Mythic Magazine 017 [PDF]

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A MONTHLY EZINE WITH TIPS, RULES, AND MORE GOODIES FOR THE MYTHIC ROLE-PLAYING SYSTEM, MYTHIC GAME MASTER EMULATOR, AND CRAFTER SERIES

The Big Collection Of Big Examples

VOLUME 17

Creative List Tips & Tricks

EACH MONTH MYTHIC MAGAZINE PRESENTS NEW RULES AND COMMENTARY ON SOLO ROLE-PLAYING AND GETTING MORE OUT OF YOUR MYTHIC AND CRAFTER ADVENTURES. MYTHIC MAGAZINE IS PRODUCED MONTHLY AND DISTRIBUTED THROUGH PATREON.COM AND DRIVETHRURPG.COM.

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Writing & Design Tana Pigeon

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Mythic Magazine © Copyright 2022 by Tana Pigeon and Word Mill. Mythic Magazine is published by Word Mill. All rights reserved. Reproduction of this work by any means without written permission from the publisher, except short excerpts for the purpose of reviews or pages clearly marked for personal use, is expressly prohibited. The mention of or reference to any company or product in these pages is not a challenge to the trademark or copyright concerned.

MYTHIC MAGAZINE VOLUME 17 • 1

VOLUME 17

APRIL 2022

WHAT IF Creative List Tips & Tricks

Put Your List To Work Hello everyone, and welcome to Mythic Magazine Issue #17! I can’t believe we’re already almost ready for yet a third compilation issue, but we will be after issue #18. This month I have an article looking at creative ways you can utilize the Characters List in your games. As a solo adventuring tool, it doesn’t have to be just about NPCs. There’s more in-game effects you can achieve with the List, such as triggering special events to happen and setting a tone in your adventure. I’ve also included how Lists are currently configured in the upcoming Mythic Second Edition. The second article is a big article of Big Examples. I try to include as many examples in my books as possible since seeing solo techniques in play goes a long way to making the rules understandable and playable. I was able to fit three Big Examples in this issue, covering topics such as incorporating The Adventure Crafter in your Mythic adventures, working out a conversation with an NPC, and making Altered and Interrupt Scenes. Happy adventuring!

TOOL BOX The Big Collection Of Big Examples MYTHIC MAGAZINE VOLUME 17 • 2

WHAT IF Discussion of some aspect of solo, Mythic, or Crafter play for you to chew on.

Creative List Tips & Tricks If you’ve been playing solo role-playing for any length of time, you’ve probably made a List or two. Or three, or a thousand. Lists, both for Threads and Characters, are an important part of a Mythic adventure. Maybe you’re quite comfortable with the Characters List. After all, it’s a fairly straight-forward game mechanic. An important character makes an appearance in your adventure, they go on the List. A Random Event happens that calls for a character, you roll on the List. Nice and simple. However, there is potential for more with the Characters List. With all the power it has over your adventure, you can harness it for more effects. This article explores various ways to modify and manipulate your Characters List for a variety of adventure outcomes. Some of these ideas you may have seen before in one form or another, while others you probably haven’t. I’m hoping you not only find something you want to use in your Mythic adventures, but also just by contemplating different ways to look at the Characters List that you come up with new applications for of your own. 1

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Since this article discusses a variety of ways to utilize Mythic Lists it seems fitting to include a variety of List styles for you to print/copy and use. At the back of this issue you’ll find a small collection of Lists:

Nested Characters List Sheet

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WHAT IF

NON-CHARACTER ACTIVE ELEMENTS In Mythic, as Non-Player Characters make their appearance in your adventure you add them to the Characters List at the end of a Scene. This is how Mythic builds up the cast of characters who populate your world. After all, it’s right there in the name: Characters List. However, a “character” as defined by Mythic for purposes of the List is anything in your adventure that your Player Character can interact with. It doesn’t have to be an actual person with a name and personality to make it on the List. The important thing is that whatever element this is in your adventure, it’s something that is active and can impact events. For instance, if your character is a futuristic explorer traveling through space who’s discovered a new planet, you might put the planet itself down as a character. This is because as you explore the world you expect to find surprises and discoveries. The planet itself is an active element because you don’t know what it will present. Your character’s activity in the adventure itself will initiate discoveries, but you can

further enhance this by adding “Planet” as a character. The kind of “actions” a world as a character might make are wild weather, ground tremors, the discovery of a miraculous plant, encounters with wild animals, or just about anything that is connected to this planet.

Deciding When To Make It A Character Non-Player Characters are usually obvious in an adventure. When your gunslinger meets with a sheriff, you’ve just encountered a new NPC who should probably wind up on the Characters List. Non-character elements are less obvious, however. When your gunslinger rides into Rattlesnake Gulch to meet with the sheriff, should you also automatically add the town as a character as well? This is a judgement call on your part, but my advice is for you to consider if adding non-character elements will enhance your adventure. For instance, if you expect possible trouble in Rattlesnake Gulch, or if you just want an increased possibility of surprises in town, then you may want to add it as a character. On the other hand, if you

Places make for great non-character elements on the Characters List because you never know what you might find there.

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WHAT IF

expect this location to be unimportant and only serves for your character to meet with the sheriff you may not want to give it more emphasis by adding it to the Characters List. The decision to add non-character elements to the List is narrative driven, just as it is when adding regular characters. When an NPC shows up in your adventure it’s usually obvious if they are important to your story or not. The sheriff is important because he’s your contact for finding bounties to hunt down. The bartender at the local saloon is important because he’s a good source of local gossip. The town itself, however, is a judgement call because whether or not it becomes an active element in your adventure is more an issue of the kind of tone you’re trying to set. For the most part, adding non-character elements isn’t necessary for a Mythic adventure. Just about anything that a non-character element might introduce into your adventure could also be achieved through Random Events, Interrupts, or Altered Scenes. However, adding noncharacter elements increases the likelihood of certain kinds of events happening in your adventure that you may want to happen, and it can add new dimensions of interest to Random Events. It’s a way of tuning your adventure to ramp up the kind of content that you think should happen.

EVENTS AS CHARACTERS I’m including events as a separate item from noncharacter elements because this one is a little trickier. Just like non-character elements can be added to the Characters List because they can act on your character in some way, events can too. By “event” I mean a specific, although generalized, situation. For instance, events you might make into elements on the Characters List could include: a fight breaks out, we find a clue, there’s a storm, the Time Patrol finds us, etc. Adding events as characters is taking the non-

EXAMPLES OF NON-CHARACTER ELEMENTS Just about anything that has agency of its own can be included on the Characters List, from towns to the weather. Here are some ideas to spur your imagination: WHERE YOU ARE: Locations are a natural for converting into non-character elements. Every place that has lots of activity, such as towns, bars, space ports, fantasy guild houses, etc. will present opportunities for it to throw surprises at you. THINGS THAT ARE BROKEN: This is a fun one. Important objects that don’t quite work right make for good non-character elements. For instance, your starship may be old and temperamental. Who knows if, while you are in deep space, the ship may suddenly do something you don’t expect. COLLECTIONS OF PEOPLE: Organizations make great characters because not only can they act on their own, they are also a good source for introducing new individual NPCs. For instance, your investigator may be dealing with a cult trying to summon an Old One. Adding “Cult Of Thaqqua” as a Character adds additional possibilities for Random Events involving the organization. If you do roll up an Event with them, whatever happens may be carried out by a member of the cult that could become a new NPC to add to the List.

character idea a step further. NPCs appearing in your adventure are an obvious element to add to your List because they have a clear impact on your character. Adding a non-character element, such as a place, is less obvious but you may add it because you want it to have a potential impact on your adventure. Adding events to your Characters List is more specifically editing in

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WHAT IF

exactly the kind of things you want to happen. Using events as characters can be thought of as a way to customize the theme of your adventure by promoting certain kinds of occurrences. For instance, you expect a lot of random fights to happen in your high-energy superheroes adventure so you add “A super villain attacks!” as an element on the Characters List. If you’re playing a Victorian era mystery in London, you may add “You find a clue” to represent lucky discoveries that help propel your story along. The specifics of exactly how the event occurs will be determined by the current context your character finds themselves in, what the Focus Table element was that produced this result (for instance, NPC Action, NPC Negative, or NPC Positive), and what you roll on the Meaning Tables for inspiration.

MEANING OR NO MEANING This article is full of alternative ways to use the Characters List, sometimes with entries onto the List that offer specific instructions. For instance, if you place the event “Your hero’s power runs out of energy” that’s quite a specific event. You know exactly what it means. So, if the event is clear and simple, do you need to roll on the Meaning Tables for extra context? It’s up to you, but consider dropping a trip to the Meaning Tables if you’re including List items that need no further elaboration. You may still want to make the roll to give the event more context, but don’t feel like you have to inject extra meaning into an event that doesn’t need it.

Adding Events Before The Adventure Even before you start your adventure, you could consider adding events that you want to happen to your Characters List. This is a way to bake in the kind of scenarios you want without relying on Mythic to produce them. This can help reduce randomness in your adventure if you have some ideas of where you would like it to go. For instance, an adventure set in a zombie apocalypse might include “A horde appears” or “A zombie attacks!” as elements on the Characters List. This increases the chances of encountering wandering zombie hordes and experiencing random zombie attacks in your adventure, which is just what you wanted. You could also add events to the List that are things that commonly will come up in your adventure that may normally require bookkeeping that you just don’t want to do. For instance, in a game where there is a lot of gunplay, maybe you don’t want to keep track of your character’s ammo reserves so you make an event on the List “You run out of ammo.”

Adding Events As You Go You can also add events as Characters in much the same way that NPCs are normally added to the Characters List, as your character encounters them. For instance, let’s say you’re playing a fantasy adventure where your character is a warrior on a quest to reclaim his honor. He has journeyed to a distant land to apprehend the villain who assassinated the king. Known as The Madrigal, the assassin is a sorceress who has an army of henchmen serving her schemes. As your hero travels in search of the Madrigal, you have a Scene where her spies ambush your character in an attempt to stop him. You decide that this event, her minions coming after you, should be a possible recurring theme in your adventure so you add it to the Characters List as “Henchmen attack!”

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WHAT IF

SOURCE BOOKS AS LIST ELEMENTS

SELECTIVE SOURCING

Mythic Magazine #12 contained the article Getting The Most Out Of Sourcebooks. In there, one of the suggestions was to turn sourcebooks into random tables to generate content. For instance, let’s say you’re playing a fantasy sword and sorcery adventure. Among the books you’re using is a manual of monsters and creatures. As a sourcebook for your adventure, you could add the book itself to your Characters List. If the book comes up during a Random Event, you would roll a random page in the book and use the creature on that page. Personally, I think this is one of those ideas that sounds strange but it works well in practice. You can use anything as a sourcebook and put it on your List. I’ll even put the core rulebook of the RPG I’m playing on the List. Whatever page I roll up, I’ll use whatever rules are on that page as inspiration for the Random Event. Maybe you roll up a page in the character creation section that is listing skills. There are 14 skills on the page, so you roll dice to determine which skill. Let’s say you get Botany. I would use that as inspiration for this Random Event, which is botany related. The context of the adventure and rolls on the Event Meaning Tables would help with further details and interpretation.

Books As Random Tables The main idea behind this technique is to let the sourcebook provide inspiration for you, treating the page numbers as results as if it were a random table. You’ll have to fiddle with your dice a bit to get the range you

While you can use an entire sourcebook as a random source, you can also consider using specific parts of a sourcebook as a List element. For instance, maybe you’re playing a postapocalyptic game with your favorite RPG. In that RPG is a great table of 100 Wasteland Encounters. You could add this table, and any others that spark your interest (Table Of Scavenged Items, Irradiated Lands Wandering Mutants Table, etc.) as items on your Characters List. Aside from random tables you could include any section of a sourcebook as a List element item: spells, magical items, equipment, vehicles, etc. This way you add the flavor you want without having to rely on rolling those pages in the sourcebook itself.

want, like rolling a value between 12 and 245. You’ll also want to avoid the first sections of the book that may have author credits and such, and the back that is collected tables or indexes.

KEYED SCENES AS LIST ELEMENTS Referencing another Mythic Magazine article, issue #10 introduced the idea of Keyed Scenes. This concept is designed for you to introduce specific events into your adventure that happen when a Trigger occurs. This allows you to bake in custom themes and situations into your adventure to get the exact tone and type of story narrative that you want.

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A Matter Of Timing

Crisis At Dino Isle

Triggers are checked at the end of Scenes as part of normal Scene bookkeeping. If you determine that a Trigger happens, that that Keyed Scene Event takes place some time in the next Scene.

EVENT

Mythic Magazine #10 goes into detail about how Keyed Scenes work, but here it is in a nutshell: a Keyed Scene is any event you want to happen in your adventure that is tied to a specific Trigger. For instance, in an adventure where your wizard utilizes wild magic that sometimes goes out of control, you may include the Event: “Wild magic surge, a random display of magic erupts from you.” You set the Trigger of this to: “Every third Scene, roll a 1-2 on a 1d10.”

TRIGGER

A CRASH COURSE IN KEYED SCENES

For instance, let’s say you’re playing a scientific character in a modern adventure. Someone has gone and cloned a bunch of dinosaurs for an island theme park, and as we all know that never goes well. The animals have run amok and the place had to be evacuated. However, the island has an active volcano that is going to blow soon. Your character is part of a team charged with getting onto the island and, using special equipment, set off an underground explosion that should cause the volcano to go dormant. The Player for this adventure is going for a real Jurassic World feel, coupled with a disaster movie style ticking bomb aspect. She’s already decided that the first Scene is going to involve arriving at the island only to have their aircraft, the only means of escape, destroyed along with

KEYED SCENE

Normally, whatever your Keyed Scenes are, their Triggers are checked at the end of each Scene. If a Trigger happens, then the Keyed Scene Event happens in the following Scene. You can change up the timing of Keyed Scenes however by adding them to the Characters List. You can think of the Keyed Scene being rolled on the Characters List for a Random Event as a Trigger in itself. By placing the Keyed Scene on the Characters List, you can have the Keyed Scene Event happen unexpectedly in mid-Scene, when rolled, as opposed to generating it for the following Scene.

COUNT

Keyed Scenes are a way for you to create a theme in your adventure when you want certain kinds of narrative elements to happen. They can also be used to make sure your adventure follows a certain path to help keep it on track, even if you don’t know for sure how it will all pan out.

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KEYED SCENE

much of their equipment. Her character is now stuck on an island full of roving dinosaurs, and a volcano that will destroy the whole place if she doesn’t stop it in time. The volcano is an important, motivating aspect to this adventure. The Player makes a Keyed Scene to describe the progression toward oblivion. To make the timing of the Events more unexpected, she includes the Keyed Scene on the Characters List as “Volcano go boom!” The Keyed Scene is designed to work in two ways: originally how Keyed Scenes are meant to work, but also as a Characters List Trigger. She wants the important volcano Events to happen in stages, by the 10th, 20th, and 30th Scenes. However, she wants to be potentially surprised too and allow for the possibility of the Events happening mid-Scene. She sets Scenes 10, 20, and 30 as Triggers for the Keyed Event. By also making the

Characters List a Trigger, the Events have a chance of happening earlier than those pivotal Scenes. This means the Player knows those Events will happen by Scenes 10, 20, and 30, but not exactly when.

TURNING AND PLOT POINTS AS ELEMENTS Mythic Magazine #5 discussed combining The Adventure Crafter with Mythic. This mostly revolved around using Adventure Crafter Turning Points as a first Scene and as Interrupt Scenes.

Volcano go boom!

EVENT

Count 1: The volcano shudders. Wherever the character is, you feel a mild earthquake and can hear the volcano. A plume of smoke appears from it. Count 2: The volcano erupts, spewing smoke, lava, and debris into the sky. Wherever the character is, flaming rocks and ash rain down around you in this initial explosion. This should be played as a dangerous situation to survive through.

TRIGGER

Count 3: The volcano erupts again, exploding and tearing the island apart. This is a drawn out event, taking the next 3 Scenes to completely destroy the island. Make a Count when this is rolled on the Characters List. It can only happen once in every 10 Scenes. If it doesn’t happen by each 10th Scene, then the Count automatically happens (10, 20, and 30).

COUNT

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If you are using the two systems together, you could consider adding Turning Points as an element on the Characters List. When you roll a Random Event that calls for an NPC, and you roll on the Characters List and get “Turning Point”, you would then generate a whole new Turning Point to represent a major shift in your adventure.

Plot Points A note of caution, however: A Turning Point is no simple thing, it usually takes some time to generate and is meant to represent a variety of things happening. Adding an entire Turning Point to your Characters List, in effect turning them into Random Events, may be a bit more than you want going on in your adventure mid-Scene. Another, probably more useful approach, is to include single Plot Points on your Characters List. Issue #5 introduced a new Event Focus Table to help make List management easier if you were also using The Adventure Crafter approach to Lists. One of the items on that Event Focus Table is Plot Point Event. If you didn’t want to use that new Event Focus Table, just placing Plot Point as an element on the Characters List is an alternative way to still work Plot Points into your adventure as Random Events. Even if you aren’t using The Adventure Crafter in any other way, including Plot Point as an element on the Characters List gives you another way to throw a detailed and surprising twist into your adventure. It’s almost like having an additional Meaning Table. For instance, let’s say you generate a Random Event in your adventure. You roll on the Event Focus Table and get PC Positive. You roll on your Characters List to see which PC is involved and you roll Plot Point. Generating the Plot Point, you get a Theme of Personal and a Plot Point of Character Harm. That Plot Point is sounding a lot like a word pairing you might get from the Event Meaning Tables.

CUTTING DOWN THE COMPLEXITY Incorporating Plot Points, or even Turning Points, into your Characters List can produce some truly narrative changing and interesting results into your adventure. It can also be complicated and time consuming, not to mention that The Adventure Crafter and Mythic’s way of handling Lists don’t completely align. If you want Plot Points but with less work, you could use a lighter approach to them. Normally when you generate a Plot Point that refers to a character or Plotline you are expected to Invoke one by rolling to see which character or Plotline is involved. Eliminating the Invoking step will make your Plot Point generation simpler when used as a Characters List item. In this case, you would roll up the Plot Point and use it as inspiration within the context you are already working with. Since this Plot Point is part of a Random Event, you already have a lot of context at hand. Combine that with a trip to the Event Meaning Tables, and you should have everything you need to make a good interpretation. Simplifying it this way makes Plot Points into an additional Meaning Table, but instead of getting a word pairing to interpret you get a narrative trope to interpret. Simplifying Plot Point generation may also make more sense in your adventure. Plot Points and Turning Points are meant to be major shifts in your narrative, so generating one in the midsts of an ongoing Scene can generate some wild results. Eliminating the Invoking steps will make Plot Points fit into an ongoing Scene more smoothly.

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Going further, you roll again on the Characters List to see which character the Plot Point is referring to, and you come up with an NPC creature you encountered previously in a fight. Since this is a Random Event, you finish this by rolling on the Event Meaning Tables for more detail and you get Delay and Magic. All of this together could be interpreted like this: Your character runs across another hostile creature like he fought before. The thing is a sort of supernatural wolf with blazing red eyes and a power of breathing short blasts of fire. However, the PC Positive in this case is that the creature is harmed (Character Harm), and you interpret it to mean that something in the area is inhibiting it’s fire breathing weapon (Delay and Magic), making it vulnerable in this fight. Adding Plot Points to your Characters List can create more involved Random Events to resolve, but it can also give you more detailed ones.

META ELEMENTS TO ADJUST YOUR ADVENTURE So far a lot of the suggestions in this article are about adding content specific elements onto your Characters List to produce interesting results. We’re including Events, Plot Points, sourcebooks, and more. Another element you can add to your Characters List are “meta” elements that refer to the administration of your game. This is similar in concept to some of the other ideas, such as adding Events to your List to get a certain tone to your adventure. This idea, however, is adding specific rules judgement elements to achieve a tone. For instance, maybe you don’t like how the Chaos Factor can range so wildly in your adventure and you want a mechanism to tone it down. You could add an element to your Characters List such as “Chaos Factor 5”. When you roll this during a Random Event it’s an

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instruction to change the Chaos Factor to 5. You can use this approach as an in-game way to handle problems you’re encountering in your adventure. You’re basically turning adventure administration into a narrative event. You could include all sorts of things, like: • Prune: Go through the Characters List and remove any Characters that are no longer relevant. • Chaos Factor: As stated above, use this as an instruction to adjust the Chaos Factor to something you think is more reasonable. • End Scene: Maybe you like the idea of Scenes ending unexpectedly sometimes. Rolling this is an instruction to end the Scene immediately in the way that makes the most sense. • More Meaning: This is an instruction to roll more times on the Meaning Table instead of the usual single word pairing, maybe two or three word pairings, for this Random Event. Random Events are usually fairly rare, and a meta element would just be one element on your Characters List, so it probably wouldn’t get rolled too often. However, including these kinds of elements on your List can lead to small quality of life improvements in your adventure, all while turning it into a story event. I’ll be the first to admit that it might seem a bit odd to include game management on your Characters List. At the same time, it’s an interesting way of taking a recurring problem or annoyance and turning it into an in-game opportunity.

USING WEIGHTED LISTS The idea of “weighting” your Lists was introduced in The Adventure Crafter. Weighting means some elements on the List appear more than once, giving them a greater chance of being selected.

GIVING MEANING TO META There is an obvious problem to the idea of placing meta, game management elements on the Characters List: how do you interpret this into a meaningful Random Event? After all, if the Event Focus Table says NPC Action, and you roll on the Characters List and get “Make the Chaos Factor 5”, what are you supposed to do with that? My suggestion, as with all things Mythic, is to get creative and interpret what you think it should mean within your adventure. Even with the example above, you’re still going to roll on the Event Meaning Tables for interpretation inspiration. Maybe you roll Communicate and Hope. Let’s say the Chaos Factor was 8, really high. So, you bring it down to 5, as the instruction says. This is a dramatic shift in the Chaos Factor from high chaos to middle chaos. You might interpret this to mean that this Random Event is about something happening that signals the adventure calming down. With our meaning words of Communicate and Hope, and the above context, we might go with: Your character’s cell phone chimes, a text message has come through. It’s from Jax at the Freedom League. They’re aware of your predicament and are sending a hero to help you.

You can easily turn your normal Mythic List into a weighted List by following the same rules that guide it in The Adventure Crafter. Normally in a Mythic adventure you will add a Thread or a Character to your List at the end of a Scene if you think it deserves to go on the List. That Thread or Character was introduced in that Scene and it has now become an important part of your adventure. However, once added that element remains alone until it’s removed. You can weight some elements to be more important

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WHAT IF

by adding them to the List again if they appear in a later Scene. Just like in their original appearance, if the Thread or Character is important to the Scene it gets added again to the List. You can keep repeating elements on a List until it maxes out at 3, at which point you don’t add any more. This gives List element items a relative scale of weight. They will appear either once, twice, or three times on a List. How many times they appear is a product of how active they are in your adventure. The more active, the more they appear on the List, the more likely they are to become a factor again later in the adventure. If you have to remove an element, such as a Thread that’s been resolved or a character that’s out of the adventure, you would remove all instances of them from the List. I find this to be a simple but effective way to give more importance to some elements, encouraging your adventure to recognize their importance and bring them in again.

NESTED LISTS Nested Lists were discussed in Mythic Magazine #12 as a way to help manage unwieldy Lists. A Nested List is a specialty Characters Lists focusing on one type of NPC that might normally be filling up your primary Characters List. Let’s say you take my advice in the sidebar on this page about tidying up a List and you notice that you have 6 NPCs who are all members of the Mars Navy. You consider removing them all from the List and replacing them simply with the collective name of “Mars Navy”, but then again you don’t want to lose the distinctive flavor of each individual character. So let’s do both! A Nested List is just a normal fresh List where you only put one type of NPC, in this case we’d place our six

CLEANING HOUSE A List in a Mythic game can get lengthy, especially the Characters List and most especially if your adventure is a long one with lots of characters encountered. If you use the weighted Lists idea then your List is going to grow even faster. If a Scene calls for you to add another character to the Characters List and it’s full, then it may be time to clean it up and prune it down. I suggest taking a fresh, blank Characters List, and copying the NPC’s over who matter the most, eliminating those that no longer feel like they are part of the main narrative. This is your chance to do a little story editing while you’re doing List editing. If you’re using the weighted List approach, you might want to place characters just once if they appear one or two times on your original List, or twice if they appear three times. This opens up more slots on the List and, again, focuses the adventure on the most important NPCs. In the course of your adventure you may accumulate a few individual NPCs who are better off combined as a group. Maybe Bran the Bartender, Scotty the Butcher, and May the Town Crier should be relegated to a more general Townsfolk. Or, you could place them on a Nested List. I view a full List as an opportunity to focus and tighten the adventure. If you’ve gone through enough Scenes to fill up the List, then you have a better idea what the adventure is about now than you did when you first made that List. This process can be repeated over and over throughout your adventure as the List gets full.

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WHAT IF

Mars Navy NPCs on it. On our main List, we remove the individuals and put the name of their collective. When Mars Navy is rolled on the main Characters List, you then go over to the Nested Mars Navy List and roll again to see which individual NPC is chosen. This way you get to keep each character but also keep your main List more under control. You can make as many Nested Lists as you want, moving characters off of the main List. This has a number of benefits: • You keep your main List focused on the most important NPCs, placing less important characters into their own, separate Lists. • It gives you more thematic control over who is important in your adventure and who isn’t. Maybe you want the main villain to be both individually present on the main List but also he can be found in a Nested List because of an association he has with that group.

MYTHIC 2E LISTS This last List idea is more of a preview since it’s a look at how Lists are currently configured in the upcoming Mythic Game Master Emulator Second Edition rules. Mythic 2E is a work in progress, however, so the concept presented here may yet change by the time the official book comes out.

Hybrid List This List approach is a hybrid between how Mythic traditionally handles Lists and how The Adventure Crafter handles them. Like Adventure Crafter, this List is also a random table to roll on. It also includes a Choose option, much like The Adventure Crafter’s Choose Most Logical. The current version of the 2E Lists is a tables within a table, Lists within a List approach. It’s broken up into 5 sections of 5 lines each. Each section is a mini, separate table and List unto itself. The Martian Navy is here to fight, in their own Nested List!

Nested Characters List Sheet LIST NAME

1 2 3 4 5 6

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Martian Navy

Capt. Perch Lt. Buster Cogs Lester “Bomb” Tosser Nix the Bot Commander Krusher Medics

LIST NAME

1 2 3 4 5 6

7

7

8

8

9

9

10

10

11

11

12

12

13

13

14

14

15

15

16

16

17

17

18

18

19

19

20

20

WHAT IF

When you add to this List, you start at the top and make your way down line by line. When you’ve filled one box of 5 elements and go on to the next one, that new box is now activated and becomes part of the active List when rolled.

Rolling On A List

2E ADVENTURE LISTS THREADS LIST -

-

1-2 CHOOSE

1

3-4 CHOOSE

2

3-4 CHOOSE

2

1-2 5-6 CHOOSE

3

1-2 5-6 CHOOSE

3

7-8 CHOOSE

4

7-8 CHOOSE

4

9-10 CHOOSE

5

9-10 CHOOSE

5

1-2 CHOOSE

6

1-2 CHOOSE

6

3-4 CHOOSE

7

3-4 CHOOSE

7

3-4 5-6 CHOOSE

8

3-4 5-6 CHOOSE

8

7-8 CHOOSE

9

7-8 CHOOSE

9

d4

There are two columns of numbers on the left of each List. When rolling on a List, you will roll up to two dice. The first die will either be nothing, or a d4, d6, d8, or d10, depending on how many items are on your List and how many boxes are active. The second die is a d10. The first die you roll is determined by how many boxes are active. If you only have up to 5 elements on your List then you don’t roll any first die, you just roll the d10. If you have 6-10 elements you roll a d4 and the d10, 11-15 elements is a d6 and the d10, 16-20 elements is a d8 and the d10, and 21-25 elements is a d10 and the d10. When you are required to roll on this List, the first die will correspond with the left most column of numbers and tell you which box you’ll be rolling on. The second die (always a d10) applies to the second column of numbers within that box and will tell you which element in the box is selected.

CHARACTERS LIST

d6

9-10 CHOOSE

10

1-2 CHOOSE

11

1-2 CHOOSE

d4

d6

1

9-10 CHOOSE

10

1-2 CHOOSE

11

3-4 CHOOSE

12

3-4 CHOOSE

12

5-6 5-6 CHOOSE

13

5-6 5-6 CHOOSE

13

7-8 CHOOSE

14

7-8 CHOOSE

14

9-10 CHOOSE

15

9-10 CHOOSE

15

1-2 CHOOSE

16

1-2 CHOOSE

16

3-4 CHOOSE

17

3-4 CHOOSE

17

7-8 5-6 CHOOSE

18

7-8 5-6 CHOOSE

18

7-8 CHOOSE

19

7-8 CHOOSE

19

9-10 CHOOSE

20

9-10 CHOOSE

20

1-2 CHOOSE

21

1-2 CHOOSE

21

3-4 CHOOSE

22

3-4 CHOOSE

22

9-10 5-6 CHOOSE

23

9-10 5-6 CHOOSE

23

7-8 CHOOSE

24

7-8 CHOOSE

24

9-10 CHOOSE

25

9-10 CHOOSE

25

d8

d10

Choose When you roll a line that is empty of an element the result is considered Choose. You have three options: • CHOOSE AN ELEMENT: Select an element on the List, whether you’re on the Threads or Characters List, that makes the most sense to you in this context. This

THE FIRST DIE YOU ROLL IS EITHER NOTHING, OR A D4, D6, D8, OR D10, DEPENDING ON HOW FULL YOUR LIST IS.

d8

d10

THE SECOND DIE IS A D10 TO GIVE YOU YOUR ELEMENT IN THE BOX CHOSEN BY THE FIRST DIE.

is equivalent to The Adventure Crafter’s Choose Most Logical Plotline/Character. • CHOOSE TO ROLL AGAIN: If there isn’t an obvious and logical candidate on the List to choose from, or you would rather be surprised by randomness, then roll again until you get an active element on the List. • CHOOSE TO USE AN ALTERNATIVE: Much of this chapter is about adding alternative items to your

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Characters List, such as Nested Lists, Meta Elements, Plot Points, Keyed Scenes, Sourcebooks, Events, and Non-Character Active elements. While you can add these elements to your List, you can also set them to the side as an option to be chosen when you roll Choose. In this way, you can select more deliberately when to make these items active in your adventure, and they may appear more frequently as well. This option is also good if you just want NPCs on your Characters List and would rather have Choose indicate when you will bring these extra elements into your adventure.

How This Affects Your Game This current version of the Mythic 2e List method will likely feel familiar to you on the one hand when it comes to rolling for a random Thread or Character, but it also gives you more control through the Choose mechanic. The odds of Choose being rolled will vary throughout the adventure, from zero chance (when the active boxes in your List are full) to very likely (when an active box only has one element in it). The more full your List gets, generally the less likely Choose will become, but the odds will still rise and fall depending on which element slots are open. This will produce an affect in your game where Choose will start off as a fairly likely result to roll, then it’ll become less likely as you play, then eventually more likely again, and less likely as you progress, and so on bouncing back and forth throughout your adventure. This makes the Choose mechanic a little similar to Mythic’s Chaos Factor, which is designed to change the tone of your adventure as you progress so it doesn’t always feel exactly the same throughout. How your List plays out throughout your adventure will also ebb and flow.

WHAT’S THAT NUMBER ON THE RIGHT? On the Mythic 2E List you’ll see a number to the right of each element slot, listing the element lines from 1 to 25. That’s there to give you a quick and easy reference for the current count of your elements. You can also use the 2E List as an alternative to The Adventure Crafter Lists when you combine that system with Mythic. The 2E Lists eliminate the New Thread/Character option, making the Lists simpler to manage and leaving those options up to Mythic during normal play. If you use the Mythic 2E Lists with The Adventure Crafter, you have the option to either always roll on the full table (so rolling 2d10 every time, regardless of how many elements are on the table), or rolling on the table as indicated in this article. You might feel doing it the second way gives a little tighter integration between Mythic and The Adventure Crafter, while the first way will feel more familiar to how The Adventure Crafter does it. Also, if you are using The Adventure Crafter Deck, you can use the 1 to 25 numbers to correspond to how the Deck randomly selects Plotlines and Characters.

Beyan And The Manticore In this example, the warrior Beyan has been given a quest by the legendary Manticore of Yrioch to retrieve a magical staff from a cursed valley. The Player is using the 2E Lists, and after several Scenes has generated four characters, almost filling the first box. While trying to climb a cliff, the Player asked the Fate Question, “Is there anything easy to climb with, like vines or roots?” a Random Event was generated. The Event

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Focus Table gives us NPC Action. The Player needs to roll on the Characters List to see which NPC. Since there are only four entries, there is no first die to roll so the Player just rolls a d10. She gets a 9 for a result of Choose. Thinking about it a moment, she decides the most logical result among the NPCs on the List would be Wild Animal. Beyan has an unfortunate encounter on the cliff face with an eagle coming to harass him. Several Scenes later, the Player has added 4 more NPCs to the List, breaking into the second box. When a new Random Event is generated, NPC Negative, she now has to roll two dice because there are multiple boxes on the List involved. With 8 elements on the List, the first die to roll is a d4 and the second a d10. She rolls a 3 on the d4, indicating the second box will be used. Her d10 gives her a 4, indicating Beyan has an encounter with a member of the Cliff Dweller Tribe.

2E ADVENTURE LISTS THREADS LIST -

Recover the staff

1-2 CHOOSE

CHARACTERS LIST

3-4 CHOOSE

2

1-2 5-6 CHOOSE

3

7-8 CHOOSE

4

9-10 CHOOSE

5

1-2 CHOOSE

6

d4

-

1

3-4 CHOOSE

7

3-4 5-6 CHOOSE

8

7-8 CHOOSE

9

9-10 CHOOSE

10

1-2 CHOOSE

11

3-4 CHOOSE

12

5-6 5-6 CHOOSE

1-2

d4

3-4

The Manticore 3-4 CHOOSE Wild animals 5-6 CHOOSE Beyan’s horse 7-8 CHOOSE Carnivorous plants 9-10 CHOOSE Evil sorcerer 1-2 CHOOSE Random traveler 3-4 CHOOSE Cliff Dweller Tribe 5-6 CHOOSE Bad weather 1-2 CHOOSE

1 2 3 4 5 6 7 8

7-8 CHOOSE

9

9-10 CHOOSE

10

1-2 CHOOSE

11

3-4 CHOOSE

12

13

5-6 5-6 CHOOSE

13

7-8 CHOOSE

14

7-8 CHOOSE

14

9-10 CHOOSE

15

9-10 CHOOSE

15

1-2 CHOOSE

16

1-2 CHOOSE

16

3-4 CHOOSE

17

3-4 CHOOSE

17

7-8 5-6 CHOOSE

18

7-8 5-6 CHOOSE

18

d6

d8

d6

d8

7-8 CHOOSE

19

7-8 CHOOSE

19

9-10 CHOOSE

20

9-10 CHOOSE

20

1-2 CHOOSE

21

1-2 CHOOSE

21

3-4 CHOOSE

22

3-4 CHOOSE

22

9-10 5-6 CHOOSE

23

9-10 5-6 CHOOSE

23

7-8 CHOOSE

24

7-8 CHOOSE

24

9-10 CHOOSE

25

9-10 CHOOSE

25

d10

d10

LET’S HEAR IT! Have thoughts on an article in Mythic Magazine, or experiences related to it, that you’d like to discuss with other Mythic players? Join the discussion online! Find links to Word Mill Game’s fan site, Patreon page, and other online groups at

www.wordmillgames.com MYTHIC MAGAZINE VOLUME 17 • 17

TOOL BOX Something for you to consider or use

The Big Collection Of Big Examples I’ve tried to include lengthy examples in all the Mythic and Crafter books. Solo role-playing can be tricky to wrap your head around sometimes, and given that you’re not playing in a group where you can bounce questions and thoughts around, the rules need to be clear. Sometimes, stating the mechanics alone isn’t enough, we all need to see it in action. Bring in the Big Examples! This article is a collection of three Big Examples covering a range of Mythic and Crafter concepts. I’ll happily do more Big Example articles in the future if people like this and want to see more. Each Big Example is like reading an actual play. I’ll state the relevant rules as I go, and how the Player is interpreting them and turning it into the adventure narrative. So let’s go adventuring!

The Viper Of Leomund Court EXAMPLE SETUP In a magical fantasy setting, the Player Character is Edmund Remault, a knight in service to his queen. In this adventure, Edmund is trying to make sure that a treaty ceremony with an opposing nation happens smoothly and without incident. Edmund has learned that there is a saboteur who wants to derail the ceremony. Edmund has to figure out who it is before they strike. CONCEPTS FOCUSED ON Making Altered and Interrupt Scenes.

So far in this adventure, the knight Edmund Remault has been trying to safeguard the security at a treaty signing between the kingdom he serves and an opposing nation. In a previous Scene Edmund learned there is someone present at the week long event who wants to sabotage it.

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Edmund knows very little, not even which kingdom or faction the spy is from. The ceremony is being held in the castle of a neutral barony, the Court of Leomund. The Chaos Factor currently sits at 6. We’ll pick up right after Scene 3, as the Player prepares for Scene 4. Scene 3 was about Edmund speaking with Leomund Court’s Captain of the Guard looking for any insight in who the interloper is. The Captain suggests Edmund go look into a wealthy merchant named Cassamar. The merchant has been profiting handsomely from the war between the countries and has a vested interest in the conflict continuing. The Expected Scene Setup for Scene 4 is this: Edmund visits Cassamar in his establishment outside the castle walls in an effort to get a sense of him. Checking to see if the Scene happens as expected, we roll 1d10 against the Chaos Factor and get 5. Since this is within the range of the CF of 6, and is an odd number, it means we have an Altered Scene. The Expected Scene doesn’t happen as envisioned, but the next most expected scenario occurs. There are a number of possibilities here. First, since this isn’t an Interrupt Scene, but an Altered Scene, the main topic of the Expected Scene should remain intact: Edmund going to visit Cassamar. The most likely alterations might be the meeting taking place at another location, or perhaps with someone other than Cassamar himself but representing his interests. The Player decides that the most likely second choice for an Expected Scene is that Cassamar isn’t in his place of business at all, but is present within the castle of Leomund. This makes dramatic sense because the treaty signing is an historic event, and the castle is teeming with powerful and important people. It also lends credit to the possibility of Cassamar being involved in the plotting, since he is actually on site. Scene 3 ended with Edmund receiving the suggestion

ALTERED SCENE LOGIC When you generate an Altered Scene and come up with the next most Expected Scene setup, you may have to make a few logical leaps. For instance, in the example on this page, Scene 4 is about Edmund visiting Cassamar. The Player makes the assumption that the meeting will take place at Cassamar’s place of business, but the Altered Scene changed that to have it take place within the castle. For this to make narrative sense, the Player assumes that this is what Edmund was told. The Player can make that assumption because Scene 3 did not state where Cassamar was, just that Edmund should go see him. It was the Player who decided where it would be, and Mythic stepped in to change that. Scene 3 may have played out differently however. For instance, maybe Edmund and the Captain have an extended conversation about Cassamar, how he recently returned from a trip abroad and hasn’t left his offices since getting back. That explicitly places Cassamar at his business. This is a small but important detail. It makes it less likely that the Altered Scene takes place somewhere else, because Edmund has been told to go to Cassamar’s business. In this case, the Player may have come up with a different Altered Scene so that everything makes sense. Maybe Edmund goes to the business but finds Cassamar isn’t there. Instead, he meets with an associate of Cassamar’s. Generating an Altered Scene may sometimes require some logical narrative steps to be generated. You can think of this as information generated between Scenes to help you bridge them.

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to go visit Cassamar. Although it wasn’t explicitly determined in the Scene, the Player assumed that the Captain instructed Edmund where he could go to find Cassamar. Although the Player originally meant for Scene 4 to take place at Cassamar’s business headquarters, the Altered Scene switched it to a place in the castle. The Player makes the interpretation that this is what the Captain tells Edmund. The Player decides that this lead represents the Character is in control, so ends Scene 3 with a -1 to the Chaos Factor, bringing it back down to 5. As an Altered Scene, Scene 4 takes place in an opulent suite within Leomund Castle where Cassamar has temporarily taken up residence. Knowing that Cassamar is a very wealthy and powerful merchant, the Player decides that he would have only the best accommodations. The Scene unfolds with Edmund talking his way past Cassamar’s guards and sitting down at a table to talk with the merchant while he eats his lunch. The Scene unfolds with tension between Edmund and Cassamar as they speak. The merchant admits he would be delighted to see the treaty ceremony fail and the conflict continue, but he claims he is not plotting to make it happen. He offers up another suspect, the nephew of the king of the opposing nation. The nephew, Nikol, is a commander in the king’s army. He has seen many battles and has formed a hatred for Edmund’s Queen and her country. Cassamar claims that if anyone is plotting to wreck the treaty it’s Nikol. After all, not only does he have a motive, but as a high ranking member of the kingdom he has access during the treaty event to place an operative just about anywhere he would want. Edmund questions Cassamar on why he would help in his investigation if the war is profitable for him. Cassamar implies that there is plenty of bad blood between him and Nikol, and he wouldn’t mind seeing the commander fall from grace.

The queen is counting on Edmund to safeguard the treaty signing. The twists and turns offered by Altered and Interrupt Scenes give you the opportunity to raise the drama on your adventure. Don’t be afraid to choose interest over logic when devising a changed Scene.

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This Scene ends with Edmund obtaining a new lead to pursue that he considers to be solid. The Player decides events are going along nicely, and lowers the Chaos Factor again to 4. The Player decides that Edmund’s next course of action is to spy on Nikol for a while and see if he spots anything suspicious. The Expected Scene is: Edmund locates Nikol and keeps an eye on him for a day to see what he’s up to. Rolling against the Chaos Factor of 4, we get a 2, which means an Interrupt Scene. Generating a Random Event to form the basis of the Scene, we get PC Negative on the Event Focus Table. The Event Meaning Tables gives us Transform and Exterior Factors. The fundamental difference between an Altered Scene and an Interrupt Scene is that, with an Altered Scene, the core aspect of your Expected Scene still happens, but some details are changed. With an Interrupt Scene, the core aspect of the Scene is changed. For instance, with our previous Scene where Edmund was heading out to talk with Cassamar, even though it became an Altered Scene the core concept of Edmund going to speak with the merchant remained the same. What changed was the detail of where the meeting took place. For Scene 5, the Expected Scene was Edmund spying on Nikol. However, since we got an Interrupt, that core Scene idea isn’t going to happen and will be replaced by something completely different. You can think of Altered Scenes as slight course changes in your narrative, and Interrupt Scenes as turning down a whole different path. With interpreting the results of the Random Event rolls, first off we know this isn’t going to be our Expected Scene of Edmund observing Nikol. Something happens to prevent that, at least for now. Just like Altered Scenes should rely on what you expect most, the same is true with Interrupt Scenes in how you interpret the result. We have PC Negative, so we know this isn’t good news for Edmund. Our inspirational words

WHEN IN DOUBT One problem posed by Altered and Interrupt Scenes sometimes is, you have no idea what the next most Expected Scene would be, or you can’t interpret the Interrupt in any way that makes sense. Here are a few suggestions on how to handle doubt when refashioning an Expected Scene. MAKE IT A FATE QUESTION: If your doubt is caused by having multiple Scene ideas, then you might be able to clear the confusion by letting Mythic decide. You can fashion a Fate Question, asking if one of those scenarios happens. A Yes means that version of the Scene occurs. A No means the other most prominent idea happens. An Exceptional Yes could mean an idea you have that is similar, but more extreme happens. The same goes for an Exceptional No, maybe the most far fetched idea you have you decide to go with. FOLLOW YOUR INTEREST: It’s easy to forget in all the dice rolling and chart consulting that this is a game and it should be fun. The most expected idea doesn’t have to be the most rational one. If you’re in doubt about a Scene because you can’t decide which alternative makes the most sense, then maybe forget about making sense and go with what is the most interesting and most fun idea. After all, this is an adventure and Mythic is calling upon you to edit a portion of it. That edit should be something exciting which, in its own way, is logical and should be expected. I DUNNO: Let’s not forget the I Dunno Rule, which simply states if you are stumped for an interpretation, forget about it and move on. While this is usually applied to Fate Questions and Random Events, it counts for Altered and Interrupt Scenes too. If fishing for an idea is stalling your adventure, ignore it and just go with your original Expected Scene.

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are Transform and Exterior Factors. The Player interprets “transform” to mean something changes, and “exterior factors” to mean the environment around Edmund. The Player comes up with this: The next day, right before Edmund was about to leave his quarters to begin spying on Nikol, a messenger arrives with orders from General Daminsk, Edmund’s immediate superior. Edmund is being ordered to some kind of duty for the day which will prevent him from carrying out what he wanted to do. The Player thinks this is the most logical interpretation, but she doesn’t know what the new duty is. A useful tool for generating more information for an interpretation is to roll again on the Meaning Tables. You could also ask a Fate Question, such as “Is Edmund ordered to escort a noble for the day?”, but if you have no idea what’s in store it may be better to go straight to the Meaning Tables. In this case, the Player rolls Oppress and Death on the Meaning Tables. The Player decides that this means a death has occurred somewhere in the castle and Edmund is being summoned to look into it. This makes a lot of sense within the context of this adventure, and in this Scene Edmund discovers that the murder victim was a court secretary of the opposing nation. They were killed in their quarters, and Edmund believes a travel itinerary was stolen during the murder. Edmund thinks the spy plotting to destroy the treaty process was responsible for the crime, and may be planning to use the stolen schedules to target a dignitary.

DETAILS DETAILS The sidebar on the previous page, When In Doubt, addressed the problem of when you have no idea how to interpret an Altered or Interrupt Scene. Another problem is when you can make an interpretation, but it’s missing important details. This happened in the Scene with Edmund in this example when an Interrupt was rolled. The Player generated a Random Event to decide what new Scene happens, deciding that Edmund gets called away. But, we don’t know why he was called away. The Player could have left this an open question to be determined within the new Scene itself. However, if you have an Altered or Interrupt Scene interpretation but need just a bit more detail, a trip to the Meaning Tables is an easy way to generate more information. The core Mythic books offer one set of Meaning Tables, while later books expand them into Action and Description Meaning Tables. Whichever set you choose, the process is the same, rolling a pair of descriptive words or phrases and interpreting what they mean. Edmund’s Player does this to flesh out the Interrupt Scene. The Player could have not rolled and come up with an idea of their own. However, if you really don’t know what to expect forcing an idea into your solo adventure can begin to make it feel less real and more rail-roaded. This can break down our immersion in the narrative. However, making an interpretation that is tied to context limits our command over the unfolding story, allowing for true surprises. Rolling on the Meaning Tables for a new detail can offer the additional context you need to make a satisfying interpretation.

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The Dreamquest Of Adelade Stephens EXAMPLE SETUP This adventure finds anthropologist and occult investigator Adelade Stephens on a journey in the Dreamlands on a quest of Lovecraftian horror. CONCEPTS FOCUSED ON Using The Adventure Crafter in your Mythic adventures to create the opening Scene and make Interrupt Scenes.

This adventure features a Player’s established character Adelade Stephens. The game is about contemporary occult and supernatural investigations. Adelade is an anthropologist with an eye for the strange. In a previous adventure, she came across a cache of books and notes from an ancient Sumerian philosopher who pondered the question of existence, then apparently found his answers in another world. Adelade discovered this secret place is the Dreamlands, and in this adventure she plans to take a trip there herself. The Player is hoping for a classic, weird horror excursion into the mysterious Dreamlands. She wants to get right into the action, so she’s already decided that the first Scene is going to be about Adelade arriving in the Dreamlands and discovering what she first finds. The Player is going to use The Adventure Crafter Deck for this game, to build the opening Scene and hopefully get the adventure off to a good start with some NPCs. The Player has a simple starting Plotline in mind, “Explore the Dreamlands.” The Player also plans to use The Adventure Crafter Deck for Interrupt Scenes that happen during the

ADVENTURE CRAFTER MIX AND MATCH The Adventure Crafter is similar to Mythic in many ways, but different enough that you need to make some decisions about how to combine the two together. This topic has been discussed in The Adventure Crafter book as well as in Mythic Magazine Issue #5. The basic things to consider, however, are: • WHICH LIST SYSTEM TO USE: Are you going to use Adventure Crafter’s 25 item List where you can potentially roll New Plotlines/ Characters, Choose Most Logical, and use weighted entries (where an element can appear up to three times on a List), or use Mythic’s simpler NPC focused List? Doing it the AC way makes the List more active, generating more results, but it also may add a layer of complexity you don’t want. • WHEN TO USE TAC: How much you use The Adventure Crafter with Mythic is up to you. Maybe you just use it to generate the first Scene. Or, you could use it to generate Interrupt Scenes instead of using Random Events. You could also use it for inspiration for Altered Scenes.

adventure. Although The Adventure Crafter book mentions using Turning Points for Altered Scenes as well, the Player decides this is overkill and would rather save potentially narrative shifting Turning Points to just Interrupt Scenes. Since the Player is combining The Adventure Crafter with Mythic, she needs to make some decisions about how she’s going to handle List management. She decides she’s going to use The Adventure Crafter List method: Lists of 25 lines that she can pull cards from the Deck to “roll” on. She’s going to incorporate this into the normal Mythic rules, so a check on the Lists now allows for

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Choose Most Logical and New Plotline/Character. She prints out an Adventure Crafter Deck List sheet and writes “Explore Dreamlands” as the first Plotline. Since Adventure Crafter Plot Points may sometimes point to her own character, she also writes in “Adelade” as the first entry on the Characters List. Normally in a Mythic adventure you don’t include Player Characters on the List, but the Player is going to go along with Adventure Crafter rules in this regard. Getting started, it’s time to make the first Scene. Since this is both a Mythic and an Adventure Crafter game, the Player shuffles the Theme cards and draws to see which order they occur, as per The Adventure Crafter rules. She gets: Tension, Mystery, Action, Personal, and Social, in that order. Tension and Mystery are at the top of the heap, which seems fitting for the tone of a quest in the Dreamlands. The Player starts generating Plot Points for a Turning Point to use as the opening Scene. Usually when you start an Adventure Crafter adventure, the first Turning Point defaults to a New Plotline, since it’s assumed you don’t have any Plotlines yet. However, the Player already has a Plotline in mind and written on her sheet. Since using The Adventure Crafter Deck is diceless when it comes to checking the Lists, she draws a card. At the top of the card next to Plotlines it says 19, and Choose Most Logical Plotline. Since line 19 is empty on her Plotlines List, that means the result is Choose Most Logical Plotline. There’s only one Plotline, so the Player goes with “Explore Dreamlands”. Now it’s time for our five Plot Points to create this Turning Point. The Player draws a card for the Theme, and gets 1. The top Theme is Tension. Drawing another card and referring to the Tension icon, she gets “None”. So there is nothing to the first Plot Point. For the second Plot Point we get Theme 1 again, Tension. The second card for Tension says Time Limit. So something about this opening Scene will involve a limited amount of time.

BUILDING YOUR LISTS One of the things I really like about combining The Adventure Crafter with Mythic is that it makes for a wonderful way to generate a first Mythic Scene. Just like in this example, it’s likely that you will add to your Threads/Plotlines and Characters Lists in the first Scene complete with some interesting twists and turns brought on by Plot Points. Sometimes it’s difficult to start a Mythic adventure completely from scratch. This is where The Adventure Crafter excels, creating a sophisticated narrative from nothing. If you don’t use The Adventure Crafter for anything other than Mythic opening Scenes, I think it is well worth it.

For the third Plot Point, we get Meta as the Theme. The second card pulled for Meta says Character Returns. Since we’re just getting started with this adventure, and there is no character who can return, we are changing this to a None result. For the fourth card, we get a Theme of 3. Our third priority Theme is Action. The next card we pull for the Action icon says “Escape”. Okay, this is starting to sound interesting. Escape, and a time limit. The Player decides to Invoke a character to see who has to escape. She draws a card and gets “Characters - 17, New Character”. Since slot 17 is empty on the List, we go with New Character. We have to determine who this character is. Drawing a card for Special Trait we get The Character Is An Organization. For Identity we get Supporter, and for Descriptor we get Draw Two Descriptors. Drawing two more cards, we get Descriptors of Gentle and Skilled. The Player decides that this character refers to an organization of Dreamlands explorers who have become

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trapped in the Dreamlands. These luckless survivors have banded together for mutual protection to form an organization known as Nods. They attempt to greet incoming Dreamers to help them survive so they don’t end up trapped like they are. The Player writes “Nods organization” onto the Characters List. The Player’s interpretation for this Plot Point was for Escape to apply to the new character generated, since they can’t escape from the Dreamlands.

We have one more Plot Point to generate, and we get a Theme of 1, Tension. The second card says “Do It, Or Else”. The Turning Point didn’t physically describe anything, so the Player decides to roll on the Description Meaning Tables for inspiration and gets Excitedly and Smelly. She goes with this interpretation: Adelade opens her eyes to find herself on a well lit porch at night. There is a strong odor, and she realizes she is surrounded by a swamp with tall trees and shimmering, murky water. The porch is attached to a house, and it is bustling with

The Adventure Crafter whipped up a Dreamlands complete with a smelly bog house and friendly, doomed people.

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activity and people. Several come out to greet her with smiles and welcomes, and explain what she has just gotten herself into. The Player decides that the Time Limit and Do It, Or Else Plot Points refer to a quest that Adelade has to complete in a certain amount of time. Failure to complete the quest means she too will be trapped in the Dreamlands, just like the others. Success, however, means she can come and go as she pleases from the waking world to the Dreamlands. With a series of Fate Questions and trips to the Meaning Tables, the Player determines that the quest is to venture into the Dreamlands to find the personification of a guilt or fear holding her back, and slay that entity. Adelade is finding that indulging her curiosity about the Dreamlands is dangerous. The Player ends the Scene. She decides that since Adelade immediately encountered a dangerous quest that she is going to increase the Chaos Factor by 1. Also, the quest to defeat her fear sounds like a new Plotline, so the Player adds that onto the Plotlines List. Normally when using The Adventure Crafter you wouldn’t add a Plotline unless a Turning Point calls for a New Plotline. However, when combining it with Mythic, both Adventure Crafter and Mythic rules apply. In Mythic, at the end of a Scene, if you decide your character is taking on a new Thread/Plotline you can add it to the List. Over the next four Scenes, Adelade ventures further into the Dreamlands in search of her fear to defeat. Each Scene turns out to either be Expected or Altered. She takes a boat across the bog and finds a road, where she encounters a well that speaks to her. It tells her riddles she doesn’t understand and she moves on. In another Scene she finds herself chased by a trash can sized, three legged and eyeless frog-like creature that she barely escapes. In one Scene she encounters a man in a horse drawn carriage who offers her a silver dagger, which she accepts. For each of these Scenes Adelade has been following a

A NOTE ABOUT INTERRUPTS AND TAC Mythic Interrupts are basically Random Events that become the basis for a Scene. Since Turning Points can resemble Random Events, it makes them good for substituting as Interrupts. However, an Adventure Crafter Turning Point is usually quite a bit more involved than a standard Mythic Random Event. Where a Random Event is usually one specific thing happening, a Turning Point can be multiple events happening with multiple characters. Keep in mind that if you do decide to incorporate Turning Points as Interrupts, it’s going to slow your game down. Generating a Turning Point takes longer than a Random Event. It’s also more likely that the Turning Point will significantly change the narrative of your adventure. That’s really what Turning Points are for. A Mythic Interrupt Scene will usually push your adventure in an unexpected direction. A Turning Point may redefine your adventure. If you like the idea of using The Adventure Crafter for Interrupts, but a full Turning Point is a bit much, you can consider creating a smaller Turning Point of three or even two Plot Points. Or, just go with a single Plot Point, in which case it will act more like a standard Random Event but just generated in an alternative way.

path through a sparse forest, in a night that never seems to reach dawn. She’s added some more characters to the Characters List, such as: frog monster, the stranger from the carriage, and the Dreamlands itself. Since the Player is using The Adventure Crafter List method, she’s weighting elements, which means if an element that’s already on the List plays a role in another Scene she adds it again up to a total of three for that element. In the Scene where she ran afoul of the monster frog, that scenario came about

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because the Player generated a Random Event. The Event Focus Table came up with PC Negative, which resulted in her being chased. Since the event called out Adelade specifically, she added her character to the List again. For the next Scene, the Player expects more of the same, going with the Expected Scene of “Something else crazy happens.” She rolls against the Chaos Factor and gets an Interrupt Scene. It looks like a plot twist is coming. Picking up her cards, the Player draws to see which Plotline this Turning Point will be about. The result is “Plotlines - 16, Choose Most Logical Plotline”. Since there is no element on line 16, we go with Choose. The one that seems most logical to the Player is the quest Adelade is on. Starting with the first Plot Point of the Turning Point, we draw a Theme of 3, which is Action (the third priority Theme in this adventure), and the second card says Rescue. The Player decides to Invoke a Character from the List to see who needs rescuing and gets Dreamlands. Interesting. The second Plot Point is a Theme of Tension and a Plot Point of Bad News. The third Plot Point is a Theme of Mystery and a Plot Point of None, so nothing there. The fourth Plot Point is a Theme of Mystery again, and a Plot Point of Beat You To It. This one is intriguing, the Player Invokes a Character to attach to this and gets Adelade. Maybe this means someone beat her to her own quest? The fifth Plot Point Theme is Tension with a Plot Point of Rural Setting. Since this Interrupt is about the quest Plotline, the Player interprets all of this to mean that Adelade has reached the object of her quest. She interprets the results this way: the path wends around a copse of thick trees, and Adelade can see light. Very bright light. She shields her eyes for a moment, then finds herself standing on a

LOOSEY GOOSEY A nice thing about The Adventure Crafter is that Plot Points point to specific narrative events. A bad thing about TAC? That Plots Points point to specific narrative events. Random detail can be great when it fits nicely into the narrative of your adventure, but it can be tough when it doesn’t. The more specific a random prompt is, the harder it can sometimes be to interpret. With more detail is less room to interpret. Compare The Adventure Crafter to Mythic, which gives very general prompts from the Event Focus Table and Event Meaning Tables. The results might be vague, but it gives you a lot of room to interpret. So, my point is, don’t let yourself feel boxed in by details The Adventure Crafter paints for you. You can still interpret those results as loosely as you want. For instance, in the Adelade example, one of the Plot Points for the Interrupt Scene was Bad News. Normally you might associate this Plot Point to someone being told something awful, or leaning about something bad. The Player here stretched the Plot Point to mean that Adelade’s duplicate was bad news. A classic evil twin.

grassy lawn in a breezy, sunlit afternoon. Before her is a farmhouse she recognizes instantly, it’s where she grew up. The Player takes the first Plot Point, Rescue, and decides it pertains to Adelade fulfilling her quest and rescuing herself from the Dreamlands. That means this Scene is where she either succeeds or fails. She decides that the fourth Plot Point, Beat You To It, means the personification she needs to overcome is herself. A copy of Adelade walks out of the farmhouse,

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smiling wickedly at her. The Player decides that the second Plot Point, Bad News, refers to the duplicate Adelade. She is an evil version of her, corrupt, angry, and she wants to be the last one standing instead of the real Adelade. Adelade realizes she’s in for the fight of her life, against an evil version of herself, on a stage in the dreamlands fashioned to look like the pleasant and comforting place she was raised.

WORDS AND MEANING Throughout this example, the Player is going to make specific interpretations about what the NPC says, and all of this based on fairly vague Fate Questions and Meaning Table rolls. This makes conversations in Mythic no different than resolving any other kind of question: once you know generally what is happening, you make an interpretation that fits that meaning.

Victor And The Red Eight Council

The specific words you come up with only matter to the extent that you find them interesting, and that they match the meaning of what the Fate Question or Meaning Table gives you.

EXAMPLE SETUP

You may have gotten a Yes to your Fate Question of “Does the barbarian warband leader agree to help me fight the trolls?” So you know the NPC agrees to help you. That is the meaning.

The Player Character is Victor Sykes, a Starship captain in a sci-fi solo campaign of space exploration. In this example, Victor is meeting with a council member of the Red Eight, an alien species that has been aggressing human starships. Victor currently has the ear of the councilmember and believes he might get cooperation from him, but he also suspects there is a hidden agenda and he would like to figure out what it is. CONCEPTS FOCUSED ON Crafting complicated conversations with NPCs.

This example involves a complicated conversation between the Player Character, Victor, and Das Vra, an alien council member of a hostile civilization. The Player wants to go into detail with this conversation, as much of the adventure has led up to this moment. The Player decides to use the NPC behavior rules detailed in Mythic Magazine #9, which is primarily using Fate Questions to answer what the NPC says. For further detail, instead

The actual words you use for that NPC agreeing could be “It is a noble cause. I pledge my warband to it!” Or, he could say, “LET’S CRUSH THOSE BONE-CHEWING TOE SCUM!” Both of those statements match the meaning, but they differ in tone and that is entirely up to you. The more you know about an NPC’s personality, the more naturally their words are going to flow for you if specific language is important. The point is not to worry too much about what exact words you use as long as those words match the meaning generated by Mythic.

of using the regular Meaning Tables, the Player is going to use the Vocal column of the Behavior Meaning Tables from Issue #9 (and found on the next page). The meeting between Victor and Das takes place in a private room at a tavern on a neutral planet. No one knows either of them are there, as the meeting is secret.

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MEANING TABLES: BEHAVIOR Victor sits down across from Das, who stares at the starship captain with his plain red eyes. “Why did you ask to see me?” Victor says, opening the conversation. The Player really has no idea why Das requested this meeting, and he doesn’t want to guess using a Fate Question. So instead, he goes straight to the Behavior Meaning Table, Vocal, rolling twice. He gets Colorful and Oppose. The Player interprets it this way: The alien leans forward slightly. “You should show more respect to a representative of a superior race.” The Player chose this interpretation as “oppose” implied Das would say something aggressive, and the grandstanding about his race being superior seemed “colorful”. Victor takes a sip of his drink, measuring his words. The Player decides to make a Persuasion skill roll for Victor, using the rules of the RPG they are playing. The goal of the roll is to come across as unshaken to Das in the hopes that the alien will soften and reveal what it is that he really wants. Making the roll, Victor succeeds. The Player isn’t sure what Das will say after this, but the roll has set the context that whatever it is, it will reveal what he wants of Victor. “And yet a leader of a superior race is meeting in secret with a human in a backwaters bar. You need something from me. What is it?” The alien’s composure slips a little as he glances down, nodding. To hear what he has to say, the Player again rolls on the Vocal Behavior Meaning Table, getting Positive and News. “You are correct, there is something that I want,” Das says. “There is a chance of peace between our cultures.” The Player chose this response as it fit both “positive” and “news”. There has only been conflict between humans and the Red Eight so far, so what Das says is a surprise to Victor. “Peace? I would be happy to see that. What does this

VOCAL

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Abuse Advice Aggressive Agree Amusing Angry Anxious Assist Awkward Betray Bizarre Bleak Bold Business Calm Careful Careless Cautious Cheerful Classy Cold Colorful Combative Crazy Creepy Curious Defiant Delightful Disagreeable Dispute Efficient Energetic Enthusiastic Excited Fearful Fierce Foolish Frantic Frightening Generous Gentle Glad Grateful Haggle Happy Harsh Hasty Helpful Helpless Hopeless

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51: Ideas 52: Inform 53: Innocent 54: Inquire 55: Intense 56: Interesting 57: Intolerance 58: Irritating 59: Joyful 60: Judgemental 61: Juvenile 62: Kind 63: Leadership 64: Lie 65: Loud 66: Loving 67: Loyal 68: Macabre 69: Mature 70: Meaningful 71: Miserable 72: Mistrust 73: Mocking 74: Mundane 75: Mysterious 76: News 77: Nice 78: Normal 79: Odd 80: Offensive 81: Official 82: Oppose 83: Peace 84: Plans 85: Playful 86: Polite 87: Positive 88: Praise 89: Quarrelsome 90: Quiet 91: Reassuring 92: Refuse 93: Rude 94: Rumor 95: Simple 96: Threatening 97: Truce 98: Trust 99: Warm 100: Wild

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chance hinge on?” Victor asks. The Player has an idea what Das may be talking about. After the prolonged war, there may be members of the council who are tired of the conflict and want it to end. The Player asks the Fate Question, “Does Das say there are some on the council who are tired of the war?” The Player gives this odds of 50/50 because he really isn’t sure, he’s just floating a theory. Mythic comes back with Yes. “The war is costly, and without end! There are those on

the council ... myself included ... who want it to be over.” “I see,” Victor says. “I take it that’s not quite enough, though. You mentioned a chance.” The Player reasons that if there are some on the Council who want peace, then the problem is probably those on the Council who want war. He asks the Fate Question, “Does he say there are Council members opposing peace?” He gives this odds of Very Likely. Mythic comes back with Exceptional Yes. To make this Yes Exceptional, the Player interprets this

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to mean that there are members of the Council who want war, but they are led but one powerful Councilmember in particular who leads their coalition. “Yes, there is a chance. Those who want war only do so because they are afraid of Vil Garan! His political career has only risen since the conflict began, and he clearly has aspirations to take High Command.” That seemed like embellishment fitting of an Exceptional to the Player. The plot is starting to thicken in this conversation now. Victor sees that the hostility from the Red Eight can be boiled down to one member of the Council. “I know you don’t expect me to talk Vil into laying down weapons. So, you want me to ...,” Victor says. The Player can only think of a few reasons why Das would want to meet with a human starship captain with this kind of news. He asks the Fate Question, “Does he want Victor to capture or kill Vil for him?” He gives this odds of Very Likely and gets a Yes. “I know where he will be in a few days time. He is traveling, secretly he believes, and he will be vulnerable to, shall we say ... a surprise attack,” Das says, cocking his head as he looks at Victor. “So you are either asking me to take out the roadblock to peace, or you are trying to use me to remove a political rival of yours,” Victor says. The Player expects the logical response to this would be a denial of any deceit. This seems like such an obvious response that he doesn’t even make a Fate Question out of it. “It is for the good of both of our people!” he exclaims. Victor walks away from this conversation with new hope about the future, and the Player has a new direction to take the adventure in.

SOCIAL CUES Determining NPC behavior is a topic we come back to often. It’s addressed in Mythic Variations II with the Behavior Check, in Mythic Magazine #1 with the simplified Behavior Check, it’s given another look with Generating NPC Behavior With Fate Questions in issue #9, and added to in Issue #12 with RPG Social Skills With Mythic’s Behavior Check. I get it. Behavior is complicated and we want to get it right. There’s also more than one way to approach this, and you need to find a solo style that is satisfying to you. Whatever ruleset you’re using to determine NPC behavior or conversations, I think there are a few general guidelines that are helpful: • FOLLOW YOUR EXPECTATIONS: Complicated or not, NPC behavior and speech is no different from determining anything else in Mythic. Follow your expectations about what an NPC will do or say, as long as you’re following the context of the adventure and any meaning you’ve established with Fate Questions. • ROLL WHEN YOU’RE NOT SURE: Not every word or action from an NPC needs to be checked for. Just like in this example between Victor and Das, the Player felt no need to check to see if the alien would defend his honest intentions. Consider skipping the random check for what an NPC says when you are sure what they’ll say. • HAVE FUN: It’s easy to get lost in the details with solo role-playing. At the end of the day, when stumped as to what an NPC may say, consider just going with what would be the most interesting and fun thing to say.

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ADVENTURE LISTS Threads List

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ADVENTURE CRAFTER LISTS Plotlines List

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ADVENTURE CRAFTER DECK LISTS Plotlines List

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TRIGGER

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MEANING TABLES: BEHAVIOR VOCAL

1: 2: 3: 4: 5: 6: 7: 8: 9: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19: 20: 21: 22: 23: 24: 25: 26: 27: 28: 29: 30: 31: 32: 33: 34: 35: 36: 37: 38: 39: 40: 41: 42: 43: 44: 45: 46: 47: 48: 49: 50:

Abuse Advice Aggressive Agree Amusing Angry Anxious Assist Awkward Betray Bizarre Bleak Bold Business Calm Careful Careless Cautious Cheerful Classy Cold Colorful Combative Crazy Creepy Curious Defiant Delightful Disagreeable Dispute Efficient Energetic Enthusiastic Excited Fearful Fierce Foolish Frantic Frightening Generous Gentle Glad Grateful Haggle Happy Harsh Hasty Helpful Helpless Hopeless

51: Ideas 52: Inform 53: Innocent 54: Inquire 55: Intense 56: Interesting 57: Intolerance 58: Irritating 59: Joyful 60: Judgemental 61: Juvenile 62: Kind 63: Leadership 64: Lie 65: Loud 66: Loving 67: Loyal 68: Macabre 69: Mature 70: Meaningful 71: Miserable 72: Mistrust 73: Mocking 74: Mundane 75: Mysterious 76: News 77: Nice 78: Normal 79: Odd 80: Offensive 81: Official 82: Oppose 83: Peace 84: Plans 85: Playful 86: Polite 87: Positive 88: Praise 89: Quarrelsome 90: Quiet 91: Reassuring 92: Refuse 93: Rude 94: Rumor 95: Simple 96: Threatening 97: Truce 98: Trust 99: Warm 100: Wild

MEANING TABLES: ACTIONS ACTION 1 1: 2: 3: 4: 5: 6: 7: 8: 9: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19: 20:

Abandon Abuse Activity Adjourn Adversity Agree Ambush Antagonize Arrive Assist Attach Attainment Attract Befriend Bestow Betray Block Break Care Carelessness

21: 22: 23: 24: 25: 26: 27: 28: 29: 30: 31: 32: 33: 34: 35: 36: 37: 38: 39: 40:

Carry Celebrate Change Communicate Control Create Cruelty Debase Deceive Decrease Delay Desert Develop Dispute Disrupt Divide Dominate Excitement Expose Extravagance

41: 42: 43: 44: 45: 46: 47: 48: 49: 50: 51: 52: 53: 54: 55: 56: 57: 58: 59: 60:

Failure Fight Gratify Guide Haggle Harm Heal Imitate Imprison Increase Inform Inquire Inspect Intolerance Judge Kill Lie Malice Mistrust Move

61: 62: 63: 64: 65: 66: 67: 68: 69: 70: 71: 72: 73: 74: 75: 76: 77: 78: 79: 80:

Neglect Negligence Open Oppose Oppress Oppress Overindulge Overthrow Passion Persecute Postpone Praise Proceedings Procrastinate Propose Punish Pursue Recruit Refuse Release

81: Release 82: Return 83: Ruin 84: Separate 85: Spy 86: Starting 87: Stop 88: Struggle 89: Take 90: Transform 91: Travel 92: Trick 93: Triumph 94: Truce 95: Trust 96: Usurp 97: Vengeance 98: Violate 99: Waste 100: Work

61: 62: 63: 64: 65: 66: 67: 68: 69: 70: 71: 72: 73: 74: 75: 76: 77: 78: 79: 80:

Nature News Normal Opposition Opulence Outside Pain Path Peace Physical Plans Pleasures Plot Portals Possessions Power Prison Project Public Randomness

81: Reality 82: Representative 83: Riches 84: Rumor 85: Spirit 86: Stalemate 87: Success 88: Suffering 89: Tactics 90: Technology 91: Tension 92: Travel 93: Trials 94: Vehicle 95: Victory 96: War 97: Weapons 98: Weather 99: Wishes 100: Wounds

ACTION 2 1: 2: 3: 4: 5: 6: 7: 8: 9: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19: 20:

Adversities Advice Allies Ambush Anger Animals Art Attention Balance Benefits Burden Bureaucracy Business Competition Danger Death Dispute Dispute Disruption Dreams

21: 22: 23: 24: 25: 26: 27: 28: 29: 30: 31: 32: 33: 34: 35: 36: 37: 38: 39: 40:

Elements Emotions Enemies Energy Environment Evil Expectations Exterior Extravagance Failure Fame Fears Food Friendship Goals Good Home Hope Ideas Illness

41: 42: 43: 44: 45: 46: 47: 48: 49: 50: 51: 52: 53: 54: 55: 56: 57: 58: 59: 60:

Illusions Information Innocent Inside Intellect Intrigues Investment Jealousy Joy Leadership Legal Liberty Lies Love Magic Masses Messages Military Misfortune Mundane

MEANING TABLES: DESCRIPTIONS DESCRIPTOR 1 1: 2: 3: 4: 5: 6: 7: 8: 9: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19: 20:

Abnormally Adventurously Aggressively Angrily Anxiously Awkwardly Beautifully Bleakly Boldly Bravely Busily Calmly Carefully Carelessly Cautiously Ceaselessly Cheerfully Combatively Coolly Crazily

21: 22: 23: 24: 25: 26: 27: 28: 29: 30: 31: 32: 33: 34: 35: 36: 37: 38: 39: 40:

Curiously Daintily Dangerously Defiantly Deliberately Delightfully Dimly Efficiently Energetically Enormously Enthusiastically Excitedly Fearfully Ferociously Fiercely Foolishly Fortunately Frantically Freely Frighteningly

41: 42: 43: 44: 45: 46: 47: 48: 49: 50: 51: 52: 53: 54: 55: 56: 57: 58: 59: 60:

Fully Generously Gently Gladly Gracefully Gratefully Happily Hastily Healthily Helpfully Helplessly Hopelessly Innocently Intensely Interestingly Irritatingly Jovially Joyfully Judgementally Kindly

61: 62: 63: 64: 65: 66: 67: 68: 69: 70: 71: 72: 73: 74: 75: 76: 77: 78: 79: 80:

Kookily Lazily Lightly Loosely Loudly Lovingly Loyally Majestically Meaningfully Mechanically Miserably Mockingly Mysteriously Naturally Neatly Nicely Oddly Offensively Officially Partially

81: Peacefully 82: Perfectly 83: Playfully 84: Politely 85: Positively 86: Powerfully 87: Quaintly 88: Quarrelsomely 89: Quietly 90: Roughly 91: Rudely 92: Ruthlessly 93: Slowly 94: Softly 95: Swiftly 96: Threateningly 97: Very 98: Violently 99: Wildly 100: Yieldingly

61: 62: 63: 64: 65: 66: 67: 68: 69: 70: 71: 72: 73: 74: 75: 76: 77: 78: 79: 80:

Macabre Magnificent Masculine Mature Messy Mighty Military Modern Mundane Mysterious Natural Nondescript Odd Pale Petite Poor Powerful Quaint Rare Reassuring

81: Remarkable 82: Rotten 83: Rough 84: Ruined 85: Rustic 86: Scary 87: Simple 88: Small 89: Smelly 90: Smooth 91: Soft 92: Strong 93: Tranquil 94: Ugly 95: Valuable 96: Warlike 97: Warm 98: Watery 99: Weak 100: Young

DESCRIPTOR 2 1: 2: 3: 4: 5: 6: 7: 8: 9: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19: 20:

Abandoned Abnormal Amusing Ancient Aromatic Average Beautiful Bizarre Classy Clean Cold Colorful Creepy Cute Damaged Dark Defeated Delicate Delightful Dirty

21: 22: 23: 24: 25: 26: 27: 28: 29: 30: 31: 32: 33: 34: 35: 36: 37: 38: 39: 40:

Disagreeable Disgusting Drab Dry Dull Empty Enormous Exotic Extravagant Faded Familiar Fancy Fat Feeble Feminine Festive Flawless Fresh Full Glorious

41: 42: 43: 44: 45: 46: 47: 48: 49: 50: 51: 52: 53: 54: 55: 56: 57: 58: 59: 60:

Good Graceful Hard Harsh Healthy Heavy Historical Horrible Important Interesting Juvenile Lacking Lame Large Lavish Lean Less Lethal Lonely Lovely

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