Contact & Copyright Info Spell: Te RPG is © 2015 aylor Smith and Whimsy Machine Media. All rights reserved. First edition printing 2018
Print ISBN 978-1-949029-00-0 Ebook ISBN: 978-1-9490 978-1-949029-03-1 29-03-1
Spell: The RPG Author + Developer | aylor Smith Editing + Design Consultin C onsultingg | Mariah Currey mariahcurrey.com Layout Design | Miss Mandible shishidocreative.com Spell Logo Design | Christina Gardner artstation.com/littlewitchcurry Cover Art | Nathalie Fourdraine nathalieourdraine.crevado.com Interior Art | Leigh Luna leighlunacomics.com
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elcome to Spell: Te RPG, a game o magic, spelling, and un� ake the role o magical characters, capable o altering reality around them to their whim, and explore the crazy worlds they inhabit. Each magical spell is cast using letter tiles; whatever you can spell is what you cast�
Tis is a tabletop roleplaying game or around three to six or so players. Roleplaying games, or those who are unamiliar, are like board games, except or a ew key differences: Te players take the role o specific characters o their own creation and the overall story o the game is also created by at least one player (the Game Moderator, or the one hosting the game). Gameplay ollows a plot and the players� actions as their characters shape the course o the overall game and story. Spell: Te RPG can last a single session or be played continuously; when a game goes on or multiple sessions, it�s called a campaign. Spell: Te RPG is designed to be easy to get into and emphasizes on play over simulation. Te setting is loose and open to interpretation, so it can be played in any genre with any age group. Make sure to bring pencils, dice, and plenty o imagination to the table.
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Te world of Spell: Te RPG is very much like our own, with one major exception: Tere are those who can speak the universal language of existence. All of existence and nonexistence, reality and surreality, is spoken in a specific language. Tis language describes all the laws of the universe, defining exactly what is and is not. It tells of everything that happened and everything that ever will, won�t, or can�t. Tis language is beyond the full comprehension of any mortal, though a rare few have an ear for it. Tese individuals can translate the universal language into glyphs that they can understand and, from there, spell out new descriptions, new laws, new realities. Tese individuals are called a variety of different terms, depending on context and culture, but the most common is �Speakers.� Spell: Te RPG, as a set of rules, can be played in any setting, in any world. Te following are common groups, character types, and schools of thought that exist in worlds of Speakers and the universal language. Inventiveness is always welcome; each story will be catered to the specific group playing. Suggestions for building and filling in a playable world are presented in the Game Moderator�s Guide chapter.
Groups
the role o can be all rom one organization acting officially or rom independent actions working as a mismatched group.
It didn�t take long or Speakers to find each other and gather. Philosophies on the universal language began to coalesce as ideas and theories were exchanged. Many groups actively seek out any natural Speakers to help them understand their gif; despite this, there are still Speakers who remain isolated rom a greater culture. Tese individuals ofen unknowingly let their gif lie dormant, become dangerous outliers, or just live their own magical, independent lie.
Academics Words and language invite study — not to mention magical phenomena — and so there has always been an academic study o the universal language and Speakers� abilities. Academics tend to consider these abilities gifs and encourage Speakers to push their limits. Magic or the sake o magic, to prove what magic is capable o, is a common aspiration o academics. Branches o academics as specific organizations may have roots in their regions� historical periods o
Beyond these basic groupings and philosophies exist a myriad o in-betweens and unique ideas. Tese specific groups are just the most representative and prolific. Te characters that players take
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invention and innovation, such as the Islamic Golden Age, European Enlightenment, or 9th century China alongside the advent o printing.
Folklorists hold immense power in their reservoirs o history. When oral traditions are in danger o dying out, important inormation or secrets may lay locked in the mind o just one olklorist, unable or perhaps unwilling to share their stories. As a more direct antagonist, a olklorist may strive to bring to reality cataclysmic events described in myths or to become the stuff uture myths will be written about.
Campaigns including academics as protag protagonists onists will eature investigators, collectors, researchers, and, o course, the ones bold enough to experiexp eriment just or the sake o seeing what will happen. Being the only academic member in a group can mean being a wild card or the powerho powerhouse: use: the one willing to use the t he universal language in whatever way necessary.
Puri Pu rist stss
Academics ofen walk a fine line; a line they meticulously measure and calculate and occasionally cross, ostensibly or academic purposes only. As villains or antagonistic authorities, academics can easily go too ar into the realm o experimental magic and leave ethics aside. Tere�s a possessiveness to the pursuit o knowledge and i those with it are not willing to share, they might impose strict regulations on those they don�t see fit to practice magic.
Tere are those who hold the universal language sacred, believing it ought not be translated or changed in any way. Troughout history this philosophy has considered the language as an immutable truth. Purists who learn o its secrets ocus on revering and internalizing the language as it exists, not corrupting it with human allibility. Te core philosophy is that the universal language must not be wielded by mere mortals, however knowledge o other Speakers have led some purists to take a more active role in protecting their sacred tenets. Tere are purists known to make an exception to their rule against translating i it means undoing the changes others have made and to prevent urther changes.
Folk Fo lklo lori rist stss Long beore people had any alphabet to speak o, the universal language still drifed in the ears o special individuals. Tese Speakers relied on oral traditions to pass on knowledge rom generation to generation, believing in the power and responsibility that comes with the spoken tale. Te universal language language was merely a tool borrowed by storytellers and elders to translate history, myth, and values throughout their cultures. Magic already exists within the world and a olklorist treats it as just another natural piece o communicating and interacting.
Purist Speakers as the main characters could make or a campaign about cosmic deenders, protecting the world against those who would dey its laws. On a more personal scale, perhaps the party o purists just find rogue Speakers and help bring them under control. Harmony is an important theme or purists, who bring balance to tumultuous situations. A lone purist in a group may struggle with the rest o the group�s practices, but a healthy level o respect can temper the tension.
A party o olklorists is the most likely to be a pack o adventurers, explorers, or olks who just like creating and sharing stories. A olklorist can hold their own well enough in a group o differently-minded differen tly-minded Speakers; their collection o oral history is invaluable to those willing to listen.
While individuals can be understanding, a purist organization organiza tion has unshakabl unshakablee belies. Purists can become villains or sympathetic antagonists when they�re unwilling to orgive whatever the party needs to do to accompl accomplish ish their goals. At an
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extreme, the organization could even have gone ully militant and looks to suppress any who dare practice Speaking or their own purposes.
place. Trough whatever means they�re made, Unspeakables are entities that should not be. Most o history�s monsters and legends can be attributed to these entities: A Speaker makes themsel �undying� �undying� and becomes the t he living dead; an animal is made �better� in the wrong context, resulting resulting in a monstrous beast. Te most common cause, however, are Spells that are orced, deliberate misinterpretations o translations, translation s, or simply too vague. A Speaker must always be careul when building a context or their Spells.
Free Fr eefo form rm An additional, rebellious philosophy exists or those Speakers who are more sel-motivated sel-motivated and less interested in organiza organizations tions and labels. Outsiders may consider these �ree Speakers� selfish or irresponsible, irresponsible, but the truth is that there is no catch-all behavior to describe reeorm practitioners. Tey do tend to eschew governance or their actions, citing themselves as answerable only to the universal language itsel — a law greater than any human construct.
Unspeakables don�t represent any sort o uniying school o thought — though plenty o schools o thought exist about them — and run the gamut between mindlessly savage to sel-loathing and repentant to genuinely kind, yet monstrous in appearance. While any Speaker is likely \to collect a ew odd eatures the longer they use magic, Unspeakables Unspeakables are truly and significantly reshaped into something ar rom human. An Unspeakable character offers a unique challenge or roleplay and requires a conversation with the Game Moderator, or GM, first.
A campaign starring a group o reeorm Speakers must account or the level o anarchy the characters are interested in. A single ree Speaker can make or a rowdy, reluctant companion, so long as their goals align with the rest o the party party.. Freeorm can be used or any sort o neutral or unaffiliated Speakers, Speakers, which can be an easy option or a character who�s yet to make up their mind. At its most extreme, ollowers o a reeorm approach can be violently anti-establishment anti-establishm ent or sociopathically devoted to the pursuit o power. A complete disregard or rules and morals can certainly make or a dangerous villain.
Scribes For those who believe, the Scribes are the ancient and timeless native speakers o the universal language. In a way not unlike gods, the Scribes are the authors o all existence and continually write the lines o reality. Teir presence is entirely theoretical, but the theory greatly influences many Speakers. While some
Unsp Un spea eaka kabl bles es Manipulating the language o reality can sometimes have terrible and unoreseen consequences. Sometimes those terrible consequences are the whole point o that manipulation manipula tion in the t he first
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ear the Scribes will become aware o the edits they make, others strive to become a Scribe in their own right. Neither instance has ever been documented, but the possibility is enough to influence many.
societies certainly exist, represen representatives tatives o these differentt belies will make themselves known to differen new Speakers. Even without learning the terms, t erms, the characters still generally orm a strong set o belies o the language and its role in the world. It�s hard not to, since the knowledge o such a thing is a pretty big game changer or religious belie, scientific inquiry, and olks� general place in the universe.
Scribes are not designed to be playable and are intended to be epic in scope. Tey can be used as the ulcrum o a villain�s plot or the epicenter o a cosmological conspiracy. conspiracy. Te party interacting with a Scribe would be monumental. monumental.
Te characters players take the role o in Spell: Te RPG can be absolutely any type o person. Characters can be wild adventurers adventurers on a high antasy quest or janitors in a magical department store. Tey can be rom any ethnicity, gender, or background; backgrou nd; i the setting allows, they can be any antasy species, proession, or class. Just like their magic, the possibilities are endless.
Characters Playable characters in Spell are human... technically. A Speaker�s gif is a natural talent that can�t be learned by those without the latent capacity to do so, but may maniest at any point in a character�s lie. Tis talent, however, is not a genetic or otherwise inherited ability. ability. Te gif is a special ootnote in their own descriptions, written in the universal language, that allows them a backdoor peek at the universal language. language. Tis can eel like a gentle comort, maddening whispers, an extra sense, or something in between. Most o the time, this ootnote only maniests as their gif, but that�s not always the case.
The World Te exact world the characters play in is up to the GM and what the players want. echnically, everything in this book is too, but we�ll go into that more later. By deault, Spell: Te RPG has a whimsical and optimistic view o the world: lighthearted and accessible, like the rules. Tere are endless options, all o which are completely completely valid or a campaign.
It�s uncommon, but not impossible, or Speakers to have some strange aspect to them. Teir skin or hair might be an unusual color or they could have strange growths or deormities. Tese differences can also come about rom Spell modifications: A Speaker parent may cast a blessing or a �stronger� child, resulting in a hulking monster; a child bully could accidentally turn his victim into a literal �reak;� a Speaker in true desperation may suffer the scars o a vital casting. For the most part, though, the characters are generally human looking.
Tese rules are universal or any sort o world or story. story. Campaigns set in the distant past, sci-fi s ci-fi uture, or parallel dimensions will be at home with this system, just as a modern day adventure adventure would be. Te presented philosophies can be interpreted as groups o arcane templars, galactic ederations, road warrior clans, or rival schools. Characters will have the same Impulses regardless i they�re apocalyptic marauders, magical kids or even both at the same time. Unspeakables maniest as mythic monsters worthy o great conquest, conused beasts needing guidance, purely evil abominations, or citizens who just look different. Te only limit is the imagination�
Most characters who are aware o their gifs and use them with any sort o requency ofen find themselves associated somehow with one o the philosophies listed above. Tough secret
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Use these tools to build the perect world or your gaming group.
viable, now filtered through a lens o despair, antagonism, or intense circumstances. Choosing such a setting puts a high emphasis on sociopolitical intrigue and drama. Tis is a suitable ormat or exploring heavy themes and dark, troubling stories. Make sure everyone involved knows what they�re getting into and is on board or it.
A Swell Time Speakers are rare, but most people are aware o them and they usually think they�re pretty cool. While bad guys stand out as such, most olks see magic as a good thing. Tere may be governments or corporations run by, or, or against Speakers, or they may be a small, personal presence. Many Speakers lead normal lives with some minor magic on the side; others go on grand quests to mysterious realms and fight monsters.
Everything Between Te above options are just extremes; the actual setting can be incredibly flexible. Each campaign has a group o players to tweak and customize this world until it works or them. Do aliens exist� What do olks think o Spells� Is it the uture� Te distant past�
Tis world is a happy one, intended or un and streamlined tales. High-flying adventures or wacky episodes are welcome here. Te themes o these games rely more heavily on antasy tropes, but can be modernized in an action flick sort o way. A little moral ambiguity is perect, expressed as monsters who turn out to be big sweeties or problems that can be solved with love. Violence is made cartoony against unquestionably evil entities. Te group will laugh, smile, and have un through the course o a session.
It�s up to each campaign to answer these questions in a way that will make that game the most engaging.
Bad Words At the opposite end, Spell: Te RPG really does invite a grimdark and dystopian world. Speakers have near unlimited power that could easily be abused; the general populace would be skeptical, araid, or prejudiced against these outliers. As a response, Speakers could push �normals� into the role o second class citizens. Te organizations would be run as secret string-pullers or untouchable orces o social power. Speakers would live in secret, victims o ear-based violence, or as brutal tyrants. Unspeakables might orm cannibalistic colonies in the sewers or be tragic victims turned to villainy. All time periods and stages are still
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Spell: Te RPG is played with six-sided dice and letter tiles, such as the sets included in a few common board games. Te official set of letters tiles includes 110 tiles with letters represented in different ratios and featuring two wild tokens that can be played as any letter. Each player will need six dice, including the GM. Te whole table can share one set of tiles. In lieu of physical tiles, an HML letter generator is available at WhimsyMachine.Media/letter-generator . Te mechanics, or rules of play, of Spell: Te RPG are intentionally open for interpretation. Te core traits, or Impulses, are based more on a character�s personality, values, and motivations than their capacity to perform specific tasks. Te magic, or Spells, that a character wields is made up on the spot, not pulled from a prewritten list. Between the two, which together form the majority of a character sheet, any given character can be pretty good at anything. What differentiates each character is the unique story and outlook they bring to everything they do.
Impulses
is Average Difficulty or Hard Difficulty, taking into consideration the objective difficulty o the action, any circumstantial actors, and the character�s personal experience. Average Difficulty has a value o 4 and Hard has a value o 6.
A character has 12 stats that describe the key Impulses that define their core sel and the values that are most important to them. Tese stats correspond to the character�s motivations and personal drive and are open or interpretation in each situation. Impulses are used to handle all basic actions that an average, non-magical character is capable o doing. Impulses are selected not only to determine what a character is good at, but also how a character chooses to solve their problems.
Te player decides which Impulse their character uses to perorm this action. Te GM can make suggestions and explain how different approaches may lead to different outcomes. Choosing an appropriate Impulse is based more on how the action is being perormed, not necessarily what the specific action is. Te player rolls a number o dice equal to their level or that Impulse. Conditions affecting the character, called Bonuses and Penalties, may raise or lower how many dice they roll. I a single die meets or exceeds the value o the difficulty, the action is successul. All successes are considered equal, regardless
Actions For a character to perorm an action, the player states what they hope or the character to accomplish and how they intend to go about doing that. Te GM decides whether an action
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o the value o the other dice or the number o dice that meet or exceed the difficulty.
FOR EXAMPLE
I the player succeeds on an action, the character completes the goal at hand. I the roll ails, the character learns something new and useul about the situation at hand because they tried and ailed. Te next chance they get, they can try again or try something new based on the clue they gained.
Vesuvius wants to open a locked door. Te GM says it�s a pretty solid door, so it�ll be hard difficulty (value o 6) to get through. Te GM suggests Force to break down the door. Vesuvius, however, suggests Reason; he�s a gentle soul, but can certainly figure out the mechanisms. Vesuvius has 3 Reason, so he rolls 3 dice; none turn up as 6, so the
Characters may occasionally encounter an epic challenge. Tese challenges only pop up or tough key moments in the story; they have a difficulty and an Epic Rating. An action�s epic rating is on a scale o 2 to 6 and equals the number o dice that must meet or exceed the action�s difficulty. A roll with a hard difficulty and an epic rating o 3 will only succeed i the player rolls three 6s. Tat�s really hard�
action ails. Corialus makes the next attempt, opting or Style. Te GM raises an eyebrow, so she explains that — above all else — she knows how to make an entrance, locked door or not. It makes sense, but she�s making it difficult on hersel by interacting with the problem indirectly. Te GM says there�ll be a -1 penalty. She rolls 4 dice since she has 5
Impulses can have levels rom zero to 6. A character with a level zero Impulse cannot use that Impulse or actions, deense, or Spells — or any other purpose, or that matter. However, just because a character can�t use an Impulse doesn�t mean they are incapable o experiencing that Impulse; or example, a character with Calm zero is still able to stay calm, they just cannot use that calmness to inspire tangible action. Each Impulse is represented by an abstract term: A word that is both a noun and a verb, a thing a character has and an action a character does.
Style, but is penalized by one; one is a 6, so she succeeds� In a majestic whirl, Corialus busts open the door. Corialus� attempt was nowhere near as subtle as Reason would�ve been, but it got the job done. I Vesuvius had tools specifically or picking locks, the difficulty may have just been average (value o 4), giving him a better chance to succeed.
A character receives 12 points to distribute between their Impulses as they�d like at character creation. Impulses can be later increased or 3 Potential Points or each increase in level. Te higher an Impulse�s level, the more that character can call upon that motivator or strength and positive action. Te Impulse may be, but is not necessarily, more present or them; a character with a higher Daring level doesn�t have to become more reckless, but they�re able to channel their Daring more effectively and reliably to be productive.
Calm Driven to create or promote calmness and order, to subdue chaos, or minimize conrontation. Tis Impulse is a willingness to be reserved and harmonious, even in the midst o a hectic world. More than just avoidance o conflict, though that can be included, Calm is about going with the flow when the flow is going or keeping still when
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everything else is collapsing. Sometimes this is exercised by finding the path o least resistance and sometimes it�s about applying the perect amount o gentle resistance. Over-reliance on Calm can cause one to become wasteully indecisive, inactive, or weak-willed.
a skydiving instructor, so they may have to do something less routine to call on it.
Feeling Driven by emotion, whether to eel that emotion to a greater extent or because there�s comort in that emotion.
Calm is used to diffuse intense or antagonistic situations, to comortably navigate casual situations, or to present onesel as non-threatening. Beyond that, Calm can be used to find win-win solutions and to help reconcile conflicts. Lastly, actions don�t have to be explicitly non-violent or non-conrontational, however they cannot escalate a situation into urther conrontation; or example, a disarm maneuver coupled with a trip might end a fight early without too much harm done, but continuing to fight past those actions wouldn�t be appropriately Calm.
Tis Impulse grows rom a significant relationship with emotion, both in general and with specific moods. More ofen than not, there�s a certain ew emotions the character regularly alls back on, which serve as an underlying base or their liestyle: Anger is channeled into rebellion, melancholy incites introspection, joy begets generosity, to oversimpliy. Tis emotional intensity reaches deep, ueling actions on autopilot or providing a deault approach to unamiliarity. Relying so deeply on emotions aids in the ability to recognize the same signs o those eelings in others.
Daring Driven or the thrill o the experience, independent o personal well-being.
Feeling is used to act on emotion alone, to benefit rom the overriding power o an emotion, or to understand the emotional actions o others. Most characters have a ew certain emotions they understand best — and rely on the most — and those will be established early on. While Feeling can be used or virtually any goal, the character�s behavior and emotional state beore and afer the action must match. Sudden snaps o emotion and irrationality certainly come with the territory, but aren�t the norm.
Tis Impulse is the impetus o wild innovation and the need to try new things, to experiment or be reckless, or to do something new or different just because it can be done. Tere�s a fine line between bravery and stupidity, so Daring simply covers both sides and the line too. Tose driven by Daring tend to shake up their surroundings, or better or worse. Daring is used in situations that are very high risk, experimental, or untrustworthy in their outcome. Few actions ever accomplished with Daring are subtle; having Daring is all about pushing limits and Daring individuals rarely push the limits or how long they can sit quietly and behave — even though that�s probably airly difficult or them. What fits or Daring is circumstantial and grows with a character: Jumping out o a plane becomes mundane or
Focus Driven by a passion or a specialty, an obsession o one topic, and/or a need to associate an experience with an expertise. Tis Impulse clings to a specific subject in the character�s heart and mind and causes them to
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act on, because o, or in a manner inormed by that subject. Focus must be defined with a category, like �Cars,� �Musical Teater,� or �Mythical Monsters.� Te more specific the topic, the deeper the knowledge; the more vague, the more general. Tose with Focus have an unparalleled knowledge and associated skill set o whatever their subject o interest is. It�s assumed the character has significant experience in their topic, but — beyond even that — a lielong dedication to it. A character can only Focus on one subject and once it�s picked, it can�t be changed without a dramatic lie event.
modern SUVs. A character could use Focus �Musical Teater� to act their way through a tough situation or convince their riends to go see a show with them. Consider having a Focus on a key setting-specific genre to acilitate worldbuilding and plot progression.
Force Driven by the notion that hard work or a simple application o direct orce can solve the problem. A physical energy and headstrong will define characters with this Impulse. Force is deceptively simple and perhaps easier to define as what it is not. Force is independent rom aggression or violence and is not a direct measure o strength or physical capability. Tere is no subteruge when a character orces an outcome, though maneuvering and defness can be coupled with the action. Force is the direct application o physical will to achieve a goal.
Focus is used when the character�s passion is called into question, when their specialized knowledge is relevant (or, at least, the character thinks it�s relevant), or or persuading others o its virtues. A character with Focus �Cars� can fix, drive, or spout trivia about cars better than someone without; i someone had Focus �Classic Dragsters,� they could probably build one rom scrap, but won�t know as much about
Force, as a method o accomplishing tasks, is all about doing things the manual way. It means meeting challenges head on and going, ofen literally, the extra mile. Some might even say it�s about working hard, not smart. Force does not always have to be used in challenges involving raw physical ability, but is a common approach to such challenges.
Grit Driven by principle, ofen in opposition o something disagreed with, or with dedication or perseverance. Characters with this Impulse are known or their boldness o character and their willingness to stand up or what they believe in, ofen to the point o stubbornness or impudence. Ofen mistaken as — or correctly associated with — a
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eeling o righteousness, those with Grit tend to consider compromise on par with outright ailure. Having Grit is defined by having a personal, moral courage, though that doesn�t necessarily mean the character�s moral compass lines up with everyone else�s.
across as raw talent on the character�s part: Tere�s always an aspect o what seems like luck or serendipity that�s really to thank or the success.
Reason
Grit is used to ace a spiritual or philosophical opposition, no matter the odds, or to continue to push towards a goal out o dedication when skill or ability has ailed. Grit comes into play over other Impulses when an action is more difficult because o what it represents instead o the skills involved to complete it. Walking a dangerous path might be manageable, i not or the looming danger that the destination holds. Grit is ofen also used as a ailsae or when all a character has lef is their reusal to give up.
Driven by the idea that the problem can be thought through or figured out, given enough time or resources. Tis Impulse is defined by a methodology o analysis, thoughtul consideration, and experimentation. Te measure o a character�s Reason is not the measure o their accumulation o knowledge, though a correlation is not uncommon. Reason is all about critical thinking: breaking down a problem to its component parts and rationalizing them until they make sense.
Hope
Reason is used to consider situations logically, handle raw data, or appreciate the significance o inormation. More than anything, it�s a method to approach situations and can be almost universally applicable. Reason alone can never grant the knowledge or expertise o a subject o Focus nor does it grant inormation the character would have no way o knowing or solving on their own. Sometimes figuring out a solution or a problem doesn�t mean being able to enact the plan and in many circumstances, there�s simply not the time or data available to deliberate on a problem.
Driven by a reliance in, or motivation rom, and the strength o an immeasurable, external source. Characters with this Impulse draw strength rom a orce beyond themselves. Whatever outside avenue this strength comes rom will be unique and personal to the character. Hope can grow rom a loving support group, a religious belie, the beauty o science, dumb luck, or a vague notion that everything will turn out all right. Hope comes with a certain humility, knowing that something greater than you is helping out, but can also cause the character to shirk responsibility i they place the burden o accomplishment outside themsel too requently.
Renown Driven with the goal o social standing, earned respect, and acknowledgment.
Hope is used in situations that call or a strength beyond what the character thinks they�re personally capable o or when aspects o the character�s source o Hope become relevant. In a way, Hope can be used when all else ails, but ofen suffers penalties when specific technique is required. Successul Hope rolls rarely come
Characters with this Impulse value reputation and the intricate web o social interactions that fill the world. Acting rom a character�s Renown always takes into consideration the spoken and unspoken hierarchies, relationships, and protocol
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o anyone involved — or even o those who might find out. Renown comes with the appreciation that the character doesn�t exist in a void and that awareness means they pay keen attention to how social structures work and are actually able to make sense o messy bureaucracies and politics. Te awareness can also be a burden, leading to cutthroat conniving or a need or popularity.
those missing pieces, and acting on those plans. It can be used or basic observations to gather data points and or connecting all those points in a convoluted net o red strings, literal or otherwise. Scheme is a tool or problem solving, but also or problem creating i that�s what�s necessary. Letting others in on the big picture can be handled with Scheme, as well as keeping one�s machinations obscured rom others.
Renown is used within a social arena or when the ladders o such a thing are relevant. Renown is not locked to social engagements however, being perectly viable or giving or acting on orders, suggestions, or even in the context o the character�s own standing. I the character has built a reputation or themsel — and, let�s be honest, they probably have — they can use that to their advantage. Aside rom ame and name recognition, knowing what�s impressive to whom and acting accordingly is also valuable. Tey can use Renown to notice and interact with others� journeys through hierarchies and social circles.
Style Driven towards recognition and in a ashion totally unique and impressive, regardless o witnesses. Characters with this Impulse don�t just stand out, they find it difficult not to. Tese characters value everything rom over-the-top exuberance to the subtle revolution o being true to only themselves. Style is all about individual expression and pride therein, but lef unchecked can lead to a eeling o superiority over those they consider boring. Struggles with vanity or selesteem are common and ending up too gaudy or burning out is a constant risk. Either way, others tend to find these individuals and their mannerisms iconic and noteworthy.
Scheme Driven by strategy and planning, taking into account a multitude o actors beyond the present context. Characters with this Impulse interact with all the actors around them to gain a holistic understanding o a situation. Scheme is a certain gif o being able to see the orest, the trees, the animals therein, what those animals need, and then making a map o the area so others treat it respectully. Tey�re not just big picture people, they�re the biggest picture all the way down to the smallest piece people. Scheme can lead to powerul idealism or can cause a character to become hopelessly lost in superfluous minutiae or irrelevantly broad strokes.
Style is used to make lasting impressions, to project a powerul presence, or to perorm a task in a stylish, signature ashion. Many social interactions can be handled with Style,
Scheme is used to perceive what�s missing rom the world, to devise plans on how to discover
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but that amount o energy can be exhausting or either party. Honestly, almost any action can be perormed with Style, i the character�s intention is to look like they know what they�re doing — and look good doing it — more than actually accomplishing their task effectively. Style doesn�t require an audience and may be perormed or the character�s own sake alone.
Personal Experience Each o the above Impulses represents a certain drive to accomplish a goal and is associated with a method o doing so. Impulses can also cover an expertise rom a character�s personal experience related to that Impulse. While Focus is specifically specialized knowledge o a topic, other Impulses may more generally represent specific topics. For example, i a character hones their Calm with meditation, they can use Calm to not only meditate, but to know acts about meditation, breathing practices, or associated philosophies. A character who uses rust on their sports team will know all about the rules o the sport and someone who draws Hope rom a religion may know its teachings and have skills related to its practice.
Trust Acting in reliance on other individuals or encouraging others to rely on them. Characters with this Impulse value highly the bonds o honesty and loyalty that�s vital or any team, amily, or social organization. rust is represented by the capacity to depend and rely on others in a way that works to everyone�s strengths and, in turn, to be someone who others can rely on or the same. Working with others so well can become a crutch or the character who does so too ofen and being lef alone can be devastating. By deault, the character may become too trusting or reliant on others who might abuse that trust, but they have among the keenest insight when applied.
Flaws Tere are no mechanical �flaws� designed or Spell: Te RPG. Impulses represent a character�s motivation, so no disability will make them less capable o adventure. Te respectul inclusion o physical and mental disabilities as roleplaying cues or context or actions is certainly encouraged, but there are no one-size-fits-all modifiers to apply.
rust is used to work in tandem with willing individuals, to inspire trust in others, and in other cooperative situations. Acting on rust may also mean acting on the wisdom o an absent mentor or or the sake o reaching a distant riend. Organizing complex actions between multiple characters ofen requires a good amount o rust i everything is to go smoothly. Te darker side o rust shows through in the ability to manipulate or take advantage o it in others. Te character becomes intrinsically aware o the bonds between individuals; what the character does with the awareness is ultimately up to them.
Common Actions Tere are certain basic actions that characters will regularly perorm, such as checking out a situation, climbing over an obstacle, or solving a puzzle. Tere is no exhaustive list o actions available to players to choose rom, so these will be examples. Similarly, the listed Impulses are only suggestions and are also not the only options available.
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Observing a Situation
similar to a goal or an Impulse action, but can be broader. Te Impulse represents the theme o the goal; it is the part o a character they are pulling their intention rom.
I a player is getting their bearings, they may choose Calm to take their time and assess everything around them. Focus could help them look or specific details related to the subject o their interest. Reason could be used i the character wanted to analyze the bits and pieces o what�s around them and Scheme could be used to build a holistic picture o their circumstance and its significance.
With a goal in place, the character rolls a number o dice equal to the chosen Impulse�s level, adds together the value o each die, and then draws a number o letter tiles equal to the sum. Te player spells whatever they can with the letters and describes how that Spell works within the context o the associated Impulse and stated goal. Te player may include multiple words in the Spell, but they must make sense cohesively — they do not orm separate spells. Unused letters have no effect.
Opening a Door A character with Daring could kick in a door without thinking about how securely it�s shut or, similarly, use Feeling to break it down in a ury. Force is a less aggressive, but more direct option or removing the door as an obstacle. Grit is used when what�s on the other side is something great and terrible and the door is just incidental. Reason calculates the weak points in the door or its easy removal; Scheme maps out the other possible access points. Style, well, certainly knows how to make an entrance.
Te final effect and scope o the Spell is based on the player�s justification and the situation. So long as at least one word is ormed that can be applied to the original goal and doesn�t contradict the theme o the associated Impulse, the Spell is successul enough to accomplish the stated goal. A valid Spell may be an acronym with an established meaning, a proper noun o something that exists within the setting, or other creative solutions; there is no penalty or these options. Afer a Spell is used, all tiles are returned to the main pool.
Clearing an Obstacle I something daunting lies beore the character, their Calm and cool nerves could be what gets them over and through. Daring is a risky headfirst plunge, whereas Force is a determined headfirst march. Hope grants strength the character didn�t think they had to carry them across — but not literally, o course, they still have to use their own limbs to climb. Renown can ask or help in crossing and rust can work together so that the group can cross together.
Spells represent infinite possibilities and can be intimidating to create. Spells do not have to be complex or long to be good; no letters are more or less valuable than others. Sometimes the most effective Spell is a single generic word. Not every Spell will be a keeper either — just good enough to serve its single purpose and then orgotten. Spells can be orced by being deliberately misspelled, rotating letters so they look different, breaking grammatical rules, or using one letter in two different words like a crossword. Forced Spells will get the job done, but come with significant negative consequences (more on this in the Game Moderator�s Guide).
Spells A character cannot accomplish everything with basic actions alone. Characters are capable o using Spells, which have magical or worldaltering effects. o use a Spell, the character first states what they wish to accomplish with the Spell and then chooses a related Impulse. Tis goal is
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I an adequate Spell can�t be made, the character may try again when they next get the opportunity to act. Te player keeps a number o tiles equal to the Impulse they rolled and discards the rest. Te next new action they take must be creating
FOR EXAMPLE
a new Spell with the same Impulse, but the goal may change. Te player rolls to generate letters per usual and then adds the saved tiles. Tere is no limit to the number o times a character may oreit and retain components o a Spell, but only tiles up to their Impulse level may be saved rom any casting.
For Keeps
Archimedes is ace to ace with a mon-
Once a character has perormed a Spell, the player may permanently purchase it during that session by spending 1 Potential point. Te Spell starts at level 1 and may later be purchased up to 6 at 1 Potential point per level. A permanent Spell may be used instead o an Impulse, ollowing the Impulse rules instead o new Spell rules. A permanent Spell is always associated with the same Impulse as its first use and must continue to be used or a similar effect. Increasing a permanent Spell�s level allows or the Spell to accomplish mightier and more difficult tasks than beore. Tere is no limit to the number o permanent Spells a character can have and there is no cost to casting a permanent Spell.
strous Unspeakable. Archie wants to resolve the conflict peaceully, so they use Calm to subdue the monster. Te monster, however, uses Feeling to channel its terrible rage into a flurry o attacks. Archimedes� calming action and the monster�s attack happen at the same time, but it�s good practice to resolve player actions first. Te GM rolls the monster�s Feeling (4) to deend against Archimedes� soothing words and gets 5 as the highest value. Archimedes rolls Calm (6) and gets two dice that are at least 5, dealing 2 Spirit damage as they calm the monster down.
A Spell may be used to directly alter a character. Any attempts to directly affect another character against their will is resolved as a contested action with the rules in the Spirit section. A character can reely alter themsel with a Spell: Subtly, becoming more charismatic or orgettable, or significantly, changing size or growing extra limbs. Te changes last or long enough or the Spell to accomplish the character�s goal and revert with no side effects. I the character chooses to buy that Spell permanently, however, the changes leave a mark. For example, i a character uses a Spell to triple their height, they�ll return to normal when it�s over; i they keep the Spell, they�ll end up with stretch marks and get slightly elongated. Te growth Spell still works per usual, but permanent Spells come with permanent changes. Tis can be a un way to continue
Archimedes uses a permanent Reason Spell �See Guides� (5) to deend against the monster by seeing its intended path and gets two 6s. Te monster still has 4 or Feeling (Spirit damage is counted in the ollowing round) at a difficulty o 6 and at a penalty o -1 (rom Archimedes� extra 6). Te GM rolls three dice or the monster and doesn�t hit. Once the dice are rolled, the scene is described in an exciting way: Te monster lumbers at Archimedes, who calmly sidesteps and gently talks the monster down rom the height o its rage. Rounds continue until one character is Down or i all acting parties relent.
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customizing a character�s look; some effects could be a strange eye color, tattoos suddenly appearing, little nub horns, or fingertips that glow with firelight.
have Spirit and no specific Impulses; consider the orce to have one catch-all Impulse called �Spirit.� I a character or orce intends to act against another character or orce, regardless o whether the action is a charismatic speech, an inormative lecture, or a solid punch, the acting character (the actor) states their intended goal. Te deender then uses an Impulse or permanent Spell o their choice to resist, explaining how they make use o it in the situation. Te deender rolls first; the highest die value rolled is the difficulty o the actor�s roll. Additionally, each 6 the deender rolls afer the first inflicts a -1 penalty to the actor�s roll, but the actor�s roll cannot be reduced below 1 die. Each die the actor rolls that equals or exceeds the difficulty reduces one point rom the deender�s Spirit. Tese points are called Spirit damage and are temporarily subtracted rom the Impulse the deender used; i a permanent Spell was used, the points are subtracted rom the associated Impulse, but not the Spell. Impulses cannot be reduced to below zero and surplus Spirit damage does not carry over.
Characters begin play with two Spells generated with special rules. Te first Spell is representative o the first Spell the character ever casted. Te second Spell represents the character�s go-to or signature Spell. Both are assigned to Impulses per usual, but when determining how many letters to draw one die is placed at six and the rest are rolled; all the aces, including the preset six, are added up to create the Spell. Te player may choose the same Impulse twice or two different Impulses. Te Spell levels are increased so they add up to 4: either 2 and 2 or 3 and 1.
Spirit All characters and acting orces have Spirit, a representation o their overall mental and physical well-being. A character�s Spirit is their will and capacity to act and thereore olds together their health and injuries, emotional state, and willingness to act in any way. A successul action made against an individual with the intention to weaken them lowers their Spirit. Since Spirit ties together countless tangible and intangible actors, Spirit is lowered in the same way regardless o the source or cause o the action.
When multiple characters are acting, each action is considered simultaneous in a round; each character gets one action per round. Deending does not count as a character�s action or a round. Each single action is considered to take an equivalent amount o time. Tere are no surprise rounds, since noticing an action is included in the process o deending against it, so long as the Impulse or Spell makes sense contextually. Spirit damage dealt during the round does not apply until the beginning o the next round.
A character�s Spirit is the sum total o all their Impulses and is tracked as such; Impulses are temporarily reduced when Spirit is lowered. When a character�s Impulses are increased with Potential points, so too does their maximum Spirit increase. Generic acting orces may
Permanent Spells operate identically to Impulses when used offensively. When new Spells are used offensively, the associated Impulse is rolled afer the Spell is determined
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and described; this is called the Impact Roll. Te GM may add to or subtract rom this roll up to 2 dice based on the content and context o the Spell. Nonsensical or ill-fitting Spells receive a penalty, generic Spells receive no modifier, and creative Spells that match the situation receive a bonus. Modifiers o 2 are applied inrequently, but 1s can be added or subtracted commonly. Any extra 6s the deender rolls penalizes both the casting roll and the Impact roll.
even the Impact o a Spell. Each point o Effect gives the target a bonus to a single roll o the dice. Te opposite effect a Spell can have is a Curse. A Curse unctions the same as a Boon, but each point o Effect inflicts a penalty on a single dice roll the target makes. Usually the roll affected will be the next roll, unless otherwise specified. Curses are most useul against powerul adversaries since they cannot deend against a Curse�s Effect, even though casting it may still be hard.
Permanent Spells do not reduce their level as the associated Impulse is reduced, however a Spell cannot be used i the associated Impulse level is reduced to zero. Tis means a character may continue to use a permanent Spell at its ull value so long as they have at least 1 level in the associated Impulse. I a character has received their maximum amount o Spirit damage, that means all their Impulse levels are zero and they are Down. Characters who are Down cannot act beyond the most basic o unctions.
Spells with a Recovery effect can restore Spirit damage. I a character is attempting a Recovery during rounds o a conflict, the difficulty will always be hard. Te points o effect can recover Spirit damage rom any Impulse and can be divided among multiple Impulses. Under normal conditions, Spirit damage is recovered completely without magic afer a whole day and night cycle o taking it easy. Spells with these special effects or others approved by the GM can be purchased permanently like any other Spell. Spells are not defined by the type o effect they have and, once made permanent, can be used in any contextually appropriate way. For example, the single Spell �Light Beam� could be used as a magical flashlight, an attack against a shadow monster, recovery or a plant, a curse or a vampire, deense against any sight-based action by blinding, or a boon or a riend who loves the spotlight.
Special Effects Spells can have any variety o special effects, particularly as boons or curses. In each situation, the Spell�s goal is stated as such beore casting and then the Impact roll is applied to the Effect instead o Spirit or an uncontested goal. Tere are three primary ways characters can use their Spells to interact with stats other than Spirit: Boons, Curses, and Recovery. In each case, a new Spell is cast with the Impact roll or a permanent Spell is rolled per usual. Effects have either Average or Hard difficulty, determined by the casting character�s ability to interact with their target. Helping a willing nearby ally is average; cursing a protected oe rom hiding is hard. Each die that meets or exceeds the goal equals 1 point o Effect.
Impulse Limiters I a character gains a lasting injury, like a broken limb or psychological trauma, it�s called an Impulse Limiter. A specific Impulse related to the cause o the Limiter is made the ocus and all rolls the character makes with it have an epic difficulty (requiring two 6s). A level zero Impulse cannot receive an Impulse Limiter. Once the character has either made a ull recovery or adapted their liestyle
A Spell casted on a riendly target in order to help them accomplish a task is a Boon. A character can aid another in a single use o an Impulse, including or deense, the casting o a Spell, or
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to accommodate the change, the penalty is lifed. Tey have suffered a demoralizing blow, physically or emotionally, that limits their ability to call upon their inner strength.
increase it immediately with Potential regardless o the context. Te character discovers their Potential, spends their points, boosts their stats, and then rolls the new value.
Impulse Limiters can be helped with Impulse rolls or appropriate Spells as a contested action with the ollowing rules: Te GM decides i the Limiter is bad (4), severe (8), or traumatic (12); the GM rolls the corresponding number o dice as deense against the recovery; the severity o the Limiter is reduced per usual Spirit damage rules; i the recovery ails, no progress is made. Only one such recovery roll may be made per session, starting afer the session the Limiter was received. Impulses alone may be used to help recover rom an Impulse Limiter; Recovery Spells may receive a bonus, making them a little more efficient.
o recap, Impulses cost 3 Potential points per level and Spells cost 1 per level. o make a new Spell permanent, the character buys the first level or 1 Potential point. Impulses can only be purchased by one level per Impulse per session; Spells can be increased up as quickly as the player likes, so long as they have the Potential to do so.
Tokens Te GM may also award tokens to players, represented by a single letter tile kept ace down. okens may be awarded under the ollowing circumstances:
Limiters come about as the consequences o dire actions or in rare and dramatic occasions. Limiters are opportunities or a player to explore their character in new ways and can encourage personal growth. Recovering rom an Impulse Limiter will be at least as much sel-discovery as it is dice rolls.
Potential Te world o Spell is ull o unexpected consequences and unoreseen circumstances. As such, a character�s experience can only be so helpul, and thus characters rely on their Potential. Potential points are given at the start o each session and represent a character�s ability to grow; 3 per session is recommended. Up to 5 points can be given at the start o particularly epic journeys or exciting new stories (including the first session) and sessions not intended to be continued can start characters with 10 — new possibilities are ull o potential.
•
Characters work exceptionally well together.
•
A problem is solved in a creative way.
•
A particularly clever Spell is cast.
•
Helpul, supportive roleplaying.
•
Any time a player productively and constructively aids the other players and the flow o the game, which is widely open or interpretation.
While tokens may be awarded generously, one player may only have one token at a time. A player may spend their token, discarding it afer, at any time to:
Potential points are spent in game, right at the moment they�re needed. I a player is about to make a roll that they�d like to increase, they can
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•
Add the letter to any Spell being cast.
•
Cause a reroll o any roll, their own or an allies (to get better results) or an antagonist�s (in the hope o getting worse results). Te player�s preerred result stays.
•
Ask or a hint or a clue rom the GM (clarifications or reasonable detail are not clues and can always be provided).
levels have been reduced to zero), they can no longer act. Spell: Te RPG is not a atal game by deault, so this state is called Down. A character who is Down is still alive — and may very well be ree o any physical harm — but they�ve become so exhausted or demotivated that they can no longer act. �Act� here specifically reers to taking actions by rolling dice; the character may still be able to speak, move, or perorm basic unctions that wouldn�t require a dice roll.
okens represent the tiny specs o reality that characters can affect, ofen without even realizing it. Teir good will and generous spirit attracts these positive elements to them which karmically apply to moments o need or them or their allies.
Confict
I the players would like to have a atal setting, one where characters could potentially die, then this Down state becomes much more dangerous. Down is still as described above, but with no way to deend themselves, a character struck with a blow is at the mercy o that blow�s intent, whether it�s to paralyze or kill. Furthermore, the GM may apply an environmental effect as that final blow, representing the character alling a great distance, the persistent effects o a hazard or wound, or a change in the character�s condition.
Scenes with conflict take on more structure than other portions o play. It�s always encouraged or each player to get a turn in the action, regardless o the situation, but Conflict provides a specific turn-taking ormat. During each round, each acting character, including those controlled by the GM, describes and resolves one action; once all the actions are resolved, then all the results are compared and the consequences are applied to the next round.
A character who is Down only has their most basic aculties — and their allies — to rely on, but are not otherwise �dying.� Tere is no timer or element o chance and a character who is Down will remain in that state until they either recover or are put into additional harm.
Tere is no significance to the order the turns are taken since all the results are applied together and at the end o the round. It�s good practice to allow the players to state and resolve their actions first, but they may also choose to wait to find out what other characters are doing.
Always establish beore play begins how atal a campaign might be. Losing a character can be a difficult eeling, so make sure the group wants those stakes present. In addition to whether character death is possible, discuss how likely the GM is to seize that opportunity. It may be decided that random accidents cannot kill a character, but big narrative challenges can. It all comes down to agreeing upon what kind o game everyone�s willing to play.
I a character wishes to act particularly quickly or as a surprise against the characters they are acting against, they still act in the same first round as everyone else, but their action may receive modifiers to make it more difficult to deend against. Cinematically, even though the character took the rest by surprise, the other characters� immediately responses are also included in that same first round o action.
Down for Good When a character receives their maximum amount o Spirit damage (all o their Impulse
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Te first session of any campaign will include character creation: Players need characters before they can play. Te character sheet is a page with all the reference information for a character to be played. Tere�s a brief summary on the sheet itself for reference, but details and explanations are listed below. Before writing anything on the sheet, think about who the character is and how they go about solving their problems, in an abstract way. Personality quirks, how they talk, the first thing they think when they walk into a room: these kind of things help form the concept of the character before they�re given stats. A small example of the character sheet is included on page 25 for quick reference in this section. Te last page of this book has a full page sheet and printable sheets can be downloaded from WhimsyMachine.Media.
Details
Interests: Tis is the character�s occupation, vocation, hobby, trade, or activities they like filling their time with. Tis usually corresponds with a character�s Focus, Style, and accessories.
Tis is the top section and has two columns or basic inormation. Tese lines are small, so they only need brie notes in them.
Looks: Tis describes the character�s basic physiology; are they bulky, lanky, or curvy� Particularly tall or short� Tis is important to remember while crossing a rickety bridge, fitting through a small opening, or hiding in disguise amongst an orcish army.
Character: Tis is the character�s name, title, and / or designator. Player: Tis is you� Campaign: Tis is the specific game the character is playing in; a player or GM might be involved in multiple games at once.
Philosophy: Tis is how the character thinks, generally, about the universal language�s role in culture. Options described in the World o Spell chapter can be used (Academic, Folklorist, Purist, Freeorm) or the player may label it with their own thoughts.
Potential Points: Tis is the current total o Potential Points; use non-overlapping tick marks to easily add and remove points without things getting too messy. Motto: Tis represents, very generally, how the character goes about solving their problems; it serves as a roleplay cue in case the player isn�t sure what to do next.
Impulses Tere are a total o 12 Impulses; a character starts with 12 points to distribute amongst them. A player could have level 1 in each Impulse, but it�s not recommended. An Impulse without any points can�t be used or any purpose, but just because a character has a zero in, say, Scheme
Age: Tis is the character�s age, either in years, grades, or monsters battled. It can be literal or figurative, like �too old or this nonsense.�
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or Reason, it doesn�t mean that they can�t think about things. A character can still be discerning or clever, but those Impulses aren�t driving motivators or them as an individual.
they can be rom two different Impulses or both rom the same. Te first Spell is representative o the first Spell the character ever casted. Te second Spell represents the character�s go-to or signature Spell. Both are assigned to Impulses per usual, but one die is placed at six and the rest are rolled; all the aces, including the preset six, are added up or the total number o tiles to draw to create the Spell. Te Spell levels are increased so they add up to 4: either 2 and 2 or 3 and 1.
Characters with any level in an Impulse have a decent chance o succeeding an Average check with it. Level 3 or 4 will generate about a dozen letters or a Spell, which is a very optimal amount or most uses. Impulses with a maximum level o 6 can be handy or Hard challenges, but are also big investments. Having several moderate Impulses allows a character to have many Spells that are linked to a variety o Impulses; i an Impulse is taken out with Spirit damage, the character loses access to all the Spells associated with it too.
Tese Spells can be challenging to decide on since there are a lot o letters to choose rom and the character is just starting out. Encourage players to go with what eels right and not get bogged down by the possibilities. Hundreds o words can be generated with any big set o letters and trying to find them all can eat into your time or play. Don�t orget, characters will have ample oppurtunities to get new Spells later too.
A character�s Spirit is tracked in the slots below the Impulses. When a character takes Spirit damage, notches are marked beneath the boxes to represent how much o their Impulse level is now inaccessible. Spirit doesn�t have a separate track, so it�s recorded directly alongside the affected Impulses.
On the list o Spells, the first column — the parentheses underneath (Impulse) — are or noting which Impulse the Spell is associated with. I that Impulse is reduced to zero, the Spell can�t be used until that Impulse is recovered. Te rest o the line is or writing out the Spell and the six boxes on each line are or keeping track o its level. Te Spell�s level is the amount o dice rolled when casting it.
Notes Tis section is or recording any sort o immediately relevant inormation necessary or the character, including special items they carry, specific riends they�ve made, or an overall goal they�re striving or. Some players may choose to keep a notebook (physical or digital) or all the details o the character�s adventures; this section is or quick reerence. It�s also a great spot to include the subject o the character�s Feeling and Focus.
Spells Tis big list is or all the permanent Spells a character will gain throughout their adventures. A character starts with two permanent Spells;
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Impulse Level
Success Rate: Average
Success Rate: Hard
Average Letters Drawn
1
50%
17%
4
2
75%
31%
7
3
88%
42%
11
4
94%
52%
14
5
97%
60%
18
6
98%
67%
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Character: Character details for roleplaying reference. Start with 5 Potential Points for campaigns or 10 for single session games. Impulses: Start with 12 points to spend on levels. Spend 3 Potential Points to raise an Impulse�s level; only one level can be raised at a time. Notes: Keep track of any items, story hooks, or other interesting things along the way here. Spells: Start with two permanent Spells. Set one die to six and roll the rest to generate. Start with 4 points to split between the two Spells; these cost 1 Potential Point each to raise and can be increased without limit.
Impulses Character Name
Hope
Calm Daring
Reason
Feeling
Renown
Motto
Focus
Scheme
Age
Force
Style
Grit
Trust
Player Campaign Potential Points
Interests
Looks Philosophy
Notes
Spells
(Impulse) (
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
)
(
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(
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25
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Spell: Te RPG is designed to be lightweight and open to interpretation. Te rules thus far will cover most situations the players will encounter and the rest can be filled in with a splash of creativity. However, there are always cool new ways for players to beef up their gameplay experience. Tis chapter has optional rules and suggestions a group may add to the game as written, in part, or reinterpreted in a way that works for the players. As always, discuss ahead of time what will, won�t, or can be included. Unplanned additions may spice up a long term campaign.
Expanded Spells
to keep: instead o one Potential point per level, linked Spells cost two.
Spells as presented have a significant scope, but are still limited by their specific context. Te ollowing options expand and shape Spells into different and more significant abilities, but also come with new consequences.
I the GM allows multiple layers deep o linked Spells — that is, linked Spells with base Spells that are linked Spells — additional Spells cost an extra potential point. A Spell linked to a linked Spell costs three potential points per level, a linked Spell linked to that Spell costs our, and so on. Te number o dice or these layered linked Spells continue to be cumulative.
Linked Spells Characters can chain together impressive eats o magic by linking Spells. Tese combo Spells are created in a similar way to regular Spells, except that they are generated rom an existing permanent Spell — their �base� Spell — instead on an Impulse. Tis means the linked Spell is not only limited by the theme o the original Impulse, but also by the base Spell that generates it. It can�t be cast as its own Spell, only as an expansion to its base. Te advantage is that these Spells, made permanent, use the sum o their rating and the rating o the base Spell when rolling.
Linked Spells come with a drawback. Since the character is changing a lot more o the language at once, the side effects and consequences can be greater. Maybe the character pulls off an awesome super attack, but in so doing, they undamentally alter the description o their surroundings. Te more dice a player rolls, the greater these consequences will be; see the Unintended Consequences section o the Game Moderator�s Guide or details. A character could craf a signature phrase o significant power with linked Spells, but it�ll be very cost prohibitive to have such a massive Spell. Tese super Spells will surely be incredibly specific and almost always cause as much trouble or the caster as they solve, but may be the only option in a dire circumstance.
When casting a new linked Spell, the player uses the level o the base Spell or the Impact roll instead o the Impulse. I made permanent, the linked Spell has its own rating rom 1 to 6, but the player rolls its rating plus the rating o the base Spell when casting. Linked Spells are costlier
27
Co-op Spells
need to match levels. o use the co-op Spell again, all original casters must be present and roll their Spells together, each at their own levels. Either way, a lot o dice are getting rolled, so it�s best to be saved or challenges with an Epic difficulty rating.
An integral part o any game that uses letter tiles is the crossword mechanic. In the base rules, making crossword Spells — that is, using one letter in different two words — counts as a deliberate misspelling and would trigger an Unintended Consequence. When characters work together, these overlaps bind their individual Spells together into one magnificent maniestation.
Ongoing Spells Spells last long enough to accomplish their goal and then effectively end. I a Spell is transormative or creates a lasting effect, the actual casting o it is just a moment and not persistent. Ongoing Spells provide characters with an opportunity to create a sustained effect that continues acting as a orce within the situation.
Each player looking to participate in a co-op Spell takes all the same steps as casting a new Spell, but players will combine their words. One player begins by placing a word centrally and players take turns adding words in a crossword ashion. Players may not combine or swap letters, only add whole words onto already laid out words. Each new word may connect to any previously laid word; a player may end up connecting multiple words beore the overall Spell is complete.
A new Spell or a permanent Spell can be made ongoing just by declaring it so. Te Spell gains Spirit equal to either its level or Impact and acts either once per round during Conflict or at the character�s command outside o Conflict. Te character cannot cast any Spells, new or
Each character may use a different Impulse and their contribution and intent is taken into consideration or the final effect. However, just like any Spell, the intended goal needs to be specified beore any rolls are made. As with linked Spells, the bigger the Spell, the bigger the splash. Each letter used in a Spell is a letter translated rom the language o the surroundings; the more letters used, the greater the chance that those surroundings will be affected by the translation somehow. When characters work together though, the realityaltering backlash can be mitigated more easily than one Speaker casting massive Spells alone. Again, see the Game Moderator Guide chapter or details. When a co-op Spell is cast or the first time, the Impact roll is calculated as the sum o all contributing players� Impact rolls. o keep a co-op Spell permanently, each player spends one potential point per level; players do not
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permanent, while a Spell is ongoing, only having access to their Impulses, but they can instantly end the ongoing Spell at any point. Ongoing Spells will lose their Spirit in a number o different ways. Another Speaker may cast a Spell against the ongoing Spell and reduce its Spirit per standard Conflict rules — the ongoing Spell deends with its Spirit. I a Spell has an effect, such as a boon, a curse, recovery, or dealing Spirit damage, every success reduces its Spirit by an equal amount. For example, i an ongoing healing Spell has a Spirit o 5 and heals an ally or two levels o damage, the ongoing Spell�s Spirit will be reduced to 3. An ongoing Spell will last until its Spirit reaches zero or the caster chooses to end it.
Character Levels Character advancement in Spell: Te RPG uses Potential points as a currency to increase Spells or Impulses as the player chooses. Potential points are valuable as they allow a character to grow on the spot, especially when it comes to choosing whether to keep a newly generated Spell. Not all characters are the same and not every campaign will be on the same level. Te current character creation rules are meant or Average campaigns eaturing Speakers early on in their journey. An older character could�ve been a Speaker their whole lie, but they never put their abilities to the test until the campaign starts. Some campaigns will call or more or less powerul characters starting out, so here�s a quick way to level up characters. •
Newbie: 10 points in Impulses; 1 point or 1 permanent Spell.
•
Average: 12 points in Impulses; 4 points or 2 permanent Spells.
•
Practiced: 14 points in Impulses; 9 points or 3 permanent Spells.
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Experienced: 16 points in Impulses; 16 points or 4 permanent Spells.
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Legendary: 18 points in Impulses; 25 points or 5 permanent Spells.
For anything beyond, simply add 2 points in Impulses, 10 points or Spells, and 2 additional permanent Spells. In terms o Potential Point value alone, an Average character will gain the equivalent o Practiced afer 4 game sessions, Experienced afer 8, and Legendary afer about 12. However, the Spells generated at character creation will likely be more potent, since they get a die preset at 6. When deciding how powerul characters will be at the start o the campaign, it�s important to consider their history. Generally, it�s assumed that the coolest thing the character will do in their lie will happen during the campaign. Characters can certainly have rich and ull backstories, but
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the campaign will still be an opportunity or them to unlock their potential and grow. It�s also encouraged that all characters start at the same level to keep the group balanced and allow them to grow together.
Restrictions Spell: Te RPG presents a very open-ended approach to gaming and, specifically, spellcraf. I the group is looking to redefine what Spells are and can do in their specific setting or would just like to mix up how spellcasting works or a game, consider incorporating some Restrictions. Tey can be predetermined or a campaign or added or a session, perhaps as an environmental effect or a certain location.
•
•
•
When a Spell is made permanent, it�s completely locked to its original interpretation. Permanent Spells can only ever be used exactly as they were originally cast and towards the same effect as their initial intention. For example, a sun-based Recovery Spell is only ever a Recovery Spell and cannot be used to melt ice. Characters have to actually record Spells in order to make them permanent. Tey may write them down or capture audio — and they can make copies — but can only cast the Spell again i they have a recorded version with them to read or listen to. Spells must always be spoken aloud — and not quietly either. Te character must command reality to bend to their whim and this requires volume and intention. Any other actions, like flourishes o the hands or dramatic posing, are optional but encouraged. Spell use is obvious and has developed a culture o signature styles and schools o engagement, much like martial arts, dance techniques, or sign language.
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•
Generating Spells takes time and characters may not always have it to spare. Players create Spells in real time and dangers aren�t interested in waiting or them to finish. Te character�s allies can help stall or create a distraction by whatever means necessary to provide more time or an adequate Spell.
•
Te universal language is more like a song with an infinite melody that ties into all o existence. Spells must be sung and only last or so long as they�re being sung. Characters can add or remove lines o lyrics to embellish or contextualize the Spell, but the Spell itsel is still based on the letters drawn. Permanent Spells are songs the character has memorized and can sing whenever they want.
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Magic exists within certain defined schools that a character must practice under and ollow. Tese can be any categories: Four Elements, Seven Sins, Nine Muses, welve Zodiac Constellations, or even literal subjects o study, such as math, science and language. A character�s Spells are always and can only be interpreted through the context o their school o magic. Te school may provide extra detail and effects to an otherwise generic Spell, but may exclude specific Spells outside the school�s theme.
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Equipment
difficulty o a situation is always accounted or first in the goal o the task at hand and then the modifier or equipment may be applied i appropriate.
Challenges in Spell are relative to their context, the characters undertaking them, and any number o other circumstantial actors. As such, items and equipment do not provide static modifiers to actions and instead provide conditional modifiers depending on the situation. I the situation doesn�t require an item, but the player has one that helps, they�ll receive a bonus. I the situation requires something better than what the player has, then there�ll be a penalty. Equipment is able to modiy a single roll between -2 and +2. I the character has a helpul item, they receive +1; i they have the perect high quality item or the situation, they receive +2. I a character is adequately prepared or a task, they receive no modifier. It�s ar more common to have no modifier as the difficulty o the roll already takes circumstantial actors into consideration. Negative values are applied when the character attempts to accomplish a task with an item ill-fitted or the situation. I the character has nothing and something is required, the task may not be possible at all. Equipment modifiers are comparative between all actors involved in a task. I multiple characters are attempting the same action, either cooperatively, competitively, or in conflict with each other, the modifiers will represent the difference in their gear. I one character has significantly better equipment than another character, they�ll receive a bonus. However, i two characters have equally antastic equipment, neither receives a modifier; the challenge becomes �accomplish task with antastic equipment� and thereore they are both adequately equipped.
A character can only carry as much equipment on their person as logic — that is, personal strength, pockets, bags, etc — would allow. Fortunately Speakers have Spells that allow them to create an infinite variety o storage and summoning options, even or mundane items.
Enchanted Items Enchanted items are a special kind o magical item with a unique ability, called an Enchantment. While a Spell may be able to instantly conjure a magical item, it still unctions like normal equipment with a ew twists, such as a hammer that glows or a selpropelling set o wings. Generic magical items accomplish goals like any other tools, even i those goals are antastical. An Enchantment is a certain special effect that is rare and powerul; some Enchanted items may also retain the ability to be used as a tool as well. Below are several abilities an Enchanted item can have. Enchanted items have the potential to be game changing in scope, depending on their effect. Most Enchanted items are created at a certain power level and never change, but the GM may allow them to increase in effect at the cost o Potential Points.
Alteration Te item is able to affect the orm or meaning o a word within any Spell. Simple versions o this ability include pluralizing a word or changing word orms between adjectives, nouns, verbs, etc. An advanced application is changing words to their antonym. I the character wielding the
Since equipment is conditional and relative, one item may not convey any modifier in the right situation, grant a bonus when used against a lesser version o the item, or incur a penalty when used against something better suited. Te
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magic item intends to affect someone else�s Spell, the caster has the opportunity to make an argument or how the new version o the Spell may work. While changing �light� to �dark� would ruin a flashlight Spell, changing an attack rom �fire� to �ice� might still be as effective. Tis Enchantment only changes the content o the Spell, not the intent; �fire� can be changed to �ice,� but not rom �fire� justified as an attack to �fire� which heals.
Education Tis item is most requently a book, scroll, or tablet o some sort, but other orms have been known to exist. Tis item comes with at least one permanent Spell that the character may purchase as their own with Potential Points as i they had just created it as a new Spell. More legendary versions o this item can contain a vast wealth o Spells to purchase. Te stored Spells are ofen more powerul, specific, or refined than the average Spell.
Catalyzation Tis item has a unique Spell bound to it that serves as an extra Impulse or the character. Te item�s Spell has a value between 1 and 6 and the character may use that Spell exactly as i it were a normal Impulse, including using it to generate new Spells and when calculating Spirit. Te item is equally vulnerable to Impulse Limiters, which render the item unusable until the Limiter is recovered rom. I the character doesn�t have the item in their immediate possession, they lose access to all o its benefits, including associated Spells, until it�s returned. A character may only benefit rom one such item at a time — that is, o course, unless the GM decides otherwise. Additional Catalyzation eatures would significantly tax any character, but some may be mighty enough to handle it. Te GM may also choose to have the item replace one Impulse with the item, so the character still only has twelve. Lastly, it�s up to the GM whether or not the value o the item may be increased with Potential Points; i so, the cost is at least as much as Impulses (3) and not Spells.
Foundation Tis item has a one-word Spell associated with it that cannot be activated on its own, but can be considered to be a part o any other Spell the character casts. A magniying glass may always have �find� associated with it, so the character can more easily create Spells or locating and identiy objectives. A sword might simply have �sword,� allowing the character to quickly customize it with simple adjective Spells.
Impulsion Tis item is thematically locked to one standard Impulse and grants a bonus to that Impulse or all purposes so long as the character is carrying the item. Te item grants a +2 bonus any time the Impulse is rolled and adds Spirit accordingly. Te character may benefit rom the item even i they normally have a 0 in the associated Impulse. An alternate version o the item may grant +6 Spirit, but no bonus to any Impulse. Te bonus Spirit is reduced first and at no detriment to the character no matter what Impulse is used deensively. Once the Spirit is used up, the item is either broken or expended. In order to benefit rom the item again a ull Recovery, as per usual Spirit damage rules, is required.
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Manifestation
Substitution
Tis item has the ability to summon a being into existence to be the character�s riend and companion — or, at least, begrudging ally or an action and then disappear again. Te maniestation has Impulses and Spirit and can act under the player�s control. Te player selects one Impulse rom their character and that Impulse is shared between the character and the maniestation: When it�s reduced or one, it�s reduced or the other. Te player rolls that Impulse and each die is assigned as the level o other Impulses o the player�s choice the maniestation has access to. Maniestations are difficult to maintain however; each action or round o conflict the maniestation is present, the GM reduces one Impulse by 1, saving the shared Impulse or last. Te character may always dismiss the maniestation early, otherwise it dematerializes back into the item once its Spirit is depleted.
Tis item gathers small bits o the universal language like static electricity and can be discharged once every so ofen (once per session, per day, etc). Immediately upon receipt o the item and when it is activated, the player rolls one die and draws that many letters and sets them aside. Whenever the character creates a new Spell, they may swap drawn letters out or letters stored in the item, always keeping the same amount o letters stored. Te character may discharge the item per its time limit by discarding all stored letters and activating the item again; the act o discharging always creates an Unintended Consequence without the effect o a Spell.
Transformation Tis item allows the character to access a new physical orm with a certain keyword that defines the nature o the orm (e.g., elemental, monster, shadow, turbo, etc). While transormed, the character may use Impulses to a magical effect in the context o their transormation keyword. For example, i the transormation involves �fire,� the character could use Force to cast a fireball or create a flashy fireworks show with Style. Tey may also choose to contextualize any new Spells to fit the keyword o the new orm. Te character may transorm at will; the GM may decide on limits, such as required rolls, how long transormation takes or lasts, or how ofen it may be done.
Provocation Tis item comes with a Spell stored inside, just waiting to be cast. Tis gathered Spell has a specific condition in which it�s automatically activated, such as a cape that will fly i alling or a stone that glows warm and bright in darkness or cold. Te character cannot activate the Spell outside o its trigger. Te stored Spell is automatically successul when cast unopposed, otherwise it has an Impact o 6. An advanced version o this item can have new Spells cast onto it with assigned triggers. Te character either casts a new Spell or successully rolls a permanent Spell and, instead o immediately activating, the Spell is stored in the item until the preassigned condition. Tis advanced version comes with one deault Spell and the rest must be gained with Potential points.
Lesser Magical Items Aside rom the utility o equipment and majesty o Enchantment, Spell: Te RPG is ull o other weird bits o magic that may benefit, harm, or otherwise interact with a character. Te
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Glyphs
ollowing are just a couple options o how to include standalone or unique magical objects in a campaign. Tese items are uncommon, but not as rare as Enchanted items; they can be ound, lost, collected, and traded throughout a campaign as a valuable and interesting currency. Tese items are only meant or a single use; adapting them to be multiple use or requiring a recharge or cooldown time increases their power and value. Tese effects made permanent would make or additional Enchantment options, and vice versa.
A single glyph is etched into the description o an object and can be translated or use in a single Spell. Te Glyph represents a letter, a group o letters (such as all vowels), a sound or syllable, a number, punctuation, a pictograph, or some other grammatical unit. Te glyph can be added into the generation o new Spells in the same way as the drawn letters.
Creating Items
Charges
Creating mundane items is a simple enough process or a character. A well-worded Spell can summon an item into existence and, i made permanent, can keep the item indefinitely or allow it to be conjured on command by using the Spell again. Using Impulses alone to create an item is under the purview o regular actions. So long as the character has the materials, time, and expertise, the GM sets an appropriate difficulty and the thing gets made. Long term projects may need to be divided into individual actions, such as gathering materials, asking or help, planning, building, refining, and so on.
Charges look like glowing balls o condensed, brightly colored light and contain an electriying charge o magic. Charges come in types, ofen color-coded, that correspond to Spell effect types: Boon, Curse, Damage, and Recovery. When activated, the player rolls a single die and its value is the level o the charge�s effect: the value o a Boon�s bonus or Curse�s penalty, how much Spirit damage is dealt (to one Impulse o the GM�s choice with no deense, surplus damage is ignored), or how much Spirit is recovered.
Facets Tese small gemstone-like objects have unique descriptions that dey earthly sciences. Teir crystalline structure is able to split and divide Spells, typically into two individual Spells. Tis can be valuable to a character as it allows them to cast two distinct Spells at once, but pulling rom the same pool o letters. A acet can also be used to disrupt an opponent�s Spell, dividing between whatever letters the user wishes, though the caster may still attempt to justiy how the new pieces work.
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Enchanting Crafing Enchanted items is a little more complicated and much more difficult. Enchanted items are ound more ofen than constructed, usually being up to the GM when and how they�re introduced and what they do. Enchanted items are intended to be rare and character-defining. Any given character might only obtain a couple through the course o an entire campaign. A character may orge an Enchanted item o their own i the group would like to include such an option in their game. Note that magical, unusual, or impossible items can be created using Spells per usual; the ollowing rules only apply to items which have a specific aorementioned Enchantment.
the character and the character�s roll was the deense against it. I this option is enorced, eel ree to lif the timing requirement, as the danger is sel-policing.
Forging Forging is the process o creating lesser magical items, which have the properties described above or can be invented based on other properties, such as single use Enchantments, or other game mechanics, such as adding Potential points or tokens. Enchanting requires the harnessing o massive magical energy into the vessel o an item. Forging takes a smaller amount o magical energy and balls it up into a mass.
Enchanted items have a certain magical Spirit that must be captured and translated into a physical orm; the Spirit has a value o twelve. A character can only use an appropriately themed Spell, such as �craf,� �alchemy,� or something similar, to create an Enchanted item. Te GM rolls the Spirit o the item (which starts at 12); per usual deense rules, the highest value die is the difficulty or the player�s roll and each 6 afer the first subtracts one die rom the number the player rolls. Each die that meets or exceeds the difficulty die represents a point o Spirit being converted rom the intangible into the tangible, reducing the Spirit o the item accordingly. Once the item�s Spirit reaches zero, it�s been successully crafed into an Enchanted item.
Forging is completed with the same rules as Enchanting. wo Spells need to be used at least once each in creating a lesser magical item: one representing the theme or intended effect o the item and one representing the actual process o making it. Instead o working against a Spirit o twelve, the artisan is working to overcome a Spirit o 6. Otherwise the rules are identical to Enchanting
Enchanting rolls are significant endeavors and must occur inrequently, only being made once per day, per session, per piece o magical material recovered, and/or requiring a new Spell every 3 or 4 Spirit to represent different phases o crafing. On average, a character using a level 6 Spell will take nine rolls to complete an Enchanted item; a level o 5 will take about twelve rolls. I Enchanted items are able to be crafed, but are intended to be more difficult or dangerous, consider having ailed rolls cause Spirit damage to the character, as i the deensive roll was an action made against
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Tere are six categories of creature: Summon, Companion, Mount, Playable, Hazard, and Behemoth. Companions are smaller creatures who are helpful to characters, like familiars. Summons are great and powerful creatures that can be called for a brief interaction before they leave again. Mounts are creatures a character can ride on to improve modes of transportation. Playable creatures represent options players can use for the characters they play as. Hazards are simple creatures — sometimes they�re not even creatures — that represent a simple danger to the characters. Lastly, Behemoths are powerful, if not always physically large, creatures with multiple layers of difficulty. Tis chapter has a cast of twelve creatures who appear as examples. Creatures can sometimes fit in a couple different categories, like a familiar you can ride or a big boss who can later be summoned. Creature concepts can also be adapted from one category to another, such as taking the idea behind a hazard creature and making it a playable creature type.
Summons
as a Boon, Curse, Recovery, or Attack; their power may also be unique, like the unctions o Enchantments, or even narratively important, like transporting characters to a new realm, traveling through time, or otherwise acting in a way generally outside the scope o other mechanics. Any action that is contested or has a magnitude o possible success uses the Summon�s Spirit or the roll. For all other actions, the Summon does not need to roll; their Spirit instead acts as deense i any attempt is made to stop the action or as a variable in the action�s effect. Summons do not trigger Unintended Consequences, regardless o the number o dice rolled or them.
A Summon is a — ofen very powerul — creature that lives ar away, perhaps even in a completely different realm, whom the player may call upon or a single helpul action. When a Summon arrives, they make a single massive action and then disappear. A player conjures a Summon by casting their name as a Spell, but they cannot be purchased permanently; their name must be spelled out each time in order to use them. Enchanted items or other magics that allow players to manipulate the letters used to cast Spells can be very useul or summoning. Summons are essentially living spells, so they get their strength rom their names. Te more complex or rare their name, the more powerul they are. Teir Spirit is the sum o the rarity o all component letters o their name. See the chart on the acing page to determine the Spirit o a Summon based on the letters in its name.
A Summon must be met or researched beore a character can call upon them. Te character needs a working knowledge o the Summon they are attempting to call. Since there are potentially countless creatures who could be Summons, the GM may allow a character to �accidentally� call upon one by creating a unique name rom any given Spell generation; it�s possible that this haphazard summoning will have consequences. Te lore o the world will also determine viable
Summons are capable o massive, but specific eats. Tese eats unction as Spells, acting
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Summons, such as pantheons rom human mythology or characters rom avorite andoms. Summons can be called rom any Impulse. Teir power is such that it is not shaped by the character�s spellcasting. Multiple players may work together to help call a particular Summon. Since it can be particularly difficult to conjure a Summon, there are options to beat the odds. A player may represent their relationship with the Summon by spending Potential points as i on a permanent Spell; this is marked by writing �Summon� in the Impulse section and the Summon�s name or the Spell. Te player circles a number o letters in the name equal to level purchased, up to a maximum o hal (round up) the length o the Summon�s name. Tese letters are ree and the player does not need to include them when conjuring the Summon.
It can take a little bit o math to come up with a Summon�s Spirit; however, since they need to be preexisting in order to call upon, this math can be worked out ahead o time so as not to interrupt the flow o play.
Example Summons Te ollowing creatures can be used as Summons in any game. Teir Spirit is calculated rom the names and each has a unique power. Summons appear in a grand display o magic and leave just as quickly afer perorming their action.
GUS | Spirit: 8 A kind little winged serpent who protects his riends.
Calculating A Summon’s Spirit
Action: Serpent Shield. Creates a magical barrier that protects a target or group. For each die at 4+, ignore one point o Spirit Damage; lasts until depleted.
Each letter o a Summon�s name has a value based on its rarity. Te sum o the values o all the letters in the Summon�s name is the Summon�s Spirit. In practice, the length o the Summon�s name, regardless o its letters, will also affect how difficult it will be to summon this creature, though the length o the name is not explicitly represented in its Spirit.
Value
Letter
1
A, E,
2
AXOL | Spirit: 9 A flying wagon wheel, spouting gouts o flame rom each o her spokes.
D, H, I, O, L, N, R, S
3
B, C, F, G, M, P, U, W, Y
4
J, K, Q, V, X, Z
Action: Brand o Retribution. Each time the target inflicts Spirit damage, they also receive one point o Spirit damage to the Impulse used to act. Lasts until the target relents.
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SEAFRA | Spirit: 10
OPDAHL | Spirit: 12
A massive glowing jellyfish floating in their own bubble o water.
A weathered old statue o a soldier with moss growing on his stone skin.
Action: Flowing Crystal Blessing. Sprinkles down glittering, healing water. For each 4+, each ally may individually recover Spirit damage rom any Impulse. Can affect up to a dozen targets; multiple targets do not dilute Seara�s healing power.
Action: Te Dance o the Hundred Halberdiers. A swarm o spectral warriors attack their target, inflicting both Spirit damage and an Impulse Limiter equal to successes rolled against deense.
FREYR | Spirit: 11
DANIOQ | Spirit: 13
A fierce warrior goddess o braided hair and wool within armor o leather and ur.
A large, silvery fish with an eye on each o his scales.
Action: Goddess� Strength. Up to three characters gain a mythic morning star — an iron orb at the end o a woven braid; they receive +3 to all actions involving orce, violence, or destruction. Lasts until the threat is subdued, up to about an hour or scene o gameplay.
Action: Feel the Current. One target is cursed or the scene or about an hour. Te difficulty o all the target�s actions, even contested, are Hard; additional 6s rolled or deense can still decrease the number o dice the target rolls.
RUIZ | Spirit: 11
MASAMBI | Spirit: 15
A kingly giant, in crown and robe and upon a throne, who cares deeply or all loyal to her.
A gargantuan humanoid baobab who�s love or the earth is surpassed only by her rage.
Action: Breaker o Limits. With hands outstretched, Ruiz heals all Impulse Limiters, wounds, diseases, or other afflictions; long-term disorders become stable and manageable in her presence. Magical afflictions may resist; can affect up to six targets.
Action: Overgrowth. Coarse roots rise and strike their oes. Up to three targets roll to deend per usual, but the surplus successes o Masambi�s attack may be distributed across their other Impulses.
KUJOV | Spirit: 17
KARIM | Spirit: 12
A disembodied sensation o stillness in an infinite void o space; he�s elt in the heart and mind.
An ornate pattern o tile and stone that crawls over every surace, she communicates with colors.
Action: Te Long Moment. ime is rozen or all targets chosen by the summoner and remains so long enough or the active targets to recover comortably. Te targets, however, cannot directly act upon any individual rozen in time and cannot travel outside their immediate area.
Action: Reverent Bounty. welve Charges, the magical items, are discovered in the beauty o the stonework. Roll Spirit and assign three dice to each type: Boon, Curse, Attack, and Recovery. Tese Charges can be used at any time.
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combination o riendship, obligation, and loyalty. Companions must be earned and bonded with through roleplay; it is highly uncommon (and is only at the GM�s discretion) or a character to have more than one Companion.
EIKENBOOM | Spirit: 19 A large golden elk with oak branches growing wide rom their antlers. Action: Enchanted Acorn. Eikenboom pins their target to the ground and allows a single acorn to grow rom their antlers and all into their target�s heart, converting the target�s body into a wooden object and sealing the target�s Spirit within. Tis creates an Enchanted Item, as defined by the GM, based on the target sealed. Te target remains alive, but incorporeal within the object; this could be a way to seal away an enemy, who may attempt escape, or to keep an individual alive orever, perhaps as the last resort or a riend at the end o their journey.
Companions begin play with Spirit equal to hal (round down) their partner�s, distributed between Impulses, and one rait which is generated like a Spell rom a pool o ten letters, but doesn�t have a value. A rait describes the passive magical nature o the Companion; they cannot cast Spells, but may use their Impulses or magical effects within the context o their rait. raits can be relatively loose and interpretive to represent the general theme o the Companion. Each time a character gains Potential points, the companion gains one hal (round down) that amount. Impulses cost the same 3 points per level; a new rait costs 6 points.
Companions as Summons
BARHOLOMEW | Spirit: 21 A brown bear with the proportionally sized head o an owl; their predatory build ofen obscures their riendly demeanor.
A Companion may have a special move it can activate when their partner casts their name as a Spell, effectively converting them to a Summon or a single purpose. I this option is added later to a Companion with a low-Spirit name, consider adding a �true name,� like Leo (5) being short
Action: May the Gates Welcome. Bartholomew opens a gateway to another realm — usually, it�s the resting place o those who have passed on — and guarantees sae passage to and rom or the party o characters. Tey can even provide direction to return one o the denizens o this realm back to the world o the living.
Companions Companions are smaller, less powerul creatures who are bonded to a character and are physically present with them. A character has a special relationship with their Companion, which can be any
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or Leontyne (14), or a title, like Blue Fang (18). I one Companion is to have multiple Summon orms, the names o those orms could be bought as raits.
powerul magic o a Summon, their loyalty and love make them dependable allies.
Companions as Mounts
GUS Gus� small wings are good or short flights, so he preers to perch on his companion�s shoulder. Impulses: Feeling 3 | rust 3
A Companion may have a rait that allows it to be used as a Mount.
rait: Aura
Companions as Playable
SEAFRA Seara floats in a large orb o water and needs that water to survive; they can only control so much at a time and will need to restock rom time to time.
I a Companion grows to the level o a character and, much more importantly, a narrative independence rom their partner, another player may choose to take the role o the Companion. Tis may be a good option or a player who joins late or i a character leaves the party.
Impulses: Calm 2 | Feeling 4 rait: Heal
Companions as Behemoths
AXOL Axol�s booming voice may be intimidating, but she uses her flames or more nuanced expression.
A Companion may not, by deault, be a Behemoth. While they may be large, even exceptionally so, they do not have multiple orms. Te GM may allow or a Companion to, through hard narrative work, gain another level and evolve to another orm; i they are deeated, they return to their smaller, original orm. Alternatively, i a player�s Companion alls in battle, the GM choose to may reveal that their Companion had a final Behemoth orm which springs orth to aid the party.
Impulses: Force 2 | Grit 4 rait: Blaze
DANIOQ Danioq glides through the air as i it were water, however the eyes on his scales are too sensitive to be in actual water or very long. Impulses: Focus (Curses) 3 | Scheme 3
Example Companions
rait: Fear
Tese creatures are similar to their above descriptions, but generally smaller. While they lack the
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Mounts Mounts are simpler beasts — or perhaps complex beasts only offering a simple service — who primarily only provide enhanced modes o transportation. A Mount provides access to areas otherwise impossible to reach, haste when necessary, and a little extra support. Mounts can be status symbols depending on the culture they�re in; they can be good riends, though with the intelligence o an animal; they can be unctional necessities when passing through a certain area.
Mounts cannot act on their own, but may enhance an action their Rider is taking. For example, the Rider could roll Force to break down a wall and gain a bonus to their roll rom their Mount�s �hard-headed� rait. Since the Mount is the one doing the heavy hitting, the same bonus could apply to a Scheme roll to target the wall. Bonuses are +2 i the action is clearly and directly aided by the rait; bonuses o +1 may apply when the rait is only partially applicable. Additionally, some actions perormed on a Mount may suffer penalties, such as sneaking on a �giant� Mount or calming someone down rom the back o a �firebreathing� dragon.
Mounts do not have their own Impulses, but instead have raits to describe how they work. A Mount has three raits, which describe how they move (flight, over water, through fire, very ast, etc) and helpul attributes (hard-headed, sneaky, luminous, etc). raits are chosen and do not need to be created with letter tiles. A rait only describes one aspect o the Mount. For example, �fireproo � and �fire breathing� would be two separate raits; �fire� alone is too generic. Tere is no definitive list o raits or Mounts, so the GM and players can use their best judgment.
Mounts may be purchased, met, ound, tamed, or otherwise bonded with through roleplay. I the character intends to have a long term relationship with their Mount, they may spend 3 o their own Potential points to give the Mount the �loyal� rait — which a new Mount cannot have. A loyal Mount will travel into danger with the character and always return to their side.
Mounts as Summons A Mount may be summoned rom ar off or another realm o existence, but it�s not necessarily a Summon. o call a Mount in this way, a character may just need to make a simple call or Spell activation — spelling out their whole name is unnecessary. In the same way Companions may have a Summon orm that�s activated by spelling their name, Mounts may also have a Summon orm; afer perorming their Summon action, they revert back to their Mount orm.
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Example Mounts
Playable
Tese creatures may be pack animals or magical riends offering a ride.
A player may choose to take the role o a character who is monstrous or weird in a specific way. By playing as a creature, the player still creates a character with normal character creation rules, but adds two monster raits: a generally beneficial rait (super strength, heightened senses) and a generally detrimental rait (rightening, cumbersome). Te two raits may also be both neutral, in that they each have benefits and detriments (horns, nocturnal).
SEAFRA In her natural element, Seara can create pockets o air or her passengers to breath. She guides the way with her bioluminescence and her stinging tendrils will keep danger at bay. rait: Underwater, luminous, protective
Te player and the GM may call upon the raits in situations in which they�re helpul — and even �detrimental� raits may be helpul once in a while — to receive up to a +2 bonus to a roll. Te player and the GM will also call upon a roughly equivalent amount o situations where the raits cause up to a -2 penalty. Tis equivalence is only a guideline; a penalty to one crucial roll, success or ail, may be all that�s needed to balance out a scene o bonuses. Te GM may also choose to introduce a narrative complication related to one o the raits as an alternative to a penalty; or example, a hunter looking to harvest the character�s horns may offset any number o bonuses to minor rolls.
DANIOQ Danioq is a curious creature: though looking like a fish, he speeds quickly through the air. His many eyes warn him o any danger as they�re able to see beyond what is always apparent. rait: Flying, very ast, all-seeing
EIKENBOOM
Playable creatures, when they�re not under the control o a player, are the ideal template or important allies and villains who are on the same scale as the players� characters. Tese Playables may also have raits, Companions, Summons, or other options also available to players.
Eikenboom is usually a gentle beast, more interested in moving groups o travelers quickly through the orest with minimum impact. Teir antlers, however, are able to make quite an impact i necessary. rait: Massive, through nature, antlered
BARHOLOMEW Bartholomew is unique in that they are able to walk through the doors o different realms, particularly between the realms o the living and the dead. Tey are kind and will offer guidance to those who are similarly kind and respectul.
Permanent Spells as Traits When a character gains a permanent Spell, some o the magic and weirdness o the Spell stays with them in some way. With the deault rules, these changes are only cosmetic. Optionally, the GM
rait: ransdimensional, intelligent, noble
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may allow permanent Spells at level six to also become raits. As the character�s library o magic expands, they become stranger and more magical in their own right. Te rait may either be the same as the Spell and thereore open to more interpretation or a specific result o the Spell.
OPDAHL An army o stone warriors, their origin completely unknown, abandoned in a field, the opdahl now live and walk among others whom they don�t quite understand. Tey carry with them always a halberd o fine make, though are ofen cautious to draw it. rait: Ancient, always armed
Example Playables Creature names have so ar reerred to a specific creature; while this can still be the case with Playable creatures, the names may also become a creature type, with many individuals o a similar appearance and traits.
Hazards Hazards aren�t always creatures, but sometimes it�s simpler to represent some creatures as Hazards. Hazards do not have Impulses, but do have a Spirit. Tey are capable o acting, but may not have any sentience; a trap being sprung or a snake striking and then quickly recoiling are both Hazards. Most Hazards also have a single rait to define them, either as hidden, poisoning, or elemental, as examples. A Hazard�s rait can add or subtract rom the Hazard�s effective Spirit when being rolled offensively or deensively. Tey may act only once or remain until their Spirit is reduced to zero.
FREYR A reyr character is human shaped and sized, but made o thickly woven and braided hair and wool. Tough mistaken as sof, reyrs are known or their fierce warrior spirits — however they may apply it in their lie. rait: Woven body, warrior spirit
o calculate the Spirit o a Hazard, roll two dice and pick the higher o the two results to be the Spirit. A more challenging Hazard will add the two results together instead.
KARIM While the creature known as Karim is more o a phenomenon, karim characters are roughly humanoid, i very geometric, individuals made o intricate patterns o ornamental stone and tiles. rait: reasure sense, blocky
Hazards as Companions Hazards, when creatures, are ofen simple beasts. A particularly cunning character may subdue and tame this beast and choose to make it their Companion. I the GM allows, a character sheet will be created or the creature with the same Spirit, but now distributed over Impulses. Any raits associated with the Hazard remain in this Companion orm. Tis Companion will now gain Potential alongside their partner.
MASAMBI Te masambi are good natured and are known to love the land they grew rom. Appearing as humanoid baobab trees with short, rooty legs and big arms, the masambi tower over humans by several eet. rait: Very large, plant elemental
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Example Hazards
KARIM When a character enters a Karim chamber, they immediately become disoriented. Te ornate tile patterns rearrange themselves, the very ground shifs subtly to change a person�s direction midstep.
When these creatures unction as Hazards, their personality and complexity is mostly glossed over — though this doesn�t have to be the case — and they represent a specific challenge or the players to overcome. Tis usually equates to an action they perorm and Spirit they use to do that action, as well as to deend.
Spirit: 8 Action: Conound; successul attacks inflict Spirit damage by conusing the mind and this area is inescapable until the Karim is deeated. Tere may be other dangers inside the chamber. rait: Psychic
GUS Te mischievous flying serpent is really more o a distraction than a menace, but he can still provide an obstacle — especially in flocks with his riends.
Behemoths
Spirit: 4 Action: Distract; each 4+ rolled conveys a -1 penalty to their target.
Some creatures extend beyond the scale o those represented by Hazards, Companions, or Mounts, like Summons who stick around. Behemoths are either physically massive or hold a massively significant narrative weight and aren�t ones to be trifled with. Behemoths have Impulses and Spirit like other creatures — and may or may not cast Spells — but these stats scale differently. A Behemoth�s Spirit has multiple layers.
rait: Flying
AXOL A flaming, floating wheel o vengeance is terriying thing to behold, but her curses are really what do the burning.
A Behemoth is represented by, essentially, character sheets stacked on top o each other. Each layer corresponds to a different orm the Behemoth takes, a stage o their plan, or physical parts o its body. When one set o Impulses are reduced to zero, that orm is deeated and the new orm is revealed, with a new set o Impulses. As a Behemoth gets near the end o one orm and is less effective, with only a small amount Spirit remaining, they may choose to advance to their next orm. Any Impulses, Spirit, or abilities in the previous orm are lost and do not carry over.
Spirit: 5 Action: Attack rait: Flying
FREYR Tis warrior is hardly more than a sentry doll, but will strike mercilessly any who cross the threshold she protects. Spirit: 6 Action: Attack; successul attacks also push targets back and away rom threshold.
Each orm can have similar or different Impulses, abilities, and raits. A giant monster might be losing limbs or radically evolving to adapt. A more
rait: Stationary
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Behemoths and Hazards o increase the danger and complexity o a Behemoth, they may be accompanied by or capable o creating Hazards which aid in their goals.
Example Behemoths Tese creatures, i met in Conflict, are truly boss monsters. Tey represent a significant challenge to the characters, but don�t necessarily need to be reduced to zero Spirit beore admitting deeat. I the Behemoth is not a mindless monster, they may instead attempt a deal or compromise instead o continuing intense Conflict. O course, given the power o words, some o that dealmaking may also be represented by Spirit damage.
human opponent may be changing strategies in radically reaffirming ways or unlocking new power levels. Conflict with a Behemoth can be a great struggle, as it�s the equivalent to struggling against a sequence o powerul creatures.
Behemoths as Summons
RUIZ Te great regent Ruiz is capable o bountiul generosity, but becomes terribly stern when crossed. She sits rom her throne and commands those loyal to her; that is, until she needs to get her hands dirty.
I a Behemoth is bested, the characters may then be able to learn its name and call it later as a Summon. Te nature o the deeat would greatly affect this arrangement, whether the characters imprison the creature and conjure its power, constantly risking its escape, or i the characters earned the creature�s respect and it is now honored to help in their goals.
Layer One Ruiz sits upon her throne, appealing rom authority first, but meeting combat in kind. Impulses: Calm 4 | Focus (Command) 4 Renown 6 | Scheme 2 | Style 2
Behemoths as Companions
Abilities: Create Minion. For each 4+ rolled on a Focus action, introduce one Minion Hazard with 4 Spirit and the ability to attack.
Behemoths at their deault power scale are too ar beyond the scope o Companions, but a deeated Behemoth may revert to a smaller, weaker orm. Te diminutive creature could then be beriended and become a Companion to one o the characters, perhaps still capable o accessing something like their original power as a Summon.
Layer wo Ruiz is orced to rise rom her throne and acts directly with showy displays o surprising martial prowess. Impulses: Force 4 | Grit 6 | Renown 4 | Style 4
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OPDAHL
MASAMBI
Te lone statue Opdahl offers only steadast reusal to the players attempting to enter his valley. He does not say why, but will adamantly deend as long as possible. As Opdahl is worn down, he calls upon the aid o his brethren. At last, the magic is released rom the statue and the mystery unravels.
Te characters begin by entering a orest and then quickly learn that its heart, Masambi the great baobab, wants them out.
Layer One
Impulses: Daring 2 | Feeling 2 | Force 2 | Grit 2 Hope 2 | Scheme 2
Layer One Te local flora become immediately aggressive beore Masambi hersel is even visible.
Opdahl places himsel in the characters� paths and stoically demands their removal with no explanation.
Abilities: Many Arms. Masambi attacks each character present per round.
Layer wo
Impulses: Calm 6 | Grit 6
Masambi reveals hersel and uriously storms the characters with mighty blows.
Abilities: Obstacle. No matter where Opdahl is, he can move seemingly without movement into the path o a targeted character.
Impulses: Daring 6 | Feeling 6 | Force 6 | Grit 6
Layer wo
Abilities: Aggro. I Masambi�s deense lowers the attacker�s roll with any amount o extra 6s, the attacker takes one point o Spirit damage to the Impulse in use, applied at the end o the round.
Glowing cracks travel across Opdahl�s stone skin and he becomes more animated and emotional. Hal-ormed statues rise rom the earth and act alongside him.
Layer Tree Impulses: Feeling 6 | Force 6 | rust 6
Masambi slows down and becomes calm, but still ocused on removing the characters and still willing to use violence.
Abilities: Fallen Soldiers. I Opdahl successully deends an attack, a nearby statue counters the attacker with 4 Spirit then immediately crumbles.
Impulses: Calm 4 | Force 4 | Grit 4 | Scheme 4
Layer Tree
Abilities: Snapping Branch. I Masambi misses an attack, she can make another attack against a different target.
Opdahl�s stone body explodes in a burst o bright light. A spectral soldier, shimmering blue and translucent, now stands where the statue was. Tough mostly unintelligible in speech, he reerences imprisonment. Upon deeat, he thanks the characters and dissipates, leaving the remaining statues inert.
Layer Four Masambi is impressed by the characters� might and tenacity and now offers them challenges o cleverness and skill to test their worthiness — no less dangerous, o course.
Impulses: Daring 6 | Force 6 | Grit 6 | Hope 6 Impulses: Calm 2 | Focus (Forest) 6 | Reason 4 Renown 2 | Scheme 6
Abilities: Incorporeal. Opdahl can no longer be affected by physical, solid interaction.
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Abilities: Special Challenges. Masambi will presents challenges intended to be completed with specific magic.
Impulses: Calm 5 | Feeling 5 | Grit 5 | rust 5 Abilities: Starvation. Te characters act against Kuvoj by healing each other; Kuvoj deends to set the difficulty and receives Spirit damage equal to the target ally�s Spirit recovery. Kuvoj will still act by attempting to desiccate and starve the characters.
KUVOJ Disembodied rozen time makes or an exceptionally difficult opponent. When Kuvoj arrives, everything becomes infinitely distant and the new vacuous space is ull o stretch lines o color and light rom the edges o reality. o oppose Kuvoj is to undo his influence on the world.
Layer Four Kuvoj represents mental stress as time slows, shifs, and speeds out o the characters� control. His influence is uprooted by seizing control o reality and ocusing on chronological existence.
Layer One Kuvoj represents physical stress as reality pulls apart. Characters need to leap between the expanding and separating objects around them, acting to pull everything back into place while resisting the same effects on their own bodies.
Impulses: Calm 5 | Force 5 | Reason 5 Renown 5 | Scheme 5 Abilities: Fugue. Kuvoj acts twice per round. He first scrambles the timeline, causing mental stress as Spirit damage. Secondly, in scrambling the timeline, Kuvoj undoes a character�s action and orces them to roll again with a different Impulse. Te character may either use this new Impulse roll to reenact their original action with a new flavor or try something completely different
Impulses: Daring 5 | Focus (Physics) 5 | Force 5 Reason 5 | Scheme 5 Abilities: Exertion. When characters attempt to rearrange objects and the chamber itsel back into order, Kuvoj will deend. Kuvoj acts by creating voids between characters and throwing objects.
Layer Five Layer wo Kuvoj represents toxic stress as he now interacts inside the characters� own bodies, poisoning them rom within. Te characters must saely target the sickness and inebriants within each other.
Kuvoj represents emotional stress as he begins to maniest, not in shape but as a palpable presence alongside the characters. Te characters may now finally target Kuvoj directly to dislodge his last clutches on local reality.
Impulses: Daring 5 | Focus (Chemicals) 5 | Grit 5 Hope 5 | Style 5
Impulses: Feeling 5 | Hope 5 | Renown 5 Style 5 | rust 5
Abilities: Intoxication. I a character ails an action against Kuvoj, they instead harm an ally. A character affected by Kuvoj�s Focus becomes inebriated and acts with a random Impulse.
Abilities: Distortion. Kuvoj appears as a rippling effect out o the corner o the characters� eyes, accompanied by an uneasy pressure rom shifing directions. He strikes twice per round, stirring intense emotional reactions rom within the characters.
Layer Tree Kuvoj represents nutritional stress as the characters are taxed and exhausted. Struggling against Kuvoj means sel-care and supporting each other�s health.
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Te preceding chapters explain the rules of the game. Spell: Te RPG is written with the understanding that rules of play sometimes differ from the rules of the game. Tis section will help the GM and the players resolve the more subjective sections of the rules and serve as a guide to bending, breaking, and making new rules. Te Game Moderator, or GM, has an extra responsibility as the host of the game and facilitator of the story. By default, each player takes the role of just one character, so the GM plays everyone and everything else in the whole world. It can sound intimidating, but with some preparation and the willingness to wing it from time to time, it can be totally manageable and very rewarding.
Confict
Resolution
3.
Tere are a lot o loose rules and almost everything is up to interpretation. Tis might lead to disagreements rom time to time, which is to be expected, but they can be addressed beore they become arguments that harm players or result in table flipping. Tere are three rules or how to resolve these situations, ranked by priority: 1.
Whatever makes sense. I everyone mutually agrees (or admits) that an action or interpretation makes sense in the context, then go with it. Just because something worked once, doesn�t mean it�ll always work, so consider each case individually.
2.
Whatever is the most un. Ultimately, play takes priority over the game itsel and so long as players aren�t specifically disadvantaged, then whatever option results in the most un or everyone involved is the way to go.
Whatever the GM says. Speakers have a lot o power, but ultimately the GM is the most powerul. Tis power must always be exercised responsibly and in the best interest o the players. It�s not the GM�s job to �win� or tell the players what to do, but it�s important to have a final authority or arbitration.
Playing a roleplaying game together is an act o imagination and creativity that requires consent between players. Beore play begins, discuss boundaries or content, themes, and the tone o the game. Te terms �lines� and �veils� reer to addressing difficult content in games: some things are crossing a line, excluded entirely rom the table; other things are behind a veil, existing in the narrative o the game, but not at all described. Each group will use lines and veils differently or violence, sexual content, language, or other mature themes. Establishing these boundaries beore the game starts prevents any upsetting surprises, though it may still be necessary to keep checking in throughout the course o play.
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Spell: Te RPG encourages the use o the Script Change set o rules by Brie Sheldon. Te three primary tools Script Change provides are �pause,� �rewind,� and �ast orward.� I play is going in a direction anyone at the table finds uncomortable, due to content, too comedic or too dramatic o a tone, or any other reason, that player (including the GM) may call or a Script Change. Pause asks or the game to stop long enough to talk about the issue and decide how or i to move orward. Rewind asks or the game to jump backwards and either undo or redo something objectionable. Fast orward asks or the game to jump ahead, skipping over something that can still occur within the narrative o the game, but not described — like veils, above. Te ull text and more inormation on Brie Sheldon�s Script Change can be ound at briecs.com.
there will be situations where busting down doors would be exceptionally difficult or even counter-productive. On the other hand, even i the character goes on to madly bust down all the doors, the consequences or doing so offer the potential or interesting story, conflict, and maybe a little personal growth.
Balancing Confrontation A major consideration or design in most roleplaying games is the issue o how character options compare to one another and the setting. Tis issue is usually reerred to as �game balance.� It�s important or the mage to be balanced against the warrior and both against the rogue; they don�t all have to be equal or be able to do the same things, but they need to be equally viable. I certain abilities are too powerul or ar too weak, they can eel unair and the game — or, at least, those abilities — becomes unbalanced. Te question is, then, when the characters can literally spell out whatever they want and it changes reality, how can that possibly be balanced�
Choosing Impulses Impulses are vague and wide in their applicable scope and deliberately so. Deciding which Impulse is most applicable may sometimes be challenging because o this. Te intention is that any character build could hypothetically accomplish anything, just in a different way. Te trick, then, is to not overthink it.
For basic, non-contested actions, this is simple enough. Beore a Spell is cast, the player must explain what they hope to accomplish, but not how they�ll accomplish it — that�s what the Spell�s or. Te player must make their end goal clear: �I want to get to the other side o this door,� �I want this monster to stop attacking us,� or �I want this person to agree with me.� Once the goal is clear, the difficulty o the action is all based on numbers. I the goal is exceptionally difficult, penalties and difficulties exist to make sure that it�s hard. When a Spell is ormed, it really only describes how the character accomplished the goal; the dice decide whether or not it was accomplished. For Spells, i the player is able to spell and justiy a certain word afer their roll, the character completes the action.
For any given action, it�s more important to consider the ultimate goal o what�s being accomplished and then figure out how it�s done. In the example o Vesuvius, Corialus, and the lock, the actual action in question wasn�t picking the lock, but getting through the door. Te Impulse used determines how a goal is accomplished and, thereore, certain Impulses would be better suited or different situations. A character could rely exclusively on Force to muscle their way through all o their problems, but
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In contested actions, when Spirit is at stake, the same principle holds true. I two characters are fighting with Spells and one uses �NUKE� and the other uses �FISH,� the results will seem wildly different. Te ormer may launch a mini rocket rom their hand that explodes into a tiny mushroom cloud; the latter slaps the ormer with a fish. Te actual Spirit damage dealt — the efficacy o the action — is defined by the dice rolled. It may turn out that the nuclear explosion was less effective than the fish-slap.
Spells more enjoyable or everyone. I everyone working together still doesn�t yield results, then one o two things can happen: no word is ormed and the player tries again later or the rules get bent a little. Tere�s nothing wrong with not being able to come up with the right word and sometimes no word is better than an ill-fitting word. Tat said, it can be a little disappointing to turn up with nothing, so there are some ways to get creative. I the character (not just the player) is multilingual, Spells can be made in whatever languages the character (and hopeully the player too) knows. It makes total sense in the context o the world: Speakers recognize the letters rom the descriptions o reality around them and are able to translate them into the language(s) that they understand. Tis can always be allowed.
Te GM has to describe how the Spell maniests according to its efficacy, while still making it sound as awesome as possible. Te player who spelled �NUKE� might expect an atom bomb�s worth o orce, but not only would that be utterly ridiculous, it also wouldn�t be very appropriate or how they rolled or their intended goal. Trough the course o a campaign, weird words are guaranteed to come up that may seem game-breakingly unbalanced; it�s up to the GM to embrace the theme o the Spell, but keep it clearly within the context o the actual numbers being rolled around. Tis way, you get the best o both worlds: awesome, ridiculous powers, but sustained and reasonable stats.
Language is a highly subjective, cultural, and amorphous thing. Tough dictionaries can become like grimoires or grammatically inclined Speakers, there are many perectly viable �words� that translate well enough into Spells. Proper nouns, like names o established individuals, can be powerul ways to channel that individual�s power. Common acronyms, like ASAP or LOL, are considered valid, as well as generally understood slang. Onomatopoeia, such as BANG or WHOOSH, are also descriptive enough to work. Even character-based emojis, like XD (laughing ace) or A (crying eyes, sad mouth), can adequately inflict emotions. I this rule is exploited, the GM may decide the Spell counts as a deliberate misspelling.
Spelling It Out Sometimes it�ll be really hard or a player to come up with a word, especially at the start o the game. Maybe they got a lousy selection o letters or not enough; maybe they can spell plenty o words, but none o them make sense; they might be one letter off rom the perect Spell and can�t wrap their head around any other options. Tese things will all happen rom time to time and there�s a number o things the GM can do.
Reality doesn�t come with a spell check or Spells. I a character deliberately spells a Spell wrong, then it might still work, but with some unoreseen consequences. I it�s accidental, politely inorm the player o the correct spelling and then let them choose i they want to break reality. It�s a Spell that�s had the corners cut and been orced to work, so it�ll work... well enough. Sometimes, the dangerous effects o altering reality might
First, it�s usually okay to let players help each other out with Spells. Unless there�s some kind o dramatic conflict o interest, allowing players to work together makes the moments o orming
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just be worth it. Deliberate misspelling can also include rotating letters, turning an M into a W or a sideways C into a U. As a last resort, the GM can use a word finder online and offer hints. Players aren�t allowed to do this because that�d be cheating. GM�s are encouraged to only provide helpul hints and teasing suggestions to help the player consider new options, not dictate the best options. Tis is the absolute final resort, or when no word can be hilariously and catastrophically misspelled and having no word at all would just be too heartbreaking. Ultimately, per the rules above, what�s most un and air wins out. A good resource is Wordsmith.org�s advanced Internet Anagram Server with the �Show candidate word list only� option set to �Yes.�
quickly generate a small repertoire. I that will take too much time, the NPC can always just rely on making new Spells or the first encounter. Te GM might want to spend some time between sessions coming up with random generic Spells using letter sets to keep as a reerence or later.
Unintended Consequences Spells can have certain drawbacks or strange side effects. For the most part, these are minor, mostly amusing, and obvious. wo easy questions to consider or these low-impact consequences are: 1) what else does the Spell do, beyond the original goal� and 2) what was taken away in order to make the Spell�
NPC Spells
Successul Spells always accomplish their goals in a way that makes sense and is definitely a net positive. However, i the Spell is too vague or specific in the wrong way, it can still have some minor side effects. I a disguise Spell is something like �CONFUSE� or �MIX UP,� the character will be successully disguised, but it might make their ace look like a Picasso while the Spell is active. Again, these consequences are more about adding un to the game, not punishing characters. New Spells cast and then not kept will have no lasting effect once their magic ends, but permanent Spells may leave their marks; players absolutely get a say in how their character changes over time.
Te players will inevitably encounter other characters with powers similar to their own. Te characters played by the GM are reerred to as non-player characters, or NPCs. Since the powers that a character stockpiles over time come up organically and randomly, coming up with characters on the fly can be awkward. It�s always recommended to randomly generate letters or Spells ahead o time, even i there�s a specific theme or powerset the character is supposed to have. I an NPC is supposed have fire-based powers, instead o giving them �FIRE,� try cycling through a ew letter sets first to see what comes up. Maybe the character ends up with �BLAS� or �IGNIE� or some other related word that still fits the theme, but maybe wouldn�t have been thought o otherwise. Tis keeps the NPCs eeling a bit more air to the players as well, since they had to go through the same process o generating Spells.
Once expanded and misspelled Spells come into play, however, the drawbacks have to really mean something. Te magnitude o Spell drawbacks are in increments o 6: i the dice pool (beore penalties) or a Spell is 1–6, use the above; i 7–12, the Spell is epic; i 13–18, the Spell is o a magnificently rare power; i 19+, someone�s probably cheating. Each increment can be reerred to in tiers: 1–6 is ier 1, 7–12 is ier 2, and so on. Deliberately misspelled Spells, or
I an NPC is simply orced into existence and their exact Spells become unavoidably relevant, then the GM can use the online tools above to
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�orced� Spells, are considered one tier higher or calculating drawbacks; co-op Spells, no matter the number o participants, are considered one tier lower. Tese tiers can also be used within the setting to describe Spell strength, though it�d be much less exact, since characters aren�t aware o dice.
Ideally, the Spell used is still worth whatever consequence it incurs; even i there�s a high cost, the Speaker gets a net positive rom it.
ier 1 is sae: the consequences are only cosmetic and narrative, as described above. At ier 2, Spells have an immediate and noticeable backlash. Choose rom the list or roll a single die to determine the effect. Consequences may also be invented using the chart as a reerence.
Result
Effect
1
An Unspeakable comes into being and it is erociously unhappy.
2
An Unspeakable comes into being and it�s kind o a hassle or everyone.
3
Te Spell draws too much rom the surroundings and now something important is missing.
4
Te Spell draws too much rom the surroundings and changed them irreparably.
5
Te Spell has mighty kickback, causing unblockable Spirit damage (roll one die) as a result.
6
Te Spell has some kickback, causing unblockable Spirit damage (roll one die and halve the value, round up).
ier 3 Spells are rare and only used when the Speaker really needs that many dice to work with — which is valuable in overcoming the significant penalties and massive difficulty they�ll likely have. Te cost is about equal to or perhaps greater than whatever the Spell is looking to accomplish. Te goal simply needs to be met, so no cost is too high; perhaps the ate o the world is at stake or the character�s running late or a very important date. Te above chart can be used as a guide, but increase the magnitude o each option: instead o one Unspeakable, it�s many; the �surroundings� that are affected include a whole city or county; the kickback on the Spell affects more than just the caster and/or in a way ar more permanent. For ier 4+, have un. Seriously. o even get this ar, there have to be some incredible thematic elements at play and the scenario is likely already airly well structured. Tis is universe/reality/ time-altering levels o magic, so go nuts.
Unspeakably Weird One o the largest areas o customization on the GM�s part will be the treatment and inclusion o non-human individuals in the world. Collectively and colloquially reerred to as �Unspeakables,� these characters cover a massive range rom violently eral monsters to mostly average olks
Te above are ar rom the only options possible and won�t always be the best fit or a situation.
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with unusual variations. Below are a ew different ways to approach the variety o options.
Special Interests Tose who retain their humanity, sentience, conscience, or some combination thereo are likely going to have a unique experience in the world. Tey may ace hardships due to their anomalies or celebrity due to their uniqueness. No matter what, society will address these individuals somehow. Tere may be social groups that advocate or their rights, research teams endlessly studying everything about them, or bullies that hate them just because they�re different. How the world treats them — likely including varying ratios o all o the above — depends on the campaign and the themes o each specific game.
permanent way. Tere are certainly ways to undo these changes, but it�s incredibly difficult. An individual would have to be versed in the anatomy o whatever they were dealing with, as well as Speaker magic. Additionally, repeated uses o transormative Spells could just make the whole issue worse. Usually, tools or adapting and coping are more effective than trying to change all the way back.
Consider including special study programs at schools and labs ocusing on Spells and their effects on the world, special legislation that might deal with ringe cases, or various other mundane acets to clearly supernatural elements. It�ll help the setting eel uller and more immersive.
Chimeras & Transformations
Chimeras are when two distinct things are combined together. Tis may seem like a good idea, but it rarely is. Mixing something inanimate with the living is usually a bit easier, but there�s a big difference between using the Spell �ROCK� on onesel to get rocky armor and �MESH� on a pile o rocks to add it onto a body. Te ormer has a certain logic to it, letting it work the way it was intended; the latter is messy, since the rocks aren�t inherently part o the Spell. When two consciousnesses are at play, rarely will they blend seamlessly. Even when they do — and don�t end up as a creature with two different-thinking heads — that�s a very jarring and difficult thing or those two things, now one, to go through. Additionally, it�s even more difficult to undo.
Tere are a ew ways one can end up in the category o �unusual.� Some are simply born that way, either rom a genetic inheritance rom an altered parent or due to the unoreseen consequences o powerul wishes. Others will become that way later on in lie through some specific Spell or constant exposure to them. ransormations are the most common o this latter category. Tese are individuals who have either changed themselves or have been changed by another in some significant and
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Such permanent transormations are only the result o rare and powerul Spells, likely at least ier 2. By deault, Spell effects will revert once their goal has been accomplished, even i the Spell is kept permanently. Irreparably changing someone against their will is a massive taboo and is considered oul magic i done intentionally.
Ferals
is unique. On the flip side, introducing bizarre elements to otherwise mundane environments, like a centaur police officer or a corporate skyscraper with silly rocket elevators, allows unique ways to spice up the rest o the world.
Alternate Histories
Monsters brought into existence by Spells are entirely alien creatures. Tese are things conjured into being or a specific purpose (the goal o the Spell) that sometimes stick around aferwards. Establish and make clear whether or not these creatures are sentient, unless the campaign specifically wants to explore themes o what it means to be alive. Feral monsters can serve the same role as robots do in �80s cartoons: remorseless battle odder. Fight scenes are un and can be enjoyed guilt-ree i the players know the things they�re killing aren�t technically alive. It�s important to set the expectations o whether baddies and beasties are ree to be beat up on until they poo into nothingness or i the players can save and find homes or them.
Not only will a modern world o Spell: Te RPG be a different version o present day, it will also have had a parallel history that includes magic and monsters. O course, i the game setting is antasy, uturistic, or otherwise original — as in, not based on the real world — these sorts o things will be built into the history by deault. By having a campaign where the only difference is the inclusion o Spells and the universal language, there�s a lot o opportunity to explore how amiliar historical events would change. Consider the Industrial Revolution: a Speaker could hypothetically conjure into existence a hyper-complex and super-efficient machine. With enough time, they could make infinite copies o it. However, no Spell is inallible. Te Industrial Revolution, then, may have been sparked by one such super machine, but was quickly commandeered by non-Speakers seeking to build comparable — or better — machines that they could ully understand, continue to improve, and fix when broken. Te revolution
Fitting In A world with monsters and chimeras, purposeul and accidental, is going to have some measures to address them. In addition to the aorementioned research and study programs, there might be monster collectors, both o the animal control and bounty hunter variety, and rehab acilities, ranging rom plush assisted living ranches to terriying �conditioning� centers. Some zoos will have dragons and manticores as special attractions; some olks will have horns or tails. When these maniestations o weirdness are called out, like when characters have to infiltrate a research acility or work with a team o hunters, the GM gets to explain how this particular setting
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still happened, in a way, but it also helps define magic�s role in the world. Most olks don�t want to rely on it exclusively. As an inverse to �sufficiently advanced technology is indistinguishable rom magic,� a Speaker would have to be a brilliant engineer to build, refine, adjust, and develop complex machines with magic alone. At that point, magic is only a tool in the process o development, not the end result. Other periods in history can be reinterpreted in a similar ashion. Magic is a spark, a component, in the overall course o humanity. Play can begin in any setting or at any point throughout history. Events such as wars, explorations, or pastoral lie can all serve as backdrops, adjusted slightly with the addition o magic. Entirely original worlds can be built, complete with pantheons and their mythologies, and played in. GM�s may even choose to adapt their avorite books, movies, cartoons, or other media into a campaign with some tweaking o how Spells work.
Now Go Play! Tere are endless actors and variables that go into building a unique and engaging setting, campaign, and story. In act, i a GM tried to plan or everything ahead o time, they�d never get the chance to actually start the game. Not unlike using Spells, ocus on the goal and theme o a campaign and don�t sweat how to get there. Player input and decisions will take stories wildly off track and that�s great� I a hole pops up in the narrative, fill it in as you go or chock it up to magical nonsense. Tere are olks out there who can alter reality, afer all. I everyone is having un by the end o session, you�re doing alright — and there are many valid ways to have un, whether that�s laughing through silliness or crying together over heart-wrenching storytelling. How to play is up to you, so remember the final rule: enjoy�
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