TEXT: The Player’s Guide
   chaPTer one: The TriP of a lifeTime 
  Shaking the box - by Jacqueline Rayner 
  2
  Who is the Doctor? 
   
   
  4
  What is roleplaying? 
   
   
  5
  The Gamemaster  
   
   
  5
  Game sessions 
   
   
   
  6
  How to use this book 
   
   
  8
  Measurements and language 
   
  9
  Page references  
   
   
  9
  The Doctor’s universe 
   
   
  9
   chaPTer TWo: The children of Time
  Characters 
   
   
   
  12
  Who can you play? 
   
   
  12
  Creating a character 
   
   
  14
  Character creation points  
   
  14
  Attributes 
   
   
   
  15
  Traits 
   
   
   
   
  19
  Good traits 
   
   
   
  21
  Bad traits  
   
   
   
  28
  Special traits 
   
   
   
  36
  Skills 
   
   
   
   
  42
  Areas of expertise 
   
   
  43
  Learned skills and instinct 
   
  45
  Common knowledge 
   
   
  46
  Story points 
   
   
   
  48
  Finishing touches  
   
   
  48
  Equipment and personal items 
   
  50
   chaPTer Three: allons-y!
    
  Running a game 
   
  52
  The Basic Rule 
   
  52
  How a roll works 
  53
  Difficulty 
   
  54
  How well have 
  you done? 
  54
  Damage  
  56
  Using story 
  points  
  56
  Conflict: 
  contested rolls 
  57
  Extended conflict 58
  Action rounds 
   
   
   
  58
  Reactions 
   
   
   
  59
  Making more than one action in a round 
  60
  Extended conflict summary 
   
  62
  Losing a conflict  
   
   
  62
  Losing a physical conflict: getting hurt 
  63
  Levels of injury 
   
   
   
  65
  Combat  
   
   
   
  66
  Guns are bad 
   
   
   
  66
  Duck and cover 
   
   
   
  69
  Other sources of injury 
   
   
  70
  Losing a mental conflict  
   
  70
  Getting scared 
   
   
   
  70
  Being possessed  
   
   
  71
  Losing a social conflict 
   
   
  71
  Healing  
   
   
   
  72
  Multiple injuries and reduced attributes 
  72
  Dying or leaving the TARDIS 
   
  73
  Story points 
   
   
   
  74
  Equipment 
   
   
   
  79
  Technology levels  
   
   
  80
   chaPTer four: TWo Worlds Will collide 
  How to play a roleplaying game 
   
  82
  Hints and tips 
   
   
   
  82
  Portraits © BBC
  Doctor Who is a trademark of the BBC
  Cover design: Lee Binding @ tea-lady.co.uk
  The Player’s Guide: conTenTs
  The Player’s Guide
  
  Credits
  Writer & Game Designer:  David F. Chapman
  Additional Writers: Andrew Peregrine, Jacqueline Rayner, Nathaniel Torson
  [The Heart of the TARDIS - Robin Farndon, Derek Johnston, Charles Meigh]
  Line Developer: David F. Chapman
  Graphic Design: Lee Binding
  Additional Design: Debra Chapman, Dominic McDowall-Thomas
  Layout: Dominic McDowall-Thomas
  Editor: Dominic McDowall-Thomas
  Proofing: Angus Abranson, David F. Chapman, Andrew Peregrine
  Playtest Coordinator: Roger Calver
  Playtesters: Thanks to everyone who took part in the playtest – too many names to 
  print, but your help was invaluable. Thanks especially to Marc Farrimond, Derek Smyk, 
  Lee Torres’ Group, Steve Race, Jason Vey, Jason Libby, Shag Matthews and The Unique 
  Geeks, Steve Pitson, Martin Wakefield, Al Livingstone, Christopher Manwaring, Neil, RPG 
  Pundit, David (aka Grey), Stuart Renton and Steve Pitson’s group - No Guts, No Glory.
  Dedication:  In memory of Amy Dobson, who would have been the first person to text me 
  after each new episode.
  Special thanks to the Cubicle 7 pitch team (Angus Abranson, Chris Birch, David F 
  Chapman, Fred Hicks and Dominic McDowall-Thomas) and the BBC Team (Richard Hollis, 
  Gary Russell, Edward Russell, Nick Stratton, David Turbitt and Kate Walsh).
  Doctor Who: Adventures in Time and Space is published by Cubicle 7 Entertainment Ltd 
  (UK reg. no. 6036414). Find out more about us and our games at www.cubicle7.co.uk
  © Cubicle 7 Entertainment Ltd. 2009
  BBC, Doctor Who (word marks, logos and devices), TARDIS, DALEKS, CYBERMAN and 
  K-9 (word marks and devices) are trade marks of the British Broadcasting Corporation 
  and are used under licence. BBC logo © BBC 1996.
  Doctor Who logo © BBC 2004.
  TARDIS image © BBC 1963.
  Dalek image © BBC/Terry Nation 1963
  Cyberman image © BBC/Kit Pedlar/Gerry Davis 1966
  K-9 image © BBC/Bob Baker/Dave Martin 1977
  Printed in China.
  doCtor Who: Adventures in time And spACe
  1
  Credits 
  
  Chapter ONe: the trip Of a lifetime
  DOCtOr WhO: aDveNtures iN time aND spaCe
  1
  
   shakiNg the BOx - By JaCqueliNe rayNer
  ‘Allons-y!’ 
  The Doctor bounded into 
  the TARDIS control room, 
  pulling down the door lever 
  without looking at it and 
  turning to grin at – nobody.
  His smile faded quicker 
  than it had arrived. He 
  reached out a hand and 
  operated the door controls 
  again, shutting out the 
  view of golden wheat fields 
  that had barely earned a 
  glance.
  Alone again. He was 
  alone again. It wasn’t 
  the first time he’d been 
  alone in the last almost-
  thousand years, but it 
  didn’t seem to get any 
  easier with practice. 
  He sank into a chair as 
  the gloom washed over 
  him – then sprang up 
  almost immediately. ‘No!’ 
  he shouted to the room, to the fields outside, to the universe. ‘I will not do this!’ Melancholy needed to 
  be fought as much as any monster. 
  A small mouse had scurried in earlier, a refugee from the wheat and its reapers. Now it watched 
  with interest as the Doctor darted out of the control room. By the time the Doctor returned it was 
  heavily involved in nibbling at assorted time-ship jetsam, but a series of crashes and bangs and 
  occasional cries of pain distracted the rodent from a long-discarded jelly baby and it looked up again.
  A vast machine had been wheeled into the room and installed along one side. The Doctor was 
  kneeling in front of it, nursing a thumb that he’d accidentally hammered, but even standing he 
  wouldn’t have been taller than the huge round device.
  The mouse was poised for flight, but the noises had stopped and neither machine nor man 
  seemed to pose a threat. It relaxed and scurried forward, the better to examine this strange circular 
  contraption, so intent that it never noticed the swooping hand until it had been scooped up.
  ‘Hello, friend!’ said the Doctor, for all the world as if he’d been waiting centuries to meet this very 
  mouse. ‘You know, I’m glad I’ve got someone to share this with.’ He gestured at the machine with his 
  free hand. ‘Behold! My Time and Space Visualiser!’
  The mouse showed no sign of being impressed, but the Doctor continued anyway. ‘Got it 
  years ago. It converts neutrons of light energy into electrical impulses, which means that 
  anything that’s ever happened can be visualised. Time telly, that’s what they call it. 
  Great for parties. Thing is, it can only be used to watch things that have already 
  happened. Otherwise there wouldn’t be any neutrons to convert, would there? 
  Only logical.’ He wrinkled his nose. ‘But I am a Time Lord. So, land far enough in 
  the future, and anything that’s going to happen to me will have happened to me, 
  it just won’t have happened to me. If you see what I mean. So I put the Visualiser 
  away. Couldn’t have a machine like this around. Spoilers. Don’t like spoilers. Don’t 
  like knowing what’s going to happen next.’
  He sighed. ‘But, somehow, I couldn’t destroy it. Not a brilliant piece of machinery 
  like this. And it’s been back there – ‘ he gestured further into the TARDIS – ‘beckoning 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  2
  Chapter ONe: the trip Of a lifetime 
  
  to me for hundreds of years. Come here, Doctor. Let me show you what’s to come, Doctor.’
  The Doctor reached out and flicked a switch on the top left of the device. A small 
  central screen lit up. 
  ‘And so here it is.’ He looked at the circular screen. ‘A porthole of potential. 
  Dare I peek? It’s not really spoilers. ‘I’ll just watch clips. And I’ll turn the sound 
  down. But I’ll just – shake the box a bit. See if it rattles. See if I’m getting any good 
  adventures for Christmas.’ His eyes went distant. ‘See if anyone’s gift-wrapped 
  me a friend...’
  The Doctor’s words fell away as the first pictures began to form. Spiders, celery 
  and shop-dummies danced across the screen, but he dismissed the initial images 
  with a few curt ‘seen it’s. Faces came and went – blonde girls, white-haired old 
  men, so many noses and teeth and curls, so many bright blue eyes, an endless 
  series of lipsticked mouths forming ‘but Doctor... but Doctor... but Doctor...’
  Every now and again a new face would creep in, one he didn’t recognise. Eyes 
  glared from beneath a heavy Neanderthal brow. A feather-trimmed Georgian 
  bonnet all but hid a cheeky freckled face with a turned-up nose. A girl with the 
  nose of a pig and the ears of a fox grinned happily out at him; he could almost 
  imagine that her lips, too, were shaping a ‘but Doctor...’ Slowly, a smile formed 
  again on the Doctor’s face. Each new image pushed it wider.
  Even the thoughts of fights to come failed to diminish the grin. ‘Ooh, could be a 
  laugh!’ he cried, as a thousand robotic pandas advanced on the screen. A rainbow 
  spanned the sky then shattered, scattering screaming people all around, each 
  coloured red, orange, yellow, green, blue, indigo or violet. A medieval monarch 
  wielded a chainsaw, while a blob of living slime burbled evilly in a castle corner. 
  Another sigh echoed round the control room, but this time there was relief, even 
  happiness, in the sound. The Doctor looked down on the small mouse. ‘It’s sort of 
  nice to think that, out there, people are planning all these new things to happen to 
  me. Makes me feel wanted. Gives me a sort of glow.’ 
  Suddenly there was a flash from the screen, and he looked up. Another image 
  had formed: a golden wheat field containing a blue police box, and bearing down 
  on the box were what appeared to be a dozen cowled figures, sunlight glinting off 
  the scythes they carried. ‘Golly!’ commented the Doctor. The picture was replaced 
  by one showing the Doctor himself running about the control room as sparks 
  rained down from the domed ceiling. ‘Hang on! Looks like something’s been 
  nibbling through the wires, forcing me to crash land – who knows where?!’ He 
  grinned, but the image changed. Now a giant mouse was stalking him through a 
  TARDIS corridor, as he tried to manipulate a two-ton block of Swiss cheese into 
  its path. ‘Ooh! Someone’s had an accidental dose of dimensional radiation!’ the 
  watching Doctor told the still-small mouse as he set it down gently on the floor. 
  He reached up and switched off the Time and Space Visualiser, his eyes 
  sparkling. ‘Wonder which of them’s gonna happen next. Or maybe none of ’em! 
  That’s the thing about shaking the box – you’re still never quite sure what it 
  contains until you open it. And then...’ The Doctor flung his arms wide open, 
  embracing the universe, embracing the possibilities. ‘It’s always better than you 
  ever imagined it could be!’
  DOCtOr WhO: aDveNtures iN time aND spaCe
  3
  
  ...Not just a nice trip to Barcelona on your summer holiday, imagine you could go anywhere. This 
  world or countless others, encountering strange alien races, new cultures or hostile environments. 
  Now imagine you could travel to any time. See the pyramids and the Sphinx (back when she had a 
  nose!), discover who (or what) really built Stonehenge, meet the first Emperor of Japan, or travel into 
  the far future as humanity spreads to the stars. Where would you go?
  The power is in your hands. You can go anywhere or anywhen in the universe, the only thing you 
  need is the power of imagination and a key to the TARDIS. It’s not going to be easy. It’ll probably 
  be dangerous. The universe is a hostile place, full of Daleks, Slitheen, Krillitane, Sontarans, 
  Plasmavores, Cybermen, Sycorax, Judoon and worse. There will be fear, heartbreak and excitement, 
  but above all, it’ll be the trip of a lifetime.
  The Doctor has this tendency to assume you know what he’s talking about, but we don’t want to 
  lose you on the way, so we’ll take a second to explain everything. Doctor Who: Adventures in Time 
  and Space is made up of two elements - the first is Doctor Who, the second is Roleplaying.
   WhO is the DOCtOr?
  We imagine that you are already familiar with the Doctor – the 
  last of his race, the last of the Time Lords. He looks human, but 
  has two hearts and is a complete genius. He travels through 
  time and space in his ship called the TARDIS, which 
  stands for Time And Relative Dimension In Space. 
  It’s complicated, but from the outside it looks like 
  an old 1950’s police public callbox. Inside it is 
  vast and alive. The Doctor travels the galaxy 
  and history, doing good, stopping villainous 
  aliens who try to take over the Earth (if not 
  the universe), and showing the wonders 
  of time and space to various companions 
  who join him on his adventures. The 
  Doctor’s travels are usually more than a little 
  dangerous, and he’s had to employ one of his 
  alien abilities to survive – the ability to regenerate 
  imagiNe yOu COulD gO aNyWhere...
  DOCtOr WhO: aDveNtures iN time aND spaCe
  4
  Chapter ONe: the trip Of a lifetime 
  
  every part of his body into a new Doctor.
  You don’t need to know all of the Doctor’s 
  adventures from his 900 years of traveling 
  through time and space to play this game. 
  Similarly,even if you’re aware of the Doctor’s 
  adventures it doesn’t mean that you’ll have 
  experienced roleplaying before. If you’re familiar 
  with roleplaying games, you may want to skip 
  ahead, however if you’ve come to this new you 
  may be wondering how you actually play.
   What is rOleplayiNg?
  Roleplaying games are shared storytelling. You 
  play the part of your character, but you don’t 
  need to dress up and leap about (well, not if you 
  don’t want to). You get together with a group 
  of friends and create your own Doctor Who 
  adventure, taking the heroes to any location 
  in the universe, at any time. The action takes 
  place in your imaginations, and the story is told 
  through your interaction. You’re in control and 
  you can do anything, go anywhere, be anything.  
  All that limits you is the power of your mind... 
  and if you’re a  Time Lord, that’s a lot of power!
  Let’s show you the basics of how this 
  “roleplaying” thing works. It’s not as scary as 
  it sounds, and once you get started we’re sure 
  you’ll have many years of exciting adventures 
  ahead of you. The first element you need to know 
  about is Characters.
  Each player creates a character, an alternative 
  persona that they will play as in the game. 
  During the course of the game, you make this 
  character’s decisions, speak for them, and 
  describe their actions. Each character has a 
  character sheet that describes what they are 
  like, what they are good at and other details. 
  If you like, you can play the Doctor, or any of his 
  companions that have accompanied him during 
  his adventures. This is the easiest option, as we 
  have provided you with ready-made character 
  sheets for them. 
  You might take on another role, perhaps one 
  you’ve seen in a movie or read in a book, or you 
  could just get creative and make up a character 
  of your own. In this case, you choose the 
  character’s strengths and weaknesses, abilities 
  and limitations, and – in particular – personality. 
  They can look like anyone, dress in anything you 
  choose, or they can even be you.
  You could decide to have a game with or 
  without the Doctor in it. Perhaps a UNIT Task 
  Force operating alone somewhere in the 
  world, or maybe one of the Doctor’s previous 
  companions continuing their struggle to 
  protect the Earth from alien invaders. 
  Anything is possible.
  With us so far? Good. So we’ve 
  established that the players all adopt the 
  roles of their characters. But one of the 
  players is different - they’re going to be 
  the Gamemaster.
   the gamemaster
  All the players and their characters are 
  important, but one of you is in charge, the 
  one who makes it all work. That key player 
  is called the Gamemaster. The Gamemaster 
  starts the story by deciding the plot for the 
  adventure, sets the scene by describing to the 
  other players what is going on, interprets the 
  outcomes of the players’ actions and has the 
  final decision on how the rules of the game are 
  applied. The Gamemaster is so important that 
  he gets a whole book to himself that goes into 
  more detail about the rules and all the nasties 
  that characters may face in the course of their 
  adventures.
  The Gamemaster speaks for the other people 
  in the story - anyone that the characters 
  meet in their adventures. They can be helpful, 
  informative or just witnesses to the events. 
  As they don’t have a player (other than the 
  Gamemaster) they’re usually called Non-Player 
  Characters, or NPCs. NPCs could be the family 
  of one of the player characters such as Jackie 
  Tyler, or added firepower for that climatic battle 
  against the Cybermen, or even just a nosey 
  policeman wondering why there’s a 1950’s 
  policebox on his 
  beat. They can 
  help, hinder 
  or just be a 
  great source of 
  information.
  If the 
  Gamemaster-
  controlled 
  characters are 
  out for universal 
  domination or 
  worse, they are 
  called Villains. 
  These include 
  Don’t worry if this 
  all seems a lot to 
  take in, tricky bits 
  will be explained 
  here in the Psychic 
  Paper. 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  5
  
  the aliens, critters, and other nasties. They are 
  the evil that pervades the universe, trying to 
  dominate, destroy or corrupt the peace loving 
  civilizations, and their schemes usually result in 
  some much needed intervention from our time-
  travelling heroes.
   game sessiONs
  Game sessions in the Doctor Who: Adventures 
  in Time and Space can take anywhere from a 
  couple hours to an entire weekend (depends on 
  how into it you get!). There is no formal start or 
  end – that’s up to the Gamemaster and players 
  to decide. Also, in roleplaying, there are no 
  winners or losers. The objective is to create a 
  story, engage in some spontaneous and often 
  hilarious conversations, and have a good time 
  with friends. And no, no electronics of any kind 
  are necessary. It’s a social activity and doesn’t 
  involve computers. It has even been shown to aid 
  team building, social and problem solving skills!
  It all sounds a little chaotic, but it is far more 
  logical than it seems. The game is divided 
  into Adventures, resolved in one or more 
  gaming sessions that play just like the Doctor’s 
  adventures you’re familiar with. Adventures, and 
  their related story arcs, may be connected in 
  some way with their own undercurrent plot like 
  ‘Bad Wolf’ or ‘Mister Saxon’, created purely by 
  the interaction between the players’ characters 
  and the Gamemaster.
   the BasiCs
  The example opposite introduces just about 
  everything you’ll need to know as a player in 
  Doctor Who: Adventures in Time and Space. You 
  talk, describe your actions and, any time you 
  want to do something that you may or may 
  not succeed at, you need to roll some dice.
  When you roll some dice, you also 
  add some numbers from your 
  character sheet that define 
  how good you are at certain 
  things. To succeed, you 
  have to beat a number 
  defined by the Gamemaster. 
  The harder the thing you are 
  trying to do, the higher the 
  number. If you beat the number 
  you succeed and can perform 
  the task, whether it’s jumping a gap, winning an 
  argument or dodging a gun blast. If you don’t 
  beat the number, you fail to accomplish the task. 
  This could have severe effects on your character 
  and change the course of the game, but it makes 
  for an interesting story! Either way, rolling dice 
  and adding some numbers is about all you’ll have 
  to do when it comes to rules. So you’re going to 
  need some dice.
  You’ll have no doubt seen the small cubes with 
  dots or numbers on them that you have in copies 
  of Monopoly, Risk or Ludo.  Anyway, those cubes 
  are six-sided dice (cause they have six sides).  
  People who game a lot with other roleplaying 
  games call them D6s, so they don’t get confused 
  with other dice with different numbers of sides 
  on them. We don’t need to worry about those 
  here, as we’ll be sticking to D6s as they’re pretty 
  easy to come by, but we’ll still call ‘em D6s just 
  to get you used to the idea. You should find a 
  handful of special Doctor Who dice in this set, 
  though if you need more you can pick up dice in 
  many different colours and styles from hobby 
  game stores, some department stores and 
  bookstores, and places where they sell those 
  fantasy tabletop wargames.
  Besides dice, you  need something to keep 
  track of Story Points. Again, we’ve thought of 
  everything and provided some handy counters 
  for you to keep track of the fast and furious 
  exchanges of Story Points that’ll occur during 
  the average game. If you need more, you can 
  photocopy the counter sheet or use poker chips, 
  markers, tiddlywinks or even jellybabies. Further 
  story point counters will also be available in 
  future supplements. These Story Points could 
  save your character’s life at some point, so 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  6
  Chapter ONe: the trip Of a lifetime 
  
  DOCtOr WhO: aDveNtures iN time aND spaCe
  7
  Still not sure what’s going on? It’ll all become clear soon, honest. Many gamers get their start by joining an 
  existing group or taking part in a demo. Obviously, that’s not possible for everyone, so let’s give you a taste 
  of what’s to come by looking in on a sample game. As the game is mostly conversation, imagine that we’re 
  listening in to the players. There are four people, sitting around the table – Jennifer, Stuart, Claire and Nick. 
  Nick is our Gamemaster. Shhhh, don’t disturb them, they’re just starting…
  Nick:  Okay, we’re about to start our first game. Stuart is going to be playing the Doctor, Jennifer’s Rose Tyler, 
  and Claire’s going to play Mickey. So, you’re in the TARDIS, you’ve been on a few adventures already, having 
  just encountered the clockwork droids on the SS Madame De Pompadour. The time rotor is grinding like the 
  gears of the vast alien machine that it is, before coming to a sudden halt.  
  Claire:  So, we’ve landed somewhere. Mickey’s going to ask if the Doctor knows where we are.
  Nick:  You can do it yourself if you like.
  Claire:  Okay. (She puts on her best Mickey voice) “So, do you know where we are?”
  The others laugh, it’s a pretty good impression, but you don’t need to do the voices. Just imagine who is doing 
  the talking.
  Stuart: I dunno, Nick? Does the Doctor know where we are?
  Nick checks the adventure he’s planned, but knows that he wants it to be a surprise for the group.  
  Nick: No, the readouts are all over the place. They don’t seem to give any indication as to where you are.
  Stuart (as the Doctor): “I can’t seem to get a fix on our location. No matter, let’s just go and see shall we?” 
  The Doctor strides confidently over to the door of the console room.
  Jennifer (as Rose): “What if it’s not safe?”
  Stuart (as the Doctor):  “When is it ever ‘not safe’?”
  Claire (as Mickey): “Er, like, all the time!”
  Jennifer (as Rose): “Well, that’s what we’re here for! To fight the nasties and make the universe safe for 
  everyone. Let’s go.” Rose goes over to the Doctor and joins him at the door.
  Nick: Good. You two get to the door, just as the TARDIS lurches to one side and everyone struggles to 
  maintain their balance. So, here’s your first test. To avoid falling to the floor, I need you to look up your 
  Coordination and your Athletics skill. Add them together, and roll a couple of dice and add that on as well. 
  The higher the better.
  Stuart:  The Doctor has a Coordination of 4, and an Athletics of 3. So that’s 7. I rolled 7, which gives me 14. 
  How’s that?
  Claire: Mickey’s got 4, and an Athletics of 3. I rolled a 2, so that’s 4+3+2 which is 9. Not as good as the Doctor.
  Jennifer: Rose has a Coordination of 4, but 3 in Athletics.  I rolled a 8, so that’s 15.
  Nick: Excellent. Well, you really needed to roll over 12 to keep your feet, so the Doctor and Rose cling on to 
  the railings in the TARDIS as it lurches to one side. Mickey’s not so lucky, and falls, rolling into the console. It 
  hurts a little, but not enough to worry about.
  Claire (as Mickey): “What was that?”
  Stuart: I’ll open the door, see if that gives us any clues.
  Jennifer: Rose will be right behind the door, ready to slam it shut in case anything nasty is trying to get in.
  Stuart (as the Doctor):  “Don’t worry, the TARDIS’ forcefields will keep anything out that we don’t want in 
  here. Remember, hordes of Genghis Kahn and all that.” That is true, isn’t it, Nick?
  Nick: Sure. You open the door and see that the TARDIS has arrived on the deck of a ship.  It’s night, and in the 
  middle of a severe storm. The crew seem to be ignoring the police box, worrying more about the safety of the 
  ship and the waves that keep crashing over the bow.
  Stuart: What sort of ship is it?
  Nick: It’s pretty old. One of those old sailing ships.
  Stuart: I’m heading out onto the deck. (As the Doctor) “Let’s see if we can’t help these crewmates!”
  Jennifer (as Rose): “It’ll be just our luck that they’re pirates or something.”
  Claire (as Mickey): “Here we go again!”
  example Of play
  
  it’s vital to keep track of how many you have. 
  We’ll explain Story Points in Chapter Three: 
  Allons-Y!.
  You’ll also need some pencils, paper, an eraser 
  or two and you’re good to go. Have fun, and don’t 
  forget your sonic screwdriver!
   hOW tO use this BOOk
  This is just the first book in the boxed set of 
  Doctor Who: Adventures in Time and Space. You 
  were probably directed to this book first thanks 
  to the “Read this first” sheet. You’ll already have 
  noticed there’s a lot of information here – to 
  make it a little easier, here is what you need to 
  look for.
  This book will provide you, as a player, all the 
  information you’ll need to play the game, create 
  new characters, as well as some guidance to 
  help make game the best experience possible.
  We’ve already mentioned one of the players 
  will be the Gamemaster. In the box you’ll have 
  found the Gamemaster’s Guide. It goes into 
  more detail than this book, and provides the 
  Gamemaster with additional information on time 
  travel and how to create new Adventures. This 
  information is vital to the Gamemaster, so they 
  can keep hold of their book while the players use 
  this one.
  Also in the box, you’ll have found a load 
  of character sheets. Some give details on 
  characters you’ll be familiar with from the 
  Doctor’s adventures and some are new, almost 
  complete characters, that we call ‘Archetypes’. 
  These characters can be used straight away so 
  you don’t need to create your own. You just need 
  to supply some background and a name, or you 
  can customise them to suit your own design. You 
  can find more about characters in Chapter Two: 
  The Children of Time.
  If that wasn’t enough, you’ll find everything 
  else you need to play - dice, Story 
  Point tokens, equipment sheets 
  and the Adventures Book that 
  provides a few adventures the 
  Gamemaster can run for 
  you. However (and here’s the 
  important bit), so you don’t 
  get too lost with all this text, 
  we’ve made all the type look 
  different if something special 
  is going on.
   text
  This book looks different depending on what’s 
  going on. When the words change their look, 
  something important just happened. The text 
  you are reading now is standard text. It covers 
  general explanations, and narrative sections. 
   
  DOCtOr WhO: aDveNtures iN time aND spaCe
  8
  Chapter ONe: the trip Of a lifetime 
  these reD BOxes
  detail NPCs or 
  Villains that can be 
  used in your 
  adventures.
  contain examples, 
  additional, 
  but tangential 
  information, or 
  supplemental 
  charts and tables.
  these BOxes
  
   geNDer 
  We don’t want to be using the rather nondescript 
  ‘they’ all the time in the text, or ‘he or she’ in 
  every sentence, but we also don’t want to appear 
  sexist in any way. Most games like this use ‘he’ 
  all the time and assume you understand that 
  they’re talking about the player or character 
  regardless of whether they are male or female. 
  While the Doctor is male, his companions are 
  usually (though not exclusively) female. So, 
  we’ll reach the happy medium and use the male 
  designation for odd chapters, and female for 
  even. It’s fair that way.
   measuremeNts aND laNguage
  The metric system is predominant in much of 
  the world, though the U.S. (and Torchwood) still 
  uses the old Imperial system. As Doctor Who 
  is quintessentially British, we’ll be using the 
  metric system. Though, as shown in the classic 
  series, travelling before 1970 will mean you may 
  have to convert to Imperial. Rough conversions 
  may be found by halving miles to get kilometers, 
  equating meters with yards, doubling pounds to 
  get kilograms, and so on. It’s not 100% accurate, 
  but it keeps things simple.
  Being British, there may be the odd word or 
  spelling here and there that may stand out in 
  some of the many other countries familiar with 
  the Doctor’s adventures. Most of the time, this 
  won’t be too jarring, but you’ll probably notice a 
  few extra ‘u’s and fewer ‘z’s.
   page refereNCes
  As Doctor Who: Adventures in Time and Space 
  is a series of books, you may have to refer 
  to another book rather than the one you’re 
  holding. If the text tells you to “see p.27”, then 
  it’s letting you know that additional information 
  can be found on that page within the book you’re 
  currently holding. If it says “see p.27 of the 
  Gamemaster’s Guide”, then the page can be 
  found in the other book.
   the DOCtOr’s uNiverse
  There’s a slim chance that you may be unaware 
  of the living legend that is the Doctor. He has 
  thwarted many alien invasions and has saved the 
  universe so many times without waiting around 
  for thanks or recognition. Before getting into the 
  details of the rules, it’s a good idea to familiarise 
  yourself with the Doctor, his companions, and his 
  most recent adventures.
   the DOCtOr
  Just who is the Doctor? The Doctor may look 
  human, but he certainly isn’t. He’s over 900 years 
  old, and from a planet called Gallifrey. He has 
  two hearts, is incredibly intelligent (as well as 
  being mildly telepathic) and can ‘cheat death’ 
  by regenerating into a completely new body. The 
  Doctor is the last of his race, last of the Time 
  Lords. He was on the front lines of the last great 
  Time War against the Daleks, where both races 
  appeared to have perished in the conflict.
   time lOrDs
  The Time Lords were an ancient civilisation 
  that mastered the art of travelling through 
  time and space long before humanity had 
  even discovered fire. They harnessed 
  the power of a black hole and created 
  time-ships called TARDISes that allowed 
  them to travel anywhere or anywhen 
  in the universe (except into their own 
  planet’s past or future). They became rather 
  judgmental guardians of the universe. This 
  superiority complex led to their downfall 
  when they tried to remove the militaristic 
  Daleks from history.
   the tarDis
  The Doctor didn’t see eye to eye 
  with the Time Lords and fled 
  Gallifrey early in his life, taking 
  one of their precious TARDISes 
  for his own. TARDIS stands for Time 
  And Relative Dimension In Space, and 
  its interior and exterior exist in different 
  dimensions – that is, the relatively small 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  9
  
  outside houses a vast interior. The Doctor’s 
  TARDIS is an old Type 40 and its Chameleon 
  Circuit – the device that allows it to blend into its 
  surroundings – has become stuck in the shape 
  of an old 1950s Police Call Box. The TARDIS is a 
  living thing with a mind of its own – and it can be 
  particularly temperamental at times…
   the DOCtOr’s COmpaNiONs
  Travelling the whole of time and space can be 
  lonely, especially when you’re the last of your 
  race. The Doctor likes to share the wonders of 
  the universe with someone, and he has developed 
  a real affection for the peoples of Earth. He 
  brings someone aboard the TARDIS to share his 
  adventures, and sometimes just to keep him 
  under control. These companions come and go, 
  have adventures, help to save the universe many 
  times over, and then they leave. Whether this is through 
  their own choice, circumstances or  constant danger, 
  they leave the Doctor to his lonely existence until he finds 
  someone to share his adventures with again.
   the DOCtOr’s eNemies
  The universe is full of wonder and excitement, but 
  there are also many alien races and people who wish 
  to usurp, to dominate and control for their own ends. 
  The Doctor is usually there to stop them, and over 
  the hundreds of years he has been travelling, he’s 
  accumulated many enemies from halting their evil 
  plans. The militaristic Daleks in their heavy armour 
  casing, the Cybermen and their desire to make 
  everyone like them, the Sontarans bred for a war 
  that has raged for thousands of years, and countless 
  more. They keep trying to dominate, integrate, 
  upgrade, destroy or plunder the universe, and the 
  Doctor is there to stop them. The constant battles 
  with these races have come with a price – the 
  Daleks and the Doctor’s race, the Time Lords, 
  waged a Time War to end all wars that 
  resulted in the destruction of both 
  races, with the Doctor the only 
  survivor. Or so he thought. 
  It was after this Time War 
  that a battle weary Doctor 
  returned to Earth to stop 
  another threat to humanity, 
  when he first met Rose...
  Doctor Who: Adventures in Time and 
  Space is going to concentrate on the 
  Doctor’s most recent adventures (from 
  his Ninth incarnation onwards).  As older 
  events are mentioned, we’ll take a look 
  back and cover it briefly, but for now you 
  don’t need to know about the high council 
  of Gallifrey, who Rassilon or Omega were, 
  or anything about jellybabies. However, 
  the rules for the game are simple enough 
  that if you really want to play during these 
  past adventures there’s nothing stopping 
  you!
  the DOCtOr’s earlier 
  aDveNtures
  DOCtOr WhO: aDveNtures iN time aND spaCe
  10
  Chapter ONe: the trip Of a lifetime 
  
  Chapter tWO: the ChilDreN Of time 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  11
  
  This chapter will give you everything you need to 
  know on creating a character that you can play 
  in Doctor Who: Adventures in Time and Space. 
  If you don’t want to go through the process of 
  creating a new character, you can simply play 
  as the Doctor and some of his companions, or 
  even use some of the pre-prepared characters 
  we’ve provided for you in the box. Before you 
  leap ahead and use them, though, you’ll need 
  to know what all the numbers mean, so it may 
  be worth reading on. This chapter will allow you 
  to play exciting new companions, or even your 
  own Time Lord for very different adventures. The 
  only limitation is your imagination, and whatever 
  characters will work best for your Gamemaster.
   CharaCters
  Working out what sort of character you’ll play 
  and what will work in the game is possibly the 
  most important step you’ll make. The characters 
  are vital to the story and the more interesting the 
  characters are, the better the story will be. Don’t 
  worry though, we’ll go through it all stage by 
  stage, it’s not as daunting as it sounds.
  The Gamemaster should guide the players 
  through the character creation process. She 
  should start by giving you an idea of what sort of 
  companions are suitable and what type of story 
  she’s planning. This may be as simple as ‘the 
  game is the Doctor and his new companions, 
  set after Rose but before Martha.’  Or it could be 
  as restricted or different as ‘the game is about 
  Torchwood operatives working in London at the 
  time of the Second World War. I need all human 
  characters, no time travellers and no aliens are 
  allowed.’  As long as you don’t choose something 
  too unbalancing or conflicting, like trying to play 
  The Master or a human-sympathetic Dalek, 
  you’ll be fine. Working with the Gamemaster 
  is important here, to create the coolest 
  characters you can for the most exciting 
  game you can make.
   WhO CaN yOu play?
  This is where roleplaying 
  games really come into their 
  own – you can play anybody 
  you like. The options are 
  endless, but there are probably 
  going to be a few choices you’ll 
  need to make initially about what sort of game 
  you’re going to play. Is it going to be the Doctor 
  and Martha, a new companion, or something else 
  entirely?  Here are some suggestions.
  the DOCtOr aND COmpaNiONs
  In this option, you and your fellow gamers take 
  on the roles of the Doctor and the companions 
  we’re familiar with, whether this is Rose, Martha, 
  Donna, Captain Jack Harkness or even Mickey. 
  The characters have their own sheets already 
  prepared (see the sheets provided in the box) and 
  the Gamemaster just photocopies the character 
  sheets and hands them out. Make sure the 
  Gamemaster runs through the explanation of the 
  numbers  so you know what they all mean.
  This is certainly the easiest option as everyone 
  knows the characters, assuming you’re familiar 
  with the Doctor’s adventures. It’s quick – you’ll 
  be up and playing faster than you can say 
  ‘Did I mention it also travels in time?’  On the 
  downside, the options are a little limited. There 
  will always be that ‘you can’t all play the Doctor’ 
  problem (see the sidebar), though if you’re lucky 
  everyone will be happy with their characters.
  the DOCtOr aND NeW COmpaNiONs
  Time may have passed between Rose’s departure 
  and the Doctor’s first encounter with Martha 
  Jones. After Donna is returned to her family, 
  the Doctor has many further adventures. That 
  doesn’t mean that he hasn’t had a passenger 
  or two in the TARDIS for a few adventures at 
  least. In this option, the Doctor has the character 
  sheet we’ve provided, and the other players take 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  12
  Chapter tWO: the ChilDreN Of time 
  
  the part of new characters.  Whether these are freshly 
  created ones of your own making, or a selection from 
  the Archetypes we’ve provided (see the sheets within the 
  box), that’s up to you.
  NO time lOrD at all
  It’s not entirely necessary for the Doctor to actually 
  appear in the game, after all UNIT and Sarah Jane Smith 
  have proved that they can defend the Earth without the 
  Doctor’s help. Sure, they mention him from time to time. 
  After all, an encounter with the Doctor is a life changing 
  event, but he’s not the focus of the story – and he doesn’t 
  have to be in yours either. The characters could be rogue 
  Time Agents, members of UNIT, alien explorers or 
  plucky humans, robots or colonists, rebels or soldiers, 
  the possibilities are endless in the vast universe. If you 
  want the game to travel to different worlds, they’ll need 
  access to a ship or possibly just hopping from place to 
  place with a Transmat. If you want time travel, you’ll 
  need access to some means of travelling the Vortex, be 
  it a TARDIS or Jack’s Vortex Manipulator or other time 
  travel device. None of these need be out of the reach 
  of the characters, as long is it makes a great story. You 
  could start with all human characters from present day 
  Earth who are scooped up by an alien ship. They could 
  bumble from one adventure to another in the depths of 
  space without transport of their own, catching a ride 
  where they can. Anything you can imagine is possible.
  NeW CharaCters
  It’s a big universe out there with plenty of room for new 
  characters. It takes a little more time to set up, but this 
  allows you to bring something of your own to the game. 
  You get the character you’d like to play, and you can take 
  the stories in unique directions with unique characters.
  As long as the Gamemaster approves, 
  you can try anything. The Doctor’s 
  companions in the past have been very 
  varied to say the least – a highlander, 
  an air stewardess, a shop assistant, a 
  journalist, a school teacher, a robot, a 
  doctor, a librarian or a primitive. All 
  have joined the Doctor aboard the 
  TARDIS, so if you think they’ll be 
  interesting, give it a try. Above all, 
  most (though not all of them) have 
  their hearts in the right place and 
  are on the side of good.
  If this all seems too complicated, 
  instead of creating a character from 
  scratch you can use one of the ready-
  made Archetypes - the character 
  There may be a time when the players 
  argue over who gets to play everyone’s 
  favourite Time Lord. The final call should 
  always be with the Gamemaster, and 
  short of bribing her with chocolate, the 
  decision should be based on who could 
  bring the most fun and excitement to the 
  role of the Doctor and who could play 
  him well.  Will the player be able to take 
  control of desperate situations? Will they 
  be able to talk down a mass of advancing 
  Cybermen?  
  If you are still unhappy with who gets to 
  play the Doctor, it could be that everyone 
  takes their turn, shifting to the next 
  player with every adventure. Or you 
  could change players with regeneration 
  – after all, the Doctor’s appearance and 
  personality changes dramatically during 
  the regeneration process, so it’s only 
  fitting that a different player takes the 
  part.
  Most of the time the players will be 
  happy to take part in the adventures, 
  no matter what role they play. Just 
  remember, the Doctor may be important, 
  but his companions are just as important 
  to the story and have been known to save 
  the world on more than one occasion. 
  Every character will have their chance 
  to shine.  Advice for Gamemasters about 
  making sure everyone is involved can be 
  found in the Gamemaster’s Guide.
  you can’t all play the Doctor!
  DOCtOr WhO: aDveNtures iN time aND spaCe
  13
  
  sheets can be found in the box. These are pre-
  generated companions that can be customised or 
  used just as they are, thrown into the adventure 
  almost instantly. Just pencil in a background and 
  a name, and you’re good to go, or you can tweak 
  the numbers a little to better suit your game. 
  Just check out the meaning of the terms and 
  numbers and you’re ready to travel the stars.
   CreatiNg a CharaCter
  Characters are defined by Attributes, Skills 
  and Traits. Attributes are what your character 
  is like – how strong they are, how clever they 
  are, how perceptive, and so on. Skills are what 
  your character knows – can they drive a car, 
  hack into computers, know first aid, know how 
  to ski, how to fight or how to bluff their way out 
  of a situation? Finally, Traits detail what your 
  character can do, or in some cases cannot do – 
  are they ambidextrous, have a particular knack 
  for fixing things, do they heal unnaturally quickly, 
  are they rich, famous, or have a family that keeps 
  getting them into trouble?
  Attributes and Skills have numerical ratings, 
  the higher the rating the better they are at 
  something. You are given a number of points 
  to purchase your Attributes, Skills and Traits, 
  but these points are limited, so you may have 
  to think it through a little before assigning 
  numbers. You’ll have to decide if the character 
  is stronger than they are smart, wittier than 
  they are agile, and what their particular areas 
  of expertise are. For example, Rose may be as 
  brave as they come, willing to look towards the 
  future, experience the new and wondrous without 
  flinching, but she’s not as smart as the Doctor. 
  In fact, her specialities may just be fashion and 
  chips, but that never stopped her from saving the 
  world.
  Points and scores are just part of it. Most of 
  what makes your character special is you, 
  the player. How you play them, the 
  voice you give them, the decisions 
  you make for them – all of 
  this shapes the character 
  into a three dimensional 
  person with a history and a 
  personality.
  WhO are they?
  First of all, it’s best to think about what the 
  character is like. Meddling investigator, curious 
  scientist, or something else entirely? This will 
  not only define what the character is capable of 
  doing, but also where you spend the points to 
  build them. Are they a companion? A civilian or 
  soldier, heroic or just a normal average guy or 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  14
  Character Points: 24
  Character Points are used to purchase 
  Attributes and Traits.  We recommend 
  you spend 18 points on Attributes, and 
  save 6 for Traits. You’ll gain additional 
  Character Points by taking some Bad 
  Traits. If you have any Character Points 
  left over, you can convert them into Skill 
  Points.
  Skill Points: 18
  Skill Points are used purely to purchase 
  Skills. You can get extra Skill Points from 
  any leftover Character Points.
  Story Points: 12
  Story Points are important as they 
  allow you to do things in the game, like 
  avoid fatal injury, do special things, or 
  get yourself out of a pickle. You don’t 
  spend them during character creation, 
  though this figure (12) is your maximum 
  Story Point pool in between adventures. 
  Purchasing particularly powerful 
  abilities and Traits can reduce this 
  maximum (such as being a Time Lord or 
  having a power like Immortality).
  CharaCter CreatiON pOiNts
  Chapter tWO: the ChilDreN Of time 
  
  girl? Luckily, everyone is created equal in this 
  game. We’ll take it one stage at a time, and guide 
  you through, though I’m sure after a couple of 
  characters you’ll breeze through it.
  This method of character creation works the 
  same for everyone from Rose to Martha or 
  Mickey. Everyone starts with a number of points 
  to spend in the various areas – Attributes, Skills 
  and Traits. You’re also assigned a number of 
  Story Points, make a note of these as they’ll 
  come in handy later.
  Creating someone with a special ability like 
  Captain Jack Harkness and his knack for 
  surviving, is done in the same way initially, 
  but additional rules for creating these special 
  characters can be found in the Gamemaster’s 
  Guide.
  hOW DO they fit iN?
  An important element to consider is your 
  character’s role in the ‘team’. The Doctor may be 
  able to do almost anything – he’s smart, quick 
  and charismatic – but he needs his companions 
  for a reason. They ground him, because 
  sometimes he doesn’t know when to stop. His 
  companions also provide him with knowledge 
  of his ‘second home’ – Earth. They also provide 
  basic companionship. Being the last of your kind 
  is a lonely place to be and his companions help 
  keep him active, happy and enthusiastic, rather 
  than slipping into aimless, depressed wandering.  
  So what does your character bring? Are they 
  a specialist in a particular field? A doctor, a 
  soldier, or a computer genius? Think of your 
  team as a complete person and maybe assign 
  each character a part – the brains, the heart, 
  the muscles or the soul. Each person has their 
  own strengths, together they are a whole who 
  support each other. Bear this in mind when you 
  are creating your character, and discuss with the 
  other players what kind of role each will play in 
  the group.
  More information on group dynamics, and how 
  a player party is composed, can be found in the 
  Gamemaster’s Guide.
   attriButes
  Attributes give you an indication as to what your 
  character is capable of. How strong they are, 
  how smart, how charming, how clever, all these 
  are defined by Attributes ranked from one to six. 
  Using the Character Points you have been given, 
  you purchase the Attributes of the character, 
  limited to a maximum of six in each. Six is the 
  human maximum, and no character may have 
  an attribute above six (unless they’re something 
  seriously special or alien). It is very rare for a 
  character to start with an Attribute at six. At the 
  other extreme, you must put at least one point 
  into each attribute. You can’t have an Attribute 
  of zero – when Attributes reach zero due to 
  injury or other effects, the character becomes 
  incapacitated – so you can’t start in that state!
  You could put more points into the character’s 
  Strength, and less into their Ingenuity, meaning 
  that they’re more of an athlete. On the other 
  hand, you could put more into Ingenuity and 
  Awareness, and less into Coordination, making 
  your character a slightly clumsy brain-box! Or 
  you could make all of the Attributes the same, 
  making them equally good (or bad) at everything, 
  though that may not be very realistic – nobody is 
  equally good at everything.
  These Character Points will also be used to 
  purchase Traits later (and you may gain some 
  extra Character Points from getting a Bad Trait if 
  you choose), so you may not want to spend them 
  all at once. We’d recommend that you spend 18 
  of your Character Points on your Attributes and 
  save 6 for later, for buying cool Traits. If you don’t 
  spend them, or if you gain more points later on, 
  you can always “top up” your Attributes then.
  aWareNess
  Travelling the universe is a dangerous 
  occupation, and you’ve really got to be aware of 
  your surroundings. Whether it is spotting the 
  object that has been disguised with a perception 
  filter, or the 
  Dalek that’s 
  just turning 
  into the 
  corridor, both 
  are examples 
  of using 
  Awareness. 
  Awareness 
  takes into 
  account 
  anything that 
  uses the five 
  senses (sight, 
  hearing, 
  touch, smell 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  15
  
  or taste), or even that indefinable sixth sense of 
  just knowing that something is coming, sensing 
  someone is looking at you or talking behind your 
  back. Awareness can be used to notice an enemy 
  or to look for clues.
  Characters with an Awareness of 1 are usually 
  oblivious to the goings on around them. Their 
  friends frequently have to stop them from 
  stepping out into busy traffic, and they usually 
  miss important clues or signs. Awareness 2 is 
  still lower than average, but this could be that 
  they are preoccupied with something or easily 
  distracted. Awareness 3 is your average person, 
  fairly aware of your surroundings, likely to spot 
  some hidden clues, hear the approaching enemy 
  or sniff out the Slitheen in the adjacent room. 
  Having an Awareness of 4 is above average, 
  quick to notice when there is something 
  wrong, whereas an Awareness of 5 is someone 
  incredibly perceptive, able to tell instinctively 
  when something is amiss.  Awareness 6 
  is human maximum, and is incredibly rare. 
  People with Awareness 6 often have the ability 
  to read what people are really intending just by 
  fluctuations in their voice, or notice the most 
  miniscule details.
  COOrDiNatiON
  Some people are just better at controlling 
  what their bodies do, rather than flailing wildly 
  or falling over constantly. Characters with a 
  higher Coordination can twirl batons, juggle, 
  are pretty good at aiming weapons, and are 
  great at paintball or laser-tag. Coordination is a 
  combination of physical dexterity and hand-eye 
  coordination (hence the name). You may not think 
  it, but playing your average video game will need 
  good Coordination just as much as the healthier 
  options like basketball or football. Doesn’t mean 
  the video gaming couch-potato isn’t lacking in 
  the other Attributes though!
  Coordination of 1 is a lot lower than 
  your average person. It could mean 
  that they’re impeded in some 
  way, meaning they’re not the 
  most dextrous of people, 
  or it could just mean that 
  they’re incredibly clumsy, 
  falling over themselves 
  at inopportune moments. 
  Coordination 2 is still less 
  than average, but they’re not 
  very clumsy – they’re just not 
  brilliant shots and don’t get the best scores 
  on video games. A rating of 3 in Coordination 
  is human average, meaning they’re able and 
  coordinated. Coordination of 4 is above average. 
  Talented basketball players or skilled surgeons 
  have above average Coordination like this, 
  whereas Coordination 5 shows great hand-eye 
  coordination, best suited to professions where 
  quick reflexes are key, such as pilots or racing 
  drivers. Coordination 6 is human maximum, 
  some of the quickest and most agile people on 
  Earth. Coordination of 7 or more is for special 
  characters or aliens, meaning they move or aim 
  with pinpoint accuracy. 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  16
  If you’re unsure how to begin assigning your 
  points, you could use this method to get you 
  started.
  First of all, imagine what you character is 
  going to be like. Are they stronger than they 
  are smart, more determined than they are 
  observant? Have a look at the six Attributes 
  and pick one that they are most known for. 
  Make a note on your character sheet next to 
  that Attribute, put a 4 in that one.  
  Now, think of the area where your character 
  is weakest. Are they a little weak when 
  it comes to physical strength, or do they 
  crumble in the face of terror or mind-control? 
  Whichever Attribute you choose as your 
  weakness, give it a value of 2.
  There are just four Attributes left, and they’re 
  just average for a human, so go ahead and 
  put 3s in them all.
   
  So now you have the numbers next to your 
  Attributes, you can shift ‘em about a bit if 
  you like. You can increase an Attribute by a 
  point, but it’ll mean you’ll have to decrease 
  one to compensate. If you lose track, just add 
  ‘em up, you should have 18 points in there 
  altogether. Just remember, no Attribute can 
  be lower than 1 or higher than 6. This will 
  leave you with 6 points for Traits, so if you’d 
  prefer more you could reduce an Attribute by 
  1 or more, giving you extra points for Traits. 
  Feel free to play about with the numbers to 
  best suit your character.
  assigNiNg attriButes fOr yOur 
  CharaCter’s streNgths aND WeakNesses.
  shake it up!
  Chapter tWO: the ChilDreN Of time 
  
  iNgeNuity
  The Doctor is all about brains over brawn, he 
  can think (and usually talk) his way out of any 
  situation. Knowledge is power, quite literally 
  in most cases. Ingenuity is a measure of how 
  smart a character is, but not necessarily 
  how skilled or experienced they are. They 
  can be brilliant at deducing mysteries, 
  reprogramming computers or identifying 
  alien species, but if they’re unskilled in 
  something, no amount of brains will help.  
  Ingenuity isn’t related to education, either. 
  You can be smart, but unschooled. A character’s 
  academic schooling is determined by the Skills 
  they have, not their Ingenuity Attribute. Ingenuity 
  is all about how inventive they are, their lateral 
  thinking as well as their overall intelligence.
  An Ingenuity of 1 shows someone who’s not 
  exactly quick witted. They may not necessarily 
  be stupid, but it takes them a little longer than 
  your average person to work things out (if at 
  all). Ingenuity 2 is still lower than average, and 
  they are unlikely to have continued their studies 
  (unless they got their qualification from Mrs 
  Golightly’s Happy Travelling University and Dry 
  Cleaners). They’re likely to lose arguments 
  and aren’t so hot when it comes to computer 
  programming. Ingenuity 3 is the human average 
  – they understand mortgages and current affairs, 
  the basics of computers and technology and can 
  come up with solutions to simple problems that 
  get in their way. Ingenuity 4 is above average 
  – you’re talking University graduates (from a 
  real University that is) and capable of deducing 
  whodunnit from a few clues. Ingenuity 5 is well 
  above average for a human, usually reserved for 
  doctors (though not the Doctor), or for the top 
  computer programmers in the business – this 
  isn’t because of their skill, but their Ingenuity 
  at this level shows their swiftness in problem 
  solving and lateral thinking. Ingenuity 6 is the 
  human maximum and means one of the quickest 
  minds on the planet. An Ingenuity above this is 
  only for superhuman or alien characters, and 
  remarkable minds such as the Doctor.
  preseNCe
  People just can’t seem to resist Captain Jack 
  Harkness. His natural charm and charisma is 
  enough to win over most of the ladies (and some 
  of the men and aliens), and this ‘likeability’ is 
  reflected with the Presence Attribute. It is a 
  measure of the character’s personality, and 
  how much people seem to naturally like them.  
  Characters with a low Presence are either 
  easily ignored or generally unable to get dates, 
  whereas characters with a high Presence can 
  charm, carouse and persuade their way out of 
  trouble.
  Presence 1 is the lowest humanly possible, 
  below this is purely for the bestial monsters of 
  the galaxy. At level 1, they can be socially inept, 
  or just plain rude (usually unintentionally). 
  People can find it hard to get along with them 
  and they may get ignored a little. Presence 2 
  is still lower than average, and it may be that 
  they’re just arrogant and selfish or just a little 
  creepy (like the rejuvenated Professor Lazarus). 
  Presence 3 is the human average, meaning they 
  are generally likeable and easy to get on with. 
  Presence 4 is starting to edge into the charming 
  and commanding, people pay attention to you 
  and take notice of what you’re saying. Presence 
  5 is someone who can charm or boss their way 
  through almost anything, whereas Presence 
  6 characters are regarded with awe and 
  admiration. Above 6 is for alien or superhuman 
  characters, meaning their commanding and 
  charismatic presence can sway minds and 
  influence thoughts.
  resOlve
  Resolve is a measure of the character’s 
  determination and willpower. Whether it’s 
  something simple like resisting the urge to eat 
  those chips even though you’re on a diet, or 
  resisting the instinct to blink when a Weeping 
  Angel is bearing down upon you. It also shows 
  your determination to do something, how 
  convincing you can be and how resolved to your 
  cause you are. This determination can make 
  an enemy pause before opening fire, change 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  17
  
  someone’s mind or instill confidence in your 
  colleagues.
  Resolve 1 characters are fairly weak-willed 
  and easily persuaded, crumbling quickly in the 
  face of terror and adversity. Resolve 2 is a little 
  less than your average human, failing to keep 
  their New Year’s Resolution beyond mid January, 
  and quick to succumb to mind control. Resolve 
  3 is human average, moderately strong willed, 
  able to control themselves, though they’ll freeze 
  under gunfire just like any normal person would. 
  Resolve 4 shows a strength of will above your 
  average person, and Resolve of 5 is even more 
  determined and resolute, at the peak of personal 
  discipline and control, showing much stronger 
  willpower than most people. Resolve 6 is the 
  human maximum, the most unbreakable of 
  humans. Above this is strictly for the most iron 
  willed and unstoppable of aliens or superhuman 
  characters.
  streNgth
  The Strength Attribute, just like the 
  Defrabricator, does exactly what it says on the 
  tin – it is a measure of how strong your character 
  is. Stronger characters pack more of a punch 
  when they have to resort to physical violence, are 
  able to lift heavy objects or people, and can carry 
  all that scientific equipment a lot further before 
  having to take a rest. Stronger characters are 
  usually physically active, sportsmen or women, 
  or in the armed forces. Your average checkout 
  girl at the supermarket may not be exactly 
  feeble, but they’re not going to be able to hold 
  their own in an arm-wrestling contest with a 
  weight lifter!
  Strength is also used to determine physical 
  damage inflicted on others. The stronger the 
  character is, the more damage they will do 
  when they throw a punch. Every level of 
  Strength relates to one point of damage 
  inflicted from a punch or kick. More 
  information on fighting and damage 
  can be found in Chapter Three: 
  Allons-y!
  On average, a character 
  can comfortably lift around 
  15Kgs for every level of 
  Strength they have. They can 
  carry this around for a while 
  without too much of a strain, 
  but in dire circumstances (and 
  for short periods of time) they 
  can lift twice this amount. So a character with 
  Strength 3 can comfortably carry around 45Kgs, 
  or lift 90Kgs for a short period. In times of great 
  stress, and with a suitable roll (see Chapter 
  Three: Allons-y!, p.52), characters may lift even 
  more than this when the adrenaline kicks in.
  Strength 1 is your typical weakling who does 
  little physical activity and has difficulty opening 
  a packet of crisps, whereas a Strength of 2 is 
  still lower than your average human and weaker 
  than normal. Strength 3 is average for a human, 
  able to hold their own in a fight, can open the 
  toughest of jam jar lids, and can carry someone 
  on a stretcher for a good distance. Strength 
  4 means they are stronger than your average 
  human, and Strength 5 is getting to the toughest 
  athletes, sportsmen and women. Strength 6 is 
  the human maximum, capable of picking people 
  up and throwing them over their heads. This 
  sort of Strength is usually seen in professional 
  weightlifters or bodybuilders. Above this is only 
  for the specially enhanced characters or the 
  more powerful aliens such as the Slitheen or 
  Judoon.
  DOCtOr WhO: aDveNtures iN time aND spaCe
  18
  Chapter tWO: the ChilDreN Of time 
  
  uNDer-BuyiNg attriButes
  The twenty-four Character points you have to 
  play with when it comes to assigning Attributes 
  will still create an above average companion 
  – after all, they may appear to have average 
  lives but come into their own when the Earth or 
  themselves are in danger. Your average person 
  on the street will have Attributes ranging from 
  2-3, with 3 being the normal. If you’d prefer 
  a character that is really normal, and not 
  slightly above-average like the Doctor’s usual 
  companions, you can opt to save more of the 
  points for later, and spend them on Traits.
  Careful purchasing of Attributes and using 
  your points in creative ways will reflect what you 
  character is like. For example, playing a slightly 
  older character than your average companion, 
  you could spend less on the physical Attributes 
  like Strength and Coordination, increase 
  Ingenuity and save points for more Skills.
   traits
  Everyone is different and everyone 
  has their own talents, hang-ups 
  and abilities. In Doctor Who: 
  Adventures in Time and Space 
  we’ll call these Traits. Traits can 
  be good or bad, but help define 
  the character’s uniqueness. Are 
  they brave, pretty or particularly 
  cool with gadgets? Are they 
  cruel at times, boring or likely 
  to trip over their own feet? All 
  of these can be Traits.
  For example, being able to calculate 
  the square root of Pi is a Good Trait (though don’t 
  try it at parties), whereas having an irrational 
  fear of crabs is a Bad Trait (especially if you come 
  across any Macra).
  When the characters are in a situation where 
  a Trait may come into play, it can aid them (or 
  hinder) in what they’re doing. Knowing when a 
  Trait comes into play is a tricky one, but basically 
  if you think that the situation could involve a 
  Trait, mention it to the Gamemaster, even if it’s 
  a Bad Trait and will make things harder for the 
  character. If it’s in keeping with the character 
  by bringing a Bad Trait into play, the player may 
  be rewarded with Story Points. More on those 
  later. For example, when the Doctor is piloting 
  the TARDIS, he uses his Ingenuity and the 
  Technology Skill. The Vortex Trait means that 
  he’s familiar with using the TARDIS and piloting 
  the time streams in general, and the Doctor’s 
  player mentions this. It’s a Good Trait, so it’ll 
  make things easier for the Doctor, giving him a 
  bonus to his dice rolls.
  Sometimes, a Trait can affect gameplay without 
  you having to roll any dice. Some Traits simply 
  help or hinder the character all of the time. 
  For example, Phobia can hinder your actions if 
  you face the object of 
  your fears, or Code of 
  Conduct can limit your 
  choices in any given 
  situation, just as Tough 
  can save your life in a 
  fight without any dice 
  needing to be rolled. 
  The Trait’s description 
  will give you an idea of 
  how each of the specific 
  Traits work, but if you 
  It is just the simple task 
  of assigning 24 points 
  between the six Attributes. 
  Remember, no Attribute 
  can be above six, and you 
  must put at least one point 
  in each, and you may want 
  to save around 6 points for 
  Traits. 
  Miles ponders over the sort of character 
  he’d like to play. He would like his 
  character to be smart, nimble and quick, 
  both in moves and thinking. He decides 
  this is what people will think of first when 
  describing his character. Smart is the key 
  here, so he decides that Ingenuity is going 
  to be the most important Attribute, and 
  puts 4 next to it on the character sheet.  
  He decides then that all that time 
  becoming smart has meant his character 
  isn’t particularly physically strong so 
  he puts 2 into Strength. That leaves 
  Awareness, Coordination, Presence and 
  Resolve, so he puts 3s into all of those. It’s 
  still not quite how he’d like, so he bumps 
  Ingenuity up again to 5, but he has to take a 
  point off of something else. He figures that 
  all that studying has left him a little lacking 
  in his Presence, so drops that by a point. 
  Miles still wants to increase his character’s 
  Coordination (he did want them to be 
  nimble) so raises that to 4, and has to drop 
  his Resolve to 2.  
  His Attributes are therefore:  Awareness 
  3, Coordination 4, Ingenuity 5, Presence 2, 
  Resolve 2, Strength 2.  He’s not very strong, 
  but what he lacks in brawn, he certainly 
  makes up for in brains and moves.
  example 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  19
  
  and the Gamemaster thinks the Trait is apt to the 
  situation, then it comes into play.
  Some Good Traits are very powerful and require 
  the expenditure of a Story Point (or more) to 
  ‘activate’. Actively playing in character and using 
  your Bad Traits during the game to make it more 
  dramatic and exciting deserves the reward of a 
  Story Point.
  BuyiNg traits
  Traits are purchased with Character Points, 
  like Attributes. If you’ve already spent all your 
  Character Points, don’t worry. If you want to 
  lower an Attribute and use the Character Point 
  for a Trait, feel free. Or you can always take a Bad 
  Trait that’ll give you an extra Character Point to 
  play with to buy a Good Trait.
  Traits come in different sizes too. Let’s face it, 
  being able to recite the alphabet backwards isn’t 
  going to be as useful as being able to regenerate 
  your wounds. To reflect this, we’ve split the Traits 
  into three types.  
  Minor Traits cost a single Character Point to 
  purchase (or provide you with a point if they’re 
  Bad).  
  Major Traits cost two Character Points to 
  purchase, (or provide two points if they’re bad for 
  your character).  
  Special Traits are the big guns of the Traits 
  world, they cover the ability to do superhuman 
  things and cost Character Points and sometimes 
  some of your Story Points as well... yes, they’re 
  that expensive!  Some of these Special Traits 
  are not really for your average character or 
  companion, so they’re only covered in the 
  Gamemaster’s Guide.  The Gamemaster will 
  have final say whether you can have any of these 
  Special Traits, and you should discuss these 
  special characters with the Gamemaster 
  before creating them. Many of these 
  Traits are for aliens and alien 
  characters.
  Of course, giving yourself a 
  Bad Trait will give you more 
  points that can either be spent 
  on your Attributes, or even 
  spent on your Skills if you think 
  the character is lacking in any 
  area.
  Taking a lot of Bad Traits may give you lots of 
  points to spend elsewhere, but it can be very 
  limiting to a character. We’d suggest that the 
  Gamemaster limits the number of Bad Traits 
  to 6 points per character. However, some of 
  the Special Traits cost so many points that they 
  require some Bad Traits to even begin to be able 
  to purchase them. 
  Traits can only be purchased once, unless the 
  Gamemaster approves. In these rare cases, it 
  is only with Traits that can relate to multiple 
  things – for example you can have a phobia of 
  rats and spiders (two different Phobia Traits, 
  but woe betide anyone with these who meets a 
  rat-spider hybrid!). You cannot purchase a Trait 
  twice that isn’t specific like this – for example 
  you cannot purchase Tough twice because you 
  want to be ‘super tough’. As a guide, Traits that 
  can be purchased multiple times are marked 
  with an asterisk (*), but multiple purchases must 
  be approved by the Gamemaster.
  Also, opposing Traits shouldn’t be purchased 
  as they simply cancel each other out. You cannot 
  be both Attractive and Unattractive (though this 
  is fairly subjective), and you cannot be Distinctive 
  and have Face in the Crowd. Some opposing 
  Traits may be purchased if the Gamemaster 
  allows – for example, you could have both 
  Lucky and Unlucky, meaning that your luck is 
  extreme in both cases. Brave can be purchased 
  with Phobia, as you can be brave in the face of 
  everything except the thing you’re secretly scared 
  of. If you can rationalise it, and it makes sense, 
  and the Gamemaster approves, you can purchase 
  almost any Trait you wish. We’ll point out some of 
  these restrictions in the Trait’s descriptive text.
  list Of traits
  Below is a list of Traits that can be purchased. 
  Each Trait describes its effects upon the 
  character or how it can be used, along with the 
  Trait’s value (whether it is a Minor or Major Trait), 
  either Good or Bad.
  The list is by no means exhaustive. If you have 
  an idea for a new Trait that’s not covered here, 
  feel free to talk it over with the Gamemaster. 
  Together, you will decide upon the Trait’s value 
  (Minor or Major, Good or Bad) and define any 
  features, working to create something cool and 
  interesting. Use the existing Traits as a guide. 
  Traits should effectively follow you through time 
  and space – ones that are relative to your own 
  planet or time zone may only be worthwhile if 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  20
  Chapter tWO: the ChilDreN Of time 
  
  the characters intend to repeatedly return home. 
  For example, creating Traits such as Wealthy or 
  Famous are all well and good if you’re going to 
  stay on Earth, but the moment you leave these 
  Traits become worthless.
  We’ve split the following list into Good Traits 
  (first), then Bad Traits, and finally Special Traits.
   gOOD traits
  Animal Friendship (Minor Good Trait)
  Some people just have a natural affinity for 
  animals – creatures seem to like them for no 
  apparent reason.  Maybe they just smell friendly 
  or give off the right signals, but animals are put 
  at ease and may even go against their training to 
  greet their new friend.
  Effects: When encountering an animal for the 
  first time, the character may attempt to show it 
  that they mean no harm and calm any aggressive 
  tendencies. This Trait gives them a +2 modifier 
  to a Presence and Convince Skill roll to calm an 
  animal. With a ‘Fantastic’ result, the animal, even 
  a trained guard dog, may adopt the character as 
  their new master!
  Attractive (Minor Good Trait)
  For every horrible beastie the Doctor encounters, 
  there’s a pretty face. Of course, a lot of this is 
  subjective, and can depend upon personal taste 
  or even species! After all, Chantho was kinda 
  pretty for a big bug lady, even to us humans, so 
  imagine how pretty she would be to another of 
  the Malmooth on Malcassairo. This is a Good 
  Trait, which means the character is attractive 
  and pleasant on the eye.
  Effects:  The Attractive Trait comes into play 
  whenever the character is doing something that 
  their looks can influence. As a Good Trait, the 
  character will get a +2 bonus to any rolls that 
  involve their stunning good looks, from charming 
  their way past guards to getting information out 
  of someone.
  Note: Cannot be taken with the Unattractive Bad 
  Trait.
  Boffin (Major Good Trait)
  Boffin is a term that originated in WWII to 
  describe those who constantly tinkered and 
  experimented with equipment and technology 
  to create the latest gadgets. Although the term 
  has become another word for ‘nerd’, having 
  the Boffin Trait means that you’re a genius 
  when it comes to tweaking with electronics and 
  machinery to cobble together the most useful 
  gadgets and gizmos.
  Effects: This Trait allows the character to 
  create Gadgets through the fine art of ‘Jiggery-
  Pokery’. Your average Joe can try to open their 
  household appliances and wire them together to 
  try to make something – though they’ll probably 
  only gain an electric shock or worse. Only a 
  Boffin can do this and create a useful device that 
  can scan DNA, crack a safe, or disable Dalek 
  forcefields. More details on creating Gadgets can 
  be found in the Jiggery-Pokery rules on p.68 of 
  the Gamemaster’s Guide.
  Note: Cannot be taken with the Technically 
  Inept Bad Trait.
  Brave (Minor Good Trait)
  Facing the invading monsters, the bloodthirsty 
  aliens and the many threats that the companions 
  encounter will mean that the characters are 
  usually fairly courageous to even get involved. 
  However, some people are more fearless, and 
  can stare the drooling werewolf in the face 
  without flinching, or shout at the Daleks without 
  worrying about the imminent reprisal. 
  Effects: The Brave Trait provides a +2 bonus to 
  any Resolve roll when the character could get 
  scared or need to show their courage.
  Note: Cannot be taken with the Cowardly Bad 
  Trait, though individual Phobia Bad Traits can 
  still be purchased.
  DOCtOr WhO: aDveNtures iN time aND spaCe
  21
  
  Charming (Minor Good Trait)
  Captain Jack could probably charm his way 
  through an entire adventure, just by smiling 
  at the people he meets and carousing his way. 
  Some people are just naturally charming, and 
  can make people swoon. Very handy if you need 
  to get people to do something for you, or to let 
  you into a facility. The Charming Trait reflects 
  this additional seductive quality, and gives them 
  an edge when trying to shmooze their way 
  through any situation.
  Effect: Charming is a Minor Good Trait, and 
  when the character is trying to charm their way 
  through an encounter, they receive a +2 bonus 
  to the roll. Very handy for talking your way out 
  of being killed, but not always suitable for every 
  social situation. Adding this bonus, as with all 
  Traits, is at the Gamemaster’s discretion.
  Empathic (Minor Good Trait)
  There is a fine art to knowing how people are 
  feeling. People naturally hide their true feelings 
  unless they are really upset or stressed, and 
  it takes training or a natural gift to be able to 
  read the tiny signals that give away what they’re 
  really thinking or feeling. Some people have 
  an empathy with how others are feeling and 
  can use this gift to aid them when trying to get 
  information or to calm someone down. 
  Effects: Empathic is a Minor Good Trait 
  that allows the character a +2 bonus on any 
  rolls when they are trying to empathise or 
  read another person. This could be a simple 
  Presence and Convince roll to reassure someone 
  who’s panicking in the middle of a battle, or 
  an Awareness and Ingenuity roll to try to read 
  another’s actions and speech to see if they’re 
  lying.
  Face in the Crowd (Minor Good Trait)
  Some people fit in wherever they go, and others 
  stick out like a sore thumb. It isn’t about what 
  you are wearing, but how confident you 
  are in your surroundings and how well 
  you deal with strangers. This is a 
  Good Trait and means that 
  despite wearing something that 
  isn’t authentic to the time 
  period, you fit in and people 
  seem to ignore your ‘alien-
  ness’.
  Effects: As long as you’re not 
  dressing like a clown or anything 
  else too weird, and not doing 
  anything that’ll attract their attention, people will 
  leave you to go about what you’re doing. If the 
  Gamemaster asks for a roll to ‘blend in’, the Trait 
  provides a bonus of +2 to any Subterfuge Skill 
  roll when you’re trying to sneak about and not 
  get noticed.
  Note: Cannot be taken with the Distinctive Bad 
  Trait.
  Fast Healing (Major/Special Good Trait)
  The ability to recover quickly from an injury 
  is bound to be useful in your daily attempts to 
  fend off alien invasion. Some people simply 
  recover quicker than others, halting the bleeding 
  quickly and managing to carry on. Some very 
  special individuals can heal major injuries, even 
  regrowing limbs, within moments. This doesn’t 
  make them immortal (they can still be killed 
  if they receive too much damage) but if they 
  survive, the injuries they sustain heal themselves 
  at a remarkable rate.
  Effect: Fast Healing is either a Major Trait, or 
  a Special Trait, depending upon the speed of 
  recovery. As a Major Good Trait, the character 
  will heal any damage they have sustained 
  quicker than a normal person. Any Attribute 
  Points they have lost due to injury are regained at 
  a rate of 1 point per hour. This is fast, but not too 
  unbalancing for the game. You may still have to 
  rationalise why your character can heal quickly 
  with the Gamemaster before you can take this 
  Trait.
  However, as a Special Good Trait, the Attribute 
  Points lost are recovered at a rate of 1 point per 
  minute! Bullet wounds heal over before your 
  eyes and lost limbs are regrown. This is a very 
  rare Trait, though some creatures have been 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  22
  Chapter tWO: the ChilDreN Of time 
  
  known to recover this quickly 
  (and, of course, Captain Jack 
  Harkness can heal from lethal 
  injuries within minutes, combined 
  with his ‘Immortal’ Trait). They 
  can still be killed as normal if 
  three or more of their Attributes 
  are reduced to zero or lower 
  or hit by a Lethal attack, but 
  they will quickly recover from 
  most damage that isn’t fatal. 
  As a Special Trait, this costs 6 
  Character Points, as well as 6 
  Story Points.  Having a character 
  recover this quickly is certainly 
  not natural, and the reason for 
  their ability should be discussed 
  with the Gamemaster before you 
  are allowed to purchase this Trait.
  Friends (Minor or Major Good 
  Trait)
  The Friends Trait can mean a 
  variety of things, but essentially 
  the character has people they 
  can call upon for information 
  or help. This can mean they 
  have reliable friends who 
  can help them out (maybe 
  they know someone who has 
  some political pull or is well 
  respected in the community), 
  contacts within an institution 
  (do they know someone who 
  works in UNIT or Torchwood?), or 
  someone who can supply information 
  (a dodgy guy who keeps finding out things that 
  the public aren’t mean to know) or something 
  like that. Friends can be either a Minor or a 
  Major Trait, depending upon how informative or 
  helpful the friend(s) in question are!
  Above all, the Trait will not replace investigating 
  something yourself. After all, where’s the fun 
  if you get other people to do all the sneaking 
  around and research for you? However, these 
  Friends are a great source of information on 
  the background of a place or person that may 
  take a while to uncover, while your character is 
  busy doing something else. This can also be an 
  excellent source of fresh and new adventures 
  as the friend tips them off when something is 
  happening.
  Effects: As a Minor Trait, Friends means that 
  they know someone who knows someone – a 
  ‘friend of a friend’, but the source (and their 
  information) is usually reliable. It may be that 
  they know a friend who works in the local 
  newspaper or council office who hears things as 
  they’re reported and can steer the character in 
  the direction of strange events. As a Major Trait, 
  the person in the know is far more reliable, the 
  information is accurate, or their contact may be 
  leaking information from somewhere like UNIT 
  or even Torchwood. Their contact may be putting 
  themselves at risk to get the information to the 
  character, but it’s unlikely to be discovered. 
  It should be noted that away from their home 
  planet, unless their Friends are time and space 
  travellers, this Trait cannot be used where the 
  friends cannot help them.
  Good Traits
  Animal Friendship  21
  Attractive  21
  Boffin  21
  Brave  21
  Charming  22
  Empathic  22 
  Face in the Crowd  22
  Fast Healing  22
  Friends  23
  Hypnosis  24
  Indomitable  24  
  Keen Senses  24
  Lucky  24
  Owed Favour*  25
  Photographic 
  Memory  25
  Psychic Training  25
  Quick Reflexes  26
  Resourceful 
  Pockets  26
  Run for your Life!  26
  Screamer!  26
  Sense of Direction  26
  Technically Adept  26
  Time Traveller*  27
  Tough  27
  Voice of Authority  27
  For easy reference, the Traits are listed below with page references.
  list of traits in order
  Bad Traits
  Adversary*  28
  Amnesia  28
  Argumentative  28
  By the Book  29
  Clumsy  29
  Code of Conduct  29
  Cowardly  29 
  Dark Secret  30
  Dependency  30
  Distinctive  30
  Eccentric  31
  Forgetful  31
  Impaired Senses*  31
  Impulsive  32
  Insatiable 
  Curiosity  32
  Last of My Kind  32
  Obligation  32
  Obsession  32
  Outcast  33
  Owes Favour*  33
  Phobia*  33
  Selfish  34
  Slow Reflexes  34
  Technically Inept  34
  Unadventurous  34
  Unattractive  35
  Unlucky  35
  Weakness*  35
  Special Traits
  Alien  36
  Alien Appearance  
  (Gamemaster’s Guide 
  p.111)
  Clairvoyance  36
  Cyborg  36
  Experienced*  37
  Fast Healing  37
  Fear Factor  
  (Gamemaster’s Guide 
  p.113)
  Feel the Turn of the 
  Universe  37
  Hypnosis  37
  Immortal  37
  Inexperienced*  38
  Precognition  38
  Psychic  39
  Robot  39
  Telekinesis  39
  Telepathy  40
  Time Agent  40
  Time Lord  40
  Time Lord 
  (Experienced)*  41
  Vortex  42
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  Hypnosis (Minor/Major/Special Good Trait)
  The Doctor has been known in the past to use 
  a bit of hypnotism to calm a savage beast, and 
  to help people to remember things, putting 
  them in a calm and relaxed state. Of course, the 
  Master’s use of hypnosis and mesmerism had 
  an entire country, then the entire world, seduced 
  to his charm, with a simple hypnotic rhythm 
  that subliminally said ‘Vote Saxon’, thanks to 
  amplifying his powers through the Archangel 
  Network.  Hypnosis as a Minor Good Trait means 
  the character can put people into a mild hypnotic 
  state. We’re not talking mind control here, just 
  that the character knows some basic hypnotic 
  techniques – a tone of voice, a calm way of 
  talking – that can calm people down and possibly 
  get them to do what you want. As a Major Good 
  Trait, you’re verging on complete mind control, 
  and not the sort of thing a companion would do. 
  That’s best left to the Master and other villains.
  Effect:  As a Minor Trait, Hypnosis adds a +2 
  bonus to any social interaction where you’re 
  trying to either calm someone down, or to get 
  them to do what you’d like. It’s dependent upon 
  the situation of course, the Gamemaster may 
  not allow it if you’re in the middle of a battlefield. 
  Usually, there should be few distractions, and 
  the target and the hypnotist should be able to 
  hear and see each other, unless there is some 
  advanced or alien technology involved. The 
  target can resist (see ‘Being Possessed’, p.71). 
  The Major Trait works the same way, but if the 
  character succeeds in hypnotising the subject, he 
  can make them do anything he wants. The only 
  restriction is making the target do something 
  intrinsically against their nature (such as harm 
  a friend or themselves) – in this case, the target 
  can make another roll to resist (with a +3 bonus) 
  to snap out of their hypnotic state, waking to 
  wonder what they were doing. No matter what, 
  they cannot be hypnotised into killing themselves 
  – the survival instinct is too strong (as seen 
  with the Sycoraxian ‘Blood Control’).
  The Special version of this Trait 
  costs 3 points and effectively 
  allows the character to possess 
  another person. This can be 
  full mind-control to actually 
  leaving their body to inhabit 
  someone else. This is level is 
  reserved for alien or special 
  characters and not usually for 
  normal player characters.
  Indomitable (Major Good Trait)
  That’s the human race all ‘round...  indomitable. 
  In this case, the character has determination and 
  an iron will, meaning they are better at resisting 
  mind control and hypnosis. They have something 
  that grounds them, reassures them of who they 
  are and protects their minds against invasion or 
  becoming a mindless puppet.
  Effects: The Indomitable Trait gives the 
  character a +4 bonus to any rolls to resist 
  becoming possessed or hypnotised, psychically 
  controlled or similar. In many ways, this Trait 
  can also be used to avoid being convinced out of 
  their course of action – for example, say Donna 
  was determined to go off by herself despite the 
  Doctor’s warnings that it is dangerous and likely 
  to get her killed. If the Doctor tried to convince 
  her to stay, her Indomitable nature would help 
  her to remain single-minded and determined to 
  do as she wants, even if it isn’t the best idea in 
  the world.
  Keen Senses (Minor/Major Good Trait)
  The character is very aware of their 
  surroundings. Whether they have a keen eye for 
  detail and noticing when something is wrong, or 
  a nose for a particular scent, they are particularly 
  perceptive and this is always a good thing when 
  tracking or encountering alien intruders.
  Effects: The Keen Senses Trait awards a +2 
  bonus to Awareness rolls. As a Minor Trait the 
  player should specify which of the character’s 
  senses is particularly keen. In this case, the 
  bonus only applies to the use of that one sense, 
  whether it is sight, hearing, smell, touch, taste or 
  that elusive sixth sense. Only one sense can be 
  chosen – more than one, and it’s the Major Trait. 
  As a Major Trait, the +2 bonus applies in any 
  instance when using Awareness to notice or spot 
  something, no matter what sense is being used.
  Note: Cannot be taken with the Impaired 
  Senses Bad Trait in the same sense, although 
  different ones can be taken. For example, you 
  could have keen vision, but be hard of hearing.
  Lucky (Minor Good Trait)
  Lady Luck is on your side. Call it a fluke, call it 
  chance, but fortune is smiling on you. The traffic 
  lights changed just at the right moment to give 
  you chance to get through, you just managed to 
  roll under the blast doors before they closed and 
  you flicked the right switch to restart the ship’s 
  engines. It must be your lucky day!
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  Chapter tWO: the ChilDreN Of time 
  
  Effect: The character is Lucky! Simple as that. 
  If you roll two ‘1’s on your dice, ‘snake-eyes’ as 
  they call ‘em in Vegas, you’re probably going to 
  fail. At least normally. Characters with the Lucky 
  Trait get a second chance when double ‘1’s are 
  rolled, and you can re-roll both dice, trying for 
  something better. If you get double ‘1’s again, 
  well, your luck obviously doesn’t run that far. It 
  doesn’t guarantee a success on your second roll, 
  but there’s a better chance that fate will shine 
  upon you.
  Owed Favour* (Minor/Major Good Trait)
  Someone out there owes you a favour. It can be 
  anything from a sum of money, repaying you for 
  introducing them to their future wife, or even 
  saving their life. Whatever it was, they’re not 
  going to forget it, and just when you’re in need 
  they can be called upon to help out in a dire 
  situation.
  Effect: As a Minor Trait, the favour is something 
  relatively small – a small amount of money (up to 
  £1000), introducing someone to them at a party 
  who later became a valuable business client or 
  romantic partner, or you bailed them out when 
  they were in trouble. As a Major Trait, the favour 
  is more important, a large amount of money 
  (over £10,000) to saving their life. If appropriate, 
  you may opt to call in the favour and seek 
  assistance in the current adventure. Of course, 
  if the favour you call in is bigger than the debt 
  in the first place, they may walk off afterwards 
  saying “we’re quits, don’t call on me again”, or 
  you could even end up owing them a favour!
  Photographic Memory (Major Good Trait)
  With just a few seconds of concentration, the 
  character can commit something to memory to 
  be instantly recalled when the time is important. 
  People with the Photographic Memory Trait 
  rarely have problems passing exams, and can 
  remember exact lines from books.
  Effect: The Photographic Memory Trait can 
  be used in a couple of different ways. If the 
  character knows they’re going to have to 
  remember something at a later time, such as 
  the combination to a lock or the instructions to 
  program a computer, they can spend a moment 
  to take the information in and commit it to 
  memory. If they want to recall the information, 
  they can without having to roll, but they must 
  have declared that they’ve taken the time to 
  concentrate and remember it at the time.
  Similarly, if they want to remember something 
  that they haven’t actively committed to memory, 
  there’s a chance it may be stored in there 
  somewhere along with last week’s shopping list 
  or what time that film they wanted to watch is 
  on. To recall something vital that they may have 
  glanced at or possibly missed altogether, the 
  player can spend a Story Point to remember.
  Note: Cannot be taken with the Forgetful Bad 
  Trait.
  Psychic Training (Minor Good Trait)
  Don’t you just hate it when you wave your Psychic 
  Paper at someone and they don’t see anything? 
  Torchwood operatives all had basic Psychic 
  Training that meant they were able to protect 
  themselves from mental coercion or deception. 
  The training meant that they were aware of 
  psychic attack, trickery or memory alteration 
  and could put up some basic defences to protect 
  themselves. This can be as simple as imagining 
  a plain white wall, to repeating a Beatles tune in 
  your head – the technique allows the operative to 
  resist the manipulation.
  Effects: This Minor Trait gives the character a 
  +2 bonus to Resolve rolls when trying to resist 
  psychic attack or deception. It doesn’t always 
  work, but it is strong enough to resist a low level 
  telepathic field such as that of Psychic Paper.
  DOCtOr WhO: aDveNtures iN time aND spaCe
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  Quick Reflexes (Minor Good Trait)
  The character is fast to act when things happen, 
  reacting to situations almost instinctively. It 
  doesn’t mean they cannot be surprised – if 
  they don’t know something’s coming they can’t 
  react to it – but when something attacks or falls 
  towards them, they’re often the first to react to it.
  Effects: In a conflict situation, when they 
  haven’t been taken completely by surprise, the 
  character is assumed to always go first when 
  acting at the same time as others. They won’t 
  always go first in a Round, but if two or more 
  people are acting in a single phase (such as 
  Talkers, Runners, etc.), the person with Quick 
  Reflexes goes first. If more than one person in a 
  phase has the Quick Reflexes Trait, the character 
  with the higher relative Attribute goes first, 
  with the Attribute depending upon the Conflict. 
  For more information on Conflicts, actions and 
  Rounds, see p.58. 
  Note: Cannot be taken with the Slow Reflexes 
  Bad Trait.
  Resourceful Pockets (Minor Good Trait)
  The Doctor has said that he has pockets like the 
  TARDIS, and he does seem to carry some strange 
  things around in there. Sometimes people just 
  have that knack of accumulating things – nothing 
  terribly important or bulky, but little things 
  that can be useful when you have to MacGyver 
  something together at a time of peril. If you have 
  the Resourceful Pockets Trait there’s a chance, 
  albeit a slim one, that you may have something 
  useful in them that could get you out of a sticky 
  situation. Remember, Resourceful Pockets 
  doesn’t necessarily mean ‘Pockets’ – you could 
  have an excellent utility belt, and who knows 
  what can be found in a handbag.
  Effects: You can either spend a Story Point and 
  find the thing you need or roll a couple of dice. If 
  you get a ‘double’, for example rolling two ‘1’s or 
  two ‘3’s, then you find something helpful in your 
  pocket, from a cricket ball to a clockwork 
  mouse. Of course it may not be exactly 
  what you were expecting, but it may 
  be useful in some way.
  Run for your Life! (Minor 
  Good Trait)
  There are many times when 
  the opposing forces are too 
  numerous or just too powerful 
  to take down at the present time. 
  The best thing you can do is to flee, 
  run for your life and regroup to plan a new angle 
  of attack. You’ve obviously got this running thing 
  down to a fine art and when danger is behind you 
  there is that extra motivation to simply scarper!
  Effects: This Trait means you’re better at 
  running away from danger, usually due to all the 
  practice you have! When in a chase situation (see 
  p.55 in the Gamemaster’s Guide), you receive a 
  +1 bonus to your Speed when you’re fleeing (not 
  pursuing) - running for your life!
  Screamer! (Minor Good Trait)
  Not usually one for the gentlemen, unless they 
  have a history of screaming like a girl at the sight 
  of dead rats, Screamer is a Minor Good Trait that 
  means your character certainly has a good set of 
  lungs. They’ve been known to scream in the face 
  of terror on many occasion and this ear splitting 
  scream will penetrate miles of corridor to alert 
  others to their location and the threat.
  Effects: At times when they are scared or 
  threatened, the character can scream their lungs 
  out. No roll is necessary, and anything or anyone 
  else in the room will be stunned and will be 
  unable to act for their next action. The Screamer 
  should take their next action running away while 
  the enemy is stunned – they are rarely brave 
  enough to do anything else.
  On the downside, Screamers usually gain this 
  Trait from being easily scared. The Screamer 
  Trait can’t be taken with Brave and the character 
  will not receive any bonuses when trying resist 
  getting scared (see ‘Getting Scared’ on p.70).
  Sense of Direction (Minor Good Trait)
  The are some people who just cannot read maps, 
  and there are some who instinctively know the 
  easiest way to get from one place to the next. 
  It may be a labyrinthine maze of streets and 
  identical houses, but characters with the Sense 
  of Direction Trait rarely seem to get lost, or can 
  usually find a quick solution if they do.
  Effects: This Trait gives the character a +2 
  bonus to any roll (usually Awareness and 
  Ingenuity) to regain their direction when lost, 
  or to simply work out how to get from A to B. 
  This can be map reading, running through a 
  maze of packing crates while being chased by a 
  mechanical crane claw, or simply knowing which 
  way is up while spinning in zero gravity.
  Technically Adept (Minor Good Trait)
   You have an innate connection to technology, and 
  technology is your friend. Your guesses usually 
  DOCtOr WhO: aDveNtures iN time aND spaCe
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  Chapter tWO: the ChilDreN Of time 
  
  turn out to be correct and you can fix things just 
  by hitting them! You’re skilled enough to operate 
  and repair most things with limited tools, taking 
  half the time it normally takes. Often, if the 
  device stopped working within thirty minutes, you 
  can restart it just by thumping it. It may not last 
  long, but long enough...
  Effect: The Technically Adept Trait provides 
  the character with +2 to any Technology roll to 
  fix a broken or faulty device, and to use complex 
  gadgets or equipment. The bonus also applies to 
  any gadget-creating jiggery-pokery.
  Note: Cannot be taken with the Technically 
  Inept Bad Trait.
  Time Traveller* (Minor/Major Good Trait)
  The Time Traveller Trait means that your 
  character is experienced with technology and 
  society of time periods different to their own. 
  You’ll have to define your character’s home 
  Technology Level (see p.49) when you finish 
  off your character, and using technology from 
  outside of your experience may impose penalties 
  as you’re unfamiliar with the way it works. The 
  Time Traveller Trait means that you’re used 
  to some time periods and can operate the 
  technology with little or no penalty.
  The Time Traveller Trait reflects how much 
  actual travelling in time the character has done, 
  and can be used as a rough indicator of how 
  much background Artron Radiation they have 
  picked up from travelling the Vortex. While this 
  isn’t actually harmful, some alien races have 
  been known to target individuals that have high 
  Artron levels to fuel or activate some technology.
  Effect: When you purchase the Time Traveller 
  Trait, you should select the Technology Level 
  you are familiar with. You automatically have 
  familiarity with your home Tech Level, but this 
  Trait is checking on other levels you’re capable 
  of using. Lower Technology Levels to your home 
  are Minor Good Traits, whereas more advanced 
  Technology Levels are Major Good Traits. 
  Technology Levels do not come into play all of 
  the time, after all a gun is a gun and a socket 
  wrench is a socket wrench, but there are times 
  when technology is so advanced or primitive 
  that your character may feel out of place. More 
  information on interacting with technology out 
  of your experience can be found on p.80. This 
  Trait can be purchased more than once, and the 
  Gamemaster may award this Trait to you during 
  play if you become particularly familiar with a 
  certain Tech Level.
  Tough (Minor Good Trait)
  Not everyone can take a punch on the nose and 
  brush it off as if nothing had happened. Few 
  people can take getting shot or starved, tortured 
  or wounded in the course of their everyday lives. 
  However, people with the Tough Trait are just 
  that. They’re used to the adventure, can take the 
  knocks and brush it off.
  Effect:The Tough Trait reduces the amount of 
  injury a character sustains if wounded during 
  the course of the adventure. Tough reduces 
  the amount of damage that would normally be 
  deducted from the character’s Attributes by 2. 
  This is after any other effects, such as armour, 
  are taken into account.  For example, Mickey 
  (after his return from “Pete’s World”) is certainly 
  tougher than before, and has the Tough Trait. 
  He fails during a Conflict with a Cyberman, but 
  not badly enough to kill him. He’d normally be 
  told to knock 4 points off of one or more of his 
  Attributes to reflect his injury, but his Tough Trait 
  reduces the damage by 2.  Now he only has to 
  take 2 points off his Attributes. A wound all the 
  same, but not as bad as it could have been.
  Voice of Authority (Minor Good Trait)
  When you talk, people listen to you. It might be 
  because you were once a figure of authority – a 
  doctor, politician, military commander or in the 
  police force. Thanks to this, people will pay more 
  attention to you when you talk to them. This is 
  especially handy when you’re trying to clear an 
  area because of some approaching danger, to 
  order people about or simply try to gain their 
  trust.
  DOCtOr WhO: aDveNtures iN time aND spaCe
  27
  
  Effect: This is a Minor Trait and provides the 
  character with a +2 bonus to Presence and 
  Convince rolls to try to get people to do as you 
  like or to gain their trust. The Gamemaster may 
  modify this to suit the situation.
   BaD traits
  Adversary* (Minor/Major Bad Trait)
  You’re liable to make a lot of enemies when 
  you’re trying to stop the evils of the universe 
  from getting their own way. Sometimes, these 
  enemies make a point of disrupting your plans, 
  even plotting for weeks to capture or kill you 
  and your allies. The Doctor has made many 
  enemies in his travels, but a few of them recur 
  enough to warrant a whole Trait to themselves. 
  The Adversary Trait means that the character 
  has made an enemy in the past who is actively 
  trying to hinder them whenever possible. The 
  key word here is ‘actively’. For example, the 
  Master established himself as Harold Saxon, 
  employed Tish, gave Professor Lazarus the 
  technology he needed to conduct his research, 
  designed the Valiant, and while a lot of this was 
  to build his ‘New Time Lord Empire’, some of his 
  ‘masterplan’ involved harming or plotting against 
  the Doctor and his associates.
  Effect: Adversary can be a Minor or a Major Bad 
  Trait depending upon the power and frequency 
  of the Adversary’s appearance. For example, 
  the Doctor’s good at scuppering the plans of 
  the Slitheen, but Margaret (Blon Fel Fotch) 
  wasn’t actively trying to get her own back on the 
  Doctor – he just inconveniently got in the way of 
  her plans. She doesn’t count as an Adversary 
  on her own, but if other surviving members 
  of the Slitheen decided to get involved, they’d 
  count as a Minor Adversary Trait. They’re not too 
  powerful, unlikely to appear every campaign, but 
  may appear as recurring villains (and certainly 
  have to the dismay of Sarah Jane Smith). 
  A fairly powerful villain who makes an 
  appearance every campaign such 
  as the Daleks would count as a 
  Major Adversary. They just keep 
  surviving and coming back. 
  While they don’t go out of 
  their way to hunt the Doctor 
  down (although they have in the 
  past), they’re a tough enemy to 
  face and they keep appearing.
  Amnesia (Minor/Major Bad Trait)
  Memory is a fragile thing that can easily be 
  manipulated or lost entirely. The Amnesia Trait 
  means that some or even all of the character’s 
  memories have gone. This could be deliberate, 
  with the memories erased by those with the 
  proper technology (such as the Time Agency or 
  Torchwood), or accidental, but the memories are 
  gone and the character has ‘holes’ in their past. 
  They may return in time, with the right triggers, 
  but for the time being there are gaps in their 
  memories they know nothing about.
  Effect: As a Minor Bad Trait, Amnesia means 
  that the character has lost a portion of their 
  memory. It could be as small as a couple of 
  days, weeks or even a couple of years, but the 
  character (and the player) will have no idea of 
  what happened to them in that time. As a Major 
  Bad Trait, this Amnesia is total, the character 
  having no memory of their past, or even who 
  they really are. Events, sights, sounds or even 
  smells can trigger memories of their lost time, 
  and this is a great source of adventure ideas 
  for the Gamemaster – over many adventures 
  the character can uncover more and more of 
  their ‘lost time’. Of course, this adds to the work 
  the Gamemaster has to do, coming up with the 
  character’s lost memories, so the Amnesia Trait 
  should be approved by the Gamemaster before 
  purchasing it.
  Argumentative (Minor Bad Trait)
  Some people just think they’re right all the time, 
  even when they’re not. Some even provoke an 
  argument just for arguing’s sake. Characters 
  with the Argumentative Trait are like this and 
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  Chapter tWO: the ChilDreN Of time 
  
  will argue their point of view even if it puts their 
  life in danger. They may not know when to back 
  down from their arguing, whether this is with 
  their teammates or with the leader of an invading 
  alien fleet. However, they don’t start arguments 
  all the time – that would make the character (and 
  the player) impossible to be around, but when 
  someone contradicts their opinion or knowledge, 
  they will actively try to correct them.
  Effect: Argumentative is a Minor Trait, so 
  it shouldn’t get in the way too much of their 
  normal behaviour. However, they will find it 
  difficult to hold their tongue when their opinion 
  or knowledge is contradicted. If this situation 
  arises, the Gamemaster will reward the ‘playing 
  in character’ with Story Points. If the argument 
  gets too heated and things look desperate 
  enough that it may end in a fight, the character 
  may try to back down to save themselves (and 
  the others in their group), but they will have to 
  make an Ingenuity and Resolve roll, with a -2 
  modifier, to try to hold their tongue from making 
  matters even worse.
  By the Book (Minor Bad Trait)
  I’m sorry, I can’t let you do that. Protocol 
  clearly states that you must follow the correct 
  procedure when you are opening a dialogue with 
  a potentially hostile species. I really shouldn’t 
  let you do that at all. Look, if you want to go that 
  way and ignore the signs, then be my guest. 
  I, however, will be following the arrows to the 
  nearest escape hatch while putting on my 
  lifejacket.  
  Effect: By The Book is a Minor Bad Trait, and 
  means the character will follow instructions, 
  advice, or correct procedure to the letter without 
  deviating. Soldiers with intensive military 
  training often emerge with the By The Book Trait, 
  following the orders of the commanding officer 
  without question. It doesn’t mean the character 
  is a mindless drone, but it does mean that it may 
  take some serious convincing to get them to 
  go against their training or orders. If someone 
  trying to convince them otherwise, their natural 
  instinct is to resist such radical notions. When 
  resisting, they will usually make an Ingenuity 
  and Resolve roll, and the By The Book Trait gives 
  them a +2 bonus to the roll. This is a bonus, 
  despite it being a Bad Trait, as most of the time 
  failing to show initiative and going against orders 
  will result in putting themselves in danger, or 
  becoming a little annoying to their teammates. 
  The bonus does, however, also apply when trying 
  to resist Hypnosis or Possession if the mental 
  control is trying to get them to do something 
  they’d normally refuse to do.
  Clumsy (Minor Bad Trait)
  Sometimes, it seems as if you’re unable to keep 
  hold of things and you keep tripping over the 
  smallest hazard. Just don’t expect to be handed 
  that pocket universe suspended in the glass 
  chamber.
  Effect: Clumsy is a Minor Bad Trait, but it 
  doesn’t mean the character will pratfall every 
  five minutes. It does mean that in times of stress, 
  especially when being chased, the character 
  will have to make additional Awareness and 
  Coordination rolls to avoid knocking vital things 
  over, dropping the vial of toxic chemicals or 
  tripping up and landing on their face.
  Code of Conduct (Minor/Major Bad Trait)
  The Code of Conduct Trait means that your 
  character adheres to a strict moral standing or 
  self imposed set of rules they follow at all times. 
  Depending upon whether it’s a Minor or Major 
  Trait, this can be purely guidelines or a deep-
  seated way of life. The Doctor has a strict Code 
  of Conduct, as he believes all life is precious and 
  would even offer his hand of forgiveness and help 
  to a Dalek or the Master. While this is listed as 
  a Bad Trait, it doesn’t mean that having a Code 
  is Bad; just that it can restrict your actions and 
  limit your choices. Being good is often the harder 
  option, but it means you’re a better person for it.
  Effect: As a Minor Trait, Code of Conduct means 
  that the character tries to do good at most times, 
  and are unable to harm another being unless 
  it is absolutely necessary and for the greater 
  good. As a Major Trait, their code limits their 
  actions dramatically, meaning they strive to do 
  their best at every moment, almost verging on 
  the saintly!  Discuss the character’s own unique 
  Code of Conduct with the Gamemaster when you 
  take this Trait. Breaking it may be very costly, 
  resulting in the loss of Story Points!
  Cowardly (Minor Bad Trait)
  Facing those monsters, some people become 
  hardened to the scares and the shocks. Others, 
  however, become nervous wrecks. Cowardly 
  is a Bad Trait reflecting the character’s lack of 
  natural courage, and means they will usually 
  avoid dangerous situations unless it means 
  that staying where they are is even more life-
  threatening!
  DOCtOr WhO: aDveNtures iN time aND spaCe
  29
  
  Effect: The Cowardly Trait reduces the 
  character’s chance to resist getting scared, 
  suffering a -2 penalty to any roll when they need 
  to resist running away screaming! (See “Getting 
  Scared” on p.70).
  Note: Cannot be taken with the Brave Good 
  Trait.
  Dark Secret (Minor/Major Bad Trait)
  The character has a skeleton in the closet and if 
  it’s revealed it could change the way people think 
  about them. It could be something mundane, 
  such as a criminal record that they’re trying to 
  gloss over after turning their back on a life of 
  crime. Or it could be something more extreme, 
  that the character is actually an alien (though the 
  Alien Trait should be taken as well, see p.36) or 
  the result of some strange genetic experiments 
  conducted by the US Government. It’s probably 
  best to discuss with the Gamemaster what the 
  Dark Secret actually is, possibly before you start 
  creating your character with your friends, just so 
  you really do have a secret to keep from the other 
  players – you may not want to write it on the 
  character sheet, so they can’t look at it and see 
  what you’ve been hiding!
  Effect: Dark Secret can be either a Minor or 
  a Major Bad Trait, depending upon the severity 
  of the reaction should the secret be revealed. 
  Something that would change the way people 
  think about you is a Minor Trait. If a more hostile 
  reaction would result, not necessarily from your 
  companions but certainly from others, it would 
  be a Major Trait. For example, having a criminal 
  record would usually be a Minor Trait. If people 
  found out about it, they may not like you any 
  more, or certainly act more cautiously around 
  you. If you’re an escaped criminal, that would be 
  a Major Trait. If people discovered your secret 
  you could be arrested and imprisoned again, 
  or shot at by the law enforcement agency. Your 
  companions may be sympathetic, knowing you’ve 
  changed your ways, but it doesn’t stop the 
  Judoon or the local police from hunting 
  you once you’ve been discovered. 
  Remember, for it to warrant 
  being a Major Bad Trait, the 
  secret should still have some 
  ramifications if you are away 
  from your home planet.
  Dependency (Minor/Major Bad 
  Trait)
  Sometimes you just rely on others. 
  It could be said that the Doctor’s companions 
  are all dependent upon him, but there have been 
  many times when they’ve shown that they are 
  easily his equals, if not more, so they’re far from 
  dependent. Having the Dependency Trait means 
  they are dependent upon something or someone 
  to survive. Maybe this is blood like a Plasmavore 
  or even the support of others, like Lady 
  Cassandra. The level of the trait determines how 
  desperate they will get, and how bad the effects 
  will be, if they can’t get their fix. Dependency is a 
  Bad Trait and gives the character more points at 
  character creation, but players should be careful 
  not to take such a high Dependency that their 
  character becomes too difficult to play.
  Effect: As a Minor Bad Trait, the Dependency 
  isn’t too debilitating. They can go for extended 
  periods without their needs getting in the way. 
  If the Gamemaster decides it’s appropriate, 
  the character may suffer a -2 penalty to their 
  actions. However, as a Major Trait, they are 
  unable to survive without their dependency. It 
  could be that they need something to survive 
  like blood, or moisture. If they go without it for 
  any period of time (defined by the Gamemaster 
  and the player) they suffer a -4 penalty to every 
  action. This could be because they’re unable to 
  think of anything else, or because they’re unable 
  to act properly without help.
  Distinctive (Minor Bad Trait)
  There is something very striking or obvious 
  about the character that makes them stand out 
  in the crowd. Whether they are just tall, short, 
  have coloured hair or are just striking in their 
  appearance, they get noticed and people seem 
  to remember them. They’re not going to provoke 
  people pointing and staring, but they’ll certainly 
  be remembered and recognised if encountered 
  again. This doesn’t mean ‘Alien’ in appearance – 
  for example if Bannakaffalatta walked around on 
  modern Earth he’d provoke a far more extreme 
  reaction than the Distinctive Trait, he’d have 
  the Alien Appearance Trait (see p.111 in the 
  Gamemaster’s Guide).
  Effect: This is a Minor Bad Trait and works in 
  a couple of ways. If the character is trying to 
  ‘blend in’ or go unnoticed in a crowd, if a roll 
  is required they will receive a -2 penalty to the 
  result. Also, if they’re seen doing something, or 
  if another character or NPC is asked to describe 
  or remember the distinctive character, they will 
  receive a +2 bonus to remember or recognise 
  them after their initial encounter.
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  Chapter tWO: the ChilDreN Of time 
  
  Note: Cannot be taken with the Face in the 
  Crowd Trait.
  Eccentric (Minor/Major Bad Trait)
  People can be a little odd sometimes. They 
  may have an unpredictable personality, rapidly 
  switching from jovial and buoyant to grim 
  and reflective. They could think too highly 
  of themselves, feeling infinitely superior to 
  everyone else. They may be loners, hiding away 
  from everyone, and unwilling to get too attached 
  to anyone. Whatever the behaviour, they aren’t 
  your usual level-headed individual. Most of the 
  time, this is a Minor Bad Trait, as their behaviour 
  isn’t too upsetting. The Doctor can be a little 
  cruel sometimes, not knowing when to stop, and 
  he can be a little eccentric. His ninth incarnation 
  could flick from dark and brooding to a grinning 
  loon in a flash, leaving people unsure of what 
  sort of mood he was in. As a Major Bad Trait, it’s 
  probably too unpredictable to be purchased by 
  a player character. We’re getting into seriously 
  wacky territory, sometimes a little dangerous to 
  be around. The Master’s incarnation as Harold 
  Saxon is a prime example of someone with the 
  Major Eccentric Trait, straying into unpredictable 
  behaviour with little provocation. But just 
  because the character has a Major Eccentric 
  Trait, it doesn’t mean they’re homicidal. That’s a 
  whole different story and for villains only.
  Effect: The specifics of the character’s 
  Eccentric Trait should be discussed with the 
  Gamemaster at character creation. Just how 
  does this behaviour manifest? Are they aloof, a 
  loner, irrational, tangential, a natural clown, a 
  sour-puss? Once their odd behaviour is defined, 
  the Gamemaster and the player will decide how 
  this behaviour is triggered. Is it when they’re 
  stressed, cross, happy, jealous, or tired? It is 
  then down to the player to act in character when 
  the situation arises. Failing to do so will mean 
  the Gamemaster will not reward the player with 
  Story Points for good roleplaying.
  Forgetful (Minor Bad Trait)
  Rather than the lack of memory that Amnesia 
  brings, Forgetful means that your memory is less 
  than reliable.  It usually isn’t too drastic if you 
  don’t remember everything on the shopping list 
  when you’re standing in the supermarket, but if 
  you’ve got to remember which wire to cut to stop 
  a bomb, or the precise words to use to prevent 
  an incident, there’s a good chance you’re going to 
  forget and it could be a disaster.
  Effect: When the character needs to remember 
  something vital, an Ingenuity and Resolve roll 
  is required with a -2 penalty. If the information 
  is particularly complicated, such as an entire 
  monologue from Shakespeare, the Gamemaster 
  may increase the penalty.
  Note: Cannot be taken with the Photographic 
  Memory Trait.
  Impaired Senses* (Minor/Major Bad Trait)
  The Impaired Senses Trait means that the 
  character is lacking in one of their senses. 
  Whether this is the need for glasses, a hearing 
  aid or being colour blind, the sense is less 
  sensitive than the average person’s. When 
  selecting this Trait, the player should choose 
  which sense is affected.
  Effect: The player should discuss with the 
  Gamemaster and choose which sense is effected, 
  as well as the severity of the impairment. 
  Minor Bad Traits would be: no sense of smell, 
  colourblind, no sense of taste, needing to wear 
  glasses or needing a hearing aid. The last two 
  don’t really affect the character, but without their 
  glasses or hearing aid, Awareness rolls using 
  these senses suffer a -2 penalty. The penalties 
  don’t effect the character all of the time, only 
  when there’s something to detect such as a 
  strange gas leak, needing to rewire a device with 
  different coloured wires, or losing their glasses. 
  Major Bad Traits would be losing a sense that 
  impacts on their everyday actions, such as 
  blindness or deafness. Though this may make it 
  difficult for them to get involved in major action 
  scenes and may be best suited for NPCs, or very 
  experienced players.
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  31
  
  Note: Cannot be taken with Keen Senses, 
  unless the Keen Sense is Minor and then in a 
  Sense that isn’t Impaired.
  Impulsive (Minor Bad Trait)
  “Why worry, it’ll be fine, let’s go!” Impulsive 
  people do not think things through very well 
  before acting and are likely to leap before they 
  look. It doesn’t mean they have a death wish, far 
  from it, it’s just that they do things on a whim and 
  usually regret it.
  Effect: There are no penalties or modifiers 
  for this Minor Bad Trait, but the player should 
  remember the impulsive nature of their 
  character and bring it into play when possible. 
  It shouldn’t make them take unnecessary risks, 
  but they will leap into a situation before they 
  have all of the facts, thinking they’re doing good. 
  Playing up to the Trait should be rewarded by 
  the Gamemaster if the situation and roleplaying 
  is suitable for the plot and the game. You could 
  make it a dramatic struggle, trying to resist the 
  urge to be impulsive (in which case, a -2 modifier 
  is applied to Ingenuity and Resolve).
  Insatiable Curiosity (Minor Bad Trait)
  A little like the Impulsive Trait, this really just 
  means that the character doesn’t know when to 
  stop themselves when it comes to their curiosity. 
  What was that down that hole? Where does that 
  corridor go, and what are those aliens up to? In 
  many cases, Insatiable Curiosity has been the 
  cause of many adventures (especially in Sarah 
  Jane Smith’s case).
  Effect: This is another Minor Bad Trait that 
  rewards playing in character and remembering 
  your curious nature. It is usually unhelpful, but 
  you simply have to know where or what is going 
  on, why something is happening or how it works. 
  It may put your life at risk, but it doesn’t make 
  you suicidal. You just take a few chances to find 
  things out. If you’re fighting the urge to press 
  that button, or open that door, you can 
  make a Ingenuity and Resolve roll, with 
  a -2 modifier to resist.
  Note: Cannot be taken with 
  the Unadventurous Bad Trait. 
  If the character gains the 
  Unadventurous Trait due 
  to injury (see p.73), then the 
  character would lose their 
  Insatiable Curiosity Trait as well 
  as gaining Unadventurous.
  Last of My Kind (Minor Bad Trait – Prerequisite: 
  Alien)
  “I’m not just a Time Lord, I’m the last of the Time 
  Lords.” Being you’re the last of your kind can be 
  a burden as well as lonely. To know that there is 
  no one else like you out there, and that an entire 
  race dies with you.
  Effect: Last of My Kind is a Minor Bad Trait, and 
  has the prerequisite of the ‘Alien’ Special Trait. 
  (Unless, during the course of your game, every 
  other human in the universe is wiped out…  but 
  that’s what the Doctor’s around for, to prevent 
  things like that happening!). As the last of your 
  kind, you often get moody and depressed, and 
  need the companionship of others to stop the 
  weight of the responsibility and loneliness from 
  getting too much. When travelling alone, the 
  depression can affect everything your character 
  does, imposing a -2 penalty on every action 
  unless engaged in combat. At particularly bad 
  times, the Gamemaster may impose this penalty 
  even when travelling with others – for example 
  when reminded of their situation, anniversaries 
  of the destruction of their homeworld, or similar.
  Obligation (Minor/Major Bad Trait)
  You have a duty to a group or organisation that 
  means you have responsibilities that need to 
  be upheld. Sometimes this is as simple as an 
  obligation to a government agency, such as UNIT 
  or Torchwood, to other forms of government or 
  even to secret orders and the military.  
  Effect: Obligation is a Minor or Major Bad Trait, 
  depending upon the responsibilities and the size 
  of the organisation the character is associated 
  with. A Minor Trait, Obligation would mean the 
  character belongs to a normal organisation. They 
  will not betray their allies and other members, 
  and would be willing to risk a lot for what they 
  believe in. As a Major Trait, Obligation means 
  the organisation is more important than the 
  character. They are always ‘on call’ and may not 
  have time for a personal life. Their dedication 
  is such that they’d be willing to lay down their 
  life for the organisation, and penalties for 
  disobedience or betrayal are severe.
  Obsession (Minor/Major Bad Trait)
  Some people are just obsessed with something. 
  It could be ensuring they always have clean 
  hands, or that they are constantly seeking 
  ways to become more powerful, to grander 
  schemes like total domination of the universe 
  or the obsession with becoming eternally young. 
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  Chapter tWO: the ChilDreN Of time 
  
  Having the Obsession Trait is rarely something 
  helpful, and this Bad Trait is uncommon in player 
  characters. This sort of fanaticism is best suited 
  to people like Professor Lazarus or the Master.
  Effect: As a Minor Bad Trait, it means the 
  character simply has an obsession, a bit like 
  Clive and his investigation into the Doctor. It 
  doesn’t creep into every part of their lives, but 
  it’s always there, itching at the back of their 
  minds. Their obsession isn’t strong enough to 
  be too troublesome, but there are times when 
  they simply have to do something because of 
  their compulsion. Often, this isn’t anything too 
  drastic, like switching the gas on and off again 
  before leaving a house, checking their emails 
  every hour or needing to wear a certain pair 
  of underwear on Wednesdays. As a Major Bad 
  Trait, the character is crazed with determination 
  to do something. Almost every action or plan is 
  designed to get them closer to achieving their 
  aim, whether this is galactic domination or 
  acquiring vast amounts of wealth.  At this level, it 
  is not suitable for player characters.
  Outcast (Minor Bad Trait)
  You’ve done something that has meant that a 
  section of society, or an entire race or planet, 
  has shunned you or views you with fear, dread 
  or loathing. It could be that you’ve offended 
  their beliefs, or committed a crime, or even just 
  made such a fool of yourself that these people 
  regard you with complete distain. You could have 
  spoken out about your extreme scientific belief in 
  aliens and been ridiculed in academic circles, or 
  shunned by the government agency you work for 
  and given an office in the basement.
  Effect: When taking Outcast as a Minor 
  Bad Trait, the player should discuss with the 
  Gamemaster what the character has done and 
  who regards them with such dislike or dismissal. 
  When anyone that would react negatively to their 
  presence encounters the character, they should 
  make an Awareness and Ingenuity roll initially to 
  recognise them. If the character is recognised, 
  they’ll suffer a -2 penalty on all social rolls (such 
  as trying to Convince or to even share their 
  knowledge). If the ‘something’ they’ve done is 
  more severe than this, they should take a Major 
  Dark Secret Bad Trait instead.
  Owes Favour* (Minor/Major Bad Trait)
  You owe someone out there a favour. It can be 
  anything from a sum of money, repaying them for 
  getting you a great job, or even saving your life. 
  Whatever it was, they’re not going to forget it, 
  and just when you least expect it, they can call on 
  you to repay the favour.
  Effect: As a Minor Trait, the favour is something 
  relatively small – a small amount of money (up 
  to £1000), introducing you to someone important 
  that furthered your romantic or business life, 
  or bailed you out when you were in trouble. As 
  a Major Trait, the favour is more important, a 
  large amount of money (over £10,000) to saving 
  your life. If the Gamemaster chooses, and if it 
  suits the plot, they may opt to call in the favour, 
  possibly even becoming an adventure in itself. 
  Of course, if the favour called in is bigger than 
  the first debt, it may be quits and this Trait may 
  be lost, or they could even end up owing you a 
  favour!
  Phobia* (Minor Bad Trait)
  Some people just don’t like spiders. Others, it’s 
  cats. Or heights, flying, llamas or cheese. Having 
  a Phobia Trait means that there is something 
  (that the player will define, usually with the 
  Gamemaster’s help) that they are afraid of. A 
  Phobia ignores the Brave Trait – the character 
  can be brave and courageous most of the time 
  but crumble in the face of their biggest fear! 
  Phobias can sometimes be gained during 
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  33
  
  the course of an adventure if the character 
  encounters something particularly scary that’ll 
  leave a lasting impression like giant rats or 
  clowns.
  Effect: The character is naturally going to 
  be cautious when their phobia is mentioned. 
  Just the mention of a mouse may have people 
  standing on chairs without even seeing a 
  whisker! However, this Trait usually comes into 
  action when they actually encounter their fear. 
  In this case, they’ll receive a -2 penalty to any 
  attempt to approach it or stay calm (see ‘Getting 
  Scared’ on p.70).
  Selfish (Minor Bad Trait)
  “But what is in it for me?”  It’s all about me. Me, 
  me, me, me, me. The character may go along 
  with the rest of the group, helping civilisations 
  out of trouble or rescuing people in danger, but 
  at the back of their mind is always the thought 
  that they may be able to get something out 
  of it. A reward, riches, the hidden treasure, 
  technological knowledge that they can sell on, 
  or just information about the future that they can 
  exploit.
  Effect: Selfish is a Minor Bad Trait that doesn’t 
  interfere too much with the way the character 
  acts – they’ll help and join in as usual – but there 
  may be times when they sneak off to see what 
  they can plunder or gain. Adam Mitchell has the 
  Selfish Trait – he saw the potential of becoming 
  rich from where he was, rather than helping the 
  Doctor and Rose uncover the secrets of Satellite 
  5.
  Slow Reflexes (Minor/Major Bad Trait)
  Some people are incredibly quick when it comes 
  to reacting to a situation. You can throw a ball at 
  them when they’re not looking and they’ll notice 
  at the last minute, spinning around and catching 
  it. People with the Slow Reflexes Trait are not 
  these kinds of people. You can throw a ball at 
  their face and it’ll hit them in the forehead 
  before they have chance to put their 
  hands up to catch it.
  Effect: As a Minor Bad Trait, the 
  person always goes last when 
  multiple people are acting at 
  the same time in a Round. 
  Others will always go first. 
  However, as a Major Bad Trait, 
  the character always goes last 
  in a Round (see p.58), going after 
  everyone else. They’re constantly 
  surprised by the events unfolding around them, 
  as they try to take in all the information and work 
  out what is the best course of action.
  Note: Cannot be taken with the Quick Reflexes 
  Good Trait.
  Technically Inept (Minor Bad Trait)
  You have a strange effect on technology – it 
  seems to hate you. Things break down as soon 
  as you touch them or even walk past them! Using 
  advanced technology is frustrating and annoying 
  to you. You can open a technological device to try 
  to fix it, but the mass of wires and welding is just 
  completely confusing and you hardly know where 
  to start.
  Effect: Technically Inept is a Bad Trait 
  which penalises any attempt to fix technology 
  or devices, or using particularly complex 
  technology, applying a -2 penalty to the roll. If the 
  Gamemaster thinks it is suitable to the story, an 
  electronic device being used by the character can 
  fuse or fail.
  Note: Cannot be taken with the Boffin or 
  Technically Adept Traits.
  Unadventurous (Minor/Major Bad Trait)
  The idea of exploring or seeing the world or the 
  universe just doesn’t seem to appeal. Why spend 
  money travelling across the world when you 
  don’t have anything to show for your expense 
  afterwards except some trinkets and fading 
  photographs? Sometimes, it’s just laziness, 
  fatigue or some bad experiences, but either 
  way the excitement and thrill of travelling or 
  experiencing the new just isn’t there, or has 
  faded.
  Effect: It is rare that characters have this Trait 
  at creation. The only obvious starting characters 
  with this Trait have been Mickey and Donna. 
  Mickey didn’t want to get in the TARDIS initially, 
  and despite being invited, Donna didn’t accept 
  the offer to travel with the Doctor after surviving 
  the Racnoss. However, both of these characters 
  realised what they were missing and leapt at the 
  opportunity to travel with the Doctor later.
  However, this Trait is often gained during play 
  due to repetitive injuries, being captured too 
  many times, or just growing tired of the constant 
  peril and relentless danger. If the Gamemaster 
  thinks the character is always getting 
  captured or injured, the character may gain 
  Unadventurous as a Minor Bad Trait. The player 
  can try to buy this off with good roleplaying (see 
  ‘Growing from the Experience’ on p.63 of the 
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  Chapter tWO: the ChilDreN Of time 
  
  Gamemaster’s Guide), but in the meantime they 
  are disinterested in some of the wonders of the 
  universe.
  This can grow to a Major Trait if they continue 
  to have bad experiences. Again, the player may 
  try to fuel the character’s interest, and buy off 
  the Trait, but it’ll soon become obvious that the 
  character is really unhappy to be involved in the 
  travels. The Gamemaster may apply a -2 penalty 
  to rolls during the game – not every roll, but 
  certainly those where a level of enthusiasm is 
  needed.
  If the bad experiences continue still, there is 
  a danger the character gets so fed up with the 
  constant peril, danger and repeated injuries, 
  that they decide to leave. They demand that they 
  are returned home (or to a planet where they 
  are moderately happy) and leave the TARDIS 
  crew, usually for good. They may return for a 
  guest appearance, but other than that, the player 
  should create a new character (see ‘Leaving the 
  TARDIS’ on p.73).
  Note: Cannot be taken with the Insatiable 
  Curiosity Bad Trait.
  Unattractive (Minor Bad Trait)
  For every stunningly gorgeous individual there 
  are those whose faces do not launch a thousand 
  Jathaa Sungliders or stop traffic on the New New 
  York motorways (unless that face is the Face of 
  Boe). They’re not necessarily ugly or hideous, 
  but their looks don’t really help when it comes to 
  some social situations.
  Effects: The Unattractive Trait comes into play 
  whenever the character is doing something 
  that their looks can influence. As a Bad Trait, 
  the character will get a -2 penalty to any rolls 
  that involve their less-than-good looks. On rare 
  occasions, their appearance (especially if it is 
  due to scarring) can provide a +2 bonus if they 
  are trying to intimidate someone. Unattractive is 
  completely subjective and the Gamemaster has 
  final say whether the Trait comes into effect.
  Note: Cannot be taken with the Attractive Good 
  Trait.
  Unlucky (Minor Good Trait)
  Lady Luck is a cruel mistress and is certainly 
  not on your side. Call it a curse, call it chance, 
  but fortune hasn’t smiled on you for a while. The 
  traffic lights turn red whenever you approach, 
  you pressed the wrong button on the control 
  panel and shorted the autopilot or your attempt 
  at being diplomatic has resulted in you insulting 
  the Duke of Manhattan and his entire family. 
  Effect: The character is unlucky! Simple as 
  that. If you roll two ‘6’s on your dice, ‘box-cars’ as 
  they call ‘em in Vegas, you’d normally cheer as 
  this would be a huge success. At least, normally. 
  Characters with the Unlucky Trait have to reroll 
  when double ‘6’s are rolled, increasing the 
  random chance of rolling something worse. If 
  you get double ‘6’s again, well, your lucky streak 
  isn’t so bad – you can keep that result.
  Weakness* (Minor/Major Bad Trait)
  Just as some people are naturally hardy and 
  able to take the knocks of the average adventure 
  with the Doctor, some people have a weakness. 
  This isn’t an all-encompassing weakness, the 
  Weakness Trait reflects a single area where the 
  character is susceptible to harm or temptation. 
  This could be anything from an allergy like 
  hay fever or wasp stings (not so good when 
  fighting giant wasps!), to being weak willed and 
  susceptible to mind control.
  Effect: The player should discuss the chosen 
  weakness with the Gamemaster and come 
  to an agreement over the exact nature of this 
  Bad Trait. In most cases, when the character 
  encounters the thing that affects them, any rolls 
  suffer a -2 penalty.  In the case of a substance 
  like pollen or stings, the character should suffer 
  a -2 penalty to all actions while they’re within 
  range of its effects. For example, Donna has 
  been stung by a wasp (not a giant vespiform but 
  a normal sized one), but she has an allergy to 
  wasp and bee stings that can be quite nasty. The 
  Gamemaster determines that while the poison 
  is in her system (for at least 8 hours, or until an 
  anti-toxin is administered), anything she does 
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  35
  
  will suffer a -2 penalty, while she’s feeling weak 
  and groggy from the poisons.
  Weakness as a Major Trait is best suited for 
  villains and aliens who need a definite exploitable 
  weakness to give the characters a chance 
  against them. For example, the Slitheen and 
  their weakness when it comes to acetic acid, or 
  the Pyrovillian reaction to water or cold. Major 
  Weaknesses actually cause injury rather than 
  a penalty and exposure to the effective element 
  will actually inflict 4 levels of damage, reducing 
  their Attributes (see Injuries, on p.63).
   speCial traits
  Alien (Special Good Trait)
  Aliens come in all shapes and sizes, but in a 
  majority of cases these aliens are basically 
  humanoid in shape, with certain abilities and 
  features that set them apart. By purchasing the 
  Alien Trait, a whole universe of possibilities is 
  open to the character.
  Effect: Alien as a Trait is a ‘Gateway’, opening 
  a selection of additional Traits that are normally 
  unavailable to mere humans. It is a Good Trait, 
  and costs just 2 Character Points to purchase. 
  The Gamemaster should approve before you 
  select this Trait however. The Alien Trait means 
  that you are from another planet. Simple as 
  that. Initially, you are of human appearance and 
  look pretty much the same as everyone else on 
  Earth. This Trait does open up the opportunity 
  to purchase other specifically Alien Traits, 
  and allows you to have Attributes above level 
  6. As a downside, if you’re discovered as being 
  an Alien, you may suffer severe consequences 
  (such as being captured by the government and 
  experimented upon). Additionally, some of the 
  Alien-only Traits that are now open to you may 
  mean that your character will have an alien 
  appearance. For more information on creating 
  aliens and alien characters, and additional 
  alien Traits, see Chapter Five: All the 
  Strange, Strange Creatures (p.110) 
  of the Gamemaster’s Guide.
  Clairvoyance (Special Good 
  Trait – Prerequisite: Psychic)
  Psychic characters are able to 
  see into other people’s minds, 
  but a true clairvoyant has the 
  ability to see distant locations 
  through intense concentration 
  as if they were actually there. During the Cold 
  War this was called ‘Remote Viewing’ as teams 
  of intelligence psychics tried to spy on distant 
  countries to uncover secret bases and weapons. 
  In the past, this talent was found in the tribal 
  ‘seers’ and visionaries.
  Effect: The character can see into other 
  locations without actually being there or having 
  to rely on technology. It will cost a Story Point to 
  activate this ability and the range is limited to the 
  character’s Resolve – the higher their Resolve, 
  the further away they can see. Often these 
  ‘visions’ will be flashes or mere glimpses into 
  another place, but with practice, concentration 
  and a high Resolve, the experience can be 
  prolonged and immersive.
  Clairvoyance uses the character’s innate 
  abilities, rather than a Skill, so Awareness 
  and Resolve are used to view distant locations. 
  People at the spied location with psychic training 
  can sense they are being watched or observed 
  and may try to resist. Clairvoyance is a Special 
  Trait, requiring the character already have the 
  Psychic Trait. Clairvoyance costs 2 points.
  Cyborg (Special Good Trait)
  Not every part of you is human or organic matter. 
  At some time in your life, whether this is due to 
  an injury, improvement or simply old age, you’ve 
  had part of your body replaced by machinery. 
  This means that the cybernetic part is able to do 
  cool things like a Gadget, but it does also mean 
  your character could be subject to discrimination 
  Resolve
  Duration
  Range
  1
  The briefest 
  flash
  Adjacent room, 
  up to 5m away.
  2
  A few seconds 
  Up to 10m away
  3
  30 Seconds 
  Up to 200m
  4
  A minute
  Up to 1Km
  5
  3 Minutes 
  10Km
  6
  5 Minutes
  100Km
  7
  10 Minutes 
  500Km
  8
  20 Minutes 
  1000Km
  9+
  30 Minutes 
  Anywhere on the 
  planet!
  DOCtOr WhO: aDveNtures iN time aND spaCe
  36
  Chapter tWO: the ChilDreN Of time 
  
  in certain parts of the galaxy, where cyborgs are 
  regarded as second class citizens.
  Effect: Cyborg is a Special Good Trait that costs 
  either 1 or 3 Character Points. At the lowest 
  level, the cybernetic parts of the character 
  are obvious. They can be hidden, but they will 
  have to be careful. Bannakaffalatta is like this, 
  his cybernetic chest section is something that 
  can be hidden, but it is bulky and is obvious 
  if he removes his shirt. At a higher level, the 
  cybernetic elements are completely disguised 
  under plastic, but fairly realistic looking, skin. 
  The Cyborg Trait allows the character to have a 
  permanent Gadget (which must be purchased 
  separately) that will not run out of power or get 
  lost (see Gadgets, on p.67 of the Gamemaster’s 
  Guide). Major cybernetic overhauls, such as 
  Max Capricorn’s or a Cyberman’s are not really 
  suitable for a character in the game, except at 
  the Gamemaster’s discretion.
  Note: Cannot be taken with the Robot Trait.
  Experienced* (Special Good Trait)
  The character creation rules are suited to 
  companions and normal heroes. You may find 
  that it can be tricky to create a character as 
  experienced or as powerful as the Doctor, 
  or even Captain Jack Harkness. In return for 
  additional Character Points, the character will 
  have fewer Story Points. This reduction in Story 
  Points not only applies at character creation, it 
  also reduces the number of Story Points your 
  character can carry over between adventures.
  Effect: Experienced is a Special Good Trait 
  that costs Story Points rather than Character 
  Points. The Story Points spent to purchase this 
  Trait reduce the maximum Story Point pool for 
  the character. Experienced costs 3 Story Point 
  to purchase, and provides the character with an 
  additional 2 Character Points and 2 Skill Points. 
  This Trait can be purchased additional times, 
  though no character can have zero Story Points. 
  That’s far too dangerous!
  Not every character should be as experienced 
  as this, and their lower Story Points help to 
  balance the character with their less experienced 
  companions.
  Fast Healing (Special Good Trait)
  See Fast Healing Good Trait (p.22).
  Feel the Turn of the Universe (Special Good 
  Trait)
  Not many people experience the clarity and 
  the wonder that is feeling the whole universe. 
  Knowing you’re just a small part in the vast, 
  almost endless universe of planets and 
  possibilities. It can drive some people mad, and 
  others can sense when something is wrong. 
  This Trait is not available to companions, and 
  is only for Time Lord characters (see p.40). 
  However, some companions may gain this Trait 
  over time, which is why it is listed separately. 
  For example, Rose’s exposure to the heart of the 
  TARDIS, absorbing part of the Vortex, revealed 
  the universe to her and for a brief moment she 
  could sense what the Doctor feels every day. To 
  see all that was, all that is and all that could be 
  in the various future timelines. Feel the Turn of 
  the Universe is a Special Good Trait, costing 1 
  point to purchase.  
  Effect: Feel the Turn of the Universe gives 
  the character an innate ability to sense when 
  something is amiss or unnatural and what 
  needs to be done to set the universe 
  right. This can be anything from 
  sensing that a person has unnatural 
  indestructibility, to knowing that 
  something is disturbing nature or 
  history with its alien presence. 
  They will also be able to sense if 
  something is tampering with time. 
  They may not know exactly what 
  it is, but they’ll know something 
  isn’t right. The character will sense 
  something wrong with an Awareness 
  and Ingenuity roll with a +2 bonus – the 
  more successful it is, the more likely 
  they are to know what is wrong and how 
  to start to fix it.
  Hypnosis (see Hypnosis Good Trait 
  p.24)
  Immortal (Alien Trait)
  There are two types of Immortal being 
  in existence. The first never gets old, 
  never ages and will never die of old 
  age. They simply continue on. While it’s 
  rare for them to die from a disease, 
  they still can, and can certainly be 
  killed through violence or accident. 
  Immortal at this level is a Major 
  Good Alien Trait costing 2 points, 
  and while it doesn’t really affect 
  the actual game (as they can still 
  be killed through violence) they 
  could have already lived a long 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  37
  
  time. The Gamemaster may allow them to recall 
  something from their past if it suits the story, or 
  something from their history could resurface, 
  provoking a whole new adventure. If they have 
  lived ‘ages’, then they may automatically gain 
  the Time Traveller Trait for the past eras that 
  they were alive and active, at the Gamemaster’s 
  discretion.
  The second type of Immortal cannot be killed 
  through violence, accident or disease. This 
  version is a Special Good Trait. They may get a 
  little older in appearance, but their longevity is 
  so epic that their aging is hardly noticeable. They 
  can be shot, electrocuted, drowned and fried, but 
  they just don’t seem to die. They may fall down 
  and look dead, but it isn’t long before they’re up 
  and active again. Again, if they’ve been alive for 
  a long time, they will also automatically gain the 
  Time Traveller Trait for the eras they were alive – 
  they have time travelled, they’ve just done it the 
  slow way.
  You must have purchased the Alien Trait 
  before selecting Immortal, though in rare 
  circumstances (such as Captain Jack Harkness) 
  Immortality may be granted to humans at 
  the Gamemaster’s discretion.
  Effect: Immortal is either a Major 
  Trait, meaning the character never 
  ages and will not die of natural 
  causes, or a Special Trait, 
  that means the character 
  cannot be killed. Both may be 
  unbalancing to the game and if 
  you intend to take either version 
  of the Immortal Trait, discuss it 
  with the Gamemaster. Immortal 
  as a Special Trait costs 5 Character Points, 
  as well as reducing the character’s maximum 
  Story Points by 4. If killed during the course of 
  an adventure, the character looks dead and is 
  unable to be revived. Without the Fast Healing 
  Trait, the character will heal at a normal rate 
  (this is usually 1 level of Attribute per day of 
  rest).  When they have healed all of the damage 
  they have taken, and returned to their full health, 
  they will wake and be fine. If the damage is really 
  severe, the Gamemaster may keep track of how 
  far into the ‘negative’ your character’s Attributes 
  go, and they will have to heal all of these before 
  they can recover. Any extreme damage, such 
  as loss of limb, may lead to further Bad Traits 
  without the Fast Healing Trait.
  Inexperienced* (Special Bad Trait)
  The character creation rules here are very suited 
  to companions and normal heroes. You may find, 
  however, that doesn’t reflect very inexperienced 
  or young characters. Rose would be a great 
  example of this, as she’s not in a highly skilled 
  job and hasn’t experienced a great deal before 
  the Doctor takes her aboard the TARDIS. 
  However, she has a lot of heart and spirit, which 
  is reflected in having a larger Story Point pool, 
  allowing her to keep up with the Doctor in the 
  most dangerous situations.
  Effect: Inexperienced is a Special Bad Trait 
  that costs 2 Character Points and 2 Skill Points. 
  In return, the character’s maximum Story Point 
  pool is increased by 3.
  This Trait can be purchased additional times 
  for less and less experienced characters, though 
  this will have to be approved by the Gamemaster. 
  If, however, through experience during the 
  game the character’s Skills and total Character 
  Points increase to compensate for the cost 
  and reduction from this Trait, the character’s 
  maximum Story Points are reduced to the normal 
  level.
  Precognition (Special Good Trait - Prerequisite: 
  Psychic)
  Some people, such as the Sybilline Sisterhood, 
  are gifted with the ability to see the future. In 
  many civilisations, they become the town ‘seer’, 
  or outcast from society due to their strange 
  abilities. Most of the time, these abilities 
  manifest as visions – incomplete fragments 
  of a potential future seen as a strange and 
  abstract dream. The future is usually in flux, 
  ever changing, except for certain fixed points in 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  38
  Chapter tWO: the ChilDreN Of time 
  
  history, so the visions of the future are usually 
  fairly vague to reflect the potential for the events 
  to change.
  Effect: Precognition is a Special Good Trait, 
  costing 1 point to purchase and can only by taken 
  by characters already with the Psychic Trait. The 
  Gamemaster will give the character flashes of 
  information that may help or encourage them to 
  pursue a particular course of action to aid the 
  adventure. If the player wants the character to 
  actively try to sense what is to come, they should 
  spend a Story Point, and the Gamemaster will 
  supply as much useful information is they see fit 
  (without ruining the story!).
  Psychic (Special Good Trait)
  There are times when you need to discover what 
  is really going on in someone’s mind. It’s not 
  easy, but the Doctor has proven that he can see 
  into the minds of others, if briefly. Psychic is a 
  Special Good Trait, costing 2 points to purchase 
  (or 1 point if the character already has the 
  Psychic Training Trait). It allows the character 
  to reach into another person’s mind and try to 
  access information, though the target can resist. 
  Companions or humans are rarely Psychic, but 
  it occurs in a rare few. The Gamemaster should 
  approve selection of this Trait.
  Effect: Characters with the Psychic Trait can 
  make a Resolve and Awareness roll to try and 
  see into the target’s mind. The target must be 
  within visual range (with the naked eye). The 
  Trait provides the character with a +4 bonus on 
  the roll. The target, if they are unwilling, can 
  resist such a mental intrusion with a Resolve and 
  Ingenuity roll. Both sides can spend Story Points 
  if they’re concentrating intently. Psychic also 
  gives a +4 bonus when the character attempts 
  to resist having their mind read, or even to resist 
  getting possessed.
  Robot (Special Good Trait)
  You are a robot. Instead of flesh and bone you 
  are made of steel, wires and plastics, and 
  instead of an organic brain your mind is made of 
  circuitry and a powerful computer. When a robot 
  takes a physical injury, it loses Attributes just 
  like a person, though it will not heal itself over 
  time – either itself or another suitably skilled 
  technician will need to conduct repairs (using 
  Ingenuity and Technology), with a level of injury 
  repaired equal to the level of success. Robots 
  normally learn over time, and can increase their 
  mental Skills just as a human, however physical 
  Skills and Attributes will require some form of 
  ‘upgrading’ to take into account the increased 
  ability. Of course, in most cases, a robot does 
  have the disadvantage of standing out in a crowd 
  and scaring primitive civilisations! The Robot 
  Trait also acts as a ‘Gateway’, like the Alien 
  Trait, allowing the character to purchase Gadget 
  Traits. These are Traits normally used only in 
  Gadgets (see Gadgets and Equipment, p.67 in 
  the Gamemaster’s Guide). Gadget abilities such 
  as Forcefield or Scan, can be built into the robot 
  character!
  Effect: Robot is a Special Good Trait that costs 
  2 points as a robot of normal appearance – that 
  is, they look like a robot, such as K-9, a Host, a 
  Roboform or even Kamelion (one of the Doctor’s 
  companions in his Fifth incarnation). However, 
  the Trait can be purchased at a higher level, 
  costing 4 points, that means externally you look 
  convincingly human – most of the time people 
  will assume you are human unless you’re injured 
  or display inhuman abilities. Robot also means 
  that you do not die from old age (though your 
  power supply may need replacing), you can raise 
  your Attributes over level 6 and can purchase 
  Gadget Traits. A robot character can be ‘killed’ 
  and repaired, returning to full operational level, 
  though if the damage is severe enough (such as 
  being disintegrated or dropped into a furnace 
  or molten metal) the robot is unlikely to be 
  salvageable.
  Note: Cannot be taken with the Alien or Cyborg 
  Trait.
  Telekinesis (Special Good Trait – Prerequisite: 
  Psychic Trait)
  Telekinesis, sometimes called psychokinesis, is 
  the power to move something with thought alone. 
  Just concentrating on something can make it 
  move, bend, float or break. This power is usually 
  limited to line-of-sight. That is, if the character 
  cannot see it (because it is too far away or in 
  another room) they cannot concentrate enough 
  on the object to lift or manipulate it (though 
  characters with Clairvoyance may be able to see 
  the object psychically, though they will be limited 
  to adjacent rooms). Telekinesis is a Special Trait 
  that costs 2 points to purchase, and should only 
  be picked with the approval of the Gamemaster. 
  Also, you can only purchase this Trait if you 
  already have the Psychic Trait (see p.39).
  Effect: The Telekinesis Trait has a ‘strength’ 
  equal to the character’s Resolve. They are lifting 
  an item with the power of their mind, and use 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  39
  
  their Resolve in exactly the same way as they’d 
  use their Strength for physically lifting an object. 
  For example, if the character has Resolve 1, they 
  can lift something with their Telekinesis as if they 
  were physically lifting it with a Strength of 1. The 
  only difference is, they’re not using their hands 
  – they’re using their mind. To actually use the 
  ability, a roll is necessary. There is no Skill for 
  Telekinesis, it relies entirely on the character’s 
  innate ability, so uses Ingenuity and Resolve.
  Telepathy (Special Good Trait - Prerequisite: 
  Psychic Trait)
  Telepathy is the ability to communicate with 
  others through the power of the mind. Telepaths 
  can project their thoughts directly into someone 
  else’s head and they’ll hear it as if they’re 
  speaking to them. Usually, the person isn’t too 
  far away, but if the character’s Resolve is high, 
  they could communicate to someone up to a 
  kilometer away (very handy if you’re a prisoner 
  somewhere and need to call for help!) or even 
  further.
  Once a link has been established, they 
  can hold a short conversation as long 
  as they are not distracted or under 
  stress. The moment they are 
  distracted (for example being 
  surprised by a loud noise or 
  a sudden attack) the link is 
  lost and the character will have 
  to try again at a calmer moment 
  when they can concentrate.
  Telepathy is a Special Trait and 
  costs 1 point to purchase. Approval from the 
  Gamemaster will be required before selecting 
  this Trait. In addition to this, the character must 
  also have the Psychic Trait before they can 
  purchase Telepathy.
  Effect:  Telepathy uses the character’s innate 
  abilities, rather than any Skill, so Ingenuity 
  and Resolve are used for the roll to establish 
  communication. Of course, if the target doesn’t 
  want to be contacted, they can resist with a 
  similar roll. 
  The distance over which the character can 
  communicate with the Telepathy Trait depends 
  upon their Resolve.
  Time Agent (Special Good Trait)
  Time Agents are special operatives of the Time 
  Agency, a shadowy group performing undercover 
  espionage work involving time travel. Little 
  is known of them, only that their operations 
  spanned the galaxies and all of time. When 
  Jack returns to Cardiff after the Harold Saxon 
  encounter, he is told that there are only seven 
  surviving operatives (including the renegade 
  agents Captain Jack Harkness and Captain John 
  Hart). They are usually equipped with Vortex 
  Manipulators, and ‘bounce’ through time to their 
  assignments.
  Effect: Time Agent is a Special Trait that means 
  the character has worked (or still works) for the 
  Time Agency. They will have familiarity with 51st 
  Century technology (Tech Level 8 is their ‘home’ 
  era), and usually have a Vortex Manipulator 
  which allows them to communicate, time travel 
  and interact with computer technology. They 
  may suffer from huge chunks of amnesia, having 
  their memory wiped after particularly secretive 
  missions, usually having the Amnesia Trait. The 
  Time Agent Trait means they automatically gain 
  the Vortex Trait, and will (usually) have a Vortex 
  Manipulator in their equipment. Time Agent 
  costs 2 Character Points and 2 Story Points 
  to purchase, and you should discuss with the 
  Gamemaster if having a Time Agent (or former 
  Agent) in the group is going to upset the game.
  Time Lord (Special Good Trait)
  The rarest and the most special of all Special 
  Traits is ‘Time Lord’. Only two Time Lords are 
  known to have survived the Time War, so you’ll 
  probably only use this trait when playing the 
  Doctor. Close discussions between player and 
  Gamemaster is essential before even attempting 
  to play a Time Lord character. 
  Resolve
  Maximum distance for 
  telepathic communication
  1
  Touch Only
  2
  Line of Sight
  3
  Adjacent Room
  4
  Adjacent Building
  5
  Within the same city / area
  6
  Within the same country
  7
  Anywhere on the same planet
  8
  Within the planet’s system
  9+
  Across the Universe! 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  40
  Chapter tWO: the ChilDreN Of time 
  
  Effect: Time Lord is a Special Trait that gives the character all of 
  the abilities of a Time Lord – they can regenerate, they automatically 
  gain the Feel the Turn of the Universe and Vortex Traits, and gain 2 
  levels of the Ingenuity Attribute (even if this takes the Attribute above 
  6). They also automatically gain the Code of Conduct Trait. They also 
  gain a Major Gadget at no extra costs.
  The Gamemaster will decide if they have access to a TARDIS or 
  not, though this doesn’t cost anything – it may be essential to the 
  story. This Special Trait costs 2 Character Points, and reduces their 
  maximum Story Points by 4. Time Lords must have a couple of Bad 
  Traits – they can be eccentric, aloof and have superiority complexes, or 
  be just plain crazy. Staring into the Untempered Schism can do that to 
  you! Time Lords are usually mildly Telepathic, players wishing to have 
  a Time Lord character may wish to purchase Psychic and Telepathy 
  Traits. They are also able to resist strangulation thanks to their 
  respiratory bypass system.
  For full rules on playing a Time Lord character, their abilities, 
  regeneration and TARDISes, see Chapter Four: A Big Ball of Timey 
  Wimey Stuff in the Gamemaster’s Guide.
  Time Lord (Experienced)* (Special Trait – Prerequisite: Time Lord)
  This Trait means the character is not just a Time Lord, but they’ve 
  been around for a while. The Trait effectively adds 100-200 years onto 
  the Time Lord’s age, and will have used one, possibly two, of their 
  regenerations. This extra time doesn’t come without its benefits: 
  the character is more experienced, more knowledgeable, and more 
  familiar with different time periods.
  Effects: By purchasing this Trait, the character is older (and 
  hopefully wiser) than a novice Time Lord.  The player can choose 
  any additional number of years to add to their age, between 100 and 
  200 years. If you’d prefer to choose this randomly, roll two dice and 
  multiply the result by 10, and add 80 (2D6x10 +80). This will produce a 
  figure between 100 and 200. This is the number 
  of years added to the Time Lord’s age.
  By taking this Trait, the Time Lord uses up 
  one of their regenerations. The player should 
  decide how and when this was, creating a 
  suitably interesting and exciting background 
  for the events that lead up to his regeneration. 
  Each regeneration can change the character’s 
  Attributes and will change their appearance. 
  If the Gamemaster prefers, each regeneration 
  could be handled using the full regeneration 
  rules in Chapter Four: A Big Ball of Timey 
  Wimey Stuff (see p.85 of the Gamemaster’s 
  Guide).
  In addition to all this, the character gains 4 
  additional Skill Points, and an additional Time 
  Traveller Trait for a different time period.
  Experienced Time Lord is a Special Trait that 
  requires the character already have the Time 
  Lord Trait. Benefits of Experienced Time Lord 
  are cumulative with Time Lord, and Experienced 
  Time Lord can be purchased more than once – 
  Continuing our character example, Miles 
  isn’t very strong, but he’s smart. He has 
  6 Character Points left to spend on Traits 
  after purchasing his Attributes. He’s going to 
  enhance his smarts, and decides to purchase 
  Boffin (costing 2 points) and Technically 
  Adept (costing 1 point). He also thinks that 
  having the Photographic Memory Trait 
  (costing 2) points and Resourceful Pockets 
  (costing 1 point) would be very handy. He’d 
  also like the Lucky Trait (which would cost 
  another point) but he’s already spent his 6. 
  He can gain another point by opting to take 
  a Bad Trait. He knows he’s not really good 
  in a fight, so opts to take the Cowardly Bad 
  Trait, which gives him the point he needs to 
  purchase Lucky.
  That gives him:
  Boffin
  Lucky
  Photographic Memory
  Resourceful Pockets 
  Technically Adept
  and 
  Cowardly
  If Miles wants, he can still opt to take 
  another Bad Trait or two to give him extra 
  points to either increase his Attributes or to 
  spend on Skills.
  DOCtOr WhO: aDveNtures iN time aND spaCe
  41
  
  though remember, every time it is purchased, it 
  reduces the character’s regenerations by one. 
  Experienced Time Lord costs 1 Character Point 
  to purchase.
  Vortex (Special Good Trait / Alien Trait)
  Vortex doesn’t mean that your character has 
  access to a TARDIS or other time travelling ship 
  or device, but it does mean that they have some 
  knowledge of actually using one. Travelling 
  the Vortex is very difficult and TARDISes are 
  designed to be controlled by a crew of six. To 
  the casual observer, operating one single-
  handed can look like a random sequence of 
  twirling knobs, dials, switches and even hitting 
  it with a rubber hammer. Vortex Manipulators 
  are unreliable and time travelling ships can 
  be dangerous. This Trait means the character 
  has some limited knowledge of how to pilot the 
  TARDIS or other Vortex manipulating devices or 
  ships. Vortex is a Special Trait, costing 1 point, 
  and is not for beginning characters (unless they 
  have a background of using a TARDIS or other 
  Vortex Manipulators). Selecting Vortex as a Trait 
  at character creation will have to be approved by 
  the Gamemaster.
  An additional ‘level’ of Vortex is available to 
  Alien characters, and costs 8 points. This high 
  level of Vortex means the character can time 
  travel without the need of a ship or device, 
  literally stepping through time. This is an Alien 
  Trait and is best reserved for villains or NPCs.
  Effect: The Vortex Trait adds +2 to any roll 
  that involves piloting a time travel or Vortex 
  manipulating device. Controlling the TARDIS 
  (or other such time vessels) is so tricky to the 
  unskilled, that it is almost impossible to actually 
  be able to succeed at the task without having the 
  Vortex Trait.
  The Alien level of this Trait, that allows time 
  travel without a device, requires an Ingenuity and 
  Resolve Roll to use, and the expenditure of two 
  Story Points. The more successful the roll, 
  the more accurate the ‘jump’ through 
  time.
   skills
  You’ve defined what the 
  character is like with their 
  Attributes and Traits, now we 
  need to define what they actually 
  know. Skills are accumulated 
  knowledge, the abilities they can use in their 
  journeys and adventures to protect them and to 
  defeat the villains who would threaten humanity.
  We’re going to keep things simple and stick 
  to a list of twelve Skills. If you’re just itching to 
  have a Skill that is not on the list, first of all think 
  whether one of the Skills listed below covers it 
  already. Want a super cool computer hacker? 
  No problem, they have a good Technology Skill. 
  Adventuring archaeologist? They’d probably have 
  a high Knowledge to cover that history, maybe 
  some Athletics to take the active nature into 
  account. You don’t need to be too specific, but if 
  you feel that you want a specific Skill that isn’t 
  covered by these broad Skills listed, you can 
  work with the Gamemaster to create one.
  Skills, just like Attributes, are rated 
  numerically. Unlike Attributes, however, there 
  isn’t a limit to how high a Skill can get for 
  humans, though for most humans the range 
  is the same: 1-6. The numbers are fairly 
  similar to Attributes. A Skill of one indicates 
  a basic knowledge in the area, someone who 
  has just started to learn the subject or has a 
  little experience in the field. A Skill of two or 
  three means they’ve become quite confident. 
  If it’s an academic Skill, they may have a good 
  qualification in it (maybe some A-levels or a 
  certificate or two), or they’ve gained a reputation 
  at being reliable in that area. Four or five is 
  really showing some expertise, they may have a 
  degree, some commendations, and are the go-to 
  people for their Skill. Above that, six or more, 
  you’re talking real experts in the field. They may 
  be doctors or masters, but not the Doctor or the 
  Master – they have Skills even higher than that!
  DOCtOr WhO: aDveNtures iN time aND spaCe
  42
  Chapter tWO: the ChilDreN Of time 
  
  assigNiNg skill pOiNts
  Just as you did with the Attributes, you have a number of points 
  to divide up between the Skills. You don’t have to allocate points 
  to every Skill; after all, most people aren’t good at everything. 
  Pick one or two Skills that reflect the character’s occupation 
  or pastimes and put three or even four points into those, and 
  pick a Skill or two that you’ll think will be handy for the coming 
  adventures and put a couple of points in them. The remaining 
  points can be distributed as you see fit, bearing the concept of 
  the character in mind.
  spare CharaCter pOiNts
  If you’ve come to the end of character creation, and discovered 
  you have Character Points to spare, deciding that higher 
  Attributes or additional Traits do not fit the character in mind, 
  you can spend the remaining Character Points you have on 
  Skills, just as if they were Skill Points.
  While the character can advance and have Skills above five, 
  it is rare for a starting character to have a skill above that. 
  During character creation, no Skill can be above level five 
  unless this has been discussed in detail with the Gamemaster 
  and authorised. If you want to play, for example, a university 
  professor or a limping medical diagnostician you may be allowed 
  to put more than five points in a Skill, but then it should only be 
  in the Skill that reflects the character’s profession. Besides, you 
  don’t want to pile all those points into one place and become too 
  much of a specialist to be of any use, do you?
  the skills
  Below is a list of the twelve along with descriptions of the areas 
  they cover and how they are used. For details on actual Skill 
  rolls, see p.52 of Chapter Three: Allons-Y! Within each Skill 
  there are suggestions for how they are used, as well as a list of 
  possible Areas of Expertise (see sidebar) if they are being used. 
  Remember, this is not exhaustive and the Gamemaster and 
  players should feel free to add Areas of Expertise (or even whole 
  Skills) if it best suits their game.
  Athletics
  The character is pretty fit. Depending upon the level of this 
  Skill, they could work out, go to the gym every week or just eat 
  healthily. Or, at the higher levels, they could be a professional 
  athlete and run a four-minute mile. Athletics is used in the 
  game if the character has to run for a prolonged time away 
  from charging Futurekind, hold their breath underwater to 
  swim into the secret alien base, or to jump over a chasm of 
  lava. The Athletics Skill is also used when riding horses (as 
  it is a more physical act than using the Transport Skill). Any 
  physical activity the character has to perform can be covered by 
  Athletics. However, blocking a punch may be accomplished with 
  the Fighting Skill (paired with Coordination), whichever is more 
  The Doctor and his companions have a wide 
  range of abilities and skills, seeming to be 
  able to do most things the story throws at 
  them. Doctor Who: Adventures in Time and 
  Space has tried to reflect this by keeping the 
  number of different Skills to a minimum. 
  However, adding a bit of specialisation to a 
  character can make them more individual 
  and vital to the team. ‘Areas of Expertise’ are 
  a great way to add this level of detail. If you 
  feel this adds too many complications to your 
  game, you can opt not to use them.
  Each Skill covers a wide area, but just because 
  you know Science, it doesn’t mean you’re an 
  expert in biology, chemistry and astrophysics. 
  As you learn something, you get to a level 
  where you may focus your studies or interests, 
  getting better at something. This is an Area 
  of Expertise. When you have a Skill at level 
  3 or above, you can opt to select an Area 
  of Expertise where you excel. At character 
  creation this just costs you a single Skill Point.
  For each Skill, there are many areas of 
  expertise. Each Skill description below gives 
  you some suggested Areas of Expertise, 
  though this list isn’t exhaustive.
  You can have more than one Area of Expertise 
  for each Skill, but they must be purchased 
  separately. At character creation this costs 
  just one Skill Point, but remember the Skill 
  must be at level 3 or above.
  If you are called upon to use a Skill and the 
  Gamemaster decides that a very specific skill 
  is needed, if you have an Area of Expertise, 
  you gain a +2 bonus to your roll. If your 
  Expertise doesn’t cover the task at hand, the 
  Gamemaster will allow you to use the Skill as 
  normal without the bonus.
  For example, Miles’ character is particularly 
  good at working with Computers, so he 
  has Technology 3 and selects Computers 
  as an Area of Expertise. If he needs to use 
  computers, he can use the Technology Skill 
  at level 3, and gains a +2 bonus (effectively 
  having a Skill of 5). However, if he is using 
  Technology for anything else he’ll just use it at 
  the basic level of 3.
  Areas of Expertise can be discarded or ignored 
  if the Gamemaster decides the game would 
  run quicker or simpler without them.
  areas Of expertise
  DOCtOr WhO: aDveNtures iN time aND spaCe
  43
  
  appropriate to the situation. As a basic rule of 
  thumb, if it’s physical, it’s Athletics. If it’s combat, 
  it’s the Fighting Skill.
  Areas of Expertise: Running, Jumping, Riding, 
  Climbing, Parachuting, Scuba, Swimming.
  Convince
  The best used-car salesperson in the world has 
  high levels of the Convince Skill. As you may 
  have guessed, Convince is all about getting 
  people to do what you want. Whether this is a 
  speech to the cowering refugees of the Master’s 
  domination to rouse them into action, or to talk 
  down the Daleks that are hovering over the town 
  determined to exterminate everyone, Convince 
  comes into play. Some people, such as Captain 
  Jack Harkness, have good Convince Skills, not 
  only to command his Torchwood team, but when 
  he’s being his usual seductive self! You can use 
  this to sway people to your way of thinking, to 
  prove to strangers that you’re not a threat or to 
  delay the villain from commencing the attack 
  on Earth long enough to let your companions foil 
  her plan. It can mean you’re a convincing liar, or 
  just the most commanding military leader. Most 
  of the time, Convince rolls are resisted (see p.59). 
  After all, you’re trying to change someone’s 
  mind. Convince is usually paired with, and 
  resisted by, Presence or Resolve.
  Areas of Expertise: Fast Talk, Bluff, 
  Leadership, Seduction, Interrogation, Charm, 
  Lie, Talk Down.
  Craft
  Craft is an all-encompassing Skill that covers 
  all manners of talents. Whether the character is 
  good with their hands and can carve an ornate 
  chess set from wood, or maybe just great at 
  playing the guitar or singing, the Craft Skill 
  covers it. Boat building, metalworking, painting 
  or drawing, knitting a good scarf or rapping 
  can all be covered by this Skill. However, if 
  the character is a blacksmith, their 
  metalworking may be great but if 
  they try to use their Craft Skill for 
  something very different to their 
  Area of Expertise, weaving for 
  example, the players can 
  expect some penalties to be 
  imposed by the Gamemaster.
  Areas of Expertise: Building, 
  Painting, Farming, Singing, 
  Guitar, Woodwork, Metalwork, 
  Dancing.
  Fighting
  It may not be the Doctor’s chosen form of 
  stopping the alien dictators but sometimes 
  there may be no way out of a situation than 
  to fight. Fighting as a Skill covers all forms of 
  close combat. Whether this is with fists, feet, 
  swords, axes or cat claws, Fighting is the Skill 
  used (usually paired with Strength). Any combat 
  that involves weapons that fire (like guns, 
  disintegrators or even the trusty bow and arrow) 
  uses the Marksman Skill. This is purely for when 
  it gets up close and personal. Fighting can be 
  used with Strength to not only land a punch, but 
  also to block that nasty jab.
  Areas of Expertise: Unarmed Combat, Parry, 
  Block, Sword, Club.
  Knowledge
  “Knowledge is power,” the Editor said on 
  Satellite 5, and he’s right, for the Doctor has 
  proved that his knowledge of the universe can 
  defeat the smartest of villainous dictators. Of 
  course, not every character has that, and the 
  Knowledge Skill is a guide to just how much 
  they know. This is a broad and almost all-
  encompassing Skill that covers most areas of 
  knowledge. The exceptions are those covered 
  specifically by other Skills such as Medicine, 
  Technology or Science. Knowledge usually 
  Convince is used for many types of social 
  interaction, from convincing someone 
  that the lies you are telling are the truth, 
  to convincing them you are a sincere and 
  trustworthy person. Many social interactions 
  will rely on the Convince Skill, but it 
  shouldn’t be as simple as rolling dice and 
  getting what you want. The Gamemaster 
  should encourage players to act out the 
  dialogue, the amusing lines and the attempts 
  at bluffing. If their lines at the game table are 
  good enough, the Gamemaster may apply 
  bonuses to the roll or reward the players 
  with Story Points. The same can also be said, 
  however, for being less than convincing, and 
  penalties may be imposed if your story is 
  ridiculous. Penalties should not be given for 
  simply being unable to come up with cool 
  and witty lines or being unable to fast talk 
  their way out of a situation. Players shouldn’t 
  be punished for not being as quick witted as 
  the Doctor!
  rOle-play vs rOll-play
  DOCtOr WhO: aDveNtures iN time aND spaCe
  44
  Chapter tWO: the ChilDreN Of time 
  
  covers what those in education usually call the 
  humanities, such as law, sociology, psychology, 
  archaeology, history, literature, or languages. 
  The Skill is most often paired with the Ingenuity 
  Attribute. The Knowledge Skill can also include 
  alien areas of knowledge, such as alien cultures, 
  the history of alien worlds and times. Alien Areas 
  of Expertise are not for beginning characters, 
  especially contemporary companions, though 
  the Gamemaster may allow them if it suits the 
  character’s background.
  Areas of Expertise: History (choose an area), 
  Law, Psychology, Language (select a specific 
  language), Literature, Sociology, Alien Cultures, 
  Earthonomics, Skaro History, Gallifrey, The Dark 
  Times.
  Marksman
  It’s a dangerous universe out there, and the time 
  might come when the characters are forced 
  to take arms against the alien invaders. The 
  Doctor rarely uses guns, preferring to outwit or 
  out-think his opponents, but his companions 
  have resorted to firearms from time to time. The 
  Marksman Skill is used for any weapon that fires 
  a projectile or shoots at a target that is outside 
  of close combat range. Everything from bows, 
  thrown rocks or knives to guns, machine guns, 
  Dalek weapons, or even starship missile systems 
  use the Marksman Skill. For weapons that 
  require physical aiming, such as a gun or manual 
  weapon system, use Coordination with the 
  Marksman Skill. Other more technical weaponry, 
  such as computer controlled systems, use 
  Ingenuity with Marksman, to reflect the more 
  intellectual approach to operating the weapon. 
  More information about such combat is detailed 
  on p.52-66 of Chapter Three: Allons-Y!
  Areas of Expertise: Bow, Pistol, Rifle, 
  Automatic Weapons, Thrown Weapons, Ship 
  Weapon Systems, Cannon, Plasma weapons, 
  Disintegrators. 
  Medicine
  Injuries are bound to happen when trying to 
  save the universe, so it is always useful to have 
  someone aboard the TARDIS who has a little 
  medical knowledge. The Medicine Skill, at low 
  levels, reflects the character’s ability to perform 
  basic first aid, CPR or to stabilise wounds. At 
  higher levels, they may be medical students, or 
  fully fledged doctors or nurses, even surgeons. 
  Medicine is usually paired with Ingenuity, though 
  if the medical procedure is particularly tricky 
  While we’re talking of parrying and blocking, let’s just 
  mention the difference between a learned skill and a reaction 
  or instinctual act. There are a couple of areas where the 
  difference between a Skill roll or an Attribute roll can be a 
  little confusing. One is blocking/parrying and dodging. The 
  other is noticing something.
  Blocking and Parrying is a learned skill. Anyone who has done 
  martial arts or fencing will know that learning to block or 
  parry an attack takes knowledge and skill. When blocking or 
  parrying in the game, you’ll be using Strength and Fighting.
  Dodging is another matter – a lot of it depends upon natural 
  reactions and instinct. When it comes to dodging gunfire 
  or moving out of the way of a rockfall, you’ll use Attributes 
  only, usually Coordination and Awareness. If you’re a skilled 
  Fighter or martial artist, you’ll be able to bend out of the way 
  of a punch or kick, so you can use Coordination and Fighting 
  to dodge in this case, but you’ll still be using Attributes only 
  when dodging that gunfire or rockfall! It’s tricky, but the 
  Gamemaster will help you with this.
  As a guide:
  Punching or Kicking (any physical attack): Strength + Fighting
  Blocking or Parrying a physical attack: Strength + Fighting
  Dodging a physical attack: Coordination + Fighting
  Dodging gunfire or environmental hazards (if they have 
  chance to see it coming): Awareness + Coordination
  Dodging gunfire or environmental hazards (if they cannot see 
  it coming): No chance to dodge.
  Of course, the character has to be aware of the attack to 
  begin with in order to block or dodge. If the character is taken 
  by surprise, or if the attacker is hidden (for example, sniping 
  from a distance), they will be unable to react to it first time. 
  The attack will just be rolled as an unresisted task, against a 
  fixed difficulty to hit defined by the Gamemaster.
  Noticing or spotting something important is another tricky 
  one that can be used in multiple ways. If the character is not 
  actively looking for something and you want to give the player 
  a chance to see the giant bug before it attacks, they will 
  have to make an Attribute only roll, usually Awareness and 
  Ingenuity. However, if they’re searching old books for a clue, 
  looking into medical records for information or something like 
  that, if the character’s skills or knowledge comes into play, 
  then it’s Awareness paired with the Skill.
  As a rough guide:
  Passively noticing something (not actively looking, but there’s 
  a chance of seeing it): Awareness + Ingenuity
  Actively looking for something: Awareness + Skill (related to 
  the subject, Knowledge, Medicine, Technology, etc)
  learNeD skills aND iNstiNCt
  DOCtOr WhO: aDveNtures iN time aND spaCe
  45
  
  or requires delicate work, then Coordination 
  can be used. Medicine also reflects other Areas 
  of Expertise, depending upon the background 
  of the character, such as forensic, veterinary 
  medicine or alternative therapies. Usually, the 
  success of the roll dictates how many levels 
  of injury are healed – Success =1, Good =2, 
  Fantastic =3. This restores Attributes reduced 
  due to injury. More information on healing, injury 
  and damage can be found on p.72 of Chapter 
  Three: Allons-Y!
  Areas of Expertise: Disease, Wounds, Poisons, 
  Psychological Trauma, Surgery, Forensics, 
  Veterinary Medicine, Alternative Remedies.
  Science
  The Doctor frequently blinds his companions 
  with his scientific knowledge, and the Science 
  Skill measures just how knowledgeable 
  the character is when it comes to physics, 
  chemistry, biology, quantum physics, and all that 
  stuff. There’s a little crossover with the Medicine 
  and Technology Skills, but if the task requires 
  less repairing either people or gadgets, and 
  more contemplating the wild pseudoscience or 
  in-depth theory, then Science is going to be the 
  Skill of choice. Most of the time, Science will be 
  paired with Ingenuity, only apt when you think of 
  the ingenious scientific theories and inventions 
  that they’ll be coming up with!
  Areas of Expertise: Mathematics, Physics, 
  Chemistry, Biology, Quantum Physics, 
  Astrophysics.
  Subterfuge
  The Doctor and his companions have an 
  uncanny knack for finding themselves in places 
  where something’s going on. This is where the 
  Subterfuge Skill comes into play. It is very handy 
  for sneaking discretely into the villain’s lair. 
  In the course of saving the world, you can be 
  forgiven for breaking and entering secret bases, 
  opening a safe to read the classified files 
  or pickpocketing the guard’s access 
  keys. Subterfuge is usually paired 
  with Coordination or, for more 
  intellectual tasks, Ingenuity can 
  be used, especially for things 
  like safecracking or using 
  camouflage.
  Areas of Expertise: Sneaking, 
  Lockpicking, Sleight of Hand, 
  Pickpocketing, Safecracking, 
  Camouflage.
  Survival
  The universe is a harsh place, and many a 
  companion has been stranded in a hostile 
  environment, waiting for the Doctor to come 
  and rescue them before they freeze, roast or 
  suffocate to death. The Survival Skill is used 
  to literally survive in these harsh or exposed 
  environments, from knowing what native plants 
  can be eaten to building shelter and a fire. It can 
  also help in other environments such as knowing 
  how to protect yourself from exposure to space, 
  or from an oncoming sandstorm.
  Areas of Expertise: Space, Desert, Swamp, 
  Mountain, Icescape, Underwater, Wilderness.
  Technology
  Some people are a whiz with computers, 
  gadgets and cool devices. Technology as a Skill 
  represents the character’s know-how when 
  it comes to all of these things. Whether it is 
  hacking into the Torchwood computers, mixing 
  odd parts of existing tech together to make 
  a ‘timey-wimey detector’, fudging together a 
  widget to thwart the alien fleet or just fixing the 
  Keeping things simple, and having a 
  lower number of Skills, does mean 
  that some of them, especially Craft, 
  Knowledge, Medicine and Science, 
  require a little bit of adjudication 
  on behalf of the Gamemaster. For 
  example, if the character is a lawyer, 
  their Knowledge Skill will have an 
  Area of Expertise that refers to their 
  knowledge of all things legal, and an 
  archaeologist’s Areas of Expertise 
  will reflect their years of education in 
  history, geology and archaeology. If your 
  character is trying to use their Skill for 
  something that is obviously not their 
  Area of Expertise – a classical guitarist 
  trying to craft a bow, or a quantum 
  physicist trying to perform a medical 
  procedure for example – the roll will 
  incur some penalties to reflect this.  
  Think of how far removed from the 
  actual knowledge they have is the 
  knowledge they want to use. If it’s 
  fairly similar to something they’d 
  know, whether they have the Area of 
  COmmON kNOWleDge
  DOCtOr WhO: aDveNtures iN time aND spaCe
  46
  Chapter tWO: the ChilDreN Of time 
  
  microwave, Technology, paired with Ingenuity, is 
  the Skill to use. Fixing things on the TARDIS can 
  only be done by someone with the Vortex Trait 
  (see p.42), just trying without it may make things 
  worse, and creating Gadgets can only be done 
  with the Boffin Trait (see p.21) unless you want a 
  technological disaster on your hands!
  Areas of Expertise: Computers, Electronics, 
  Gadgetry, Hacking, Repair, TARDIS.
  Transport
  Sometimes, you need to get from A to B, and 
  you won’t have access to the TARDIS.  Transport 
  covers the ability to drive cars, ride motorcycles, 
  fly hover vans in New New York or pilot an 
  aircraft or starship. Like other broad Skills, 
  knowing how to drive a car doesn’t mean you 
  can pilot a 747, but when it comes to vehicles 
  many are similar enough to give you a good 
  place to start. Steering wheel, accelerator, what 
  more do you need? If the technology is similar 
  enough, you can probably allow the players to 
  use the Skill without penalty. The only method of 
  transport that isn’t covered by the Transport Skill 
  is riding an animal, such as a horse (like Arthur). 
  Riding is a very physical action, so the Athletics 
  Skill is used. If the horses are pulling a carriage, 
  and you are steering, then Transport is used as 
  you’re not engaging in the physical exertions 
  such as gripping the horse, leaning and so on.
  Areas of Expertise: Cars, Trucks, Helicopters, 
  Aircraft, Spaceships, Temporal Ships, 
  Motorcycles.
  Expertise or not, but not something 
  they’d obviously know, then a penalty 
  of around -1 or -2 would be apt. If it’s 
  something they’d know nothing about, 
  then the penalty could be a  high as -4, 
  the usual penalty for being unskilled 
  (see p.53 of Chapter Three: Allons-Y!). 
  Of course, if it’s something really 
  technical, the Difficulty of the task is 
  going to be suitably high making it hard 
  for them to succeed.
  Another element to take into account is 
  the character’s home. Being from 21st 
  Century Earth they’re unlikely to know 
  things from outside their time period or 
  experience. Your character sheet has 
  a space to note the planet, time period 
  and level of technology of their origins 
  and modifiers will mean that doing 
  things outside of your native place may 
  be difficult if you don’t know what you’re 
  doing.  
  More information on Technology Levels 
  can be found on p.80 in Chapter Three: 
  Allons-Y!
  Let’s continue following Miles and the 
  character he started creating before (see 
  p.19, 41). He’s got 18 points to put into Skills.
  Miles has already decided that his character 
  is more nimble and brainy than strong, so 
  he decides that Athletics will be handy for 
  dodging those aliens, and he’ll need the 
  smart Skills like Knowledge, Science and 
  Technology. In keeping with the basic idea 
  for his character, he puts higher points in 
  those Skills. So, Athletics 2, Knowledge 
  3, Science 4, and Technology 3. That’s 13 
  points spent so far, leaving 5 to spread 
  throughout the other Skills. Miles decides 
  to spend two of these points on a couple of 
  Areas of Expertise. After a bit of thought, 
  Miles decides to spend the points giving the 
  character the following Skills:
  Athletics 2
  Convince 1
  Craft 0
  Fighting 1
  Knowledge 3
  Marksman 0
  Medicine 0
  Science 4 (Physics +2)
  Subterfuge 1
  Survival 0
  Technology 3 (Computers +2)
  Transport 1
  =18 (16 + 2 points on AoEs)
  He’s certainly the brains of the outfit, and 
  can wiggle himself out of a jam, but he’s no 
  fighter.
  example (continued)
  DOCtOr WhO: aDveNtures iN time aND spaCe
  47
  
   stOry pOiNts
  Story Points are going to be very important. As 
  Pete Tyler would say, “You can trust me on this!” 
  We’ll cover how Story Points are actually used in 
  Chapter Three: Allons-Y! (see p.74) but for now 
  all you need to know is how many the characters 
  have. We’ve already mentioned Story Points and 
  their allocation at the beginning of character 
  creation (see p.14) so you already know that 
  most characters should start with 12.  
  However, some of the Special Traits are so 
  major that they effect the very story of the game, 
  and will actually adjust the maximum Story 
  Points a character can keep between adventures!
  Whatever the characters have left to start the 
  game with, the players should mark it into the 
  box on their character sheets (though use a 
  pencil, just like all of the other numbers, as Story 
  Points may change from adventure to adventure). 
  Before you start to play each session, each player 
  takes a number of tokens equal to this figure 
  so they can keep track of the rapid increases 
  and decreases you’ll come to expect during 
  the course of the game, without having to keep 
  rubbing the number out and writing a new one in 
  every five minutes.
   fiNishiNg tOuChes
  There are lots of little touches that finish the 
  character off and make them more than just a 
  string of numbers. There are some places on the 
  character sheet to keep track of some of these, 
  or you may wish to go into greater detail and 
  write up something more in depth.
  Name
  Each character needs a name! Most of the 
  Doctor’s companions have normal and 
  everyday names. If you can’t think of 
  something immediately, try flicking 
  randomly through a phonebook, or 
  one of those baby-name books 
  you can find. Maybe use a 
  friend’s name, and switch the 
  surname to something new, or 
  pick a couple of actors off of the 
  TV or movies and change their 
  names around.
  Above all, you have to like it, 
  and it shouldn’t be immediately funny. 
  Even alien characters shouldn’t be called 
  something silly that’ll disrupt the game. No one 
  should be called ‘Squid-roon’ or ‘Duckbar’ (all 
  names suggested by real players in the past). 
  Your character is going to have to live with that 
  name, and so will you while you’re playing them. 
  The more sensible and the more normal the 
  better. Though that doesn’t mean the Doctor 
  hasn’t travelled with strangely named characters 
  in the past – after all, how many people do you 
  know called Perpugilliam or Vislor? As long as it 
  doesn’t upset the tone of the game.
  appearaNCe
  What do they look like? The players could have 
  a very distinctive idea of what the character 
  looks like, or they could imagine a particular 
  actor playing their part. Artistic players could 
  even draw a sketch so everyone knows how 
  the character looks. Think about how tall they 
  are, what their build is, hair colour, or any 
  distinguishing features they have (sideburns, big 
  ears, ginger hair, something like that).
  BaCkgrOuND
  Just who are they? Players shouldn’t have to 
  write a huge essay or draught up a family tree, 
  but it’s often good to have a basic idea of who 
  they are, what they do, and where they’re from. 
  You can get a pretty good idea of who a character 
  is just by writing a simple paragraph about them.
  For example – They’re a medical student at the 
  Royal Hope Hospital in London. Their parents are 
  Clive and Francine, though they are separated. 
  She has a brother Leo, and a sister Letitia. 
  Of course, it could be that the character 
  is alien. If you’re coming up with a new 
  alien name, make it relatively easy to 
  pronounce, even if it’s not so easy to spell. 
  If it’s complicated, like the Mighty Jagrafess 
  for example, think of a cool nickname for 
  them (Max) so it’s easy for the other players 
  to talk to you. Not every player is going to 
  remember Blon Fel Fotch Pasameer-Day, 
  or Jocrassa Fel Fotch Pasameer-Day, but 
  they’ll remember Margaret Slitheen.
  alieN CharaCter Names
  DOCtOr WhO: aDveNtures iN time aND spaCe
  48
  Chapter tWO: the ChilDreN Of time 
  
  She’s 23 and single, because of her busy schedule at 
  the Hospital, and may be a little quick to fall for the 
  unavailable. She’s smart, inquisitive and bright, and 
  able to see the wonder of things.
  That pretty much sums up Martha Jones at the beginning 
  of her adventures, and gives the Gamemaster a little to 
  work on, it may give them ideas to spice up the average 
  adventure and make it more personal.
  Of course, the players could go into even more detail 
  than this if they’d like. Though sometimes the details and 
  personal background develop as the game progresses.
  hOme time periOD aND teChNOlOgy levels
  This can be a very important element when travelling 
  through time. You’ll see there is a space on the character 
  sheet to define the character’s home time period. This 
  is so the Gamemaster can work out if a character using 
  technology in an adventure that they’d be unfamiliar with. 
  Have a look at the Tech Level table below and see where 
  the character is from.
  Most characters are from level 5 – modern day Earth. 
  Captain Jack Harkness is a Time Agent from the 51st 
  Century, so he’d have a home time period as ‘51st 
  Century, Tech Level 8’.  The Doctor is a Time Lord, so he 
  has ‘Gallifrey, Tech Level 10’. Rose Tyler is from modern 
  Earth, so she’d have ‘21st Century Earth, Tech Level 5’.
  More information on Technology Levels and how they 
  effect your character can be found in Chapter Three: 
  Allons-Y! (see p.80).
  persONal gOals
  Each character has a goal, and we’re not talking football 
  here. You should give some thought over what your 
  character is like and come up with something that they’d 
  like to achieve. Most of the Doctor’s companions are 
  not about money or fame, but if that’s something your 
  character would have at the forefront of their minds 
  during the adventure, then you should pencil it in. It could 
  be anything – to explore, to find the love of their life, to 
  further humanity, to advance the course of science, to 
  boldly go where no one has gone before... you get the 
  idea.
  If you cannot think of something straight away, then 
  leave it blank and you can add something as you get to 
  know the character. It is important though – when the 
  character is actively pursuing their Goal, the Gamemaster 
  will reward the player when they achieve it with either 
  Story Points or something even cooler. It’s down to the 
  Gamemaster though. For example, Martha’s a doctor, and 
  her job is to save people. She’s taken this literally, and 
  tries to save people whether they’re human or Hath. If 
  Martha goes out of her way to actively save someone, not 
  Technology 
  Level
  Technology Available
  12
  Beyond Comprehension – Technology 
  only available to the Eternals
  11
  Ancient Time Lord – the Time of 
  Rassilon, Omega and the Death Zone
  10
  Time Lord
  9
  Advanced Time Faring – Daleks
  8
  Time Faring – 51st Century Earth
  7
  Advanced Interstellar – Far Future 
  Earth, no Time Travel, Transmat
  6
  Star Faring – Late 21st-30th Century 
  Earth, venturing into space, FTL travel.
  5
  Space Faring – Late 20th, Early 21st 
  Century Earth. Systemwide space trav
  4
  Industrial – 18th-20th Century 
  Earth, Industrial Revolution, steam, 
  manufacturing.
  3
  Renaissance – 15th-17th Century Earth. 
  Gunpowder, sailing ships, art.
  2
  Metalworking – Bronze Age to Middle 
  Ages, swords and steel.
  1
  Primitive – Stone Age
  DOCtOr WhO: aDveNtures iN time aND spaCe
  49
  
  only will she get Story Points for her selfless 
  act, but she may receive additional Story 
  Points or even an increase in a Skill, Trait or 
  Attribute at the end of the adventure to reflect 
  her accomplishing her Goal.
  equipmeNt aND persONal items
  The Doctor and his companions rarely adventure 
  to gain things. They travel to experience the 
  adventure, the excitement and to make the 
  universe a better place. It is rare that someone 
  is accepted into the TARDIS if they’re only in 
  it to make money and collect some valuable 
  treasures on the way. Of course, the Doctor can 
  make mistakes in judgment.
  All characters should have the basics. Have a 
  think about what you carry about with you when 
  you go out – phone, purse or wallet, a little cash, 
  makeup, mirror, notebook, bottle of pop, MP3 
  player and that’s about it. It’s unlikely you’ll be 
  starting the game with climbing gear, mapping 
  tools, nightvision goggles, torch or guns. If 
  you’re really prepared like Donna, you may have 
  a car-boot full of clothes, but that’s about it. Any 
  weird and bizarre equipment you need to suit 
  the environment might already be somewhere 
  in the TARDIS in the wardrobe or another of 
  the myriad rooms.
  If you’re planning on starting with any 
  unusual item of equipment you should talk 
  it over with the Gamemaster and see if it is 
  acceptable. If it’s going to be too useful or 
  unbalancing, the Gamemaster may consider it 
  a Gadget (like the Sonic Screwdriver) and there 
  are special rules for purchasing or creating those 
  (see p.67 of the Gamemaster’s Guide).
  Continuing the story of Miles’ character, he 
  has all the numbers filled in that he needs, 
  but his character isn’t really a ‘character’.  
  He knows he’s good with technology and 
  science, but a bit of a coward. First of all, 
  a name. Miles gives it a bit of thought, and 
  thinks that he should go for something that 
  reflects his character and goes for Will 
  Bradford. He’s a computer science student 
  at the University of Hull, but he actually 
  comes from Nottingham in the UK. He lives 
  in a shared house with students, Mandy and 
  Phil.
  He’s 19, single and doesn’t have much 
  luck with girls due to his outwardly geeky 
  appearance, but he’s a nice and friendly 
  guy. He’s from 2010 England, so he’s from 
  Tech Level 5 (contemporary Earth).
  His Personal Goal is to find a steady 
  girlfriend, cause he finds it hard to speak 
  to girls without talking about computers. 
  Miles then lists some handy equipment he 
  may have, like a pen, a penlight torch, a set 
  of technical screwdrivers, a mobile phone 
  and his laptop.
  With that, he’s ready to play!
  example (continued)
  If you’ve followed all of this, each player 
  should have a character fit for the TARDIS. 
  Now, all you need to know is the rules of 
  the game. Luckily, we’re coming to that bit 
  in the next chapter. This book will provide 
  you with everything you need to play. The 
  Gamemaster’s Guide goes into more detail, 
  though the chapter is basically the same. 
  The Gamemaster will need some extra 
  information to help them with running the 
  game!  Get yourself a nice cup of tea and 
  settle down – it’s time to learn the rules.
  DOCtOr WhO: aDveNtures iN time aND spaCe
  50
  Chapter tWO: the ChilDreN Of time 
  
  Chapter three: allONs-y! 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  51
  
  In this chapter we get down to the rules of the game. 
  Everything you need to know is in here. How your character 
  can run, jump, swing from ropes, or dive for cover, or how to 
  talk down an alien with a gun, out-smart an evil mastermind 
  or drive a car, it’s in here.
  After all, this is a game of Doctor Who and games 
  need to have rules – without them it would be chaos. 
  This chapter covers all of the rules you need to play the 
  game as a player. This chapter is also presented in the 
  Gamemaster’s Guide though that version goes into more 
  detail to help the game run smoothly. You should find that 
  the rules are simple enough that you’ll pick them up in 
  a matter of minutes, but if you’re stuck with anything, ask 
  the Gamemaster for help.
   ruNNiNg a game
  The Gamemaster introduces the adventure, and the rest is done through conversation. The players 
  describe what their Characters are doing, and the Gamemaster allows the plot to develop and 
  describes how events progress and the actions of any additional people or villains. Check out the 
  example of play in Chapter One: The Trip of a Lifetime (see p.7) for how this can go.
  Most of the time if the player wants his character to do something, they can do it with very little 
  worry. If they want to talk, walk, eat or read something, that doesn’t require any rules. If the player 
  wants their Character to do something that may or may not be successful, that’s when the numbers 
  and the dice come into play.
   the BasiC rule
  Doctor Who: Adventures in Time and Space uses the same basic rule for all of the actions. Whether 
  it is fighting, out-talking, researching, creating some pseudoscientific device or piloting the TARDIS, 
  it’s all the same basic rule:
  attriBute + skill (+trait) + tWO six siDeD DiCe = result 
  (try to match or beat the Difficulty of the task)
  Attribute: Select the most appropriate Attribute for what the Character is trying to do. Trying to lift 
  something? Then Strength is the one you need. Trying to remember something important or invent 
  a device that is crucial to saving the group? As this uses brainpower, you need to use Ingenuity. 
  Trying to thread a needle, walk along a narrow beam or aim a sonic disruptor, they all require 
  some sort of dexterity so Coordination is the Attribute for that task. Once you’ve picked a 
  suitable Attribute, it needs to be paired up with something.
  Skill: Next find the Skill best suited for the task. Are they running for their lives? 
  Having some Athletics Skill would mean they could run faster and for longer. 
  What about if they’re trying to cobble together household electrical items to make 
  an 
  alien detector? It would be hard to do such a task without some Technology Skill, 
  so 
  that would be the Skill to use. Sometimes there’s no suitable Skill to use, so you’ll 
  have 
  have to use a second Attribute instead.
  Hopefully, you’ll find the rules are very 
  easy to pick up. If there’s something 
  that you think makes the game too 
  complicated, just do without it!
  DOCtOr WhO: aDveNtures iN time aND spaCe
  52
  Chapter three: allONs-y! 
  
  Trait: Do you think a Trait would come into 
  play? If so, have a look at the Trait description 
  and see if it applies any modifiers to the roll. 
  For example, jumping a gap between two 
  buildings will use Strength and Athletics to 
  throw themselves over the distance, but the 
  Gamemaster may decide that Brave may add a 
  bonus to the jump – as you’d have to be pretty 
  brave to attempt such a feat. If you think one of 
  the character’s Traits would come into action, 
  then take it into account, even if it’s a penalty. 
  People who play their character’s weaknesses 
  means they’re acting in character, aiding the 
  storytelling and the Gamemaster will reward 
  this.
  Dice: There’s always an element of chance in 
  these things – it keeps us on our toes. Roll two 
  six-sided dice, add them together and remember 
  the number.
  The Result: Add the value of the Attribute you’ve 
  selected, the Skill you have and any adjustments 
  from Traits, and the dice roll. If the total is 
  equal to or higher than the Difficulty of the task 
  (the Gamemaster tells you this), then you’ve 
  succeeded! If it is lower, then you’ve failed. It’s as 
  simple as that.
  uNskilleD attempts
  Usually, attempting to do something without the 
  relevant Skill results in failure. You wouldn’t try 
  to fix the wiring inside a computer if you didn’t 
  know what you were doing, and you wouldn’t try 
  to perform surgery without medical training. 
  However, in desperate times, you may have to try 
  despite being untrained.
  Any time you try to do something that you 
  have absolutely no Skill in, your roll suffers a 
  -4 penalty. You might have a Skill that could 
  help a little, but isn’t completely related – if 
  the Gamemaster approves you can try with a 
  smaller penalty of -2. 
   hOW a rOll WOrks
  So now you know how a roll adds up, 
  but what do you need to roll for, and 
  what do the numbers mean?
  iNteNt
  First of all the player needs to decide 
  exactly what it is they want their 
  character to do and describe it as 
  best as they can. This is important as 
  it helps the Gamemaster to decide how 
  difficult the task is so they can assign a 
  Difficulty. This will also help in deciding 
  how well you did and whether you actually 
  achieved what you wanted to do!
  For example, you could say “Donna wants 
  to stand up to the Badgerkind, putting on 
  her best aggravated voice and say ‘You 
  What?  You callin’ me a what?’ to try and 
  stun them into inaction for a while, so that 
  the Doctor can open the airlock.” This gives 
  the Gamemaster a definite idea of what you 
  want to do, how you’re intending to do it, and 
  how difficult it is. Both the player and the 
  Gamemaster can start thinking of what would 
  happen if they succeed or fail.
  The Doctor is running through The 
  Library, with the Vashta Nerada inhabiting 
  Proper Dave’s spacesuit giving a slow and 
  lumbering chase. However, the shadows 
  are moving, and the Doctor must jump over 
  a particularly dark patch of floor in case 
  it harbours a swarm that’ll rip the flesh 
  from his bones. The Gamemaster asks the 
  Doctor’s player to make a roll. It’s going to 
  be a physical jump, and the Gamemaster 
  and player agree it’s going to require the 
  Doctor’s Coordination (as he’s going to 
  have to control where his feet go) and his 
  Athletics (as it’s a physical jump that’d 
  be aided with a little Athletic practice). 
  Coordination of 4, Athletics of 3, that’s 7. 
  The player suggests that the Trait ‘Run 
  for your life!’ would come into play, but 
  the Gamemaster points out that is just for 
  running away from danger, not for leaping 
  over it!
  So, we’re still at 7. The Gamemaster says 
  it’s a fairly tricky jump, and assigns a 
  Difficulty of 15. The player needs to equal 
  or beat that with whatever he rolls, plus 
  the 7 from the Coordination + Athletics. The 
  player rolls the two dice, and gets a 5 and 
  a 5 = 10. The 10 from the dice roll, plus the 
  7 from before equals 17, which is over the 
  Difficulty of 15. It was hard, but he made it 
  over the shadow and continues through the 
  Library.
  example
  DOCtOr WhO: aDveNtures iN time aND spaCe
  53
  
  DiffiCulty
  Some tasks are going to be more difficult than 
  others. After all, reprogramming an alien 
  computer is going to be much harder than 
  replacing the batteries in a TV remote control!
  Whenever the characters have to do something 
  that requires a roll, the Gamemaster will 
  determine the Difficulty. This is the number the 
  player will have to beat to succeed with the task. 
  The average human Attribute is 3, the average 
  Skill is 2-3, and the average die roll is 7, so an 
  average person should be able to accomplish 
  something with a difficulty of 12 more often than 
  not. The table above provides you with suggested 
  difficulty levels, though the Gamemaster can 
  adjust these to suit a particular situation.
  hOW Well have yOu DONe?
  The numbers themselves aren’t 
  all that important and the 
  game shouldn’t lose its 
  flow by talking numbers 
  and statistics. The point of 
  the numbers is to further 
  the story and to resolve any 
  conflicts and tests of skill or 
  chance. However, there are 
  times when how well or how 
  badly the roll went compared to the Difficulty can 
  help with defining the outcome.
  Have a look at how far above (or below) 
  the Difficulty the Result was. The wider the 
  difference between the Difficulty and your Result, 
  the better you’ve done. The easiest way to 
  remember this is to think of the question ‘Did you 
  succeed?’ As the result gets better and higher, 
  you progress through ‘Yes, But’ to ‘Yes’ and finally 
  ‘Yes – and’. Think again of what your Intent was 
  (see above, p.53) as this will help when it comes 
  to seeing how well you’ve succeeded.
  Sound odd? Don’t worry. Check out the 
  examples below and you’ll soon see what we 
  mean and how this works. The same should also 
  go for failures. Sometimes, if you’re attempting 
  something you’re really not skilled for, you could 
  make matters worse just by trying. Look to see 
  how far under the Difficulty you failed by. The 
  lower your result, the worse things could get. 
  Think of what your initial Intent was, as this will 
  give you ideas of what actually goes wrong. 
  If you can’t be bothered working out how far 
  above or below the Difficulty you’ve got, or want 
  to speed things up, simply roll another die and 
  consult the ‘Random Result’ column of the table. 
  It makes it a little random, but if you like that, 
  feel free. You could call the die something odd 
  like Drama Dice or something. Remember, it’s 
  just an option and doesn’t reflect as accurately 
  how well you’ve done.
  Task
  Difficulty
  Example
  Really Really 
  Easy
  3
  Really simple, automatic success. Opening a can of drink, using a 
  phone, eating chips. (So simple, you shouldn’t even need to roll!)
  Really Easy
  6
  Opening a can of drink (without it spraying you in the face), looking 
  something up in a dictionary, operating a microwave oven.
  Easy
  9
  Setting the video timer, operating an MP3 player, jumping a low 
  fence.
  Normal
  12
  Driving a car in traffic, shooting at someone, swimming in the sea, 
  uncovering a useful but not secret fact.
  Tricky
  15
  Driving at speed, shooting a moving target, climbing a building
  Hard
  18
  Picking a lock, lift twice your own weight, treat a gunshot wound
  Difficult
  21
  Climb a sheer cliff without ropes, charm your way into a govern-
  ment facility, escape from rope bonds.
  Very Difficult
  24
  Recall a whole speech from a Shakespeare play, get a fused com-
  puter to work again, fly a plane in turbulence
  Improbable!
  27
  Hit a very small target with a slingshot, hack into a government 
  computer system, create a DNA scanner out of radio parts
  Nearly 
  Impossible!
  30
  Close a rift in time & space with a chocolate bar, climb a skyscraper 
  in the rain, shoot a small target in an adjacent room without looking.
  DOCtOr WhO: aDveNtures iN time aND spaCe
  54
  Chapter three: allONs-y! 
  
  Amount 
  Above 
  Difficulty
  Result
  Effect - “Did you Succeed?”
  Random
  Result?
  9+
  Fantastic
  Yes – and something unexpected happened as a result of your astounding 
  success. You get what you wanted, and something extra happens that you and the 
  Gamemaster decide. The bigger the difference the more dramatic the effects. For 
  example, Captain Jack tries to disguise himself as one of Caesar’s legionnaires 
  – he’s very successful and can walk about the Legion camp uncontested, AND 
  he’s told in passing by one of the guards where the ‘Iron Demon’, the robot he’s 
  searching for, is being kept.
  Damage: If attacking someone or something, you do 1.5 times the damage of the 
  weapon (round down).
  6
  4-8
  Good
  Yes, you’ve managed to do what you wanted. If the character’s result is 4-8 above 
  the difficulty, they’ve certainly accomplished what they wanted, and pretty well. 
  Continuing the example, Jack tries to convince the guard on the tent that he’s come 
  to take over guard duties. He’s successful, and the guard walks off for a break.
  Damage: If attacking, weapon damage inflicted on the target is normal and 
  unmodified.
  2-5
  0-3
  Success
  Yes, but something may not have gone as well as you’d hoped. You succeeded, but 
  only just. It was a close call, but you managed to scrape through. The Gamemaster 
  may add some sort of complication or secondary problem. While trying to free the 
  robot, Caesar himself comes into the tent to consult with this ‘demon’ for advice on 
  his plans to cross the Rubicon. There’s a scuffle, and Jack tries to silence Caesar. 
  He’s successful at stopping him from crying out, BUT it triggers one of Caesar’s 
  epileptic fits. Jack stands over the semi-conscious General.
  Damage: If attacking, you’ll still have hit the target, but you’ll only inflict half of the 
  damage of the weapon (round down).
  1
  Amount 
  Below 
  Difficulty
  Result
  Effect - “Did you Succeed?”
  Random
  Result?
  1-3
  Failure
  No – but it could have been much worse. You failed, and didn’t manage to achieve 
  what you hoped, but it wasn’t a horrible failure. The Gamemaster may allow you 
  to gain something out of the encounter, but it may not be what you’d expected. 
  Jack says “No, Wait!” to the members of Caesar’s guard who come looking for 
  the General. “I can explain everything!” The guards look at the robot, holding the 
  limp body of Caesar. Jack tries to run, but is headed off at the tent flap by Legion-
  naires with drawn blades... Jack draws his Sonic Distruptor BUT Caesar comes to 
  at that very moment and says, “Wait!”
  Damage: If receiving damage from an injury or attack, you are harmed, but sus-
  tain only half of the damage (round down).
  6
  4-8
  Bad
  No, you’ve certainly failed at the task, but it could have been worse. Hoping to 
  avoid a fight, Jack tries to bluff Caesar. “General, this device is harmless,” how-
  ever, Caesar is having none of it. “I know alien technology when I see it,” he says 
  and takes the Disruptor from Jack, tucking it into the folds of his robes.
  Damage: If receiving damage, you sustain the normal amount.
  2-5
  9+
  Disastrous
  No, and something else has gone wrong. Not only is the failure terrible, but 
  things may have worse consequences. Taken away to a cage, Jack tries to turn 
  on the charm with his guard. Already spooked by seeing the robot in Caesar’s 
  tent, the guard is suspicious of Jack and backs away cautiously, knocking over a 
  brazier. Jack is in a cage having failed to talk his way out, AND the tent is catching 
  fire. Things are just getting worse!
  Damage: If you are injured or harmed, damage sustained is multiplied by 1.5 
  (round down).
  1
  DOCtOr WhO: aDveNtures iN time aND spaCe
  55
  
  Damage
  You’ll have noticed that the Success Tables 
  also mention damage and how it is affected 
  depending upon how well or how badly you’ve 
  rolled. Basically, all weapons or forms of injury 
  have a fixed damage. This number is modified 
  depending on the roll (either how well you shot 
  at someone, or how badly you dodged the harm). 
  Halving, or multiplying the damage by 1.5 (one 
  and a half times), may result in half or quarter 
  numbers – always round down to the nearest 
  whole number, unless the number is zero (0). 
  Damage has been done in some form, so the 
  lowest it can be is one (1). We’ll discuss damage 
  and conflict later (see p.62).
  usiNg stOry pOiNts
  Didn’t do as well as hoped? Failed miserably 
  at a task that was vital? Don’t worry, all is not 
  lost. You can spend those handy Story Points to 
  move your result up on the scale of things. If you 
  imagine all the levels of success and failure as a 
  ladder, you can spend a Story Point to move 
  up one ‘rung’, so to speak.
  You can spend more than one Story 
  Point to recover from a particularly 
  bad result, but spending Story 
  Points in this 
  way does limit you to 
  a highest level of just 
  ‘Success’. You can’t spend 
  loads to do really, really well. 
  That’s just for exceptional 
  rolls and high skills. More on 
  spending Story Points to effect 
  the outcome of a roll can be found on p.74.
  Of course, if a player is low on Story Points and 
  if it suits the story, they could do the reverse 
  and turn a Success into a Failure to regain Story 
  Points. The Gamemaster has final say, and doing 
  this too often should not be encouraged, but it 
  can stir things up a little and can be a good way 
  to build up Story Points in times of need. More on 
  awarding and spending Story Points can be found 
  on p.74.
  COOperatiON
  Sometimes a task is so tricky or complicated, the 
  characters are going to have to call in some help. 
  Many hands make light work and all that. In such 
  cases, there’s usually someone who’ll take the 
  lead. Hopefully, they should have some Skill in 
  what’s being attempted. The helpers, if they have 
  a suitable Skill that could help, add +2 each to 
  the leader’s attempt. The Gamemaster may put 
  a limit on how many people can help in any given 
  circumstance, and which Skills are suitable to 
  assist.
  this may take sOme time…
  Another way to deal with incredibly hard tasks 
  is to take your time and work at it over a period 
  of time. The Gamemaster determines how long 
  it is going to take for the character to complete 
  the task. At the end of that time, make the roll 
  as normal to see if you succeed. If the character 
  spends longer than necessary on a task, taking 
  their time and being extra careful, they are more 
  likely to succeed. Taking twice as long adds a +2 
  bonus to the roll, three times as long adds +4, 
  and so on up to a maximum bonus of +10.
  Gadgets can sometimes be a different matter 
  – Gadget creation and full Gadget rules are 
  covered in detail in the Gamemaster’s Guide.
  9+ aBOve
  faNtastiC
  4-8 aBOve
  gOOD
  0-3 aBOve
  suCCess
  1-3 BelOW
  failure
  4-8 BelOW
  BaD
  9+ BelOW
  DisastrOus!
  DOCtOr WhO: aDveNtures iN time aND spaCe
  56
  Chapter three: allONs-y! 
  
   CONfliCt: CONtesteD rOlls
  Rolling dice and adding some numbers together to beat a set 
  difficulty is all well and good, but what if you’re actively opposing 
  someone or something else? Luckily, this is just as easy as a normal 
  task, only the Difficulty is determined by the opponent as they try to 
  stop whatever you’re doing.
  Most of the time, Conflicts are between the players’ characters and 
  antagonists controlled by the Gamemaster, so the Gamemaster will 
  state what the bad guys are trying to do and make a roll on behalf of 
  them first – this will be what the characters will have to try to beat, 
  just like the Difficulty of a normal task. In effect, they are setting the 
  Difficulty of the player’s roll by making things difficult to succeed 
  against them.
  Don’t worry if this sounds confusing, we’ll take you through how it 
  works stage by stage.
  iNteNt
  This works just as before. The player says what they want to do, and 
  the Gamemaster determines what the non-player character is doing 
  to prevent it – looming to attack, opening fire, dodging, etc.
  What are yOu usiNg?
  Next stage is seeing which Attribute and Skill you’re using to do what 
  you’re intending, and if any Traits come into play. Both sides work 
  out what they’d need to roll, relating to their planned action. This is 
  done in just the same way as any other task.
  rOll the DiCe
  Adding the Attribute and Skill (and taking any Traits into 
  account) to the dice roll, the Gamemaster determines how well 
  the antagonists do. The player does the same and informs the 
  Gamemaster what the result is. The Gamemaster uses the 
  antagonist’s result as the Difficulty for the player’s rolls, and 
  works out if the player is successful or not. If the player fails, then 
  evil prevails and the antagonists take their action. If the player 
  Rose looks at the computer terminal, 
  hoping that she can retrieve vital 
  information. The Doctor usually does all 
  the technical stuff, but he’s busy working 
  on something else, so Rose decides she’s 
  going to have a go. She presses some 
  buttons, and tries to log into the system. 
  She rolls two dice, adds her Ingenuity to 
  her Technology Skill, adds them together 
  and results in just 8. The Gamemaster 
  has determined that the computer is very 
  advanced and she needed to get a score 
  of 15 or more to hack into the security 
  system. As this is 7 less than the Difficulty, 
  a Bad result, the Gamemaster decides 
  that Rose’s meddling results in a complete 
  security lockdown on all of the computers, 
  setting off alarms. The Doctor looks around 
  to see what Rose has done…
  On the other hand, the Doctor tries to fix 
  the computer lockdown. He opens the 
  back of the computer and looks in. He 
  adds his Ingenuity to his Technology Skill, 
  adding the dice roll and a bonus from 
  using the Sonic Screwdriver (we’ll cover 
  Gadgets later), resulting in a whopping 
  25! This is far more than the 15 Difficulty 
  he’d assigned to it. In fact, it’s 10 over, a 
  Fantastic result. The Doctor reaches in to 
  the back of the computer, pulls couple of 
  wires out and zaps the ends together with 
  the Sonic. Not only does the computer 
  screen spark into life, but it also allows 
  access to the secure files.
  In our example, Mickey is aboard an American battleship in the middle of World War II. The ship had 
  been used in bizarre temporal experiments as part of the Philadelphia Experiment, and the ship was 
  momentarily transported through the Void into another dimension. It has returned, only the crew have 
  been turned into Cybermen, and the ship is heading back to harbour in 1943. Mickey has been spotted by 
  a Cyberman while trying to sabotage the ship’s engines. The Gamemaster asks Mickey’s player what he 
  intends to do.
  Mickey’s player knows that the Doctor is about on another deck, and that he’d be annoyed if Mickey 
  resorted to violence straight away. So Mickey is going to try to talk the Cyberman down from attacking, 
  hopefully giving the Doctor and Rose chance to come to his aid. The Gamemaster thinks this sounds cool, 
  and says that the Cyberman intends shooting at Mickey with its arm mounted particle beam.
  example
  example
  DOCtOr WhO: aDveNtures iN time aND spaCe
  57
  
  succeeds, their intended actions go ahead – and 
  they agree with the Gamemaster what exactly 
  happened.
  This is how it is done for any conflict, from 
  fighting to arguing, everything works in 
  exactly the same way.
  COmpliCatiONs
  The Gamemaster might 
  sometimes give a penalty or 
  bonus to a roll if there are 
  external factors that would 
  affect the task. For example, 
  conditions such as rain, 
  darkness or being hurried could 
  make things more difficult.
   exteNDeD CONfliCt
  Resolving smaller tasks with just one dice roll 
  is all well and good, but if the situation is more 
  intense or involved, such as a chase or fight 
  scene, you may wish to break the action down 
  into a series of rolls. Not only does this add 
  tension, but it also allows you to create more 
  involved and exciting action scenes as the tables 
  turn quickly with a good or bad roll.
  aCtiON rOuNDs
  The events in an Extended Conflict are broken 
  down into Action Rounds. Basically this means 
  that everyone gets a turn, and by the end of an 
  Action Round you’ll have gone ‘round the table 
  and everyone will have had their go. Hence the 
  name. You can try to do more than one Action in 
  a Round, but that’s harder than it sounds. We’ll 
  cover that a little later.
  iNteNt
  Just as in a normal Conflict, players decide what 
  they will try to do. They may discuss their plan 
  amongst themselves in detail, or it could be as 
  simple as running while shouting, “You go that 
  way, I’ll cut them off!”
  WhO gOes first?
  Now you know what everyone wants to do on 
  both sides, the big question is who gets to go first 
  and who does what? Each character can only 
  take one action at a time, and they’ll get to act 
  in the order below, which depends on the type of 
  action they take.
  Talkers:  “No, no, no... wait!” Talking, or 
  shouting, has proved to be very important in 
  the Doctor’s adventures, words being far more 
  powerful (and usually quicker to use) than 
  weapons. The place can be exploding or you 
  could be held at gunpoint, but before anyone 
  starts shooting or tying you up, you get to say 
  your piece.
  Movers: “Run, Doctor!  RUN!” Running is a 
  frequent option, and often when facing an alien 
  threat people start a Round running. They could 
  be running away from something or just running 
  into the location, but they’re on the move so 
  they get to go next. Even if you’re sneaking into 
  Continuing the example, Mickey’s player 
  looks at his character sheet and the 
  Gamemaster checks the Cyberman’s. They 
  add the necessary Attributes and Skills 
  together. In Mickey’s case, he’d use his 
  Presence with Convince to tell the Cyberman 
  that they don’t want to shoot, they’d be better 
  off keeping him alive, after all he’s a good 
  specimen for upgrade!
  The Gamemaster looks up the Cyberman’s 
  Coordination and Marksman Skills to see 
  what it’d need to roll to shoot at Mickey. Even 
  though it may be talked down, the Cyberman 
  still uses the Attribute and Skill it would use 
  if it had no resistance whatsoever.
  The Cyberman looms and Mickey is trying 
  to keep it from firing. Mickey’s player and 
  the Gamemaster both roll their dice and add 
  the Attributes and Skills. Mickey’s player 
  scores the highest, succeeding in beating the 
  Cyberman’s score (but only just).
  Mickey’s player decides the outcome of this 
  Conflict and decides that the Cyberman 
  believes Mickey to be a good specimen 
  for upgrading, and doesn’t shoot. The 
  Gamemaster sees that Mickey only got a 
  Success, so the ‘yes, but’ means that the 
  Cyberman keeps its gun levelled at Mickey 
  and demands that he is led to be upgraded at 
  gunpoint. Mickey will need to think of a way 
  out en route, but for now he’s alive. 
  example (CONt...)
  DOCtOr WhO: aDveNtures iN time aND spaCe
  58
  Chapter three: allONs-y! 
  
  the secret base as quietly as possible, trying to avoid 
  security cameras, you’re moving from one place to the 
  next, so you’re next in the pecking order.
  Doers: “I’ve just got to reverse the polarity of this circuit, 
  and we’ll be fine!” It can be as intricate as rewiring a 
  circuit, or it could be as simple as climbing a ladder. If 
  you’re not running or talking to the enemy, you’re probably 
  planning on doing something that’ll help the situation.
  Fighters:  “Open Fire! All Weapons!!” Finally, the people 
  who choose to fight or shoot take their turn.
  The Gamemaster goes through this list in order, and the 
  players and villains take their turn when it’s their part of 
  the Action Round.
  CharaCters rOll aND perfOrm their aCtiONs
  When it’s their turn to go in the Action Round, it’s time 
  for the characters to do their thing. In many cases, their 
  opponent will resist the intended action in some way, 
  whether this is arguing, bluffing, punching, shooting or 
  trying to mentally control someone. Other times it will be 
  a simple roll against the Difficulty of their action, if they 
  are doing something with no resistance, such as running, 
  fixing a computer or defusing a bomb or if the target is 
  completely unaware of the first attack.
  If someone resists the character’s actions, there will be 
  a ‘Reaction’ to determine how hard it is for the player to 
  act.
  reaCtiONs – resistiNg the rOll 
  Instead of both sides rolling their own action, and the 
  most successful one determining the outcome of the 
  Conflict, the Extended Conflict breaks things down 
  even further. Each person tries to take their action and 
  is resisted by the target of their action using a suitable 
  Skill. To determine the Difficulty of the character’s roll, you 
  first look at the person they’re acting against, giving them 
  a chance to react and to defend themselves against the 
  action.
  makiNg mOre thaN ONe aCtiON iN a rOuND.
  You only get one action in a Round, whether it’s running, 
  talking, doing or fighting, but that doesn’t mean that you 
  won’t be targeted by more than one Conflict. Resisting 
  is technically a Reaction, but you can’t do more than one 
  thing at a time without things getting difficult. You get your 
  action as normal, but every other different action you take 
  in the sequence, such as shooting or shouting, receives 
  a -2 penalty. This penalty is cumulative as well, so each 
  additional action after that gets another -2 on top!
  DOCtOr WhO: aDveNtures iN time aND spaCe
  59
  The Doctor and Donna are in the castle of the 
  Aurelius Ambrosius. Aurelius’ brother, Uther is 
  about to lead his army against Paschent and his 
  Saxon allies, not knowing that the allies are not only 
  Saxons, but a Sontaran advisor with sophisticated 
  weaponry. The Doctor must convince Aurelius not 
  to let Uther go to battle, knowing that Uther will 
  likely die at the Sontaran’s hands. If that happens, 
  he’ll not father Arthur Pendragon, and the whole of 
  history will change, losing one of England’s greatest 
  and most legendary kings.
  The Doctor tries to use his Presence and Convince 
  on Aurelius, and Aurelius uses his Resolve and 
  Convince to argue back, determined that he’ll 
  be victorious. The Doctor is a very talkative and 
  convincing person, but Aurelius has Uther talking 
  into his ear at the same time, warning Aurelius 
  that the Doctor is not a normal or natural man and 
  should not be trusted. Uther’s Convince is called 
  into play as well, adding to Aurelius’ roll. Dice are 
  rolled, and using Aurelius’ result to determine the 
  Difficulty for the Doctor’s roll, the Doctor gets a 
  Failure – Aurelius isn’t going to be convinced out 
  of the combat tomorrow, but he heeds the Doctor’s 
  warning that they may have advanced weapons and 
  Uther will be on his guard against them.
  The Doctor may have failed, but it wasn’t a complete 
  disaster. Now, he just needs to get out onto the 
  battlefield itself to try to stop the Sontaran from 
  altering history, or find his other self at this time 
  period – the legendary Merlin...
  example 
  Basically, your character goes when 
  your ‘phase’ comes up, depending 
  upon what you’re doing. Whether it’s 
  talking, doing, running or shooting. 
  Remember, this also includes any 
  villains that you’re fighting against. 
  The Gamemaster will be acting for 
  them in the right ‘phase’ too, so be 
  prepared to do some quick thinking, 
  running and diving for cover!
  
  For example, Jack is running away from a host 
  of Judoon Troopers, and he’s hoping to hack into 
  the ship’s computer with his watch to close the 
  door behind him. His first action is going to be 
  hacking into the computer as that’s a ‘Doing’. 
  That he rolls as normal (though the Gamemaster 
  may penalise him for doing this while running). 
  However, he’s getting shot at by one of the 
  Judoon Troopers. One fires, and he dives out of 
  the way, but as he’s already acted this sequence 
  this action receives a -2 penalty. If he wants to do 
  anything else it’ll be at a -4 penalty.
  You can voluntarily do more than one thing in a 
  sequence, but again, every action after the first is 
  at a cumulative -2 to the roll.
  Reacting works a little differently.
  makiNg mOre thaN ONe reaCtiON iN 
  a rOuND.
  You can make more than 
  one Reaction roll in a Round, 
  but in many cases you don’t 
  actually need to. Once you’re 
  leaping around and dodging, 
  you’re harder to hit for 
  everyone who’s shooting at you 
  – you don’t need to try to dodge 
  If a player decides that they want to perform 
  an action belonging to an earlier phase, 
  and have not acted yet, they can ‘jump in’ 
  straight away. This is usually because they 
  may have had something planned, but it was 
  resolved before they had chance to act. For 
  example, Jack is planning on shooting at 
  Klortho the Vile, but Klortho has acted earlier 
  by activating a forcefield. Jack’s character 
  knows it’s probably pointless shooting at him 
  now, as the gun will have little effect (if any). 
  He changes his mind, and decides to run 
  off – but the Moving phase has already gone! 
  Jack’s player jumps in and declares what he 
  wants to do, and the Gamemaster lets Jack 
  run before any further Doing or Fighting 
  actions take place. The Gamemaster may 
  apply a -2 penalty to any actions like this to 
  reflect the character changing their mind at 
  the last moment and being unprepared.
  misseD yOur CalliNg?
  For example: General Staal takes aim 
  and fires upon a poor UNIT soldier. Staal 
  has declared that he intends to shoot 
  the UNIT soldier, we’ll call him Doug. To 
  determine difficulty of Staal’s roll, Doug 
  ‘resists’ the attack by diving for cover 
  behind some boxes. Staal can hit him, but 
  Doug is running and diving for the boxes 
  to try and make it difficult. Doug’s player 
  makes a Coordination and Athletics roll, 
  getting a total of 12. Staal needs to roll 
  over 12 to hit Doug with his rifle.
  Let’s try another example: Donna’s going 
  to try to convince the security guard in 
  H.C. Clements to let her in so she can 
  access the old Torchwood lab under the 
  Thames Barrier. The Doctor said there’s 
  some equipment in there he needs to 
  repair the TARDIS, but after the draining 
  of the Thames, security at the barrier 
  itself has doubled. Donna sidles up to 
  the guard to try to convince him that she 
  left something behind. The Gamemaster 
  decides this is not going to be an easy 
  job, and splits the Conflict into a series of 
  Rounds.
  Donna decides that a plain and 
  straightforward approach is the best 
  bet, so she opens by saying to the guard, 
  “Hi there, do you remember me? Donna 
  Noble? I used to work here. I left one of 
  my keys here when I left, for a lockup 
  garage, and I’ve not needed to go into it 
  before now. Is it okay if I pop up to get it?” 
  She makes a Presence and Convince Roll. 
  The guard’s Reaction uses his Ingenuity 
  and Resolve to see if he remembers her 
  or thinks she’s pulling a fast one. He 
  gets 11, Donna rolls and tries to beat it, 
  getting 15. A Good Result. Her Presence 
  examples
  DOCtOr WhO: aDveNtures iN time aND spaCe
  60
  Chapter three: allONs-y! 
  
  every single shot. If you have to react to anything 
  in a Round, roll as normal (with any necessary 
  penalties for when you make the roll). That 
  reaction roll counts for every attempt against you 
  in that Round.
  Let’s say Mickey is being shot at by three 
  Cybermen while he’s trying to fix his gun. The 
  ‘Doing’ comes first, so fixing the gun is rolled as 
  normal. Then comes the fighting. Mickey’s gun 
  isn’t going to be fixed in time to shoot at them, 
  so the three Cybermen open fire. He’s going to 
  dodge, jumping for cover.  Mickey’s already acted 
  this time (fixing the gun) so his dodging is at -2. 
  He only needs to roll once, and that result sets 
  the target for all three of the Cybermen trying to 
  hit him.
  If a Cyberleader was trying to command him to 
  surrender earlier in the Round, ‘Talkers’ come 
  first, so he would resist that before trying to fix 
  the gun. His resistance against being talked into 
  surrendering would be normal (and would count 
  against any other attempts to talk him out of 
  what he’s doing). Fixing the gun would be next 
  in the Round, with a -2 penalty. Then the dodge 
  against the three shots would be at -4.
  Using the same roll for multiple resistances 
  only works with reactions, not with actions.
  is 3, so she does that in ‘Damage’, taken 
  off of a suitable Attribute. In this case, the 
  Gamemaster thinks that Donna’s going to 
  whittle down the guard’s Resolve, until he 
  gives in and lets her in.
  The guard isn’t going to try anything in 
  return, so the Gamemaster starts a new 
  Round. Donna’s player decides that she’s 
  going to try to charm her way past the 
  guard. The Gamemaster decides that the 
  guard is going to have none of it and force 
  her to leave. They’re both ‘Talking’, so they 
  both go roughly the same time, however 
  Donna’s Presence is higher than the guard, 
  so she goes first.
  Donna tries to be charming, “Look, if you 
  just let me get my key, I’ll only be a second, 
  then when you finish your shift, what do 
  you say to me buying you a drink as a thank 
  you?” Using her Presence and Convince, 
  the guard resists her roll with his reduced 
  Resolve and Ingenuity. He rolls a 6, and 
  Donna rolls 14. Another Good Result, taking 
  another 3 levels off the guard’s Resolve. 
  This puts him below zero in his Resolve, 
  and the Gamemaster decides that this will 
  mean he’s lost his will to resist, halting the 
  Conflict there. The guard blushes a little, 
  opens the door and lets Donna inside. “Just 
  don’t be too long, love. If the bosses find out 
  I could get the sack.”
  Donna has convinced the guard and gets 
  into the building. As the Conflict is over, the 
  guard’s Resolve returns to normal with no 
  ill effects – though he may lose his job if 
  Donna is caught.
  Reducing Attributes, and the effects of 
  losing a Conflict will be covered later on 
  p.62.
  Depending upon the actions of the characters, both attacker 
  and defender, there are many combinations of Attribute and 
  Skill that can be used. Here are some suggestions:
  What are yOu usiNg?
  What you 
  want to do
  Skills used
  Resisted by
  Arguing
  Resolve with 
  Convince 
  Resolve with 
  Convince
  Seduce
  Presence with 
  Convince
  Resolve with 
  Ingenuity
  Punch
  Strength with 
  Fighting
  Strength with 
  Fighting (if 
  actively blocking)
  Shoot
  Coordination 
  with Marksman
  Awareness and 
  Coordination (if 
  aware of attack)
  DOCtOr WhO: aDveNtures iN time aND spaCe
  61
  
  DO it all agaiN...
  When everyone has had their action, and you’ve 
  worked your way through the talkers, runners, 
  doers and fighters, you can start the process 
  again. Return to the Intent phase when you’re 
  discussing what your characters are all going 
  to do – then run through another Action Round. 
  This continues until the Conflict is resolved and 
  you progress on to the rest of the adventure (or 
  you run away!).
   lOsiNg a CONfliCt
  Losing can mean many things 
  depending upon what sort 
  of Conflict our heroes 
  were engaged in.  Physical 
  conflicts, such as fighting 
  or combat, will result in 
  physical injury or even death. 
  Mental Conflicts, such as a 
  battle of wills, attempts at mind 
  control and the like, may result 
  in losing control of your actions, 
  unconsciousness or on rare occasions, death. 
  Social Conflicts can result in losing prestige, 
  respect or even the trust of others.
  In many cases, losing a Conflict will result 
  in the temporary reduction of one or more of 
  your character’s Attributes. The Gamemaster 
  will discuss this with the players to determine 
  exactly what happens and what the outcome 
  of the Conflict is, allowing you to make a 
  failure interesting to heighten the action of the 
  adventure.
  How severe this reduction is, or even the very 
  survival of your character, will depend upon the 
  strategic expenditure of Story Points, and how 
  badly your character lost in the Conflict. In most 
  cases, you’ll need to see how badly you were 
  defeated, whether this is a Failure, a Bad or, even 
  worse, a Disastrous result.
  We’ll go through the various types of Conflict 
  below and discuss how to handle losing.
  DOCtOr WhO: aDveNtures iN time aND spaCe
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  Chapter three: allONs-y! 
  A problem of breaking Conflicts into 
  shorter Rounds, especially combat where 
  this will get used the most, is that the 
  players can sometimes get into bad habits. 
  When everyone is declaring what they are 
  going to do, Gamemasters should look 
  out for the same phases being used over 
  and over again, for example the third or 
  fourth Round boiling down to “I shoot at 
  the Cyberman” over and over again. In 
  this case, the Gamemaster should give 
  the Cyberman a bonus (usually +1 every 
  time the players use the same tactic, you 
  can even make this cumulative) if they’re 
  planning to resist, as the player has 
  become so predictable that the Cyberman 
  knows what they’re going to do next. By 
  the third time the players do something 
  predictable, the target should be well 
  prepared to react against them.
  Try spicing up the Conflict with a bit of 
  dramatic action, do something different 
  every Round.
  i kNeW yOu Were gOiNg tO DO that!
  All sound complicated? Don’t worry, just take 
  it one stage at a time:
  1) Establish the Scene – where is everyone 
  and what is the environment like?
  2) Intent – what is everyone (including the 
  NPCs) planning to do?
  3) Everyone gets their Action (including the 
  NPCs), in order of what they’re planning on 
  doing:
   
  a) Talkers – any people who are just going 
  to speak? Now’s their time to talk.
   
  b) Runners – people who are just moving? 
  Here’s when they go!
   
  c) Doers – non-combat actions. Need to fix 
  something, or do something, now’s the time 
  to act!
   
  d) Fighters – combat actions go last.
   
  Remember, each action can be resisted, 
  as and when it happens, by the opponent.
  4) If the Conflict isn’t resolved, go back to 
  Step 2 and decide what everyone is going to 
  do next.
  exteNDeD CONfliCt summary
  
   lOsiNg a physiCal CONfliCt: gettiNg hurt
  It’s bound to happen sometime. The universe is a dangerous place and people get hurt. Whether this 
  is just tripping over when being chased by that slavering werewolf, to getting shot by a Cyberman’s 
  particle gun, getting hurt isn’t fun and doesn’t do your character any good.
  Most of the time, such injuries can be prevented with the careful expenditure of Story Points. See, 
  we told you they’d be useful!  (See p.74 for more on Story Points).
  Sometimes the injury is so small that there’s no heavy paperwork involved. The Gamemaster may 
  just remember your injury and say that you may be walking slower due to that twisted ankle, or that 
  you can’t reach that item on the top shelf ‘cause of the pain in your arm. 
  If injuries are severe enough, you may find that one or more of the character’s Attributes are 
  reduced. Which Attribute is down to the actual source of injury. It should be logical to the story 
  and to the event – for example, falling a distance and failing to land safely may result in a loss of 
  Coordination from a leg injury, or possibly Strength. Getting shot could mean you’d lose Strength, 
  Coordination (if it’s in a limb), or Resolve. In most cases, the Gamemaster will dictate which 
  Attributes are affected.
  Most sources of injury will have a number or a letter next to it to indicate the damage the character 
  would take from it. These are explained in the handy sidebar (on p.65).
  Of course, failing isn’t always bad. It can, with 
  some imagination, actually make things more 
  exciting and more interesting. Failures will still 
  mean that you’ve lost a Conflict, but it doesn’t 
  mean that you can’t make this a cool part of the 
  story. Making it more dramatic and exciting makes 
  the adventure more interesting for everyone, 
  and the Gamemaster will reward players who go 
  with their downturn of fortune by awarding the 
  character Story Points for keeping things running 
  smoothly. 
  Losing can be really cool for the story as well. 
  After all, how many great stories come from 
  something going wrong at the beginning of an 
  adventure, then spending the rest of the story 
  trying to right the mistake? Whether this is getting 
  captured by the villains, or setting in motion a 
  chain of disastrous events that need fixing, it all 
  makes for a great story.
  If a player is running low on Story Points, and if 
  the Gamemaster agrees, the player can opt to 
  adjust a successful roll to a Failure (or worse) 
  to advance the plot, make things interesting and 
  give the player Story Points (just like the reverse 
  of spending Story Points to improve a roll). Of 
  course, the Gamemaster has final say on all of 
  this, and gaining Story Points in this way should 
  be done sparingly and when the adventure allows.
  For example, Jackie has managed to escape 
  from the Cybermen in Torchwood Tower, and is 
  sneaking off hoping to find Rose. She runs down 
  a flight of stairs, and heads out into a corridor. 
  There are two Cybermen patrolling at the end of 
  the corridor, and Jackie tries to sneak in the other 
  direction. The Gamemaster asks Jackie’s player 
  to roll her Coordination and Subterfuge. She’s 
  not exactly skilled at this, but succeeds. However, 
  the Gamemaster didn’t really want Jackie to be 
  running around, it would be better for the plot if 
  Torchwood and the Cybermen were fighting, and 
  discusses with Jackie’s player the possibilities of 
  changing her result. The player agrees.  
  The Gamemaster rewards the player with a Story 
  Point for advancing the plot, and Jackie fails her 
  sneak, tripping over a janitor’s cart while she was 
  looking in the other direction. The Gamemaster 
  knows that Jackie can’t face the Cybermen alone, 
  so says that one of the mop handles hits the fire 
  alarm glass, setting off the alarms and sprinkler 
  system. This will alert the Torchwood troops to 
  this location, and gets the rest of the players 
  involved. Jackie just needs to flee in the haze of 
  the sprinklers and flashing alarm lights!
  makiNg lOsiNg exCitiNg
  DOCtOr WhO: aDveNtures iN time aND spaCe
  63
  
   sOurCes Of physiCal iNJury
  Besides the usual perils of the 
  environment (fire, cold, 
  vacuum and falling, see p.49 
  of the Gamemaster’s Guide), 
  the most common form 
  of injury in the universe is 
  unfortunately violence. But 
  how much does something 
  hurt when you’ve been hit?
  fightiNg Damage
  When it comes to close, physical combat, it’s all 
  about how strong you are. Getting hit by Donna 
  is certainly going to hurt, but not as much as 
  being punched by a Judoon Trooper. Basically, 
  the damage for a punch or kick is the character’s 
  Strength Attribute. If the character has a 
  Strength of 3, they will do 3 points of damage 
  on a Good Roll (and 1 on a Success and 4 on 
  a Fantastic). If they have a Strength of 5, they 
  do 5 points of damage on a Good result (2 on a 
  Success and 7 on a Fantastic).
  If they are using a weapon, the damage is 
  increased depending upon what sort of weapon it 
  is that you’re swinging around. Follow this simple 
  checklist, and for every ‘yes’ add +2 to your 
  character’s Strength.
  Is it sharp? Does it have a cutting edge, sharp 
  points or something equally nasty designed to 
  puncture or slash the target?
  Is it heavy? Does it need two hands to lift?
  Is it dangerous? Does it do damage without you 
  having to do anything, like a Sycorax whip or 
  chainsaw?
  For every one of these, add +2 to the Strength of 
  the character when working out damage. So if 
  it’s something like a sword, it’s your character’s 
  Strength +2. If it’s a big sword, like the Sycorax’s, 
  and you really need to use it two-handed then it’s 
  both heavy and sharp so it’s Strength +4. 
  If it’s something really nasty like a chainsaw, it’s 
  sharp, dangerous, heavy and two-handed, so it 
  gets the full +6 to the Strength.
  These damages also count if you’re throwing 
  a weapon (such as a knife or rock) at someone. 
  The stronger you are, the more force you can 
  put behind the throw doing more damage. If the 
  propelled object is being thrown by something 
  else, such as a catapult, or gunpowder, then it’s a 
  whole different matter, and you’ll be looking at 
  Marksman Damage for shooting things.
  The Gamemaster usually determines 
  which Attribute is affected, according to 
  the source of the injury. For example, if the 
  character is shot in the leg by an arrow, 
  the Gamemaster could decide that a point 
  should come off of the character’s Resolve, 
  as the injury will affect the character’s 
  drive and determination. A point should 
  also be lost from Coordination, as they’re 
  less able to move about. And finally, the 
  Gamemaster decides that a final point 
  should be lost from Strength, due to the 
  character’s newly weakened physical state.  
  If it’s a severe injury, the Gamemaster may 
  apply all of the damage to one Attribute, 
  effectively incapacitating the character 
  from using that Attribute until they can 
  get medical attention. A less severe one (a 
  Failure, rather than a Disastrous) may take 
  a little off of multiple Attributes.
  Still unsure? Imagine where they’ve been 
  hit – head, body, arms or legs. What 
  would the injury affect? A blow to the head 
  would probably affect their Coordination, 
  Awareness, Presence, and Resolve, even 
  Ingenuity. A hit to the body would affect 
  their Strength and Resolve. Arms or Legs 
  would lower their Coordination, Strength, 
  or Resolve. If you’re still stuck, just reduce 
  their Resolve and then Strength when the 
  Resolve is gone, but a little imagination 
  with the injury can lead to great story 
  effects and plot developments!
  WhiCh attriBute?
  DOCtOr WhO: aDveNtures iN time aND spaCe
  64
  Chapter three: allONs-y! 
  
  marksmaN Damage
  Shooting something is a different case. It’s 
  not about how strong you are – it’s about how 
  accurately you can shoot. In most cases, a bullet 
  or a laser will do the same amount of damage 
  if it hits, no matter who fires it. Below are some 
  example weapon damages – numbers in 
  brackets afterwards are the half/full/one-and-
  a-half damages that relate to Success/Good/
  Fantastic results.
  All sources of injury, whether they are weapons, 
  falls, poisons, or worse, will have a value 
  attached to it. This is usually a number, or in 
  some cases the letter ‘S’ or ‘L’. The value usually 
  refers to the ‘middle’ effect (a Good or Bad). This 
  is halved for a Failure (or a Success if you’re 
  trying to inflict the injury), or multiplied by 1.5 
  for a Disastrous (or Fantastic if you’re doing 
  the harming). Remember to round down to the 
  nearest whole number unless this is zero.
  S: ‘S’ stands for Stun and means that the target 
  is knocked unconscious. If the Gamemaster 
  allows, they may be able to perform one last 
  heroic act, such as shout a warning into the 
  radio, press the button that opens the doors, 
  or something else quick and simple. How long 
  they’re unconscious will depend upon how badly 
  they’ve failed. Normal Stun lasts for around 
  30mins but does no actual damage. This means 
  a Disastrous result results in the character being 
  unconscious for 45mins and a Failure for just 
  15mins. The Gamemaster may change these 
  times to suit the source of being stunned, or 
  whatever best fits the story.  
  Besides being stunned, the poor victim is 
  unharmed and will wake with maybe a headache 
  or feeling a little nauseous.
  L: ‘L’ stands for Lethal and means the target is 
  killed. The Doctor has encountered many aliens 
  whose weapons are instantly lethal – just one hit 
  and you’re dead. Dalek death-rays, Cybermen 
  particle cannons or Judoon blasters – they all 
  have one thing in common, no one survives. 
  Zap, and it’s glowing blue skeleton time or 
  disintegrated in a red flash. We’ve tried to 
  recreate that here so weapons flagged as lethal 
  are just that. You really shouldn’t try to go face to 
  face with a Dalek.
  Story Points are your best chance at survival, but 
  if you haven’t any of these it may be that your 
  character’s number is up. The Gamemaster will 
  discuss this with you though it may be worth 
  taking a look at the ‘Dying or Leaving the TARDIS’ 
  section on p[?].
  However, all is not lost. Lethal is the result of a 
  Bad result, or Disastrous result. A Failure will 
  result in an injury, not from the deadly weapon 
  but rather from diving out of the way, a hit to a 
  limb or other effects. In this case, the ‘L’ should 
  be treated as a number, albeit a high and suitably 
  dangerous number, that can be reduced. Most 
  Lethal weapons are the equivalent of the number 
  8, making a Failure equal to a 4 point hit. See 
  below for what the numerical values of injuries 
  mean.
  Numerical Values: Most sources of injury will 
  have a number next to them. This indicates how 
  many points of Attributes will be reduced by 
  the injury. The Gamemaster will discuss this 
  with the player to suit the story and the source 
  of the injury. After all, not all sources are the 
  same. Getting hit by a bow and arrow will deplete 
  physical Attributes, whereas being hypnotised 
  or drugged will lower mental Attributes. We’ll 
  cover the various sources of injury later and give 
  you and the Gamemaster guidelines for how this 
  works.
  The number presented is the normal, for a Bad 
  result or defeat. This number is halved (round 
  down) for a Failure result, and multiplied by 1.5 
  for a Disastrous result. For example, a weapon 
  that has a damage value of 6 will reduce one or 
  more Attributes by a total of six levels on a Bad 
  result. A Failure would knock this figure down 
  to 3, and a Disastrous result would be 9. Don’t 
  worry, in most cases when a source of injury is 
  presented, we’ll present it with the half and the 
  1.5 to speed things up, with the normal figure in 
  bold. A fairly nasty weapon that has a value of 
  8 will be presented as 4/8/12, meaning it’s 4 for 
  Failure, 8 for Bad and 12 for Disastrous.
  levels Of iNJury
  DOCtOr WhO: aDveNtures iN time aND spaCe
  65
  
  marksmaN Damage
  Arrow:   
   
      3  
  (1/3/4)
  Crossbow Bolt:   
      4 
  (2/4/6)
  Flintlock Pistol:   
      4 
  (2/4/6)
  Pistol (9mm):   
      5 
  (2/5/7)
  WWII Rifle:  
   
      6 
  (3/6/9)
  Shotgun:  
   
      7 
  (3/7/10)
  Assault Rifle:  
   
      6 
  (3/6/9) *
  Machine Gun:   
      7 
  (3/7/10) *
  Sniper Rifle:  
   
      8 
  (4/8/12)
  Laser Pistol:  
   
      L 
  (4/L/L)
  Laser Rifle:  
   
      L 
  (4/L/L)
  Cyberman Particle Gun:     L 
  (4/L/L)
  Dalek Ray:  
   
      L  
  (4/L/L)
  Judoon Blaster:  
      L  
  (4/L/L)
  * damages assume a short burst of 1-3 bullets 
  at a time. In most cases, firing a fully automatic 
  weapon on full auto rarely hits anything – it’ll 
  probably hit with those 1-3 bullets, the rest will 
  spray the surroundings and shoot up the scenery.
   COmBat
  We don’t like to use Combat as a term, as in 
  the Doctor’s adventures things aren’t always 
  resolved with gunfire. Sure, the villains may 
  resort to firepower, but the Doctor and his 
  companions rarely take up arms. It doesn’t 
  stop more militaristic agencies such as UNIT or 
  Torchwood though. It’s unlikely that you’ll have 
  many fights per adventure, but sometimes you 
  have to fight fire with fire.
  Luckily, combat runs the same as any other 
  conflict, and isn’t just about shooting at each 
  other. Just because the aliens are pointing guns 
  at you doesn’t mean you have to point a gun 
  back. The Doctor uses his greatest weapons – his 
  brains and his mouth, cause he’s certainly got a 
  gob on him!
   guNs are BaD
  Time to address one of the 
  familiar questions when it 
  comes to most roleplaying 
  games – guns and violence. 
  Some roleplaying games are 
  all about killing things and 
  taking their stuff. If this was any 
  other setting or game, there’s 
  a good chance that you’d be expecting to do the 
  same. The aliens invade, the nasty monsters 
  threaten the peace, you tool up and blow them 
  out of the galaxy taking all their cool toys to boot. 
  Well, that may work for the Torchwood guys, but 
  this is different.
  We’re not going to preach to you about how 
  bad guns are, it’s a simple fact that guns are 
  dangerous, guns kill, and guns shouldn’t be 
  pointed at someone lightly. Guns will come into 
  play and ‘combat’ will crop up frequently, but the 
  Doctor hardly ever (we won’t say never, as he has 
  once or twice in his 900 years) aims a gun at his 
  foes.
  Guns and other weapons should be treated 
  just as they are in real life – as something to be 
  feared and regarded with care. Actual gunfire is 
  incredibly loud and terrifying. Getting hit is not 
  like they portray in those action movies – it is 
  likely to result in a lot of blood, passing out, going 
  into shock, or worse. You’re not going to be able 
  to take a bullet hit like a Cyberman.
  The bad guys will frequently resort to guns and 
  violence, but there are many ways to stop them 
  from pulling the trigger, and plenty of things your 
  character can do if you’re not used to handling 
  guns.
  Plan Ahead: The best way to avoid a getting 
  into a gunfight is to make sure the situation 
  doesn’t come to that. Simply avoid the fight. 
  There are many ways of doing this, especially 
  if your character isn’t a gun loving soldier. If 
  you’re a scientist or good with technology, 
  you could come up with a great way to make 
  the enemy’s weaponry ineffective. Remember 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  66
  Chapter three: allONs-y! 
  
  when the Doctor boarded the Dalek Emperor’s 
  ship to rescue Rose? Walking around a Dalek 
  ship is going to get you killed. Knowing what 
  they were up against, Captain Jack modified 
  the Slitheen tribophysical waveform macro-
  kinetic extrapolator to create a forcefield that 
  surrounded the TARDIS allowing the Doctor 
  to talk to the Daleks without worrying about 
  being exterminated before he could speak. You 
  could create a gadget to jam frequencies, to 
  temporarily blind the opponent or something 
  similar.
  Hide and Sneak: Another way to avoid conflict is 
  to not be seen. There’s nothing quite as exciting 
  as sneaking around an alien installation trying 
  not to be discovered. It’s tense, and provides 
  great dramatic opportunities as you sneak from 
  room to room, avoiding the patrols, sensor arrays 
  and guards. Knowing that you have to go into a 
  heavily fortified location doesn’t mean you have 
  to ‘tool up’ and go in all guns blazing with a team 
  of UNIT commandos at your side. That’s not what 
  the Doctor would do. It doesn’t mean you can’t 
  do this, however it may be safer to find a way to 
  sneak in, get what you need, and try to sneak 
  out before you are discovered rather than risk 
  casualties on both sides from a frontal attack.
  Talking down: “Hold it.  Before you shoot, before 
  you do something you may regret, listen to me…” 
  The Doctor has done this in many occasions, 
  talking a hostile foe down from the brink of 
  opening fire. Whether it is purely to distract the 
  enemy, or to convince them of the errors of their 
  ways, it is handled in just the same way as any 
  other Conflict resolution.
  If you’ve been discovered sneaking in, and your 
  gadgets are ineffective, there’s one thing you can 
  always rely upon – you can always try to talk your 
  way out of the situation. As you’ll have seen in 
  the Extended Conflict section (see p.58), ‘Talkers’ 
  go before ‘Fighters’, so before the guns start 
  firing you can always try to convince them of a 
  better solution rather than pulling the trigger.
  If successful, the character’s speech is 
  convincing enough to halt the enemy before 
  they fire, even if it is just for a moment. How 
  successful they are in the roll dictates how well 
  they do talking down, whether it is a brief respite 
  giving them chance to think of something else, or 
  getting the enemy to lower their weapons. It may 
  be that this is the lesser of two evils, allowing 
  the character to be captured rather than being 
  killed – after 
  all, you can 
  always try 
  to escape 
  later, not 
  something 
  you can do if 
  you’ve been 
  exterminated.
  Distraction: 
  It may be that 
  instead of 
  getting them to 
  stop shooting 
  at you, you 
  could try to 
  distract the 
  enemy long 
  enough for 
  you to make 
  your escape. 
  This could be 
  as simple as pointing 
  at someone else and 
  telling them they have the wrong guy (though 
  this just gets someone else into trouble, not 
  something the Doctor would do) to blinding the 
  opponents momentarily – or something else that 
  allows you to get away.
  Most of the time in a fight you’re not aiming 
  to cause permanent or major damage. 
  Usually, you’d be happy if the opponent is 
  knocked out for a little while so you can 
  get away or get past them. If the attacker 
  wishes, they can ‘strike to subdue’, opting 
  to knock the target out. If this is the case, 
  the damage inflicted reduces the target’s 
  Resolve only, and when it reaches zero the 
  target is ‘stunned’ as normal for 30mins. 
  Of course, this doesn’t work with weapons 
  that are sharp or are dangerous, but you can 
  usually reduce the average person to zero 
  Resolve in one or two hits.
  Damage taken from being knocked out is 
  ignored when the character wakes, though 
  they may have a headache and a bad bruise.
  it’s a kNOCkOut
  DOCtOr WhO: aDveNtures iN time aND spaCe
  67
  
  Take the Guns out of the equation: Of course, if 
  there are no guns, there’s nothing to worry about. 
  Weapons are pretty dangerous so if you can 
  make them ineffective then the enemy is going 
  to have to think of something else to do rather 
  than shoot at you. Unfortunately, the Doctor has 
  discovered that it is often the other way around – 
  bullets are rarely effective against the creatures 
  that are encountered. Create forcefields, use 
  perception filters (if they can’t see you they won’t 
  need their guns), or draw the enemy somewhere 
  that gunfire attracts the wrong sort of attention... 
  like the police.
  Call the Police: As Banto asked in his DVD store, 
  why doesn’t anyone just go to the police? Sure, 
  it’s not much of an option on an alien world, but 
  on present day Earth the sound of gunfire is 
  bound to alert the authorities. This can be handy 
  if you’re unarmed and about to be attacked by 
  gun-wielding aliens. Not so good if you’re the 
  ones doing the shooting. If the situation is bad 
  enough, you may end up having to answer to 
  UNIT.
  Surrender: He who turns and runs 
  away may get shot in the back! 
  It may just be easier in some 
  circumstances to give in and 
  let yourself be captured. 
  You can always work out a 
  plan to escape later, or even 
  plan in advance for such an 
  eventuality.
  Diving for cover: Sometimes the best thing 
  to do is just hit the dirt, throw yourself behind 
  something suitably solid and hoping for the best. 
  Often this can provide you with those valuable 
  seconds that can give you time to think of Plan B.
  If the enemy opens fire before you can distract 
  them or talk them out of it, all you can do is 
  dive for cover or run away. The Doctor may have 
  powers beyond our imagination, but even he 
  is not bulletproof (though he has been known 
  to use his sonic screwdriver to create a wall 
  of sound to stop bullets). When the bullets (or 
  lasers) start flying, the characters can use their 
  Coordination and Athletics (and any suitable 
  Trait). If they beat the enemy’s attempt at hitting 
  with their weapons, the characters successfully 
  make it to cover.
  Running for your life! When faced with 
  unstoppable numbers, and an unbeatable force, 
  sometimes the best thing you can do is just run 
  away. At least it gives you a second chance at 
  defeating the villains. Running away is probably 
  the easiest of options, though if the enemy is 
  persistent it can lead to a dramatic chase (see 
  Chases on p.55 of the Gamemaster’s Guide) or 
  having to dodge weapon-fire while running (see 
  ‘Diving for Cover’ above).
  Shooting back. Desperate times call for 
  desperate measures, and while the Doctor hardly 
  ever takes up arms against any living thing, his 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  68
  Chapter three: allONs-y! 
  Mickey’s still on that American ship full of 
  Cybermen after the Philadelphia Experiment 
  brought them through the Void. He’s being 
  lead by that Cyberman through the ship’s 
  corridors to where the ship has a small 
  conversion facility. Before Mickey gets 
  upgraded, he needs to get away, but if 
  he runs he’s going to get shot. He needs 
  something to distract the Cyberman so 
  he can get away. He spots a red lever that 
  connects to a bit of piping. The Gamemaster 
  says a successful Coordination and Strength 
  roll would mean that he could grab and 
  wrench the lever hard and quick enough that 
  the Cyberman wouldn’t see it coming. He 
  succeeds and hot steam shoots out of the 
  pipe into the Cyberman’s face. It shouts a 
  metallic scream as its vision steams up, and 
  Mickey runs off down the corridor.
  example
  Martha has been separated from the Doctor 
  and Donna after a tunnel has collapsed. 
  She’s trapped on the Hath side of the 
  tunnel complex with an injured Hath and 
  no weaponry. Other Hath are coming, and 
  seeing a human they’re likely to open fire. 
  Martha will use her Presence and Convince 
  to show the Hath that she means them no 
  harm – in fact, she’s going to help by fixing 
  up the injured Hath that was caught in the 
  blast with her. The other Hath could have 
  just shot her, seeing that she’s human, but 
  they don’t thanks to her showing them her 
  intentions.
  example
  
  companions have frequently needed to return 
  fire on the encroaching aliens. This is certainly 
  the case when it comes to UNIT or those trigger-
  happy Torchwood employees.
  If a character is going to resort to violence, 
  they have a couple of choices when it comes 
  to firearms. They can lay down a covering (or 
  ‘suppressive’) fire at the enemy. This means 
  they’re not really aiming at them, just in their 
  general direction. It is unlikely that they’ll hit the 
  enemy, but the gunfire will have them diving for 
  cover. This is almost ‘intimidating’ the opponents 
  into hiding by shooting at them. The targets will 
  have to resist with a Strength and Resolve roll to 
  have the guts to poke their heads above cover to 
  act back.
  On the other hand, the characters may decide 
  that the only option left to them is to try to hit the 
  enemy. If this is the case, it is best resolved with 
  an Extended Conflict, lots of smaller Conflicts in 
  a sequence that determines each action within 
  the firefight.
  Of course, just because some of your group 
  are shooting at the enemy, it doesn’t mean that 
  the less combat-orientated characters can’t be 
  doing something else. While Captain Jack was 
  barricading the floors off from the Daleks and 
  shooting at the metal menace with the survivors 
  of Satellite 5, the Doctor was busy building the 
  Delta Wave Projector. While the fighters are 
  holding off the enemy, the others can be doing 
  plenty of things, like tending to the wounded, 
  working on a way out, cobbling together 
  technological devices, breaking into computer 
  systems or other helpful actions.
  Hiding behind things is probably the safest bet when the guns are 
  firing. Cover provides two advantages – one is that it is harder to hit 
  a target that’s smaller to see, the second is that the cover provides 
  protection against injury.
  Imagine how much of the character is visible, and how much is 
  behind the cover. The more of the character that is hidden, the 
  harder it is to hit them.
  How much protection does it offer?
  Shooting someone who is behind some form of protection reduces 
  the amount of damage they take. It all depends on what it’s made 
  out of and how thick it is. Some objects can only take so much 
  damage for you before it is destroyed and useless. Here’s a rough 
  guide.
  For example, if Mickey is shot for 3 points of damage while hiding 
  behind a wooden fence, the fence absorbs 1 point and he takes 
  2. The fence can only take another 4 points of damage before it 
  is destroyed and stops providing him with cover. If he was hiding 
  behind a brick wall, he would take no damage as its Armour 
  Protection is greater than the damage done. If the damage was over 
  10 points, Mickey would take a hit. 
  Armour works in just the same way, reducing the amount of 
  damage taken. This armour only protects against bullets or other 
  physical weapons. Lasers or other energy weapons are unaffected 
  by such armour, though protective forcefields defend against 
  everything.
  Alien armour, such as Dalekanium and the forcefields that Daleks 
  also employ, are detailed in the individual alien’s write-up.
  DuCk aND COver
  How much is behind cover?
  Modifier to hit
  1/3 (Low boxes, or kneeling)
  -2 modifier to hit
  2/3 (head & shoulders visi-
  ble, target laying on the floor) -4 modifier to hit
  Type
  Armour 
  Protection
  Damage it can take 
  before destroyed
  Wood  
  1
  5
  Brick Wall
  10
  50
  Concrete Wall
  15
  70
  Steel Wall
  30   
  250
  Type
  Armour Protection
  Leather Jacket
  1
  Bulletproof Vest
  4
  SWAT Body Armour
  8
  Metal Plate (medieval armour)
               8 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  69
  
   Other sOurCes Of iNJury
  Aliens, villains and physical conflict are not the 
  only way to get hurt in this dangerous universe. 
  What happens if a character accidentally falls 
  or if they’re cornered by fire in a trap set by the 
  evil villain? Resolving other sources of injury is 
  covered on p.49 of the Gamemaster’s Guide.
   lOsiNg a meNtal CONfliCt
  It’s not just guns or other physical threats that 
  can harm our heroes. There are many terrors 
  out there that can sap the reserves or invade 
  the mind. In most of these cases, this will be 
  conducted just as any other Conflict. It can be 
  as simple as failure resulting in being mentally 
  controlled, scared or possessed, or worse. In 
  more detailed mental Conflicts, characters take 
  ‘damage’ from the encounter, just like a physical 
  Conflict. The only difference is the damage 
  inflicted is temporary.
  Mental damage is inflicted just like physical 
  damage, but using Ingenuity or Resolve instead 
  of the Strength Attribute. The Gamemaster 
  may apply bonuses if weapons are used such 
  as a MITRE headset or other mind-bending 
  equipment. Damage is usually taken from the 
  character’s Resolve, until it reaches zero and 
  the character has lost his will to resist, or falls 
  unconscious. This ‘damage’ is restored quickly 
  afterwards, though the effects of losing may be 
  longer-lasting if they’re open to possession or 
  mind control, sometimes gaining Bad Traits if the 
  effects are severe enough.
  gettiNg sCareD
  It is not hard to get scared when facing the 
  unspeakable horrors of the universe. There 
  are times, especially for the Doctor’s 
  companions, that there is little you 
  can do except stand and scream! 
  Probably shouldn’t have gone 
  off wandering down that dark 
  woodland path alone, hmm? 
  Sometimes it’s not just 
  the innocent villager who 
  gets terrified out of their 
  wits. Many of the aliens the 
  characters will encounter are 
  just plain terrifying, and it’ll be a 
  brave individual who doesn’t drop everything and 
  stand there in quaking fear.
  Facing something scary is simply another 
  conflict. If the alien is particularly scary, it will 
  have the Fear Factor Trait that’ll modify the 
  monster’s Resolve and Presence. The character 
  facing it will have to beat these with their own 
  Resolve and Ingenuity, modified by any suitable 
  Trait like ‘Brave’. Remember, the Fear Factor 
  Trait doesn’t come into effect unless the creature 
  is actively scaring the character.
  For example, Donna is walking through the 
  dark caves under Uther Pendragon’s castle, 
  wondering where the Doctor has sneaked off to. 
  As she turns a corner, she sees a hideous winged 
  creature, possibly something that spawned 
  the legends of dragons, only this one is much 
  scarier and uglier. She’s scared, and makes a 
  Resolve and Ingenuity roll against the monster’s 
  Resolve and Presence. The Gamemaster decides 
  that the monster isn’t as scary as it can be, as 
  it hasn’t seen her yet, so gives Donna a bonus 
  on her roll of +2, saying that she’s not as scared 
  as the monster doesn’t know she’s there. She 
  succeeds and prepares herself to sneak across 
  the corridor and away.
  The monster spots her, and turns. It roars at 
  her, and she stands in abject terror. She needs 
  to make the roll again, as it has seen her and is 
  actively scaring her, getting the bonus from its 
  Fear Factor! Donna’s not going to get a bonus 
  this time, and doesn’t win this one – she stands 
  there screaming! 
  If the character wins, they may be scared but 
  they’re able to continue as normal. However, if 
  they fail against the creature, it the character can 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  70
  Chapter three: allONs-y! 
  
  do very little other than stand there and scream. 
  Failing by a lot, a Bad or Disastrous result, and 
  the character may faint, run away or suffer from 
  horrible nightmares for months. 
  BeiNg pOssesseD
  There are many alien beings in the universe who 
  can take over the character, controlling their every 
  action and thought. The living sun in the Torajii 
  system could turn people into homicidal agents 
  of its vengeful thoughts, and the Beast took over 
  Toby Zed on Sanctuary Base 6 to become the 
  living vessel of the Beast’s consciousness.
  Defending yourself against an alien presence 
  that is trying to control your mind is a normal 
  Conflict, with the alien’s Resolve + Convince 
  against the character’s Resolve + Ingenuity (if 
  a battle of wits) or Strength (if a battle of pure mental 
  power). Any applicable Traits can modify the Attributes of each side. If the 
  character wins, he retains his control and sanity. If the character fails they can 
  opt to spend Story Points to retain control. If they’re out of Story Points, the 
  alien will take control, and the Gamemaster will dictate what they wish to do.
  There may be moments when the character can retain control for a couple 
  of seconds – stopping themselves from pulling that trigger, trying to tell the 
  others what the alien’s evil plans are or how to defeat it. It’s not easy, but 
  the Gamemaster may allow you to do this if it develops the story.
  How to shake the thrall of the alien? It’s going to cost Story Points, but 
  if you’re already possessed it probably means you’ve already run out of 
  Story Points, so you’re going to have to get them from your friends. They 
  can donate Story Points – a rousing speech of support, a meaningful 
  dialogue to remind you of who you are – anything that might bring you 
  back to your senses may help.
   lOsiNg a sOCial CONfliCt
  Sometimes you simply lose an argument. Losing 
  doesn’t mean that you suffer physical damage, 
  but you may lose face or respect in the eyes of 
  others, or just fail to persuade the opponents 
  to your way of thinking. A Disastrous result in 
  an argument would mean that you’d pause for a 
  while, possibly even contemplate their side of the 
  argument.
  Imagine the Conflict is a fistfight, only using brains and 
  words instead of brute strength and fists. The Conflict runs 
  as combat, only the players use suitable oratory or mental 
  skills instead of Fighting and Marksman. They can dodge, just 
  like a fight, using their skills. They will also take ‘Damage’ just 
  as if they’ve been punched!
  This is incredibly temporary ‘damage’, and it reduces the 
  character’s Attributes (usually Resolve to begin with) for the duration 
  of the combat, just like actually getting hurt. When the character’s 
  A good way to start a game is for all of the 
  players to temporarily play unsuspecting 
  (and usually nervous) support characters. 
  If they do well, they could even receive 
  Story Points that’ll be rewarded to their 
  normal characters when the main story 
  starts. They could do anything, like 
  play staff at Torchwood House as the 
  Monks of St. Catherine come to take 
  over, or the crew of Sanctuary Base 6 as 
  odd things start happening before the 
  Doctor and Rose arrive. More on running 
  introductions like this can be found in the 
  Gamemaster’s Guide.
  DOCtOr WhO: aDveNtures iN time aND spaCe
  71
  
  Attributes get low, they react in just the same 
  way as being injured but their injuries are to their 
  pride, thoughts and social standing. They can 
  turn and run away, or they can fight until their 
  Attributes reach zero – at which point they have 
  lost and will be completely convinced, persuaded 
  or humiliated by their opponent. The ‘Damage’ 
  to their Attributes is then restored, but a severe 
  humiliation or loss will result in a change in 
  the way people act around you. Major ‘Damage’ 
  like this can result in gaining Bad Traits. The 
  actual amount of damage done is based on 
  the character’s Ingenuity (if a battle of wits) or 
  Presence (if charm or charisma is involved). Just 
  like a physical fight, every level of the Attribute 
  is a level of ‘Damage’ they can inflict in a social 
  Conflict.
   healiNg
  Most of the time, injuries or reduced Attributes 
  will be restored to normal in between 
  adventures. Time passes, you get better and 
  recover from your wounds.  
  Some wounds are severe, and if the character 
  has lost a lot of Attribute points, the Gamemaster 
  may give them a Bad Trait. For example, losing a 
  lot of Resolve due to being scared at a particular 
  moment, trapped in the enemy ship in the dark 
  with aliens crawling around, the Gamemaster 
  may let them recover their Resolve between 
  adventures, but the experience was so traumatic 
  that they have developed the Phobia Trait. This 
  most certainly will happen if an Attribute is 
  reduced to zero. 
  If medical aid is at hand and you need to get 
  back into the action as quickly as possible, a 
  trained doctor or medic (someone with the 
  Medicine Skill) can try to patch you up. A 
  successful Medicine roll will ‘heal’ an injury, 
  restoring levels of Attributes that have been 
  lost. For a Success, 1 level is restored, 
  2 for a Good and 3 points for a 
  Fantastic. The Gamemaster may 
  apply modifiers if the injuries 
  are severe or when treating 
  someone with an unfamiliar 
  biological make up.
  This sort of medical 
  assistance can only be 
  done once for each injury. 
  That is, if you are injured 
  from a fall, reducing your 
  Coordination by 1, someone can try to patch you 
  up and restore that missing level. If they fail, it 
  cannot be attempted again until the character 
  sustains another injury. However, if you receive 
  another 2 points of injury and your resident 
  medic gets a Fantastic result, you will have all 3 
  points of injury restored.
  Without medical aid, or after it has been 
  administered, natural healing is at a rate of 1 
  level of Attribute per day of full rest – that is, 
  nothing more strenuous than making tea.
  Normally, when one adventure ends, any 
  injuries are healed and Attributes are restored to 
  the normal level. However, there are exceptions 
  – if the Gamemaster is planning a two or three 
  part story, where very little time passes between, 
  injuries will be kept, or healed slightly at the 
  Gamemaster’s discretion.
   multiple iNJuries aND reDuCeD 
  attriButes
  There could be a time when the character has 
  lost a lot of points. When an Attribute reaches 
  zero, the character is unable to do anything 
  related to that Attribute. So what does that mean 
  for each Attribute?
  Zero Awareness may mean that one or more of 
  their senses have been temporarily impaired, 
  leaving them unable to move around on their 
  own. They’re so dazed or unable to tell what 
  is going on around them that they will not 
  know what is happening, or may be unable to 
  communicate.
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  Chapter three: allONs-y! 
  Sarah Jane and Rose didn’t exactly get on 
  when they first met, there was certainly a 
  level of jealousy influencing their actions. 
  In this case, when they started arguing and 
  trying to show the other up, this would be a 
  Social Conflict, each using their Presence 
  and Convince to out-do the other. Of 
  course, the argument ends as Sarah Jane 
  reduced Rose’s Presence to zero. At which 
  point, Sarah Jane’s player calmed Rose’s 
  jealousy, making light of the situation and 
  showing Rose that she was no threat to their 
  relationship. They laugh off the argument, 
  and become friends, and Rose’s Presence 
  returns to normal.
  example
  
  Zero Coordination, they’ll be flailing around 
  as if they’d had one too many at the local pub. 
  They’ll keep falling over or tripping over the 
  slightest thing, over reaching for items, knocking 
  everything over. Probably best just to sit down 
  and hope to recover.
  Zero Ingenuity (not one that’ll drop often) will 
  mean the character is so tired or defeated 
  they’re unable to think sensibly or come up with 
  any ideas. They may do foolish things, like blindly 
  following foolhardy orders or believe what people 
  say unquestioningly.
  Zero Presence means the character will probably 
  be unconscious, unable to talk or communicate 
  until revived by medical means or given time to 
  recover. If remaining conscious, they will refuse 
  or be unable to communicate with anyone, 
  shunning contact with others, as they seem 
  threatening.
  Zero Resolve means they’ve given up completely, 
  admitted defeat and will sit around not really 
  wanting to do anything. They become open to 
  suggestion and likely to do anything they’re told. 
  If inundated with suggestions or orders they may 
  react badly to the overwhelming instructions, 
  striking out at everyone nearby.
  Zero Strength, they’re likely to collapse to the 
  floor, unable to even stand. The character will 
  have to be carried and will probably not have 
  enough strength to defend or help themselves.
  Hitting zero in an Attribute is pretty bad, and it 
  may be that your character may develop a Bad 
  Trait to reflect the lasting effects. Reach zero in 
  more than one Attribute and things get serious. If 
  three or more Attributes reach zero, not only will 
  the character be almost unable to do anything, 
  they’re so badly injured that there is a good 
  chance that they’ll die.
   DyiNg Or leaviNg the tarDis
  Without Story Points to save you, taking too much 
  damage can be fatal. 
  An unlucky hit from a ‘Lethal’ class weapon will 
  put an end to the character’s adventures. If that 
  seems harsh, you can just have the character be 
  knocked unconscious and captured, or you can 
  allow another character to spend Story Points on 
  their behalf, pushing them out of harm’s way.
  However, if the character suffers multiple 
  injuries and three or more of their Attributes 
  have been reduced to zero, there’s also a good 
  chance they may be killed. If this is the case, the 
  Gamemaster can offer the player a deal – the 
  character gains the Unadventurous Bad Trait, in 
  return for a Story Point that’ll heal some of the 
  character’s health (see ‘It was just a scratch!’ 
  on p.75). The character will probably still be 
  unconscious and likely captured, but at least 
  they’ll be alive.
  The Unadventurous Trait reflects the 
  character’s dislike of constantly being injured 
  in their travels. They will continue, but the 
  dissatisfaction will soon become evident. If this 
  happens again, the Unadventurous Trait can be 
  increased from a Minor to a Major Bad Trait. 
  They’re really not so keen with the constant 
  threat to their lives. If the Unadventurous Trait 
  grows higher than a Major Trait, the character 
  will leave. They will ask to be returned home, or 
  will settle somewhere that they will be happy, 
  and leave the game. The player should then 
  create a new character.
  Although Companions can die, more often they 
  leave the TARDIS through their own choice or 
  circumstances the Gamemaster develops with 
  the player to ‘write them out’.  It doesn’t mean 
  they won’t return briefly in the future, but their 
  return will be limited. If the original character 
  died in a suitably heroic way, the player’s new 
  character may receive additional Story Points at 
  character creation, or other bonuses, to reward 
  such a great sacrifice in the name of a good 
  story.
  DOCtOr WhO: aDveNtures iN time aND spaCe
  73
  
   stOry pOiNts
  You’ve heard the term Story Points used many 
  times so far, and each player should already 
  have some marked down on their character 
  sheet. Before everyone starts playing, the 
  Gamemaster will hand out a number of tokens 
  to each player equal to their Story Points. That 
  way, when they spend a Story Point, they simply 
  hand the token back to the Gamemaster rather 
  than having to rub out numbers constantly on 
  the character sheet until you can see through it. 
  If the Gamemaster rewards the players for good 
  play or aiding the story, he’ll hand some back to 
  you. Simple as that.
  But what do they do and how are they used?
  Story Points are used to change events in a 
  player’s favour. There may be times when you 
  hardly have to use them, or in the heat of a 
  climatic battle with superior enemy forces, you 
  may find that Story Points are changing hands 
  faster than the vinegar in a chip shop. It’s not 
  just the players that have Story Points – some 
  villains have a number of Story Points that the 
  Gamemaster can use to keep them alive longer, 
  or so they can escape to plot another master plan 
  that the players will have to thwart. They didn’t 
  get to their position of power only to be foiled by 
  a player and a few strategic Story Points. They 
  have Story Points of their own to allow them to 
  provide a bit of a challenge at least!
  Story Points can be spent to bend the laws 
  of reality so that characters succeed where 
  they normally would fail, or survive where they 
  normally would have been killed. See, we told 
  you they’d be useful didn’t we?  Of course, it’s 
  not all spend spend spend! You can gain Story 
  Points through good play, by acting in character 
  and keeping the game progressing smoothly, 
  ensuring everyone has fun. And, it’s not just your 
  character who has these Story Points. Vital 
  items of equipment or scientific devices 
  have points that aid in the adventure.
  Story Points can be used in 
  many different ways. The 
  Gamemaster will advise if 
  it’s a good or bad time to use 
  them and, as always, the 
  Gamemaster will have final 
  say. The Gamemaster may 
  also limit the number of Story 
  Points used in any particular 
  adventure or session. Below 
  we’ve presented some uses for Story Points, 
  explaining how they work in the game.
  “I dunno... I’m stumped...”
  The characters should be able to follow clues 
  from one place to the next during the story, 
  gradually leading them to the villains and the 
  culmination of the plot. However, there can be 
  times when the characters miss a clue, get 
  stumped and simply do not know what to do next. 
  If the players are really stuck and don’t know 
  where to go or what to do next, they can opt to 
  spend a Story Point and the Gamemaster can 
  give them a subtle nudge in the right direction. 
  The character that spends the point suddenly 
  realises the way to go and makes a suggestion to 
  the rest.
  “We only get one shot at this.”
  If the character knows beforehand that the 
  outcome of a particular roll is vital to their 
  success, that the fate of the universe may revolve 
  around that one roll, then it may be that the 
  player will want to spend a Story Point to add a 
  little to the roll. The character steels themselves 
  for the task, and takes a deep breath. In game 
  terms, the character spends a Story Point and 
  can add an additional two six-sided dice to the 
  roll. This isn’t a guaranteed success, after all 
  you could roll two ‘1’s, but there is a chance you 
  could succeed phenomenally well. The player 
  will have to judge if the task is worth spending a 
  valuable Story Point.
  “That was close, nearly didn’t make it!”
  Failing at something can be disastrous. Worse, 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  74
  Chapter three: allONs-y! 
  
  it can be fatal if the task was life threatening. 
  Luckily, if you fail at a roll, you have the option 
  to ‘tweak’ the result a little and succeed. This 
  must be done straight after the roll in question – 
  there’s no jumping back in time to fix something 
  an hour or a week later.
  As soon as you know you’ve failed at something 
  you have the option to spend Story Points to 
  improve the result. A single Story Point will 
  bump the result up one level in the character’s 
  favour. For example, a Disastrous result – which 
  can often be fatal in a Conflict – can be bumped 
  up one to a Bad result. A Bad becomes a Failure, 
  a Failure becomes a Success result, and so on. 
  If it’s a truly essential roll and you simply have 
  to make it, you can spend more than one Story 
  Point at a time to succeed from a Disastrous fail. 
  One point per bump in levels means that you can 
  move from a Disastrous to a Success result with 
  three Story Points.
  The only limit in doing this is that you cannot 
  bump a roll in your favour higher than a Success 
  result. After all, you would have failed normally,
  so there’s no spending five Story Points to get a 
  Fantastic result. Reality can bend a little, but you 
  can’t bend it that far. It’d break!
  Of course, you can end up spending more points 
  than planned. Villains have Story Points as well, 
  and it may be that a pivotal Conflict becomes a 
  match between who can spend the most Story 
  Points to win. Spending Story Points to succeed 
  where you would have failed doesn’t mean that 
  the villain cannot spend some of their Story 
  Points to ensure your failure remains!
  “It was just a scratch”
  The rules usually mean that a character will only 
  really receive an injury when they have run out of 
  Story Points and cannot avoid taking damage (by 
  spending points to bump the results as above). 
  However, characters may opt to accept the injury, 
  possibly to gain Story Points for making things 
  dramatically exciting (see ‘Gaining Story Points’ 
  on p.78).
  Injuries are usually ignored from one adventure 
  to the next, unless the Gamemaster decides that 
  the injury is particularly severe or long term 
  (which can sometimes involve gaining a Bad 
  Trait). The Gamemaster may allow players to 
  ‘buy off’ injuries for Story Points at suitably quiet 
  moments or if the character needs that extra 
  boost before the climax, when they get their 
  second wind. This can be particularly handy 
  in two- or three-part adventures where the 
  characters have little time to recover.
  Every Story Point spent in this way restores half 
  (round up this time, we’ll be generous) of the 
  Attribute levels that have been lost due to injury 
  or losing a Conflict.
  For example, if the character has taken a 
  couple of hits and last lost 5 levels of Attributes 
  from these injuries, they could spend a Story 
  Point and recover 3 of them (2.5 rounded up). The 
  player can decide which Attributes are restored, 
  but it should be rationalised with a suitable 
  explanation (second wind, grim determination, 
  five minutes sat down, nice cup of tea, etc).
  “You’re the most remarkable man I’ve ever met. 
  But I don’t think you’re quite capable of that.”
  Sometimes the Doctor does something 
  absolutely remarkable, and even his companions 
  have been known to do the impossible. In this 
  game, everything is possible, but it comes with 
  example
  Rose is being chased through the streets 
  by a couple of Daleks. As she runs, one 
  of the Daleks opens fire with a mighty 
  shout of ‘Exterminate!’ Rose’s player 
  hopes to dive behind some wheelie bins 
  for protection, and rolls a couple of dice, 
  adding her Coordination and Athletics. 
  She rolls and gets a measly 8. The Dalek 
  shoots, and the Gamemaster rolls a 
  couple of very lucky ‘6’s, making the 
  Dalek’s result 18. A Fantastic result for 
  the Dalek and a Disastrous result meaning 
  instant Extermination for Rose, as the 
  Dalek’s weapon is Lethal. Rather than see 
  Rose die in a flash of light and a glowing 
  skeleton, Rose’s player opts to spend 
  some Story Points to save her bacon. Her 
  player spends 3 Story Points, bumping the 
  Disastrous result for her up to a Success. 
  The Dalek has a Story Point as well, and the 
  Gamemaster decides that Rose shouldn’t 
  get away quite so easily – he spends the 
  point and knocks her result back down to 
  a Failure. Rose’s player doesn’t want to 
  waste another Story Point, and accepts the 
  4 levels of Damage suffered from rolling 
  across the pavement awkwardly. A small 
  price to pay to avoid being exterminated!
  DOCtOr WhO: aDveNtures iN time aND spaCe
  75
  
  a high price. For example, the Doctor traps the 
  Family of Blood in various places for eternity, 
  and Rose absorbed the heart of the TARDIS to 
  banish the Dalek fleet to dust. How could this be 
  possible and how can you do this in the game?
  In preparation for the coming game, the 
  Gamemaster chats with the Doctor’s player 
  and they decide that the most fitting and 
  dramatic way to deal with the Family of Blood 
  is to give them a suitably dramatic demise. The 
  Gamemaster and the Doctor’s player do not 
  know what that’ll be yet, but they think it’s going 
  to be big, and may require a lot of Story Points 
  for the Doctor to pull it off. The Gamemaster 
  says he’ll give the Doctor’s player a whole load 
  of Story Points to accomplish this but he’ll have 
  to do something really dramatic to earn these 
  points. The Gamemaster has an idea for a cool 
  adventure, turning the Doctor human for a while. 
  It’d make a great story, add some dramatic 
  tension and challenge the player to be someone 
  else for a while. In return, the Gamemaster says 
  that when the time comes, the Doctor will have a 
  whole heap of extra Story Points that should be 
  used to dispatch the Family at the climax.
  In the other example, Rose’s player puts her 
  life at risk by absorbing part of the Vortex, the 
  heart of the TARDIS. It’s risky, it’s a fatal move, 
  but it’s the only way that Rose’s player can see 
  of saving the Doctor and humanity from the 
  Daleks. As this is going to kill her character, the 
  Gamemaster awards Rose a load of Story Points 
  for her bravery and self sacrifice, points that can 
  be used to dispel the Daleks and resurrect Jack. 
  However, this is fatal as we’ve said before, and 
  the Doctor opts to save her life by absorbing the 
  power from her when she’s removed the threat. 
  Again, this will kill him, but the Gamemaster 
  rewards his selfless bravery. The Doctor’s player 
  uses most of these Story Points to save Rose’s 
  life. The remaining points he saves to regenerate.
  Hopefully, these examples give you an 
  idea of how all this works, without going 
  into too much detail with numbers 
  and points and such. Basically, 
  if you do something suitably 
  dramatic, brave or selfless, 
  that makes a great story, the 
  Gamemaster will award you 
  extra Story Points that can be 
  used to do dramatic and cool 
  things that make a great story 
  fantastic.
  “Hang on, I have an idea!”
  This is where things get a little radical. A little 
  like the ‘doing something remarkable’, Story 
  Points allow you to bend the plot and manipulate 
  the story to save yourself in times of need. 
  The ‘unlikelyness’ of what you want to happen 
  determines how many Story Points this costs. 
  It could be anything: You decide that the major 
  villain will not kill the entire group because he’s 
  taken one look at Martha and fallen madly in 
  love. The TARDIS just happens to know where 
  to go to rescue the rest of the group who are 
  trapped, despite you not knowing how to pilot 
  it. The possibilities are endless. However, the 
  Gamemaster will have to approve, and will 
  determine how expensive it is going to be. He 
  may decide that there is no way that your idea 
  will work, but instead of the villain falling for 
  Martha, his chief guard will as it is more likely 
  and less upsetting to the plot. In fact, it may lead 
  to a whole new plot twist!
  “What’s that you’re building?”
  Some objects and devices are so intrinsic to 
  the story and characters they have Story Points 
  of their own. You’ll notice that certain items 
  you’re familiar with, such as the TARDIS or the 
  Doctor’s Sonic Screwdriver, have Story Points. 
  These can be used by anyone who has the item to 
  help them on their way. For example, the Sonic 
  example
  To continue the example from above, Rose 
  has escaped the Daleks and is suffering 
  reduced Coordination and Strength (-2 on 
  each) from avoiding that exterminator blast. 
  The characters are getting close to finishing 
  the adventure, there’s a big conflict ahead, 
  and Rose’s player knows that she’s going 
  to have to do some serious running to 
  avoid the explosions and action ahead. 
  He opts to spend a Story Point, restoring 
  2 of the 4 levels of Damage. He opts to 
  put both of these back into Coordination, 
  returning the Attribute to normal. He tells 
  the Gamemaster this, hands over a Story 
  Point token and says “Rose rests for a few 
  minutes, massaging the swelling in her 
  knee. When she finishes, she feels much 
  better and readies herself for the conflict 
  ahead.”
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  Chapter three: allONs-y! 
  
  Screwdriver can be used for many, many things. 
  Opening a locked door is a standard function 
  of such Gadgets (note the capital there, it’s 
  important). However, Gadgets with Story Points 
  can sometimes do something that they’re not 
  usually designed for, such as plugging the Sonic 
  Screwdriver into a microwave oven to send a 
  communication signal into space. Story Points 
  spent like this come from the Gadget’s Story 
  Points, not the characters. These can be topped 
  up by the character, or by the Gamemaster if he 
  thinks it serves the plot. The Gamemaster may 
  reward the device a bit like ‘Doing something 
  remarkable’ above, if the device is removed, put 
  in danger or temporarily destroyed as part of the 
  story.
  Wild superscience devices can be created as 
  well with a little ‘jiggery-pokery’. Devices can do 
  fantastic things or just aid the story such as the 
  ‘Timey-wimey Detector’ or the genetic analyser 
  that the Doctor cobbles together in Manhattan. 
  These items have Story Points that are from the 
  person who creates them, as if the item’s creator 
  is investing points into the device.
  This can also be a handy way of transferring 
  Story Points from one character to another in 
  times of need, by simply giving them the useful 
  item to aid them. For example, when Professor 
  Lazarus had mutated and was attacking the 
  people at the science presentation, the Doctor 
  gave Martha the Sonic Screwdriver to help her 
  open all of the doors and get the innocent people 
  to safety.
  Further information on creating superscience 
  devices and ‘jiggery-pokery’ can be found in the 
  Gamemaster’s Guide (on p.68).
  “Like this, Doctor?”
  You may not know how to do something, but as 
  long as someone has shown you what to do, 
  you may become a natural at it. In this case, as 
  long as someone has told you what to do and 
  how to do it, by spending a Story Point, you can 
  do something technical that you’ve no Skill in. 
  This is limited to very basic things, like pressing 
  the right sequence of buttons, cutting the right 
  series of wires at the right time or using the 
  Sonic Screwdriver to open doors. If you’ve been 
  shown exactly what to do, you spend a Story 
  Point and effectively have the same Skill as the 
  person who showed you how to do it. You add 
  that to your Attribute as before, ignoring the 
  unskilled penalties, and roll as if you know what 
  you’re doing. You can only do this for one specific 
  scene, and you cannot get a result higher than a 
  Success.
  For example: The Doctor needs to rush off 
  and work on the ship’s engines while the SS 
  Nakamura spins out of control into an asteroid 
  field. He tells Donna that she needs to keep 
  pressing a sequence of buttons that’ll 
  keep rotating the remaining 25% of the 
  ship’s shields to the right quadrant to 
  protect the ship from the first of the 
  asteroids. She hasn’t a clue what she’s 
  doing but after a quick lesson it looks a 
  bit like that old sound game based on 
  ‘Simon Says...’ paired with a video game. 
  Her Skill, after spending a Story Point, 
  is equal to the Doctor’s when rolling to 
  put the shields in the right place. Donna 
  cannot get higher than a Success on 
  the rolls, but it should be enough to 
  protect the ship while the Doctor sorts 
  it out. If, in a later scene, she’s asked 
  to do the same again – she can spend 
  another Story Point and be shown again 
  what to do, or just admit that she didn’t 
  know what she was doing and was 
  just pressing buttons randomly (which 
  seemed to work!).
  “You can do it, I know you can.”
  It’s getting near the end of the 
  adventure, things are getting desperate 
  and you’re out of Story Points. You know 
  you’ve got a frantic dash across an open 
  courtyard while Sontarans are shooting 
  at you, and it’s going to be almost 
  suicidal without some Story Points. 
  Luckily, the Doctor has loads – he’s done 
  some really daring and astounding things 
  so far, and put himself in terrible danger to 
  help the hopeless. If only you had some of 
  his Story Points...
  That’s no problem. Characters can donate 
  Story Points to each other to help through 
  a particularly major moment. This can be 
  done in many ways, a dramatic and rousing 
  speech, a word of encouragement or even 
  a kiss. If it’s dramatic, moving, rousing 
  and encouraging, and the other player 
  is willing to share their Story Points to 
  keep you going, then this sort of gaming 
  should be encouraged.
  DOCtOr WhO: aDveNtures iN time aND spaCe
  77
  
  gaiNiNg stOry pOiNts
  The Gamemaster awards Story Points for 
  many reasons.  Often, just completing a set 
  task will be enough to get the player a couple, 
  though more will be awarded for making the 
  adventure dramatic, exciting and playing ‘in 
  character’. Good roleplaying is essential, and the 
  Gamemaster will reward this. Good roleplaying 
  and achieving your goals (both the ones in the 
  story and your Personal Goal (see p.49) will not 
  only result in gaining Story Points, but may lead 
  to improving Skills, Traits or even Attributes!
  Making the story dramatic doesn’t mean that 
  you should be acting foolishly or recklessly, 
  unless that is part of your character’s personality 
  and nature. Showing ingenuity, bravery and 
  above all making the adventure (and the game as 
  a whole) fun will be rewarded.
  Have a look at a few of these examples to see 
  how players can gain Story Points for doing 
  something dramatic within the story.
  “I won’t leave them behind!”
  Heroes do heroic things, like risking their lives 
  for their friends or putting themselves in danger 
  to save an entire planet of innocent victims. 
  Most of the time, the characters will be heroic 
  in every adventure, but every now and then they 
  will be placed in a situation where they can 
  choose to save themselves and escape or put 
  their own lives at risk for the sake of others. 
  Putting the safety of innocents and their friends 
  before themselves is what makes the characters 
  special.
  Choosing to act heroically at the appropriate 
  moment deserves reward. If the Gamemaster 
  decides it is fitting and the character isn’t acting 
  foolishly or out of character, he will award 1-3 
  Story Points for their bravery.
  “Captured... yet again.”
  Sometimes it suits the plot better to just give 
  in and get captured, rather than force 
  another fight. The Doctor will usually 
  allow himself to be captured 
  rather than resist violently. 
  After all, you can always 
  plot your escape later if it 
  means that you prevent a 
  fight where innocent people 
  could be hurt or killed. Giving 
  up and getting captured, if it 
  suits the storyline and doesn’t 
  cause major problems for the 
  Gamemaster (it shouldn’t do), will mean the 
  character will gain one or two Story Points to use 
  later – usually to help execute their escape!  
  “I can’t do that, I just can’t...”
  Bad Traits are there for many reasons – they 
  make the character more interesting, give them 
  some foibles that spice them up a bit and provide 
  restrictions to their abilities and behaviour. If 
  you have the Bad Trait Phobia (Spiders), it is 
  assumed that you will remember this fact when 
  you come face to face with the Empress of the 
  Racnoss. If you play to your weaknesses and 
  remain in character, throwing in some moments 
  every now and then that show your limitations, 
  you will receive a Story Point (sometimes two if 
  it is a Major Bad Trait and excellent timing for 
  the plot). Examples include accidentally dropping 
  something vital down a lift shaft due to your 
  Clumsy Bad Trait, or wading into a situation 
  without checking first due to your Impulsiveness, 
  or refusing to allow the alien to die because of 
  your Code of Conduct.  
  lOsiNg stOry pOiNts
  “As if I would ask her to kill.”
  Killing is wrong. Simple as that. The Doctor 
  will not allow it and knows that killing is 
  almost always the worst possible solution 
  to any problem. Even when you have to kill 
  from mercy or necessity, it leaves things with 
  a bitter aftertaste and people are noticeably 
  changed from the experience. While Captain 
  Jack Harkness is a little trigger happy (and his 
  exploits with the people under the pavement are 
  even worse), the Doctor is there to stop him and 
  keep him on the correct course.
  There will be times when you have to defend 
  yourself, or times when you have to leave people 
  behind, but the Gamemaster will know when 
  you’re doing the right thing. However, killing 
  in cold blood – deliberately – against unarmed 
  opponents, is very wrong. If the Gamemaster 
  feels that your character has killed someone 
  or something that was unnecessary, you will 
  lose ALL of your Story Points. If it is done in a 
  particularly cold-hearted way, the Gamemaster 
  may even deduct half of all of the other players’ 
  Story Points as well, as they should have stopped 
  you.
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  Chapter three: allONs-y! 
  
  maximum stOry pOiNts
  When the characters were created they were 
  given a Story Point total – this is their maximum 
  number of Story Points between adventures. In 
  most cases this is 12, though if the character 
  has purchased some Special Traits this figure 
  can change. As the adventure progresses, the 
  character can hold more Story Points than 
  this, though usually this is building up to a big 
  expenditure at the story’s climax. When the 
  adventure is over, the characters usually heal all 
  their wounds, and if their Story Points are above 
  their maximum, they are reduced back to 12 (or 
  whatever their maximum is). If they have less 
  than that, the Gamemaster will just replenish 
  what they think is fitting depending upon how 
  well they play.
  BOys aND their tOys
  Basically, there are two kinds of item in 
  Doctor Who: Adventures in Time and Space 
  – Equipment and Gadgets. Equipment refers 
  to normal items that you use, such as tools, 
  torches and so on. Gadgets are something 
  special, they do cool things and can be the focus 
  of whole adventures. Here, we’ll look at normal 
  Equipment. Gadgets are something special and 
  we’ll cover those in the Gamemaster’s Guide.
  equipmeNt
  Equipment is the everyday sort 
  of item you see around you. 
  Nothing too important – a can 
  opener, a map, a torch or a 
  gun. They may be useful and 
  help you during adventures 
  but, aside from doing their job 
  as a tool, they have no extra 
  abilities and do not give the 
  user any additional skill.
  For example, if Mickey’s 
  trying to open the side of 
  a computer terminal on a 
  spaceship, he takes out 
  his trusty screwdriver (a 
  normal one, none of these fancy sonic or laser 
  things) and has a go at opening it. Normally, 
  his player wouldn’t need to make a roll, but if 
  there’s something that makes it tricky (it’s dark, 
  or the bad guys are beating down the doors and 
  time is of the essence), the Gamemaster may 
  ask for a Coordination and Technology roll. The 
  screwdriver itself doesn’t affect the roll – but it 
  would make the task much harder if he didn’t 
  have it!
  The only things to look out for are vehicles (not 
  a tremendously common thing in the Doctor’s 
  adventures) and equipment from outside of your 
  time and technological experience. This is why 
  each character has marked on their sheet their 
  place of origin and the Technology Level they are 
  accustomed to.
  You might think things are 
  too easy for you, and you’re 
  not using your Story Points 
  very much. It’s times like 
  this that the tables turn 
  and you’ll need every point 
  you can get!
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  79
  
  teChNOlOgy levels
  There are times during the game that characters 
  may encounter technology from outside of 
  their home time period. This could be flintlock 
  pistols, crystal computers, space ships or 
  Bakelite radios. To help space- (and time-) 
  faring species avoid any technological or cultural 
  mistakes, such as arriving in the Palaeolithic 
  Era and accidentally leaving a TV remote 
  control behind, planets and places are 
  labelled with a Technology Level. As 
  noted many times in the Doctor’s 
  adventures, Earth in the 
  20th-21st Century is a Level 
  5 planet (see the table on 
  p.49).
  If a character uses 
  technology from outside of 
  their home Tech Level, they 
  incur a penalty to the roll. Every 
  level the technology is 
  more advanced than the character imposes a 
  cumulative -2 penalty. Every level the technology 
  is below the character means a -1 penalty (it is 
  easier to use items from your past than it is your 
  future).
  For example, Donna is trying to get the TARDIS 
  to work while the Doctor isn’t present. The 
  Gamemaster normally wouldn’t allow such an 
  action as she doesn’t have the Vortex Trait, but 
  she just wants to move it to another part of the 
  building to rescue the Doctor, not to time travel. 
  Donna is from 21st Century Earth (Tech Level 5), 
  whereas the TARDIS is Tech Level 10. That’s 5 
  levels above her experience, so that’ll be 5 x -2 
  penalties = -10. It’s unlikely that she’s going to be 
  able to get it to work.
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  Chapter three: allONs-y! 
  
  Chapter fOur: tWO WOrlDs Will COlliDe 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  81
  
   hOW tO play a rOleplayiNg 
  game
  After reading through the first three chapters 
  of this book, you’ll hopefully have a good idea of 
  what this roleplaying thing is all about and what 
  a game entails. However, we know that this may 
  be new to a lot of people, so we’ve dedicated a 
  chapter in this book to show you how a game 
  should work, and what you can do as a player to 
  make the game more fun.
  yOur first game
  The first game you play may be a little awkward, 
  but don’t let it put you off. It’s only your first 
  game and it’ll take a few goes to get used to how 
  to ‘do’ things, whether this is how the rules work 
  for performing a task, or just interacting with the 
  other characters. After a few rolls, and a couple 
  of scenes, you’ll soon pick it up and we think 
  that after a few games you’ll be so confident you 
  probably won’t have to look in these books very 
  often unless something tricky occurs.
   hiNts aND tips
  As we’re seasoned gamers, we’ve seen just 
  about everything you can imagine when it comes 
  to roleplaying games, so we’ve compiled a few 
  hints and guidelines that may help.
  help eaCh Other 
  Unlike most games that you may be familiar 
  with, there are no winners or losers in Doctor 
  Who: Adventures in Time and Space. In fact, 
  there are no winners or losers in any roleplaying 
  game, it’s all about having fun and telling a 
  great story. With no winners, it means 
  there’s no competitive streak coming 
  into play between the players, so 
  they should actually help each 
  other to achieve their goals.
  Characters should help 
  each other just as they would 
  do in the actual situation. But 
  it doesn’t have to stop there 
  – you can always extend this 
  help to other players, rather 
  than just other characters. If your 
  character is in a different 
  location, and not playing 
  an active part at that 
  moment, there’s 
  nothing stopping 
  you from helping if 
  one of the players 
  is stuck or unsure 
  what to do.
  It may depend 
  upon the situation, 
  of course. If you’re 
  going to be helpful, 
  try to think of what 
  the other player’s 
  character is like and 
  the situation they’re in. 
  Don’t just say, “My character 
  is locked in the third cell on 
  the left,” if the other player 
  is searching the facility to 
  rescue you. If a player acts 
  on information that their 
  character wouldn’t know, 
  there’s a special word for 
  it – it’s called ‘Metagaming’. 
  Metagaming is a no-no. 
  It destroys the suspension of disbelief and can 
  ruin the feel of a game. We’ll cover that in a 
  moment.
  Instead, you could help by aiding the other 
  players in coming up with great and imaginative 
  actions that make great storytelling, ensuring 
  the game rattles along at a great pace.
  rules are meaNt tO Be BrOkeN
  Don’t let the rules slow things down. Everything 
  in the game can be accomplished with the 
  same basic rule, from folding an origami bird 
  to rewiring the TARDIS. Most of the time, the 
  Gamemaster will help you with these rules and 
  how to use them, but don’t worry too much about 
  following everything to the letter. The rules are 
  there to ensure everything runs smoothly, but if 
  you pause in the middle of a desperate chase to 
  look something up, you’re going to lose the flow 
  and the suspension of disbelief.
  Simply put, don’t worry about it. Run with it, and 
  remember, the Gamemaster is here to help and 
  to keep things running smooth.
  DOCtOr WhO: aDveNtures iN time aND spaCe
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  Chapter fOur: tWO WOrlDs Will COlliDe 
  
  DON’t Cheat
  On the other hand however, you shouldn’t cheat. 
  Cheating kinda takes the fun out of the game. If 
  it’s a really crucial moment, and your character 
  is looking like they’re gonna get fried by the 
  Judoon as they march into the place, it’s not 
  really your place to cheat. Characters die, they 
  get fed up and leave, and you move on – you get a 
  new character who may be even better than your 
  last, you never know. If you think you’re going 
  to get killed, go out fighting or doing something 
  suitably heroic.
  Become the stuff of legend. If you do something 
  memorable and the odds were really against 
  you, the Gamemaster will reward you with Story 
  Points or other cool stuff for your next character.
  It doesn’t mean that cheating doesn’t go 
  on in the game, but this is purely up to the 
  Gamemaster. If a situation is dire, or if you’re 
  about to uncover the villain’s plot way too early 
  in the story, the Gamemaster may fudge some 
  rolls. He won’t tell you about it but any cheating 
  done this way is for the benefit of the whole 
  game. Having your characters killed too early 
  because you’ve done something silly, or ruining 
  the villain’s plot, will spoil the game for everyone, 
  so there may be some bending of the rules a 
  little. It comes with the territory. It won’t happen 
  often, and the Gamemaster has the final say, but 
  they’re the only ones who should be ‘cheating’.
  metagamiNg
  Metagaming is a fancy word for your character 
  doing something based on information they 
  wouldn’t have. There’s a difference between what 
  you know as a player, and what your character 
  knows. Sometimes this can be from information 
  that’s important to the plot. For example, if you 
  as a player have overheard where the villains 
  have taken your fellow time traveller, you may be 
  tempted to act upon this information and say, “I 
  know – they’ve taken Martha to holding cell 7 in 
  the main mothership.” You have to remember, 
  if your character has no way of knowing this, 
  they shouldn’t be acting upon the information. 
  It should be part of the adventure where the 
  characters investigate to try and uncover their 
  location, and how to attempt a rescue.
  The other way you may be tempted to 
  Metagame, and almost as bad as the previous 
  example, is having your character know 
  something purely because of the rules. If, for 
  example, Donna is cornered by a Slitheen in the 
  kitchens of a stately home, she wouldn’t know 
  about vinegar or acetic acid and its effects on the 
  Slitheen physiology. Donna’s player may know 
  about the Slitheen’s weakness but Donna herself 
  has never encountered a Slitheen before.
  Again, knowing how strong an enemy is from 
  reading the rulebooks shouldn’t influence your 
  character’s actions – if you do, it’s a great excuse 
  for the Gamemaster to make the villains even 
  more powerful than you were expecting!
  put the ‘CharaCter’ iN CharaCter
  There’s a difference between your character 
  being just a bunch of numbers and statistics 
  on a sheet of paper, and them actually being a 
  ‘character’. There are a few ways of doing this, 
  and it doesn’t take too much work.
  First of all, think of who your character is. 
  Imagine you’re writing a book. We’ve already 
  suggested back when you put the ‘finishing 
  touches’ to your character that you think about 
  who they are and what they do, what their 
  family is like, etc. You can take this a 
  step further and come up with some 
  interesting back-story.  
  On the SS Pentallian, Erina Lissak 
  had decided to leave the riches of her 
  family, to ‘slum it’ on a cargo ship both to 
  annoy her mother and to see the universe 
  and experience it all. Of course, her decision 
  leads to her untimely death at the hands of 
  Korwin McDonnell, but it doesn’t mean that 
  she didn’t have an interesting background. 
  Little details like that may seem 
  unimportant when you’re first creating 
  your character, but the Gamemaster 
  may take these facts away with her and 
  write something into a future adventure 
  that may relate to your character’s history.
  Another way to add depth to your character is 
  to actually talk for your character in the game. 
  It doesn’t mean you have to put on an accent or 
  anything, though you can if you like. Rather than 
  saying “My character asks them where they were 
  when the body was found,” you could act as your 
  character and say “Where were you when the 
  body was found?” It’ll help.
  Of course, you may not want to put on an 
  accent, but you can change the way you speak 
  to be more like the character. If getting into 
  character means doing odd things, go for it 
  if it helps. If you feel more in character if you 
  actually had a Sonic Screwdriver when you’re 
  DOCtOr WhO: aDveNtures iN time aND spaCe
  83
  
  using it in the game, feel free to wave a prop one 
  around at the appropriate moment. It all adds to 
  tone of the game and keeps it fun and exciting.
  get iNvOlveD
  One of the great traps of roleplaying games is 
  to slip out of the game and start chatting about 
  what was on TV the other night. You’re with your 
  friends, so there are bound to be moments of 
  conversation during the game like this. However, 
  if you’re not involved in the game, you’re losing 
  out.
  Roleplaying games are interactive, and the 
  more you put into the game, the better it’ll be. 
  Keep a pencil and paper handy, and make notes 
  if you need to. Most of us do – it makes it better 
  if you can say “Mr. Smiggins, the groundsman, 
  was found killed by a monstrous creature” and 
  you can actually remember his name from 
  earlier, rather than just saying “That guy we met 
  earlier with the accent and the hat… er… what 
  was his name again?” This is especially so if you 
  can’t remember the names of the other players’ 
  characters!
  You’ll find that there are scenes when your 
  character isn’t doing anything, when the action 
  focuses on other members of TARDIS crew. 
  There are a couple of ways of looking at this – 
  you could read this book and switch off from 
  listening, thinking “If my character isn’t there, I 
  wouldn’t know all this is going on, so I shouldn’t 
  ruin it!” That’s fine, but we don’t want you to sit 
  and get bored if there’s a particularly long scene 
  that you’re not involved in. The other way is to 
  listen to what is going on. As long as you’re not 
  acting on any of the information, and you get 
  back ‘into character’ when you’re involved again, 
  there’s no problem with paying attention to what 
  other characters are doing, or even offering 
  assistance (see above).
  Of course, the ultimate way to get involved 
  is to make sure you turn up to the game. 
  There’s nothing more frustrating than 
  preparing a great and exciting 
  adventure and then not have 
  players show up because 
  they’re too busy playing on 
  their games console. It’s 
  okay if you’re only intending 
  on turning up when you can, 
  if you have commitments, but 
  the Gamemaster may assign 
  you interesting supporting 
  characters rather than a major character that 
  continues from adventure to adventure. You could 
  end up playing someone like Adam Mitchell one 
  game, Trisha Delany the following game, and 
  then Tom Milligan the next – little characters 
  who don’t really continue from one story to the 
  next, but can play a part (small or important) in 
  the overall plot. Story Points would continue from 
  one character to the next, depending upon how 
  well you played, but it means you get to stretch 
  yourself and play loads of different people!
  DON’t Be aWkWarD
  Sometimes, you can have a great idea for a 
  character, and it just doesn’t fit in with the rest 
  of the game. Imagine you have a game planned 
  – the characters are a group of friends who all 
  hang out together. They’re average older student 
  types who sit around in gloomy bars and wonder 
  why their lives are so grey. They’re going to 
  get caught up in a great plot where aliens are 
  invading and brainwashing kids through their 
  MP3 players, turning them into dangerous 
  killers.
  The players all generate their characters, work 
  out their backgrounds, and then one of them 
  says “My character is eight years old, she’s a 
  psychic who can break things with her mind and 
  she’s escaped from a children’s home where 
  they were experimenting on her abilities.” Great 
  idea for a character, but as the rest of the group 
  are all sulky students, they’re not going to hang 
  around with an 8-year old. It’d be like the player 
  saying, “my character is survivor of the battle 
  of Canary Wharf, he was partially cybered when 
  the Cybermen tried converting him, but they 
  all got sucked into the Void.  He’s a good guy 
  now, though he looks about 80% Cyberman.” 
  Interesting choice for a character, but they’re 
  going to be a little obvious when they’re walking 
  about or trying to sneak into places.
  Try to come up with a character that works with 
  the other players, and everyone can get on with. 
  It’ll make it more fun for everyone involved. The 
  Gamemaster’s Guide has further suggestions for 
  what they call ‘Group Dynamics’, and how all the 
  characters will make up a great team.
  DON’t hOg it!
  Just because you’re playing the Doctor, doesn’t 
  mean you have to be the centre of attention. 
  Let the other characters (and players) have 
  DOCtOr WhO: aDveNtures iN time aND spaCe
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  Chapter fOur: tWO WOrlDs Will COlliDe 
  
  their chance to shine. We’re going to help the 
  Gamemaster (in their book) to ensure that 
  everyone has their chance to be cool, be the key 
  element in the story, and to prove their worth, 
  so don’t try to be the focus of the story when it’s 
  obviously not your turn.
  For example, when the Doctor was aged by the 
  Master, and Martha walked the Earth, the Doctor 
  had taken a back seat while the fate of the world, 
  and the fate of the Doctor himself, was in the 
  hands of Martha.  
  Everyone will have their turn.
  What WOulD the DOCtOr DO?
  The greatest bit of advice for any player of Doctor 
  Who: Adventures in Time and Space is to ask 
  yourself this question.
  seNse Of aDveNture
  All of the characters in the TARDIS have this 
  sense of adventure – a desire to see the universe 
  and to experience the sheer wonder of it all. It 
  may seem hard to imagine, but here’s a way of 
  looking at it – have a think about the world you’re 
  living in. We’re not just talking about the game 
  here, we mean the really real world. Think of 
  yourself, sitting reading this book, then imagine 
  your home, the street you’re in, the town or 
  city. Keep thinking further out, the countryside 
  around the city, the county you’re in, the country. 
  Imagine how small you are if people in a space 
  station were looking down on you from orbit. Now 
  imagine how small the planet Earth is compared 
  to the other planets in our system. Then imagine 
  how small our solar system is compared to the 
  rest of the galaxy, and that’s just a fraction of 
  the universe out there. Instead of thinking how 
  small you are, imagine how big the universe is. 
  It’s all out there – sights you’d never dream. Rose 
  mentions a planet where the oceans freeze in an 
  instant. How cool would that be to see?
  It’s this drive to see new stuff that keeps the 
  characters going. The Doctor has been around 
  for hundreds and hundreds of years, but he 
  keeps travelling, because he has the whole 
  universe and the whole of time to explore. That’s 
  an awful lot to see.
  The whole of time. Now that’s an amazing 
  thought too. Imagine you could see the birth of 
  the planet, or its destruction. The Doctor has 
  witnessed both! You could see the dawn of man, 
  what actually killed off the dinosaurs, or the rise 
  of the Roman Empire. Visit the old west, feudal 
  Japan or find out who started the Great Fire of 
  London. Or see the first human colonists launch 
  into space, the first cities on the moon or Mars.
  the gOOD, the BaD aND the ugly
  Most of the people who travel with the Doctor are 
  inherently good, facing the evils in the universe. 
  Of course, this evil comes in many shapes and 
  forms, but their actions usually declare their 
  evil intentions, and it is clear early on that they 
  are up to no good. The Doctor usually takes the 
  ‘moral high ground’ by refusing to kill or use 
  guns. When it comes to his companions, they are 
  under his watchful eye and encouraged to do the 
  same. Jack Harkness is cautioned about using 
  his Webley against the Futurekind, and Adam 
  may have tried to use his knowledge of the future 
  for personal gain, but he quickly found himself 
  returned home and the information erased. Even 
  when they’re not under the Doctor’s watchful 
  eye, characters are inherently good – Martha’s 
  mother doesn’t shoot the Master on the Valiant, 
  despite vowing earlier that she’d kill him, as 
  she’s not a murderer. No matter how wicked the 
  Master was, killing him was not the answer.
  Villains usually have a purpose that threatens 
  the stability of the universe, or attacks anything 
  that is ‘different’ to them. The prime examples 
  are the Daleks and the Cybermen. Daleks, if 
  you look back far enough, were originally a race 
  called the Kaleds, battling the Thals on Skaro. 
  The Kaleds looked human, but every shred of 
  humanity was removed as the creatures mutated 
  into the hateful machines that we’re familiar 
  with. Anything that wasn’t Dalek was inferior 
  and weak, and considered unworthy of living – fit 
  only for ‘extermination’. The same can be said 
  of the Cybermen, they again were once human, 
  but have ‘upgraded’ like the Daleks. Anything 
  that isn’t Cyberman is either converted into a 
  Cyberman or ‘deleted’ as being unfit.
  Most villains want to destroy humanity, corrupt 
  or mutate it in some way or just to rule it as 
  mankind’s master and superior. Preserving 
  humanity’s free will is the most important thing 
  – most alien invaders wish to control and no 
  one should be controlled by anyone or anything, 
  especially against their will.
  DOCtOr WhO: aDveNtures iN time aND spaCe
  85
  
  CuriOuser aND CuriOuser
  Another recurring theme is the sense of 
  mystery – investigating the unexplained, 
  the desire to find out more and to 
  learn. This can be as simple as just 
  learning something new to broaden 
  your horizons a bit, but usually 
  this investigation is down to good 
  old-fashioned detective-work. The 
  characters find out something and rather 
  than leaving it for ‘someone else to sort 
  out’, they get involved, look into the mystery, 
  and try to uncover the villain’s plots.  
  A good story involves a great mystery that 
  needs to be solved. Why do people keep 
  vanishing at Wester Drumlins? What is 
  that strange substance being imported in 
  to Deffry Vale High School? Who are the 
  mysterious ‘ghosts’ that appear at regular 
  times all over the globe? Just what is 
  happening to the workers hired from 
  Hooverville and where do they vanish to? 
  What has caused the strange deaths of 
  drivers of cars with ATMOS fitted? All 
  these are great questions that’ll get you 
  into the action.
  the ‘iNDOmitaBle’ humaN raCe
  Humanity survives, and seems to be one of the 
  most enduring species in the universe. From 
  their primitive upbringings, humanity may spend 
  a few millennia as downloads or other forms, but 
  eventually they return to the same basic form – 
  right until the end of the universe. A recurring 
  theme is what it means to be human, just as 
  the villains are usually no longer human and 
  are trying to destroy or corrupt it. You may be 
  travelling the universe through time and space, 
  but there are times when the basics of humanity 
  – family, children, partnership – seem to be even 
  more important than being able to do all these 
  wondrous things. The Doctor can live for 
  centuries, travel anywhere in history and 
  space, but the chance of marriage, 
  children, and a normal life seems 
  to be something remarkable 
  and out of reach.
  On the one hand, having 
  a normal life doesn’t 
  seem to be all that exciting. 
  Going to work, going home, 
  eating chips, all sound horribly 
  mundane after seeing the 
  wonders of the universe, but to 
  the Doctor this mundanity must 
  seem like a holiday from the constant peril 
  and danger he finds himself in. Only someone 
  with his endurance can keep travelling through 
  all these dangers, and it is no wonder that his 
  companions often need to leave the TARDIS and 
  return to some form of normality, even if it’s just 
  for a short while.
  Despite their mundanity, humanity as a whole 
  has this persistent spirit. A drive to keep going 
  through all adversity. This spirit and their innate 
  humanity is so strong that it can even dominate 
  the Dalek genes when they are hybridised, 
  making even Dalek Sec question the ways of the 
  Cult of Skaro. The human race is amazing, and 
  you should never forget that.
  makiNg a DiffereNCe
  The Doctor touches many lives in his travels, 
  and every one he encounters is changed in some 
  way.  While Davros thinks that the Doctor creates 
  soldiers and victims, he’s not looking at the 
  millions he’s saved. The Earth would have been 
  destroyed many times over if it weren’t for the 
  Doctor’s intervention. However, on an individual 
  level, many people’s lives have changed 
  completely.  
  When playing, don’t think purely of self-gain. 
  Think of how you can make a difference. You 
  may have landed on an alien world, but think 
  of its inhabitants. They have every right to be 
  themselves and to live free lives. Just because 
  they’re aliens, doesn’t mean they don’t deserve 
  to be saved from hostile forces.
  paCifism
  This is certainly an area where Doctor Who: 
  Adventures in Time and Space is different from 
  other roleplaying games. Many games thrive on 
  combat and violence – faced with an invading 
  species? Blast ‘em out of the sky, charge in with 
  guns a blazing and send ‘em packing!  Well, that 
  may be the way Torchwood works, but it’s not the 
  way the Doctor does things. The ‘Guns are Bad’ 
  section in Chapter Three: Allons-Y! (see p.66) 
  gives you some alternatives to fighting, but it 
  may be that you’ll have to get used to the idea of 
  giving up and allowing yourself to be captured, or 
  running away, rather than trying to face down the 
  overwhelming force with violence.
  It may be hard to find, and it may not always 
  be readily accepted, but there is always an 
  alternative – there is always a choice, and 
  even the villains have to be given the chance to 
  surrender.
  DOCtOr WhO: aDveNtures iN time aND spaCe
  86
  Chapter fOur: tWO WOrlDs Will COlliDe 
  
  home Tech LeveL
  characTer sheeT
  advenTures in Time and space
  Athletics
  convince
  crAft
  fighting
  Knowledge
  MArKsMAn
  Medicine
  science
  subterfuge
  survivAl
  technology
  trAnsport
  AwAreness
  coordinAtion
  ingenuity
  presence
  resolve
  strength
   aTTribuTes
   skiLLs
   TraiTs
   equipmenT
  bio-daTa exTracT
  sTory poinTs
  appearance
  personaLiTy
  background
  name
  pLayer
  personaL goaL
  
  characTer sheeT
  advenTures in Time and space
  
SOURCE: textdata/thevault/Doctor Who/Cubicle 7/Doctor Who (New) - Core Rulebook - Adventures In Time And Space 1 - Players Guide.pdf