TEXT: Introduction
  The science of the ancients, alchemy represents mankind’s first foray into understand-
  ing the nature of his world through experimentation and observation. While it introduces 
  the concepts of scientific methodology, alchemy is a pseudoscience, blended with astrol-
  ogy, religion, and mythology.
  What’s in a Name?
  The word alchemy can be traced back through the Old French term alquimie, through 
  the Latin alchimia, and back to the Arabic al-kimia. Its origins, though, seemingly lie 
  with the Greek word chemeia, or “the art of casting metals.” One school of thought is 
  that the origin is far older, dating back to the ancient Egyptian word khmi, or “black land” 
  (so named after the fertile black soil that lines the Nile). Alchemy could thus be literally 
  translated as “the art of the black land,” or, more worryingly, “the black art.”
  A Very Brief History
  Attempts to transmute base metals into noble one is not a modern endeavor. The ancient 
  Greeks, Chinese, and Indians all practiced the art, at first developing it independently and 
  later combining their learning with that of other cultures. The Greek alchemists, whose 
  input did most to shape the modern art, were centered around Alexandria, the Egyptian 
  city that became a center of learning under the Ptolemaic pharaohs.
  Alchemy first became a forbidden art when Egypt fell under the shadow of the Roman 
  eagle. Ever wary of rebellious intent, the Romans sought to curb the creation of alchemical 
  gold, fearing it might be used to fund insurrection. Although nothing could be proven, the 
  Emperor Diocletian reacted to an Egyptian rebellion in 296 A.D. by ordering the destruc-
  tion of 300 alchemical manuscripts. Alchemy would remain hidden until after 642, when 
  the Arabs invaded Egypt and began translating Greek manuscripts on the subject. 
  Alchemical texts first appeared in western Europe in the 11th and 12th centuries by 
  Crusaders returning from the battlefields of the Levant. Robert of Chester’s translations of 
  an Arab text into Latin created a spark that rapidly turned into a fire, the strange art and 
  its promises of wealth and immortality catching the imaginations of Europe’s philosopher-
  scientists. Yet the texts now highly sought by Europeans were cryptic, leading to a rapid 
  division of philosophies and methods.
  201115
  PAUL “WIGGY” WADE-WILLIAMS
  r i c h e l i e u ’ s g u i d e  t o
  •         •
  Editing: Tom Cadorette
  Template Design: Robin Elliott
  Ubiquity System Design: Jeff Combos
  Alchemy
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  ©2010 Triple Ace Games. All For One: Règime Diabolique and all related marks and logos are  
  trademarks of Triple Ace Games. All Rights Reserved.
  
  Throughout the Middle Ages there was no end to the 
  number of alchemists who claimed to have created the 
  philosopher’s stone, the key substance that would al-
  low the transmutation of metals and extend life beyond 
  earthly measure, yet few could repeat their claims on 
  demand. The stone, it seemed, remained as elusive as 
  ever.
  While many alchemists sought material wealth, oth-
  ers saw alchemy in a different light, Paracelsus, widely 
  regarded as one of the forefathers of modern chemistry, 
  applied alchemy into creating medicines, chemical com-
  pounds that would remove man’s need to rely on the 
  herbal remedies of the ancients.
  Despite offering much in the way of new discover-
  ies, alchemy remained tainted by the base lust for gold. 
  European kings and emperors indulged alchemists with 
  vast sums of money in the hope of procuring a greater 
  financial return. With so much money freely on offer, 
  alchemy became sullied by charlatans. Some were sci-
  entists, men who knew how to make substances similar 
  in appearance to gold, while other used sleight-of-hand 
  to magickally produce small lumps of pure gold. The 
  punishments for failure could be harsh—Duke Julius of 
  Brunswick had the alchemist Marie Zeigler burned alive 
  in 1575 for failing to produce gold, while Frederick I, 
  duke of Württemberg, ordered the alchemist George 
  Honnauer hanged in 1597 for a similar offense.
  Alchemy is currently a forbidden art in France, banned 
  by order of Cardinal Richelieu, who has declared it the 
  work of the Devil, who incites men to crave material 
  things, and as the work of charlatans. It is also locked in 
  a battle with science: the Age of Enlightenment is dawn-
  ing, and men are turning away from the hocus-pocus of 
  mysticism into the light of true scientific experimenta-
  tion.
  Alchemists of the Age
  Below are brief biographies for alchemists practicing 
  in 1636 or who will become leading lights in the field in 
  the years to come.
  Arthur Dee (1579-1651): Eldest son of Doctor John 
  Dee, the famous Elizabethan magician, by his second 
  wife. Like many alchemists he was also a physician, ap-
  pointed to the court of Tsar Michael I of Russia in 1637. 
  He returns to England in 1637 after the death of his 
  wife.
  Daniel Stolz von Stolzenberg (1600-1660): Bohe-
  mian physician and writer on alchemy. Studied alchemy 
  under Michael Maier (1568-1622), a famous German al-
  chemist. By 1636 he has penned two works on alchemy.
  Elias Ashmole (1617-1692): Although a young man 
  in 1636, Ashmole goes on to becomes a solicitor, military 
  officer, antiquarian, alchemist, astrologer, and Freema-
  son. In 1661 he becomes one of the founding members 
  of the Royal Society.
  Jan Baptist van Helmont (1579-1644): Flemish 
  alchemist and physician. Introduced the word “gas” into 
  the scientific lexicon. Suspected of heresy in 1621, but 
  no charges were ever brought against him.
  Johann Daniel Mylius (1583-1642): German alche-
  mist and composer for the lute.
  Michał Sedziwój (1566-1636): Polish alchemist, 
  philosopher, medical doctor, and pioneering chemist. 
  Reputed to have created true philosopher’s stone, but 
  ceased transmutations after being robbed by a German 
  rival (named only as Muhlenfels).
  Nicolas Flamel (133?-1418): A French scribe and 
  manuscript seller, Flamel is widely credited as the only 
  alchemist to have perfected true philosopher’s stone, 
  achieving with his wife, Perenelle. Although there is no 
  hard evidence, Flamel went from being near penniless 
  to fantastic riches almost overnight. He is credited with 
  authorship of numerous alchemical texts. 
  Despite officially having died in 1418 around the age 
  of 80, many alchemists claim to have met and studied 
  under Flamel.
  The Philosopher’s Stone
  The philosopher’s stone (lapis philosophorum), 
  the marvelous substance that, according to many 
  mundane alchemists transmutes base metals into 
  precious ones and can prolong life, is variously de-
  scribed as being white or red. In many alchemical 
  texts the white philosopher’s stone transmutes base 
  metals into silver, while the red version transmutes 
  them into gold.
  True alchemists, those possessed of magickal knowl-
  edge, refer to the red philosopher’s stone as greater 
  stone, while the white is regarded as lesser stone.
  Creating greater philosopher’s stone requires an 
  alchemist working in a laboratory to achieve 30 suc-
  cesses (Difficulty 5) using his Alchemy Skill. Each 
  roll represents an entire week of work. Success cre-
  ates just a single pinch. Even then, the substance is 
  not true philosopher’s stone, though it is potent. 
  Added to a potion during its creation, a pinch grants 
  +8 to one Magick: Alchemy roll. More usefully, that 
  potion never spoils, remaining potent until used. A 
  single pinch of lesser philosopher’s stone requires 
  only 15 successes (Difficulty 4). As its name implies, 
  it is of less potency than the gold variant. Each pinch 
  adds +4 to one Magick: Alchemy roll while creating 
  a potion. In both instances, only a single pinch may 
  be produced for each attempt—the modifier for 
  creating multiple batches cannot be used.
  The secret of true philosopher’s stone, that rare 
  creation that will permanently transmute base met-
  als or prolong life remains elusive. A handful of 
  alchemists have claimed to have produced it, but 
  attempts to repeat their experiments have all ended 
  with failure, and if they have indeed achieved im-
  mortality, the alchemists have vanished from public 
  life, perhaps faking their own deaths.
  All For One 
  
  
  Nicolas le Febure (1615-1669): Currently a medical 
  student, le Febure goes on to become a physician to Louis 
  XIV and Charles II of England, as well as an alchemist.
  Alchemy and the Law
  Historically, alchemy was an excepted art, not quite 
  a science, but not a form of witchcraft, either. It was an 
  art practiced by men of the cloth as a means of under-
  standing the physical aspect of God’s creation, yet also 
  contained spiritual instruction. Kings and emperors, 
  ever greedy for wealth to fund their endless wars and 
  extravagant building projects, employed alchemists to 
  make them richer. Unfortunately, the number of men 
  who claimed to be able to transform base metals into 
  precious ones was legion, but those proven to succeed 
  beyond reasonable doubt numbering exactly zero. Thus, 
  while practicing alchemy was not itself a crime, making 
  false claims of its results was.
  The default for All for One is that Alchemy is a form 
  of magick and, thanks to Richelieu stirring up trouble, 
  forbidden (at least in France), punishable by all manner 
  of horrific methods of torture and death. Gamemasters 
  may wish to bring Alchemy out of the shadows and re-
  instate it as an accepted part of life in their campaigns, 
  albeit one still shrouded in mysticism. Practicing alchemy 
  would thus be a legitimate profession, although using it 
  to mislead or harm others would remain a crime.
  For instance, selling curative elixirs or potions de-
  clared to have temporary effects would be acceptable, 
  but throwing explosive compounds at one’s enemies, us-
  ing “alchemical gold” (produced by the temporary trans-
  formation of base metals into precious ones) to purchase 
  equipment, or trying to sell impossible elixirs, such as 
  ones claimed to grant permanent effects, means either 
  a lengthy spell in jail, or, if an accusation of deviltry is 
  leveled and proven, a trip to the rack and a roasting at 
  the stake.
  Alchemical Art
  This section looks at the art of the alchemist in more 
  detail. It is largely background material, intended to add 
  flavor rather than new rules.
  The Twelve Processes
  Alchemical experiments are defined by steps known 
  as processes. The creation of the philosopher’s stone 
  requires all 12 processes to be followed in order, while 
  lesser experiments, the sort that produce magickal effects, 
  require just one or two processes to be completed.
  Each process consists of a general action and one 
  of three methods. When spoken, these are referred to 
  as “action” through “method.” The first process, for ex-
  ample, is Decomposition through Calcination. 
  That there are exactly 12 processes is not coinciden-
  tal—each process is dominated (or ruled) by one of the 
  zodiacal signs.
  * Decomposition: The breakdown of chemicals into 
  elements of simpler compounds.
  Calcination (Aries): Breaking down a substance 
  through heat. It is achieved through either actual or 
  potential calcination. Actual calcination comes from 
  burning fuels, such as wood, while potential calcination 
  involves corrosive chemicals, ones that produce heat 
  without flame.
  Digestion (Leo): The application of gentle heat over 
  a prolonged period. The chemical might be left exposed 
  to sunlight, or covered in manure.
  Fermentation/Putrefaction (Capricorn): The sub-
  stance is left to rot naturally and undisturbed. It typically 
  relates to organic materials, as it would take millennia 
  for a rock to “putrefy” (i.e., crumble to dust).
  * Modification: Changing the nature of a substance 
  to create a new substance.
  Congelation/Coagulation (Taurus): Increasing a liq-
  uid’s viscosity. The process can turn liquids into solids.
  Fixation (Gemini): A process that “fixes” a volatile 
  substance, giving it a new form (often solid) that renders 
  it immune to further transformation by heat or fire.
  Ceration (Sagittarius): Continually heating a sub-
  stance that cannot be made into a liquid until the sub-
  stance softens. It is used to break down hard substances 
  into a more malleable form.
  * Separation: Changing a substance or mixture of 
  substances into two or more unique products. A modern 
  example is taking liquid water and producing oxygen 
  and hydrogen gas.
  Distillation (Virgo): Separation of liquids through 
  the application of heat. Liquids vaporize based on their 
  boiling point, the vapor then passing through tubes to 
  condense in a separate vessel, separating it from the 
  original mixture and leaving two distinct liquids.
  •          •
  Naming Potions
  The art of alchemy is filled with allegorical refer-
  ences, pseudoscientific terms, and utter nonsense. 
  While a player should give spells he has created a 
  simple, descriptive name (such as “flash powder”) 
  so he can find his notes in a hurry, his character 
  should speak of his alchemical products in more 
  descriptive, flavorsome terms.
  A flash powder, essentially a powder that when 
  exposed to air produces a brilliant burst of light, 
  temporarily blinding opponents, might be called 
  distillation of sunlight, while a “healing potion” 
  may simply be aqua vitae (“water of life;” actually 
  ethanol).
  Players looking for a list of actual alchemical sub-
  stances should head to Wikipedia and search for 
  “List of alchemical substances.”
  Richelieu’s Guide to Alchemy
  
  
  Sublimation (Libra): Transforming a substance from 
  solid to vapor without going through the liquid state. 
  When the vapor cools it creates solid sediment, again 
  without ever becoming liquid.
  Filtration (Scorpio): The separation of liquids from 
  solids by means of a medium through which the solid 
  cannot pass (such as a finely woven cloth).
  * Union: Causing two or more substances to bond 
  together to create a unique substance.
  Solution (Cancer): Dissolving one substance into an-
  other (such as salt and water to create saline solution). 
  Such substances may be solid, liquid, or gaseous.
  Multiplication (Aquarius): Combining a substance 
  (usually a putrefied one) with another, so as to trans-
  form the second substance into something new. Once 
  created, the transformed substance can be divided into 
  small quantities and the process repeated to multiply the 
  amount available. Thus, from an initial small quantity, one 
  can quickly build up a large stock. Each time the process 
  is repeated, the quality and quantity of the substance 
  increase, while the time to complete the multiplication 
  decreases. It is said of the true philosopher’s stone that 
  its creation takes three years. However, multiplying the 
  substance again takes but one week for the second time, 
  then three days, one day, and finally one hour.
  Projection (Pisces): Specifically, this is the transmu-
  tation of a heated substance through application of the 
  philosopher’s stone. The ideal projection is, of course, 
  taking a base metal and projecting it to gold or silver. 
  More generically, it involves heating two or more sub-
  stances to create a new substance.
  Alchemical Equipment
  Many of the tools used by alchemists would not look 
  out of place in a modern laboratory. Some of the more 
  common instruments are briefly described below purely 
  for added flavor. Larger items, such as the athanor and 
  bain-marie, are not found in the alchemist kit, but in-
  stead form part of the alchemist’s static laboratory. 
  Alembic: An alchemical still, used to distill liquids. 
  Comprises two vessels connected by a tube.
  Aludel: A series of bottomless earthenware pots de-
  signed to fit over each other. Used in sublimation as a 
  condensing tube.
  Athanor: An alchemical oven, designed to provide 
  low heat over a long period. Also known as the Furnace 
  of Arcana or Tower furnace (after the Tarot card of the 
  same name).
  Bain-Marie: A water bath used to provide gradual 
  and gentle heat.
  Crucible: A container in which chemicals are heated. 
  May be clay or metal.
  Cupel: An inverted truncated cone used to separate 
  noble metals from base ones.
  Hessian Crucible: A form of crucible designed to 
  withstand high external temperatures from heating and 
  internal ones produced by chemical reactions.
  Alchemical Texts
  Alchemists are both secretive and vain by nature. 
  While they guard their experiments and methods 
  jealously, they simultaneously boast of them in writ-
  ten texts. These tracts are always written in code or 
  allegorical terms, disguising the truth behind layers 
  of enigma.
  In game terms, an alchemical text functions as a gri-
  moire. Its Tradition is always Alchemy, but its Art 
  varies according to the author’s specialty. However, 
  before an alchemical text can be used, it must be 
  decoded. Deciphering an alchemical grimoire re-
  quires 10 successes on an extended Investigation: 
  Enigmas, Linguistics: Codes, or Linguistics: Deci-
  phering roll (Difficulty 3). Each roll represents one 
  week of work.
  Below are the names of a number of real world al-
  chemical texts. Gamemasters may use them straight 
  from the page as flavor when an alchemist finds a 
  text, or as the basis for their own creations.
  * Emerald Tablet (aka Smaragdine Table, Tabula 
  Smaragdina, and Secret of Hermes): Arabic trans-
  lation; unknown date; reportedly written by the 
  Hermes Trismegistus, a combination of the Greek 
  deity Hermes and the Egyptian god Thoth.
  * Aurora consurgens: Latin; 15th century; attrib-
  uted to Thomas Aquinas.
  * Buch der heiligen Dreifaltigkeit (“Book of the 
  Holy Trinity”): German; 15th century; attributed to 
  Frater Ulmannus (a Franciscan).
  * Compendium veritatis philosophicum: German; 
  15th century; attributed to Basilius Valentinus.
  * Fasciculus Chemicus: Latin; 1629; anthology com-
  piled by Arthur Dee.
  * Hortulus Hermeticus: Latin, 1627; Daniel Stolz 
  von Stolzenberg.
  * Kitab al-Zuhra: Arabic; 8th century; Abu Musa 
  Jabir ibn Hayyan (aka Geber, after whom “algebra” 
  was named and “gibberish” gets its name).
  * Musaeum Hermeticum: German; 1625; anthology 
  compiled by Lukas Jennis.
  * Mutus Liber: Latin; first printed copy 1677, but 
  earlier handwritten copies may exist; written by 
  Isaac Baulot (born 1612).
  * Speculum Alchemiae: Latin (12th century); trans-
  lated into English in 1597; Francis Bacon.
  * The Compound of Alchymy: English; 1477; George 
  Ripley.
  * Theatrum Chemicum: Latin; 13th century; Alber-
  tus Magnus.
  * Turba Philosophorum: Latin; 11th century; au-
  thor unknown.
  * Viridarium Chymicum: Latin, 1624; Daniel Stolz 
  von Stolzenberg.
  * Voynich Manuscript: Unknown language; 15th 
  century; author unknown.
  All For One 
  
  
  Mortar & Pestle: A bowl and heavy handled-shaped 
  tool used for grinding.
  Retort: A glass vessel with a long downward-pointing 
  neck. Used in distillation.
  Sand Bath: A sand-filled container used to provide 
  even heat when heated from beneath.
  Laboratories and Kits
  Every alchemist character has a laboratory stocked 
  with the common tools of the trade and basic chemicals. 
  By itself, this laboratory grants no inherent bonuses—
  that is covered by his Refuge: Equipment Resource, if 
  any. In contrast, the alchemist’s kit represents his stock 
  of more unusual or rarer ingredients, plus enough basic 
  equipment to use his art while outside of his laboratory. 
  Whereas a laboratory provides an infinite bonus, the 
  alchemist’s kit contains finite resources and must be fre-
  quently replaced or replenished. Note that a character 
  may combine bonuses from both his kit and laboratory.
  Clarification: Alchemy is not a simple process. A 
  single elixir may require many different elements and 
  compounds to be mixed in varying quantities and at 
  different stages of the process. When creating a potion, 
  each roll counts as a single use of the Skill for the pur-
  poses of using supplies from the alchemist’s kit (should 
  the character choose to use it, of course).
  The Elements
  Alchemy recognizes the four classical elements of 
  air, earth, fire, and water, from which all substances are 
  formed. Each element, and thus every substance, can 
  further be described as having the qualities of hot, cold, 
  wet, or dry. Fire is dry and hot, earth is dry and cold, 
  water is wet and cold, and air is wet and hot.
  There exists a fifth element, the quintessence, that 
  transcends the four classical elements. Also known as 
  aether or ether, it is the element that fills the universe 
  above the sphere of the Earth, hence, the ethereal void. 
  Ether has no qualities, is immutable, inclined to move in 
  circles, invisible to the human eye. To Homer, it was akin 
  to air, but reserved for the gods to breathe.
  Distilatio Infernalis
  Alchemy’s association with deviltry in France may 
  be the result of Richelieu’s machinations, but recent 
  developments do little to lessen the fear associated with 
  alchemists and their strange art. Should they ever be-
  come public knowledge, recent experiments would not 
  only brand all alchemists as servants of Satan, but likely 
  endanger the fledging science of chymistry as well.
  Desperate to create the philosopher’s stone, an un-
  known alchemist deduced that aether, the quintessence 
  breathed by God, might hold the key. Unable to procure 
  this wondrous substance, he followed a warped path of 
  thought, surmising that since demons were originally of 
  Heavenly origin, they must contain traces of aether.
  His madness (for no sane man would consider this) 
  led him to summon demons from the infernal pit of 
  damnation. At first he endeavored to bind the spiritual 
  essence of Satan’s minions with physical, earthly sub-
  stances, but repeated experiments met with naught but 
  failure. As his desperation grew and his insanity deep-
  Optional Rule:  
  Planetary Effects
  Alchemy and astrology are intertwined, with each 
  alchemical process governed by a sign of the zodiac. 
  When the process is carried out under the auspices 
  of the sign, it is said to be easier to complete.
  At the Gamemaster’s discretion, when an alchemist 
  creates a potion he must declare which of the four 
  actions it involves. For game purposes, Decomposi-
  tion involves destruction, Modification is used for 
  alteration or transmutation, Separation governs 
  division, splitting, or reduction, and Union covers 
  joining or mending.
  For example, using an acid to melt iron bars on a 
  prison cell is Decomposition. Coating clothes in a 
  liquid that hardens them, creating armor, is Modi-
  fication. Brewing a smoke bomb is Separation, as 
  it reduces visibility. A healing potion is a form of 
  mending, and is thus a Union.
  If the potion is created during any of the three zodi-
  acal signs overseeing the action, the alchemist gains 
  a +2 bonus to his Magick: Alchemy rolls.
  Unfortunately, for every boon there is a bane. De-
  composition is opposed by Union, and Modifica-
  tion by Separation, and vice versa. An alchemist 
  who tries to create a potion requiring one action 
  during the opposite time of the zodiac has a –2 pen-
  alty to his Magick: Alchemy rolls. 
  For instance, creating an explosive liquid (Decom-
  position) is harder to achieve during the signs of 
  Cancer, Aquarius, and Pisces, when Union is domi-
  nant. Clever players might be able to work around 
  this by altering the function of their character’s 
  creations. One example is creating a gas that causes 
  those who breathe it to become physically weak. 
  In game mechanic terms, it lowers Strength. This 
  could be explained as Decomposition (tempo-
  rary muscle wasting), Separation (a reduction in 
  strength caused by fatigue), or Modification (physi-
  cally altering the muscle mass). Such creative think-
  ing should not be discouraged.
  This optional rule does mean the Gamemaster 
  needs to keep an eye on the calendar in his cam-
  paign, or have the character’s player track it.
  Richelieu’s Guide to Alchemy
  
  
  ened he hit upon a new train of thought—the physical 
  must be bound with the physical.
  In an act that surely damned his soul to Satan’s realm, 
  he offered one of his servants to a demon, allowing it 
  to possess his body. Now fused with mortal flesh, and 
  thinking the quintessence was surely within his grasp, 
  he murdered the servant, draining his tainted blood into 
  a crucible containing various chemicals and subjected 
  them to alchemical processes. The grisly experiment 
  failed to produce the philosopher’s stone, but did pro-
  duce unusual and dramatic results—it made the alchemi-
  cal process easier, alleviating much of the hardship and 
  painstaking patience associated with alchemy. Attempts 
  to repeat the process with physical demons, such as glut-
  ton demons and black fogs, ended in failure. Success, it 
  seemed, lay in the union between unholy spirit once of 
  divine origin, and God’s chosen creation—man.
  That original alchemist is long dead, his soul lost 
  forever in the abyss, but his work lives on in his manu-
  scripts. Loosely translated from Latin as “The Process of 
  Binding the Essence of the Spiritual with the Physical,” 
  they are vile tomes, not for the faint-hearted.
  Game Mechanics
  An alchemist who uses the blood of a human pos-
  sessed by a demon, such as a demonic spirit, werewolf, 
  or vampire, gains a bonus to one Magick: Alchemy roll 
  equal to the creature’s Willpower. The victim must be 
  alive at the start of the process, and the blood fed directly 
  into the alchemical process as it takes place. Thus, the life 
  fluid cannot be drained and stored for later use. So much 
  blood is required that the victim’s death is assured.
  Although one might philosophically argue that killing 
  a demon’s host in this manner is an act of good (a dead 
  host forces the demon to return to Hell), the procedure 
  involves the deliberate and intentional ending of a hu-
  man life. This a damnable act, which promises shortcuts 
  in the material world, guarantees the alchemist suffers 
  endless torment in Hell at some future point.
  Campaigns
  This section provides some basic advice for playing 
  alchemists in All for One campaigns.
  Creating Characters
  All Musketeers receive four zero-level Skills and two 
  zero-level Resources. Alchemists receive the same gen-
  eral benefits, but with a few notable differences.
  Alchemists are learned men and women, well versed 
  in the properties of the elements and usually university 
  trained. Even self-taught alchemists must have a basic 
  understanding of matters beyond throwing chemicals 
  together and seeing what happens next.
  A minimum of two of their four zero-level Skills must 
  come from Academics, Art, Investigation, or Natural 
  Philosophy. Alchemical texts exist in many languages, 
  though the most common is Latin. An alchemist must 
  thus have enough raw Intelligence or a high enough Lin-
  guistics rating to grant him a minimum of one additional 
  language. Other suggested languages for alchemists are 
  Arabic, English, German, Greek, and Hebrew.
  The remaining zero-level Skills should be chosen to 
  suit the character’s social class and background. For 
  instance, the scion of a noble house might easily expect 
  to know something of Diplomacy, Performance, or Rid-
  ing, but he has had fewer chances to learn Larceny or 
  Streetwise. No Skill is forbidden, but the player may have 
  to defend his choices.
  Unlike Musketeers, the character’s choice of zero-
  level Resources is up to him. Patron is an ideal choice, as 
  it represents a financier or mentor. Wealth can represent 
  a business, perhaps an apothecary, or even secretly sell-
  ing alchemical elixirs. It can also represent a basic ability 
  to transmute base metals into noble ones, though only 
  in very tiny amounts (not enough for the character to 
  retire in luxury). Unless alchemy is publicly accepted in 
  •       •
  All For One 
  
  
  the campaign, Rank and Status should relate to public 
  profession. Doctor, scientist, and university professor 
  are natural choices, but an alchemist might serve in the 
  army or navy, hold a noble title, or be initiated into a 
  secret society.
  Musketeer Campaigns
  Playing an alchemist in a Musketeer game has already 
  been established in the core rules in the form of one 
  of the sample characters. Anyone wishing to play an al-
  chemist Musketeer should also read the text below for 
  mixed campaign and the problems that may arise from 
  being a practicing magician in an age where burning at 
  the stake is a very real threat.
  Mixed Campaigns
  A mixed campaign is one in which not every character 
  (or perhaps none at all) is a Musketeer. Unlike other Tra-
  ditions, Alchemy has access to all the Arts. While a group 
  might benefit from having multiple magicians versed in 
  different Arts, there is no benefit to having more than 
  one alchemist beyond increasing the number of elixirs 
  that can be created. In order to prevent one character 
  from becoming secondary to another alchemist and the 
  heroes relying on potions to save their skins, we recom-
  mend Gamemasters limit alchemists to one per group.
  Although the logical public guise for an alchemist is a 
  scientist and the obvious long-term goal creation of the 
  fabled philosopher’s stone, these are both bland stereo-
  types. With a little imagination, they can become more 
  adventurous and intriguing.
  Alchemists can practice any profession and come from 
  any social class, though the requirements for education 
  prohibit most from being peasants. In the same way that 
  Musketeer is a blanket occupation under which a hero 
  might be a duelist, nobleman, sniper, or spy, so an alche-
  mist might be a churchman, physician, artilleryman, or 
  even a skilled swordsman.
  While an alchemist can utilize any Art, the player may 
  wish to self impose limits on his character. For instance, 
  his character might deal only with corrosives, noxious 
  gases, and explosions, refusing to dabble in curative ton-
  ics and potions that boost Skills. Characters are under no 
  compulsion to consider limiting their ability, and should 
  ever be punished for not doing so—alchemy is already 
  limited by its restriction on only mimicking plausible 
  chemical reactions. Gamemaster may wish to reward 
  playing such restrictions with Style points.
  Of course an alchemist can quest for the philosopher’s 
  stone, but a reason beyond the base lust for wealth or 
  desire for immortality will create a more interesting char-
  acter, both for the player and Gamemaster. In the sample 
  character section, we present just such an alchemist—he 
  quests for the stone because he is dying of an incurable 
  disease and believes it will prolong his life.
  Burn the Witch!
  One issue with alchemy, and one that extends to all 
  forms of magick, is that is it outlawed, considered devil-
  try by Richelieu, the Church, the State, and the peasants. 
  As guardians of France and servants of the King, the Mus-
  keteers are also opposed to witchcraft.
  While an alchemist presents a powerful ally for the 
  group, his existence may cause tensions if one of the oth-
  er characters is fervently opposed to all forms of magick. 
  Group arguments are fine, and to be expected, but the 
  game will quickly degenerate if one or more characters 
  are trying to arrest or kill another hero.
  The easiest way to avoid such problems is to have 
  a player who wants to create an alchemist declare his 
  intention openly to the other players during character 
  generation and check that none of the other characters 
  are opposed to working alongside a magician. If one 
  player wants to be a fanatical witch-hunter who would 
  happily burn the alchemist alive, then the Gamemaster 
  needs to sit the players down and discuss the situation 
  before it crops up in play and spoils everyone’s fun.
  The other alternative is simply for the alchemist to op-
  erate in total secrecy, as he must do from society at large. 
  The Gamemaster should ensure that player knowledge 
  does not creep into the game. Sure, the witch-hunter’s 
  player knows the alchemist practices magick, but his 
  character does not—having “sudden suspicions” and be-
  ginning a witch hunt against his comrade without hard 
  evidence is metagaming, and the Gamemaster should 
  steer him away from such behavior.
  Is Alchemy Really Magick?
  Historically, alchemy, while it produced results 
  many once thought magickal, is merely a branch 
  of chemistry, albeit one veiled with useless mystical 
  references. In All for One, Alchemy is very much a 
  form of magick.
  In part this was done because without the restric-
  tion of requiring both a Talent and two Skills, and 
  with the added stigma of being deviltry, it would be-
  come a must-have ability, an easy way to gain lots of 
  benefits for little cost. Thus, it is branded as magick 
  as artificial game balance.
  The other reason was because science is still in 
  its infancy. Historically mankind had made great 
  advances, but All for One is not an historical set-
  ting—it is a supernatural one, and alchemy is akin 
  to magick, especially in the eyes of the masses.
  As has already been discussed, the Gamemaster 
  may wish to strip alchemy of its deviltry label and 
  allow it as a branch of science, complete with spe-
  cial effects. However, we strongly recommend that 
  the Gamemaster retain the need for both a unique 
  Talent and two Skills so that it doesn’t become too 
  prevalent in the campaign.
  Richelieu’s Guide to Alchemy
  
  
  Alchemical Fencer
  Archetype: Swordsman 
  Motivation: Fame
  Style: 3
  Health: 5
  Primary Attributes
  Body: 2
  Charisma: 2
  Dexterity: 2
  Intelligence: 3
  Strength: 3
  Willpower: 3
  Secondary Attributes
  Size: 0
  Initiative: 5
  Move: 5
  Defense: 4
  Perception: 6
  Stun: 2
  Skill
  Base
  Levels
  Rating
  Average
  Athletics
  3
  3
  6
  (3)
  Brawl
  3
  2
  5
  (2+)
  Con
  2
  2
  4
  (2)
  Fencing: Renoir
  3
  4
  7
  (3+)
  Linguistics
  3
  1
  4
  (2)
  Magick: Alchemy
  3
  3
  6
  (3)
  Natural 
  Philoso-
  phy: Chymistry
  3
  2
  5
  (2+)
  Talents
  Flurry (May attack the same opponent twice by making 
  a Total Attack with a –2 penalty on each attack roll)
  Magickal Aptitude (Alchemy)
  Resources
  Fame 0 (+1 Social bonus)
  Followers 0 (Laboratory assistant)
  Flaw
  Liar (+1 Style point whenever his dishonesty causes 
  trouble or his lies catch up with him)
  Weapons
  Rating
  Size
  Attack
  Average
  Punch
  0N
  0
  5N
  (2+)N
  Rapier
  2L
  0
  9L
  (4+)L
  “It’s all due to training, diet, 
  and huge amounts of natural 
  talent.”
  Character Background
  I began taking fencing lessons at university, where 
  I was studying chymistry. I was always inclined toward 
  sport and exercise, believing that a healthy body gives 
  rise to a healthy mind, yet fencing held no special appeal 
  to me at first, for I was a man of peace.
  One afternoon I became involved in an altercation in 
  the streets of Paris. A group of ruffians had robbed a no-
  bleman, their path of flight taking them squarely across 
  mine. Like a good citizen I moved to stop them, using my 
  fists to good effect until they drew short swords. It was 
  then that a stranger appeared, using his rapier to deftly 
  disarm the ruffians and recover the noble’s purse. Al-
  though my act was instinctive, I expected some measure 
  of reward for my part. But no, it was the swordsman who 
  received the noble’s coin and the crowd’s praise, not I.
  I vowed there and then that I would earn the love 
  of the people. In my innocence, I saw my route to ac-
  claim through the sword, for while the elite may respect 
  knowledge, the masses favor adventurous deeds. I 
  neglected my studies for a while, focusing my time on 
  learning fencing and athletic prowess. Yet no matter how 
  skilled I thought myself with the blade, I was never quite 
  good enough—there was always someone better who 
  stole my glory. On returning to my studies I discovered 
  that alchemy, an art I had long dismissed as the path of 
  fools, promised more than immortality and wealth. Cer-
  tain chemicals, when mixed correctly, could boost physi-
  cal strength and agility, focus the mind to improve one’s 
  prowess with a certain skill, speed up one’s reflexes, and 
  so on. The list of possibilities was without limitation.
  I moved away from chymistry, using my time and 
  resources to create alchemical elixirs. I bided my time, 
  waiting for the right moment to test them. It came when 
  I saw a man attacked by a gang of thieves. I quaffed my 
  tonic, intended to improve my reflexes, and let at them, 
  my blade flashing and whirling like lightning. At last 
  victorious, I lapped up the praise offered by the crowd 
  that had formed, drinking in their adulation. I of course 
  said nothing about the source of my skill, knowing that 
  the peasants would not understand. They need heroes in 
  this dark age, and I have accepted the challenge.
  Roleplaying
  Your lust for fame and recognition has led you to 
  stray from the path of righteousness. You are a fraud, 
  the 17th-century equivalent of a modern-day athlete who 
  uses performance-enhancing drugs. In your case, these 
  are alchemical elixirs of your own design.
  All For One 
  
  
  Charlatan Alchemist
  Archetype: Natural Philosopher Motivation: Greed
  Style: 3
  Health: 4
  Primary Attributes
  Body: 2
  Charisma: 3
  Dexterity: 3
  Intelligence: 3
  Strength: 2
  Willpower: 2
  Secondary Attributes
  Size: 0
  Initiative: 6
  Move: 5
  Defense: 5
  Perception: 5
  Stun: 2
  Skill
  Base
  Levels
  Rating
  Average
  Academics: 
  Philosophy
  3
  1
  4
  (2)
  Athletics
  2
  2
  4
  (2)
  Craft: Medicines
  3
  2
  5
  (2+)
  Con
  3
  3
  6
  (3)
     Bluff
  7
  (3+)
  Empathy
  3
  1
  4
  (2)
  Larceny
  3
  4
  7
  (3+)
     Sleight of Hand
  8
  (4)
  Linguistics
  3
  1
  4
  (2)
  Natural 
  Philoso-
  phy: Chymistry
  3
  2
  5
  (2+)
  Talents
  Moneywise (May boost Wealth Resource as if it were 
  a Talent)
  Resources
  Followers 1 (Gullible patron)
  Wealth 1 (50 livres per month)
  Flaw
  Overconfident (+1 Style point whenever he is forced 
  to ask for help or when his bravado gets him in over 
  his head)
  Weapons
  Rating
  Size
  Attack
  Average
  Punch
  0N
  0
  “Of course it is real gold! 
  Feel the weight and look at the 
  color, my lord.”
  Character Background
  Despite the extravagance of my clothing and my 
  legendary parties and feasts, I am a humble natural phi-
  losopher, tutor to scions of aristocratic houses yet paid 
  poorly for my acquired knowledge. My fabulous wealth 
  comes from my other occupation—ridding the gullible 
  of their unearned riches through “alchemical” means.
  Although alchemy is a banned art, there are still those 
  who practice it, albeit from the shadows. Let me make 
  it absolutely clear that I do not number among them, 
  although I do understand its processes from a purely 
  natural philosophical perspective.
  It is a fundamental truth that the rich always want 
  more money. Everyone wants more money, of course, 
  but with the rich it is a true vice and a great weakness. 
  You have heard of the philosopher’s stone, yes? Let 
  me tell you that it is a myth, nothing more than a dream 
  at which men futilely clutch. The aristocracy, though, are 
  well aware of the alchemist’s ability to transmute base 
  metals into noble ones, and that is a very attractive ven-
  ture. After all, it promises great wealth for little labor.
  Flagrantly disregarding Cardinal Richelieu’s decree 
  that alchemy is the work of Satan, they secretly welcome 
  alchemists with open arms, offering them vast sums of 
  money in return for generating greater rewards. I merely 
  take advantage of their desire... and gullibility.
  There are various techniques I employ, but none 
  involve magick, at least not as peasants understand the 
  concept—the true magick of this world is natural phi-
  losophy. The simplest ruse involves nothing more than 
  a puff of smoke and sleight of hand to slip a nugget of 
  true gold into a crucible. A more extravagant scheme re-
  quires the creation of a gold coin coated in a thin veneer 
  of silver. When dipped into aqua fortis (nitric acid), the 
  silver dissolves, revealing the gold beneath. To the unen-
  lightened mind, it appears a miraculous transformation 
  of silver into gold. In return for such demonstrations, 
  the aristocracy grant me money to found an alchemical 
  laboratory or give me piles of silver coins to transmute 
  into gold. At that, I quickly disappear from their lives.
  Now, my good jailor, if you’ll kindly loosen my shack-
  les, you shall be handsomely rewarded...
  Roleplaying
  You are a rogue, a trickster who preys on the gullibil-
  ity and greed of the aristocracy. You have no interest in 
  helping the poor, only in lining your own pockets. That 
  said, you don’t take money from those who have little 
  to spare.
  Richelieu’s Guide to Alchemy
  
  
  Distiller of Demons
  Archetype: Clergyman 
  Motivation: Power
  Style: 3
  Health: 5
  Primary Attributes
  Body: 2
  Charisma: 2
  Dexterity: 2
  Intelligence: 3
  Strength: 3
  Willpower: 3
  Secondary Attributes
  Size: 0
  Initiative: 5
  Move: 5
  Defense: 4
  Perception: 6
  Stun: 2
  Skill
  Base
  Levels
  Rating
  Average
  Academics: 
  Occult
  3
  3
  6
  (3)
  Athletics
  3
  1
  4
  (2)
  Investigation
  3
  2
  5
  (2+)
  Linguistics
  3
  2
  5
  (2+)
  Magick: Alchemy
  3
  3
  6
  (3)
  Melee
  3
  2
  5
  (2+)
  Natural 
  Philoso-
  phy: Chymistry
  3
  2
  5
  (2+)
  Streetwise
  2
  2
  4
  (2)
  Talents
  Magickal Aptitude (Alchemy)
  Resources
  Contacts 0 (Catholic Church; +1 bonus)
  Followers 1 (Monster Hunter)
  Status 0 (Witchfinder; +1 Social bonus)
  Flaw
  Fanatical (+1 Style point whenever he causes harm or 
  he converts someone else to his way of thinking)
  Weapons
  Rating
  Size
  Attack
  Average
  Punch
  0N
  0
  0N
  (0)N
  Long sword
  3L
  0
  8L
  (4)L
  “Don’t kill him! Hand him 
  over to me and I shall see he 
  is properly judged.”
  Character Background
  I see by that puzzled look that you think my study of 
  alchemy and service to God somehow at odds. Dismiss 
  any doubts put into your mind by Richelieu—alchemy 
  is knowledge, and knowledge is made evil only through 
  misuse by man. My heart is good, and thus my art is used 
  only for good.
  By trade I am a servant of God, trained to root out 
  and punish those who would traffic with demons. Many 
  years ago my investigations had led me to the abode of 
  a warlock, one who used alchemy for dark purposes. By 
  my hand I smote him dead, sending his soul to the fiery 
  pit where it belonged. Among his possessions I found 
  a tome, a rare alchemical work of uncertain age. After 
  deciphering it I discovered to both my horror and joy 
  that it described a method of using demons in alchemi-
  cal processes. The method was unorthodox, shall we say, 
  but seemed to promise a way to immortality.
  You are not the first to level the accusation that seek-
  ing immortality goes against God’s divine plan, nor will 
  you be the last. I crave immortality not through fear of 
  death, nor to offend God, but so that I might continue 
  his work throughout the ages. Satan’s minions are le-
  gion, yet those truly devoted to the Lord are rare souls. 
  But I digress from my tale.
  My companion and I set out to prove the veracity 
  of the claims, to capture a demon—a werewolf to be 
  precise. We were successful, though a few peasants gave 
  their souls to God’s just cause before we had the beast 
  subdued and chained. That night, I distilled its essence 
  into an alchemical elixir intended to heal our injuries, 
  watching in amazement at the transformation that took 
  place within the crucible.
  Of course, the creature died due to the process, but 
  through the demise of a fell demon, a death which I 
  believe ended both its physical and spiritual existence, 
  two human souls were saved to continue God’s work. 
  The secret of the philosopher’s stone eludes me still, but 
  I did not expect the path to be a simple one. There is 
  much still to learn, many more demons to distill, yet with 
  each death I inch nearer my goal.
  Roleplaying
  You are a man of God driven by your own beliefs onto 
  a path of utter damnation. In your eyes, those unfortu-
  nates who become host to a demon are themselves de-
  mons, their flesh forfeit, their souls forever tainted and 
  beyond salvation. Using them in your experiments is a 
  fitting end.
  All For One 
  10
  
  Dying Alchemist
  Archetype: Doctor 
  Motivation: Survival
  Style: 3
  Health: 5
  Primary Attributes
  Body: 1
  Charisma: 2
  Dexterity: 2
  Intelligence: 4
  Strength: 2
  Willpower: 4
  Secondary Attributes
  Size: 0
  Initiative: 6
  Move: 4
  Defense: 3
  Perception: 8
  Stun: 1
  Skill
  Base
  Levels
  Rating
  Average
  Academics: 
  Philosophy
  4
  2
  6
  (3)
  Craft: Medicines
  4
  4
  8
  (4)
  Investigation
  4
  2
  6
  (3)
  Linguistics
  4
  2
  6
  (3)
  Magick: Alchemy
  4
  4
  8
  (4)
  Natural 
  Philoso-
  phy: Chymistry
  4
  3
  7
  (3+)
  Talents
  Magickal Aptitude (Alchemy)
  Moneywise (May boost Wealth Resource as if it were 
  a Talent)
  Resources
  Followers 0 (Laboratory Assistant)
  Refuge 0 (Equipment: +1 Magickal: Alchemy bonus)
  Flaw
  Dying (+1 Style point whenever he is incapacitated by 
  sickness or forced to confront his mortality)
  Weapons
  Rating
  Size
  Attack
  Average
  Punch
  0N
  0
  0N
  (0)N
  “I do not crave immortality, 
  merely a longer life.”
  Character Background
  I shall make my story quick, for my days are few and 
  I have no desire to waste time in idle conversation. I am 
  a living example of irony, a learned man who cures the 
  ills of others but suffers from a malady from which no 
  potion or chemical can save me. In short, I am dying.
  I read the works of Paracelsus during my university 
  days and was well acquainted with his ideas, methods, 
  and philosophies. Indeed, I dabbled openly in alchemy, 
  not for the vain pursuit of transforming base metals, but 
  in order to create better medicines. I met with much suc-
  cess, so much so that I was able to open my own apoth-
  ecary and begin practicing medicine as a professional.
  It was three years ago when my life changed. A cough 
  that would not depart my lungs heralded a slow decay 
  of my muscles. Another irony of course, for I knew my 
  symptoms and knew what fate was written for me. But I 
  am not yet ready to die. Perhaps I am greedy, for I seek 
  to live beyond my allotted time. Oh, I accept that death 
  is an inevitability, and I have no wish to walk this earth 
  forever, but there is so much left to see and do, so much 
  wisdom still yet to learn.
  I know, of course, of the philosopher’s stone and its 
  wondrous properties. Perhaps it might cure my of my 
  illness, for it possesses many wondrous properties. My 
  interest in practical alchemy has turned to deeper study, 
  leading me into the depths of the mystical art. It is yet an-
  other irony that my chosen path to physical health would 
  damn my soul, at least according to Cardinal Richelieu... 
  but a man who knows Death will soon call takes what-
  ever measures he sees fit to avoid that icy hand.
  My research has so far produced many marvelous re-
  sults, even temporarily ridding me of my blood-flecked 
  sputum, but it is a temporary remedy, one for which I 
  trade time working on curative elixirs in return for a 
  similar number of hours without pain. Irony, it seems, 
  follows me like a shadow. It is not a question of money. 
  If I want for wealth I need only sell a few medicines or 
  simple love potions to line my pockets. 
  No, it is a question of understanding. Somewhere out 
  there exists the secret of perfect health, and I shall find 
  it, even if the path I must follow leads me to Satan’s very 
  bosom. All I need is a little more time. Ah, yet another 
  irony!
  Roleplaying
  The hand of Death rests on your shoulder, but you 
  are not yet ready to turn and face him. Somewhere there 
  is a cure for your illness, and you are prepared to walk 
  any road that leads to it, no matter how damnable it may 
  seem to others.
  Richelieu’s Guide to Alchemy
  11
  
  Sample Lackeys
  Alchemical Doctor
  Follower 1
  Primary Attributes: Body 2, Dexterity 1, Strength 1, 
  Charisma 2, Intelligence 3, Willpower 3
  Secondary Attributes: Size 0, Move 2, Perception 6, 
  Initiative 4, Defense 3, Stun 2, Health 5
  Skills: Linguistics 4, Magick: Alchemy 7, Medicine 5, 
  Natural Philosophy: Chymistry 6
  Talents: None
  Resources: Magickal Aptitude (Alchemy)
  Flaws: Merciful (+1 Style point whenever he shows 
  compassion to an enemy or refuses to retaliate)
  Weapons: Punch 0N
  Charlatan Alchemist
  Follower 1
  Primary Attributes: Body 1, Dexterity 3, Strength 1, 
  Charisma 3, Intelligence 2, Willpower 2
  Secondary Attributes: Size 0, Move 4, Perception 4, 
  Initiative 5, Defense 4, Stun 1, Health 3
  Skills: Con 7 (Bluff 8), Larceny 5 (Sleight of Hand 
  6), Natural Philosophy: Chymistry 5, Natural Philosophy: 
  Geology 4
  Talents: Skill Aptitude (+2 Con rating)
  Resources: None
  Flaws: Liar (+1 Style point whenever dishonesty 
  causes trouble or his lies catch up with him.)
  Weapons: Punch 0N
  Composer
  Follower 0
  Primary Attributes: Body 1, Dexterity 1, Strength 1, 
  Charisma 3, Intelligence 2, Willpower 1
  Secondary Attributes: Size 0, Move 2, Perception 3, 
  Initiative 3, Defense 2, Stun 1, Health 2
  Skills: Art: Music 5, Performance 5
  Talents/Resources: None
  Flaws: Vain (+1 Style point whenever he steals the 
  spotlight or is forced to confront his shortcomings)
  Weapons: Punch 0N
  Debunker of Charlatans
  Follower 0
  Primary Attributes: Body 1, Dexterity 1, Strength 1, 
  Charisma 2, Intelligence 2, Willpower 2
  Secondary Attributes: Size 0, Move 2, Perception 4, 
  Initiative 3, Defense 2, Stun 1, Health 3
  Skills: Empathy 5, Natural Philosophy: Chymistry 4
  Talents/Resources: None
  Flaws: Skeptic (+1 Style point whenever he proves 
  an assertion wrong)
  Weapons: Punch 0N
  Geologist
  Follower 0
  Primary Attributes: Body 1, Dexterity 1, Strength 2, 
  Charisma 1, Intelligence 2, Willpower 2
  Secondary Attributes: Size 0, Move 3, Perception 4, 
  Initiative 3, Defense 2, Stun 1, Health 3
  Skills: Athletics 3, Natural Philosophy: Chymistry 4, 
  Science: Geology 3
  Talents/Resources: None
  Flaws: Obsession (Collecting rocks: +1 Style point 
  whenever his obsession causes him to do something 
  dangerous or endanger someone else’s life)
  Weapons: Punch 0N
  Gullible Patron
  Follower 1
  Primary Attributes: Body 2, Dexterity 3, Strength 2, 
  Charisma 3, Intelligence 1, Willpower 1
  Secondary Attributes: Size 0, Move 5, Perception 2, 
  Initiative 4, Defense 5, Stun 2, Health 3
  Skills: Art: Painting 4, Diplomacy 4, Gambling 4, Per-
  formance 5, Ride 4
  Talents: None
  Resources: Status 1 (+2 Social bonus) or Wealth 1
  Flaws: Gullible (+1 Style point whenever he is taken 
  advantage of because of his trusting nature)
  Weapons: Punch 0N
  Laboratory Assistant
  Follower 0
  Primary Attributes: Body 1, Dexterity 2, Strength 1, 
  Charisma 1, Intelligence 2, Willpower 2
  Secondary Attributes: Size 0, Move 3, Perception 4, 
  Initiative 4, Defense 3, Stun 1, Health 3
  Skills: Investigation 4, Natural Philosophy: Chymistry 
  5
  Talents/Resources: None
  Flaws: Dwarf (+1 Style point whenever his size causes 
  him severe difficulty or when he is rejected due to it)
  Weapons: Punch 0N
  Philosophical Chemist
  Follower 0
  Primary Attributes: Body 1, Dexterity 1, Strength 1, 
  Charisma 2, Intelligence 2, Willpower 2
  Secondary Attributes: Size 0, Move 2, Perception 4, 
  Initiative 3, Defense 2, Stun 1, Health 3
  Skills: Academics: Philosophy 4, Natural Philosophy: 
  Chymistry 5
  Talents/Resources: None
  Flaws: Inscrutable (+1 Style point whenever he is mis-
  understood or his mysterious motives cause trouble)
  Weapons: Punch 0N
  All For One 
  1
  
SOURCE: textdata/thevault/Triple Ace Games/All For One/Compendium 3 [split]/Richelieu's Guide To Alchemy.pdf