sum of strong
  plus hardy attributes.
  Subterfuge and survival skills default to the sum of smart
  plus nimble attributes.
  Knowledge skills default to the sum of smart plus willful
  attributes.
  Device and ranged skill categories include bows
  (longbow, shortbow, crossbow; also slings); thrown
  weapons (rock, knife, axe, hammer, dart, grenade); guns
  (pistol, rifle, submachine gun); gunner (individual large
  ranged weapons, which might be stationary or vehicular);
  disable (lockpicking, break electronics/security, disarm
  trap, sabotage mechanical). Dodge (avoid damage) is a
  standalone skill.
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  skills
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  9.RPG: characters
  Animal and vehicle skill categories include ride (horse,
  elephant, camel, giant flying lizard); handle animal
  (mounts, birds of prey, cattle, large predators, pets);
  wayfind (navigation, astrogation, orienteering); crew (for
  very large vehicles: sailing ship, cruise liner, submarine,
  space battleship); drive (for smaller ground transport:
  motorcycle, car, truck, bus, ground speeder); pilot (for
  small to mid­size air/space transport: prop plane, jet
  fighter, helicopter, personal jetpack).
  Social skill categories include influence (negotiate to
  resolve situations diplomatically; deceive to use false
  suggestions or outright lies; appeal to carouse or seduce;
  intimidate to coerce cooperation through real or implied
  threats); and interact (empathy to read people for their
  thoughts or feelings; leadership to inspire allies; etiquette
  to behave properly in particular cultural/social situations).
  Physical and melee skill categories include performance
  (singing, dancing, physical sports); martial arts (unarmed
  karate, judo, boxing, wrestling, street fighting, capoeira);
  athletics (running, jumping climbing, swimming); and
  melee weapons (axes, swords, staves, plasma swords,
  flails, spears, as well as active protection from shields).
  Subterfuge and survival skill categories include hunt
  (tracking, fishing, trapping, camouflage); survival
  (tundra, desert, deciduous/coniferous forest, mountain,
  scrub/badlands, underground, swamp, urban); streetwise
  (gather information to get the word on the street;
  scrounge to acquire, sell or dispose of gear; gamble;
  sleight of hand to palm and hide small objects on one’s
  person); sneak (hide, sneak, and shadow to follow
  someone without being detected). Notice (find hidden
  things) is a standalone skill.
  Knowledge skill categories include craft (working with
  cloth, leather, wood, metals, writing/poetry, painting,
  photography); medic (first aid, pharmacology/herbalism,
  surgery); mechanic (design/build machines, repair
  machines). Language represents fluency in an additional
  language. Profession represents any one trained science
  or political field, e.g.: engineering, law, chemistry,
  theology, history. When a player invests points into the
  BUILDING ARTHUR FALCONE
  When Arthur Falcone was created a player's character, the
  player imagined a good talker who is not all that quick on
  his feet. The player chose an array of attributes with four
  0s, a single +1 (assigned to savvy) and a single ­1
  (assigned to nimble).
  From there, the derived levels for skill types are:
  Physical/melee, adding strong 0 and hardy 0, for base 0.
  Device/ranged, adding nimble ­1 and hardy 0, for base ­1.
  Animal/vehicle, adding strong 0 and savvy +1, for base +1.
  Subterfuge/survival, smart 0 and nimble ­1, for base ­1.
  Knowledge, adding smart 0 and willful 0, for base 0.
  Social, adding savvy +1 and willful 0, for base +1.
  The player has 6 skill points to spend. It takes
  three points to buy a full skill category, but only one point
  apiece to buy skills individually. The player decides three
  points for a skill category puts too many eggs in one basket
  at too steep a cost, and decides to buy individual skills.
  There are no powers in the setting, so the player skips that.
  If any power categories had been available, it would have
  cost three skill points to buy in.
  The player wants a combat skill and decides to
  put a point into brawling. It's based off physical/melee 0, so
  the player adds a point and writes in brawling +1.
  The player next puts one point apiece into three
  skills in Falcone's best derived skill types: drive car at +2
  (in the animal/vehicle skill category); deceive +2 and
  intimidate +2 (both in the social skill category).
  The player also decides to compensate for the
  poor subterfuge/survival skill type, which defaults to ­1.
  The last two points are spent to add gather information 0
  and notice 0.
  All other skills are untrained, which puts Falcone
  at one point lower than the derived base skill levels in each
  category. That means untrained physical/melee skills
  default to ­1, untrained device/ranged defaults to ­2,
  untrained animal/vehicle defaults to 0, untrained
  subterfuge/survival defaults to ­2, untrained knowledge
  skills default to ­1, and untrained social skills default to 0.
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  RPG: characters.9
  profession skill category, it is called “jack­of­all­trades.”
  Research (representing computer searches and/or library
  use) is a standalone skill.
  Outside of this conventional list of skills, there are three
  open­ended categories of supernatural skills, called
  powers. Chapter 12 has more details on what powers are,
  what kinds of powers are available, and how they work.
  Libre Solo Role Playing RPG rules cover three types of
  powers: special abilities, magic and psionics. Depending
  on the player’s setting none, one, or more than one of
  these types of supernatural skill types might be available
  to the player’s character, and/or to foes and other persons.
  Buying a power category costs three skill points. For that
  cost, characters with magic start with three magic skills;
  characters with psionics start with two psionic skills;
  characters with special abilities start with one special
  ability skill.
  untrained skills
  After selecting the player character’s skills, any
  remaining skills or skill categories where the character
  hasn’t spent points are untrained: They default to the
  character’s base skill level ­1. Depending on the setting,
  some types of skills can’t be used untrained. The player
  can use common sense whether the player’s character has
  a chance to make an untrained skill check or not. For
  example, characters cannot use guns untrained in a setting
  where firearms don’t exist. A modern­day player’s
  character might have a chance to pilot a plane untrained.
  But a barbarian from a primitive society would need a
  very good explanation to have any chance to use a
  computer or operate a vehicle!
  For an example of trained vs. untrained skills, let’s look
  at Arthur Falcone’s animal/vehicle category skill. Arthur's
  base skill of +1 for the category is the sum of his strong
  attribute of 0 (average), and savvy attribute of +1 (good).
  The player decides to take drive car as a trained skill for
  Arthur. The skill starts at +1 to his base, for +2. If Arthur
  gets on a motorcycle, a skill in which he has no training,
  his untrained default is base animal/vehicle skill ­1, for a
  net 0.
  CLOSELY RELATED SKILLS
  During gameplay, if the player's character has a skill
  that's close enough to an unknown skill, the player can
  decide to apply the existing skill with a ­1 shift instead of
  treating it as untrained.
  For example, Arthur Falcone's base
  animal/vehicle skill category is +1, based on the
  attributes of strong 0, and savvy +1. The player spent a
  point on drive car, for a drive car +2 skill. The player
  could apply drive car +2 to any type of car, from
  subcompacts to pickup trucks, to Formula 1 racers to
  vans, maybe even a golf cart. But driving other types of
  vehicles (a motorcycle, tractor­trailer, bus, all­terrain
  vehicle and so forth) would be an untrained skill that
  would default to the animal/vehicle skill category ­1, for
  0 shifts.
  But what about the gray areas? A small bus or
  all­terrain vehicle is not a car, but the player might decide
  it's close enough. In those cases, the player might decide
  Arthur's drive car +2 allows the investigator to operate
  the vehicle with a ­1 shift to the skill. That means drive
  ATV or drive short bus gets a base +1 skill check instead
  of Arthur's untrained animal/vehicle skill check at 0
  shifts.
  This rule of closely related skills can apply to
  all types of skills. But it probably will come up most
  often for skills related to vehicles/animals and weapons
  use in conflicts.
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  WHERE ARE SKILL DEFINITIONS?
  The RPG rules don't define skills and what they
  can and cannot do. There are two reasons: First, most
  skills are straightforward. There isn't much more to say to
  an experienced gamer like you. Second, when it comes to
  asking "can my skill do this?" in the context of a setting,
  the answer is strictly the player's decision. If you're unsure
  whether a skill check can do something, ask a yes­no
  question, or consider "closely related skills" below.
  untrained skills
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  9.RPG: characters
  regular equipment
  Outfitting a player’s character before gameplay is fast and
  loose: Choose whatever personal effects the player’s
  character should have, write them down, and you’re done.
  Selecting equipment has the following restrictions:
  First, is the gear openly available and reasonably priced
  in the game world? Starting items should be something
  the player’s character could buy, trade for, find or make
  in the game world, based on the character’s background.
  Second, is the gear legal to own in the game world,
  without special status or restrictive licensing? Any
  starting item should be something that wouldn’t be
  confiscated, or result in the player character’s arrest if
  caught possessing the item.
  Third, Is the gear something the player’s character could
  easily carry or have in each scene? If not, the player’s
  character might own the item, but the player will need to
  figure out where the item is when it is not in use. For
  example, it’s fine for a player’s character in a modern
  setting to own a car. If the character flies to another city
  between scenes, the car won’t figure into those scenes.
  Regular equipment doesn’t give bonuses to skill checks.
  Instead, like window dressing, it just lets certain types of
  skills be used. Many types of tasks are impossible to do
  without the right gear, no matter how much training
  someone has. Examples include using weapon skill
  without a weapon; trying to craft something without
  materials and tools; or trying to repair a device without
  tools and spare parts. The player can make a skill test
  with inadequate or poor­quality equipment, but the skill
  check is at least at a ­1 modifier. Examples might be
  trying to repair a motorcycle engine with a pocket multi­
  tool; applying first aid with a sewing kit and rags; or
  picking up a stick as a makeshift club for combat.
  Regular equipment doesn’t give bonuses to skills, but the
  player can use it like window dressing to bypass a skill
  check, or to shift to a different skill check (ideally one
  that makes it easier for the player’s character to succeed,
  or that reduces the consequence for failure). One example
  STARTING GEAR EXAMPLES
  Outfitting Arthur Falcone before the start of the game is
  easy: It's a modern­day setting, so available equipment
  should resemble what an ordinary, modern­day person
  carries around.
  The player starts with a suit and a wallet.
  Related to his job, the investigator would need a vehicle,
  office space and a bank account for purchases.
  Arthur certainly owns much more than these
  basics. The player can write in details from scene to
  scene if they make sense to the player character's
  background. For example, the player might write before
  any scene that Arthur has a smartphone and notebook (or
  else add them as window dressing by asking yes­no
  questions during a scene). While Arthur doesn't seem to
  be the gun­toting type, it seems logical that the
  investigator can get hold of a pistol or rifle if there's time
  between scenes to make that possible.
  A wandering barbarian starting in a fantasy
  setting probably carries everything that's owned, maybe
  helped by a horse or other beast of burden.
  The barbarian might have a primary and
  backup weapon (let's say spear and hand axe), light
  armor, and a pack for carrying things with a bedroll, food
  and drink, some rope or cord, fire starting kit, plus a
  modest coinpurse and possibly an heirloom and/or some
  personal adornment.
  In each case, those respective equipment lists
  feature gear that's common, readily available, reasonably
  priced and legal in the setting. The exception is the
  mentioned gun mentioned above, which isn't usually
  legal without some sort of permit. But in the setting guns
  are not uncommon, and it would be the sort of thing a
  private investigator could dig up when necessary. When
  in doubt, a yes­no question can help decide.
  Falcone's ally Toni Graham would have access
  to computers and a library that Arthur Falcone wouldn't,
  but her graduate student background means that she
  shouldn't reasonably have access to guns or martial
  weapons.
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  RPG: characters.9
  is a knotted rope as a safer alternative to climbing sheer
  surfaces. The rope could shift the skill check from a
  climbing skill check, to a strong attribute skill check. A
  ladder could eliminate making any skill check.
  premium gear
  In some games, the player’s character will have access to
  costly or restricted equipment. A wealthy patron,
  government agent, or member of a powerful criminal
  organization might have this privilege. Premium gear
  might give +1 to specific skill checks. One way the
  player's character might get premium gear is by acquiring
  the item in gameplay, for example as a treasure or reward.
  Another possible approach is to play out the request for
  premium equipment using structured questions for
  persons, for example in a starting cutscene. Whether the
  request is for a jet fighter or space cruiser, a box of
  explosives, code cracking software or a magical sword,
  the player can try to have the player’s character make a
  social skill check to convince a patron or other person
  assigning the mission that the gear is necessary. If the
  social skill check is successful, a follow­up yes­no
  question determines whether the patron can supply the
  requested equipment. Don’t bother rolling the yes­no
  question unless the setting and the person being asked
  have a reasonable chance of procuring the specialty
  asked­for equipment to help accomplish the mission, and
  if there’s a reasonable chance for the request to be
  granted. As with any skill check, failure carries a
  consequence. Failing this type of skill check should cut
  off any further requests for assistance.
  If the player’s character does receive requested special
  equipment to help with the mission, the supplier always
  expects the gear to be returned at the end of the mission,
  if not earlier. The player might want the player’s
  character to try and hold onto the gear, for example
  through a successful deceive skill check to lie
  convincingly that the items went missing, or were lost or
  stolen. As always, a failed skill check triggers a
  consequence. If the player’s character tries to lie to a
  powerful patron and fails, that consequence could be
  severe. k
  EXAMPLES OF PREMIUM GEAR
  REQUESTS
  Below are some examples of premium gear and other
  favors that Arthur Falcone might be able to convince his
  patron, Peter Havik­Stand, to supply for a mission. The
  examples include estimates for the likelihood that
  Falcone might be able to talk Peter into supplying them,
  assuming the request makes sense for the mission and
  Falcone passes an appropriate social skill check:
  Transportation: a limousine and driver (very
  likely); small airplane, boat or helicopter with pilot
  (50/50 moderate); personal charter jet and pilot
  (unlikely).
  Valuables: $1,000 cash advance (likely);
  $10,000 loan or pricey jewelry borrowed for a night
  (unlikely); loaned $100,000 of unmarked bills in a
  nondescript briefcase (nigh impossible).
  Explosives, weapons, drugs, lockpicks,
  surveillance gear: nigh impossible. Peter is a wealthy
  patron, not an anarchist. Don't bother rolling except under
  truly exceptional circumstances.
  Restricted library access: likely, but it would
  depend on the specialty subject of the library, and
  assumes there is a point to the request, to move the plot
  forward.
  A pair of high­demand sports, theater or concert
  tickets: 50/50 moderate. This request enters unknown
  territory. It's not established that Peter Havik­Stand is a
  sports fan or a patron of the arts, able to get tickets easily.
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  10) RPG SKILL CHECKS
  Anytime a player’s character makes a skill check in Libre
  Solo Role Playing’s RPG rules, the player starts by
  assessing the level of difficulty for the challenge, which
  can range from nearly certain success to nigh impossible.
  The player then subtracts the skill check’s difficulty from
  the relevant attribute, trained skill, or untrained skill
  category needed to succeed, and applies the modifier as
  shifts on the yes­no question table on the action sheet and
  in appendix Q (p.139). The sum of shifts is the
  probability: A yes result is a skill check success; a no
  result means failure and a consequence. Quick references
  for handling skill checks are on p.146, and also in the
  summary rules (p.159­164).
  For some examples: Arthur Falcone is trying to force
  open a locked door. Arthur’s strong is 0 (average). The
  player assesses the strength of the door’s lock makes it a
  50/50 moderate challenge (also 0). There are no further
  modifiers. The net level of 0 gives a 50/50 moderate
  chance of success. Later, Arthur uses his savvy +1
  attribute to talk up some bystanders, aiming to get
  favorable reactions. The people are neutral about Arthur,
  making it a 50/50 moderate challenge of 0. That means
  Arthur has a net +1 for the skill check: likely to succeed.
  Yet another example: Arthur is driving his car recklessly
  through city streets. The player rules this is a 50/50
  moderate challenge of 0. Arthur’s drive car +2 makes
  success very likely for this skill check. But the player is
  having Arthur drive at reckless speeds (­1 modifier),
  behind the wheel of an old jalopy (substandard gear for
  another ­1 modifier), totaling a ­2 penalty to the skill
  check. Arthur’s drive car +2 cancels out ­2 in penalties.
  The skill check’s chance of success is 50/50 moderate (0).
  Keep in mind that for obstacle scenes, the player’s
  character needs to overcome a 50/50 moderate or harder
  skill check to qualify for meaningful success. Using drive
  car +2 by itself wouldn’t qualify. But driving recklessly
  (­1) in a decrepit car (­1) brings that net chance of success
  down to 0, for a 50/50 moderate chance of success that
  does qualify toward meaningful success. Some possible
  consequences of a failure might mean the car breaks
  down, Arthur gets into a crash or fender bender, is pulled
  over by the police, or is stuck in a lengthy traffic jam.
  ALLIES, FOES AND SKILL CHECKS
  Chapter 13 discusses foes, allies, and gaining/distributing
  experience in more detail. For skill checks, team(s) and
  minions always act as one, and use a combined generic
  conflict skill that covers their overall competency. The
  ratings for teams/minions by quality and size of the team
  are included for reference on the game's included NPC
  sheets, and are also in appendix R (p.139).
  Any team or minions always makes a collective
  skill check: It doesn't matter whether it's a direct contest,
  limited assistance, unlimited assistance or interference skill
  check (skill check types are covered later in this chapter).
  The team or minions roll as one, based on the number and
  quality of its members.
  For example in a fantasy setting, a member of 7
  competent dwarven warriors (an average quality team)
  might enter an arm wrestling contest against the player's
  barbarian character. Even though arm wrestling is a one­
  on­one direct contest, use the dwarven warriors' team's
  conflict rating, at +1. That team of 7 dwarves would sneak
  (as an interference skill contest) at +1 before applying any
  window dressing modifiers. If there were just 6 dwarven
  warriors in the average quality group, its generic conflict
  rating for sneaking or arm wrestling would be 0.
  If the player's character had challenged an
  individual NPC instead of a team member, then it would be
  an ordinary direct contest: The player's character using
  strong attribute for the roll, the NPC defaulting either to a
  trained skill or generic conflict skill.
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  CULTURE/OCCUPATION MODIFIERS
  For the RPG rules, culture and occupation are window
  dressing for individual ally/foe skill checks. That means
  you may assess a bonus or penalty for NPCs leading (or
  being able to contribute to) skill checks, depending on
  whether the culture and occupation align with or contradict
  the skill check.
  You may assess, for example, that the dwarven
  warriors above get an extra +1 to hardy checks for being
  dwarves, and +1 to axe and shield skills; but also a ­1 shift
  penalty for any knowledge skills, and to athletics like
  running, climbing and swimming.
  10) RPG Skill Checks
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  RPG: skills.10
  SKILL CHECK: A COMPLEX EXAMPLE
  Arthur Falcone and Toni Graham are trying to sneak into
  the basement of the Havik mansion. The player wants this
  to be a moderately difficult skill check, to contribute to
  meaningful success for this obstacle scene.
  Toni Graham's generic conflict rating is 0, so her
  sneak skill is also 0. Sneak falls under subterfuge/survival:
  Arthur Falcone is unskilled in sneak, which for him
  defaults to ­2. Sneaking is an interference skill check, so
  the player must use the lowest attribute in the ally group.
  If there's a scene quality such as gloomy, sight­
  blocking or music, each of these could add a +1 magic
  shift related to remaining unseen and unheard. Wide open
  spaces or bright / well­lit each could subtract a ­1 magic
  shift from the skill check. In this case there are no relevant
  scene quality modifiers, but there is relevant window
  dressing: the basement entrance is "dark", for which the
  player decides to assess a +1 skill level shift for the player
  character's group, which is not magic. The player also
  decided before the scene started that Arthur brought black
  bodysuits to wear for the scene: It's a stretch, but the
  player makes this equipment window dressing worth
  another +1 shift, which is also not magic.
  The player rules that the opposition being snuck
  past in this case is the kitchen help, which is window
  dressing in the scene. The player decides that the window
  dressing help has a base notice 0. The player narrated
  several people in the kitchen, but since they are window
  dressing, the player treats the kitchen help as one entity to
  notice Arthur and Toni.
  The final opposed skill check roll is:
  [ ­2 (sneak skill) +1 (darkness) +1 (bodysuits) ] ­
  [ 0 (notice skill) ] = 0 shifts, for a final
  50/50 moderate chance of success.
  50/50 moderate is the minimum bar for the skill
  check to qualify toward a meaningful success.
  The player also has the consequences laid out:
  The kitchen help catching the investigative pair in black
  bodysuits would force a social skill check. That, and
  maybe a couple $100 bills, might let the pair leave without
  involving the police. If the player tries to continue this
  scene, Arthur and Toni will have to switch tactics
  dramatically.
  if Arthur were to try his hand at motorcycle racing or
  horse riding ­ transportation with which he has no real
  experience ­ his default base for animal and vehicle of 0
  would give him a base 50/50 moderate (0) chance to
  succeed against a 50/50 moderate (0) skill check. Seeing
  as failure carries a consequence, and crashing or being
  thrown seems the most likely outcome, the player might
  consider the alternatives carefully before having Arthur
  get into this type of dangerous situation, whether it’s
  jousting on horseback or motocross racing.
  opposed skill checks
  The formula for the likelihood of a skill check success for
  an opposed (also called a contested) roll is:
  [relevant stat of lead person making the check +
  all participating player character/ally bonuses]
  ­
  [relevant stat of lead foe opposing the check +
  all participating foe bonuses]
  +/­
  [window dressing/scene qualities that
  assist or detract just one side’s efforts]
  For some examples: if the player’s character ‘Boris
  Beefcake’, who has strong +1 arm wrestles NPC
  academic ‘Skinny Stan’, who the player assesses has
  strong ­1 because of his occupation, it’s a direct contest
  of strong. The chance for Boris to succeed is +1 (­) ­1, for
  a total of +2 shifts. Boris is very likely to succeed with
  the skill check on the yes­no questions/skill checks table.
  For the reverse, if the player’s character is Stan with
  strong ­1 and the player assesses NPC barbarian Boris
  has strong +1 for his occupation, the chance for Stan to
  succeed is ­1 (­) +1, for a total of ­2 shifts. Stan is very
  unlikely to succeed at that skill check on the yes­no
  questions/skill checks table.
  In either event, the player makes just one roll to get the
  result from an opposed skill check, based on the
  likelihood of the player character’s group to succeed.
  Failure means a consequence; usually the fallout of the
  foe group’s winning the skill check is the consequence.
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  10.RPG: skills
  assisted skill checks
  In many cases the player’s character and allies help each
  other to succeed with a skill check; sometimes just one,
  or just two or three persons will be able to work together
  for a skill check. Here are the different categories of skill
  checks for the player character’s group or foe group, and
  how to think about when a group can and cannot
  coordinate effectively to make a skill check:
  Some skill checks are direct contests with just one
  participant, or just one participant on each side squaring
  off against each other. These are situations where
  additional people cannot help. Examples of direct
  contests include arm wrestling, a duel, picking a lock,
  defusing a bomb, or driving a vehicle. Most social skills
  checks are direct contests: it’s up to one person to try and
  influence or interact with one or more subjects. For direct
  contests, compare the relevant statistics of the individuals
  or team/minions on each side in the contest.
  Some skill checks allow limited assistance where one, or
  at most two others can help the person leading the skill
  check. Opening a stuck door, chopping down a tree or
  applying first aid are cases where two or three people
  might work together. In these cases, take the relevant skill
  level from the person leading the check, then add +1 for
  an individual or contingent team/minions assisting in the
  effort, as long as the relevant skill for each assistant is at
  least 0 or higher. An assistant with a relevant skill of ­1 or
  lower can participate, but are not competent enough to
  give a bonus to the skill check.
  Skill checks with unlimited assistance allow many
  persons to help. This can include conducting research,
  searching or noticing something out of place, or surviving
  in the wilderness. In these cases, take the highest relevant
  statistic, and add +1 for each assisting individual or
  team/minions with a relevant skill of 0 or higher. As
  above, any participant with a relevant skill of ­1 or lower
  can participate, but not well enough to give a bonus.
  Skill checks for larger groups come into play in cases
  where only a large group coordination can do the task.
  Examples include fielding a sports team, crewing a ship,
  SCENE QUALITY BONUS/PENALTY
  Here are some more examples how scene qualities that
  align with a task can raise the likelihood of success by 1
  shift, and scene qualities that run counter can lower the
  likelihood of skill check success by 1 shift. Scene qualities
  are valuable to players because of their magic. A favorable
  scene quality can raise likelihood of success by one shift,
  while still letting the skill check count to the 50/50
  moderate bar that's needed for the skill check to contribute
  to meaningful success in an obstacle scene.
  For example: A player's character with bow 0 is
  trying to hit a target. One of the scene qualities is "still".
  The player decides this scene quality is in the character’s
  favor for the skill check, for +1 shift. If the player assessed
  hitting the target at 50/50 moderate, the odds of hitting that
  target become:
  [ 0 (skill base) + 1 scene quality] ­ [0 (difficulty to hit
  the target) ].
  The total is 1 shift, likely to succeed. Thanks to
  scene quality magic, it still counts as a 50/50 moderate skill
  check toward meaningful success in the obstacle scene.
  For another example: A foe with a handgun is
  shooting at Arthur Falcone at medium range. The opponent
  has conflict +1, and the scene has the quality “wide open
  spaces”. That scene quality is unfavorable to Arthur,
  meaning a ­1 shift to any skill check to dodge. Arthur is
  unarmed. His best option is his nimble attribute which is
  poor, at ­1. The chance for Arthur to avoid being hit is:
  [ ­1 (player character attribute) ­ 1 (scene quality) ] ­
  [ +1 (foe ability) ].
  The total is ­3 shifts, meaning it will be nigh
  impossible for Arthur to dodge under those conditions.
  Arthur can choose to fight defensively, meaning that rather
  than moving or attacking, The investigator spends his
  action trying not to be hit, giving him a +1 shift (more
  about fighting defensively is in chapter 11). Going full
  defense brings Arthur's chances of successfully evading the
  shooter up to ­2, still very unlikely to succeed. Without
  cover or other options, in this combat situation Arthur is
  clearly in trouble. What's more, this skill check is part of a
  conflict: if it's an obstacle scene, even dodging the bullet
  does nothing for meaningful success. If Arthur somehow
  defeats this foe, and the player judges the entire conflict
  was a moderate challenge, it counts as just one successful
  skill check toward meaningful success.
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  RPG: skills.10
  or a mass conflict. In these cases, start with the skill level
  of the leader, using the higher of leadership skill or the
  relevant skill best suited for the task. Next, figure out the
  average skill level for the group (counting each
  team/minions contingent as one ally/foe). Use the average
  skill level of the group as a bonus or penalty to the leader.
  Assess and apply other bonuses or penalties. For
  example, if two large groups are facing off, the side with
  the larger group, or the side with clearly better gear for
  the task, could get a bonus shift.
  Lastly, there are interference skill checks. These involve
  cases where more people participating in a skill check
  hurts the overall chance of success. Sneaking, hiding and
  shadowing are examples of interference skill checks. In
  these cases, use the single lowest relevant attribute or
  skill of any one ally/foe across the group that is
  performing the action. Apply other bonuses or penalties
  as makes sense. k
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  11) RPG CONFLICTS
  Combat in Libre Solo Role Playing’s RPG ruleset is a
  series of opposed skill checks pitting the player
  character’s group against a foe or foe group. The player
  adds the forces on both sides and makes one roll for each
  round of combat, representing the outcome of all
  individuals and teams/minions participating in the
  conflict. If the skill check succeeds for the player
  character’s group, it inflicts damage on the foe group; if
  the skill check fails, the player character’s group takes
  damage. Quick references for handling conflicts are on
  p.146, and also in the summary rules (p.159­164).
  The chapters covering the GM engine discuss the
  significance of conflict to move the plot forward, both for
  obstacle scenes and for encounter scenes. To sum up,
  defeating a foe group in an obstacle scene counts as one
  successful skill check, but only if the player’s character
  was involved in the conflict, and the conflict was at least
  moderately difficult for the player character’s group.
  Defeating a foe group in an encounter scene qualifies as a
  meaningful success for the player character’s group for
  that scene, but again only if the player’s character
  participated in the conflict.
  Detection and combat can take several rounds of skill
  checks to resolve, which can spike plot stress. Each sneak
  or notice roll, and each round of combat in which the
  player’s character participates, adds 1 plot stress.
  For example in an obstacle scene, the player’s character
  might sneak to ambush, fire several volleys of missiles,
  move into melee and spend several rounds in combat
  before securing victory. Each skill check added 1 plot
  stress. But detecting and defeating a foe group in an
  obstacle scene can only contribute one successful skill
  check toward meaningful success for the obstacle scene,
  assuming it was at least a moderate challenge.
  COMBAT ACTIONS
  There are four types of actions each side can take when a
  player character’s group and foe group engage in a
  conflict: Two are movement maneuvers (advance and
  retreat); two are attacks (ranged combat, melee combat).
  SETTING LEVEL:
  GRITTY, PULPY, HEROIC
  Some types of stories are about mighty­thewed
  protagonists who cut through hordes of foes like so much
  fodder. In other stories, a single competent opponent is a
  deadly force.
  Libre Solo Role Playing's RPG ruleset has three
  setting levels for handling gameplay conflicts.
  The default is the gritty gameplay setting. Each
  round of combat where the player character's group
  succeeds its skill check, the foe group takes 1 level of
  damage; each round the player character's group fails its
  skill check, it takes 1 level of damage.
  Crank up the action to pulp gameplay, and the
  player character's group deals 2 levels of damage to the
  foe group each round the combat skill check succeeds.
  The player character's group takes 1 level of damage
  when its combat skill check fails.
  The top level is heroic gameplay. The player
  character's group deals 3 levels of damage to the foe
  group for each round its combat skill check succeeds. The
  player character's side takes 1 level on damage when its
  combat skill check fails.
  The gritty gameplay setting makes battles
  tough, encouraging stories that value skill and ingenuity
  over brute force, but still with room for occasional violent
  mayhem.
  NON­COMBATANTS IN MELEE
  How can even the most hapless non­combatant provide a
  +1 to conflict skill, aiding its side in a conflict? Even
  persons who don’t know how to fire a gun, swing a sword
  or throw a punch can assist in some way.
  If they are no good at fighting directly, a non­
  combatant may help distract foes, put them off guard with
  flanking, or maybe even just shout encouragement. Any
  person or team/minions caught up in combat are risking
  life and limb by being in the fray. That courage should be
  rewarded, so it is enough to merit a +1 shift to whichever
  side that person aids.
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  RPG: conflicts.11
  melee and ranged combat
  Melee combat represents all types of close contact
  conflict, from pikes and laser swords to martial arts
  mayhem; it also includes everyone participating in ranged
  weapons combat who is firing into melee. Here’s the
  formula for figuring out the skill check for a round of
  combat:
  PC Group: [highest melee skill, +1 for each extra ally
  (individual or team/minions) + misc. modifiers]
  ­
  Foe Group: [highest melee skill, +1 for each extra foe
  (individual or team/minions) + misc. modifiers]
  +/­
  [window dressing/scene qualities that
  assist or detract from one side’s efforts]
  To figure out the total combat skill for each side in a
  melee, start with the player character’s group, choose
  whatever member will lead the conflict. That is usually
  the character with the highest physical/melee combat
  skill: it does not have to be the player’s character. Then
  add +1 shift for each additional individual ally or
  team/minions participating in the conflict from the player
  character’s side. Next, do the same for the foe group.
  Choose the foe participating in the combat who has the
  highest useful conflict/combat skill. Then add +1 shift for
  each additional individual foe or team/minions. Each
  individual or team/minions who is firing ranged weapons
  into the melee, or at ranged opponents adds +1 shift to its
  side for the final count.
  To be clear, a supporting team/minions with just 1 or 2
  members contributes +1 to its group’s total; a supporting
  team/minions with 8 or 10 members also contributes only
  a +1 to its group’s total). Unlike other types of skill
  checks, in combat even the most hapless individual or
  team on either side, even those with ­1 or lower
  conflict/combat skills, contributes +1 shift to its side as
  long as it participates in the conflict.
  To get the final difficulty level for the skill check, use the
  formula above to get a total player character’s group
  conflict rating, and subtract a similar total foe group
  SIMPLE MELEE EXAMPLE
  Here is an example of a fast and simple melee, with a
  player's character facing off against a small foe group.
  Brutus the barbarian with a skill of battleaxe +2
  faces 3 orcs (average minions), their orc chieftain (a
  group leader), plus an orc warrior (an average NPC). The
  3 orc minions collectively have conflict ­1 skill; the
  average warrior has conflict 0 skill; and the chieftain also
  has conflict 0 skill. The total for Brutus is +2. The orcs’
  highest skill is 0, but each additional individual or
  team/minion adds +1. There is no relevant window
  dressing or scene quality that rebalances the conflict. The
  final skill check is +2 (­) 0 +1 +1, which is 2 ­2, or 0: a
  50/50 moderate chance of success.
  The player rolls a skill check and gets a success
  for Brutus: Since this story is in a pulpy setting, Brutus
  deals 2 levels of damage, which takes out up to 2
  individual foes, or up to 4 team/minion members. The
  player can’t take out a leader until after the minions are
  gone, so decides that Brutus cuts through the orc warrior
  and 2 of the minions.
  The next round, Brutus faces just the orc leader
  with melee 0, and a remaining minion with conflict ­2.
  The likelihood for Brutus to win the skill check is now
  +2 (­) 0 +1, which is 2 ­1 or 1, a likely chance of success.
  If Brutus succeeds again, he gruesomely slays remaining
  minion, and finally the orc leader.
  OFF THE CHARTS
  Combat odds can become unbalanced quickly, especially
  as one side weakens from taking casualties. Skill checks
  cut off below ­3 and above +3.
  If a skill check is higher than +3 or lower than
  ­3, that roll defaults to +3 (nearly certain) and ­3 (nigh
  impossible). That 5% success or failure is a slim chance
  for the tide of conflict to turn. Most forces should be
  intelligent enough to realize they are overwhelmed, and
  that they need to find a way out of the predicament:
  fleeing or otherwise disengaging, surrendering or parlay,
  or some other tactic to change the odds.
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  11.RPG: conflicts
  conflict rating. Then apply any modifiers. Each scene
  quality potentially adds or subtracts 1 shift if it aids or
  hampers just the player character’s group, or just the foe
  group. There might be other extenuating circumstances
  that give one side a bonus or penalty, like premium or
  poor quality gear. Add or subtract all these modifiers,
  then roll the skill check using the yes­no question chart
  on the action sheet and also in appendix Q (p.139).
  If the player’s combat skill check is successful (a yes roll
  result means the player character’s group succeeds that
  round), assign foe group damage based on the style of
  game: 1 level of damage (taking out one character or 2
  team/minion members) for a gritty setting; 2 levels of
  damage (two characters or 4 team/minion members) for a
  pulpy setting; 3 levels of damage (three characters or 6
  team/minion members) for a heroic setting. If the player’s
  roll fails the skill check, the player character’s group
  takes 1 level of damage, which takes out an individual
  ally or 2 allied team/minion members, or does 1 level of
  damage to the player’s character. No matter what side
  takes damage, it’s the player’s choice how to assign it.
  ranged combat only
  If neither side has advanced to melee range, the battle
  might only have ranged combatants. A ranged combat
  skill check uses the same formula as melee combat skill
  checks. Only members on each side with ranged weapons
  can participate in the skill check.
  To resolve a round of ranged combat, pick whatever
  member with a ranged weapon will lead the conflict
  (usually the character with the highest ranged weapon
  combat skill). Add +1 shift for each additional
  participating person or team/minions in the player
  character’s group with ranged weapons. Then do the
  same for the foe group, starting with the participating
  individual or team/minions that has a ranged weapon and
  the highest ranged combat skill. Add +1 shift for each
  additional individual or team/minions foe with ranged
  weapons who is participating in the conflict.
  Characters without ranged weapons, or who are moving
  or otherwise occupied, do not participate in ranged
  NO MELEE SKILLS
  What to do if a conflict breaks out and one side has no
  members with trained skill? For the player's character,
  default to untrained skill. NPC non­combatants have it
  worse: They can assist but they can't lead a conflict. Left
  to their own devices, they can only try to avoid being hit.
  Without someone to lead the fight they can only try to
  surrender or flee.
  CONSEQUENCES IN COMBAT
  Any failed skill check carries consequences, and combat
  is no exception. In violent conflict, the consequence for
  failure is built into the conflict: The failed skill check
  means foes succeeded in causing damage. The player
  might need to choose between having the player’s
  character take a level of damage, or else taking out allies,
  either an individual or two team/minion members. That is
  consequence enough, so there isn’t any additional fallout
  for failing the skill check for a round of combat.
  Besides consequences, conflicts are ripe
  opportunities to ask for trouble, in case the conflict
  happens in an obstacle scene. Weapons can break or
  malfunction, or run out of ammunition, for example.
  FIGHTING DEFENSIVELY
  Either side in a combat may choose to fight defensively,
  whether at range (e.g., through laying down suppressive
  fire) or in melee. Fighting defensively is still a fighting
  action: The entire group fights defensively except those
  taking an advance or retreat maneuver or other non­
  combat actions.
  Defensive fighting gives a +1 to the skill check
  that round for the defending group. If the defending
  group succeeds with the skill check, it neither takes nor
  deals any damage.
  A player might decide one side is using
  defensive fighting to provide cover by some members of
  a group, while others advance, retreat, or make a skill
  check (such as first aid to help a fallen member).
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  RPG: conflicts.11
  combat. But the player can choose anyone on either side
  to take damage, regardless of whether or not the person or
  team/minions have ranged weapons.
  If one side or the other has no ranged weapons to return
  fire ­ or its members are busy with movement or skill
  checks and cannot return fire ­ the group can use its
  single best nimble attribute, shield (requiring a shield),
  dodge or general conflict skill of their group to try and
  avoid damage. If the evading side succeeds, it takes no
  damage but also deals no damage to the opposing side. If
  the evading side fails, it takes damage that the player
  assignes, just like in melee combat.
  Usually the noise of melee or ranged combat alerts all
  foes in a scene. Even if there are no other foes in the
  scene, it can prompt a question to ask for trouble, such as
  “are there any additional foes nearby who hear and
  respond to the noise of battle?”
  advance, retreat, disengage
  The Libre Solo Role Playing’s GM engine first covered
  abstract ranges in chapter 7. The RPG ruleset uses three
  range categories: At extreme range, people can see each
  other but ranged combat is ineffective: missile weapons
  can only target opponents taking the advance maneuver.
  At medium range, missile weapons (e.g., guns, bows) can
  be used for combat. Thrown weapons can target
  opponents taking the advance maneuver from medium
  range. Once at close range, melee weapons dominate.
  Advance and retreat maneuvers let persons move between
  extreme, medium and close range in combat. Any
  character that moves cannot participate in combat that
  turn. It’s possible a player might have some members of
  either group make an advance maneuver, while others
  provide covering fire with ranged attacks. For example,
  the characters that advance might go to medium range, or
  to close range for thrown weapon/melee combat.
  For characters in melee, the retreat maneuver moves
  them out from close to moderate range. As with
  advancing, characters who take the retreat maneuver
  cannot participate in combat that turn. If a whole group is
  MELEE EXAMPLE WITH ALLIES
  For a more complex look at melee, we re­visit Brutus'
  fight against the orcs, but this time with allies fighting
  alongside. As before, Brutus the barbarian with a skill of
  battleaxe +2 is squaring off against a group of 3 orcs
  (average minions) and their orc chieftain (leader), plus
  the average NPC: an orc warrior. Brutus also has Sterinia,
  a rogue (throwing knives +1, conflict 0) and Noel the
  Cowardly (with no conflict skills). As before, the 3 orc
  minions are conflict ­1; the average orc warrior has
  conflict 0; and the orc chieftain also has conflict 0.
  Since the scene is playing out in underground
  dungeon passages, the player decides to make the first
  detection check at moderate instead of extreme range.
  Brutus' side failed the opposed notice roll, meaning the
  orcs detected Brutus' side first. The player tries a follow­
  up sneak roll for the orcs to advance for a surprise
  ambush. The orcs' sneak roll is an interference skill
  check, meaning it uses the lowest skill among the orcs,
  which is the minions' conflict ­1 default. Brutus' side
  notice skill check allows for unlimited assistance: Brutus'
  notice is +1; his two allies meet the minimum bar (skill
  level 0+) to contribute +1 shift apiece, to total +3. The 4
  shifts top out the skill check at +3, and Brutus' side is
  nearly certain to win the opposed roll for notice vs. the
  orcs' sneak. The player rolls, Brutus' side succeeds easily
  and the encounter starts with everyone at medium range.
  For weapons, Brutus has battleaxe +2 skill,
  Sterinia throwing knives +1 skill, and Noel is a scholar
  with a tome. The orc minions and leader have bows and
  spears; the individual orc warrior has a club.
  Sterinia’s throwing knives are thrown weapons
  for close range, so Brutus' side can't counter orc archers.
  The player decides to have the entire player character's
  group take the advance maneuver. The chieftain has
  conflict 0 for bow and adds +1 for the minions with
  bows, for a total of +1; the player character's group has
  no dodge or shield skill, and Brutus nimble rating is 0.
  The odds to evade the attack are [ 0 for Brutus ] ­ [ 0 +1
  for the orcs ]. [ 0 ­1 ] is 1 shift negative, unlikely to
  succeed. The player rolls a 42: no. The dodge attempt
  fails, and the player character's side takes a level (cont'd)
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  retreating, it can use its single best nimble attribute, shield
  skill (for any characters with a shield) or dodge skill to
  try and avoid damage. If the evading side succeeds, it
  takes no damage in its retreat; if the evading side fails, it
  takes damage.
  Any individuals or group/minion contingent that is
  already at medium range may use the retreat maneuver to
  move even further away, to move to extreme range and
  then disengage. If melee combat is still happening, any
  person at range can disengage from the combat. If there is
  only ranged weapon combat, a final round of ranged
  attacks can happen between the two groups before the
  retreating side can move from medium to extreme range.
  ambush and surprise round
  Depending on the circumstances before combat begins,
  one group might be already aware of the other when the
  scene starts; or one group might detect the other first.
  Being the first to detect a foe can be an advantage going
  into a conflict. That side can choose whether or how to
  enter into a conflict.
  If a player narrates a scene where each side is unaware of
  the other, the player sets the range at which each side
  might first detect the other and makes an opposed notice
  roll (player character group notice vs. foe group notice) to
  determine which side detects the other first.
  The group that wins the notice roll might try to stay
  undetected. If one side tries to stay hidden, the player
  makes an opposed roll, pitting sneak of one group against
  the other group’s notice. As noted in chapter 10, sneak is
  an interference skill check: It defaults to the lowest skill
  of participating individuals and teams/minions. Notice
  allows unlimited assistance: It starts with the group’s
  highest participating individual or team/minions skill and
  adds +1 to the skill check for each individual or
  team/minions with a skill level at 0 or higher.
  If one side sneaks successfully, it opens up several
  possibilities. One option might be for a group to
  disengage and avoid the threat. Another option is to try
  for an ambush: As covered in chapter 7, the first opposed
  of damage. Rather than take Sterinia or Noel out of the
  action, the player decides Brutus takes a level of damage,
  for the "grazed" condition. Brutus takes an arrow in the
  charge, but it doesn't slow the barbarian.
  The next round picks up with melee and thrown
  weapon combat at close range. Brutus now leads with
  battleaxe +2 skill and Noel contributes +1, even without a
  formal melee skill. Sterinia throws her knives at close
  range, adding +1. The orc warrior leads the foe group; at
  this point it doesn’t matter if the minions and leader
  support with bows or spears, they each contribute +1. The
  melee skill check is now [ +2 +1 +1 for Brutus ] ­
  [ 0 +1 +1 for the orcs ]. Brutus’ side needs [ 4 ­2 ] or 2, a
  very likely skill check to succeed. The player makes the
  roll, and with a 53 succeeds. Since it is a pulpy setting,
  the player deals two levels of damage, and takes out up to
  two individual or four minion foes. The player decides
  that Brutus and his allies fell the orc warrior and 2 of the
  minions. One minion and the orc leader remain.
  The next round, Brutus’ side total attack
  strength stays at 4 [ +2 +1 +1 ]. The orcs, now wielding
  spears, are down to the leader 0 and a single minion, who
  still yields a +1 to assist, for [ 0 +1 ]. The odds are
  [ 4 ­1 ] or 3 shifts, nearly certain success for Brutus’ side.
  If the remaining orcs had only bows and no
  melee weapons, at least one would have to engage in
  unarmed melee against the barbarian, for a further ­1
  penalty. But it's not as if things could get worse for the
  orcs: the [ 4 ­0 ] would have topped out at 3 shifts
  anyway, leaving Brutus' side nearly certain to succeed.
  If the remaining orc warrior and orc minion
  break and run, defense against parting shots would
  default to the highest nimble score for the orcs, which is
  0. Again that's [ 4 ­0 ], rounded to 3 shifts and nearly
  certain success for Brutus’ side. It's a good ending for
  Brutus and his allies, less so for the orcs.
  FOES WITH MULTIPLE HITS
  Powerful monsters (see chapter 14) can take multiple hits
  before being vanquished. These creatures don’t suffer
  penalties as their hits are whittled away. They fight at full
  strength until they take enough damage from opponents
  to be defeated in a conflict, or they retreat first.
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  notice, or a sneak vs. notice opposed skill check, usually
  happens at extreme or medium range. How far away one
  side can detect the other depends on environmental
  factors such as place and scene qualities. The sneaking
  side must roll a sneak vs. notice opposed skill check for
  each action to succeed: to avoid being detected during
  movement (advancing or retreating), and then for surprise
  when the ambush is sprung.
  If the ambush sneak vs. notice opposed skill roll succeeds
  at medium range, the sneaking side can opt for a surprise
  ranged attack round. For one round, the defending group
  can only use its single highest individual or team/minions
  nimble attribute, dodge, shield or general conflict skill to
  try and avoid damage. After the surprise round, the
  conflict proceeds normally.
  If the ambush sneak vs. notice opposed skill roll succeeds
  at close range, the surprised group is caught flat­footed in
  melee. Again, it can only use its single highest individual
  or team/minions nimble attribute, dodge, shield or general
  conflict skill to try and avoid damage for that round. After
  the surprise round the conflict proceeds normally.
  If the sneak vs. notice opposed skill check roll fails for
  the sneaky side, the consequence in every case is the
  same: The noticing side is alerted to the opposing force at
  that range and can engage without surprise. The conflict
  can go directly into ranged weapon (medium range) or
  melee/thrown weapon (close range) combat.
  An ambush, just like any conflict, is noisy. Usually the
  noise alerts all other foes in the scene. Even if there are
  no other foes in the scene, it can prompt a classic follow­
  on question to ask for trouble, such as “are there other
  foes who are nearby that hear the noise of battle?”
  damage and recovery
  Unless there’s a chance for armor to stop the blow (see
  the role of armor sidebar) allies and foes go down with
  one damage level, and ally and team/minion members go
  down in pairs per damage level. The RPG rules divide
  non­player characters into just two conditions. They are
  either well enough to soldier on, or they have suffered
  enough trauma to be taken out.
  ROLE OF ARMOR
  What use is chain mail, a flak jacket, or futuristic
  powered armor? If armor exists as equipment generally
  available in the setting, an optional rule is to use it as a
  story element: When an armored person (player’s
  character, ally or foe) takes a hit, ask the yes­no question:
  “does the armor (or shield) stop the blow?” Set the
  probability at unlikely for light armor or small shield,
  50/50 moderate for medium armor or shield, likely for
  heavy armor or large shield, and pick up the dice. Armor
  and shield each stop one damage level, then need to be
  repaired. Alternatively, you can treat armor wear and tear
  as a variant of chained question (see p.53), and reduce its
  effectiveness by one shift each time it stops a blow.
  Wearing medium or heavy armor is part of
  window dressing modifiers, and can ask for trouble.
  Armor is noisy when the group wants to be quiet,
  hampers athletic activities (jumping, running, swimming,
  climbing) and can cause fatigue, especially in hot
  weather. It can even affect social skill checks.
  ROLE OF WEAPONS
  What is the difference between a dagger, a guisarme and
  a greatsword? Or a light pistol and semi­automatic rifle?
  System­wise they have the same effect on melee and
  ranged combat: These RPG rules assume ample
  ammunition, and that everyone contributes to a conflict,
  regardless of the type of blade or barrel bore width.
  There are two optional rules when there is a
  conflict between two groups with widely disparate
  weapons. If one side is at a clear disadvantage weapon­
  wise (fighting unarmed or with a knife against polearm­
  wielding foes, or pistols against assault weapons), the
  player assigns the inferior side an extra ­1 shift for this
  disadvantage.
  Another option is to treat the weapon like any
  other equipment, as a story element. When asking for
  trouble, or looking for skill check consequences, guns can
  jam, ranged weapons run out of ammunition, and melee
  weapons can break or get stuck. A disabled weapon is
  useless for at least the remainder of the scene, and could
  require a craft or mechanic skill check to fix.
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  To get allies back on their feet, or get an incapacitated foe
  into shape to interrogate, use a first aid skill check helped
  (or penalized) by the player character’s hardy attribute, or
  for NPCs use a base 50/50 moderate chance of success.
  For example, an ally with first aid 0 tries to restore a
  hardy +1 player’s character with strips of cloth (a ­1 shift
  for using improvised equipment). That adds up to a net
  skill check of 0 +1 ­1, for 0: a 50/50 moderate chance of
  success. For a team/minions, the player can make one
  healing roll for each member taken out during battle.
  Recovery from injury is one of the only times that team or
  minion members are rolled for individually.
  An ally successfully treated with a healing skill check
  recovers immediately without further in­game penalties.
  The injury was not debilitating or deadly, and with
  medical treatment the ally is well enough to go on. If the
  ally is not healed or if the attempt to heal fails, assuming
  it was a deadly combat, the player can then ask the yes­no
  question: “Is that person still alive?” The base difficulty
  is the player character’s hardy, or for NPCs a base 50/50
  moderate chance of success. The player might shift the
  odds up or down based on the nature of the combat and
  any related circumstances. Pick up the dice and hope for
  the best.
  If the ally fails a heal skill check and is still among the
  living (or was never healed but is still alive), that person
  is no longer able to participate in the mission, which
  includes participating in any skill checks. If the player
  can close down the current scene cleanly without forcing
  a follow­up scene, it’s possible to set a cutscene or an
  obstacle scene related to bringing wounded allies to a safe
  refuge, or related to visiting recovering allies in a safe
  place later in the story. The player might opt to handwave
  that wounded allies are dropped off at a safe place off­
  scene to rest and recuperate, whether by ambulance,
  traveling friendly samaritans or some other story
  conveyance. The player needs to be able to break out of
  follow­up scenes cleanly to get the chance for enough
  time to pass between scenes that any wounded allies can
  be successfully parked in a safe place.
  Unlike allies and foes, the player’s character can sustain
  three levels of damage. The first level of damage for a
  73
  BRINGING A BOW TO A KNIFE FIGHT
  Can characters fight with ranged weapons in melee
  combat? Basically, no. It is possible to fire into melee at
  close range with ranged weapons. But when one side
  loses its hand­to­hand warriors that held the line,
  everyone in close range with ranged and throwing
  weapons default to hand­to­hand melee skills.
  It is possible for the player to have one (or a
  team) of NPC missileers at a time throw themselves in
  front of an advancing opposition. If they have no melee
  weapons, skill defaults to a generic conflict rating, with a
  ­1 penalty if the character doesn't have melee weaponry.
  Meanwhile, remaining characters with ranged
  weapon skills can hang back and continue to fire
  thrown/ranged weapons. But if no one is holding the line
  with melee combat, opponents collectively overrun all
  missileers within close range, or do so after they advance
  from medium range.
  AN AMBUSH EXAMPLE
  The player's character, Brutus the barbarian, is in a
  dungeon where he is approaching a single foe, an orc
  warrior with a conflict 0 rating. The place is underground
  tunnels. The player decides the first detection opportunity
  is at medium range. Neither side is trying to sneak, so the
  player makes an opposed notice roll. The orc uses
  conflict 0 for notice; Brutus' notice defaults to untrained
  at ­1. The player rolls the skill check at ­1 (unlikely) and
  Brutus fails, which means the orc hears Brutus first.
  The player decides the orc will now try to
  sneak up on Brutus. That will require a second opposed
  roll: sneak (again defaulting to the orc's conflict 0)
  against Brutus' notice ­1. If successful, the orc reaches
  close range unnoticed. For the ambush to succeed (and
  the orc to gain a surprise round), Brutus must fail a final
  notice ­1 against the orc's sneak of 0. If Brutus succeeds
  that skill check, the two engage at close range without
  surprise. If Brutus fails, the orc gets an ambush round
  where the barbarian may only defend, using nimble or
  dodge (Brutus has no shield so cannot block). After the
  surprise round, the player proceeds with regular combat.
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  THREE­SIDED COMBAT
  What happens if an unexpected event calls for a
  beast/monster or a third­party force of foes to appear on
  the scene? It's rare, but could trigger a three­way brawl.
  Here is a way to handle this kind of event.
  First, the player should assess the overall
  situation for the scene. If the player character's group and
  a foe group are in active conflict, that makes lots of noise
  and the new force entering the scene will be aware of the
  conflict in progress. If that's not the case, it's possible to
  use the rules for each side detecting the others, for a
  possible ambush and surprise round.
  The player should assess from what place the
  new force enters the scene, whether the player's character
  detects it before they engage, and what actions make the
  most sense for the new forces to take on the scene. An
  intelligent newcomer, for example might opt to sit out an
  existing battle, either to ambush weakened survivors or
  even to slink away if either side in the scene appears too
  powerful to challenge. The new force might only engage
  with ranged weapons, for example. It’s also possible that
  existing foes on the scene flee at the sight of the
  newcomer, if the new foe is powerful and fearsome
  enough.
  The player can opt to ask for trouble with a yes­
  no questions, such as: “is the new force allied with the
  foes already on the scene?” If the answer is yes, the
  newcomer joins foes already on the scene to face off
  against the player’s character. Consolidate the two foe
  forces into one group and continue the conflict.
  But if the new contingent does choose to
  engage, and it is not allied with either side, the player can
  ask the following yes­no question each round: “is the new
  foe attacking the player character's side this round?” The
  default odds for this unknown question should be 50/50
  moderate.
  If the yes­no question roll returns yes, add the
  foes together for an attack against the player character's
  group that round. If the roll returns no, add the new foe to
  the player character group's attack, against the existing
  foe group that round. Each round, the player can decide
  which foe(s) the player character's group attacks.
  player character is “grazed”, which has no penalties. A
  player’s character automatically recovers from being
  grazed as soon as substantial time passes between scenes
  (i.e., when the next scene is not a follow­up scene).
  The second level of damage is “wounded”. A wounded
  player character suffers a ­1 shift penalty to all abilities
  and skill checks. To recover from being wounded takes a
  successful healing roll such as a first aid skill check. If a
  wounded player’s character is self­administering a heal
  skill check, remember that the ­1 shift penalty for being
  wounded applies to this check. As always, failure carries
  consequences. If a skill check to treat a wound fails, for
  example the wounds the player’s character suffered are
  usually not treatable except in long­term recovery, after
  the end of the current mission.
  The third and final level of damage for a player’s
  character is “incapacitated”. At this point the player’s
  character is badly hurt, either unconscious or otherwise
  helpless. It’s up to the player to decide how to proceed,
  depending on how the character was incapacitated and
  the type of story being told.
  In a story with mortality as a threat, one option is for the
  player to ask the yes­no question: “Is my player’s
  character still alive?” with a difficulty based on the
  character’s hardy and the circumstances surrounding the
  player character’s incapacitation. The player should be
  generous on setting the likelihood of the player
  character’s death low; in pulpy or heroic settings, the
  player might decide not even to risk the player character’s
  death with a roll.
  Any scene where the player’s character is incapacitated
  does not shut down cleanly. If the character is still alive,
  the next scene is a follow­up that starts with the
  consequences of the last scene. It must account for the
  past scene’s overall failure, and any unresolved individual
  consequences and trouble. The player character’s
  condition improves to wounded. The player might set up
  an obstacle scene to give the player’s character a chance
  at a daring escape from dire circumstances. That’s the
  sort of thing adventure stories are all about! k
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  BUILDING A MAGE
  A player is building a player's character for a fantasy
  setting where magic exists and is readily available. The
  player puts together attributes, then holds three skill
  points in reserve to buy spells, which translates into three
  points to spend. The player gave the mage a smart +1
  attribute. The player character's default magic power is
  set at ­1 shift to smart: The character's base for spells is 0.
  For the first spell, the player wants to shoot
  lightning bolts as missile weapons. The player spends one
  point to create a ranged spell and calls it lightning +1.
  For the second spell, the player spends a point
  to create a melee spell and calls it fists of iron +1. The
  player separately spends a conventional skill point on
  boxing +1 (the player character's base physical/melee is
  0, based on strong 0 and hardy 0). The player notes the
  fist of iron +1 spell, when successfully cast, adds +1
  bonus to the player character's boxing skill, for an
  impressive +2 total base with hand­to­hand fisticuffs in
  conflicts. Based on the spell's trapping (i.e., a window
  dressing description of the power), the player might be
  able to stretch the fists of iron spell as an equipment
  power, for example maybe to use the power to add +1 for
  a strong attribute skill check for breaking down a door.
  The player decides the player character's third
  spell should be something defensive, and spends a point
  to create an equipment spell, calling it eldritch armor +1.
  The player decides that since the spell is cast at +1 shift,
  which is likely to succeed, the result of the yes­no
  question whether the eldritch armor stopped a blow
  should also be set at likely. That makes the eldritch armor
  spell roughly the equivalent of heavy conventional armor.
  Like conventional armor, it either can stop 1 level of
  damage in a combat and then is used up, or the player can
  choose armor to degrade with chaining yes­no questions
  (see p.53).
  After adding two more conventional skills
  (profession: alchemy +2 and research +2), equipment,
  background details, and notes on starting character
  relationships, our mage is ready for storytelling action.
  12) RPG POWERS
  There are three types of supernatural skill sets in Libre
  Solo Role Playing’s RPG ruleset, called powers.
  Depending on the setting, none or only some types might
  be available to characters. Powers can never be used
  untrained: Characters must have the relevant skill.
  Powers are also covered in summary rules (p.159­164).
  Special abilities are individual skills based on hardy. A
  special ability is a skill that is intrinsically part of the
  character, which the character can use at any time.
  Magic are power skill groups based on smart. Characters
  with magic start with three skills (spells). They can use
  each spell once in a scene or set of follow­up scenes.
  Psionics are power skill groups based on willful.
  Characters with psionics start with two skills (talents) and
  a power pool of three points. They can use talents the
  number of times in a scene or set of follow­up scenes as
  they have total points in the pool.
  Characters using magic or psionics need time to recharge
  their spells or talents. This happens automatically
  whenever the next scene is not a follow­up scene, so that
  time has passed between scenes.
  There are five categories of power uses, and characters
  can mix them freely: attribute powers, melee powers,
  ranged powers, skill powers, and equipment/utility
  powers. Powers can either replace or provide bonuses to
  skill checks. Powers that give bonuses never stack under
  any circumstances. The maximum bonus that powers can
  ever give to a particular skill check is a +1 shift.
  An attribute power enhances an attribute for a +1 shift to
  a skill check related to that attribute. The power only
  gives the itself attribute a boost; it does not affect skills.
  Use of an attribute power lasts for one skill check.
  A melee power can substitute or enhance the character’s
  physical/melee skill. The player has the choice of
  designing a power used in place of a physical/melee skill;
  or a power that adds +1 shift to a character’s existing
  physical/melee skill. Use of a melee power lasts for one
  skill check (treat a whole conflict as one skill check).
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  RPG: powers.12
  A ranged power substitutes or enhances the character’s
  ranged skill. As with a melee power, the player can either
  build a ranged power to use in place of a ranged skill, or
  else build a power that adds +1 shift to a character’s
  existing ranged skill. Use of a ranged power lasts for one
  skill check (treat a whole conflict as one skill check).
  A skill power substitutes or enhances a particular skill.
  Any skill can be substituted or enhanced. Common skill
  powers include medic; disable (or repair); athletics;
  influence; empathy; handle animals; survival; sneak;
  notice; and research. The player can build a skill power
  that displaces the skill check, or else build a power that
  adds +1 shift to a character’s existing individual skill or
  skill group. A skill power lasts for one skill check.
  An equipment power lets a character perform actions that
  would otherwise need specialized equipment. It might let
  that character bypass a skill check, or substitute one type
  of skill check for another. Example equipment powers are
  related to movement (flying, climbing, jumping, teleport,
  tunneling, insubstantiality); enhancing or shrouding
  senses (light/darkness, detect foes); and defense
  (armor/shield deflection). An equipment power lasts for
  one skill check (treat a whole conflict as one skill check).
  power trappings
  This chapter describes powers in generic terms. It’s up to
  the player to customize each power to its user. Each
  magic spell, psionic talent or special ability should have a
  power trapping (basically window dressing) that
  describes how it is activated, and how it manifests. A
  melee power, for example, could be a dancing (real or
  ghostly) weapon; or the character may fight with flame or
  electricity bursting forth from hands; or the character
  might summon a spirit animal that engages in combat. A
  ranged power might be barbs or arrows plucked out of
  thin air, balls of fire or bolts of lightning shot out of a
  wand. An equipment power related to climbing might
  cause the character to sprout claws or suckers. Flying
  may mean the character walks on air, uses a jetpack, or
  sprouts (or has) bird­ or bat­like wings.
  SETTING UP TRAPPINGS
  For the sample assembled in the previous page sidebar,
  the player was off to a good start with trappings. The
  player didn't just say "ranged weapon spell"; it's clear
  what a lightning bolt looks like. Fists of iron is similarly
  evocative of its effect.
  But the eldritch armor spell is vague, and needs
  some fleshing out. The player describes the effect as a
  soft­glowing greenish field of energy that surrounds the
  player's character, causing weapons to bounce off
  harmlessly. Note in this case that all three spells have
  completely different trappings. That's fine. The player
  also could have opted for a central theme, with spells like
  hurled boulder for ranged, stone fists for melee, and a
  protective skin of rock for the defensive armor spell.
  Trappings can help by suggesting creative
  alternative power uses. A lightning bolt could be used to
  disable an electrical or electronic device; iron fists might
  make it possible to break things (a door, a thin brick
  wall); eldritch armor's glowing green protective field
  might supply dim light, useful in a pinch if the player's
  character is caught in pitch darkness.
  Trappings are also helpful when it comes to
  asking for trouble. Lightning bolt is probably noisy, the
  flash possibly blinding, and the effects might be
  capricious around conductive surfaces like water or
  metal. Once cast, fists of iron likely can't manipulate
  anything fine, and risks breaking things unintentionally;
  fists of iron beating down a door or wall is of course
  going to be noisy. The glowing eldritch armor will be
  noticeable, and could well attract unwanted attention,
  either from foes active in the conflict, or from observers
  that the mage might have to deal with in later scenes.
  ACTIVATION TRAPPINGS
  How does a power get activated? It is up to the player to
  define actions, materials or limitations for activating a
  power. A need for focus items, rituals and components, or
  limitations to the power's use, could be handy to help the
  player ask for trouble. Just like with other player's
  character drawbacks and disadvantages, there is no bonus
  for choosing complex evocations or power complications.
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  12.RPG: powers
  Power trappings don’t provide any modifiers of their
  own. But there might be cases where the way a power
  works might influence a skill check; might prompt a yes­
  no question or influence an answer; or might even be
  used by the player to ask for trouble.
  powers and consequences
  Just like other types of skill checks, when a power skill
  check fails, there is a consequence for failure. In combat,
  a power failure might be like any other conflict skill
  check fail. That is, when the player’s side fails the roll,
  the player character’s group takes a level of damage. That
  consequence is punishment enough.
  But when power skill checks fail, the player should
  follow up with a yes­no question on whether the power
  itself backfired. A no result means the power worked as
  expected, and it was the skill check itself that went
  wrong: The player can base the consequence off the
  conventional failed skill check. A yes result means
  something went wrong with the power itself. The player
  bases the consequence off the blowback of the failed
  special ability, psionic talent or magic spell.
  The most common consequence of a special ability or
  psionic talent failure is that the character temporarily
  exhausts the ability to use powers. The character cannot
  use any power again for at least that scene and any
  follow­up scenes, until it is possible to narrate time
  passing for recovery. A harsh player might narrate that the
  character loses all powers for the rest of the mission.
  Magic spells are especially capricious: When a spell’s
  skill check fails, the consequence should be something
  that achieves roughly the opposite of the intended effect.
  For example, a detect foes spell failure or sneak spell
  failure should instead alert the foes to the presence of the
  mage; a disable spell failure may trigger a trap with the
  mage (or an ally) in it; a research spell failure might
  either provide the wrong information, or else alert others
  of the mage’s line of questioning, giving the desired
  information to a rival. When it comes to spells going
  wrong, players should be cruel and creative. k
  POWER MANIPULATION
  Can the player's character use skill powers, equipment
  powers or attribute powers to affect others, for example
  with the previously mentioned eldritch armor spell? Is it
  possible to use a ranged power to perform some sort of
  skill trick? To manipulate a melee power into a close area
  effect? To fight in melee with a ranged power?
  Chapter 14 on situational rules and appendix V
  (p.142) covers complex options for flexible use of
  powers. The simple way to flex powers is for the player
  to ask a 50/50 moderate (or less likely) yes­no question
  whether a power can be used in an unconventional way.
  If the answer is yes, you may attempt this one­time power
  manipulation with at least ­1 shift penalty. Be prepared to
  amp up the consequences if the skill check fails.
  FOES, ALLIES AND POWERS
  Individual allies, rivals and/or foes can have one or more
  powers. Teams/minions can also be power users, and
  even mindless minions can have special abilities. For
  teams and minions, use the generic conflict skill to
  represent power skill level. Other power users should
  have their special abilities, talents or spells separate and
  in addition to any generic conflict rating.
  For example, death cultists might use life­
  draining rays of darkness at range, and tear at their
  victims with wraith­like ghost hands in melee combat. If
  they are an average quality group with 3 members, for
  example, their generic conflict skill ­1 would also
  represent their spell­using ability. In game terms, those
  cultists might be using spells, but roll for them under
  generic conflict skill, just like three average quality
  mercenaries armed with swords and crossbows.
  The differences will be in spell trappings,
  options for consequences, and potentially in asking for
  trouble. There's also the question about how the player's
  character might interact with different types of powered
  teams outside of conflict. The effects of cultist magic
  might manifest itself differently, but in game terms the
  basic team/minions conflict skill level remains the same.
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  POWERS FOR SKILLS AND COMBAT:
  A REALITY CHECK
  Powers can take the place of skills, including melee or
  ranged combat skills. Alternatively, a power can provide
  a +1 bonus to a chosen skill, skill group or attribute.
  Given the flexibility of powers, it would seem like
  powers are much more valuable, even unbalanced,
  compared to conventional combat and non­combat skills.
  Powers are not very unbalancing in group
  conflicts. As explained in chapter 11, combat uses one
  character's melee or ranged skill as the base; others
  participating in combat can provide just a flat +1 bonus to
  their side in a conflict.
  It's a similar situation for group skill checks
  outside of conflicts. For group checks with unlimited
  assistance or limited assistance (for more information
  about assisted skill checks see chapter 10), individuals or
  teams/minions need a skill level of at least 0 to
  participate.
  A power­using individual or team/minions can
  try and extend a power to affect whoever is leading the
  conflict or skill check; or the power user can try to
  increase an individual or team/minions' skill up to 0 or
  higher, to let a member participate in a group skill check
  who otherwise wouldn't be skilled enough. Use the rules
  on power manipulation earlier in this chapter, or else the
  optional rules for flexible use of powers in chapter 14, if
  the power user tries to give someone else a skill bonus
  using a power.
  Also keep in mind: Powers that give bonuses
  never stack, so the maximum available skill check benefit
  to a group is +1.
  78
  NON­COMBAT POWERS IN COMBAT
  When a character wants to use a non­combat power such
  as a skill power or equipment power during a conflict,
  treat it like any other non­combat skill check in a conflict.
  The power user doesn't participate in the conflict the
  round during which the non­combat power is activated.
  This might be, for example, if someone uses a healing
  power; or if our example mage wants to cast the eldritch
  armor spell after a conflict has already started; or if
  someone wants to retreat by teleporting.
  «Each magic spell,
  psionic talent or special
  ability should have a
  power trapping that
  describes how it is
  activated, and how it
  manifests...»
  Nicolette Tanksley (Order #13726995)
  
  13) RPG EXPERIENCE
  For Libre Solo Role Playing’s RPG rules, most allies and
  foes have a single generic conflict statistic, which covers
  competency in all things. That one statistic covers any
  actions by that individual or team/minions contingent.
  The player can adjust ally and foe skill levels as outlined
  in culture/occupation modifiers (p. 63). For allies, foes
  and beasts without a culture and occupation, the player
  needs to adjust skill checks using common sense based on
  its nature. For example, a player might decide zombie
  foes have a ­1 shift penalty when it comes to notice skill
  checks and automatically fail smart attribute skill checks.
  The player decided that zombies aren’t bright, fast or
  perceptive, so the player character’s group has a better
  chance to sneak past. On the other hand, even if dogs or
  giant rats have a low generic conflict rating, they should
  have at least a +1 shift bonus to notice skill checks.
  Always treat each team, collection of minions or animals
  as one unit for the sake of assessing its skill level. Power
  levels of different size weak and average teams are listed
  here, and are also on the NPC sheet and in appendix R
  (p.139). Any team/minions designated as weak quality
  have the generic conflict skill levels below:
  # Members Skill
  1
  Nigh impossible ­3
  2­3
  Very unlikely ­2
  4­5
  Unlikely ­1
  6­8
  50/50 Moderate 0
  9­10
  Likely +1
  Any average quality team/minions or animals have the
  generic conflict skill levels below:
  # Members Skill
  1­3
  Unlikely ­1
  4­6
  50/50 Moderate 0
  7­10
  Likely +1
  Leaders typically have a conflict 0 rating, but they have a
  unique special ability. Leaders cannot be taken out in
  melee until after all members of any team, minions or
  animals in the group are eliminated first.
  TEAMS IN CONFLICT
  What happens when a team or minions loses members?
  Its skill goes down as its number of members drops. For
  example, a group of 10 goblins (weak minions) has a
  conflict +1 rating, or likely chance of success. As soon as
  it drops to 8 members, it has conflict 0 rating, or 50/50
  moderate chance of success. Since every skill check is
  tied to the team or minions' conflict skill, there is a
  downward spiral as their numbers are whittled down.
  A team or minions usually support rather than
  lead conflicts. In that role, a team or minions can give a
  +1 bonus to a group's conflict skill checks even as their
  members drop.
  BREAKING UP TEAMS AND MINIONS
  Can the player break up a team or minions into two or
  more smaller contingents? No: A team or minions do
  everything together as a unit. They don't act individually.
  Team or minion members are only treated as
  individuals for dealing damage to them, healing and
  recovery, and for the potential to promote a member to
  individual NPC status at the end of a mission. For each
  level of damage, a team or minions loses 2 members. For
  recovery, the player makes individual skill checks and
  asks yes­no questions about each member.
  As chapter 11 on combat describes, after a
  deadly conflict the consequence for an unsuccessful first
  aid/healing skill check is the yes­no question: "Is that
  person still alive?" A yes result means that the member
  still lives, but is disabled and unable to participate for the
  rest of the mission. A no result means the member is
  either dead, or is permanently disabled and will not come
  back for this or future missions.
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  RPG: experience.13
  An average NPC has a generic conflict 0 rating, and
  optionally has one skill or power at +1.
  A talented NPC has a generic conflict 0 rating, and
  optionally has two skills or powers at +1.
  A brute, powerful entity or automaton has either a generic
  conflict +1 rating plus a special ability at +1 related to its
  nature; or else has a flat­out conflict +2 rating. Special
  abilities are a type of power, covered in chapter 12.
  Hybrids/animals may have a conflict ­1, 0 or +1 rating
  decided by the player, plus a special ability related to the
  nature of the hybrid creature or animal. Again, special
  abilities are covered in chapter 12.
  An infiltrator/spy has a conflict 0 base skill level, but
  should be assigned multiple skills and/or powers at +1.
  This type of NPC should be a powerful, versatile and
  dangerous ally or foe.
  experience and progression
  As mentioned in the Libre Solo Role Playing’s GM
  engine rules, when it comes to dividing up experience
  and rewards, each individual ally or ally team/minions
  contingent gets a share of experience from a mission.
  Here’s how to calculate the division of experience
  between the player’s character and allies with the RPG
  rules. The rules both for awarding and spending
  experience points are also summarized in appendix T
  (p.141).
  After the end of any story, award the player’s character 1
  experience point for each scene that qualified as a
  meaningful success. Add 2 experience points if the player
  finished by getting the mission's needed meaningful
  successes instead of quitting. Now subtract 1 experience
  point for each individual ally or team/minions contingent
  that took part in the mission. This is regardless of whether
  the ally or team/minions participated in all or just part of
  the mission, or whether the ally is still alive at the end of
  the mission. If the final result is less than 1, give the
  player’s character 1 experience point for surviving, no
  matter how poorly the mission went.
  REWARDS AND WOUNDED OR DEAD
  ALLIES
  Allies, whether individuals or teams/minions, will drop
  during conflicts. The player's character might, for
  example, start the mission with three individual NPC
  allies and two teams, and end the mission with just one
  individual NPC ally and a few members of one of the two
  teams still left standing.
  Even if allies are taken out, the player awards
  each individual or team/minion contingent of allies 1
  experience point, and each gets a roughly equal share of
  financial rewards.
  For the above example, if the player has
  collected 100 silver coins at the end of a fantasy mission,
  that gets divided into six lots of 16 coins apiece: one
  share for the player's character; one share for each of the
  individual NPC allies whether they are still standing,
  incapacitated but still alive, or were killed during the
  mission; and one share for each ally team, regardless of
  how many members (if any) are left standing. If there are
  unusual items that don't have straightforward monetary
  value, such as magic/special items, a small vehicle,
  mount or owed favors, the player's character might get
  those directly: It might call for a social skill check in a
  final cutscene, with the clear consequence that failure
  means the special item(s) go to another owner or purpose.
  If there is ever a question about dividing
  experience points, for example if experience points can't
  be distributed evenly, give your player's character a break
  by rounding up any fractions in their favor.
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  13.RPG: experience
  When it comes to spending experience points to improve
  the player character’s skills, the following rules apply:
  A new skill can be added at 1 point over its base value by
  spending 2 experience points.
  An existing skill can be raised to 2 points over its base
  value by spending 2 experience points, or to 3 points over
  base value by spending 3 experience points. Skills cannot
  be raised above +3 over base or above +3 total.
  A new skill group can be added at 1 point over base value
  by spending 6 experience points. Single skills in the skill
  group can be raised by spending 2 points (2 points above)
  or 3 points (3 points above) the skill group’s value, up to
  a maximum of 3 points over base or +3 total.
  An entire skill group that is already at 1 point over base
  can be raised to 2 points above base value by spending 9
  experience points. Single skills can be raised by spending
  3 points (to 3 points above). Skill groups cannot be raised
  above 2 points over base value or above +2 total.
  Any one attribute can be raised by 1 by spending a
  massive 12 experience points. Attributes cannot be raised
  above +1.
  In a setting with powers, experience points can be spent
  on powers in these ways. Note that skills cannot be raised
  above 3 points over base level, or above +3 total:
  For magic, adding a new spell at 1 point over base ability
  costs 1 experience point. Any one magic spell can be
  raised to 2 points over base ability by spending 2
  experience points, or to 3 points over base ability by
  spending 3 experience points.
  For psionics, adding a new psionic talent at 1 point over
  base ability costs 2 experience points; adding 1 point to
  the psionic point pool also costs 2 experience points. Any
  one psionic talent can be raised to 2 points over base
  ability by spending 3 experience points, or to 3 points
  over base ability by spending 5 experience points.
  For special abilities, adding a new special ability at 1
  point over base ability costs 3 experience points.
  EXPERIENCE AWARD EXAMPLE
  After the end of a tough slog, the player brings Arthur
  Falcone across the finish line for a long mission that
  needed four meaningful successes. The player only
  managed three meaningful successes before Falcone was
  so battered that the player decided the investigator was in
  no shape to go on, and quit the mission.
  That means the player secured 3 experience
  points for scenes with meaningful successes, but missed
  out on 2 more experience points for completing the
  mission successfully.
  But the player also brought in both Falcone's
  ally Toni Graham, and rival Emily Chan, plus Emily's
  retinue of police officers for the story.
  The player needs to give Toni 1 experience
  point, meaning Falcone gets the remaining 2 experience
  points. As a recurring rival, Emily Chan automatically
  gets 1 experience point, but that award is automatic and
  does not come out of the player's pool. Emily's group of
  police officers gets nothing: While the player gave the
  officers names they're neither recurring rivals, nor are
  they part of Falcone's ally group.
  The player decides to spend the 2 experience
  points to buy sneak at +1 over the base value (this falls
  under subterfuge and survival, which is at base ­1 for
  Arthur). Spending a point brings that skill level from an
  untrained ­2 up to sneak 0.
  The player asks "did Toni advance?", sets the
  odds at 50/50 moderate and rolls yes. The player buys
  Toni first aid at +1 over the base conflict stat of 0. Arthur
  had been getting into a lot of fist fights, and an assistant
  with that skill might help.
  For Emily Chan, the player adds pistol +1 skill.
  Arthur Falcone shouldn't ever have to face down the
  police detective in a gunfight, but it reflects Emily's
  competence across all aspects of her job.
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  RPG: experience.13
  PROMOTING A TEAM/MINION MEMBER
  Increasing a special ability to 2 points over base ability
  costs 4 experience points; raising it to 3 points over base
  ability costs 8 experience points.
  ally, ally team/minions and rival experience
  Libre Solo Role Playing’s GM engine already noted
  earlier that allies also should progress in the game. The
  rules to do this are below, and are also summarized in
  appendix T (p. 141). At the end of a mission, whether it
  succeeded or failed, ask the following yes­no question for
  each individual ally that is still alive and available for
  future missions: “Did this ally learn enough from this
  experience to advance?” Set the odds based on the
  amount of participation the ally had in the mission,
  including skill checks and danger of conflicts.
  If the answer is yes, the individual ally that participated in
  the mission can get a new skill (or spell, talent or special
  ability if these are available in the setting); or raise an
  existing skill or power by one level. A new skill or power
  should be 1 level above that character’s general conflict
  skill. An ally’s general conflict skill level never changes,
  and allies have a maximum possible skill or power of +3.
  For an ally team or minions, ask the following yes­no
  question: “Did a member of the team/minions advance
  from the experience?” Set the odds based on the amount
  of overall participation and danger of conflicts that the
  team or minions faced in the mission. If the answer is yes,
  the player can promote one member of the team or
  minions to become a standalone individual NPC ally,
  usually converting into an average NPC who can be
  recruited separately in future stories. The rest of the
  members of the team or minions remain a single unit,
  recruited as normal.
  Finally, any recurring rival who appears in a mission
  automatically gets a new skill (or spell, talent or special
  ability), or improves an existing skill or power up to the
  maximum of +3. The recurring rival advances
  automatically, without asking a yes­no question about
  advancement. Rivals should remain competent,
  challenging and dangerous whenever they appear in a
  mission to square off against the player’s character. k
  Whether it's a minor noble's retinue of guards (a team), a
  barbarian's shifty goblin chattel (minions), or a
  necromancer's group of zombies (mindless minions), any
  of these ally teams/minions also check for promotion at
  the end of a mission in which they participated.
  At the end of a mission, the player asks: "did a
  member of this group advance from the experience?" If
  the ally team or minions did nothing and were just along
  for the ride, the odds ought to be nigh impossible or very
  unlikely. But if they led some skill checks, participated in
  others, faced a conflict or two, and maybe lost some
  members, set the odds of advancement at 50/50 moderate
  or even likely. If the roll result of this yes­no question is
  yes, the player can promote one of the allies to an
  individual NPC.
  First, re­assess the conflict rating for the
  individual: A weak team/minions can have as low as a
  conflict ­3 rating, but a promoted weak NPC has a
  generic conflict ­1 rating, and a promoted average NPC
  such as a guard might have a generic conflict 0 rating.
  In each case the individual NPC becomes a new
  ally. That new individual will need to be recruited
  separately from the team or minions (with a separate yes­
  no question to check for availability, and possibly a social
  skill check to try and recruit the NPC). In any future
  missions, that individual NPC gets an experience point
  and an equal share of valuables.
  As a weak or average NPC, the individual may
  also get one skill that is at +1 skill level above that
  character's generic conflict rating. Ideally, the assigned
  skill should reflect some memorable skill check where
  the ally team/minions contributed to the mission. An
  average guard NPC might get an extra skill such as sword
  +1 or interrogate +1. A weak goblin NPC might get sneak
  0, or hide 0, or notice 0. A weak zombie NPC doesn't
  have many options, but might get claws 0.
  The remaining un­promoted team or minion
  contingent remains available separately. Each time they
  appear in a future mission, that is another chance to
  promote another of the team/minions' members to
  become an individual NPC.
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  14) SITUATIONAL RULES
  This chapter covers extra rules for the RPG ruleset. Some
  of these rules are optional; others cover special situations
  that may or may not apply, depending on the setting. Use
  rules in this chapter that add fun and challenges to Libre
  Solo Role Playing. Ignore rules that don’t apply to your
  setting of choice, or that you find bog down the game.
  rules for building monster encounters
  Monsters represent a vast range of threats. They can be
  extremely deadly. Later in this book are two sample
  settings; the Artanes fantasy setting has a sample
  encounter table that includes some sample monsters.
  The formula below can generate a wide range of
  monsters. These instructions are also summarized in
  appendix U (p.142).
  Generate the monster’s conflict skill modifier by rolling
  d10 and dividing by 2 (round down). A d10 roll result of
  0 (ie. 10) explodes, meaning roll again and add 10 before
  dividing the final by 2. If the conflict skill roll result is
  odd, also give the monster a special ability relevant to the
  situation at a base +1 skill level, or optionally higher
  (special abilities are a described in chapter 12). Next,
  determine the number of damage levels for the monster
  by rolling d10 and subtracting 5. Any result less than 1
  means the creature has 1 damage level. A d10 roll result
  of 0 (ie., 10) explodes: roll again and add 10.
  To give an idea of scale, any creature with higher than a
  +3 sum of skill modifier and damage levels is a
  dangerous threat; a creature with more than a +6 sum of
  skill modifier and damage levels is a frightening beast; a
  creature with more than a +9 sum of skill modifier and
  damage levels is in the realm of terrifying behemoths;
  and a creature with more than +15 sum of skill modifier
  and damage levels is in the realm of cosmic horrors.
  If the player needs to assign a point value to make a
  monster part of a foe encounter budget, its point value is
  triple the conflict skill modifier, times the number of
  damage levels the beast can take.
  MONSTER THREAT EXAMPLE
  In a science fiction game, the player's character has
  landed on a wilderness planet to investigate rumors of an
  ancient monolith that may hold a vital clue.
  After leaving the shuttle and making his way
  through the thick jungle, the player rolls an unexpected
  event that generates "monster/beast".
  Picking up the dice, the player rolls d10 for the
  monster's skill modifier and gets 8, divided by 2 for a
  terrifying +4 conflict skill. The roll was even, so this
  beast has no special abilities. A second roll produces a
  second 8, meaning the creature will take 8 ­5, or 3
  damage levels to take down.
  The player asks a clarifying yes­no question
  whether the creature is mammal­like (the alternative the
  player considers is reptilian). The answer is yes, so the
  player decides the beast is a cross between a tiger and a
  kodiak bear. The player's character might be able to take
  down the creature with successive shots at range. But in a
  lush jungle, getting a ranged attack will be difficult. The
  player decides the creature will try to ambush the player's
  character. Fortunately the creature has no special abilities,
  and the player assesses the sneak of this big beast at 0. If
  the player's character fails to notice the beast before it
  advances to close range, it will be a deadly threat.
  Since the monster came from an unexpected
  event, it isn't part of a foe budget. But if the player needs
  to calculate a point value for this beast, it is triple its 4
  skill x 3 damage levels, for a massive 36 points total.
  MONSTER SPECIAL ABILITIES
  Some sample monster special abilities include:
  Melee attack bonus (claws, pounce, poison);
  Ranged attacks (spikes, fire/lightning breath,
  mental blast);
  Skills (enhanced sneak, intimidate, notice);
  Equipment (armor, flight, jumping, climbing,
  tunneling, swimming).
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  special rules.14
  rules for flexible use of powers
  Chapter 12 has a brief sidebar about manipulating powers
  to accomplish more flexible results. The default of a
  beneficial power is that it affects only the power user.
  Melee and ranged powers channel through the power’s
  user, to affect the target of the attack.
  A power user might want a variant that affects allies
  within touch range, or all allies in the scene. Healing
  powers are a good example. But power users might also
  look toward equipment powers, for example to transport
  multiple people via a group teleport, or mass fly or
  underwater breathing. Another classic effect are defensive
  powers that surround and protect all members of a group.
  For conflicts, a power user may want to boost the power
  for a bigger, more dangerous impact on multiple
  opponents through area effects such as as bolts, beams,
  cones, spheres, or harmful auras. The simple way to
  handle power manipulation from chapter 12 is to set a
  probability and ask the yes­no question: “can the power
  user invoke this power in this way at this time?” The
  player assesses the likelihood and makes the roll. If the
  answer comes back yes, the player can try to succeed by
  rolling a skill check with at least a ­1 shift penalty for
  each complication in invoking the power.
  Here is a more structured way to figure out skill level
  difficulty for manipulating powers. It involves assessing
  what the power user wants to do, and applying shift
  penalties. As discussed in chapter 12, the power user must
  be the lead person for the skill check (this is one way a
  ranged power will lead a conflict skill check even though
  melee conflict is already happening). If the power user is
  not leading the skill check, it only contributes a +1 shift
  to the conflict. Outside a conflict, a power can raise the
  skill of a member in a group skill check to 0 or higher, so
  that the extra member might qualify to assist the check.
  For beneficial powers the modifiers are as follows, which
  is also listed in appendix V (p.142):
  A flat ­1 shift for the power user to transfer an effect from
  her­ or himself to another person who is in melee range
  (can be touched), as the target. Otherwise:
  EXAMPLE POWER MANIPULATION
  The player character mage with a lightning bolt ranged
  attack spell wants to cast a forking bolt into a melee with
  a mix of allies and enemies. It's a pulpy setting, so the
  player character's group deals a base 2 damage levels if it
  succeeds in a round of conflict. If the foe group succeeds,
  it deals 1 damage level to the player character's group.
  The player's character intends to cast a ranged
  lightning bolt spell at medium range (0 shifts) that will
  cause triple damage (­2 shifts). The player's allies are in
  melee and the player doesn't want to affect them (­2 shifts
  for ranged finesse). The mage has lightning +1 spell skill.
  With the total ­4 shifts, the player character's group starts
  at ­3. Fortunately, the player's character has a big ally
  group: There are five individual and team allies, for +5
  shifts. The player character's side totals [ ­3 +5 ], for +2
  for the conflict. The foe group's highest skill is 0, with
  three individual and one team foe. That's [ 0 +1 +1 +1 ],
  for +3 total. The two sides are [ +2 (player's side) ] ­ [ +3
  (foe group's side) ], for a total ­1, making the player
  character's group unlikely to succeed with the skill check.
  If the player does succeed at the skill check,
  triple damage from an overcharged forked lightning spell
  in a pulpy setting will deal a massive 6 damage levels to
  the foe group. If the player fails the combat skill check,
  the player character's group takes 1 damage level and the
  player character's mage also takes an immediate
  consequence: Overpowered combat spell failures should
  have especially nasty side effects. To start, the mage
  should take the generic penalty of losing access to all
  spells for the rest of this scene and any follow­up scenes.
  If the player had excluded the "doesn't affect
  allies in melee" clause, that would've improved the odds
  for the player character's group by two shifts. The combat
  skill check would then be +1, likely to succeed. But with
  success, both sides would have taken damage. For a
  pulpy setting that's 2 damage levels to the foe group for
  every 1 damage level for the player character's side, so 6
  damage levels to the foe group, 3 damage levels to the
  player character's side. Failure, as before, would inflict 1
  damage level for the player character's side and cause an
  immedate consequence for the player character's mage.
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  14.special rules
  ­1 shift for each person in melee range (touching
  distance) of the power user to be affected.
  ­2 shifts for each person to be affected who is in close
  range but the power user cannot touch (for example to
  affect persons using thrown weapons in melee).
  ­3 shifts for each person to be affected who is at medium
  range (missile weapon range) to the power user.
  Assess an additional ­1 shift for each person the power
  user wants to include who is resisting the effect. This
  might be a subject who resists being teleported away, or
  who wants to lock out a telepathic link.
  For melee powers or ranged powers used in conflicts, the
  following shift penalties apply:
  ­1 shift for each damage level multiplier. That is, ­1 shift
  to double the setting’s usual damage level, ­2 shifts to
  triple the setting’s usual damage level, and ­3 shifts to
  quadruple the setting’s usual damage level.
  For the default gritty setting (where the standard is 1
  damage level), a power user can boost the power to try
  and cause 2, 3 or 4 damage levels. In a pulpy setting
  (where the standard is 2 damage levels), boosting a power
  multiplies the effect to 4, 6 or 8 damage levels. For a
  heroic setting (where the standard is 3 damage levels),
  boosting a power multiplies the effect to rain down a
  massive 6, 9 or 12 damage levels on foes. The power user
  must be the lead person to make the skill check in the
  conflict. Otherwise the power user can only contribute a
  flat +1 shift to the melee or ranged conflict roll.
  Additionally, there is a finesse penalty if the power user
  wants to target a mix of allies and foes selectively while
  they are engaged in melee combat. The finesse penalty is
  an extra ­1 shift if the power user is at close range, and ­2
  shifts if the power user is at medium range to the melee.
  The power user can opt to skip the finesse penalty, in
  which case both the foe group and the ally group take
  damage if the player character’s group skill check
  succeeds (the player character’s group doesn’t suffer
  extra pulpy or heroic setting damage multipliers). If the
  UNCONVENTIONAL POWERS USE
  An inventive player will think up creative new ways to
  use powers. For example, take the player character mage
  from chapter 12 with the fists of iron +1 spell. The power
  as designed is supposed to give the mage a +1 bonus in
  melee combat.
  But what if the mage successfully casts the
  effect on someone else, such as a would­be pickpocket,
  so the subject loses all fine manipulation? Or what if the
  mage wants an on­the­spot variant that creates feet of
  iron, to slow down an escaping foe? These are creative
  possibilities, and examples of a power being invoked in a
  way other than it was intended. Those creative uses inflict
  at least a ­1 shift on top of any other penalties.
  For the pickpocket example, the effect is at a ­1
  shift for affecting one other person in melee range; and a
  ­1 shift for the subject being unwilling. In this case, the
  player ignores the extra ­1 shift for doing something
  unusual with the power, because loss of fine manipulation
  is written into the spell's trapping. The total penalty for
  this effect is ­2 shifts, and the mage's chance of success is
  [ +1 ­2 ] totaling ­1: unlikely to succeed.
  Trying to cast a feet of iron variant of the spell
  is definitely an unusual application. Again the player is
  being generous and sticks to a minimum ­1 shift for the
  manipulation. In this case the attempt took place at close
  range as the foe was escaping, for another ­2 shifts; and
  the foe is unwilling, for another ­1 shift. The total penalty
  is ­4 shifts. The mage's chance of success is [ +1 ­4 ] to
  total ­3, nigh impossible. Unless the mage has some other
  bonuses to factor into the skill check, it's probably not
  going to happen.
  85
  MANIPULATION CONSEQUENCES
  Manipulating powers, particularly overpowering to cause
  extra damage, should be very dangerous. Whenever a
  power skill check fails (this includes a person leading
  with a power in a conflict), use the rules on powers and
  consequences (p.77) to determine if just the skill check
  failed, or if the underlying power went awry. If the power
  itself failed, the blowback of the overpowered failure
  should be very serious indeed for the power user.
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  special rules.14
  power user didn't use finesse, assign damage to both sides
  participating in the melee conflict.
  Additionally, the player should assess ­1 or more shifts if
  the power user is trying to use a power in an
  unconventional way.
  If the player decides to use these more comprehensive
  rules for powers, they are available to all power users in
  the game: the player’s character, allies, rivals and foes.
  Keep it simple by limiting power manipulations to the
  player’s character, key rivals, and the occasional truly
  exceptional foe.
  rules for traveling on journeys
  Any journey or quest has two elements. One is travel to
  remote places. In many settings, that can mean the
  mission will have at least some wilderness scenes. The
  second element is the length of the journey, as the player
  character’s group takes time to travel distance. A quest­
  length adventure should require at least three, even four
  or five scenes with meaningful success to complete.
  Journeys usually go hand in hand with advance known
  information about the waypoints and the mission’s goal,
  which is covered in the rules for scene portents that
  follow. Rules for journeys and portents are also
  summarized in appendix Y (p.144).
  Before embarking on a journey or quest, the player
  should make some decisions about the length of travel
  and general challenges along the way. Adequate food and
  water, rest, shelter from adverse weather, and avoiding
  the most dangerous areas are factors in the journey. The
  speed of the group will be limited to the ability of mounts
  or vehicles; or else to sore feet, encumbrance and stamina
  of the travelers.
  One easy way to plan out the basic logistics for travel,
  and the challenges and scenes that might take place along
  the way, is to use an existing map from a third­party
  source. An existing map can give some ideas about
  distance to a destination, waypoints along the journey,
  and travel challenges on the way.
  86
  EXPLOSIVES AND HEAVY WEAPONS
  If it's important for the story to include machine guns,
  plasma throwers, explosives or other heavy weapons, the
  optional rules for flexible use of powers is a template for
  including this type of equipment and its deadly effects.
  Treat a machine gun as a missile weapon with a
  double damage multiplier.
  A thrown hand grenade is at throwing distance,
  and has a triple damage multiplier; a grenade launcher
  extends the explosive effect's range as a missile weapon.
  Treat cannons and other big guns as missile
  weapons. They could have up to a massive quadruple
  damage multiplier.
  One downside of all heavy weapons is that they
  have no finesse. Any weapon pointed into melee does
  damage to both sides. It also makes sense to penalize any
  healing and recovery rolls, or even rule it out completely,
  for anyone taken out by heavy weapons or explosives.
  Heavy weapons and explosives are not power
  manipulations, so their effects can't be altered. There are
  no skill check penalties in exchange for the damage
  multipliers of these weapons: They are being used exactly
  as designed.
  Like powers, any heavy weapons use must lead
  the skill check for its side to count the extra damage
  multiplier (as with powers, this is a special case where a
  ranged attack can lead a melee conflict). The
  consequence for skill check failure with heavy weapons
  may be extremely dangerous. See the sidebar on
  manipulation consequences (p.85) to determine whether
  something went wrong with use of the heavy weapon
  itself. Create a very serious consequence indeed if it turns
  out that the weapon malfunctioned.
  When might a foe group have heavy weapons
  or explosives? As a general rule, if the player character's
  group gets access to these types of weapons, then the foes
  they face should also have these types of weapons (or
  their equivalents). When in doubt, a quick yes­no
  question can clear up whether foes are similarly armed.
  rules for traveling on journeys
  Nicolette Tanksley (Order #13726995)
  
  14.special rules
  A SAMPLE JOURNEY AND PORTENTS
  Arthur Falcone is tracking down a missing person last
  seen in the city of Greenfield (in game terms, the rolled­
  up mission is "hunt" and "craft master/boss"). Arthur is in
  Mill City, and Greenfield is several hundred miles
  southeast. The missing person's car was spotted in the
  town of Plainville along the way. Between those locations
  is mostly a mix of rural towns and forested hills.
  The player didn't use a map, and narrated these
  details off the cuff. Whether the journey is traveling on
  foot or horseback in a fantasy setting, or moving at
  hyperdrive speeds in a science fiction setting, the default
  time between waypoints is normally d10 days. But for a
  modern setting, the player decides that places of interest
  are close enough that each location is just d10 hours'
  drive apart. After rolling randomly, the player determines
  Mill City and Plainville are 8 hours' drive apart;
  Greenfield is another 6 hours' drive.
  The player generates a random scene quality
  and foe for the Plainville waypoint. The roll result is
  "average NPC", with a culture/occupation of "opposed"
  and "fighter/warrior". The random scene quality is
  "hate/anger" (the player doesn't write it down but takes
  the sentiment under advisement). The player decides the
  NPC is a man named Paul Ghentry, a known violent
  criminal that Arthur Falcone's patron informs him had
  dealings with the missing person. The patron advises
  Arthur that whatever happened to the missing person,
  Paul is likely involved or in the know.
  For a random scene quality and foe at the
  Greenfield waypoint, the player rolls up "average
  minions". The player changes that to an average team
  with a randomly rolled culture/occupation of "native
  minority" and "common/generalist". The random scene
  quality is "background noise". The player decides this is a
  noisy big city with a vibrant east African community, and
  that the missing person was known to have contacts in
  that community.
  The player now has Arthur Falcone's travel plan
  scenes roughly figured out, and the investigator (cont'd)
  gets behind the wheel. In setting the first scene, the
  But the player can also improvise, for example if the
  journey goes through unknown, uncharted territory.
  Based on the number of meaningful successes needed for
  the story to end with a positive outcome, the player can
  set an arbitrary number of event waypoints, and then roll
  d10 for each set waypoint to determine the number of
  time units (days, hours or weeks) to travel from one place
  or event to the next. A waypoint may be civilization and a
  chance to rest, re­stock and re­fuel (and also potentially
  to get into trouble); the waypoint could also be the place
  of an anticipated obstacle scene or encounter scene.
  One way to determine the nature of a waypoint is to ask
  the yes­no question: “Is this next waypoint a place of
  civilization?” A few follow­up yes­no questions, and
  some randomly rolled places and scene qualities can
  provide insight about the nature of a waypoint: Whether it
  is a safe place to rest, the location of a potential obstacle
  or encounter scene, or possibly both.
  If the trip is long and arduous, the player character’s
  group risks being exhausted or otherwise unprepared
  when a waypoint turns out to be a tough obstacle or
  encounter. An easy and immediate way to kick off a scene
  asking for trouble is with the yes­no question: “is the
  player character’s group entering the scene fatigued,
  hungry/thirsty or tired?” This might mean a ­1 shift
  penalty to some types of skill checks for the scene.
  The player also might need to decide whether to make the
  destination the end of the journey (and mission), or also
  to run scenes for the return trip. That could hinge on
  whether the player already racked up enough meaningful
  successes on the journey to resolve the mission once the
  player character’s group reaches its destination. If the
  player doesn’t have enough meaningful successes, add
  scenes that address challenges on the return home.
  One alternative the player might consider for journeys,
  especially if the mission failed, is that the player’s
  character might end the current story in a faraway land
  instead of back at home. The next mission may pick up
  with the player’s character still a long way from home.
  The long and arduous return journey could play a role in
  the character’s next mission.
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  special rules.14
  rules for scene portents
  Some types of missions embark into the unknown: travel
  to distant uncharted lands; delving into a vast, dangerous
  underground complex; or getting inside the grounds of a
  secured private estate. In any of these cases, there should
  be some advance information that is known about the
  place, especially if the destination is related to a mission
  that a patron assigned the player’s character. That
  information might come from actual surveillance, or
  might be rumors picked up from travelers who claim to
  have been there.
  For example, if a dungeon is filled with deadly traps, or if
  a secured private estate is bristling with armed guards or
  cultists, whoever assigns the mission should know
  something of these things, and should brief the player
  character’s group on what to expect. As the story
  progresses, some of that information will turn out to be
  true, and some information might prove to be outdated or
  even dangerously wrong.
  Libre Solo Role Playing’s GM engine already has
  structured questions that are designed to reveal this kind
  of advance knowledge, such as: “Can the person warn me
  about possible upcoming encounter(s)?” If a journey or
  quest is particularly long and ambitious, the player could
  handwave any social skill check to answer this question,
  just like always assigning a mission in an opening
  cutscene. The player might also handwave the yes­no
  question asking whether advance information is available,
  or set it between likely and nearly certain.
  Below are optional rules for generating advance
  information regarding known challenges when embarking
  on a journey or quest. The information here is also
  summarized in appendix Y (p.144).
  First, the player should set up as many scene portents as
  there are waypoints; ideally, the player should have as
  many waypoints as there are meaningful successes
  required for the story to have a positive outcome. If the
  player’s character is on a quest that needs four
  meaningful successes, for example, that might mean four
  waypoints and advance portents on each of them.
  player first asks a 50/50 moderate yes­no question: "is the
  scene taking place as expected?"
  If the answer is yes, the player proceeds with an obstacle
  or encounter scene incorporating the pre­rolled factors
  around Paul Ghentry. Arthur enters the scene trying to
  wrest information about the missing person, probably
  tracking down and confronting Paul.
  If the yes­no question's roll result comes back
  no, the player can ask follow­up yes­no questions to
  clarify, such as: "Does something different happen before
  Falcone gets to Plainville?" If the roll result is yes, the
  player needs to set up a completely different scene from
  scratch that happens on the road before reaching the city.
  Depending on randomly rolled scene qualities, the
  location might be at a rest stop, or on an empty stretch of
  road.
  If the yes­no question's roll result is no, the
  scene happens in Plainville as planned. The player might
  next ask "Does the scene happen before, or instead of,
  Falcone finding Paul Ghentry?" If that roll result is yes,
  the player still uses Plainville as the backdrop but
  changes the scene from a meeting with Paul Ghentry, to
  rolling a random person of interest or foe.
  The player's character is still on the case to try
  and track down Paul, so once the Plainville scene is
  underway, the player might use information­gathering
  skill checks to ask yes­no questions and hone in on Paul
  Ghentry's location: his home, a hideout, or even the local
  jail. The player can build an obstacle scene to try for
  meaningful success, though the player may need to add a
  follow­up scene to confront and get the story out of Paul.
  If the roll result for the above two yes­no
  questions is no, the player uses the "rule of three" in
  chapter 8. In this case, the player decides the scene of
  Falcone finding Paul Ghentry will go on as planned, but
  instead of taking the "hate/anger" scene quality under
  advisement for Paul Ghentry's attitude, the player decides
  to make Ghentry a person of interest and rolls a random
  trait for the man as a reformed criminal. The player might
  decide to run this encounter as a cutscene to get more
  information, and look to future scenes to achieve
  meaningful successes.
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  14.special rules
  For each scene portent, the player first needs to select
  whether the scene happens in a wilderness or civilized
  area. If there is a journey involved and the player is using
  an existing map, the player can pick and choose
  wilderness and civilized waypoints from the map.
  Otherwise, it’s fine to roll randomly for civilized and
  wilderness scenes.
  If the player is using maps of a game world, for example,
  the player might decide a quest should start in one
  kingdom and end in a neighboring land. Looking at the
  map, the player might decide the first waypoint will be a
  wilderness scene in a forest after three days’ journey; a
  second waypoint will be a civilized scene in a border
  town two days after that; a third waypoint will be another
  civilized scene, happening in the foreign capital four days
  later; and the destination will be a wilderness scene in the
  mountains, four days’ travel after the player character’s
  group departs the foreign capital. With a map, the player
  should find it easy to pick out wilderness scenes and get
  some idea of places in advance. Without a map, the
  player rolls randomly.
  Next, for each civilized or wilderness waypoint, the
  player rolls one random scene quality in advance. If the
  result is a permanent scene quality, that is something that
  is known about that waypoint. For the above example, the
  player rolled “windy” for the forest waypoint: The player
  decides that the patron described that area as ‘the
  groaning trees’). The player rolled “running water” for
  the border town, which the patron described as a bubbling
  brook that flows through the center of the town. The
  player rolled “stairs/ramps” for the foreign capital, which
  the patron described as many high buildings set into
  hillsides. Finally, the player rolled “rotten/carrion smell”
  for the mountains, which the player decides to discard,
  since it is too impermanent (though the player could have
  the patron allude to ‘the valley of the dead’).
  The player also can roll up one random foe for each
  location in advance, interpreting the result as something
  appropriate for the location. For example, for the forest
  the player might roll “average minions,” which player
  decides was described by the patron as roaming goblin
  tribes. The player could roll “average mindless minions”
  JOURNEY AND PORTENTS IN SPACE
  Here's how journeys and scene portents can work, for
  example, in a science fiction setting where star travel is
  common.
  The player's character gets a mission to spy on
  a diplomat. The player creates the mission as a journey,
  and decides on four waypoints: The first, two days away,
  is a (civilized) space station; the second is six days'
  travel, a (civilized) planetary starport; the third, another
  two days away, a (wilderness) planet; and the mission's
  target, the diplomat, is on a (wilderness) planet another
  five days away. The player rolled d10 days randomly for
  distance between waypoints, and whether each stop was
  civilized or wilderness, and narrated the framework
  basics of each waypoint.
  The patron supplies a dossier of intelligence
  regarding resources along the way. The space station
  scene quality is "soft/plush", which the player chooses to
  ignore, and the foe there is average mindless minions:
  The player decides the site is an automated, robotic
  facility. The starport scene quality is "disease­ridden". A
  random foe roll generates "talented NPC", with a culture
  and occupation of "affiliated neighbor" and "wilderness
  specialist". The wilderness planet place is
  "steppes/grasslands" and the scene quality is
  "ruins/buildings"; the foe encounter roll is "add group
  leader". The player arbitrarily rolls again and gets "weak
  mindless minions". The destination planet place is
  "swamp/marsh," with a scene quality of "wildlife signs,"
  which the player chooses to ignore. For a foe encounter,
  the player rolls "d100, talented", and a random follow­up
  roll is for "rival of friend/ally."
  After giving it some thought, the player
  narrates that the player's character needs to go to the
  space station to hack into its systems and get security
  codes to get ship authorization to travel to the destination
  planet. The starport has an epidemic. There, the player's
  character might need to convince a known alien expert
  (the "wilderness specialist" above) who is knowledgeable
  about the destination planet to assist in the mission. The
  player decides the third scene is a staging area (cont'd)
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  for the border town, which the player might swap for a
  more suitable average team with a culture and occupation
  (randomly rolled as “far­away” and “fighter/warrior”).
  The player interprets the result as the patron describing
  the town’s guard is brought in from a remote part of the
  kingdom, to hold down corruption. And so forth.
  Based on the expected places, foes and known scene
  qualities, the player might decide to have the player
  character’s group make different advance preparations.
  The group might know, for example, if it should
  concentrate on stocking up food and drink; bring along
  mountaineering gear, or space suits and jetpacks; or to
  request vials of holy water from the church (better yet,
  recruit a priest ally to join the group).
  Once the player is satisfied with the scene portents, the
  mission starts. If scenes don’t get derailed, the player
  character’s group travels from one waypoint to the next,
  getting to the places with scene portents. Before each
  scene with portents, the player asks the 50/50 moderate
  yes­no question: “does this scene happen as predicted?”
  If the answer is yes, select whether to run the scene as an
  obstacle or encounter scene, opening it in the anticipated
  place. Use the scene quality that was rolled in advance,
  and add two more randomly rolled scene qualities. Any
  pre­rolled foe should also be in the scene. If the player
  chooses to run an obstacle scene, it’s possible to play off
  the foe in the scene, to have the player character’s group
  make skill checks and ask for trouble. If the player wants
  to run an encounter scene, it’s possible to generate a point
  budget and round out a foe group for the encounter.
  If the yes­no question roll result comes back as no, the
  portent was wrong. Keep any pre­generated wilderness
  place, but the pre­rolled foe and/or scene quality are
  missing or different than expected. For a civilized place,
  generate a new encounter scene or obstacle scene from
  scratch.
  If an unexpected event happens during a scene with pre­
  rolled portents, and the event calls for a new foe or scene
  quality, a follow­up yes­no question can find out if the
  event is related to the pre­rolled portents. If the yes­no
  question’s roll result is yes, introduce the foe and/or scene
  90
  before the spy destination, a ruined planet where post­
  apocalyptic soldiers guide squads of robot drones in
  battle. Finally, the player decides to bring in a rival: The
  diplomat on the swamp planet has a known affiliation to a
  powerful rival of the patron who assigned the mission to
  the player's character.
  As the player goes through the adventure, for
  each of the waypoints, the player asks the 50/50 moderate
  yes­no question before the scene opens: "does this scene
  happen as predicted?" If the roll result is yes, the player
  then selects the type of scene, and develops the scene as
  normal. If the roll result is no, the player optionally might
  ask the follow­up question: "did something happen before
  the player character's group reached the waypoint?" That
  could help the player decide whether to roll up a new
  scene at the planned place, or whether to roll up a random
  place for a scene that intercepts the player character's
  group and happens before the group reaches the planned
  waypoint.
  MULTIPLE PROTAGONISTS
  Libre Solo Role Playing was designed to have one main
  player's character who drives the story. By default, the
  rules treat other members of the player character's group
  as allies. If the player wants complete control over
  several protagonists or even of a whole adventuring party
  of player's characters, that's certainly possible.
  With multiple protagonists, whenever one or
  more player's characters participate in a skill check, it
  increases plot stress by 1. Moderately difficult skill
  checks can count toward meaningful success as normal,
  and the player still needs to succeed at three different
  types of skill checks for obstacle scenes. Asking for
  trouble and encounter scenes work normally.
  At the end of any story, divide experience and
  wealth among player's characters and any other allies.
  Players' characters divide evenly whatever experience
  points are left after other allies take their share. Divide
  wealth evenly, with each player's character and each
  individual or team/minions ally getting an equal share.
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  14.special rules
  quality portent if it is missing, or increase it if it is already
  in the scene.
  rules for rewards
  Libre Solo Role Playing doesn’t get hung up on financial
  rewards. About the only guideline is the open­ended
  structured question for persons: “Does the person offer
  valuables for completing the mission?” and the structured
  question for foes: “Do the foe(s) have money or valuables
  on them/nearby?” If resource management is interesting
  to the story, here are two ways to set up financial rewards
  and other types of treasure for the player character’s
  group. Summaries of these two options are also in
  appendix W and X (p.143).
  Start with a rough estimate of average monthly income
  for the player’s character, based on occupation and social
  standing. Completing a mission should carry a reward for
  the player character’s group based on 1/4 of the player
  character’s monthly income for each meaningful success.
  Failure to complete the mission nets nothing. The reward
  needs to be distributed evenly among all participating
  individual allies; count each team/minions contingent as
  one ally.
  If a patron hired the player’s character for pay, and the
  roll result to the structured question for persons: “Does
  the person offer (extra) valuables for completing the
  mission?” is yes, increase pay by another 50%.
  For loot captured from foes and foe groups, use the foe
  point budget to generate a total reward as a percent of the
  player character’s monthly income. For example, 20
  points of foes will have valuables (e.g., cash, coins,
  jewelry, gear) worth 20% of the player character’s
  monthly income. Again, remember that the spoils of any
  conflict need to be shared evenly between the player’s
  character, and all individual allies and teams/minions.
  If this approach is too predictable, another option is to
  roll (d100) for each reward. The table on the following
  page, which is also in appendix W (p.143), generates
  random rewards:
  REAPING REWARDS SIMPLY
  Let's say Arthur Falcone successfully solves the case of
  the missing person, or at least gathers enough meaningful
  successes that the story is resolved in a positive way. The
  player had set up the scene with just two meaningful
  successes needed to conclude the mission.
  Using the simple rewards system, 2 meaningful
  successes mean that Falcone is due 1/2 month's salary.
  The player had previously decided that Falcone's average
  monthly income is about $2,500, so barely $30,000 a
  year. That means the private investigator clears a base of
  $1,250 for the case. Falcone also successfully pushed the
  patron for more money through a social skill check (a
  calculated risk, because there is always a consequence
  when a skill check fails). Because of this successful
  social skill check, the investigator cleared an additional
  $625 payment from the case.
  During the mission, Falcone also took Paul
  Ghentry's wallet full of cash (a dumb move that could
  come back to haunt the investigator, but we won't judge).
  Falcone lifted the wallet as part of an obstacle scene, and
  Ghentry on a standalone basis was just a 5­point foe. So
  that move netted 5% of the investigator's monthly salary
  in the scene, or $125.
  If Falcone had been accompanied by Toni
  Graham for part of the mission, that cash would be split
  evenly. In that case Arthur's share of the valuables would
  have been $625 for resolving the case, plus an extra $312
  because Falcone hit up the patron for more money with a
  successful social skill check, and $62 for taking Paul
  Ghentry's wallet.
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  special rules.14
  For a completed mission: Make one (d100) roll, adding
  +20 for each scene with a meaningful success. If the
  player was hired by a patron, made a successful social
  skill check and rolled a yes result for the yes­no question,
  “does the person offer (extra) valuables for completing
  the mission?” make a second (d100) roll on the rewards
  table with half the modifier (i.e., +10 for each scene with
  a meaningful success). Make an additional (d100)
  unmodified roll for each successful side goal
  accomplished in the story.
  For collecting loot after a successful conflict against foes,
  roll (d100) once after defeating the foes, adding the value
  of the total foe point budget.
  01­60: Nothing.
  61­70: cash/treasure worth 1/4 month income.
  71­80: cash/treasure worth 1/2 month income.
  81­90: cash/treasure worth 1/2 month income. If this is
  the end of the mission, the patron also owes the player’s
  character a favor (call it in for automatic success on any
  one future social skill check with this patron).
  91­100: cash/treasure worth 1 month’s income.
  100­125: cash/treasure worth 1 month’s income. If this is
  the end of the mission, the player character also either
  gets a promotion in an organization related to the
  mission, or builds up a public reputation and recognition
  for the mission. Alternatively, the player character gets
  extra training (1 extra experience point at the end of the
  mission).
  125­150: Either cash/treasure worth 1 month’s income, or
  a mount or small/personal vehicle (or a partial payment or
  improvement of a special mount or larger vehicle).
  Alternatively, premium gear or modest one­use
  magic/technology item.
  151­175: cash/treasure worth 2 months’ income. If this is
  the end of the mission, the patron also owes the player
  character a major favor (automatic successes with up to
  three future social skill checks with the patron).
  176+: choose either cash/treasure worth 3 months’
  income; special premium gear; promotion and/or
  prestige; powerful one­use magic/technology item;
  modest permanent magic item; or another type of unique
  item of value. k
  REAPING REWARDS BY ROLLING
  Let's now revisit Arthur Falcone's successfully solving
  the case of the missing person, using the random treasure
  table found in the main text here, and in appendix W
  (p.143). The player set up the mission with two
  meaningful successes for a positive outcome. A positive
  outcome at the end of the story means the player can
  make one roll on the rewards table with +40 total
  modifier. The player did not complete any side goals, so
  there are no extra rolls.
  In the scene where Falcone took Paul Ghentry's
  wallet, the player rolled once on the treasure table with a
  +5 modifier, since Ghentry was a 5­point foe. When
  Falcone defeated Paul Ghentry and took his wallet, the
  player rolled a 55, modified up to a 60, which merited
  nothing.
  For the end of the mission, the player rolled a
  34, modified up to 74. That turned out to be 1/2 month's
  income. The total take for the mission was $1,250, which
  Arthur Falcone needs to split evenly with each individual
  ally individual and team/minions contingent that
  participated in the mission.
  If the player had rolled a modified 81­90 for
  winning the encounter, the player's character would have
  gained 1/2 month income, and also been owed a personal
  favor by the patron who assigned the mission.
  But if the player had rolled a modified 81­90
  for lifting the wallet, it only would have counted for
  money, no favors: Stealing the wallet was not part of any
  mission.
  If Arthur Falcone had successfully asked the
  patron for an additional reward, and had found and taken
  on a side goal in addition to the mission, the player would
  have three rolls on the treasure table total at the end of a
  successful mission: one roll with a +40 modifier for
  completing the mission; a follow­up roll with a +20
  modifier (half the +40 modifier of the main mission)
  because he convinced the patron to pay extra; and one
  unmodified roll on the rewards table for the completed
  side goal mission. If the player had quit the main mission,
  that might still merit one unmodified roll if the side goal
  was achieved.
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  Settings
  Settings
  Nicolette Tanksley (Order #13726995)
  
  ARTANES:
  BRONZE AGE CITY­STATE
  The following is a fantasy setting for use with Libre
  Solo Role Playing. It paints with a broad brush,
  providing a basic outline and ideas to start adventuring
  in Aelos. Through storytelling the player can discover
  more about the land, its people, surrounding geography
  and culture. The default setting for Artanes is pulp.
  The city­state of Artanes is ancient, nestled into the
  mountainous, temperate southern coast at the outer edge
  of the vast Aelandric Empire, usually just called
  “Aeland”. Artanes and its surrounding communities are
  part of the mighty Aelandric Empire in name, and share
  its language and customs. Politically, the city and its
  surroundings are isolated from Aeland by the massive
  Ramikan mountain range, a hundred miles of narrow
  passes, dangerous monsters and unpredictable weather.
  Culturally, the city­state looks toward the other peoples
  that live on the shores of a great Inner Sea, who call the
  Empire's autonomous southern coast “Aelos.”
  Artanes is an autonomous city­state under the rulership
  of Regent Naira Kameiros, known by locals as “The
  Iron Lady” for her stern disposition. Regent Kameiros
  resides in Artanes’ palace under the protection of the
  royal guard. She is advised by councellors from the city
  and surrounding communities: the men Savash Sekroba;
  Reyhen Oricos and Cumhar Kagan; and women
  Hannafey Aysel and Lara Elatir. The councellors in turn
  have their own manors and holdings both inside and
  outside the city­state, each with its own aides, advisors
  and guards.
  Artanes prospers thanks to trade with other communities
  around the Inner Sea. The connected political and
  mercantile families benefit most from regional sea
  trade. The poorest live along the city's cramped and
  shoddy buildings near the docks. Wealthy citizens live
  in villas at the city's mountainous edges, surrounded by
  walled and guarded vineyards.
  Magic (powers) exist but are uncommon in Aelos. So­
  called sorcery is considered an evil force. The city
  endorses and enforces one state religion, Artanis, the
  city's protector and healer. Worship of other deities is
  outlawed as illegal cult activity, and public proselytizers
  can be fined or imprisoned. Priests outside of Artanis'
  temple that practice religious magic are dealt with
  harshly: Banishment or even public execution (in
  extreme cases having to do with deities considered evil).
  Any religions besides Artanis hold their ceremonies in
  secret: For those in the know, there are shrines hidden in
  the city dedicated to the goddess of storms, the wealth
  bringer, the bull slayer, and the watcher over the night.
  A huge stone statue of Artanis, the city's patron deity,
  stands proudly near the peak of mount Ramikus, the
  tallest mountain that looms over the city­state. In the
  shadow of the statue is the city­state's formally
  sanctioned Temple of Artanis, dedicated to healing the
  injured, sick and infirm brought to this high mountain
  place. The priest in charge of all duties at Artanis'
  temple, Bashak Oricos, is half­brother to councellor
  Reyhen Oricos. Reyhen is a powerful political influence
  in the city­state. At least in his public persona, the
  temple's high priest is carefully neutral.
  The people of Aelos favor bronze tools, weapons and
  armor. The warm and humid climate corrodes iron
  quickly; refined steel is rare and its quality is
  undependable. The city has full­time guards that keep
  the peace, but if the city needs to draw up a bigger
  military force, it recruits from the city's citizen­soldiers.
  The middle class fights with sword, hoplite shield and
  shortspear; wealthier families outfit their warriors with a
  hoplite armor panoply. The wealthiest ride horseback or
  drive chariots, though the mountainous terrain around
  Aelos makes chariots and horses more about prestige
  than an effective battle strategy.
  The people of Aelos eat a diet heavy on fish and
  everything pulled from the sea, plus fruits from
  surrounding orchards, grapes and vegetables. The
  countryside is steep and rocky, poor for grains but good
  for vineyards.
  The steep Ramikan mountain range encircles the Aelos
  subcontinent. The mountain passes to the Aelandric
  Empire in the north are only predictably open about half
  the year, and they are never really safe. Starting late fall
  through early spring, sudden intense storms blow in,
  closing off mountain passes and trapping travellers.
  Landslides and flooding add to the danger. There are
  goblins in the mountains and terrible beasts that roam
  the wilds. Sometimes a monstrous beast will terrorizing
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  hillside communities at the edge of Aelos. When that
  happens, Artanes responds with hunting parties to kill or
  at least drive away the threat.
  Aeland
  Aelos is a prosperous southern subcontinent. Relative to
  Aelos, the Aelandric Empire to the north is overcast,
  chilly, wet and poor. Historically, Aeland had been a
  rising star of civilization, which conquered other human
  cultures and drove out other races. Out of its seat in the
  far northern city of Magradene, the Empire annexed one
  culsture after another: The burly Brothands of the
  middle foothills; the troublesome Shiaki people of the
  northeastern scrublands; and some tribes of the Kastany
  peoples in the mighty forests of the southeast. The
  Empire has had to contend with Shiaki and Kastany
  rebellions that fester at the edge of its influence.
  The Aelandric Empire’s expansion over centuries went
  mostly unnoticed by the dwarves, who live deep under
  the Ramikan Mountains. As for elves and fey: Most
  Aelanders are skeptical that such creatures ever existed.
  There are curious holdovers, like parts of Aeland with
  placenames in a curious foreign language. There are
  rumors that Kastany rebels are in league with fey forces,
  but to sensible Aelanders these are far­fetched fables.
  The Aelandric Empire’s success for centuries drew on
  its effective bureaucracy, and its widespread
  institutionalized sorcery. Centuries ago, the Empire’s
  arcane masters, a guild known as the Sardekai, built
  libraries and academies. They set up recruitment for
  youth with a talent for magic. The Sardekai charter was
  civilian and military, spreading Aeland’s civilization by
  the sword, the plow and the book. The Sardekai
  supported the Empire, but remained separate from its
  governing leadership.
  The Sardekai are long gone: They were eroded by the
  Jhourdekai, which turned the guild internal, to gain and
  hold power within bloodlines and families. The
  Jhourdekai kept their knowledge behind closed doors,
  and set up hereditary succession to keep their families in
  power. The mage academies’ towers became dominated
  by a few families, supported by factions.
  The Sardekai have mostly been erased from history. The
  Jhourdekai families rule from their towers, and recruit
  agents to carry out espionage and settle squabbles
  between rival families. The Jhourdekai that engage with
  the public are powerful and unaccountable: They act
  with impunity while the Empire's power center in
  Magradene looks the other way. There are rumors that
  the Jhourdekai towers sit on vast treasures, including
  massive stockpiles of magic. There are plenty of darker
  rumors about Jhourdekai habits and behavior. The
  common folk of Aeland greatly fear the Jhourdekai
  mages, even though few common people have ever met
  a guild sorcerer personally.
  To the people of Aelos, those internal and external
  tensions of Aeland are distant problems. The Aelandric
  Empire doesn't give its remote southern territory much
  time or attention, and Aelos leadership is happy to act
  independently.
  Surrounding cultures: Karkhedon
  A day's sail south along the coast of the Inner Sea is
  Karkhedon. Karkhedon was formerly a sister city of
  Artanes, under Aelandric rule. It is now a splinter city
  that has grown into its own. Decades ago, the people of
  Karkhedon rejected Artanis and turned to a pantheon of
  many gods over one protector. Aelos leadership was less
  religiously strict at the time and did not interfere; the
  Aelandric Empire was too distracted to become
  involved. Then Karkhedon formerly seceded and
  became the city of many gods. In the name of free
  worship, its rulers ­­ a religious council in an unstable,
  shifting coalition of factions ­­ tolerate public religious
  dedication to all deities, even those who openly worship
  darker forces.
  Karkhedon is less than half the size of Artanes, and its
  resources are no match against its former sister city. The
  city's population is poorer and and it has far fewer
  educated and skilled workers. Karkhedon has also gone
  to war against Artanes several times since it broke away.
  Its divine magic and zealous fervor has let Karkhedon
  field a smaller, poorly equipped army and come away
  with symbolic victories on the battlefield. But
  Karkhedon never had the resources for its soldiers to
  move beyond the battlefield and set foot inside the city­
  state of Artanes. Instead, the power brokers both of
  Kharkedon and Artanes take advantage of their common
  language and send smugglers, spies, agitators and other
  agents into each other's territories.
  The leadership of Karkhedon describes Artanes as a
  puppet to the Aelandric Empire, and its public stance is
  that it must and will fight to protect its hard­won
  religious freedoms. Artanes citizens regard the people of
  Karkhedon as agitators and extremists. Many Artanes
  citizens believe it is a matter of time until the city­state
  of Kharkedon collapses under the weight of its many
  factions.
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  Surrounding cultures: Ras Jadal
  A week's sail at the southern edge of the Inner Sea lies
  Ras Jadal, the wealthy and decadent border city of the
  sprawling Kaizari Empire. The Kaizari people have
  their own culture and speak the Kaizari language. Past
  the border city of Ras Jadal, this Empire sprawls across
  swaths of densely overgrown jungles, sun­bleached
  deserts, massive mountain ranges and seas of
  grasslands. Ras Jadal is a massive city, but the Kaizari
  empire is wilderness in every direction for leagues.
  The people of Ras Jadal are known to be excellent
  sailors, shrewd traders, and masterful at many crafts.
  They are also known for their friendliness and
  hospitality. A traveler from Aelos will always find
  welcome in Kaizari's border city, and the educated
  speak many languages including Aelandric.
  Ras Jadal and the northern part of the Kaizari Empire
  have rich mines of iron ore, and Ras Jadal is in a hot dry
  climate that is kinder to iron. The Kaizari have little
  bronze, and they put up with rust when their tools and
  equipment are abroad to other places on the Inner Sea.
  Ras Jadal has tens of thousands of residents. Given time
  and purpose, the city and surrounding lands can
  assemble an overwhelming military force in the region.
  Kaizari guards and soldiers are lightly armed and
  armored, accustomed to traveling over long stretches of
  wilderness. The military also mixes small contingents of
  heavily armed and armored infantry, as shock troops to
  break enemy lines. Fortunately, Sultan Bey Ramlan
  Bassir, leading monarch of Ras Jadal, emphasizes
  education and trade and seems utterly disinterested in
  military gains.
  Surrounding cultures: Siron
  Siron is a small city, about three days' sail east of Ras
  Jadal along the Inner Sea. The city and its surrounding
  lands fall under the control of the Kaizari Empire, but it
  is dominated by the unique culture of its people. The
  territory is administered by Queen Shustriani
  Malavoputri. The first language of the people of Siron is
  Sirese, a radical dialect of Kaizari. Educated people in
  Siron also speak proper Kaizari, as subjects of the
  empire.
  While Ras Jadal has a drier climate, Siron is
  oppressively hot most of the year. People do their
  business in the mornings and evenings: The heat keeps
  people indoors during the day, and fear of things that
  stalk the streets keep people's doors barred and windows
  shuttered at night.
  Siron allows open worship of all deities. While the city
  is dotted with small shrines and temples, it is even better
  known for sorcery. Siron has a dark reputation as a
  place where evil magic, particularly human sacrifice,
  are practiced just below the city's surface. People who
  leave claim that there is evil in the soil, the water and
  the air of the place. They believe an ancient evil haunts
  the city, and that unwary people who listen in the Sirese
  darkness will hear whispering voices that wear down
  the vulnerable until they succumb to corruption.
  Siron's political leadership is tough on crime. The city
  strictly enforces nightly curfews, and public executions
  are as regular as they are brutal. These hard­line
  responses have been mostly for show, with no real effect
  in changing the nature of Siron.
  Surrounding cultures: Kos
  Kos is a trading city on the borders of barbarian lands
  on the eastern shores of the Inner Sea, more than a
  week's sail east from Artanes. The entire wildlands of
  the eastern region is called the Gozd Velik; the people
  who hail from the region speak Goz: not one language
  but a group of tribal languages. That nuance is lost to
  outsiders; to them it all sounds the same.
  The sitting tribal chieftain of the trading city is Wotan
  Kos. Wotan is a solid representative of his people. He is
  an unpleasant (and impossible to please) man with a
  dour personality, who is famously never satisfied with
  the quality of a task, the value of a gift, or the
  attractiveness of a trade.
  Kos has special status in the Gozd Velik as a border
  trading town. It made his burgeoning village far richer
  and more powerful than its neighboring tribes. It has
  also made Wotan Kos a very rich man, wealthy enough
  that he thinks of himself as an equal to the region's
  ruling warlord who granted Kos trade status: A massive
  and utterly brutal tribal leader named Dragmil Graas.
  Dragmil wears a helm crafted from the skull and jaw of
  a forest serpent. He wields a fire­blackened greatsword
  that is rumored to possess dark magic powers. One of
  the reasons that Wotan Kos is still alive at all, is that
  Dragmil and his retinue are nomadic and the Gozd Velik
  is a large territory. The warlord has had other priorities.
  But Wotan Kos’ self­aggrandizement has gotten the
  attention of Dragmil Graas, and that means the
  chieftain's days are numbered. Whenever Dragmil next
  comes to the village of Kos, Wotan Kos' private guard
  will stand aside for Dragmil's demand for the chieftain
  undergo trial by combat, a graphic public execution to
  reinforce publicly Dragmil's rule over the Gozd Velik.
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  their teeth are razor­sharp canines; that they have six
  fingers on each hand.
  Banders have a reputation as warriors and sorcerers
  whose are possessed by madness. The Banders wield
  weapons, wear armor and carry other gear made of bone
  that can be as sharp and pliable as high­quality steel, as
  tough as iron, or as resilient as the best hardwoods. The
  Banders speak their own unique language, and their
  customs are a mystery. Because they are rarely seen this
  far south, not much else is known about these warlike
  people.
  Adventuring Careers in Aelos
  In Aelos, Artanes is a place where patrons can include
  the city's councilors and their guards, the Regent of
  Artanes or members of her retinue, various guilds and
  other organizations, wealthy families, and even
  sorcerers and religious fanatics looking to further their
  own agendas. There is also the possibility to serve as an
  ambassador, agent or spy representing one of the
  surrounding cultures, in its effort to understand and
  influence local politics. There is no shortage of
  opportunities to try and steal valuables and important
  artifacts from estates, or to investigate and try to recover
  items stolen from those same wealthy estates.
  The mountains to the north are fraught with dangers
  including unpredictable bad weather, hordes of goblins
  and deadly monsters. Sometimes one, both or all three
  of these dangers blow down into Aelos from the
  mountains. From the south is the threat of Karkhedon.
  Artanes has in the past needed to raise an army to
  defend herself against Karkhedon, and even fielding a
  superior force, Artanes has been routed before when
  fighting the fanatic soliders from the city of many gods.
  The Inner Sea is dotted with islands inhabited by human
  and other cultures: Sorcerers, giants, sea raiders and
  fantastic monsters have homes among the many islands
  that dot the Inner Sea. There is opportunity to explore,
  trade and carry out missions in the communities of the
  distant lands that ring the Inner Sea.
  The average take for a basic adventurer who is doing
  relatively well, is around 100 silver pennies (sp) per
  month. This is the money that a rogue, hired hand or
  entertainer might make from exercising their craft. A
  well­to­do heroic adventurer, such as a child of a more
  privileged family, may make around 200 sp per month.
  A peasant laborer or lantern bearer by contrast could
  make at most 50 sp per month, and maybe as little as 25
  sp per month. k
  Surrounding cultures: Non­humans
  In the countryside between Aelos and Karkhedon live
  several tribes of minotaurs, who keep herds of cattle.
  Minotaurs are usually peaceful, though protective of
  their herds and deadly dangerous warriors if provoked.
  The minotaurs have traditional grazing lands for their
  herds. Their territory is marked by ancient standing
  stones.
  Then there are the Praque. Short, slim, hairless and
  olive­skinned, the Praque have a passing resemblance to
  goblins, but refined, even more civilized than humans.
  The Praque are an intelligent and industrious seafaring
  race that originate from a far­off continent. They
  conduct trade wherever they go. Sailing and trading is
  in their blood. The Praque's sleek ships rarely come to
  the Inner Sea, but when they do they carry exotic foods,
  spices, textiles and many curiosities. Some people
  believe that the Praque live out their lives in their ships
  out on the sea. In fact, the Praque have a deep love for
  their distant homeland. Many sailors come from the
  sprawling Praque capital of Chabool, where they hope
  someday to return. While the Praque language is hard
  on the ears, the expressiveness of that language is subtle
  and complex. The Praque are well traveled and their
  traders speak many languages including Aelandric
  fluently; few humans mingle with the Praque long
  enough to learn more than a few words.
  Directly or indirectly, all Praque at sea work for their
  people’s massive bureaucracy, called the Praque
  Syndicate. The Syndicate is a guild of guilds that is so
  big that the organization sometimes ends up at odds
  with itself. Every large city has at least a token Praque
  presence, starting with local Syndicate representatives
  tasked with understanding and influencing the locale's
  political and business levers. Most Praque are honorable
  most of the time. But they are vulnerable to greed,
  curiosity, and a lust for magic. Praque that go astray
  find elements in the Syndicate that are willing partners.
  Syndicate leadership is mostly honorable, but there are
  always rank­and­file members who will exploit
  opportunities for fast personal gain, and who don't mind
  leaving someone else ­­ even possibly a fellow Praque ­­
  holding the bag on any damage that unethical activities
  might do to political and trade relationships.
  Finally, there are the Banders. This rare race stems from
  a set of islands out of the far north known as the
  Banderchain. Banders mostly look like regular humans,
  but with disturbing differences such as violet or golden
  eyes with oval or hourglass pupils. Various rumors
  about the Banders say they have forked tongues; that all
  97
  Nicolette Tanksley (Order #13726995)
  
  Light armor (very unlikely (­2) to stop a blow,
  Light Leather or Padded): 50
  Medium armor (unlikely (­1) to stop a blow, heavy
  leather, ring or studded): 250
  Heavy armor (50/50 moderate (0) to stop a blow,
  hoplite plate, chain or splinted): 500
  Very heavy armor (likely (+1) to stop a blow,
  Kaizari iron plate): 1,000
  Individual armor accessories (e.g., helmet, bracers,
  gauntlets, greaves): 50­250 each
  Small shield (very unlikely (­2) to stop a blow):20
  Medium shield (unlikely (­1) to stop a blow): 50
  Large/tower shield (50/50 moderate (0) to
  stop a blow): 100
  Clubs, staves: 10
  Hatchets, axes: 150
  (Bronze) daggers, knives: 25
  (Bronze) short swords: 200
  (Bronze) long­ or broad swords: 400
  Short or long spears: 100
  Maces, flails and picks: 150
  Polearms: 300
  Great weapons (sword, axe): 500
  Bows, light to heavy: 300
  Crossbows, light to heavy: 500
  Slings: 10
  Arrows, bolts, sling bullets: 0.5 each
  Clothing, nothing fancy: 25
  Fancy clothes: 200
  Fancy accessories (heavy boots, floppy hat,
  satchel): 10­50 each
  Backpack: 75
  ARTANES FANTASY EQUIPMENT
  Note: all prices are in silver pennies. 10 copper farthings (relatively large & heavy) are worth one silver
  penny. 10 silver pennies are worth 1 gold cross, and 10 crosses are worth 1 gold sovereign.
  Basic gear that everyone has when on the road: mug, spoon, flint & steel, small pouch, and some personal
  hygiene items.
  Small burlap sack: 5
  Large burlap sack: 10
  Blanket: 25
  Tarp/tent: 25
  Pots & pans: 10
  Box of candles: 0.2 each
  Wineskin: 5
  Preserved meal: 5
  Torches, pitch: 0.5 each
  Lantern: 25
  Lantern oil, pint: 5
  Rope, 10 yards: 10
  Herbalism/first aid kit: 25
  Lockpicks/fine tools: 100
  Portable workshop: 500 (needs horse, cart)
  Horse: 300
  Donkey/mule: 200
  Oxen/cow: 200
  Sheep/goat: 35
  Trained dog: 150
  Saddle, bit & bridle: 75
  Carriage (with harness/es, horses not included):
  500 (2­wheel cart) to 5,000 (full­size suspended
  carriage)
  Row boat: 500
  Sailing vessel: 2,500+
  Message (written/verbal), delivered across town: 1
  Message (written), delivered across kingdom: 10
  Overnight stay, cheap/rural tavern: 3
  Overnight stay, urban flophouse: 2
  Overnight stay, fancy urban inn: 15
  Cheap meal (bowl of stew): 5
  Decent/fancy meal: 25+
  Chariot/carriage transport, across town: 2
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  Artanes Fantasy Equipment
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  Culture
  Majority/Native: Aelos humans
  Native Minority: Aelander humans, Brothand humans
  Affiliated/Neighbor: Ras Jadal humans, Siron humans, Kos humans, minotaurs
  Far­away: Shiaki humans, Kastany humans, Ramik dwarves
  Unusual/Exotic: Praque, Banders
  Opposed: Karkhedon Humans
  ARTANES FANTASY ENCOUNTERS
  CULTURES & OCCUPATIONS
  Occupation
  Social/Leadership occupation: Politician's assistant; family housemaster; military leader; entertainer
  Key skills: influence (deceive), influence (intimidate); interact (leadership), interact (etiquette)
  Fighter/Warrior occupation: Citizen­soldier, barbarian, guard, gladiator, archer
  Key skills: melee (spear); melee (sword and/or shielf); melee (polearm); ride (horse); athletics
  (run); melee (2­handed maul); bows (shortbow/longbow); bows (sling); medic (first aid); dodge
  Traveler/Rogue occupation: Burglar, petty thief, messenger, sailor, merchant
  Key skills: notice; performance (singing); performance (dancing); athletics (climbing); bows
  (shortbow); sneak (sneak); sneak (shadowing); streetwise (gather infromation); streetwise (scrounge);
  streetwise (sleight of hand); disable (lockpick); disable (disarm trap); dodge
  Wilderness specialist occupation: Hunter, trapper, woodsman, beast handler
  Key skills: bows (shortbow/longbow); survival (swamp); survival (forest); survival (mountain);
  handle animal (predators); hunt (tracking); hunt (camouflage); medic (herbalist); sneak (sneak); notice
  Officer/special forces occupation: Cavalry/charioteer, heavy infantry, sharp shooter, healer, agent
  Key skills: medic (surgery); ride (horse); drive (chario); wayfind (orienteering); social
  (leadership); knowledge (battle tactics); streetwise (gather information); sneak (sneak)
  Academic specialist occupation: Scholar, lore­master, alchemist, "Athelstane" (public advocate), healer
  Key skills: profession (law), profession (engineer), profession (history), profession (alchemy);
  research; powers (magic)
  Religious/inspirational occupation: Priest, cultist/cult leader, acolyte, preacher, monk
  Key skills: profession (theology); medic (first aid); medic (surgery); powers (magic)
  Settings skill specialist occupation: Sorcerer (Jhourdekai, Sirese or other), Kos shaman
  Key skills: knowledge (magic), powers (magic); language (Sirese); language (Octicant)
  99
  Artanes Fantasy Encounters
  Nicolette Tanksley (Order #13726995)
  
  Minion, Hybrids & Creatures
  Weak: Gishkinti (goblins); robber bandits/thugs/cultists (human)
  Average: Gishkinti (hobgoblins); robber bandits/thugs/cultists (human)
  Mindless weak: Skeletons/skeleton animals; vermin swarm; zombie animals
  Mindless average: Zombies; ghouls; grave wights; clay guardian statue
  Hybrids: Minotaurs; centaurs; reptile folk; snake folk; toad folk
  Animals, vehicles, mounts: Dogs/wolves, snakes, large vermin, horses; lion, tiger or bear
  ARTANES FANTASY ENCOUNTERS
  ALL OTHERS
  Brutes & Powerful Entities
  Brutes: Ogre (+2 conflict); troll (+1 conflict, armor­like stone hide); giant (+2 conflict)
  Automaton: Living statue (+1 conflict, solid clay/stone armor); earth elemental creature (+1 conflict); coal
  elemental creature (+1 conflict, flammable)
  Powerful entity: Demonic fiend (+1 conflict, extremely fast); massive fiend (+1 conflict, extremely big &
  strong); living wraith
  Beasts and Monsters (d10)
  1
  Dragon: young +2 conflict (2 hits), adult +5 conflict (4 hits), old +8 conflict (6 hits),
  ancient +12 conflict (16 hits). Special ability: flight; Special ability: breath weapon (x2/x3/x4 damage)
  2
  Bearshark: conflict +3 (2 hits)
  3
  Giant centipede: conflict +0 (1 hit). Special ability: poisonous stinger +1
  4
  Wyvern (flying drake): conflict +5 (4 hits) or giant serpent (ground drake): conflict +5 (4 hits)
  5
  Carnivorous blob: conflict +0 (mindless, not affected by physical attacks)
  6
  Griffon: conflict +2 (2 hits)
  7
  Hydra: conflict +3 (4 hits)
  8
  Swamp shambler: conflict +1 (2 hits)
  9
  Enormous raptor: conflict +3 (4 hits)
  10 Gorgon: conflict +0 (2 hits). Special ability: petrifying gaze +1
  100
  Nicolette Tanksley (Order #13726995)
  
  MILL CITY:
  MODERN DAY NOIR
  The following is a sample modern­day setting for use
  with Libre Solo Role Playing. It supplies details for
  players to get started and run their own adventures,
  finding out more about Mill City through story telling.
  The default setting for Mill City is gritty. The player
  could choose pulpy or heroic to give Mill City a higher­
  power crime fighting twist. For example a heroic setting
  with powers would support street­level superhero
  mayhem.
  Mill City was founded in the early 1800s at the junction
  of two rivers in the mid­Atlantic states, several hundred
  miles inland from the seashore. The climate is hot and
  humid in the summer, ranging up to the Fahrenheit
  triple digits during extreme heat waves. Winter is
  mostly cloudy and dreary, mixing freezing rain with
  snow, sleet, slush and the occasional ice storm.
  Mill City prosperity came early in the city's founding,
  and it left the city long ago. The urban downtown has
  been in a slow, festering malaise for decades, with
  infrastructure that is past worn out and well into
  deterioration. What funds the city can spare go first to
  maintain public utilities and try to stay ahead of leaking
  water and gas pipes, crumbling bridges and potholed
  roads. In the city proper, housing units are small and
  cheap, and taxes are high. For as long as anyone cares to
  remember, the city has been struggling economically.
  Back in the 1800s, Mill City was successful as a
  manufacturing and shipping hub. The city was is
  situated on two rivers ­ the Pochinuk and the Ashen ­
  and it also was a stop along major north­south railway
  corridors, which fed the young city with a stream of raw
  materials and finished goods. Mill City's first factories
  in the 19th century worked on processing cotton
  shipped up from the southern US, and on weaving and
  dyeing fabrics. Leading up to the Civil War the city's
  role in the cotton industry collapsed. The city never
  recovered in textiles. After the Civil War rich
  industrialists further north in New England built bigger,
  cheaper factory towns.
  For the second half of the 19th century, Mill City turned
  to pressed glass and ceramics for bottling, which took
  the company into the 20th century. Then those
  industries fled. The mills took on occasional work that
  would last a few years. Some became store houses for
  raw materials and finished goods. But most of the
  factory buildings sat empty. Mill City's last major
  resurgence was between the Great Depression and the
  Second World War. The municipality recruited the fast­
  growing chemical industry to take over some of the
  city's factory buildings. Some of the large chemical
  companies still have a token presence downtown and in
  the suburbs. Some of those chemical companies, most
  prominently Biglott Chemical and Faster­Webb
  Industries, are tied to Mill City because of hazardous
  waste sites. It is less expensive and better public
  relations for them quietly to hold on to the properties for
  storage than to spend millions to clean up the sites.
  Corporate offices and talent remain in Mill City, but the
  chemical manufacturing itself has moved abroad.
  Today, the harbor at the Pochinuk­Ashen rivers and the
  north­south railways have fallen into disuse. Many of
  Mill City's classical old brick mill buildings along the
  city's rivers still stand. Some of these buildings are
  cheap artist's lofts, others have been converted to pricier
  luxury condominiums, and still others remain makeshift
  warehouses or sit empty, intermittently occupied by
  squatters.
  The city's Mayor, Douglas Archfield, has been in charge
  of the town for the past five years. It has been a constant
  struggle for the mayor and the city board to budget for
  education, infrastructure, social needs and welfare
  programs. That meant chronically under­funding some
  areas such as the city's public transportation system,
  which depends on an aging fleet of busses that, when
  they are running at all, spend most of their time idling in
  the city's gridlocked downtown automobile traffic.
  The surrounding suburbs have both wealthier and
  poorer sections. There is some high­end glitz from
  executives and technology employees that work for
  smaller, new technology companies, many of them
  ringing Mill City rather than located downtown. Most
  neighborhoods are gritty, representing the neglected
  working­class communities that face a shrinking range
  of economic opportunities. One bright spot downtown is
  Mill State University, a small but successful state­run
  four­year college.
  101
  Mill City: Modern Day Noir
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  Communities and Culture
  The population of downtown Mill City is slightly more
  than half Caucasian, about one quarter African­
  American, and the remainder a mix of Latino, Asian and
  other ethnicities. The city's Caucasian mix includes
  people of Irish, English and central/eastern European
  (Polish, Czech and German) heritage.
  Mill City's African­American population includes a
  vibrant east African community that immigrated to the
  U.S. in the 1980s and 1990s. One of the few economic
  bright spots in the city comes from this community,
  which has set up many successful small businesses.
  While the immigrants started with service industries
  such as corner stores and restaurants, the second
  generation is fully integrating into the city, and has
  many enterprising entrepreneurs. Regular festivals held
  in the city include St. Patrick's Day and Fasika/Tensae:
  public occasions for the older and newer immigrant
  communities in the city.
  Crime and Punishment
  Mill City has its share of crime. Drugs have taken a big
  toll on the city. The city has become a crossroads for
  synthetic opioids coming from the north and east, and
  methamphetamines driven in from the south and west.
  Organized crime keeps a low profile; amateurish
  gangland activity is the public face of crime, but more
  established crime families run deep in the city's history.
  Representatives of each of the immigrant communities
  have taken their knocks, being implicated at one time or
  another in citywide scandals.
  Modern­day organized crime in Mill City has gone
  corporate, far removed from surface gangland activities.
  It recruits talent and specializes in white­collar crime
  such as cooking corporate books, money laundering,
  corporate espionage, and most recently identity theft
  and cyber crime.
  Mayor Archfield's priority has been to use limited funds
  to address violent street crime, at the expense of too few
  resources to go after white­collar and cyber crime.
  There is a lack of skilled detectives to investigate these
  types of cases. Those who are on the force have more
  work than they can handle, and there is always the
  worry whether the police force itself is compromised.
  Any detective who is both talented and motivated
  enough to rock the boat on the bigger money­makers in
  Mill City can find work ­­ and will also catch unwanted
  attention.
  Adventuring Careers in Mill City
  Mill City's police force is generally effective at the
  street level, but it doesn't have resources to conduct
  detailed investigations. That emboldens criminal bosses.
  There are many possible patrons who are interested in
  help to get information and get things done.
  Even the bad guys find it useful to recruit honest people,
  so long as those people remain pointed in the right
  direction. Established crime families do not like the idea
  of new competition making waves, for example. Some
  of the older crime families object to new organizations
  that do particularly distasteful things. Beyond ethics,
  there are pragmatic issues of attracting unwelcome
  attention. Crime families need someone who can
  credibly engage with the police, for example.
  Businesses and non­profit organizations are also
  potential patrons. These organizations might retain
  consultants to gather information on the ground for their
  research purposes, or else to reach out to others for
  particular agenda items, such as acquiring property or
  negotiating trade secrets. By doing this discreetly
  through a contracted agent, there is always plausible
  deniability for the organization in case something goes
  wrong.
  Finally, the city does have some wealthy benefactors
  that would be interested in retaining someone who can
  help them get and stay out of trouble with the wrong
  people. That might mean keeping lines of
  communication open with crime bosses, or evading
  issues with the police, or both. Sometimes a patron just
  needs help delivering a package, no questions asked.
  The life of a freelance investigator looking to pay the
  bills means being careful selecting who to work for and
  what types of jobs to take on, but it also involves
  accepting work without looking too closely. If the
  player wants to step up the threat level, the life of a
  street­level superhero is not just about doling out
  justice, but also about knowing where to take the fight,
  and when to avoid getting in too deep.
  The average pay for a full­time, struggling self­
  employed worker in Mill City is $1,500 per month. A
  self­employed worker who has landed steady clients and
  is living more comfortably might have an average
  income of $3,000 per month. A person of means, or with
  a well­paying job, might draw a monthly pay of $5,000
  to $10,000 per month; a corporate executive may make
  much, much more. k
  102
  Nicolette Tanksley (Order #13726995)
  
  Clothing, nothing fancy: 150
  Cheap dress or suit: 300
  Fancy dress or suit: 1,000+
  Accessories (bag/purse, watch, satchel, simple
  jewelry): 100+ each
  Daggers and knives: 25
  Baton or tonfa: 25
  Hatchet: 30
  Throwing knives or shuriken: 10 each
  Hunting bow: 300 (regulated)
  Crossbow: 500 (regulated)
  Handgun (pistol/revolver): 250 (regulated, limited
  availability outside U.S.)
  Shotgun, double barrel or pump­action: 300
  (regulated)
  Hunting rifle with scope: 400 (regulated)
  Bulletproof vest (unlikely (­1) to stop a blow): 500
  Riot shield (50/50 moderate (0) to stop a
  blow): 500
  Wet Suit/Dry Suit: 500
  Backpack: 75
  Small burlap sack: 5
  Large burlap sack: 10
  Sleeping bag/blanket: 100
  Tarp/tent: 100
  Pots/pans, set: 100
  Flashlight: 5
  Lighter: 1
  Collapsible canteen: 10
  Preserved meal: 5
  Lighter: 2
  Lantern: 25
  Kerosene, pint: 5
  Rope, 10 yards: 10
  Basic first aid kit: 25
  High­end medical kit: 300
  MILL CITY MODERN­DAY GEAR
  Note: all prices are expressed in U.S. dollars.
  Multi­tool: 25
  Lockpicks/fine tools: 100
  Toolbox (basically portable): 250
  Computers/gadgets (cellphone/smartphone, GPS,
  cheap laptop, digital camera, shortwave
  radio): 100­500 each
  Binoculars: 100
  Used car: 5,000
  Fancy car: 25,000+
  Canoe/row boat: 500
  Power boat or larger, used: 2,500+
  Scuba gear: 1,500
  Ultralight aircraft: 8,000+
  Hang glider: 4,000
  Small airplane or helicopter, used: 100,000+
  Mail delivery, nation/worldwide: 1
  Package delivery, nationwide: 15
  Overnight stay, cheap motel: 75
  Overnight stay, ok hotel: 150
  Overnight stay, major city/fancy place: 300
  Cheap meal (fast food): 10
  Decent meal: 25+
  Subway or metro bus ticket: 4
  Taxi across town: 20
  Bus ticket across state: 50
  Plane ticket, nationwide: 300
  Plane ticket, worldwide: 900
  Beer, six­pack: 5­12+
  Hard liquor, quart: 15­30+
  Illicit drug, one dose: 10­20+
  Illicit drug, 1 pound: 5,000­25,000+
  Broadband Internet service, month: 50­200
  Cell phone voice/data service, month: 50­150
  Home expenses, cheap, month: 800
  Home expenses, moderate, month: 1,600:
  Car expenses, month: 100+
  103
  Mill City: Modern Day Gear
  Nicolette Tanksley (Order #13726995)
  
  Culture
  Majority/Native: Caucasian American, African American, Asian American
  Native Minority: city’s Irish community, Polish community, Latino community, east African community
  Affiliated/Neighbor: New Englanders, Empire City residents, midwesterners (all ethnicities)
  Far­away: Recent immigrants/visitors from Middle East, Asia, Europe, west/south Africa (all ethnicities)
  Unusual/Exotic: Native American, Australia/New Zealand or Pacific Islands (all ethnicities)
  Opposed: People from ficticious rogue states in eastern Europe, central Asia, Africa, etc.
  MILL CITY ENCOUNTERS
  CULTURES & OCCUPATIONS
  Occupation
  Social/Leadership occupation: marketing/sales, crime boss, company executive
  Key skills: influence (deceive), influence (intimidate); interact (leadership), interact (etiquette)
  Fighter/Warrior occupation: boxer, martial artist, athlete, gunman
  Key skills: martial arts (karate, judo, boxing, wrestling, street fighting, capoeira); gun (pistol,
  submachine gun); athletics (run); bows (shortbow/longbow); bow (sling); medic (first aid); drive
  (car/motorcycle)
  Traveler/rogue occupation: Burglar, pickpocket, courier, informant
  Key skills: notice; athletics (climb); guns (pistol); sneak (sneak); sneak (shadowing); streetwise
  (gather information); streetwise (scrounge); streetwise (sleight of hand); disable (lockpick); disable
  (electronics/security); drive (car, motorcycle, truck, bus)
  Wilderness specialist occupation: Hunter, trapper, woodsman, animal trainer
  Key skills: guns (rifle, shotgun); bows (crossbow); survival (swamp); survival (forest); handle
  animal (dogs); hunt (tracking); hunt (camouflage); medic (first aid); sneak (sneak); notice
  Officer/special forces occupation: Soldier, gunner, demolitions, SWAT team
  Key skills: guns (pistol, rifle, submachine gun, shotgun); gunner (any type of large guns);
  throwing (grenade); medic (surgery); knowledge (squad tactics); sneak (sneak); drive (car)
  Academic specialist occupation: Teacher, professor, researcher, doctor, lawyer, professional
  Key skills: profession (law), profession (engineer), profession (history), profession (chemistry),
  profession (medicine), medic (surgery), medic (pharmacology); research
  Religious/inspirational occupation: Priest, minister, street proselytizer, rabbi, imam, monk
  Key skills: profession (theology), interact (leadership); interact (detect lies); interact (empathy)
  Settings skill specialist occupation: Treat as Traveler/Rogue occupation for this setting.
  104
  Mill City Encounters
  Nicolette Tanksley (Order #13726995)
  
  Treat all minion rolls as an equivalent team for encounters, with a culture/occupation.
  MILL CITY ENCOUNTERS
  ALL OTHERS
  Animals, Vehicles, Brutes & Powerful Entities
  Animals/Mounts: Dogs (breeds of various size, ferocity, training & loyalty); horse (unlikely)
  Vehicle: Bicycle, motorcycle, car, tractor­trailer, bus, construction vehicle;
  rowboat, sailboat, power boat, yacht, personal submarine;
  glider/hang glider, ultralight, helicopter, prop plane, jet plane
  Brute, powerful entity, hybrid: Treat this result as a NPC with +1 conflict and 1 extra skill (at +2)
  Monsters/Beasts
  Milll City may have the occasional superheroic or supernatural element. If you wish to include these
  elements, use the rules on the NPC sheet and in appendix U (p.142) on monster conflict ratings to roll
  randomly the extent of the danger. Otherwise treat any monster/beast unexpected event result either as
  extreme weather or a natural disaster that affects the rest of the mission; or as a conventional
  “F:adds/reinforcements” result; or disregard.
  105
  Nicolette Tanksley (Order #13726995)
  
  THE STOLEN PRIEST:
  A SAMPLE MISSION
  This brief sample mission takes place in the Artanes
  setting, outlined on p. 94­100. The setting level is pulpy:
  In a conflict, each round the player character’s group
  has a skill check success causes 2 levels of damage to a
  foe group.
  The player’s character in this story is named Gortais.
  Gortais is a citizen rogue who works the streets in the
  city­state of Artanes. He knows many people, is a
  smooth talker, and with his knife and small bow can
  defend himself in a scrap. The player decided to give
  the Gortais player’s character an edge. Usually the sum
  of a starting character’s attributes totals 0; Gortais has a
  net +1 to his attributes. Gortais is otherwise a normal
  starting character with 6 skill points. Gortais has
  Reyhen Oricos, one of the city’s high counselors, as a
  patron. The player character’s sheet for Gortais is
  included for reference at the end of this book.
  SCENE I
  The player decides that a good starting cutscene would
  be Gortais meeting Reyhen Oricos discreetly at night in
  a local tavern. Reyhen will be in disguise. Maybe they
  will discuss the mission over goblets of wine, if Reyhen
  is buying.
  «The player selects Reyhen Oricos as the person of
  interest and patron for the starting cutscene.»
  «But then the player rolls three scene qualities, and
  the results are much different than the scene the player
  expected. The scene qualities rolled for this civilized scene
  are: 13 ­ palace/fortress/HQ; 51 ­ wide open spaces; 22 ­
  crowded. The player could have rolled for an item or added
  window dressing as well. But since this is a cutscene, the
  player decided not to add any of these details.»
  The player now needs to reconcile scene qualities. After
  giving it some thought, the player decides the starting
  cutscene instead takes place in the official counselors’
  statehouse building, in the grand hall, which is thronged with
  people.»
  «Based on the surprise change of venue, the player
  decides to ask some clarifying yes­no questions before
  starting the scene. At 50/50 moderate: “Is Reyhen Oricos in
  some kind of trouble?” 82 ­ no. Add 1 to plot stress. Again at
  50/50 moderate: “Did Reyhen Oricos intentionally want to
  meet with Gortais here (no means it was an impromptu or
  urgent meeting)?” 19 ­ yes. Add 1 to plot stress.»
  «That’s 2 plot stress; now add the 5 plot stress to
  start a scene, to total 7. The player tests plot stress (d100) to
  open the scene: 29 ­ the scene begins as expected.»
  Gortais received the morning summons from a boy
  runner in his neighborhood. Between gasps, the errand
  boy passed along the message: “Come to see me at my
  work chambers immediately.” Gortais knew one contact
  who would summon him without giving a name or
  reason. Puzzled and cautious, the rogue left his poorer
  quarters in the lower city to ascend to the state house.
  There, the grand hall was filled with noise and
  confusion. Gortais fought his way through the milling
  crowd to find his patron Reyhen Oricos, with his
  assistants, surrounded by a press of people.
  Counselor Reyhen Oricos spotted Gortais immediately.
  “Ah! There you are,” the counselor said flatly, took
  Gortais by the arm and led the rogue away from the
  noise of the mob, retreating from the hall to his private
  council chambers. An assistant closed the doors behind
  them. Then Gortais noticed Rehyen’s eyes were sunken
  and his face lined more than usual. Whatever caused the
  crowd to gather in the big public hall, it wasn’t good.
  «Technically Gortais and his patron have moved
  away from the wide open spaces and crowd. That is fine, but
  it might now be harder for the player to bring in these scene
  qualities if they prove useful for a skill check. Note the player
  also narrated noise and confusion of the crowd. This could
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  «The player looks through structured questions, and
  decides Gortais will ask: “Does the person have an(other)
  item to help with the mission?” Given the circumstances, the
  player decides it does not require a social skill check. The
  player asks a yes­no question to see if Reyhen knows
  anything, with the odds at 50/50 moderate: 46 ­ yes. Plot
  stress increases to 5. The resulting item roll as a clue: 19 ­
  leathers/riot gear. Rather than have this as an item of interest
  on the scene, the player decides this is a clue.»
  Gortais was dumbstruck. Finally he managed to ask,
  “do you know anything about whoever took Bashak?”
  Reyhen said, “I heard the force that took him wore
  matching leathers. This wasn’t a rag­tag band. It was an
  organized contingent. Organized by someone. Perhaps
  one of our city’s wealthy families? Or one of the other
  counselors? But surely none of them would want to risk
  the temple’s wrath. That’s for you to find out.”
  «The player looks around the structured questions
  for persons options, and decides to ask: “Does the person
  offer (extra) valuables for completing the mission?” That will
  require a social skill check but Gortais is a shrewd negotiator.
  Gortais has negotiate skill +1 and the player decides the half­
  brother’s well­being also merits at least a +1 shift. The skill
  check is very likely to succeed: 21 ­ easily done. The skill
  check increases plot stress to 6. The player decides not to roll
  whether Reyhen can afford it or will pay. His half­brother is
  more important than a little extra cash.»
  Gortais put on his best face of concern. “I can help, but
  I’ll need to grease palms along the way. I’ll make sure
  to do everything I can for the safe return of our high
  priest. But with the people I know, that will take coin.”
  Reyhen barely hesitated, glanced toward the low roar of
  the crowds in the hall on the other side of the chamber
  doors. “Whatever you need for his safe return,” the
  counselor replied to the rogue.
  «One more question the player decides to ask: “Will
  the person provide an(other) ally for the mission?” This should
  require a skill check, but the player decides again that Gortais
  with a negotiate skill +1 and Reyhen’s concern over his
  brother merit another +1 shift. Again this skill check is very
  likely to succeed. The player rolls 43 for another easy
  success. The skill check increases plot stress to 7. Again the
  player decides it isn’t necessary to roll whether Reyhen would
  have been window dressing if the player had described it
  before the scene. Since they were observations after the
  scene started, if the player wanted to introduce noise and
  confusion formally into the scene it would require a yes­no
  question, which would also increase plot stress.»
  Gortais gave the counselor a half­crooked grin: “It’s a
  busy morning for the administration?” The grin turned
  into a grimace as Reyhen gazed back at the rogue,
  expressionless. After a long pause Gortais added more
  awkwardly, “Look, I don’t have expertise in crowd
  control, but if I can be of service, let me know what I
  can do to help.”
  «Under structured questions for persons, the first
  thing to ask is “does the person have a need,” and the
  answer for a starting cutscene, without requiring any social
  skill check, is always yes. The player rolls a mission: 19 ­
  rescue. Rescues generally involve people, so the player rolls
  for a d100 person: 15 ­ religion staff.»
  «The player muses that this could take the plot in an
  interesting direction. The Artanes setting specifies that
  Reyhen Oricos has a half­brother, Bashak, who is the high
  priest of the Temple of Artanis, the city­state’s only official
  sanctioned religion. Reyhen’s brother, the priest of the temple
  has been kidnapped? That fodder is too good to pass up! The
  player decides to confirm with a yes­no question and sets the
  odds at very likely; a no roll would implicate someone else.
  The result: 01 ­ confirms it. Plot stress increases to 8.»
  «But wait! Yes­no questions test plot stress, and the
  01 roll is less than current plot stress of 8, so it also triggers
  an unexpected event (d20). The player rolls: 2 ­ a departure,
  and target (d10): 8 ­ a foe. That could have been an
  interesting result but there is currently no foe in this scene, so
  the player decides to ignore the result. The unexpected event
  cuts plot stress in half, from 8 to 4.»
  Reyhen coolly dictated the facts to Gortais. “Early in
  the morning, brother Bashak was was taken from the
  city streets. I had hoped to be discreet in finding his
  abductors. His life is probably in danger. Who knows?
  He may already be dead. Of course this scandal didn’t
  stay quiet for long. Every gawker and busybody in this
  city wants to know what I shall do about it. I’d send my
  guards into the streets if I thought it would help. What I
  really need is someone who can work more discreetly to
  find out what happened, and perhaps effect a rescue.”
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  have an ally available to supply. Clearly he has the
  authority and his brother’s life may be on the line.»
  «The player rolls on the foe (d20) table for an ally.
  With a 19, the result is d100: captive. The player rolls again,
  d100 for a random person of interest and the result is 18 ­
  mercenary, arms leader or boss. Whose captive and how?
  Maybe someone who was somehow implicated in the priest’s
  being abducted and was arrested? The player asks a yes­no
  question at 50/50 moderate: “Was this mercenary involved in
  the kidnapping?” The result: 09 ­ yes. Plot stress is up to 8. A
  follow­up yes­no question set at likely, because it makes
  sense for the story: “Is that person now repentant?” The
  result: 49 ­ yes. Plot stress is up to 9.»
  Gortais turned up his palms to Reyhen, pushing his luck
  further. “Look,” he said, “I’m just one person, and the
  coin helps. But things could get rough. There is big
  danger with such a high­profile kidnapping. I could use
  some backup.” Reyhen fixed Gortais with an icy gaze
  and paused for a long time. Finally the counselor
  snapped, “yes, I have what you need. But not one of my
  men, who would be recognized. A Kos mercenary who
  is familiar with the happenings last night. He
  surrendered himself to the mercy of my household this
  morning. This mercenary claimed he had met some
  other warriors in a tavern last night. Warriors wearing
  matching leathers. After drinks and some boasting, he
  said that they asked him questions about Artanes’ high
  priest. The mercenary didn’t think much of it. Then he
  heard news of the abduction. This Kos mercenary
  showed up at my household. I don’t know the truth of it,
  but I also don’t see the sense in imprisoning and
  torturing him ­­ for now. Whatever his guilt, he can
  repay by helping you. Maybe he can identify these
  people who have taken Bashak, or at least he can
  recognize them, if you find them.”
  «This is an odd case for an ally: A captive is usually a
  non­combatant, but this captive is a mercenary. The player
  decides this ally is an average individual NPC. that means the
  mercenary has a base conflict 0. Usually an average NPC has
  a single skill at +1; the player decides this ‘captive’ is totally
  generic. Every ally gets a trait (d20): This one has 19 ­
  unflappable. The player decides to call him, Oen Bjornos, an
  appropriate Kos (barbarian) name. Narrating out these NPC
  details does not affect plot stress.»
  «For a last question, the player decides to break
  from structured questions and ask specifically: “Does Reyhen
  have a guess where Bashak was taken?” The player decides
  it doesn’t require a social skill check, sets the yes­no question
  at 50/50 moderate: 11 ­ yes. The yes­no question increases
  plot stress to 10. The player decides the question reveals a
  civilized place (d20): 9 ­ arena/sporting place.»
  Gortais asked, “So did this Oen tell you where he spoke
  with these thugs, or did they say anything about their
  plans?” Reyhen’s eyes narrowed. “No one outside my
  trusted circle knows this, so be careful with this
  information. The Kos mercenary thinks my brother was
  taken near the city’s coliseum. Do not share this. I do
  not want Bashak’s life at risk, if he is still alive. If he is
  returned unharmed, I will reward you. If he is not
  returned alive, I will hold you and this Kos mercenary
  responsible. We are clear, yes?” Gortais smirked, “very
  clear, counselor. I will find your brother and make sure
  he is freed safely.” The rogue wished he felt more
  certain that this reassurance to counselor Reyhen Oricos
  would turn out to be true.
  «Current plot stress is 10, and the player must test
  for plot stress one more time before closing out the scene.
  The d100 roll returns a 63, well above 10. The scene closes
  without further incident, and the player carries over plot stress
  to the start of the next scene.»
  SCENE II
  The player decides to make this an obstacle scene. The
  player character’s group consists of Gortais (the
  player’s character) and Oen Bjornos (an average NPC
  ally). Since Bashak disappeared somewhere around the
  city’s coliseum, the player decides that the scene will
  concern Gortais snooping around the place, so the scene
  will happen in a civilized place. The player’s purpose
  for the scene is to have Gortais figure out more about
  what happened. Any new information should help move
  the plot forward. Oen Bjornos can assist in skill checks.
  Oen might also be a good source for when the player
  needs to ask for trouble.
  The player settles on three skill checks that Gortais will
  need to beat with 50/50 moderate or lower odds of
  success. The player forecasts the first skill check to be
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  anyone who might have been out on the streets in the
  area the last night. Gortais mused that if the homeless
  turned up no information, next he could try the poor
  houses and tavern common rooms, seeking out anyone
  still sodden by last night’s drink. If that didn’t work, the
  options would get thin. Last resort, Gortais thought, he
  could always go door to door, asking any residences in
  the area of the coliseum whether they heard anything
  last night.
  «The player notes that a gather information skill
  check is a “direct contest.” Gortais is on his own, without Oen
  assisting. The player wants this skill check to count towards a
  meaningful success, which means the odds can be no higher
  than 50/50 moderate, not counting any qualifying magic scene
  qualities. If Gortais makes his gather information skill check at
  +2 (very likely), it won’t count toward meaningful success. The
  player decides Gortais has some circumstantial penalties to
  the roll. Anyone brash enough to kidnap the high priest of
  Artanes is bound to be powerful, so it will be harder to get
  people to talk. That’s good for a ­1 shift penalty. Gortais also is
  not a regular in this part of the city. He is outside of his
  element, good for another ­1 shift penalty. The player could
  decide that Gortais greases palms to increase the odds by +1
  shift, but needs to keep the odds at 50/50 moderate for the
  skill check to contribute to a meaningful success.»
  «The player rules if the streetwise roll fails, the
  consequence is that gossips or snitches among the people
  Gortais tried to chat up will alert others around the coliseum of
  his snooping, which will hurt further social skill checks for that
  scene. The player picks up the dice and rolls the skill check:
  21 ­ yes, meaning success. Plot stress increases to 16.»
  The first few attempts to chat up the poor and indigent
  around the coliseum came up empty. One man insisted,
  maybe a little too hard, that he had seen and heard
  nothing. Gortais kept one hand at his knife and the other
  clutched on his purse strings. No sense in spending
  money until it’s needed, the rogue figured. After the
  fourth person came up empty, the Kos mercenary
  suggested: “Maybe we should ask questions from more
  reputable people.” Gortais glared at him, and the Kos
  warrior shut his mouth. The next pile of rags Gortais
  prodded stirred up an emaciated, stringy gray­haired
  mess. “You there, do you know Bashak Oricos, the
  temple priest? Did you see him last night?” Gortais
  asked. The scraggly old man stared stupidly at the space
  streetwise. Gortais will collect word on the street from
  potential witnesses or others who might be in the know
  about the kidnappers’ whereabouts. The second skill
  check will be negotiate. If Gortais needs to get into the
  coliseum to look for clues, he will need to get past some
  guards assigned to keep rabble like him out. The player
  forecasts the third skill check will be sneak, necessary at
  some point either to get past guards, or get past people
  inside the coliseum without raising an alarm.
  «The player could use structured questions for
  persons to try and successfully interrogate Oen Bjornos,
  which might yield more information. But the player decides
  against this, in part because it’s not that interesting as a
  scene; and in part because Gortais interrogating Oen would
  default to the player character’s untrained social skills, which
  is ­1, unlikely to succeed.»
  «The player rolls the following scene qualities before
  the scene opens: 33 ­ curtained; 41 ­ ditch; and 62 ­ overcast.
  The player decides that overcast has no direct effect on
  lighting for the scene. Maybe it will make some indoor spaces
  dimmer. The curtained aspect also doesn’t work directly, but
  the player interprets this quality as garish banners hung
  around the coliseum’s gate entrance. The player reinterprets
  and modifies the ditch scene quality as a set of trenches that
  are part of a larger drainage system for the coliseum. None of
  the qualities were off the mark enough that the player felt the
  overall scene concept had to be changed.»
  «The player also decides to add a random person
  and gets 03 ­ national leader staff. The player interprets this to
  be the master of the coliseum. The player also rolls a random
  item and gets 79 ­ animal parts. Ick. The player decides to
  ignore this for the moment. Maybe later in the scene Gortais
  and Oen could find a larder inside the coliseum.»
  «The player is ready to start the scene, and adds 5
  to the plot stress carried over the past scene, to total 15. The
  player tests plot stress before opening the scene, rolls a 69,
  starting the scene without any incident.»
  “The Bjornos family is a proud...” Oen started. “Save it,
  I don’t care,” the rogue cut him off. Gortais didn’t want
  to waste time on the warrior. He’d known enough Kos
  people, and Oen seemed typical of his kind: dour,
  earnest, too much of a simpleton to be a liar. “Just stay
  close to me. Don’t say anything,” Gortais instructed the
  mercenary. Then Gortais hit the streets around the
  coliseum. First he went to the beggars and urchins,
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  in front of his nose. But then he mumbled to himself,
  “blessings to the temple of Artanis. They fed me when I
  was hungry, they clothed me when I was cold, they
  healed me when I was sick.” His swollen, bloodshot
  eyes bugged out: “Yes I saw men who took away our
  priest. Five of them. They surrounded him and took
  him. There was no struggle,” he said, and finally
  wheezed, “Artanis bring them to justice.“
  «The streetwise roll could use the rules for exposing
  the unknown (first a skill check, if successful a follow­up yes­
  no question to see whether anything was there to be found).
  In this case, the player handwaved the follow­up yes­no
  question because it’s already known that foes in leathers
  conducted the kidnapping.»
  «The player decides that a successful skill check
  reveals more information about the foe that abducted Bashak
  Oricos. The player rolls (d20): 8 ­ weak minions. Since goblins
  don’t roam the city, the player converts the roll directly to a
  weak team instead. The player rolls d10 for the size of the
  team: 5 members. The player rolls for culture & occupation
  (c/o) and gets a neighboring culture, and occupational
  generalists. From the Artanes setting, neighboring cultures
  could be from Ras Jadal, Siron or Kos. The player decides
  they were Kos, which explains why they were so open with
  Oen Bjornos, and the fact that they wore leathers (an
  observation from the original cutscene). A weak team of
  sellswords is the sort of rabble that is only dangerous in
  numbers. This is just one foe roll revealed from the successful
  gather infromation skill check. There are likely other (as­yet
  unknown) foes involved as well. None of these rolls were skill
  checks or yes­no questions, so they do not increase plot
  stress.»
  «As was pointed out at the start of the scene, Gortais
  could have interrogated Oen directly via a successful social
  skill check and then exposed the unknown through a yes­no
  question, maybe getting about the same result. But this
  roundabout approach leans on Gortais’ skill strengths; led in a
  potentially more interesting direction; avoids the awkward
  consequence of a social skill check failure with Oen; and adds
  a skill check toward meaningful success for the scene.»
  After some more questioning, Gortais learned that the
  group of toughs had been loitering in the shadows of the
  coliseum. The old man knew saw the person abducted
  was dressed as a priest of the temple of Artanes, but
  hadn’t known the victim was high priest Bashak Oricos.
  After Gortais was satisfied the old man had nothing
  more worthwhile to say, he returned to the main gates to
  the coliseum. It seemed to him the next best place to go
  looking for clues about a missing priest. There he
  approached the guards, hands out, smiles and charm.
  “Hail, friends,” he called out to them as he approached.
  «The player decides this skill check will be a
  negotiation, and social skills are direct contests by default.
  That means Gortais has a base +1 negotiation skill for a base
  +1 likely chance of success. The player would need to get that
  down to 50/50 moderate for the skill check to contribute
  toward meaningful success for the scene. The player decides
  just to take the +1 odds, get in the door, and look for better
  skill check opportunities once Gortais is inside the facility. If
  the skill check fails, what is the consequence? The player
  decides that the guards will rebuff Gortais, be alert for trouble,
  and the rogue will not be able to make any more social skill
  checks against them.»
  «Unfortunately the skill check result ­ 99 ­ means the
  attempt fails miserably. Plot stress increases to 17.»
  Gortais saw the guards flinch as he came to them, hand
  extended. The rogue sensed the cool attitude and change
  in posture. Then he knew he had no chance of talking
  his way past the gate. The guards were in no mood to let
  Gortais and Oen pass. “If you want in,” one of the
  guards snorted, “you’ll have to wait for an event, just
  like everyone else.” The other guard mumbled to
  Gortais under his breath, “sorry, friend, master of the
  place has been around, and he’s in a foul mood.”
  «The player could easily have introduced the person
  of interest, the master of the coliseum, here. But the player
  already tried a negotiation skill check and failed, and wants to
  try a different skill check to contribute toward meaningful
  success. The player decides to keep the master of the
  coliseum as a possibility for later in the scene, and moves
  forward with different plans. Time to use that sneak skill check
  to try and get Gortais and Oen into the coliseum.»
  «Gortais has sneak +2 skill. For this skill check to
  count toward meaningful success, the cap is 50/50 moderate.
  Sneaking is an interference skill check, which defaults to the
  lowest skill in the group. The player needs to use Oen
  Bjornos’ 0 conflict skill (the lowest of the two), which brings the
  odds down to what’s needed for meaningful success. Also, the
  player can use a scene quality for this check! The player
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  decides that the ditch scene quality, which he narrated to be
  part of a drainage system for the coliseum, comes into play.
  Scene qualities are magical. The player decides sneaking into
  the coliseum through the ditch and drainage system provides
  a +1 magical shift bonus. That magical shift bonus makes the
  sneak attempt likely to succeed, yet the skill check still counts
  toward meaningful success.»
  «The player considers two other issues. First, it’s not
  certain whether the drainage system is actually passable and
  enters the coliseum. This should remain unknown for now.
  The player won’t know the answer until the player’s character
  tries to enter. The second issue are the potential
  consequences if the skill check fails. That is easy: There are
  guards, minions and others about, and with a failure someone
  will hear Oen and Gortais in the ditch and drainage system,
  and will get the jump on mounting a response. The player rolls
  the sneak skill check: 62 ­ barely a success thanks to the help
  of the magical scene quality. Plot stress increases to 18.»
  Gortais parted company from the guards. Followed by
  Oen he nonchalantly rounded a corner, then clambered
  down into the dry drainage moat surrounding the
  coliseum. He signaled for the Kos mercenary to follow.
  “Whatever you do, keep quiet!” he hissed at the Kos
  mercenary, ducked low and slinked away. The ditch
  passed directly behind and below the guards before they
  found a pipe large enough to crawl in, under the wall of
  the coliseum. Gortais ignored the smell as he wriggled
  into the darkness, the Kos mercenary close behind. A
  short distance later the pipe became a more passable
  tunnel.
  «The player now has two successful skill checks but
  has not yet asked for trouble. Two men sneaking in a dark
  sewer tunnel in a fantasy setting? That is asking for trouble.
  The player muses that something nasty should be lurking in
  the darkness. To ask for trouble as part of a meaningful
  success, the probability must be at least 50/50 moderate. The
  player asks: “Is there something dangerous in the tunnels?”
  The player rolls the yes­no question: 19 ­ yes, and just over
  the current plot stress of 18, which increases to 19: Dodged
  an unexpected event roll by a hair!»
  «The player rolls on the foe table (d20) and gets 8,
  weak minions. An ideal foe in a low­fantasy underground
  sewer are giant rats that have developed a taste for human
  flesh. The player rolls a d10 for number and gets 4 rats total.
  Four weak minions have a conflict score of ­1.»
  The player starts with detection, to figure out which
  side notices the other first, and at what range. Because the
  encounter is happening underground, The player decides
  detection starts at medium range. The player arbitrarily
  decides the giant rats have at least +1 shift for keen senses,
  which gives them a to 50/50 moderate chance to detect
  Gortais and Oen. The player rolls a 90 ­ no, the rats are
  unaware. For the player character’s side, Gortais has notice
  +2 skill. Oen can assist and his conflict skill of 0 applies, which
  means the Kos warrior contributes another +1 shift, giving
  Gortais’ side notice +3 total. The player rolls 81 ­ yes. Since
  this was a skill check involving the player’s character, plot
  stress goes up to 20. With such a mediocre roll, the player
  decides that Gortais’ side gets only indirect evidence, and
  does not sense the giant rats directly. Detection is considered
  part of a conflict, so while this skill check increased plot
  stress, it does not contribute toward meaningful success.»
  «The player also decides now to ask whether Gortais
  and Oen are in pitch darkness. That sounds like asking for
  trouble, but in this case it’s the opposite. Tunnels naturally
  should be pitch dark, so asking for light is doing the player
  character’s group a favor. The player asks: “Is there enough
  light for Gortais and Oen to see?” The odds are 50/50
  moderate: 23 ­ yes. Plot stress is now 21. But the player also
  decides the overcast scene quality means that light in the
  tunnels should be very dim. Going forward, the player will
  apply a ­1 shift penalty for skill checks that rely on vision.»
  The tunnels already smelled bad, but then a new and
  even more awful stench hit Gortais. The tunnel was
  only lit with a few shafts of dim light, just enough to see
  dog­sized carcasses and scattered bones picked clean
  littering the floor of the tunnel. Gortais softly elbowed
  the Kos mercenary, who was holding a hand over his
  mouth and nose, and pointed at the evidence of danger.
  “We will be especially quiet here, and maybe whatever
  is down here will leave us alone,” he said to the Kos
  mercenary, “but just in case, ready your sword.”
  <<The player decides that Gortais and Oen will try to
  sneak past the rats. The player already has one meaningful
  success using sneak, so can’t use the same skill check a
  second time toward meaningful success this scene. But a
  successful skill check could avoid the encounter by letting
  Gortais and Oen sneak past unnoticed. As before, the base
  odds are 50/50 moderate. The player decides the dim lighting
  doesn’t interfere with the sneak attempt. But it’s an opposed
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  roll for the skill check, sneak vs. notice. The rats have a base
  conflict score of ­1, with a +1 shift for their keen senses, to
  total 0. It’s still a 50/50 moderate chance of success. The
  consequence for failure is clear: The rats hear and attack, and
  the conflict will begin at close range. The player rolls a 76 ­
  that’s a failure to sneak. Plot stress goes up to 22.»
  Slowly, quietly, Gortais and Oen felt their way through
  the underground drainage tunnel, almost entirely in
  darkness. At first, Gortais noted with satisfaction that
  the Kos mercenary was competent enough matching his
  own slow, cautious shuffle. But as they moved along at
  a crawl Gortais began to get nervous: It was too quiet. If
  there was something living in the tunnels, they should
  have heard signs of life by now. That is unless... then
  the shrieks and squeaks began: The mercenary and
  rogue drew their blades as half­seen shapes the size of
  dogs, covered in matted fur and reeking of garbage,
  bounded out of pipes on either side of the passage.
  «Time for combat! the player adds up the odds and
  factors for each side:»
  Gortais:
  Skill 1 knife fighting
  Oen Bjornos:
  adds 1 to assist
  Other factors:
  -1 (dim lighting from scene quality)
  4 giant rats:
  -1 conflict rating (weak minions)
  (giant rats see in the dark - no penalty)
  Combat difficulty= 2 shifts ( 2 -1 ) - ( -1 )
  «Gortais’ side has +2 shifts, so is very likely to
  succeed. For the first round of conflict the player rolls 25, a
  success. Plot stress goes up to 23. Because it is a pulpy
  setting, the foes take 2 levels of damage. Each level of
  damage takes out 2 minions, so the single success takes out
  4 minions, leaving just 1 giant rat.»
  «It would be possible to play out another round of
  combat, but the player decides a lone rat is not going to fight
  to the death. The player asks the yes­no question: “Does the
  remaining rat run away?” The result: 11 ­ the rat scampers.
  The 11 result also is less than current plot stress, so it
  generates an unexpected event that the player will get to in a
  moment.»
  «Officially, the rat needs to make a retreat maneuver,
  inviting an attack. The odds now are:»
  1 giant rat:
  -3 conflict rating (weak minion)
  Combat difficulty = 3 shifts ( 2 -1 ) - ( -3)
  «Technically the combat skill check is at +4 shifts.
  But all skill checks top out at +3 shifts and bottom out at ­3
  shifts.»
  «The player decides Gortais’ side does not attack.
  There’s no sense in spending another round on another skill
  check (and point of plot stress) to kill an escaping giant rat. In
  fact, the rat might be useful to ask for trouble later.»
  Now back to the unexpected event: Plot stress is cut
  in half and rounded down, from 23 to 11. The player rolls d20
  and gets a 4 result, invoke a negative trait. The player follows
  up with a d10 focus and with a 1, the focus is self or rival.
  What about Gortais’ personality would be an issue here? A
  rogue fighting in a dark tunnel isn’t going to face a personality
  backlash, and no rival is going to show up here. The player
  decides to let it drop and moves on.»
  As a skill challenge, this battle started at +2 (very
  likely to succeed) for the player character’s group, so it was
  not even close to a moderate challenge. Therefore the victory
  does not contribute to a meaningful success.»
  The assault was over in seconds. In the darkness lay
  ragged, dark lumps, oozing dark blood. Gortais and
  Oen’s blades and hands were slick with oil and fetid
  water. The rats must have been accustomed to different
  prey than armed fighting men, Gortais thought. He
  heard more than saw the last rat rush off squeaking into
  the darkness, scrabbling into a pipes to safety.
  «The player has asked for trouble once, and here is
  a second opportunity. Between the quick fight and the
  retreating rat, the player asks: “All that action just made a lot
  of noise. Do any bad guys hear it?” The player decides a yes
  result means that Gortais and Oen will have no chance to
  sneak and ambush for a next encounter, whether in this scene
  or any follow­up scene. Usually asking for trouble should have
  immediate consequences, but in this case the player made an
  exception. The player sets the odds at 50/50 moderate and
  rolls: 04 ­ yes. Anyone else hostile in the area now knows that
  something is happening in the tunnels. The 04 also generates
  another unexpected event, and cuts plot stress in half again,
  rounding down to 5.»
  «The player rolls for the unexpected event (d20): 10 ­
  an item intrudes. The player doesn’t have an item of interest
  in this scene and so rolls d100 for a random item. The result is
  70 ­ industrial metals. The player considers that Gortais and
  Oen both wielded blades in the combat that just ended. One
  obvious result would be that a weapon broke. The player
  Nicolette Tanksley (Order #13726995)
  
  Still fumbling in the near­total darkness, the pair made
  their way through the tunnel. Gortais suddenly stopped
  and bumped his arm against Oen’s chest. “Can you see
  that?” he said to the Kos mercenary. In front of them lay
  an expansive underground chamber. It glinted with light
  reflected off stagnant water. The Kos mercenary
  grunted. “I think I see the other side.” Gortais swung a
  foot into the chamber and dropped it into the chilly
  water, testing for a bottom with no luck. “You know
  how to swim?” Gortais asked the mercenary. “Maybe,”
  Oen said dryly. “That goes for both of us,” Gortais said.
  The rogue slowly slipped into the water, shivering, and
  finally pushed off from the wall, floating deep out into
  the darkness of the chamber.
  Minutes later the pair were on the other side of the
  chamber, shivering, miserable but alive. “I am not
  coming back this way,” Oen said flatly to Gortais. The
  pair checked their gear and moved on.
  «With 3 successful skill checks and 3 times asking
  for trouble, the player has achieved a meaningful success for
  this scene! The player plans to close the scene here, but
  must test against plot stress of 7 first. With a roll of 61, there is
  no unexpected event and the player can close the scene
  successfully. In this case the player has to keep in mind that
  whatever hostile forces there are, as a consequence carried
  over by this scene they will be aware of Gortais and Oen, and
  cannot be caught by surprise. Usually all consequences
  should be resolved in the same scene. But the player does
  have the option to carry over a consequence, which forces a
  follow­up scene that plays out the consequence's effets.»
  SCENE III
  The player is riding on the meaningful success from the
  prior obstacle scene, and decides to make this an
  encounter scene. If the player character’s group can best
  this ecounter scene, it will generate a second meaningful
  success. That means the player could conclude this short
  mission with a positive outcome.
  «The player expects the big fight will happen in an
  underground maintenance chamber that serves the drainage
  system. The player rolls three scene qualities for the
  encounter scene: 46 ­ shadowy, 62 ­ overcast, 82 ­
  arguing/debate. None of those qualities alter the scene as the
  113
  asks: “did a weapon break in this battle?” Given that rats in a
  tunnel are soft targets, the player decides the result is ­1
  unlikely. This is dealing with an unexpected event, not asking
  for trouble, so this roll does not contribute toward meaningful
  success. The player rolls: 25 ­ yes. Plot stress goes up to 6.
  The player flips a coin (not a formal yes­no question) to
  determine whose weapon. The result is Gortais. Snap! There
  goes the dagger.»
  As Gortais wiped his dagger clean, he noticed the grip
  rattling loose, and the haft separating from the blade. He
  sighed and tucked it away, now useless. That fix was
  going to cost money. “Let’s go,” he said to the Kos
  mercenary, and the pair again started picking their way
  through the drainage tunnel.
  «The player has now had 2 skill successes and
  asked for trouble twice. One more of each check will make
  this scene a meaningful success.»
  «The player thinks about what other troubles there
  could be, and decides since whatever other hostiles there are
  now know there’s someone in the drainage system, they
  might be able to flood the system with water. The
  consequence, the player decides, is potentially some
  desperate swimming that could mean taking a level of
  damage, and at worst the player character’s group being
  swept back out to the ditches outside the coliseum! The player
  asks: “Do the bad guys manage to flood out the drainage
  system?” The yes­no question is at 50/50 moderate. The roll
  is 83 ­ thankfully no. Whatever the reason, there is no deluge
  of water in the tunnels.»
  «The player needs one more successful skill check,
  and wants to try something different. The player latches back
  onto the idea of a swimming roll, and decides that the pair
  come to an internal collecting pool that they must swim
  across. Swimming is part of athletics, which defaults to
  physical/melee skills. Gortais’ untrained skill is ­1, and Oen
  would use his conflict skill of 0. The player decides this
  swimming skill check qualifies as a direct contest: Each
  person will have to roll separately for success. The player
  decides for Gortais, the consequence of failure will be taking a
  level of damage from near­drowning.»
  «The player rolls the ­1 swimming skill check for
  Gortais and with a 05, he makes it! Plot stress goes up to 7
  (the skill check adds to plot stress but does not test plot
  stress). Oen swims separately at 50/50 moderate: 11 ­ yes,
  makes it also. Since Gortais did not participate in Oen’s skill
  check, that roll does not affect plot stress.»
  Nicolette Tanksley (Order #13726995)
  
  player envisions it. The player decides to use the rolled­up
  scene quality (arguing/debate) as the rationale for the foe
  group.»
  «Next, the player rolls up the foe budget. From prior
  scenes, the player knows that there is a weak team with 5
  members. At 2 points apiece, that team is worth 10 points.
  The player rolls d10x10 for the foe budget and the result is 2
  and 8, for 16. That means there are just 6 points left to spend.
  The player rolls d20 for foes: 16 ­ an automaton. There are
  guardian statues in the setting, so the result makes sense.
  The automaton is worth 10 points, which consumes the rest of
  the foe budget. The player decides to assign a flat conflict +2
  skill to the automaton, with no special abilities.»
  «The player also narrates some window dressing: An
  entrance to the dimly lit drainage system; and the fact carried
  over from asking for trouble last scene that the foe group is
  aware of the player character group’s approach.»
  «It’s time to open the scene, which brings plot stress
  up 5 points, from 7 to 12. With a roll of 83 there are no
  unexpected events, and the scene can start as planned.»
  «The player jumps right to detection. The foe group
  is already aware of the player character’s group. The player
  rules that Gortais and Oen get their first detection attempt at
  medium range. Since the foe group has the rationale of
  arguing/debate, the player rules that the foes won’t oppose
  the roll by trying to sneak. It’s an assisted skill check, so
  Gortais has a notice +2 and Oen contributes +1, for +3. The
  player decides any vision penalties for dim or shadowy
  conditions don’t affect notice because the check involves all
  the senses. The player rolls: 60 ­ yes, Gortais and Oen hear
  the foe group at medium range. Plot stress goes up to 13.»
  Gortais could see brighter light ahead. But even before
  he could make out what was happening at the far end of
  the tunnel he heard distant arguing; and the thumping
  footfalls of something inhumanly big and heavy.
  Cursing his broken knife, Gortais readied his bow.
  «Each side is aware of the other at medium (missile) range.
  The player asks: “Do the foes have ranged weapons?” and
  sets the probability at 50/50 moderate. The roll is 47 ­ yes,
  and the player decides they are wielding short bows. Plot
  stress goes up to 14.»
  The first round, Gortais and the human foes can fire
  a volley from their bows. Oen and the foe automaton have no
  missile weapons. The player takes the advance maneuver for
  Oen to move into melee range. The player is unsure if the
  statue can get into the tunnels, so asks the yes­no question:
  “Is the automaton in the drainage tunnels?” The result: 48 ­
  yes. The player assumes there must be a ramp, stairs or other
  conveyance for the statue to enter the tunnel, and decides the
  statue also takes the advance maneuver. Plot stress goes up
  to 15. That leaves the odds for this round:»
  Gortais:
  Skill 2 bow
  Oen Bjornos:
  advancing (no effect)
  foe team:
  -1 conflict rating (5 weak members)
  automaton:
  advancing (no effect)
  Other factors:
  0 (dim lighting from scene quality
  affects everyone)
  Combat difficulty = 3 shifts ( 2 ) - ( -1 )
  «At +3 for the skill check, the player rolls 85 ­ yes,
  Gortais’ side succeeds. Plot stress goes up to 16. Because of
  the pulpy setting the foes take 2 levels of damage. The
  guardian statue is too important to take the hit, so the player
  decides to whittle down minions. 2 levels damage, each killing
  2 minions, means that there is just 1 minion left and the
  advancing guardian statue.»
  When the arguing stopped and arrows started to fly
  towards Gortais and Oen, the rogue was ready. Their
  foes were poor shots, and they were firing into the
  darkness of the tunnel. Gortais was soaked and cold, but
  they were still no match his training. As Oen ducked
  and weaved down the passage, the rogue fired volleys
  of arrows over the Kos warrior’s head, squarely hitting
  their marks. Then the hulking shadow of a living statue
  filled the corridor. Gortais cursed again.
  «Oen and the statue are now at close range. The
  next round is led by melee, and ranged weapons become
  support. The odds now change steeply:»
  Oen Bjornos:
  Skill 0
  Gortais:
  adds 1 with bow
  automaton:
  Skill 2
  foe team:
  adds 1 with bow
  Other factors:
  0 (dim lighting from scene quality
  affects everyone equally)
  Combat difficulty = -2 shifts
  ( 1 ) - ( 3)
  114
  Nicolette Tanksley (Order #13726995)
  
  «Gortais has a ­2 for the skill check. The player grits
  his teeth and rolls 90 ­ no. Plot stress goes up to 17. The
  player character’s group takes a level of damage. The player
  does not want Oen taken out, because without a melee
  fighter, and without a weapon for his knife fighting, Gortais
  could be in even more serious trouble. The foe group still has
  an archer, so Gortais can take a level of damage from an
  arrow. That is what the player decides. The player ticks the
  grazed condition for Gortais.»
  The Kos mercenary fell back under the hammer blows
  of the statue, and the rogue fired arrow after useless
  arrow at the hulking monstrosity. Gortais had forgotten
  about the other archer, and yelped in surprise when an
  arrow struck his side. Just a little blood, the rogue
  grimly took account, not too bad. One way or another
  he would make the archer who fired that shot pay.
  «Round 3 the odds do not change: the combat
  difficulty is still ­2 shifts. The player rolls and the result is 10 ­
  yes. This was a conflict skill check, so it did not test plot stress
  and trigger an unexpected event. Plot stress goes up to 18.
  The foe group takes 2 levels of damage because the setting is
  pulpy. The automaton takes 1 of those levels, and the final
  team member takes the other level, which would have been
  enough to remove 2 team members. With the foes defeated,
  the player has achieved a meaningful success for this scene.
  But the scene isn’t closed yet.»
  What happened next gave Gortais some new respect for
  the Kos people. With a bellow, the mercenary lowered
  his blade, body­slammed the statue and brought it to the
  ground. Using the sword more like a cudgel than blade,
  the mercenary straddled the prone statue and chipped
  away at its head as it struggled to rise. Gortais only took
  his eyes away from the spectacle long enough to place
  an arrow in the back of the final archer, who had turned
  to flee. Finally the statue stopped moving. Still the Kos
  mercenary hammered blows into the creature. Then the
  warrior slumped over the thing, breathing in ragged
  gasps.
  «The player asks the yes­no question: “Is there
  anyone in the foe group who is still in shape to talk?” The
  intent is to use structured questions for foes to gain more
  information, and possibly treasure. The player sets the odds
  at 50/50 moderate and rolls: 08 ­ yes. But that also triggers an
  unexpected event and cuts plot stress in half from 18 to 9.
  The unexpected event result is 2, a departure, and the focus
  is 10, a foe. In this case, the player decides it means there
  was a minion who was well enough to talk, but he was also
  well enough to crawl away from the battle, and stumble away
  into some other part of the coliseum complex. The player
  could opt to continue the scene and have the player
  character’s group pursue. But at this point the player has
  achieved a meaningful success and wants to wrap up the
  scene, without risking complications.»
  «The player decides to ask the yes­no question: “Is
  Bashak here and alive?” That’s a compound question, so the
  player sets the odds from likely to 50/50 moderate. The result:
  23 ­ yes. The bound Bashak Oricos is nearby and they rescue
  the high priest. Plot stress goes up to 10.»
  In hindsight, the rest was almost too easy, Gortais
  mused, but not without its worries. Where the rogue
  knew there were five archers, he could only find four
  bodies. Bashak had been propped up, tied and gagged
  nearby. The high priest was sore and tired from the
  ordeal, but unharmed. In the company of the high priest
  of the temple of Artanis, Gortais and Oen could
  practically dance out the main gate of the coliseum. The
  master of the coliseum would probably be brought
  before the counselors, and would need to explain how
  the abducted high priest had been found inside the walls
  of his complex. For now, Gortais was more interested in
  searching the bodies for identifying marks or valuables.
  He was already counting Reyhen Oricos’ coins for the
  safe rescue of the high priest. He’d be able to afford to
  replace the knife, and then some.
  «The player decides that Gortais has a chat with
  Bashak, under structured questions for persons. Bashak was
  not a person of interest at the start of the scene, but he is a
  person of interest in the plot as a whole, and the player
  decides that this rightfully qualifies.»
  «The first question to Bashak is: “Why did they
  abduct you?” (a form of ‘what is the reason behind the need’,
  structured question for persons, generating a rationale): The
  player rules no social skill check is necessary. But it is
  exposing the unknown, so he must first ask the yes­no
  question: "Does Bashak know why he was taken?" The player
  decides the odds are 50/50 moderate and the result: 33 ­ yes.
  Plot stress goes up to 11. That lets the player in turn roll
  115
  Nicolette Tanksley (Order #13726995)
  
  116
  rationale, and the result is 5, guard/vigilance. The player
  thinks about this and decides someone has been vigilant
  about monitoring the temple of Artanis and the order, and
  there was a trigger event that caused the abduction.»
  «The player next asks: “is it some sort of counter
  force testing the city state?” The odds are 50/50 moderate
  and the result: 71 ­ no. This does not have to do with outside
  power politics. Plot stress goes up to 12. The player follows
  up with the yes­no question: “Did the kidnapping serve as a
  distraction for someone pursuing another goal?” The odds
  again are 50/50 moderate. The result: 08 ­ yes, and the trigger
  for an unexpected event, which cuts plot stress in half to 6.
  The unexpected event is 13, a special item used by a foe. The
  player decides it’s obvious that the previously escaped foe is
  using some sort of communications item, perhaps magic, to
  alert whoever is in charge that Bashak’s kidnapping had been
  compromised and their force was neutralized. Maybe the plan,
  whatever it was, is off? What might happen next is fodder for
  future adventures in the city of Artanes! The player decides to
  close the scene here. With a roll result to test plot stress at 84,
  the scene ends without any further unexpected events.»
  SCENE IV
  «Plot stress of 6 carries over from the prior scene.
  The player forecasts this scene to be where he’d planned the
  start of the story, a discreet meeting at a local tavern over a
  goblet of wine. Except this time it will also involve a hefty
  pouch of silver coins in payment for Gortais’ actions. The
  scene quality rolls: 48 ­ foggy, 42 ­ dank/damp, and 76 ­
  floral/sweet smells. The player decides this sounds more like
  Reyhen invited Gortais and Oen to the gardens at his estate
  and vineyards the next morning, a shrouded sunrise after a
  heavy overnight rainfall. Plot stress goes up to 11 to start the
  scene, and with a 32, the scene opens without any trouble.»
  Gortais fidgeted uncomfortably in the grand estate and
  manor of Reyhen Oricos, high up the mountainside.
  Bees buzzed in the early morning hours, the vineyards
  spread into the distance, and a fog lay over the shoreline
  of the city­state far below. “Artanes is grateful to you,”
  Reyhen said, and nodded for a servant to bring over a
  pair of clinking purses to Gortais and Oen. Gortais
  noted that the Kos mercenary looked nearly as
  uncomfortable as he himself felt.
  «The player uses the simple rewards system to
  calculate the take: 2 meaningful successes mean 1/2 month’s
  reward, or 50 silvers for a struggling rogue. Gortais had
  managed to talk up the pay, which increases it by another
  50% to 75 silvers. The 16 point foe encounter yielded mixed
  coinage worth a total of 16 silver, and the player generously
  decides to add another 10 silver to the total take for the giant
  rats. The total of 101 silver pennies gets divided equally with
  allies, so Gortais’ take rounds up to 51 silvers. A new knife is
  going to cost 25 of that.»
  «Given the circumstances, the player decides
  Gortais will try to ask whether Reyhen owes him a favor to
  repay in the future. The player starts with Gortais’ negotiate
  +1, and decides the value of saving Reyhen’s half­brother
  probably zeroes out the audacity of the request, so the final
  result is likely. The consequence for failure will be shutting
  down any further requests. The player rolls 19 ­ yes. Plot
  stress goes up to 12.»
  “Seeing as we’ve done such service to Artanes,” Gortais
  said, “may I call upon your aid, or your mercy, in the
  future?” Reyhen paused, but didn’t show any sign of
  emotion. “If you have a need, speak it and you will have
  it, citizen of Artanes. As for you,” Reyhen pointed at the
  Kos mercenary, “you are guilty of no crime, and may
  walk our city’s streets a free man. You have proved your
  goodwill to this city.” The Kos mercenary nodded and
  said nothing.
  «The player decides this is a good wrap­up point. He
  tests against plot stress to close the scene, and with a 20, the
  scene closes successfully and the mission is over.»
  «The player assigns Gortais 3 XP: +1 for each
  meaningful success (two), +2 for completing the mission, and
  ­1 for each ally (one).»
  For Oen Bjornos, the player asks: "Did this ally learn
  enough from this experience to advance?" The player decides
  to set the odds based on the experiences and challenges at
  50/50 moderate. The roll result is 94 ­ no, Oen remains at his
  current power level. If the result had been yes, Oen would
  have picked up a skill at +1 over his base 0 conflict rating»
  Finally, the player takes down notes of the adventure
  elements for future stories of Gortais, rogue of the city­state of
  Artanes!»
  Nicolette Tanksley (Order #13726995)
  
  Appendices
  Appendices
  Nicolette Tanksley (Order #13726995)
  
  UNEXPECTED EVENTS (I)
  Appendix 1
  Type
  Description
  Person:
  Arrival
  Person:
  Departure
  Person:
  Trait
  Positive
  Person:
  Trait
  Negative
  Person:
  Trait
  Random
  Person:
  Skill Check
  Person:
  Rationale
  New/Change
  Person:
  Mission
  Twist
  Person:
  Scene Quality
  Intrudes
  Person:
  Item
  Intrudes
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  A new person or foe arrives at the scene. Roll P:Focus (d10). If P:Focus is a foe, add a foe
  (d20): This is either a new force entering the scene, reinforcements, or a third­party force
  (whether friendly or hostile to other foes in the scene).
  A person/foe on the scene leaves (withdraws or disappears). Roll P:Focus (d10). Only a
  person or foe who is already in the scene can leave it. If an ally withdraws, ask a yes­no
  question whether that ally is gone just for that scene, or for the rest of the mission. If the
  ally returns in a future scene or cutscene, a rationale (d20) roll could explain the reason for
  the departure.
  Invokes an existing trait (for persons) or an existing rationale (for foes) that may benefit
  that character in the scene. Roll P:Focus (d10). A P:Focus of “Self” can mean that
  something about the player character's personality may be a benefit in the scene.
  Invokes an existing trait (for persons) or an existing rationale (for foes) to the detriment of
  the player's character. Roll P:Focus (d10). A P:Focus of “Self” can mean that something
  about the player character's personality may be a drawback in the scene.
  Roll a P:Focus (d10). The target person/foe in the scene acts on their dominant trait or
  rationale. Roll a random trait (d20) or rationale (d20) if the P:Focus target doesn't already
  have one. The action might help or hinder the player's character.
  Something happens that forces the target person/foe to make a skill check. If a focus
  target isn’t obvious, roll P:Focus (d10). The skill check may be related to exposing the
  unknown (p.31,36) whether or not it is also asking for trouble.
  Roll a rationale (d20) and P:Focus (d10). If the scene is happening in a place where there
  are (generic) people, you may convert the rationale into a new scene quality. If the P:Focus
  target had a rationale, it changes to the new rationale. If you are introducing any persons in
  the scene, you can introduce them with the rationale.
  The player's character may get a new side goal mission. Otherwise, something happened
  that affects the main mission or side goal. Either take note that the P:Focus target has a
  different attitude/agenda for the mission; or roll a random mission (d20) that alters/affects
  the existing mission; or choose or roll under appropriate tables for new person (d100), foe
  (d20), place (d20) and/or item (d100). Unlike other unexpected events, you don’t have to
  play this event right away: Introduce the change when it makes sense.
  Roll P:Focus (d10): A scene quality has an effect on the target. The target might be forced
  to make a skill check, with a possible follow­up yes­no question asking for trouble. A scene
  quality may give an extra magic shift (i.e., to total +2 or ­2 shifts) to one skill check for that
  scene, instead of the usual +1 or ­1 shift.
  Roll P:Focus (d10): An item of interest comes into play with the P:Focus as target. Some
  possible item relationships: The person might covet it, fear it, was a previous owner, or was
  involved with the item's past in a significant way. If no item has been part of the story, you
  may roll (d100) and introduce an item. Whatever the relationship, the P:Focus character
  takes an action related to that item.
  118
  Unexpected Events
  References
  Nicolette Tanksley (Order #13726995)
  
  UNEXPECTED EVENTS (II)
  Type
  Description
  Foe: Start /
  Cease
  Hostilities
  Foe:
  Leader
  Emerges
  Foe:
  Special Item
  Foe:
  Call for
  Backup
  Foe: Adds /
  Reinforce­
  ments
  Trap/Ambush:
  (Arrest /
  Confline)
  Trap/Ambush:
  Damage /
  Incapacitate
  Monster /
  Beast
  Scene Quality
  New/Change
  Scene Quality
  Ceases
  In an encounter scene where conflict is underway or about to start, the foe group stops
  hostilities for some reason, at least temporarily. If there is a foe in the scene but no conflict
  yet, hostilities ratchet up. If there are no foes in the scene, ignore this result.
  If the encounter has any team(s) or minion(s), one member of that contingent is actually a
  competent leader, ramping up the threat (as per the “add leader” result when rolling foes).
  Choose or roll if there is more than one contingent of teams or minions.
  One or more foes in the scene has special gear to aid hostilities. Depending on setting that
  might be explosives or weapons (p.86), high­tech gadgets, psionic enhancers, or a
  mystic/magic item. The item(s) can come into play at any time through the end of the scene.
  Whether or not there is active conflict, a foe on the scene requests reinforcements, which
  the player character's group may or may not know about (the group might hear a horn or
  alarm bell, but not a mystic missive or cell phone text). Make a foe (d20) roll for the backup,
  then judge whether the reinforcements arrive in the same scene. The player character's
  group might be able to leave the area (i.e., close the scene cleanly) before backup arrives.
  Either a call for backup had already gone out and is answered now; or else by coincidence
  another foe enters the scene now. Roll up a random foe (d20) who enters the scene. The
  new foe shows up immediately. The new arrival might be friendly or hostile to other foes in
  the scene.
  One or more dangerous animals, a horror from beyond, or other powerful creature comes
  onto the scene (see appendix U). If it has intelligence, give the creature a rationale (d20),
  which guides its intelligence or instinct. For settings with no monsters, bring a rival onto the
  scene, or introduce one or more foe(s) instead.
  The player character's group needs to make a skill check or else become trapped, unable to
  exit the scene without making one or more additional skill checks. Possibilities include a pit
  or gate, security doors, entangling goo, paralyzing powers or knockout gas. Ambush
  attempts include a dropped net or being surrounded, or having egress cut off. Make a best
  assumption based on the circumstances and confirm with one or more yes­no questions.
  The player character's group needs to make a skill check or be harmed by a one­time trap
  or attack (take a level of damage). Possibilities include poison gas and toxins, sentry
  gun/rigged missile weapons, boiling oil, a pit lined with spikes, minefield, or triggered power
  effects. Ambush attempts include a surprise attack from behind. If in doubt, make a best
  assumption based on the circumstances and confirm with one or more yes­no questions.
  Roll a new scene quality (d100) using the appropriate (wilderness or civilized) field on the
  action table. Add the result to the existing list of scene qualities. If it contradicts an existing
  scene quality, the new scene quality replaces the older one.
  One of the existing scene qualities (choose one or roll randomly) goes away.
  11
  12
  13
  14
  15
  17
  18
  16
  19
  20
  Focus for Persons target is 1d10: 1­3 self or rival; 4­5 ally or patron; 6­7 person(s) or ally; 8­10 foe or rival. If there is no
  suitable target, the player may roll a random person (d100) or foe (d20) and introduce that result into
  the scene.
  Focus for Foes affects all foes in the scene. If there are no foes in the scene when a foe focus is rolled,
  the player should roll a random foe (d20) and introduce the foe result into the scene.
  119
  Appendix 1
  Nicolette Tanksley (Order #13726995)
  
  Poorly outfitted and trained foes. Weak teams are lackeys that are not too
  competent or dangerous. They have strength in numbers, but aren’t much of a
  threat individually. Examples: thugs, bandits, martial arts students, military
  conscripts, general rabble. Use generic stat blocks or similar rules for entry­
  level foes, to handle them in numbers.
  Average outfitted and trained foes. Average teams are more competent and
  better equipped than weak teams. Use generic stat blocks or simple rules to
  handle these foes in numbers.
  A competent threat, but not nearly as experienced as the player's character.
  This type of character will have one or more specialty skills. Use a short­form
  character sheet to describe an average NPC.
  This threat approaches the power level of the player's character. Use an
  abbreviated character sheet to describe this threat.
  This competent foe can head up any teams and/or minions on the scene. The
  character may have special leadership abilities to motivate any teams or
  minions in the scene. Use an abbreviated character sheet to describe this
  threat, noting the strengths and bond the leader may have with followers.
  Animals or mounts can consist of war dogs or wolves, horses, or more
  unusual creatures suitable to the setting. If they are mounts, assign them to
  people in the group. If they are animals, assign someone in the group as the
  minder of these animals. Treat these animals and mounts are typical for their
  kind, and use a generic stat block.
  This person does not wish to engage in violent conflict: The interests just run
  counter to those of the player's character. Roll a person (d100). If the result is
  81­100, indicating a foe, choose the foe encounter instead. The player might
  need to note social skills for a non­combatant, but shouldn't need a stat block.
  Small, relatively ineffective monstrous foes that work together (e.g., goblins).
  If there are no humanoids in the game world, replace with a weak team as
  described above. Use a generic stat block.
  More effective monstrous foes that work together (e.g., orcs). If there are no
  humanoids in the game world, treat as an average team as described above.
  Use a generic stat block.
  This should be a giant, beastly humanoid. A troll, a great big mutant, a
  massive bodybuilder. Any encounter that is strong and resilient for the setting
  should fit the bill. Use a generic stat block.
  Type Number
  Point
  Description
  Value
  Weak
  1d10
  2 pt.
  team
  each
  (℅)
  Average 1d10
  3 pt.
  team
  each
  (℅)
  Average
  NPC
  1
  5 pt.
  (℅)
  Talented
  NPC
  1
  10 pt.
  (℅)
  Add
  Leader
  1
  10 pt.
  (℅)
  Animals/
  1 or
  2+ pt.
  Mounts
  1d10
  each
  Non­
  Combatant
  1
  1 pt.
  Weak
  1d10
  2 pt.
  minions
  each
  Average
  1d10
  3 pt.
  minions
  each
  Big Brute
  1
  10 pt.
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  TYPES OF FOES (I)
  120
  Appendix 2
  Types of Foes
  Nicolette Tanksley (Order #13726995)
  
  Average
  mindless
  1d10
  3 pt.
  minions
  each
  Vehicles/
  1 or
  2+ pt.
  Mounts
  1d10
  each
  Powerful
  1
  10 pt.
  Entity
  Weak
  mindless
  1d10
  2 pt.
  minions
  each
  TYPES OF FOES (II)
  Here are some sample vehicles or mounts and their point values: War horses,
  riding lizards and other unusual mounts may be 4­5 points. Conventional
  vehicles: Motorcycle/personal transport (2 points), car (3 points), van/pickup
  truck (4 points), high­end race car (5 points). The maximum value is 10 points
  for the likes of wyverns or ground/air/space assault vehicles.
  Minor monstrous foes such as undead (skeletons/zombies) or low­end robot
  minions. If there are no mindless creatures in the game world, substitute with
  weak minions or a weak team, preferably with a singular purpose, such as
  cultists. Use a generic stat block.
  More dangerous monstrous foes such as undead (ghouls) or more resilient
  robot minions. If there are no mindless creatures in the game world, substitute
  with average minions or an average team, preferably with a singular purpose.
  Use a generic stat block.
  These may be an anthropomorphic creature (e.g., lizard man, centaur, fish­
  man, frog­man, etc). If this is the first or only foe rolled for the scene, you may
  roll d10 for number of creatures. If it is part of a larger foe group, just add one
  of its kind. These creatures often have a special ability. If this result isn't
  appropriate for the setting, substitute with a large animal (such as a wolf­
  hound, or something exotic like an alligator or tiger). Use a generic stat block.
  In game worlds where the supernatural exists, this might be a powerful
  undead or other evil­infused entity, probably a leader, lieutenant or advisor to
  even more powerful foes. This foe should be a serious threat to the player's
  character. If supernatural threats don't exist, susbstitute with an especially
  villainous talented NPC. Use a modified stat block, or a full character sheet.
  This may be a big robot or something similar, like a living statue. It should be
  tough, mindless and amoral. If this kind of entity doesn't suit the setting,
  substitute with a big brute. Use a generic stat block.
  Roll up a person of interest under the d100 table, then stat out that person as
  a mediocre NPC. The foe has the experience/status of the person rolled up,
  plus the skills to be a competent threat. Use a short­form character sheet. If
  the person result is 81­100 substitute with the rolled foe.
  Roll up a person of interest under the d100 table, then stat out that person as
  a talented NPC. The foe has the experience/status of the person rolled up,
  plus the skills to be a highly competent threat. Use a short­form character
  sheet. If the person result is 81­100 substitute with the rolled foe.
  Roll a person of interest: Based on the result, add either one captive or roll for
  d10 captives. Captives are non­combatants. If the result is 81­100, the rolled
  foe is being held captive. If the captive foe(s) is/are set free, they are unlikely
  to fight, and the player may interrogate with structured questions for foes.
  This person may appear to be friendly (or captive), but is secretly hostile.
  Fantasy possibilities include shape­changer, doppelganger or were­creature.
  In conventional settings, an infiltrator/spy is a person with extraordinary skills.
  Depending on the circumstances, the person may try to join the group as an
  ally. It’s up to the player to decide how to handle this circumstance, and if so,
  if/when to play out a potential betrayal in an obstacle scene. The infiltrator
  may become a recurring rival.
  Type
  Number
  Point
  Description
  Value
  Hybrids/
  1 or
  5 pt.
  Animals
  1d10
  each
  Automaton
  1
  10 pt.
  d100,
  Average
  1
  5 pt.
  NPC (℅)
  d100,
  Talented
  1
  10 pt.
  NPC (℅)
  d100,
  1 or
  0 pt.
  Captive(s)
  1d10
  Infiltrator/
  1
  15 pt.
  Spy
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  121
  Appendix 2
  Nicolette Tanksley (Order #13726995)
  
  CULTURE & OCCUPATION (℅)
  Type
  Description
  Majority/
  Native
  Native
  Minority
  Affiliated/
  Neighbor
  Far­Away/
  Foreign
  Unusual/
  Exotic
  Opposed
  Common
  Social/
  Leadership
  Fighters/
  Warriors
  Travelers/
  Rogues
  1­3
  4
  5­6
  7
  8
  9­10
  1­2
  3
  4
  5
  These people are of the same nationality, culture, species as the majority of local people in
  the area. Generic fantasy examples might be subjects of the local kingdom.
  These people are from a nationality, culture or species that is either native, or is a minority
  that is naturalized with local people in the area. Fantasy game examples might be elves or
  halflings that live within the local kingdom’s realm and are part of its society.
  These people are from a different nationality, culture or species, but one that is not unusual
  for the area. If the player's character is in another nation, this might be someone from her/his
  own society. Generic fantasy examples in a local human kingdom might be dwarves who are
  from nearby mountains, or elves who hail from nearby forests.
  These people are from a different nationality, culture or species that is familiar, but from far
  away. If the player's character is in a far­off land, this might be someone from her/his own
  society. Generic fantasy examples might include elves from the northern taiga in a temperate
  kingdom, or humans from other regions of the known world.
  These people are an unusual species, culture or nationality. In fantasy, space/future or supers
  scenarios, this can be imagination run wild: centaurs or reptile folk, silicon life forms or
  strange mutants.
  These people are from a nationality, culture or species that opposes the player character’s
  affiliations (that particular person may be tolerated in the local area). Fantasy examples might
  be people from barbaric lands that regularly raid the local kingdom, or from a country that is
  ruled by necromancers and powerful undead. The persons from the opposed kingdom may
  not be hostile personally, but default relations in the setting's homeland are cold.
  Assign the most common “adventuring” talents for the setting: The person is well­rounded,
  with some skill across many areas.
  Leaders or influencers, skilled to rally and inspire (or intimidate and dissuade) others:
  Politicians, ambassadors, tactical squad leaders, bards, artists or performers, and con artists.
  Anyone accustomed to melee and/or ranged weapon combat: Trained soldiers (infantry,
  cavalry, archers), barbarians, or gladiators.
  Anyone who is good at detecting trouble and avoiding it; and who prefers surprise and
  subterfuge over a straight fight. Smugglers, gamblers, bandits, and burglars.
  Someone who is trained to live off the land, detect trouble and ambushes, and can fight when
  necessary, using terrain for tactical advantage: Scouts, guides, rangers, and survivalists.
  Fighters or warriors with special equipment and/or expertise. Where footsoldiers are more
  common, these may be vehicle or equipment experts (tanks/artillery), knights, paratroopers,
  or underwater demolitions specialists. Assign expertise and/or appropriate equipment (e.g.,
  an anti­tank rocket, full plate armor, or radios with the ability to call in an airstrike).
  Researchers, scholars, electronics/computer experts, or other professionals with helpful
  knowledge skills. In settings with powers, likely to exhibit talent.
  Clerics, shamans, cultists attuned to divine or supernatural energies. May have powers.
  Assign a specialty occupation specific to the setting. Examples: mutant/superheroes not
  represented by occupations, gadgeteers, alchemists, xenoscientists, steamworks engineers.
  Wilderness
  Specialist
  6
  Officers/
  Special Forces
  7
  Academic
  Specialist
  8
  Religious/
  Inspirational
  9
  Settings skill
  Specialist
  10
  122
  Appendix 3
  Cultures & Occupations
  Nicolette Tanksley (Order #13726995)
  
  Travel to the edge of a familiar/controlled area. Maintain safety and
  order in the area by removing potential threats.
  Travel to an unfamiliar/uncontrolled area. Investigate possible
  opportunities and hostile activity (without necessarily engaging); return
  with information and insights.
  Discover the whereabouts of a (missing) person or special item(s). Once
  found, rescue the person or ‘liberate’ the item from its present holder.
  Travel to an unfamiliar/uncontrolled area, discover what lies there, and
  then decide what actions to take based on what’s learned. The classic
  dungeon crawl is an exploration mission.
  Find a person or animal (possibly a beast or monster) hidden and/or in a
  remote place. It may mean bringing someone to justice (person), or
  slaying (animal). A mission going after animals may be to retrieve
  valuable organs for drugs or components, for species research, for
  neutralizing a local threat to people, for food, or even just as a trophy
  wanted by a wealthy patron.
  Find and confront a person or animal (possibly beast or monster). Unlike
  hunting, the person may be in plain sight and the mission is abduction.
  While a Hunt may involve the death of the hunted, for capture missions
  the patron wants the subject alive and (as much as possible) unharmed.
  Infiltrate foes (possibly a hostile organization) and find out more about its
  leadership, makeup and intent. Return with information and insights.
  Accompany people or items to make sure they get to their destination
  safely. A mercenary guard working with a caravan, or a bodyguard
  assigned as a minder for an important person, is on an escort mission.
  Bring an item to another person or organization. Where an escort works
  to protect people (and potentially their wares) to reach their destination,
  a patron entrusts one or more persons or key items directly to be
  brought safely to their destination.
  Look into a crime that has been committed, or an event that has
  happened. The concept is to gather information and follow the trail
  wherever it may lead. If it relates to a crime, the mission may include
  bringing those responsible to justice.
  Type
  Typical
  Description
  Target
  Patrol
  Place
  Scout
  Place
  Find/
  Person/
  Recover
  Item
  Explore
  Place
  Person
  Hunt
  (Beast/
  Monster)
  Person
  Capture
  (Beast/
  Monster)
  Spy
  Place/
  Person
  Escort
  Place(s)/
  Person
  Deliver
  Person/
  Item
  Investigate
  Place/
  Person
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  TYPES OF MISSIONS (I)
  123
  Appendix 4
  Types of Missions
  Nicolette Tanksley (Order #13726995)
  
  Meet with another party (potentially hostile), and target the leadership of
  the opposing party to sign a truce, settle a dispute, or forge a treaty.
  Improve relations to a point that the leadership of the opposing party
  stands down from a threatening stance (if currently hostile), or assents to
  a friendlier stance (if currently neutral). Where negotiations have a
  specific goal in mind, winning over is about making a positive impression
  with the target, to improve relations.
  The player's character (or a person of interest) is in a tough spot. The
  player's character her/himself, or that person with assistance from the
  player's character, must live through hostile encounters and/or a
  dangerous environment and elements to make it to safety. Most disaster
  scenarios have self­survival as their main mission.
  Similar to escape or survival scenarios, the player's character or another
  person is aware of a (usually overwhelming) hostile force. The player's
  character and/or any persons being assisted usually try to remain
  undetected by the enemy force. If detected, the goal shifts to finding
  safety while being pursued by elements of the overwhelming force.
  Resembles survival, evade and rescue scenarios. The player's character
  and/or other person(s) of interest have been captured by hostile forces.
  The goal is to break free and travel to safety, possibly while being
  pursued by elements of an overwhelming hostile force that is trying to
  recapture the escapee(s).
  The player's character is tasked to hold a particular place against foes,
  and repel foes that might try to take it. Defense might be direct, as
  enemies might attack in a straightforward way; or more subtle, requiring
  the player's character to fight back against infiltration and conspiracy.
  The player's character is tasked to keep an opposing force from getting
  hold of particular person(s) or item(s), unlike defending, which is about
  holding a particular place. Enemies might try to get the person(s) or
  item(s) by force, or might try to succeed through infiltration and betrayal.
  Through straightforward battle or indirect infiltration and machinations, the
  player's character is tasked to damage or harm a person, or take a place
  from hostile foes and force them to retreat.
  The player's character seeks to find and retrieve person(s) who have
  gone missing or are being held by others. Rescuing persons resembles a
  find/recover scenario. The rescue target isn't necessarily cooperative.
  The player's character is tasked with finding out more information about a
  person, place and/or item. This is an open­ended intelligence gathering
  mission, using research and social skills to find out where the trail leads.
  It resembles an investigation, except no crime has occurred.
  Type
  Typical
  Description
  Target
  Negotiate
  Person
  Win over
  Person
  Survive
  Place
  Evade
  Person
  Escape
  Person
  Defend
  Place
  Protect
  Person/
  Item
  Attack
  Person/
  Place
  Rescue
  Person
  Research
  Person/
  Place/Item
  TYPES OF MISSIONS (II)
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  124
  Appendix 4
  Nicolette Tanksley (Order #13726995)
  
  OBSTACLE CHALLENGES (I)
  Scene Goal
  Possible Skill Challenges
  Infiltrate
  Negotiate
  Investigate
  Escape, Evade
  Spy, Infiltrate
  Avoid
  Research
  Acquire
  Lockpick; social skills (get past a guard); sneak (past sentries).
  Etiquette or bureaucracy (gain an audience with the right people); negotiate to
  come to agreement; appeal (to help make the case); law; intimidate (dealing with
  opposition).
  Notice (find visual clues); research; empathy (detect emotional cues); information
  gathering (to pick up rumors and word on the street); social skills (pull information
  from people).
  Running, hardy (to evade pursuit); dodge (jump over/duck under obstacles, push
  through crowds); negotiate or appeal (for someone to give shelter); hide.
  Acting/disguise; deceive (to get past guardians); shadowing; notice (over­hear
  useful information).
  Notice (detect foes); sneak, hide; deceive (distract sentries); shadowing (follow
  and over­power a guardian).
  Information gathering (get word from the streets); research (information sources);
  appeal (to convince people in the know to talk); intimidate, deceive (convince
  others to assist with access to restricted information sources).
  Climbing, jumping (across rooftops), dodge (athletics involved in infiltration); notice
  (foes); lockpick, disarm traps, electronics/security (mechanical and computer­
  based dangers); sneak (avoid detection).
  Civilized Places
  Escape, Evade
  Patrol
  Scout
  Explore,
  Recover
  Running, hardy (evade pursuit), swimming (cross a body of water to throw off the
  scent), survival (evade tracking, forage).
  Navigation (avoid getting lost); survival (forage to supplement rations); tracking,
  sneak and/or hide (avoid dangerous beasts).
  Notice (to detect others and get useful information from those being spied on);
  sneak (get close to others without detection); shadowing; additional languages;
  empathy (to get a read on others).
  Survival (mountains, underground, etc.), swimming, jumping, dodge, nimble and
  hardy (athletics to deal with dangerous terrain); notice (dangerous beasts and/or
  traps); sneak or disarm (to bypass beasts or traps).
  Wilderness Places
  125
  Appendix 5
  Obstacle Challenges
  Nicolette Tanksley (Order #13726995)
  
  OBSTACLE CHALLENGES (II)
  Scene Goal
  Possible Skill Challenges
  Hard Overland
  Journeys
  Underground
  Exploration
  Vehicular
  Travel
  Hardy; running, orienteering; climbing or mountain survival (steep/vertical
  terrain); ride/handle animal (pack animals and mounts); other forms of
  survival (for inhospitable terrain); swimming (to cross bodies of water).
  Underground survival; climbing; nimble (to avoid falls); dodge (to navigate
  tight spaces); map­making (to avoid getting lost); other forms of survival (for
  inhospitable terrain); swimming (to cross bodies of water).
  Drive and pilot skills; mechanical; navigate; crew skills (as a coordinating
  crew member of a large vehicle).
  Travel
  Vertical
  Spaces
  Difficult Natural
  Environments
  Specific Natural
  Hazards
  cliff/chasm, underground shaft.
  High/low temperatures; driving precipitation; harsh sun; extreme dry
  conditions.
  Bogs & quicksand; loose rock/shale slope, rockfall; body of water; heavy
  swamp/mud.
  Avalanche/landslide, mudslide; earthquake; tsunami; fires; volcanic eruption;
  whirlpool/maelstrom.
  Swamps & mud; heavy brush & forests; boulders, shale & rough/broken
  ground; steep/vertical surfaces; sandy surfaces where it’s hard to get
  traction; bodies of water (shallow or deep, placid or running, fetid or clean).
  Infection and disease; lack of water (potable or any water at all); lack of
  natural food sources.
  Components of Wilderness Challenge Encounters
  Natural Disasters
  Difficult
  Terrain
  126
  Additional
  Challenges
  Appendix 5
  Nicolette Tanksley (Order #13726995)
  
  Penalty to detecting sounds. Bonus to
  sneaking/masking noise.
  Bonus to detecting sounds. Penalty to
  sneaking/masking noise.
  Penalty for ranged weapons. Penalties for travel.
  Bonus to masking sounds, or to avoid detection by
  smell. Penalty to detecting sounds, or to smell
  anything.
  Bonus to avoid detection by smell. Penalty to smell
  anything. Possible long­range visual detection and
  ranged weapon penalties.
  Penalty to travel and movement, ranged weapons.
  Bonus to avoid detection by sight, sound or smell.
  Penalty to detect by sight, sound or smell.
  Penalties to running/fast maneuvering.
  Possible penalty to travel and movement, possibly
  to avoid falling. Possible penalties to actions that
  need stability (e.g., fighting).
  Possible penalties to movement, detection by sight,
  line of sight, ranged weapons and large melee
  weapons. Bonuses to hide or use cover to evade
  ranged weapon attacks.
  Bonus to hide. Penalties to all activities (including
  combat) involving sight.
  Bonus to detection, penalties to hide or otherwise
  avoid detection. Possible bonus to ranged
  weapons.
  Possible penalties to avoid by sneaking or con.
  Possible bonuses to incite fear or redirect anger.
  Possible bonuses to avoid by sneaking.
  Possible bonuses to negotiate and avoid
  immediate hostilities.*
  Type
  Examples
  Possible Category Shifts
  SCENE QUALITY INFLUENCES
  animal sounds, birdsong,
  background, music, machinery,
  work, patter, running water
  empty, eerie, deserted,
  abandoned, quiet, still
  breeze, wind, gale, storm,
  blowing
  Noise
  Quiet
  Air Circulation
  Smells
  Precipitation
  Ground Conditions
  Ground Obstacles
  Dim/Dark
  High Visibility
  vines, overgrown, scrub,
  furniture, sight­blocking,
  protected, cramped, crowded
  cloudy, overcast, shadowy,
  hazy, foggy, smoky, twilight/
  dusk, pitch dark, night
  wide open space, observation
  point, bright/well­lit, clear, exposed
  floral, offal, garbage, chemicals,
  stuffy/stale, smoky, fumes,
  cooking, smog
  rain, sleet, downpour, blizzard
  hard, plush, smooth, slippery,
  sand, shale, mud, ice, roots,
  dew
  fearful, hateful, vigilant
  argue, study, sick, drugged,
  hurt, tired, eat/drink
  friendly, grateful, celebration,
  reverent
  *Note: Foe rationales can be internal, not necessarily helpful to the player's character. Reverent foes for
  example might be on the lookout for a sacrifice; celebratory foes for a human­sized main course.
  Negative Vibes
  Distraction Vibes
  Positive Vibes
  127
  Appendix 6
  Scene Quality Influences
  Nicolette Tanksley (Order #13726995)
  
  STRUCTURED QUESTIONS FOR PERSONS
  Does the person have a need (i.e., does the person have a mission?)
  ­ What does the person want? (what is the mission?)
  ­ What is the reason behind that need? (i.e., what is the mission's rationale?)
  ­ Does the person reference an(other) item to help with the mission?
  ­ Does the person name a destination place for the mission?
  ­ Does the person offer (extra) valuables for completing the mission?
  ­ Will the person supply special equipment for the mission?
  ­ Will the person provide an(other) ally for the mission?
  Does the person reference another person for more information?
  Does the person warn about possible upcoming encounter(s)?
  * depending on the person, any question may require an appropriate social skill check to unlock
  some yes­no questions for an answer. Remember, failed skill checks carry consequences (e.g., no
  more questions/favors may be asked of this person for the rest of the scene).
  STRUCTURED QUESTIONS FOR FOES
  Do the foes have (extra) money or valuables on them/nearby?
  Do the foes have an(other) item (as treasure or a clue)?
  What is the reason behind the hostilities (i.e., a rationale)?
  ­ who is the source person/encounter behind the hostilities?
  ­ where is this source person/encounter?
  * foes generally require an appropriate social skill check to unlock any yes­no question for an
  answer. Remember, failed skill checks carry consequences (e.g., the foe stops cooperating).
  128
  Appendix 7
  Structured Questions
  Nicolette Tanksley (Order #13726995)
  
  PERSONALITY TRAITS (I)
  Cruel /
  Malevolent
  Thoughtful
  Mysterious /
  Secretive
  Heroic
  Sneaky /
  Under­handed
  Lazy
  Happy /
  Optimistic
  Dour/Taciturn
  Gleefully gloats over the misfortune of others.
  ­ Persons with this trait may insult and hurt others when the opportunity presents itself,
  alienating others and making social challenges harder.
  + Persons with this trait may help with interrogation and intimidation, convincing others
  into giving up information, valuables or items.
  Considers the possibilities before acting.
  ­ Persons with this trait may hesitate when they need to move quickly or act decisively,
  and may fail to take initiative on their own.
  + Persons with this trait may help come up with better answers, or help the group
  reconsider what might be a bad or dangerous choice.
  Withholds details about background and motivations.
  ­ Persons with this trait may not share what they know. They may act against the group's
  best interest at crucial moments. It may turn out the person is leaking information to others.
  + Persons with this trait may bring up unexpected knowledge or assistance when in
  desperate situations. They can keep secrets under interrogation.
  Seeks to do the right thing, regardless of personal risk.
  ­ Persons with this trait may risk endangering others, as well as risking the mission or
  goals, in favor of doing what is right.
  + Persons with this trait will step forward whenever there is an opportunity to help others,
  regardless of the dangers.
  Tries to steal or swindle others, given the opportunity.
  ­ Persons with this trait may find it hard to resist a chance to commit theft or fraud. They
  may have a bad reputation that can catch up with them.
  + Persons with this trait may bend (or break) laws and pull dirty tricks on others in pursuit
  of goals, without being overly concerned about morals.
  Does as little as possible or necessary.
  ­ Persons with this trait may fail to carry through a task that is assigned to them,
  particularly long, boring tasks such as manual labor, research or guard duty.
  + Persons with this trait may be prompted into action when pressed into it. They are low
  security risks, as they won't take initiative to do things on their own.
  Sees the bright side in all things.
  ­ Persons with this trait may fail to recognize when something is wrong, and may fail to
  be careful enough in potentially dangerous situations, whether traps or hostile encounters.
  + Persons with this trait may use their cheerful nature to help keep up the spirits of
  others. They may positively influence others in social interactions.
  Has little to say to others, and none of it is nice.
  ­ Persons with this trait may put off others in their social interactions.
  + Persons with this trait mind their own business, and do not leak information or secrets.
  Makes personal well­being and survival the top priority.
  ­ Persons with this trait may duck and cover, run away, go mute, or otherwise fail to
  render help in a hostile situation.
  + Persons with this trait may convince foes to stand down in a losing situation, e.g., to be
  taken captive rather than killed. The Person is more likely to survive dangers.
  Is tempted by the opportunity to put one over on others.
  ­ Persons with this trait may insult or offend others in social situations.
  + Persons with this trait may successfully pick on someone as the butt of their gibes,
  either to cow them or infuriate them into action.
  Cowardly
  Crude /
  Capricious
  129
  Appendix 8
  Personality Traits
  Nicolette Tanksley (Order #13726995)
  
  PERSONALITY TRAITS (II)
  Cautious
  Impulsive
  Loyal
  Nervous /
  Awkward
  Loud /
  Boisterous
  Gregarious
  Sympathetic
  Accusative /
  Defensive
  Is suspicious of others' motives, and hesitates before acting.
  ­ Persons with this trait may move slowly when they need to rush, and may refuse to take
  risks.
  + Persons with this trait may be more methodical to find hidden clues or items, or ferret
  out hidden traps and other dangers.
  Does not think through all the options before acting.
  ­ Persons with this trait may do something unpredictable, usually some sort of bold action
  at a point when caution and care are needed most.
  + Persons with this trait may act quickly and decisively under pressure, and may step up
  to take initiative for action when needed.
  Puts the mission and others in the group first.
  ­ Persons with this trait may be more loyal to the mission than to the player's character
  and allies, or vice versa. They may insist on helping others who are in trouble.
  + Persons with this trait may generate a positive reaction from others in social situations,
  if they know about that person's loyalties and commitment to help.
  Has difficulty in social situations.
  ­ Persons with this trait may make it harder for other members in a group to
  carouse/seduce, or to be diplomatic or authoritative in social situations.
  + Persons with this trait may be more perceptive, helping to yield insights about other
  persons. They may be underestimated as a serious threat by others.
  Naturally noisy, poor at any task that requires being quiet.
  ­ Persons with this trait may make it harder for a group to sneak quietly. In social
  situations, they may leak information about the mission to others.
  + Persons with this trait may help in situations where boasting and making noise is
  important to get the attention of others, or as a distraction.
  Enjoys being with other people, merry­making and carousing.
  ­ Persons with this trait may lose focus and control in social situations. They may spill
  secrets, get intoxicated, harass others and generally make a scene.
  + Persons with this trait may get access to people and find out information through their
  merry­making. They may get positive reactions from other fans of revelry, and do well in
  eating/drinking contests.
  Is soft­hearted, and wants to assist others.
  ­ Persons with this trait may be swayed to take pity on foes, making interrogation or
  intimidation more difficult. They will find it hard to resist a request for help.
  + Persons with this trait may generate a positive reaction from others who are aware of
  this kind­heartedness, making them more helpful (or at least less hostile).
  Shifts blame for anything that goes wrong onto everyone else but themselves.
  ­ Persons with this trait may cause negative reactions from other people in social
  interactions.
  + Persons with this trait may be able to talk their way out of difficult social situations.
  Faces dangers, even unknown horrors, without concern to personal safety.
  ­ Persons with this trait may not realize when it's time to defer or retreat. They may fail to
  back down, surrender or flee against overwhelming odds.
  + Persons with this trait may face the most daunting circumstances without being fazed.
  They are naturally hard to interrogate or intimidate.
  Says whatever others want to hear and easily swaps allegiances.
  ­ Persons with this trait may turn on their colleagues at a crucial moment, for example if
  the switch sides and pledge loyalty to whoever is winning. They may have their bad reputation for
  fickle behavior catch up to them.
  + Persons with this trait may refuse to play by the rules, ignoring law and morality in
  pursuit of goals. They may lie convincingly to talk the group out of difficult social situations.
  Unflappable
  Lying /
  Treacherous
  130
  Appendix 8
  Nicolette Tanksley (Order #13726995)
  
  ACTION SHEET QUALITIES: PERSONS
  Local Leader Staff
  Regional Leader Staff
  National Leader Staff
  Servant of royalty
  Local Leader Inner Circle
  Regional Leader Inner Circle
  National Leader Inner Circle
  Royal family
  Local Leader
  Regional Leader
  Spy/agent
  Religious lay folk
  Religious meditative/scholar
  Religious activist/cultist
  Religion staff
  Religion Inner Circle
  Mercenary/arms guild
  Mercenary/arms leader/boss
  Merchants, business/finance
  Merchant/finance boss
  Rogue guild/smugglers
  Rogue/smuggle leader
  Scholar/scientist
  Academic luminary
  Crafters/manufacturing
  Crafter/manufacturing leader
  Conscript/militia
  Army/marine soldier
  archer/air/sea soldier
  NCO/specialist
  Officer/military leader
  Police/public safety
  Cousin
  In­law, indirect family
  Niece/nephew
  Aunt/uncle
  Parents/grandparents
  Brother/sister
  Child/dependent
  Family friend
  Childhood friend
  Neighbor/acquaintance
  Early/first love
  Teacher or colleague
  Beggar/poor
  Role model
  Former friend
  Former love
  Occupational peer
  Bad blood family
  Hostile foreigner
  Rival of friend/ally
  Ideological rival
  General troublemaker
  Despicable villain
  Skilled hero
  Aged hero
  Liar/braggart
  Craft master/boss
  Exceptional talent
  Exceptional beauty
  Wealthy entrepreneur
  Prestigious family
  Expert historian/lore
  Specialty academician
  Expert healer/doctor
  Diplomatic expert
  Popular entertainer
  Master builder/engineer
  Nomad/traveler
  Liar/hoaxer
  Scout/messenger
  Terrorist/anarchist
  Unremarkable commoner
  (Potential) patron/ally
  (Potential) patron/ally
  (Potential) patron/ally
  (Potential) patron/ally
  (Potential) rival/past foe
  (Potential) rival/past foe
  F: Weak team ℅ (2)
  F: Average team ℅ (3)
  F: Average NPC ℅ (5)
  F: Talented NPC ℅ (10)
  F: Add leader ℅ (10)
  F: Animals/mounts (2)
  F: non­combat ­ d100 (1)
  F: Weak minions (2)
  F: Average minions (3)
  F: Big brute (10)
  F: Vehicles/mounts (2­10)
  F: Weak mindless minion(2)
  F: Average mindless minion(3)
  F: Hybrids/animals (5)
  F: Powerful entity (10)
  F: Automaton (10)
  F: d100, Average ℅ (5)
  F: d100, Talented ℅ (10)
  F: d100, Captive(s) (0)
  F: d100, Infiltrator/spy(15)
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  21
  22
  23
  24
  25
  26
  27
  28
  29
  30
  31
  32
  33
  34
  35
  36
  37
  38
  39
  40
  41
  42
  43
  44
  45
  46
  47
  48
  49
  50
  51
  52
  53
  54
  55
  56
  57
  58
  59
  60
  61
  62
  63
  64
  65
  66
  67
  68
  69
  70
  71
  72
  73
  74
  75
  76
  77
  78
  79
  80
  81
  82
  83
  84
  85
  86
  87
  88
  89
  90
  91
  92
  93
  94
  95
  96
  97
  98
  99
  00
  131
  Appendix A
  Action Sheet
  Scene Qualities: Persons
  Nicolette Tanksley (Order #13726995)
  
  Square/meeting hall
  Warehouse/storage
  Marketplace
  Farm/villa/estate
  Smithy/factory
  Crafting­place
  Shop/store
  Tavern/inn/hotel
  Arena/sport­place
  Streets/alleys
  Luxury digs
  Library or lab
  Palace/fortress/headquarters
  Keep/tower
  Field/meadow
  Garden/lawn/park
  Temple/church
  Home/hovel
  Cellar/underground
  Port/station/transit
  Memorial
  Crowded
  Plants
  Garbage/rubble
  Offal smell
  Cooking smells
  Pollution/smog
  Chemical smells
  Incense/perfumed
  Stuffy/stale smell
  Cramped
  Furniture­strewn
  Curtained
  Machinery/magic
  Background noise
  Music
  Stairs/ramps
  Terraced
  Vehicle(s)
  Fence/hedge
  Ditch
  Dank/damp
  Bright/well­lit
  Gloomy/dimly­lit
  Twilight/dusk
  Shadowy
  Hazy
  Foggy
  Dusty
  Smoky
  Wide open spaces
  High observation point
  Sight­blocking
  Hot
  Humid
  Cold
  Dry
  Breezy
  Windy
  Gale
  Cloudy
  Overcast
  Stormy
  Clear
  Still
  Sprinkling
  Rain (sleet/snow)
  Downpour (blizzard)
  Work sounds
  Running water
  Blowing winds
  Traffic/passers­by
  Birdsong
  Animal sounds
  Quiet/serene
  Floral/sweet smells
  Solid/hard ground
  Soft/plush ground
  Smooth/slip ground
  Rough ground
  R: Conversation
  R: Argue/debate
  R: Study/learn
  R: Guard/vigilance
  R: Guard/vigilance
  R: Anxiety/fear
  R: Anxiety/fear
  R: Hate/anger
  R: Hate/anger
  R: Hunt/scavenge
  R: Welcome/friendly
  R: Worship/reverent
  R: Sick/diseased
  R: Drunk/drugged
  R: Hurt/suffering
  R: Respect/grateful
  R: Celebrate/fest
  R: Tired/rest/sleep
  R: Cook/eat/drink
  R: Lack/hungry/poor
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  21
  22
  23
  24
  25
  26
  27
  28
  29
  30
  31
  32
  33
  34
  35
  36
  37
  38
  39
  40
  41
  42
  43
  44
  45
  46
  47
  48
  49
  50
  51
  52
  53
  54
  55
  56
  57
  58
  59
  60
  61
  62
  63
  64
  65
  66
  67
  68
  69
  70
  71
  72
  73
  74
  75
  76
  77
  78
  79
  80
  81
  82
  83
  84
  85
  86
  87
  88
  89
  90
  91
  92
  93
  94
  95
  96
  97
  98
  99
  00
  ACTION SHEET QUALITIES: CIVILIZED
  132
  Appendix B
  Scene Qualities: Civilized
  Nicolette Tanksley (Order #13726995)
  
  Underground
  Cave/caverns
  Mine/shaft/tunnel(s)
  Fissure/crevasse
  Ruins/buildings
  Taiga/tundra/desert
  Forest (deciduous)
  Forest (coniferous)
  Swamp/marsh
  Jungle (vines)
  Scrub (brush)
  Steppes/grasslands
  Broken/blasted area
  Cliffs/crags/gorges
  Hills
  Mountains
  Plateau
  Valley
  Canyon/chasm
  Pond/lake (shore)
  Landmark
  River (shore)
  Stream
  Ocean (shore)
  Vine­choked
  Overgrown
  Vines
  Underbrush
  Cobwebs
  Toxic/poison fumes
  Disease­ridden
  Wildlife signs
  Monstrous signs
  Insect swarms
  Vermin/pests
  Sandy/loose
  Gravel/shale
  Muddy
  Icy or wet (slick)
  Smooth stone
  Loose stone/boulders
  Rooty
  Bright/well­lit
  Gloomy/dimly­lit
  Twilight/dusk
  Shadowy
  Dark as night
  Pitch dark
  Hazy
  Foggy
  Dusty
  Smoky
  Wide open spaces
  Observation point
  Sight­blocking
  Hot
  Humid
  Cold
  Dry
  Breezy
  Windy
  Gale
  Cloudy
  Overcast
  Stormy
  Clear
  Still
  Sprinkling
  Rain (sleet/snow)
  Downpour (blizzard)
  Dew
  Running water
  Blowing winds
  Rainfall patter
  Bird calls
  Small animal sounds
  Large animal sounds
  Quiet/serene
  Floral/sweet smells
  Mildew/mold­smell
  Rotten/carrion smell
  Solid/hard ground
  Soft/plush ground
  Smooth/slip ground
  Rough ground
  Deserted
  Abandoned
  Desolate
  Empty
  Eerie
  Forbidding
  Protected
  Exposed
  Unstable/hazardous
  Fire (set)
  Mystic/bless/curse
  Artifact/object
  Guardians/guarded
  Illusory
  Trapped/warded
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  21
  22
  23
  24
  25
  26
  27
  28
  29
  30
  31
  32
  33
  34
  35
  36
  37
  38
  39
  40
  41
  42
  43
  44
  45
  46
  47
  48
  49
  50
  51
  52
  53
  54
  55
  56
  57
  58
  59
  60
  61
  62
  63
  64
  65
  66
  67
  68
  69
  70
  71
  72
  73
  74
  75
  76
  77
  78
  79
  80
  81
  82
  83
  84
  85
  86
  87
  88
  89
  90
  91
  92
  93
  94
  95
  96
  97
  98
  99
  00
  ACTION SHEET QUALITIES: WILDERNESS
  133
  Appendix C
  Scene Qualities: Wilderness
  Nicolette Tanksley (Order #13726995)
  
  Noble dress/accessories
  Indeterminate clothing
  Indeterminate accessory
  Military uniform
  Religious vestment
  Jewelry adornment
  Gems & jewels
  Semi­precious jewelry
  Concealable weapons
  Small melee weapons
  Large melee weapons
  Small ranged weapons
  Large ranged weapons
  Thrown weapons
  Reactive/explosives
  Odd/exotic weapons
  Armory (collection)
  Light/piecemeal armor
  Leathers/riot gear
  Medium protection
  Heavy protection
  Shield/riot gear
  Helmet
  Exotic armor/protection
  Heavy/powered armor
  Armory (collection)
  Clothes/fabrics
  Lighting
  Eating gear
  Drinking gear
  Cooking gear
  Craft tools/machines
  portable shelter (tents)
  Hygiene/beauty items
  Potpourri/incense
  Text/data (religious)
  Small ceremonial items
  Large ceremony items
  Door/portal/container
  Images/icons
  Statue/sculpture
  Text/data (sci­/magic)
  Herb/organic medicine
  Processed medicine
  Poison/pesticide
  Hard drugs
  Inert crystal, rare earth
  Preserved organics
  Flammables/explosives
  Occupational gear
  Art/scientific instruments
  Info: Location of item
  Info: Religious/mythic
  Info: Dimensions/existence
  Info: Geographic
  Info: History/Lore
  Info: Ecology
  Info: Medicine/anatomy
  Info: Accounting ledger
  Info: Diary/personal
  Fresh food
  Preserved food
  Raw foodstuffs
  Fruits/vegetables
  Herbs/spices
  Cheese or meats
  Drinkable infusions
  Alcohol
  Mild drug (tobacco/coffee)
  Industrial metals
  Lumber/organics
  Construction material
  Ceramics
  Cloth
  Paper/data storage
  Oil/grease or fuel
  Valuable stone
  Semi­precious stone
  Animal parts
  Illustrated/illuminated art
  Poetry/prose/multimedia
  Statue/sculpture
  Carving
  Drawing/painting
  Big items (machinery)
  Religious place/info
  Political place/info
  Fortification/info
  Defense weakness/info
  Med. devices/machines
  Shop devices/machines
  Furniture
  Symbolic ancestral items
  Symbolic rulership items
  Cash/valuables
  Cash/valuables
  Cash/valuables
  Vehicle (small)
  Vehicle (medium)
  Vehicle (large)
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  21
  22
  23
  24
  25
  26
  27
  28
  29
  30
  31
  32
  33
  34
  35
  36
  37
  38
  39
  40
  41
  42
  43
  44
  45
  46
  47
  48
  49
  50
  51
  52
  53
  54
  55
  56
  57
  58
  59
  60
  61
  62
  63
  64
  65
  66
  67
  68
  69
  70
  71
  72
  73
  74
  75
  76
  77
  78
  79
  80
  81
  82
  83
  84
  85
  86
  87
  88
  89
  90
  91
  92
  93
  94
  95
  96
  97
  98
  99
  00
  ACTION SHEET QUALITIES: ITEMS
  134
  Appendix D
  Scene Qualities: Items
  Nicolette Tanksley (Order #13726995)
  
  Square/meeting hall
  Warehouse/storage
  Marketplace
  Farm/villa/estate
  Smithy/factory
  Crafting­place
  Shop/store
  Tavern/inn/hotel
  Arena/sport­place
  Streets/alleys
  Luxury digs
  Library or lab
  Palace/fortress/HQ
  Keep/tower
  Field/meadow
  Garden/lawn/park
  Temple/church
  Home/hovel
  Cellar/underground
  Port/station/transit
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  ACTION SHEET: CIVILIZED PLACES
  Underground
  Cave/caverns
  Mine/shaft/tunnel(s)
  Fissure/crevasse
  Ruins/buildings
  Taiga/tundra/desert
  Forest (deciduous)
  Forest (coniferous)
  Swamp/marsh
  Jungle (vines)
  Scrub (brush)
  Steppes/grasslands
  Broken/blasted area
  Cliffs/crags/gorges
  Hills
  Mountains
  Plateau
  Valley
  Canyon/chasm
  Pond/lake (shore)
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  ACTION SHEET: WILDERNESS PLACES
  ACTION SHEET: SETUP WINDOW DRESSING
  Temperature
  Precipitation
  Terrain
  (Civilized) Density
  Colder
  Wetter
  Hillier
  More People
  ­­­ as expected ­­­
  Warmer
  Drier
  Flatter
  Fewer People
  1­2
  3­8
  9­10
  ­ use this table optionally for base random window dressing for each scene.
  135
  Appendix E
  Appendix F
  Appendix G
  Scene Qualities: Places
  Random Window Dressing
  Nicolette Tanksley (Order #13726995)
  
  Weak team ℅ (2)
  Average team ℅ (3)
  Average NPC ℅ (5)
  Talented NPC ℅ (10)
  Add leader ℅ (10)
  Animals/mounts (2)
  non­combat ­ d100 (1)
  Weak minions (2)
  Average minions (3)
  Big brute (10)
  Vehicles/mounts (2­10)
  Weak mindless minions (2)
  Average mindless minions (3)
  Hybrids/animals (5)
  Powerful entity (10)
  Automaton (10)
  d100 Person, Average ℅ (5)
  d100 Person, Talented ℅ (10)
  d100 Person, Captive(s) (0)
  d100 Person, Infiltrator/spy(15)
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  ACTION SHEET: FOES
  Majority/Native
  Majority/Native
  Majority/Native
  Native Minority
  Affiliated/neighbor
  Affiliated/neighbor
  Far­away
  Unusual/Exotic
  Opposed
  Opposed
  Common/generalist
  Common/generalist
  Social/leadership
  Fighter/Warrior
  Traveler/Rogue
  Wilderness specialist
  Officers/special forces
  Academic specialist
  Religious/inspirational
  Setting skills specialist
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  ACTION SHEET: CULTURE / OCCUPATION (℅)
  ­ Multiply d10xd10 for a foe group point budget.
  ­ Team/minions are always d10 in number. Vehicles, mounts, hybrids, animals are either 1 or d10 (choose).
  ­ Optionally select a team or minions (with d10 members) as the foe group foundation.
  ­ Subtract each chosen/rolled foe or team/minions from point budget total, until the budget is zero or below.
  ­ Roll for foe group's dominant rationale (demeanor before the player character's group is engaged).
  ­ Each side may attempt to detect the other, possibly at extreme, medium, and/or close range.
  ­ Set up defenders to take advantage of place & relevant scene qualities.
  ACTION SHEET:
  ENCOUNTER SCENE FOE GROUPS
  136
  Appendix H
  Appendix I
  Appendix J
  Random Foes
  Cultures & Occupations
  Encounter Scene Foe Groups
  Nicolette Tanksley (Order #13726995)
  
  ­ Decide civilized or wilderness.
  ­ You may choose or roll (or neither) for place (d20), person (d100) key item (d100), and/or foe (d20).
  ­ Create a thumbnail sketch what the scene should look like.
  ­ Roll three scene qualities (d100); optionally roll four d10 for setup window dressing (appendix G).
  ­ Roll a trait for any person in the scene who doesn't already have one.
  ­ Roll a rationale for any foe(s) in the scene, as their primary activity before PC group interaction.
  ­ Re­frame the scene. Create and write down window dressing that does not contradict scene qualities.
  ACTION SHEET: SCENE SETUP INSTRUCTIONS
  ­ Setting up a new scene increases plot stress by 5.
  ­ Each skill check that involves the player's character increments plot stress by 1.
  ­ Each yes­no question tests plot stress, and increments plot stress by 1.
  ­ Open and close each scene by testing plot stress.
  ­ Testing plot stress means comparing the rolled result against current plot stress.
  If the result is lower than current plot stress, it triggers an unexpected event.
  ­ When an unexpected event happens, cut the level of plot stress in half.
  ACTION SHEET: PLOT STRESS INSTRUCTIONS
  137
  Appendix K
  Appendix L
  Scene Setup Instructions
  Plot Stress Instructions
  Nicolette Tanksley (Order #13726995)
  
  Conversation
  Argue/debate
  Study/learn
  Guard/vigilance
  Guard/vigilance
  Anxiety/fear
  Anxiety/fear
  Hate/anger
  Hate/anger
  Hunt/scavenge
  Welcome/friendly
  Worship/reverent
  Sick/diseased
  Drunk/drugged
  Hurt/suffering
  Respect/grateful
  Celebrate/fest
  Tired/rest/sleep
  Cook/eat/drink
  Lack/hungry/poor
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  ACTION SHEET: RATIONALES
  P: Arrival
  P: Departure
  P: Trait positive
  P: Trait negative
  P: Trait, random
  P: Skill check
  P: Rationale new/change
  P: Mission new/change
  P: Scene quality intrudes
  P: Item intrudes
  F: Start/cease hostilities
  F: Leader emerges
  F: Special item
  F: Call for backup
  F: Adds/Reinforcements
  Trap/Ambush (arrest/confine)
  Trap/Ambush (damage/incapacitate)
  Monster/Beast
  Scene quality new/change
  Scene quality ceases
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  ACTION SHEET: UNEXPECTED EVENTS
  Focus: Person
  Self / Rival
  Ally / Patron
  Person / Ally
  Foe / Rival
  Select whichever of the two options
  makes the most sense. You may
  instead introduce one random person
  or foe rolled to enter the scene (the
  appearance is the unexpected event).
  Focus: Foe
  If a foe is not in the scene, you may roll
  one random foe to enter the scene (the
  foe appearing is the unexpected event).
  1­3
  4­5
  6­7
  8­10
  EVENT PERSON FOCUS, FOE FOCUS
  138
  Appendix N
  Appendix O
  Appendix P
  Rationales
  Unexpected Events
  Nicolette Tanksley (Order #13726995)
  
  ACTION SHEET: YES­NO QUESTION CHART
  SHIFTS
  YES
  NO
  +3
  Nearly Certain
  1­95 96­00
  +2
  Very Likely
  1­80 81­00
  +1
  Likely
  1­65 66­00
  0
  50/50 Moderate
  1­50 51­00
  ­1
  Unlikely
  1­35 36­00
  ­2
  Very Unlikely
  1­20 21­00
  ­3
  Nigh Impossible
  1­05 06­00
  modifiers include:
  +1 magic shift for each scene quality the yes­no question or skill check aligns;
  ­1 magic shift for each scene quality that the yes­no question skill check contradicts.
  Weak Team/Minions
  Conflict Skill
  Nigh Impossible (­3)
  Very Unlikely (­2)
  Unlikely (­1)
  50/50 Moderate (0)
  Likely (+1)
  # of
  Members
  1
  2­3
  4­5
  6­7
  8­10
  FOE GROUP CONFLICT RATINGS
  # of
  Members
  1­3
  4­6
  7­10
  Average Team/Minions
  Conflict Skill
  Unlikely (­1)
  50/50 Moderate (0)
  Likely (+1)
  Individual's
  Conflict / Other Skills & Abilities
  (0). must eliminate groups/minions first.
  (0). One skill/power at +1.
  (0). Two skills/powers at +1.
  (+2) with no special abilities, OR
  (+1) with a special ability.
  (+1) with no special abilities OR
  (0) with a special ability.
  (0). Three or more skills/powers at +1.
  Type of
  NPC
  “add leader”
  average NPC
  talented NPC
  brute/automaton/
  powerful entity
  hybrid /
  (animal)
  infiltrator/spy
  139
  Appendix Q
  Appendix R
  Yes­No Questions
  Foe Ratings
  Nicolette Tanksley (Order #13726995)
  
  PLAYER CHARACTER SKILL TREE
  Individual Skills
  longbow, shortbow, crossbow, sling
  rock, knife, axe, hammer, dart, grenade
  pistol, rifle, submachine gun, shotgun
  (by type of weapon, including vehicular weapons)
  lockpick, mechanical/trap, electronics/security
  *standalone skill
  horse, elephant, camel, giant flying lizard, etc.
  mounts, birds of prey, cattle, large predators, pets, etc.
  navigation, astrogation, orienteering
  sailing ship, cruise liner, submarine, space battleship, etc.
  motorcycle, car, truck, bus, ground speeder, etc.
  jet fighter, helicopter, personal jetpack, etc.
  negotiate, deceive, appeal, intimidate
  empathy, leadership, etiquette
  singing, dancing, physical sport
  karate, judo, boxing, wrestling, street fighting, capoeira, etc.
  running, jumping, climbing, swimming
  axes, swords, staves, plasma swords, spears, shields, etc.
  tracking, fishing, trapping, camouflage
  gather information, scrounge, gamble, sleight of hand
  hide, sneak, shadowing
  *standalone skill
  tundra, desert, deciduous/coniferous forest, scrub / badlands,
  underground, mountain, swamp, urban, etc.
  cloth, leather, carpentry, writing/poetry, painting, photos, etc.
  first aid, surgery, pharmacology/herbalism
  (each additional language is a skill)
  *standalone skill
  any trained science, political or knowledge field: engineering,
  law, chemistry, theology, history, etc.
  {power substitutes melee skill, or +1 bonus to melee skill}
  {power substitutes ranged skill, or +1 bonus to ranged skill}
  {power substitutes skill/attribute, or +1 bonus to skill/attribute}
  {power enables actions/skill checks otherwise only possible
  with specialized equipment}
  Skill Group
  bows
  throwing
  guns
  gunner
  disable
  dodge
  ride
  handle animal
  wayfind
  crew
  drive
  pilot
  influence
  interact
  performance
  martial arts
  athletics
  melee weapon
  hunt
  streetwise
  sneak
  notice
  survival
  craft
  medic
  language
  research
  profession
  melee
  ranged
  skill, attribute
  equipment
  Skill Base
  Device and ranged
  Animal and
  vehicle
  Social
  Physical and
  melee
  Subterfuge and
  survival
  Knowledge
  Powers (Magic,
  Psionics, Special
  Abilities)
  140
  Appendix S
  RPG Tools
  Player Character Skill Tree
  Nicolette Tanksley (Order #13726995)
  
  Recovery after Battle
  Make one first aid or other healing check (usually only with limited assistance), adding subject's hardy
  attribute or conflict rating. Success means the player's character recovers from a wound, or an ally returns
  to action in the next scene. Team/minion members who took damage in combat roll to recover
  individually; use the conflict rating of the team/minions left standing.
  If the healing check fails for an ally, ask the 50/50 moderate yes­no question: “Is that person still alive?”
  modified by the hardy attribute or conflict rating. A yes result means the ally is alive but disabled for the
  rest of the mission. A no result means the ally is dead or permanently disabled. Remember that skill
  checks involving the player's character, and all yes­no questions, add to plot stress.
  Experience Point Rewards & Distribution
  At the end of a mission, whether it succeeded or failed, the player character's group gets 1 experience
  point for each scene with meaningful success. If the mission succeeded (by having the number of
  meaningful successes needed to wrap up the mission), the player character's group gets an extra 2
  experience points. Subtract 1 experience point for each ally or ally team/minions that participated in the
  mission. Regardless of the final tally, the player's character always gets at least 1 experience point.
  All valuables found, won or awarded are divided equally between the player's character and each ally or
  ally team/minion contingent that participated in the adventure: Non­monetary gains such as patron favors
  and promotions belong to the player's character and don't need to be distributed.
  All allies and ally team/minions that participated in the adventure get 1 experience point and an equal
  share of treasure, whether they participated for all just just part of the mission, or were healthy, disabled
  or dead by the end of the mission. Any rivals get 1 experience point. Ask a separate yes­no question
  whether each ally advances (i.e., gains a new skill or increases an existing skill). Rivals always advance.
  Spending Experience Points
  RECOVERY & EXPERIENCE
  General
  2 XP ­ learn a new skill at +1 over base ability
  2 XP ­ increase an existing skill from +1 to +2
  over base ability
  3 XP ­ increase an existing skill from +2 to +3
  over base ability (the maximum)
  6 XP ­ learn a new skill group at +1 over base
  ability
  9 XP ­ increase an existing skill group
  from +1 to +2 over base ability (maximum)
  12 XP ­ raise an attribute from ­1 to 0, or from
  0 to +1 (maximum). Corresponding
  base abilities and skills also increase
  Magic
  1 XP ­ add a new magic spell at +1 over base
  2 XP ­ raise an existing magic spell
  from +1 to +2 over base ability
  3 XP ­ raise an existing magic spell
  from +2 to +3 (maximum)
  Psionics
  2 XP ­ add a new psionic talent at +1 over base
  3 XP ­ raise an existing psionic talent
  from +1 to +2 over base ability
  5 XP ­ raise an existing psionic talent
  from +2 to +3 (maximum)
  Secial Abilities
  3 XP ­ add a new special ability at +1 over base
  4 XP ­ raise an existing special ability
  from +1 to +2 over base ability
  8 XP ­ raise an existing special ability
  from +2 to +3 (maximum)
  141
  Appendix T
  Recovery & Experience
  Nicolette Tanksley (Order #13726995)
  
  Conflict Skill: d10
  ­ re­roll and add 10 to any '10' result.
  ­ divide final sum by 2.
  ­ If the sum is odd, round down
  and add a power (special ability).
  MONSTER CONFLICT RATINGS
  # of Damage Levels to Defeat: d10
  ­ re­roll and add 10 to any '10' result.
  ­ Subtract 5 for a final sum (at least 1 damage level).
  Foe Budget Point Value
  ­ As a foe, the point value of a monster is 3 x (conflict skill) x (# of damage levels to defeat)
  ­ If the monster has conflict 0, its point value is simply the # of hits to defeat.
  9­15 points is a tough creature.
  18­27 points a frightening beast.
  30­48 points is a terrifying behemoth.
  anything over 50 points is a cosmic level horror.
  Use Power on Other
  ­1 shift for power effect to be used on another person (instead of caster) in melee range.
  ­1 shift to bestow effect on each additional person in touch range of the power's user.
  ­2 shifts to bestow effect on any person within close (melee/throwing) range of the power's user.
  ­3 shifts to bestow effect on any person within moderate (missile) range of the power's user.
  ­1 shift for each subject trying to resist the effect.
  Additional ­1 shift if the power user is trying to do something unusual/unconventional with the power.
  Amplify Conflict Power
  ­1 shift to double levels of damage (may invoke consequence if conflict roll fails).
  ­2 shifts to triple levels of damage (serious consequence if conflict roll fails).
  ­3 shifts to quadruple levels of damage (catastrophic consequence if conflict roll fails).
  ­1 shift to affect only foes with melee power in a mixed melee group (when doing extra damage).
  ­2 shifts for a ranged power to affect only foes in a mixed melee group (when doing extra damage).
  ­1 shift if the power user is trying to do something unusual/unconventional with the power.
  *If a power leads a conflict and the roll fails, ask the yes­no question “was it the power that failed?",
  with a base 50/50 moderate likelihood.
  ­ If no, treat the consequence as normal.
  ­ If yes, the consequence involves the power itself.
  FLEXIBLE POWER MODIFIERS
  142
  Appendix U
  Appendix V
  Flexible Power Modifiers
  Nicolette Tanksley (Order #13726995)
  
  Trigger Points
  ­ 1/4 of player character's typical monthly income for each meaningful success accomplished during
  the mission.
  ­ If the player character succeeded in a social skill check to raise the pay, increase rewards for
  completing the mission by 50%.
  ­ Add 1/4 of typical monthly income for each side goal accomplished.
  ­ Each encounter scene where the player character's group can loot vanquished foes for valuables,
  yields the foe point budget in % of the player character's typical quarterly monthly income.
  ­ At the end of the mission, distribute rewards evenly between the player's character, ally and ally
  teams/minions. Intangible rewards like patron favors belong to the player's character.
  SET TREASURE REWARDS (OPTION I)
  Trigger Points
  ­ Roll d100 once at the end of the mission, adding +20 for each meaningful success accomplished
  during the mission.
  ­ Roll d100 again, adding +10 for each meaningful success accomplished during the mission, if the
  player's character succeeded in a social skill check to raise the pay.
  ­ Roll d100 once (no modifiers) for each side goal accomplished.
  ­ For each encounter scene where the player character's group looted foes/foe groups for valuables, roll
  d100 once, adding the foe group's point budget to the roll.
  ­ Distribute rewards evenly between the player character and each ally and ally team/minions. Intangible
  rewards like patron favors belong to the player's character.
  RANDOM TREASURE REWARDS (OPTION II)
  01­60: Nothing.
  61­70: cash/treasure worth 1/4 month salary.
  71­80: cash/treasure worth 1/2 month salary.
  81­90: cash/treasure worth 1/2 month salary. If
  this is the end of the mission, the patron also
  owes the player character a favor (automatic
  success to any one future social skill check with
  patron).
  91­100: cash/treasure worth 1 month's salary.
  100­125: cash/treasure worth 1 month's salary. If
  this is the end of the mission, the player
  character also gets public recognition and
  prestige, and/or a promotion in an organization
  related to the mission. Alternatively, the player
  character gets extra training (e.g., +1 skill point
  at end of mission).
  125­150: Either cash/treasure worth 1 month's
  salary, or a mount or small/personal vehicle (or
  a partial payment for a special mount or larger
  vehicle). Alternatively, a modest one­use
  magic/technology item.
  151­175: cash/treasure worth 2 months' salary.
  If this is the end of the mission, the patron also
  owes the player character a major favor
  (automatic success for up to three future skill
  checks with the patron).
  176+: choose either cash/treasure worth 3
  months' salary; or a powerful one­use
  magic/technology item; promotion and/or public
  prestige; a modest permanent magic item; or
  another type of unique item of value.
  Roll Result
  143
  Appendix W
  Appendix X
  Set Treasure Rewards
  Random Treasure Rewards
  Nicolette Tanksley (Order #13726995)
  
  ­ If using an existing map, determine major waypoints between the starting place and destination(s).
  ­ Decide which waypoints will be in wilderness and which will be in civilized places.
  ­ For wilderness places, use the set map to determine the type of place for the scene.
  ­ If improvising the journey instead of using an existing map, roll d10 for travel time (for travel time
  increments, default to days; but weeks or hours are possible) between each waypoint.
  ­ Decide the order of scenes in wilderness places vs. in civilized places.
  ­ Roll (or choose) a place (d20) for each expected wilderness scene in advance. Civilized
  scene places are not rolled in advance.
  ­ Optionally, ask the yes­no question: “does the person warn about about possible upcoming
  encounters?” If the answer is yes:
  ­ Roll one scene quality (d100) for each scene in advance, dropping results that are
  impermanent or that don't make sense. This is information known in advance about the scene.
  ­ Roll for one foe (d20) for each scene. This is a foe known about in advance in the scene.
  ­ When the player character's group reaches the location of each scene, ask the yes­no question:
  “Does this scene happen as predicted?”
  ­ If yes, start the scene with the pre­rolled elements present.
  ­ If no, change the foe and/or scene quality (but keep any pre­rolled wilderness place).
  ­ If the scene does not happen as predicted, optionally, ask the follow­up yes­no question: “Does
  something eventful happen before the player character's group reaches the next waypoint?”
  ­ If yes, build an entirely new scene and save the waypoint scene for later.
  ­ If no, use any place that was chosen or rolled in advance, but otherwise roll up the scene
  (including scene qualities and/or any foes present) from scratch.
  JOURNEYS AND PORTENTS
  144
  Appendix Y
  Journeys and Portents Rules
  Nicolette Tanksley (Order #13726995)
  
  Set up the game
  ­ Decide whether to use the included RPG ruleset and one of its settings, or to bring your own ruleset and
  setting.
  ­ Create a player's character for your chosen ruleset and setting.
  ­ Decide on an area and known patrons, allies, and other personal connections around the player's
  character.
  ­ Make copies of the action sheet and mission sheet. With the RPG ruleset, also have some extra ally/foe
  NPC character sheets handy.
  ­ Decide how many meaningful success scenes the story arc needs to succeed (recommend 2 scenes with
  meaningful success for shorter/first­time storytelling).
  Remember!
  Plot stress: Every new scene increases plot stress by 5. Every skill check the player's character or an ally
  makes, and every yes­no roll the player makes, increases plot stress by 1 (see “plot stress”, p. 18; or the
  plot stress rules summary on the action sheet).
  Test plot stress at the beginning and end of each scene, and whenever you ask a yes­no question. Testing
  plot stress means if the yes­no question's d100 rolled result is equal or lower than the curent level of plot
  stress, generate a random unexpected event (d20). Unexpected events are on the action sheet and in
  appendix 1). Introduce the unexpected event to the scene immediately or as soon as possible and cut plot
  stress in half (round down). Disregard the result only if there is no way to incorporate the unexpected
  event into the scene.
  An unexpected event at the beginning of a scene might derail the player’s plans for the scene. An
  unexpected event at the end of the scene can force the scene to stay open until it is resolved.
  Contradictions and re­interpretation: Sometimes, rolls will have results that contradict each other or don’t
  make sense. When this happens, see if you can merge or re­interpret information, or (e.g., silence broken
  by bursts of noise; windy in a spacecraft may be overactive ventilation). If both results can make sense but
  they contradict each other, the newest roll takes precedence. Otherwise, use the roll results that make the
  most sense for the scene and drop the result that doesn’t mesh.
  GM ENGINE SETUP
  145
  GM Engine Summary
  Nicolette Tanksley (Order #13726995)
  
  Unopposed Skill Checks
  Difficulty = 1) take the lead (usually highest) skill rating in the player character's group
  2) add +1 for each ally or ally team/minions with at least level 0 skill that can participate
  3) add helpful scene modifiers, subtract hindering scene modifiers
  4) compare against the estimated difficulty of success for the task
  Opposed Skill Checks
  Difficulty = 1) take the lead (usually highest) skill rating in the player character's group
  2) add +1 for each ally / ally team/minions with at least level 0 skill that can participate
  3) add helpful scene modifiers, subtract hindering scene modifiers
  4) subtract lead (usually highest) skill rating in the foe group
  5) subtract ­1 for each extra foe or foe team/minions of at least level 0 skill that can participate
  Skill checks may be direct contests, where only one person can take part; limited assistance, with only one or a few able
  to assist; unlimited assistance from all parties; or be an interference skill check, which uses the lowest participant's
  attribute/skill and has no assistance bonus.
  Modifiers can include: Relevant scene quality (+1 or ­1); relevant trait (+1 or ­1); relevant rationale (+1 or ­1); relevant
  window dressing (may enable checks and set base difficulty); premium gear (+1); shoddy / improvised equipment (­1).
  Conflict Checks
  Difficulty = 1) take the lead (usually highest) [melee / ranged] combat rating in the player character group
  2) add +1 for each extra ally or ally team/minions of any skill level that participates
  3) add helpful scene modifiers, subtract hindering scene modifiers
  4) subtract the lead (usually highest) combat rating in the foe's group
  5) subtract ­1 for each additional foe or foe team/minions that participates
  6) optionally, assess ­1 if one group has clearly inferior [melee / ranged] weaponry
  If the foe group succeeds, the player character's group takes 1 level of damage (the player's choice whether to the
  player's character or an ally or ally team/minions). If the player character's group succeeds, the foe group takes 1 level
  of damage in a gritty setting, 2 levels of damage in a pulpy setting, or 3 levels of damage in a heroic setting.
  Each level of damage takes out 1 individual NPC or 2 team/minion members, or does 1 level of damage to the player's
  character. A player's character with 2 levels of damage is wounded, and has ­1 to all skill checks for the rest of the
  mission; A player's character with 3 levels of damage is incapacitated. If the player character's side loses the conflict,
  follow up the next scene with the player's character in some sort of predicament.
  At extreme range, missile weapons can attack people who are advancing. At medium range, missile weapons can attack.
  At medium range, thrown weapons can attack people who are advancing. If one side doesn’t have missile weapons and
  is not in melee, use one person or team/minions with the highest nimble attribute, dodge skill, shield skill or conflict
  rating to defend. If the defense against missile fire succeeds, the group doesn't take (but also doesn't deal) damage.
  At close range, at least one person or team/minions must lead with a melee combat skill; once there is melee combat,
  ranged (missile/thrown) weapons may only assist. Anyone at close range can be targeted by melee combat damage.
  The advance action moves from extreme range to medium, or from medium range to close. The retreat action moves
  from close range to medium, or from medium range to extreme (disengage by moving out of range next turn). Anyone
  moving cannot attack (but may dodge). A group fighting defensively gets +1 bonus if taking no other combat action).
  RPG SKILL CHECKS
  146
  RPG Skill Checks Summary
  Nicolette Tanksley (Order #13726995)
  
  Attributes
  The player character’s starting attributes are ­1 (low), 0 (average) and +1 (high). The assigned stats cancel
  each other out (ie. they add up to 0). That means the player character starts with one of these arrays: six
  attributes at 0; one attribute at +1, one at ­1 and four attributes at 0; two attributes at +1, two at ­1 and two
  attributes at 0; or three attributes at +1 and three at ­1.
  Derived Stats
  Calculate derived stats by adding up pairs of attributes. These are base abilities: physical/melee,
  device/ranged, animal/vehicle, subterfuge/survival, knowledge and social. Untrained skills default to each
  of these base abilities ­1.
  Skills
  Assign 6 points to skills. New characters start with a +1 skill over base ability. It costs 1 point to raise a
  single skill by +1 over its base ability. For 3 points, a player can raise an entire skill group by +1 above
  the base ability.
  If the setting has powers (magic, psionics, special abilities) and the player’s character wants to buy in, the
  cost is 3 points. For magic, create 3 skills as magic spells; for psionic talents, create 2 skills as talents; or
  create 1 special ability.
  The base ability for magic skills is smart ­1 (individual spells start at +1 above base). Each magic
  spell can be used for 1 skill check, or for 1 conflict in a scene. Time needs to pass between scenes to
  recover magic.
  The base for psionic skills is willful ­1 (individual talents start at +1 above base). Each psionic
  talent can be used for up to 3 skill checks/conflicts per scene. Time needs to pass between scenes to
  replenish the psionic point pool.
  The base for special abilities is based on hardy ­1 (the special ability starts at +1 above base), and
  there is no limit to special ability use.
  Powers cannot be used untrained.
  Equipment & Background
  Choose (or purchase) equipment suitable for the player’s character.
  Choose any organizations the player character belongs to, as well as key family/friend relationships, plus
  one or more patrons, allies and/or rivals.
  RPG CHARACTER CREATION
  147
  RPG Character Creation Summary
  Nicolette Tanksley (Order #13726995)
  
  INDEX
  heroic............................................... (see setting level)
  incapacitated, RPG.................................................. 73
  item..................................................................... 8,134
  item of interest..............................................(see item)
  journeys....................................................... 86­90,144
  meaningful success..........................................8,11,12
  magic.......................................................(see powers)
  magical shift.. (see scene qualities and magical shifts)
  maneuver.................................................(see ranges)
  medium range................................ (see ranges, RPG)
  Mill City (setting)............................................. 101­102
  Mill City (encounters)...................................... 104­105
  Mill City (gear)........................................................103
  Mill City (setting)............................................. 101­102
  minions.................................................11,63,65­66,79
  mission......................................................7,9,123­126
  mission, swapping....................................................55
  mission sheet..................................................157­158
  monsters, RPG..................................................83,142
  movement................................................ (see ranges)
  NPC (non­player character), RPG...................... 79­80
  NPC sheet, RPG.............................................153,155
  obstacle scene................................7,8,12­13,125­126
  obstacle scene and encounter scenes.....................48
  occupation..........................(see culture & occupation)
  person................................................................. 8,131
  person of interest.................................................. 8,15
  place....................................................................8,135
  player......................................................................... 7
  player's character......................................7,57­62,147
  player character's group...........................................39
  player's character, multiple.......................................90
  player character sheet, RPG....................151,152,154
  player's character skills, RPG...................... 58­60,140
  plot stress.......................................................8,18,137
  plot stress in conflicts...............................................49
  portents........................................................88­91,144
  powers, RPG..................................... 75­78,84­86,164
  power categories, RPG............................................75
  powers, equipment, RPG.........................................76
  power manipulation, RPG............................84­86,142
  powers, melee, RPG................................................75
  powers, ranged, RPG...............................................75
  powers, skill, RPG....................................................76
  powers and consequences, RPG.............................77
  powers and trappings, RPG................................76­77
  protagonist..............................(see player's character)
  psionics................................................... (see powers)
  pulpy................................................ (see setting level)
  ranges, RPG............................................................ 70
  ranges and detection, RPG......................................71
  ranges and ambush (surprise round), RPG............. 71
  rationale....................................................... 14,15,138
  recovery, RPG...................................................72,141
  retreat.............................................(see ranges, RPG)
  rewards........................................................ 91­92,143
  action sheet..............................................131­139,156
  advance..........................................(see ranges, RPG)
  allies.................................................15,39­44,120­122
  allies and dismissal.................................................. 43
  allies and experience.......................................... 42­43
  allies and recruitment..........................................40­41
  allies and traits......................................................... 41
  allies and treasure....................................................80
  allies and skill checks...............................................41
  armor........................................................................72
  Artanes (encounters)........................................ 99­100
  Artanes (gear).......................................................... 98
  Artanes (setting)..................................................94­97
  asking for trouble........................................... 13,35­38
  asking for trouble and exposing the unknown..........36
  asking for trouble and scene qualities......................35
  asking for trouble and unexpected events............... 37
  attributes............................................................. 57­58
  character creation, RPG.............................. 57­62,147
  close range.....................................(see ranges, RPG)
  combat, RPG............................................... 67­74,163
  combat, melee, RPG...........................................67­69
  combat, ranged, RPG......................................... 69­70
  conflict, RPG........................................... (see combat)
  consequence........................................12,13,29,30­31
  culture & occupation..................... 11,40­41,63,79,122
  cutscene.............................................................7,9,19
  damage.................................................................... 72
  death........................................................................ 73
  detection..............................(see foe group, detection)
  dice.............................................................................6
  disadvantages..........................................................57
  encounter budget.............................................. 11,136
  encounter scene......................................... 8,11,45­49
  encounter scene and obstacle scenes.....................47
  equipment................................................................ 61
  equipment, premium................................................ 62
  equipment, requests.................................................62
  example of play...............................................106­116
  experience................................................... 80­81,141
  experience and allies............................................... 82
  experience and rivals............................................... 82
  explosives................................................................ 86
  exposing the unknown................................... 25,31­33
  extreme range................................(see ranges, RPG)
  foe................................................15,120­122,136,139
  foe budget...............................(see encounter budget)
  foe group...........................................................11,139
  foe group, detection............................................ 45­46
  foe group, generating...............................................45
  foe group, tactics.................................................46­47
  foes in closing scenes..............................................55
  foes in opening scenes............................................ 56
  grazed, RPG............................................................ 72
  gritty................................................. (see setting level)
  heavy weapons........................................................ 86
  148
  Index
  Nicolette Tanksley (Order #13726995)
  
  rewards, simple........................................................91
  rewards, randomized................................................92
  rival................................................................ 15,43­44
  rule of three.........................................................16,50
  quest......................................................(see journeys)
  scene................................................... 7,9­19,159­160
  scene, follow­up................................................. 53, 54
  scene interpretation..................................................16
  scene portents.................................................... 88­90
  scene qualities...................................... 8,127,132­133
  scene qualities and magical shifts.......................23,65
  scene qualities vs window dressing......................... 24
  scene, retrenching.............................................. 54­55
  scene setup.........................................13,137,145,159
  setting.........................................................................7
  setting level, RPG (gritty, pulpy, heroic)................... 67
  side goal (mission)................................................... 14
  skills............................................................. 58­60,140
  skill check................................ 8,12­13,26­33,146,162
  skill check and assessing difficulty......................26­27
  skill check and scene qualities.................................27
  skill check and exposing the unknown................31­32
  skill check, swapping tests..................................29­30
  skill checks, RPG.........................................63­66,146
  skill checks, assisted, RPG......................................65
  skill checks, direct contest, RPG..............................65
  skill checks, interference, RPG................................ 66
  skill checks, large group, RPG............................65­66
  skill checks, limited assistance, RPG.......................65
  skill checks, opposed, RPG..................................... 64
  skill checks, unlimited assistance, RPG...................65
  skill groups, RPG................................................ 58­60
  skills, untrained, RPG...............................................60
  special abilities........................................ (see powers)
  story elements............................................................7
  structured questions and unstructured dialog.......... 52
  structured questions, chaining................................. 53
  structured questions for persons..........9,10,32­33,128
  structured questions for foes........................33,49,128
  summary rules................................................ 159­164
  teams................................................... 11,63,65­66,79
  throwing in the towel...................................... 13,19,53
  trait........................................................14,15,129­130
  treasure..................................................(see rewards)
  unexpected event...............................18, 118­119,138
  unintended consequences (asking for trouble)........ 36
  weapons, RPG.........................................................72
  window dressing........................................8,15,16,135
  window dressing after scene starts.....................17,23
  wounded, RPG.........................................................72
  yes­no question...................... 8,21­25, 50­52,139,161
  yes­no question and parsing....................................51
  yes­no question and gameplay................................ 50
  yes­no question and plot stress............................... 17
  yes­no question and scene qualities........................22
  yes­no question and skill checks..............................25
  yes­no question and window dressing..................... 23
  INDEX
  149
  Nicolette Tanksley (Order #13726995)
  
  Player Tools
  Player Tools
  Player Character Sheets
  Ally/Rival Character Sheets
  Mission Sheet
  Action Sheet
  Gameplay Flowcharts
  Nicolette Tanksley (Order #13726995)
  
   
   
  ATTRIBUTES
  (+1, 0, -1)
  STRONG
  NIMBLE
  HARDY
  SMART
  WILLFUL
  SAVVY
  PHYSICAL/MELEE:
  SKILLS: ___________________________________________________
  (strong+hardy, untrained -1)
  (skill groups: perform, martial arts, athletics, weapon)
  DEVICE/RANGED:
  SKILLS: ___________________________________________________
  (nimble+hardy, untrained -1)
  (skill groups: bows, throwing, guns, gunner, disable, *dodge)
  ANIMAL/VEHICLE:
  SKILLS: ___________________________________________________
  (strong+savvy, untrained -1)
  (skill groups: ride, handle animal, wayfind, crew, drive, pilot)
  SUBTERFUGE/SURV:
  SKILLS: ___________________________________________________
  (smart+nimble, untrained -1)
  (skill groups: hunt, survive, streetwise, sneak; *notice)
  KNOWLEDGE:
  SKILLS: ___________________________________________________
  (smart+willful, untrained -1)
  (skill groups: crafts, medic, profession, mechanic, *research)
  SOCIAL:
  SKILLS: ___________________________________________________
  (savvy+willful, untrained -1)
  (skill groups: influence, interact)
  POWER:
  SKILLS: ___________________________________________________
  (special ability=hardy -1; 
  (types: melee, ranged, attribute, skill, equipment/utility)
  magic=smart -1; 
  psionics=willful -1. No untrained)
  *Notice, research and dodge are standalone skills, not skill groups
  GRAZED          WOUNDED           INCAPACITATED
  (until end of scene or 
  healed; no other effect)
  (-1 to all skill checks 
  until healed)
  (ends scene; proceed to 
  next scene)
  (lift, push, carry, break)
  (balance, avoid, manipulate)
  (resist fatigue, recover)
  (general knowledge)
  (resist manipulation)
  (favorable reaction)
  DESCRIPTION & GOALS
  PATRONS, ALLIES, RELATIONSHIPS
  SIGNATURE GEAR, EQUIPMENT, VALUABLES:
  0
  1
  -1
  0
  0
  0
  0
  -1
  1
  -1
  0
  1
  X
  drive car 2. 
  brawling 1.
  gather information 0; notice 0. 
  deceive 2; intimidate 2. 
  Arthur Falcone is a private investigator who is a bit awkward, but pleasant 
  to be around. Falcone washed out of the corporate world (field sales job) 
  after uncovering and whistle-blowing on organized criminal activity at his 
  company, which cost him his job: hard-learned lessons about discretion. 
  Falcone started his struggling independent detective agency a few months 
  ago and is desperate for work. Thanks to his people skills, Arthur managed 
  to pal up with Peter Havik-Stand, who thinks Arthur is more successful & 
  experienced than the reality.
  Peter Havik-Stand: impulsive wealthy 
     businessman (patron).
  Toni Graham: unflappable part-time assistant 
     (ally).
  Emily Chan: police detective (rival).
  weathered trenchcoat, fedora.
  beaten up four-door compact car 
  (-1 to drive car checks).
  cheap cell phone
  wallet with 200 dollars, maxed-out credit cards.
  cramped 2nd-story office in dingy city building.
  about 2,500 dollars in bank account
  BASE
  CHARACTER: _______________________ PLAYER: _______________________ XP: ___
  UNTRAINED
  -1
  -2
  0
  -2
  -1
  0
  Arthur Falcone
  Nicolette Tanksley (Order #13726995)
  
   
   
  CHARACTER: _______________________ PLAYER: _______________________ XP: ___
  ATTRIBUTES
  (+1, 0, -1)
  STRONG
  NIMBLE
  HARDY
  SMART
  WILLFUL
  SAVVY
  PHYSICAL/MELEE:
  SKILLS: ___________________________________________________
  (strong+hardy, untrained -1)
  (skill groups: perform, martial arts, athletics, weapon)
  DEVICE/RANGED:
  SKILLS: ___________________________________________________
  (nimble+hardy, untrained -1)
  (skill groups: bows, throwing, guns, gunner, disable, *dodge)
  ANIMAL/VEHICLE:
  SKILLS: ___________________________________________________
  (strong+savvy, untrained -1)
  (skill groups: ride, handle animal, wayfind, crew, drive, pilot)
  SUBTERFUGE/SURV:
  SKILLS: ___________________________________________________
  (smart+nimble, untrained -1)
  (skill groups: hunt, survive, streetwise, sneak; *notice)
  KNOWLEDGE:
  SKILLS: ___________________________________________________
  (smart+willful, untrained -1)
  (skill groups: crafts, medic, profession, mechanic, *research)
  SOCIAL:
  SKILLS: ___________________________________________________
  (savvy+willful, untrained -1)
  (skill groups: influence, interact)
  POWER:
  SKILLS: ___________________________________________________
  (special ability=hardy -1; 
  (types: melee, ranged, attribute, skill, equipment/utility)
  magic=smart -1; 
  psionics=willful -1. No untrained)
  *Notice, research and dodge are standalone skills, not skill groups
  GRAZED          WOUNDED           INCAPACITATED
  (until end of scene or 
  healed; no other effect)
  (-1 to all skill checks 
  until healed)
  (ends scene; proceed to 
  next scene)
  (lift, push, carry, break)
  (balance, avoid, manipulate)
  (resist fatigue, recover)
  (general knowledge)
  (resist manipulation)
  (favorable reaction)
  DESCRIPTION & GOALS
  PATRONS, ALLIES, RELATIONSHIPS
  SIGNATURE GEAR, EQUIPMENT, VALUABLES:
  Gortais
  0
  1
  1
  -1
  0
  0
  0
   1
  1
   1
  -1
  0
  X
  knife fighting 1.
  sneak 2; gather information 2; notice 2. 
  negotiate 1. 
  Gortais is a rogue from the city of Artanis. He occasionally works for 
  Reyhen Oricos - one of Artanes city administrators.
  ’
  Reyhen Oricos (Patron). Works as a 
  fixer of political and social issues in 
  ‘
  ’
  the city of Artanes.
  a long knife
  small bow and sheaf of arrows; 
      worn while on tasks
  indifferently clean clothes
  a winning smile
  BASE
  UNTRAINED
  -1
  0
  0
  0
  -2
  -1
  small bow 2.
  3
  Nicolette Tanksley (Order #13726995)
  
   
   
  ALLY/FOE: _____________________ TYPE: ______________ TRAIT/RAT: _________
  ALLY/FOE: _____________________ TYPE: ______________ TRAIT/RAT: _________
  ALLY/FOE: _____________________ TYPE: ______________ TRAIT/RAT: _________
  CONFLICT
  [POWER/SKILL:]
  _______________
  [POWER/SKILL:]
  _______________
  ALLY/FOE: _____________________ TYPE: ______________ TRAIT/RAT: _________
  DESCRIPTION & NOTES
  __________________________________________________
  CONFLICT
  [POWER/SKILL:]
  _______________
  [POWER/SKILL:]
  _______________
  DESCRIPTION & NOTES
  __________________________________________________
  CONFLICT
  [POWER/SKILL:]
  _______________
  [POWER/SKILL:]
  _______________
  DESCRIPTION & NOTES
  CONFLICT
  [POWER/SKILL:]
  _______________
  [POWER/SKILL:]
  _______________
  DESCRIPTION & NOTES
  __________________________________________________
  Toni Graham
  ally, average NPC
  unflappable
  1
  0
  rival, talented NPC
  Emily Chan
  heroic
  1
  0
  profession, law
  intimidate
  1
  Toni is a bookish grad student who is thrilled to work with Arthur Falcone, 
  for whatever hours he can afford to pay her under the table. She's 
  tough, but sometimes oblivious of dangers on the job.
  avg. team-generalist
  Officers (3)
  vigilant
  -1
  Emily Chan is a detective who has run into Arthur Falcone a few times, 
  who sees Falcone as an irritant. She has warned him to stay out of 
  criminal matters; shes convinced his meddling does more harm than good.
  ’
  Emily Chan has a group of officers that she can bring call for backup if 
  needed. (If you need names: Jan, Max, Dan.) 
  WEAK TEAM/MINIONS
  Members   Conflict Skill
      1 
     Nigh impossible (-3)
     2-3 
     Very unlikely (-2)
     4-5 
     Unlikely (-1)
     6-8 
     50/50 Moderate (0)
    9-10 
     Likely (+1)
  AVG TEAM/MINIONS
  Members   Conflict Skill
     1-3 
      Unlikely (-1)
     4-6 
      50/50 Moderate (0)
    7-10 
      Likely (+1)
  Oen Bjornos-Kos mercenary 
  (average) NPC
  unflappable
  0
  Oen Bjornos is a Kos barbarian living in Artanis. He caught wind of the 
  planned kidnapping of Bashak Oricos, priest of the temple to Artanes. 
  He wears light leather armor and wields a short sword.
  research
  (none!)
  ℅ window dressing: +1 to skill when ℅ aligns; 
       -1 to skill when ℅ contradicts. 
  (n/a)
  MONSTERS
  Conflict Skill: (d10)/2, for odd results round down and assign special ability
  Damage Levels:   (d10)-5, at least 1. All “10” results explode (add 10, roll again)
  INDIVIDUALS       
  Type
  Conflict Skill, Other Skills/Abilities
  “add leader” 
  (0) must eliminate teams/minions first
  average NPC 
  (0) one skill/power at +1
  talented NPC 
  (0) two skills/powers at +1
  brute/automaton/ (+2) with no special abilities, OR
     powerful entity    (+1) with a special ability
  hybrid /
  (+1) with no special abilities OR
     (animal)
     (0) with a special ability 
  infiltrator/spy
  (0) 3 or more skills/powers at +1
  __________________________________________________
  Nicolette Tanksley (Order #13726995)
  
   
   
  UNTRAINED
  ATTRIBUTES
  (+1, 0, -1)
  STRONG
  NIMBLE
  HARDY
  SMART
  WILLFUL
  SAVVY
  GRAZED          WOUNDED           INCAPACITATED
  (until end of scene or 
  healed; no other effect)
  (-1 to all skill checks 
  until healed)
  (ends scene; proceed to 
  next scene)
  (lift, push, carry, break)
  (balance, avoid, manipulate)
  (resist fatigue, recover)
  (general knowledge)
  (resist manipulation)
  (favorable reaction)
  CHARACTER: _______________________ PLAYER: _______________________ XP: ___
  DESCRIPTION & GOALS
  PATRONS, ALLIES, RELATIONSHIPS
  SIGNATURE GEAR, EQUIPMENT, VALUABLES:
  PHYSICAL/MELEE:
  SKILLS: ___________________________________________________
  (strong+hardy, untrained -1)
  (skill groups: perform, martial arts, athletics, weapon)
  DEVICE/RANGED:
  SKILLS: ___________________________________________________
  (nimble+hardy, untrained -1)
  (skill groups: bows, throwing, guns, gunner, disable, *dodge)
  ANIMAL/VEHICLE:
  SKILLS: ___________________________________________________
  (strong+savvy, untrained -1)
  (skill groups: ride, handle animal, wayfind, crew, drive, pilot)
  SUBTERFUGE/SURV:
  SKILLS: ___________________________________________________
  (smart+nimble, untrained -1)
  (skill groups: hunt, survive, streetwise, sneak; *notice)
  KNOWLEDGE:
  SKILLS: ___________________________________________________
  (smart+willful, untrained -1)
  (skill groups: crafts, medic, profession, mechanic, *research)
  SOCIAL:
  SKILLS: ___________________________________________________
  (savvy+willful, untrained -1)
  (skill groups: influence, interact)
  POWER:
  SKILLS: ___________________________________________________
  (special ability=hardy -1; 
  (types: melee, ranged, attribute, skill, equipment/utility)
  magic=smart -1; 
  psionics=willful -1. No untrained)
  *Notice, research and dodge are standalone skills, not skill groups
  BASE
  Nicolette Tanksley (Order #13726995)
  
   
   
  ALLY/FOE: _____________________ TYPE: ______________ TRAIT/RAT: _________
  ALLY/FOE: _____________________ TYPE: ______________ TRAIT/RAT: _________
  ALLY/FOE: _____________________ TYPE: ______________ TRAIT/RAT: _________
  CONFLICT
  [POWER/SKILL:]
  _______________
  [POWER/SKILL:]
  _______________
  ALLY/FOE: _____________________ TYPE: ______________ TRAIT/RAT: _________
  DESCRIPTION & NOTES
  __________________________________________________
  CONFLICT
  [POWER/SKILL:]
  _______________
  [POWER/SKILL:]
  _______________
  DESCRIPTION & NOTES
  __________________________________________________
  CONFLICT
  [POWER/SKILL:]
  _______________
  [POWER/SKILL:]
  _______________
  DESCRIPTION & NOTES
  __________________________________________________
  CONFLICT
  [POWER/SKILL:]
  _______________
  [POWER/SKILL:]
  _______________
  DESCRIPTION & NOTES
  __________________________________________________
  WEAK TEAM/MINIONS
  Members   Conflict Skill
      1 
     Nigh impossible (-3)
     2-3 
     Very unlikely (-2)
     4-5 
     Unlikely (-1)
     6-8 
     50/50 Moderate (0)
    9-10 
     Likely (+1)
  AVG TEAM/MINIONS
  Members   Conflict Skill
     1-3 
      Unlikely (-1)
     4-6 
      50/50 Moderate (0)
    7-10 
      Likely (+1)
  MONSTERS
  Conflict Skill: (d10)/2, for odd results round down and assign special ability
  Damage Levels:   (d10)-5, at least 1. All “10” results explode (add 10, roll again)
  INDIVIDUALS       
  Type
  Conflict Skill, Other Skills/Abilities
  “add leader” 
  (0) must eliminate teams/minions first
  average NPC 
  (0) one skill/power at +1
  talented NPC 
  (0) two skills/powers at +1
  brute/automaton/ (+2) with no special abilities, OR
     powerful entity    (+1) with a special ability
  hybrid /
  (+1) with no special abilities OR
     (animal)
     (0) with a special ability 
  infiltrator/spy
  (0) 3 or more skills/powers at +1
  ℅ window dressing: +1 to skill when ℅ aligns; 
       -1 to skill when ℅ contradicts. 
  Nicolette Tanksley (Order #13726995)
  
   
   
  Square/Meeting hall
  Warehouse/storage
  Marketplace
  Farm/villa/estate
  Smithy/factory
  Crafting-place
  Shop/store
  Tavern/inn/hotel
  Arena/sport-place
  Streets/alleys
  Luxury digs
  Library or lab
  Palace/fortress/HQ
  Keep/tower
  Field/meadow
  Garden/lawn/park
  Temple/church
  Home/hovel
  Cellar/underground
  Port/station/transit
  Memorial
  Crowded
  Plants
  Garbage/rubble
  Offal smell
  Cooking smells
  Pollution/smog
  Chemical smells
  Incense/perfumed
  Stuffy/stale smell
  Cramped
  Furniture-strewn
  Curtained
  Machinery/magic
  Background noise
  Music
  Stairs/ramps
  Terraced
  Vehicle(s)
  Fence/hedge
  Ditch
  Dank/damp
  Bright/well-lit
  Gloomy/dimly-lit
  Twilight/dusk
  Shadowy
  Hazy
  Foggy
  Dusty
  Smoky
  Underground
  Cave/caverns
  Mine/shaft/tunnel(s)
  Fissure/crevasse
  Ruins/buildings
  Taiga/tundra/desert
  Forest (deciduous)
  Forest (coniferous)
  Swamp/marsh
  Jungle (vines)
  Scrub (brush)
  Steppes/grasslands
  Broken/blasted area
  Cliffs/crags/gorges
  Hills
  Mountains
  Plateau
  Valley
  Canyon/chasm
  Pond/lake (shore)
  Landmark
  River (shore)
  Stream
  Ocean (shore)
  Vine-choked
  Overgrown
  Vines
  Underbrush
  Cobwebs
  Toxic/poison fumes
  Disease-ridden
  Wildlife signs
  Monstrous signs
  Insect swarms
  Vermin/pests
  Sandy/loose
  Gravel/shale
  Muddy
  Icy or wet (slick)
  Smooth stone
  Loose stone/boulders
  Rooty
  Bright/well-lit
  Gloomy/dimly-lit
  Twilight/dusk
  Shadowy
  Dark as night
  Pitch dark
  Hazy
  Foggy
  Noble dress/accessory
  Indeterminate clothing
  Indeterminate accessory
  Military uniform
  Religious vestment
  Jewelry adornment
  Gems & jewels
  Semi-precious jewelry
  Concealable weapons
  Small melee weapons
  Large melee weapons
  Small ranged weapons
  Large ranged weapons
  Thrown weapons
  Reactive/explosives
  Odd/exotic weapons
  Armory (collection)
  Light/piecemeal armor
  Leathers/riot gear
  Medium protection
  Heavy protection
  Shield/riot gear
  Helmet
  Exotic armor/protection
  Heavy/powered armor
  Armory (collection)
  Clothes/fabrics
  Lighting
  Eating gear
  Drinking gear
  Cooking gear
  Craft tools/machines
  Portable shelter (tents)
  Hygiene/beauty items
  Potpourri/incense
  Text/data (religious)
  Small ceremonial items
  Large ceremony items
  Door/portal/container
  Images/icons
  Statue/sculpture
  Text/data (sci-/magic)
  Herb/organic medicine
  Processed medicine
  Poison/pesticide
  Hard drugs
  Inert crystal, rare earth
  Preserved organics 
  Flammables/explosives
  Occupational gear
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  21
  22
  23
  24
  25
  26
  27
  28
  29
  30
  31
  32
  33
  34
  35
  36
  37
  38
  39
  40
  41
  42
  43
  44
  45
  46
  47
  48
  49
  50
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  Hostile foreigner
  Rival of friend/ally
  Ideological rival
  General troublemaker
  Despicable villain
  Skilled hero
  Aged hero
  Liar/braggart
  Craft master/boss
  Exceptional talent
  Exceptional beauty
  Wealthy entrepreneur
  Prestigious family
  Expert historian/lore
  Specialty academician
  Expert healer/doctor
  Diplomatic expert
  Popular entertainer
  Master builder/engineer
  Nomad/traveler
  Liar/hoaxer
  Scout/messenger
  Terrorist/anarchist
  Unremarkable commoner
  (Potential) patron/ally
  (Potential) patron/ally
  (Potential) patron/ally
  (Potential) patron/ally
  (Potential) rival/past foe
  (Potential) rival/past foe
  F: Weak team ℅ (2)
  F: Average team ℅ (3)
  F: Average NPC ℅ (5)
  F: Talented NPC ℅ (10)
  F: Add leader ℅ (10)
  F: Animals/mounts (2)
  F: non-combat - d100 (1)
  F: Weak minions (2)
  F: Average minions (3)
  F: Big brute (10)
  F: Vehicles/mounts (2-10)
  F: Wk mindless minion(2)
  F: Avg mindless minion(3)
  F: Hybrids/animals (5)
  F: Powerful entity (10)
  F: Automaton (10)
  F: d100, Average ℅ (5)
  F: d100, Talented ℅ (10)
  F: d100, Captive(s) (0)
  F: d100, Infiltrator/spy(15)
  Wide open spaces
  High observation point
  Sight-blocking
  Hot
  Humid
  Cold
  Dry
  Breezy
  Windy
  Gale
  Cloudy
  Overcast
  Stormy
  Clear
  Still
  Sprinkling
  Rain (sleet/snow)
  Downpour (blizzard)
  Work sounds
  Running water
  Blowing winds
  Traffic/passers-by
  Birdsong
  Animal sounds
  Quiet/serene
  Floral/sweet smells
  Solid/hard ground
  Soft/plush ground
  Smooth/slip ground
  Rough ground
  R: Conversation
  R: Argue/debate
  R: Study/learn
  R: Guard/vigilance
  R: Guard/vigilance
  R: Anxiety/fear
  R: Anxiety/fear
  R: Hate/anger
  R: Hate/anger
  R: Hunt/scavenge
  R: Welcome/friendly
  R: Worship/reverent
  R: Sick/diseased
  R: Drunk/drugged
  R: Hurt/suffering
  R: Respect/grateful
  R: Celebrate/fest
  R: Tired/rest/sleep
  R: Cook/eat/drink
  R: Lack/hungry/poor
  Dusty
  Smoky
  Wide open spaces
  Observation point
  Sight-blocking
  Hot
  Humid
  Cold
  Dry
  Breezy
  Windy
  Gale
  Cloudy
  Overcast
  Stormy
  Clear
  Still
  Sprinkling
  Rain (sleet/snow)
  Downpour (blizzard)
  Dew
  Running water
  Blowing winds
  Rainfall patter
  Bird calls
  Small animal sound
  Lg. animal sounds
  Quiet/serene
  Floral/sweet smells
  Mildew/mold-smell
  Rotten/carrion smell
  Solid/hard ground
  Soft/plush ground
  Smooth/slip ground
  Rough ground
  Deserted
  Abandoned
  Desolate
  Empty
  Eerie
  Forbidding
  Protected
  Exposed
  Unstable/hazardous
  Fire (set)
  Mystic/bless/curse
  Artifact/object
  Guardians/guarded
  Illusory
  Trapped/warded
  Art/sci. instruments
  Info: Location of item
  Info: Religious/mythic
  Info: Dimensions/existence
  Info: Geographic
  Info: History/Lore
  Info: Ecology
  Info: Medicine/anatomy
  Info: Accounting ledger
  Info: Diary/personal
  Fresh food
  Preserved food
  Raw foodstuffs
  Fruits/vegetables
  Herbs/spices
  Cheese or meats
  Drinkable infusions
  Alcohol
  Mild drug (tobacco/coffee)
  Industrial metals
  Lumber/organics
  Construction material
  Ceramics
  Cloth
  Paper/data storage
  Oil/grease or fuel
  Valuable stone
  Semi-precious stone
  Animal parts
  Illustrated/illuminated art
  Poetry/prose/multimedia
  Statue/sculpture
  Carving
  Drawing/painting
  Big items (machinery)
  Religious place/info
  Political place/info
  Fortification/info
  Defense weakness/info
  Med. devices/machines
  Shop devices/machines
  Furniture
  Symbolic ancestral  items
  Symbolic rulership items
  Cash/valuables
  Cash/valuables
  Cash/valuables
  Vehicle (small)
  Vehicle (medium)
  Vehicle (large)
  51
  52
  53
  54
  55
  56
  57
  58
  59
  60
  61
  62
  63
  64
  65
  66
  67
  68
  69
  70
  71
  72
  73
  74
  75
  76
  77
  78
  79
  80
  81
  82
  83
  84
  85
  86
  87
  88
  89
  90
  91
  92
  93
  94
  95
  96
  97
  98
  99
  00
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  YES     NO
  Nearly Certain 
  1-95  96-00
  Very Likely 
  1-80  81-00
  Likely 
  1-65  66-00
  50/50 (Moderate) 1-50  51-00
  Unlikely 
  1-35  36-00
  Very Unlikely 
  1-20  21-00
  Nigh Impossible 1-05  06-00
  Patrol
  Scout
  Find/Recover
  Explore
  Hunt
  Capture
  Spy 
  Escort
  Deliver
  Investigate
  Negotiate
  Win over
  Survive
  Evade
  Escape
  Defend
  Protect
  Attack
  Rescue
  Research
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  Mission (d20)
  Cruel/Malevolent
  Thoughtful
  Mysterious/Secretive
  Heroic
  Sneaky/Under-handed
  Lazy
  Happy/Optimistic
  Dour/Taciturn
  Cowardly
  Crude/Capricious
  Cautious
  Impulsive
  Loyal
  Nervous/Awkward
  Loud/Boisterous
  Gregarious
  Sympathetic
  Accusative/Defensive
  Unflappable
  Lying/Treacherous
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  Trait (d20)
  Persons (d100)
  Qualities (d100) / Places (d20)
  Civilized       Wilderness 
  Items (d100)
  Persons (d100)
  Qualities (d100)
  Civilized       Wilderness 
  Items (d100)
  Foes (F:) / Rationale (R:) (two d20)
  Plot Stress
  Setting up a new scene increases 
  plot stress by 5.
  Each yes-no question and PC skill 
  check increments plot stress by 1. 
  Start and end each scene by testing 
  plot stress (d100 roll vs. current plot 
  stress).
  A yes-no question result that is 
  lower than current plot stress 
  triggers an unexpected event.
  When an unexpected event 
  happens, cut plot stress in half.
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  11
  12
  13
  14
  15
  16
  17
  18
  19
  20
  Unexpected Events (d20)
  P: Arrival 
  P: Departure 
  P: Trait positive
  P: Trait negative
  P: Trait, random
  P: Skill check 
  P: Rationale new/change
  P: Mission twist
  P: Scene quality intrudes 
  P: Item intrudes
  F: Start/cease hostilities
  F: Leader emerges
  F: Special item
  F: Call for backup
  F: Adds/Reinforcements
  Monster/Beast
  Trap/Ambush (arrest/confine)
  Trap/Ambush (damage/incapacitate)
  Scene quality new/change
  Scene quality ceases
  Persons (P:) 
  Focus 
  1-3 Self / Rival 
  4-5 Ally / Patron
  6-7 Person / Ally
  8-10 Foe / Rival
  may generate a 
  person/foe if not 
  already present.
  Foes (F:) 
  Focus
  may generate a 
  foe (roll once on 
  foe table) if not 
  already present.
  Encounter Scene Foe Groups:
  - Multiply d10xd10 for foe point budget.
  - Teams/minions are always d10 in number.
  - Option: Select a group or minions as base.
  - Subtract chosen/rolled forces from total, 
  until point budget is at zero or below.
  - Roll for dominant rationale.
  - Each side can roll to detect the other at 
  range: winning side chooses actions.
  - Set up defenders to take advantage of 
  place & qualities.
  Majority/Native 
  Majority/Native 
  Majority/Native 
  Native Minority 
  Affiliated/neighbor 
  Affiliated/neighbor 
  Far-away 
  Unusual/Exotic 
  Opposed 
  Opposed 
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  Common/generalist
  Common/generalist
  Social/leadership
  Fighter/Warrior
  Traveler/Rogue
  Wilderness specialist
  Officers/special forces
  Academic specialist
  Religious/inspirational
  Setting skills specialist
  1
  2
  3
  4
  5
  6
  7
  8
  9
  10
  ℅ Culture/Occupation (2xd10)
  1-2 Colder      Wetter  Hillier   More People
  3-8  
    – As Expected – 
  9-10 Warmer  Drier     Flatter  Fewer People
  Optional Setup 
  Window Dressing (four d10)
  Yes-No Questions 
  (Skill Checks)
  Scene Setup
  Decide civilized or wilderness.
  Choose or roll (or don’t) for place/person/item/foe. 
  Think up a thumbnail sketch for the scene.
  Roll 3 scene qualities, optionally four d10 window dressing.
  Each person has a trait. Foe groups have a rationale.
  Add window dressing through free-form exposition.
  +3
  +2
  +1
    0
   -1
   -2
   -3
  SHIFTS
  ACTION SHEET
  +1 magic shift for each scene quality that
         aligns with the question/skill check.
  -1 magic shift for each scene quality that
        contradicts the question/skill check.
  Local Leader Staff
  Regional Leader Staff
  National Leader Staff
  Servant of royalty
  Local Leader Inner Circle
  Reg'l Leader Inner Circle
  Nat'l Leader Inner Circle
  Royal family
  Local Leader
  Regional Leader
  Spy/agent
  Religious lay folk
  Relig. meditative/scholar
  Religious activist/cultist
  Religion staff
  Religion Inner Circle
  Mercenary/arms guild
  Merc./arms leader/boss
  Merchants, biz/finance
  Merchant/finance boss
  Rogue guild/smugglers
  Rogue/smuggle leader
  Scholar/scientist
  Academic luminary
  Crafters/manufacturing
  Crafter/manuf. leader
  Conscript/militia
  Army/marine soldier
  archer/air/sea soldier
  NCO/specialist
  Officer/military leader
  Police/public safety
  Cousin
  In-law, indirect family
  Niece/nephew
  Aunt/uncle
  Parents/grandparents
  Brother/sister
  Child/dependent
  Family friend
  Childhood friend
  Neighbor/acquaintance
  Early/first love
  Teacher or colleague
  Beggar/poor
  Role model
  Former friend
  Former love
  Occupational peer
  Bad blood family
  Nicolette Tanksley (Order #13726995)
  
   
   
  Main Mission:
  Meaningful Successes to Resolve:  
  Allies/Groups [Name,  
  Culture/Occupation, Trait]
  1.)
  2.)
  3.)
  4.)
  5.)
  6.)
  7.)
  8.)
  Patrons, Persons
  [Name, Role, Trait]
  1.)
  2.)
  3.)
  4.)
  5.)
  6.)
  7.)
  8.)
  Scene 1
  Plot Stress:
  Window Dressing/Notes:
  Skill Successes:  ◊   ◊   ◊ 
  Ask for Trouble:   ◊   ◊   ◊ 
  Meaningful Success?  
  Place/Qualities, Person/Item:
  Foes / Goal & Obstacles:
  Scene 2
  Plot Stress:
  Window Dressing/Notes:
  Place/Qualities, Person/Item:
  Foes / Goal & Obstacles:
  Scene 3
  Plot Stress:
  Window Dressing/Notes:
  Place/Qualities, Person/Item:
  Foes / Goal & Obstacles:
  Scene 4
  Plot Stress:
  Window Dressing/Notes:
  Place/Qualities, Person/Item:
  Foes / Goal & Obstacles:
  Skill Successes:  ◊   ◊   ◊ 
  Ask for Trouble:   ◊   ◊   ◊ 
  Meaningful Success?  
  Skill Successes:  ◊   ◊   ◊ 
  Ask for Trouble:   ◊   ◊   ◊ 
  Meaningful Success?  
  Skill Successes:  ◊   ◊   ◊ 
  Ask for Trouble:   ◊   ◊   ◊ 
  Meaningful Success?  
  Structured Questions for Persons 
  Does the person have a need? (always yes for first cutscene)
   -What does the person need? [mission]; 
   -What is the reason behind that need? [rationale]
   -Does the person have an(other) item to help with the mission? [item]
   -Is there a destination place for the mission? [place]
   -Does the person offer (extra) valuables for completing the mission?
   -Will the person supply special equipment for the mission? 
   -Will the person provide an(other) ally for the mission? [ally]
  Is there another person(s) to contact with more information?
        [person]
  Can the person warn me about possible upcoming
       encounter(s)? [foe(s)]
  Structured Questions for Foes 
  Do the foe(s) have (extra) money or valuables on 
  them/nearby? 
  Do the foe(s) have an(other) item (as a possession or clue)?
       [item]
  What is the reason behind the hostilities? [rationale]
  Is there a source person/encounter behind the hostilities?
       [person]
  MISSION SHEET
  Nicolette Tanksley (Order #13726995)
  
   
   
  (Mission: continued) 
  Scene 5
  Plot Stress:
  Window Dressing/Notes:
  Skill Successes:  ◊   ◊   ◊ 
  Ask for Trouble:   ◊   ◊   ◊ 
  Meaningful Success?  
  Place/Qualities, Person/Item:
  Foes / Goal & Obstacles:
  Scene 6
  Plot Stress:
  Window Dressing/Notes:
  Place/Qualities, Person/Item:
  Foes / Goal & Obstacles:
  Scene 7
  Plot Stress:
  Window Dressing/Notes:
  Place/Qualities, Person/Item:
  Foes / Goal & Obstacles:
  Scene 8
  Plot Stress:
  Window Dressing/Notes:
  Place/Qualities, Person/Item:
  Foes / Goal & Obstacles:
  Skill Successes:  ◊   ◊   ◊ 
  Ask for Trouble:   ◊   ◊   ◊ 
  Meaningful Success?  
  Skill Successes:  ◊   ◊   ◊ 
  Ask for Trouble:   ◊   ◊   ◊ 
  Meaningful Success?  
  Skill Successes:  ◊   ◊   ◊ 
  Ask for Trouble:   ◊   ◊   ◊ 
  Meaningful Success?  
  Scene 9
  Plot Stress:
  Window Dressing/Notes:
  Place/Qualities, Person/Item:
  Foes / Goal & Obstacles:
  Skill Successes:  ◊   ◊   ◊ 
  Ask for Trouble:   ◊   ◊   ◊ 
  Meaningful Success?  
  MISSION SHEET
  Nicolette Tanksley (Order #13726995)
  
   
   
  Open Scenes
  Make a player’s character for the 
  Libre RPG, p.57-66; 
  plus p.75-78 for powers.
  Decide on a scene idea
  Start and end stories with dialog 
  cutscenes, p.9,19.
  Other options are obstacle scenes, 
  p.12; encounter scenes, p.45.
  Decide if you want a specific place, 
  person (patron/ally/rival), foe and/or 
  key item in the scene, sidebars, 
  p.15-16.
  Choose civilized or wilderness 
  scene. Describe what you think the 
  scene will be: free-form exposition 
  for window dressing, p.16.
  Not sure where to start? 
  See sidebar, p.52. 
  Prepare the scene
  Roll 3 scene qualities (civilized or 
  wilderness) from the action sheet.
  If you didn’t already choose, you 
  may roll a place, person, foe and/or 
  item (or don’t – it’s up to you)
  Do your rolls not square with your 
  idea for the scene? The rolls take 
  precedent. Re-frame the scene and 
  write in window dressing, p.15-16.
  Bump up plot stress by 5. Test plot 
  stress (d100) for an unexpected 
  event, p.18.
  Cutscene/dialog
  Use structured questions on the 
  mission sheet.
  For a starting cutscene, always 
  generate a mission from the action 
  sheet. Round out the mission with 
  additional roll(s), p.123-124.
  Ask any structured questions you 
  want. You may need to make skill 
  checks & ask yes-no questions to get 
  answers and refine them.
  Dialog can request information, 
  valuables, equipment, recruit allies, 
  get side goals (mini-missions), etc.
  Every skill checks risks a 
  consequence; each yes-
  no question and skill 
  check raises plot stress. 
  Choose what questions 
  you ask wisely. 
  Obstacle scene
  For meaningful success in this scene 
  you’ll need: 
  - to succeed at 3 different, moderately 
  difficult (or harder) skill checks.
  - 3 yes-no questions that ask for trouble 
  (at least 50/50 moderate chance of 
  trouble), whether or not trouble actually 
  happens.
  A conflict counts as 1 successful skill 
  check if it’s at least ‘moderately difficult’.
  Forecast at the start of the scene the 
  skill checks you expect to use. Then 
  re-trench during the scene as needed.
  Encounter scene
  For meaningful success in this 
  scene you’ll need:
  - to roll up a foe budget and 
  generate a foe group using the 
  action table.
  - the player character’s group 
  needs to beat the foe group in a 
  conflict.
  To make a foe budget roll d10xd10. 
  Then spend the budget by rolling up 
  random foes on the action table.
  You’ll test plot stress 
  again before you close 
  the scene. 
  Decide how many 
  meaningful successes 
  the story needs, p.19. 
  If your plans go too far 
  off track, you may throw 
  in the towel on a scene, 
  p.20,53 
  Decide on a game 
  style (for conflict): 
  gritty, pulpy, heroic, 
  p.67. 
  Nicolette Tanksley (Order #13726995)
  
   
   
  Resolve Scenes
  Miscellaneous tools and rules to navigate, and 
  end, a scene. 
  Consequence types
  When a skill check fails, p.29-31, 
  sample effects:
  - Require a follow -up skill check to avoid 
  an immediate, worse threat (e.g., injury).
  - Complications make repeat attempt 
  impossible, or more difficult/dangerous.
  - The intended result happens, but at a
  steep price (injury, damaged equipment, 
  lost/spent valuables).
  - The intended result happens, but 
  creates a new (bigger) problem.
  Flipping scene types
  You may flip an encounter scene 
  over to an obstacle scene, p.47.
  You may flip an obstacle scene into 
  an encounter scene, p.48.
  Throwing in the towel
  You may close a scene spiraling out 
  of control.
  - If the player character’s group: (a) is 
  not in active conflict, (b) can leave 
  the area at will, (c) outstanding 
  trouble/consequences are resolved, 
  plan the next scene at will.
  - Otherwise you must create a follow-
  up scene from the prior scene, to 
  deal with the fallout. 
   
  You may also abandon the mission, 
  and deal with the consequences of 
  failing to meet the goal, p.19, 53.
  Positive outcome
  Once you get the requisite number of 
  meaningful successes, you may end 
  the story by narrating a positive 
  outcome. That may or may not mean 
  completing the original mission as 
  planned, p.19.
  Follow-up scenes
  See p.53-54.
  - Roll new scene qualities (unless it 
  starts in exact same location).
  - Convert prior scene qualities to 
  window dressing. 
  - There is no time between scenes for 
  skill checks (e.g., to repair equipment, 
  heal damage or recover powers).
  Recovery from damage
  (see p.72-74)
  - Treat each person (even team/minion 
  members) individually for recovery.
  - Roll first aid or other healing skill vs. 
  hardy (or at 50/50 moderate).
  - If healing fails or isn’t attempted, ask “is 
  this person still alive?” at hardy or at 
  50/50 moderate. Even if still alive, 
  anyone other than the player’s character 
  is unable to continue the mission.
  Incapacitated
  If the player’s character is 
  incapacitated, shut down the scene 
  immediately. Start next scene with 
  the player’s character wounded, 
  having to deal with all fallout from the 
  previous scene, p.74.
  Closing a scene
  Close a scene when the action has wound 
  down. The player character’s group 
  should be: (a) not in active conflict, (b) 
  able to leave the area at will, (c) have all 
  outstanding trouble/consequences 
  resolved, see p.53. 
  Otherwise, next scene must be a follow-
  up scene to deal with outstanding issues.
  When ready to close the scene, roll d100 
  against plot stress. If it generates an 
  unexpected event, resolve it before 
  shutting down the scene. If not, the scene 
  shuts down cleanly, see p.18.
  Rewards and Experience
  Whether the mission succeeds or fails, 
  assign experience to all parties. For 
  experience in the RPG, see p.82-84.
  If the mission succeeded, decide or roll 
  randomly for rewards, see p.91-92. 
  Loot
  After besting foe(s): ask the yes-no 
  question “did the foe(s) have valuables?”; 
  or via interrogation, use structured 
  questions to ask “do the foe(s) have 
  valuables on them or stashed 
  nearby/where?” Also see p. 91-92. 
  Final wrap
  After the story ends, take notes of the 
  outcome. Record advancement of 
  allies/rivals, key persons newly 
  introduced in the story, key places 
  and/or items, progression of 
  relationships, potential recurring key 
  foes, possible plot threads to pursue 
  in future stories, etc.
  Nicolette Tanksley (Order #13726995)
  
   
   
  Yes-No Questions
  The yes-no questions chart is on the action table.
  Use yes-no questions whenever there is something 
  important the player needs to know about a scene. 
  When to ask
  Before picking up the dice, p.21-23:
  - Is the answer important to the 
  scene?
  - Are there two or more branching 
  answers?
  - Does the question make sense for 
  the story: Is it reasonably possible?
  Figuring the odds
  50/50 moderate is the default, 
  sidebar p.21.
  - Raise or lower likelihood based on 
  what makes sense in the story.
  - Shift likelihood based on window 
  dressing and scene qualities. 
  - Aligned and conflicting scene 
  qualities force an extra magic shift.
  Asking for trouble
  Ask for trouble to get meaningful 
  success in obstacle scenes, p.35-38.
  - Asking for trouble needs at least a 
  50/50 moderate chance to cause 
  trouble.
  - scene quality magic can shift those 
  odds and still qualify for meaningful 
  success.
  - whenever trouble happens, it 
  thwarts the player character’s group.
  The player needs to ask 
  for trouble 3 times to 
  have meaningful success 
  in an obstacle scene.
  Plot stress
  Each yes-no question 
  adds 1 plot stress.
  Each yes-no question also tests plot 
  stress (if the roll result is lower than 
  current plot stress, roll for an 
  unexpected event (d20) on the 
  action sheet, possibly a (d10) focus 
  for the event. Cut plot stress in half 
  (round down).
  Yes-no question uses
  Use yes-no questions to: 
  - Clarify or add details about scene 
  elements / dialog.
  - Add window dressing after a scene 
  has started.
  - Add a person or foe after a scene 
  has started
  - After a successful skill check to 
  reveal something hidden/unknown.
  - With structured questions, to see if 
  asked-for resources are available.
  - To decide on details of a 
  consequence when skill checks fail.
  - when asking for trouble.
  Exposing the unknown
  Searching, dialog and/or 
  information gathering may reveal 
  hidden things, p.31-32: 
    - Make the skill check, with a 
  consequence if it fails.
  - Only if the skill check succeeds, 
  then assess the yes-no question 
  likelihood that the 
  search/request/investigation 
  reveals something useful.
  - Additional yes-no question(s) can 
  nail down details.
  Rule of three
  Don’t ask more than 2 clarifying 
  yes-no questions; if the first and 
  second roll results are both no, the 
  third possibility is always true.
  Nicolette Tanksley (Order #13726995)
  
   
   
  Skill Checks
  With the in-house RPG rules, resolve 
  skill checks through the yes-no 
  question chart on the action table. Use 
  shifts on the chart to figure out the 
  likelihood of success.
  The default is moderate difficulty: 
  An average character with some 
  training & talent has a 50/50 
  moderate chance of success.
  What to ask
  Before picking up the dice, p.30-31:
  - How would success move the plot forward?
  - What are the consequences for failure?
  If there isn’t a clear setback or dialed-up 
  threat level, don’t make a skill check. Just 
  decide success or failure and move on.
  Figuring the odds
  50/50 moderate is the default, sidebar p.26.
  - Raise or lower likelihood 1 (or more) shift(s) 
  based on window dressing. 
  - Aligned and conflicting scene qualities force 
  an extra magic shift.
  Unopposed skill checks
  See p.146
  - Figure the odds based on window 
  dressing and scene qualities.
  - Take the lead (usually highest) skill 
  in the group.
  - Add +1 for each ally with at least 
  level 0 skill that can participate.
  Add positive (+1), subtract negative 
  (-1) extra factors. 
  Skill checks are capped at +3 and -3.
  Opposed skill checks
  See p.146
  - Any window dressing or scene 
  qualities that help or hinder just one 
  group give a bonus or penalty (those 
  that affect both sides equally have no 
  effect).
  - For each group, take the lead 
  (usually highest) skill.
  - For each group, add +1 for each 
  member with at least level 0 skill that 
  can participate.
  Subtract foe group total from player 
  character group total for likelihood. 
  Skill checks are capped at +3 and -3.
  Ally assistance on checks
  See p.146
  Direct contest: Only 1 person on a 
  side can make the check (duel, arm 
  wrestling, swimming, climbing).
  Limited assistance: just 1, 2 or a 
  few extra members can assist 
  (break down a door, lift a boulder).
  Unlimited assistance: Everyone can 
  participate (search a room, hear a 
  noise).
  Interference: Base the roll off the 
  lowest participant’s skill or attribute 
  (sneak, conduct a ritual).
  Large group activity: see p. 65-66 
  (mass combat, crew a ship).
  When a skill check fails, everyone 
  involved suffers the consequences.
  Plot stress
  Each skill check adds 1 plot stress if 
  the player’s character is involved.
  Skill checks do not test plot stress: A 
  skill check roll by itself never generates 
  an unexpected event (d20).
  Meaningful success
  Skill check odds must be 50/50 moderate or 
  lower to qualify for meaningful success, p.26.
  - The exception is scene quality magic, which 
  can shift the odds easier/harder, and still 
  qualify the skill check for meaningful success.
  - The player’s character must participate (but 
  does not need to lead the skill check) to count 
  for meaningful success.
  If you bring your own RPG, you’ll 
  need to gauge your skill checks for 
  meaningful success. Ideally, 
  meaningful success is about 50/50 
  chance of succeeding.
  Ally ℅ bonuses/penalties
  Allies with a “℅” designation have +1
  skill when culture and/or occupation 
  align; -1 skill when culture/occupation 
  run counter to the task (p.63).
  Creature bonuses/penalties
  Assess minion/creature skill check 
  bonuses/penalties of +1/-1 or higher to 
  generic conflict skill based on their 
  instinct or nature (p.79).
  Nicolette Tanksley (Order #13726995)
  
   
   
  Conflicts
  [Run a combat with individual foes or foe 
  groups using the RPG rules, p.67-74.] 
  Actions in combat
  For each member:
  Advance (Extreme → Medium → Close). 
  Retreat (Close → Medium → Extreme).
  Conflict (ie., attack).
  Defend (ie. Try to avoid/dodge/block 
  damage if no one on that side can attack).
  Non-combat skill check (e.g., use a power, 
  heal a member).
  Do nothing.
  Detection and ambush
  Based on the environment, decide the 
  range at which detection is possible 
  (extreme, medium, close), p.71-72. 
  If neither side is sneaking, use an 
  opposed notice skill check to decide who 
  detects first.
  If one side is sneaking, make sneak vs. 
  notice skill check to advance.
  Also make a final sneak vs. notice skill 
  check for the ambush itself.  
  The side that is successfully ambushed 
  can only defend (vs. missile fire at 
  medium range, vs. missile/thrown/melee 
  at close range) the first round of conflict.
  E x t r e m e   R a n g e
  }
  Only missile 
  weapons/powers, 
  only against 
  anyone closing.
  }
  All missile 
  weapons/powers.
  Thrown 
  weapons/powers, 
  only against 
  anyone closing. 
  M e d i u m   R a n g e
  }
  Melee weapons/powers 
  lead the skill check. 
  Missile weapons/powers, 
  thrown weapons / ranged 
  powers can only assist 
  melee (exception: when 
  heavy weapons or power 
  manipulations lead).
  Close Range
  [Medium Range]
  World o’ hurt situations
  If one side: 
  - Is successfully ambushed;
  - Is at range, but has no one using 
  missile weapons that round;
  - Is in melee but only has ranged 
  weapons.
  Then it can use its side’s single highest 
  of nimble attribute, dodge skill or shield 
  skill (with a shield) to try and avoid its 
  side taking damage that round.
  Who takes damage?
  Player’s choice! (except leaders, who 
  are protected by team(s)/minions.
  - If one side has only melee weapons, it 
  can only take out others at close range. 
  - Throwers may target anyone close, or 
  advancing from medium range.
  - Missileers may target, anyone at 
  medium, or closing from extreme range.
  Skill check
  Treat a conflict just like an opposed 
  skill check (see skill checks), except 
  every member can assist (no 
  minimum skill bar for conflicts).
  Damage
  If the player’s side succeeds the skill 
  check, it deals 1 damage level 
  (gritty), 2 damage levels (pulpy), or 3 
  damage levels (heroic) to foes.
  If the foe group succeeds the skill 
  check, it deals 1 damage level to the 
  player character’s group.
  Each damage level: Does a level of 
  damage to the player’s character 
  OR takes out 1 individual NPC 
  OR takes out 2 team/minion NPCs.
  Equipment
  If one side has clearly superior 
  weapons, it gets +1 shift.
  Armor/shield can prompt a yes-no 
  question whether it stops a level of 
  damage. Once successful, it needs to 
  be repaired before next use. 
  Nicolette Tanksley (Order #13726995)
  
   
   
  Powers
  There are simple and complex rules 
  options for Powers with the RPG 
  rules; use what works best for the type 
  of game you want, p.75-78 & 84-85. 
  Powers for skill checks
  Each power can either replace a conventional 
  skill check, or give +1 shift bonus to an existing 
  skill. Power bonuses never stack. All single/group 
  skill checks are capped at +1 net shift bonus from 
  powers.
  Describe what the power is and how it works when 
  it is created.
  Types of powers
  Magic: Starts with three spells. Each spell can be 
  used once per scene (including follow-up scenes).
  Psionics: Starts with two talents and three points. 
  Use of a talent costs 1 point. Talent pool recharges 
  after a set of scenes (including follow-up scenes).
  Special Abilities: Starts with one special ability, 
  accessible without restrictions.
  Simple power manipulation
  Ask yes-no question capped at 50/50 moderate or 
  lower: “Can person X use this power in this way at 
  this time?” If yes, then make the skill check with at 
  least -1 shift penalty. Ramp up any power 
  consequences in line with the attempt, see p.77.
  Powers and consequences
  If a power fails, ask at 50/50 moderate: “was it 
  the power that failed?” if yes, it is a power (not 
  conventional) consequence, see p. 77.
  A minimum power consequence is temporary 
  loss of all powers (at least until after the current 
  scene, including follow-up scenes, is completed).
  Magic spell consequences additionally often 
  cause the reverse of the intended effect.
  Power manipulation
  Powers have one predefined effect. The 
  player optionally can try to use powers in 
  unconventional ways. 
  Complex power manipulation
  Range penalties
  -1 shift: - “self” power is used on another
   person being touched.
  - melee power is used as a
  throwing attack.
  - throwing power is used at 
  medium range.
  -2 shifts: - “self” power is used on another
   person at (or closing to) close range.
  -3 shifts: - “self” power is used on another
   person at (or closing to) medium range.
  Overpowering
  -1 shift: - double regular levels of damage.*
  -2 shifts: - triple regular levels of damage.*
  -3 shifts: - 4x regular levels of damage.*
  * Overpowering by default is an area attack 
  that affects everyone at a particular range, 
  friends & foes. See manipulations below.
  Overpowering also jacks up power 
  consequences for failure: very dangerous to 
  utterly catastrophic. 
  Overpower manipulations
  -1 shift: - Overpowered melee attack
   selectively affects only foes. 
  -2 shifts: - Overpowered ranged attack
   selectively affects only foes.
  Misc. manipulations
  -1 shift: - “self” power is used on an unwilling
  subject.
  - each additional person to affect within
  touch range.
  - any attempt to do something generally
  unusual or unconventional with a power. 
  Power manipulation in combat
  Only one character on each side can 
  attempt power manipulation. The power 
  manipulation must lead that side’s combat 
  skill check, including any/all penalties, 
  see p. 78. 
  Power manipulation and NPCs
  Only the player’s character and other key 
  figures (e.g., rivals) should use complex 
  power manipulation. If there are 
  exceptional circumstances, conventional 
  allies or foes might use at most simple 
  power manipulation rules.
  Power categories
  Attribute powers augment use of an attribute.
  Melee powers replace/augment a melee attack.
  Ranged powers replace/augment a ranged attack.
  Skill powers substitute or enhance a particular skill.
  Equipment powers replicate specialized equipment 
  (eg. for movement, sensing or defense).
  Nicolette Tanksley (Order #13726995)
  
  165
  THE FINAL WORD
  The past 160+ pages have said a lot about the collection of tools that power the game. It hasn’t scratched
  the surface on game strategy, or covered the ways you can flex the rules as written. I hope you now have a
  good feel for the tools. The hardest part comes next: This game can tell great stories. The transition from
  reading the rules to smooth gameplay can be challenging.
  That is one reason for the web site www.librerpg.com. I have posted game aids and other content, and also
  include links to streaming media to demonstrate gameplay in action. It doesn’t have production glitz and
  glamor. Some of the first efforts are raw audio from off­the­cuff solo and duet gameplay.
  If you enjoy solo role playing, once you get a feeling for the game, it can be very rewarding. There is
  strategy involved. In obstacle scenes, you will want to maximize your player character’s chances for
  success when consequences are most risky; aim to make skill checks toward meaningful success when
  you can line up a scene quality to help the odds; try for rolls that contribute to meaningful success when
  the consequences for failure are less dangerous. Ask for trouble when there is an opportunity to hang a
  follow­up skill check off any trouble, which may count toward meaningful success. Keep a healthy pool
  of potential conflicts and bonus/penalty shifts handy by using all the game’s available tools: equipment
  and key items, ally/patron/rival traits, cultures and occupations, foes and foe rationales, your player
  character’s background, power trappings, and of course the backdrop of scene qualities and window
  dressing.
  There's more to encounter scenes, too. Foe groups can be overwhelming. Rather than be overrun, your
  player character’s group can try to separate or confuse foes. Use yes­no questions and skill checks. Tip
  scene qualities and window dressing in your favor, or against the foe group. Just like in conventional role­
  playing games, anything is possible. The answer to “can I do this?” is to assess the likelihood and roll a
  yes­no question. If the result is yes, add up the skill check and its bonus/penalty shifts, and make the roll.
  So far, Libre Solo Role Playing has handled dungeon crawls and wilderness treks, pulp adventure, socially
  focused investigations, street­level heroic tales, science fiction, even horror. Not all third­party rulesets are
  a good fit. But when it comes to genre, plug in your favorite setting and give it a try.
  As you become more familiar with the game, play with the rules you like. Some players will assemble
  allies, have recurring rivals, go on journeys and quests, pick up side goal missions, squeeze out every
  bonus they can find, and rock power manipulations. Others will prefer little story vignettes that follow a
  lone protagonist. Play the game as a GM looking to stretch your creative muscles in terms of thinking
  about storyline; or use the GM engine to test drive a game system you own but don’t play with a regular
  group; or try it out as an on­the­fly duet story and conflict generator: one GM, one player, no prep.
  In spite of this end note title, this is not the final word. If you haven’t already, please find and download
  Libre Solo Role Playing’s Training Wheels Adventure, which has the Special Delivery sample
  introductory mission. It’s free and can help bridge some core concepts in this book. There are healthy
  online solo role playing communities that regularly swap ideas and stories. Or if you’d like, leave a note
  through the contact form on the www.librerpg.com website.
  We’ll end at the beginning. Thanks again for choosing to support Libre Solo Role Playing, and may all
  your successes be meaningful.
  Nicolette Tanksley (Order #13726995)
  
  Libre Solo Role Playing lets you tell the stories you want, in your way.
  Create your protagonist. Let the world challenge your character with obstacles to overcome, plot twists,
  setbacks and surprises. Recruit allies to help your player character’s cause, and square off against
  dangerous foes and recurring rivals. Take your character on perilous journeys, conduct thorough
  investigations, and seek to overcome the threats of an unpredictable world.
  The game includes a story engine that creates and runs plots on the fly. Use it as a standalone with your
  own role playing game of choice. Or combine it with the included role playing game rules, streamlined
  to plug directly into its game master engine, to support heroes from any setting. Challenge yourself and
  your protagonist, play to win, and tell great stories along the way.
  Nicolette Tanksley (Order #13726995)
  
SOURCE: textdata/thevault/Collections/Solo/2. GM Emulators & Generic Solo Rules/Libre/Libre Solo Role Playing.pdf